竞争小组Rem Koolhaas，Fernando Romero Havaux，Isabel Silva，Barbara Wolff，Uwe Herlijn Project Team Isabel Silva，Uwe Herlijn，Nuno Rosado，Robert Choeff，Barbara Wolff，Stephan Griek，Govert Gerritsen，SaskiaSimon，Thomas Duda，Christian von der Muelde，Rita Amado，Philip Koenen，Peter Müller，Krystian Keck，Eduarda利马，Christoff l，Alex de Jong，Alois Zierl，Olaf Hitz，Jorge Toscano，Duarte Santos，Nelson Carvalho，Stefan ie Wandinger，Catarina Canas，Shadi Rahbaran，Chris van Duijn，Maria巴普蒂斯塔，AndréCardoso，Paulo Costa，Ana Jacinto，Fabienne Louyot，Nicolas Firket，Christina Beaumont，Anna Little本地建筑师ANC建筑师，Jorge Carvalho，Teresa Novais-Afados协调Cecil Balmond，Rory McGowan(Arup)-Rui FurtadoMarco Carvalho(Afa)Ove Arup

Competition Team Rem Koolhaas, Fernando Romero Havaux, Isabel Silva, Barbara Wolff, Uwe Herlijn Project Team Isabel Silva, Uwe Herlijn, Nuno Rosado, Robert Choeff, Barbara Wolff, Stephan Griek, Govert Gerritsen, Saskia Simon, Thomas Duda, Christian von der Muelde, Rita Amado, Philip Koenen, Peter Müller, Krystian Keck, Eduarda Lima, Christoff Scholl, Alex de Jong, Alois Zierl, Olaf Hitz, Jorge Toscano, Duarte Santos, Nelson Carvalho, Stefanie Wandinger, Catarina Canas, Shadi Rahbaran, Chris van Duijn, Maria Baptista, André Cardoso, Paulo Costa, Ana Jacinto, Fabienne Louyot, Nicolas Firket, Christina Beaumont, Anna Little Local Architect ANC Architects, Jorge Carvalho, Teresa Novais ers – Afassociados | Coordination Cecil Balmond, Rory McGowan (Arup) – Rui Furtado, Marco Carvalho (Afa) Ove Arup & Partners – Afassociados | Structure Arup London / AFA Lda, Cecil Balmond, Rory McGowan, Asim Gaba, Toby Maclean, Andrew Minson, Rui Furtado, Rui Oliveira, Pedro Moás, Sérgio Vale, Sara Caetano, Jorge Carneiro, Filipe Ferreira, Diogo Vasconcelos Ove Arup & Partners – Afassociados | Services Arup London / AFA Lda/RGA, Tim Thornton, Stefan Waldhauser, Dane Green, Dorothee Richter, António José Rodrigues Gomes, Joaquim Viseu, Luís Graça, Paulo Silva, Pedro Albuquerque, Isabel Sarmento, Estevão Santana. Ove Arup & Partners – Afassociados | Fire Engineering Arup fire, George Faller Code Consultancy Code Consultancy Acoustics TNO Eindhoven and Dorsser Blesgraaf, Renz van Luxemburg, Theo Raijmakers Interiors, Curtains Inside Outside, Petra Blaisse, Peter Niessen, Marieke van den Heuvel, Mathias Lehner Scenography Ducks Scéno, Michel Cova, Stephan Abromeit, Aldo de Sousa Facade Robert Jan van Santen; ARUP facades Curved Glass Facade ABT Arnhem (NL), Rob Nijsse Auditorium Chairs Maarten van Severen Loose Furniture Foyers Daciano da Costa, António Sena da Silva, Leonor Álvares de Oliveira, Fernando Távora Manufacturers Loading... More Specs Less Specs

 © Philippe Ruault

菲利普·鲁奥

架构师提供的文本描述。在过去的三十年里，建筑师们疯狂地试图摆脱“鞋盒”音乐厅的统治。卡萨·达·穆西卡(Casa Da Musica)试图用另一种方式重振传统音乐厅，而不是与这种传统造型的不可避免的声学优势作斗争：重新定义神圣的内部与外界公众之间的关系。波尔图国家乐团的新家它有一个独特的面的形式，由白色的混凝土，这仍然是坚实和可信的时代太多的图标。在大厅内，高架的1，300个座位(鞋盒形)大礼堂两端都有波纹玻璃幕墙，这使得大厅向城市开放，并为波尔图提供了一个戏剧性的表演背景。卡萨·达·穆西卡(Casa Da Musica)在没有被教导的情况下揭示了它的内容；同时，它把这座城市投射到了

Text description provided by the architects. The past thirty years have seen frantic attempts by architects to escape the domination of the "shoe-box" concert hall. Rather than struggle with the inescapable acoustic superiority of this traditional shape, the Casa da Musica attempts to reinvigorate the traditional concert hall in another way: by redefining the relationship between the hallowed interior and the general public outside. The Casa da Musica, the new home of the National Orchestra of Porto, stands on a new public square in the historic Rotunda da Boavista. It has a distinctive faceted form, made of white concrete, which remains solid and believable in an age of too many icons. Inside, the elevated 1,300-seat (shoe box-shaped) Grand Auditorium has corrugated glass facades at either end that open the hall to the city and offer Porto itself as a dramatic backdrop for performances. Casa da Musica reveals its contents without being didactic; at the same time, it casts the city in a new light.

