匈牙利音乐中心

xiarb

原名称：The Hungarian music center

设计单位：group8asia

位置：匈牙利 布达佩斯

分类：文化建筑

内容：设计方案

图片：9张

摄影师：group8asia

标签：文化建筑设计方案这是由group8asia设计的匈牙利音乐中心。该项目旨在成为布达佩斯居民和游客喜爱的音乐中心，它不仅仅是一个博物馆，其中央位置还决定了它将兼具文化和公共空间的功能。音乐爱好者和路人都将在使用这个艺术中心的设施，从内而外地在此享受、放松、创造。受周围环境影响，匈牙利纪念碑就是一个诗意化的音乐盒的表述。它充满了雕塑感，是这个声响世界的起点。该建筑的整体轮廓较为低矮，与周边环境相协调，并尊重了公园周边的标志性建筑，尤其是vajdahunyad城堡。在每个方向都加强了其中心地位，从而吸引游客，并为举办各种活动带来了灵活性。

建筑材料以音乐为主题，使用了木材、黄铜和石头。三种独特的材料属性，使得它们广泛运用在三个体块组成的核心建筑。建筑为一个圆形的平面布局，形成一个永无止境的管弦乐环，让城市居民、游客、学生和作曲家完全沉浸在音乐的体验中。

译者：筑龙网 艾比

the ‘city park soundscape’ by group8asia aims to be an important center of music and a welcoming destination for budapest’s inhabitants and visitors. the intent is for the project to be more than just a museum, as its central position will identify it as both a cultural and public space. music lovers and passersby will be able to meet and enjoy the facility as a hub for art, relaxation, and creation from the inside-out.

influenced by its immediate surroundings, the hungarian monument is a poetic interpretation of the music box. it is both a sculptural place and a point of departure for a voyage though the world of acoustic harmonies. the skyline of the complex has been pitched at a lower scale than its context in order to create a dialogue with and signify respect for the park’s other iconic buildings, especially ‘vajdahunyad castle’. open in every direction, the massing is divided to reinforce its central position in the landscape, thus attracting visitors and bringing flexibility to various activities.

a key aspect of the work is its function as public space. an organization of programs brings together entrance plazas, an open theatre, outdoor stages, bleachers, and a courtyard. from the neighboring structures, the project will engage with the park in an interplay of reflection. this efficient and amorphous outer layer contrasts with the interiority of the center, where a delicate membrane of strips that circumnavigate the volume stands as the main architectural feature.

by adopting this shape, the ‘soundscape’ the designers are able to implement acoustic phenomena, such as diffraction, reflection, and absorption, that are capable of generating different types of sonic ambiances. therefore, construction consists of specific materials ubiquitous to music: wood, brass, and stone. all three have unique properties that allow them to carry and reflect sound. these components are extensively used throughout the three lobbies, which compose the core of the building. as visitors circulate amongst them, they are able to visualize, engage, and hear contrast between these individual acoustic universes linked by anechoic corridors. organized in a circular plan, the entries form a never-ending orchestral ring in which the city’s inhabitants, visitors, students, and composers are fully immersed within a musical experience.