 Courtesy of OMA

OMA提供

在OMA的思想发展过程中，定位Casa da Musica是关键；我们选择的不是在界定罗通达的老建筑圈里建造新的音乐厅，而是在罗通达公园前的石灰华铺的高原上建造一座孤独的建筑，毗邻一个工人阶级地区。有了这个概念，象征意义、可见性和接触的问题就通过一个手势得到了解决。

Locating the Casa da Musica was key in the development of OMA's thinking; we chose not to build the new concert hall in the ring of old buildings defining the Rotunda but to create a solitary building standing on a travertine-paved plateau in front of the Rotunda's park, neighbouring a working class area. With this concept, issues of symbolism, visibility, and access were resolved in one gesture.

 Section BB © OMA

BB节(OMA)

 © Philippe Ruault

菲利普·鲁奥

 Section AA © OMA

AA节(OMA)

除了大礼堂外，它被设想成一个简单的群众，从建筑物的实体形式到另一端掏空，卡萨达音乐厅还包括一个更小、更灵活的表演空间，没有固定的座位、十个排练室、录音室、教育区、餐厅、露台、酒吧、贵宾室、行政区域，和一个可容纳600辆车的地下停车场。

As well as the Grand Auditorium, conceived as a simple mass hollowed out end-to-end from the solid form of the building, the Casa da Musica also contains a smaller, more flexible performance space with no fixed seating, ten rehearsal rooms, recording studios, an educational area, a restaurant, terrace, bars, a VIP room, administration areas, and an underground car park for 600 vehicles.

 Courtesy of OMA

OMA提供

对材料和颜色的创新使用是另一项重要任务：除了大礼堂两端独特的幕墙外，墙壁上还覆盖着用黄金雕刻的扩大木纹的胶合板，透视上呈现出戏剧性的晃动；VIP区的手绘瓷砖描绘了传统的田园景象，屋顶露台则用几何的黑白瓷砖做图案；公共场所的地板有时是用铝铺的。

Innovative use of materials and colour throughout was another imperative: as well as the unique curtain-like glass walls at either end of the Grand Auditorium, the walls are clad in plywood with enlarged wood patterns embossed in gold, giving a dramatic jolt in perspective; the VIP area has hand-painted tiles picturing a traditional pastoral scene, while the roof terrace is patterned with geometric black and white tiles; floors in public areas are sometimes paved in aluminium.

 Courtesy of OMA

OMA提供

这里故意没有大的中央门厅，而是通过楼梯、月台和自动扶梯将大礼堂周围的空间连成一条公共路线。这座建筑成了一场建筑冒险。2001年波尔图被选为欧洲两个文化中心之一后，文化部长和波尔图市成立了波尔图2001，该组织将为波尔图市发起和筹备不同的城市和文化干预措施。在这方面，五项国际建筑惯例，其中包括OMA，被邀请参加一项限制竞赛，以便在波尔图的历史中心-罗通达博阿维斯塔-设立一个新的音乐厅。

There is deliberately no large central foyer; instead, a continuous public route connects the spaces around the Grand Auditorium by means of stairs, platforms and escalators. The building becomes an architectural adventure. After Porto was selected one of the two cultural capitals of Europe in 2001, the Minister of Culture and the city of Porto founded Porto 2001, an organization which was to initiate and prepare different urban and cultural interventions for the city of Porto. In this context five international architectural practices, amongst which was OMA, were invited to participate in a restricted competition for a new concert hall to be positioned in the historical centre of Porto, the Rotunda da Boavista.

 © Philippe Ruault

菲利普·鲁奥

由于波尔图的这一部分仍然是一个“完好无损”的城市，OMA选择不把新音乐厅作为罗通达·达·博阿维斯塔周围小规模圆形墙的一部分，而是在与罗通达·达·博阿维斯塔历史公园相连、由三个城市街区包围的新的、更亲密的广场上建造一座单独的建筑。有了这个概念，象征意义、能见度和接触的问题就通过一个手势得到了解决。

Since this part of Porto was still a city “intact‟‟, OMA chose not to articulate the new concert hall as a segment of a small scale circular wall around the Rotunda da Boavista but to create a solitary building standing on the new, more intimate square connected to the historical park of the Rotunda da Boavista and enclosed by three urban blocks. With this concept, issues of symbolism, visibility and access were resolved in one gesture.

 Site Plan © OMA

地盘图则(OMA)

通过连续性和对比，罗通达达博维斯塔公园，经过我们的干预，不再仅仅是新旧波尔图之间的枢纽，但它成为两种不同的城市模式的正面相遇。

Through both continuity and contrast, the park on the Rotunda da Boavista, after our intervention, is no longer a mere hinge between the old and the new Porto, but it becomes a positive encounter of two different models of the city.

 © Philippe Ruault

菲利普·鲁奥

本世纪，人们疯狂地试图逃离臭名昭著的“鞋盒”式音乐厅的暴政。然而，在研究了现有音乐厅的声学质量后，我们不得不与我们的声学专家一起得出结论：世界上最好的音乐厅都有鞋盒形状。这给我们留下了一个问题：在像音乐厅这样的传统类型学的情况下，在哪里进行创新？

This century has seen an architecturally frantic attempt to escape from the tyranny of the notorious “shoe-box” shaped concert hall. However, after researching the acoustic quality of existing concert halls we had to conclude together with our acoustic specialist that the best halls in the world have a shoe box shape. This left us with the questions: Where to innovate in a case of a traditional typology like the concert hall?

 © Philippe Ruault

菲利普·鲁奥

Architectural concept

大多数文化机构只为一部分人口服务。大多数人知道自己的外表，只有少数人知道里面发生了什么。OMA讨论了音乐厅与建筑内外公众之间的关系，认为这座建筑是一个坚实的整体，其中两个鞋盒形音乐厅和所有其他公共项目都被排除在外，形成了一个空洞化的街区。这座建筑向城市展示了它的内容，并没有被教导；同时，城市以一种前所未有的方式暴露在公众面前。

Most cultural institutions serve only part of a population. A majority knows their exterior shape, only a minority knows what happens inside. OMA addressed the relationship between the Concert Hall and the public inside as well as outside the building by considering the building as a solid mass from which were eliminated the two shoe-box-shaped concert halls and all other public program creating a hollowed out block. The building reveals its contents to the city without being didactic; at the same time the city is exposed to the public inside in a way that has never happened before.

 © Philippe Ruault

菲利普·鲁奥

裸露的公共功能之间的“剩余空间”包括二级服务空间，如门厅、餐厅、露台、技术空间和垂直交通。通过楼梯、月台和自动扶梯，一条连续的公共线路将所有公共功能和“剩余空间”连接到大礼堂周围：这座建筑变成了一种建筑冒险。循环创造了一种可能，使用该建筑的节日与同时表演；音乐之家。

The “remaining spaces‟‟ between the exposed public functions consist of secondary serving spaces such as foyers, a restaurant, terraces, technical spaces and vertical transport. A continuous public route connects all public functions and “remaining spaces” located around the Grand Auditorium by means of stairs, platforms and escalators: the building becomes an architectural adventure. The loop creates the possibility to use the building for festivals with simultaneous performances; the House of Music.

 Level 01 Plan © OMA

01级计划(OMA)

 © Philippe Ruault

菲利普·鲁奥

 Level 03 Plan © OMA

03级计划(OMA)

大楼提供大量排练室、独奏室和更衣室，供波尔图管弦乐团使用，并为外来和客座表演者提供设施。在设计阶段，OMA研究了专门为Casa da Musica设计的现有和葡萄牙材料的新材料和新应用，例如：用于礼堂窗户的瓦楞纸玻璃、用于不同房间的旧瓷砖以及大礼堂的椅子、天篷和墙壁饰面。

The building provides a large amount of rehearsal rooms, soloist rooms and dressing rooms to house the Porto Philharmonic Orchestra and to provide in addition facilities to external and guest performers. During the Design Phase OMA researched new materials and new applications of existing and Portuguese materials exclusively for Casa da Musica such as; the corrugated glass for the windows of the Auditoria, the used tiles for different rooms and the chairs, canopy and wall finish in the Grand Auditorium.

 © Philippe Ruault

菲利普·鲁奥

卡萨达音乐是视觉和空间上的定义，其引人注目的面外，它的传统室内空间已被提取。400 mm厚面壳和主礼堂两面厚1米的墙是建筑物的主要承载和稳定系统。礼堂墙作为内部隔膜，沿纵向将壳体绑在一起。Arup和OMA研究了外立面的混凝土配合比。

Casa da Musica is visually and spatially defined by its striking faceted exterior from which its conventional interior spaces have been extracted. The buildings 400mm thick faceted shell and the two 1m thick walls of the main auditorium are the buildings primary load carrying and stability system. The auditorium walls act as internal diaphragms tying the shell together in the longitudinal direction. Arup and OMA researched the concrete mix for external facades.

 © Philippe Ruault

菲利普·鲁奥

Architects OMA

Location Avenida da Boavista 604, 4050-104 Porto, Portugal

Category Cultural Center

Architect in Charge Rem Koolhaas and Ellen van Loon

Project Architects Adrianne Fisher, Michelle Howard

Area 22000.0 m2

Project Year 2005

Photographs Philippe Ruault

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