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In May 2019, Blight Rayner and Sn?hetta won the international design competition for the Queensland New Performance Venue (NPAV) project - now known as the Glasshouse Theatre. Queensland Performing Arts Centre's (QPAC) new Glasshouse Theatre in South Bank is a sight to behold, defined by its rippling glass fa?ade and its ambition to reframe how a major cultural building engages with the city.

新劇院設(shè)有1,500個(gè)座位，使QPAC成為澳大利亞單一建筑體量下規(guī)模最大的表演藝術(shù)中心，能夠以同等水準(zhǔn)舉辦芭蕾、舞蹈、交響樂、歌劇、戲劇與音樂劇等大型演出?；貤l件要求新建筑在街道側(cè)懸挑約六米，以順利在既有限制的場地范圍內(nèi)落位，覆蓋既有的Playhouse Green。為了削弱懸挑體量對(duì)城市的壓迫感，設(shè)計(jì)團(tuán)隊(duì)選擇以高度通透的界面處理，讓劇場主體得以與原有建筑視覺對(duì)齊，也由此回應(yīng)QPAC與昆士蘭文化區(qū)原建筑師Robin Gibson AO的文化遺產(chǎn)脈絡(luò)。

Designed by Blight Rayner Architecture in partnership with Sn?hetta, the 1,500 seat venue makes QPAC the largest performing arts centre under one roof in the country and capable of presenting world-class ballet, dance, symphony, opera, theatre and musicals to the same standard. The brief had allowed for the building to cantilever some six metres out on its two street frontages in order to fit the required size on to the site, over the preexisting Playhouse Green. The team's idea was to create a highly transparent edge to the cantilever to minimise its visual impact. Seen through it, the theatre 'block' aligns with the existing building design as one part of the strategy to respect the heritage status of QPAC and Queensland Cultural Precinct architect Robin Gibson AO. 

透明的外立面不僅是技術(shù)策略，更構(gòu)筑了開放的“城市劇場”——往來行人可透過幕墻，窺見前廳中清晰或朦朧的身影。設(shè)計(jì)團(tuán)隊(duì)亦將昆士蘭的第一民族群體“First Nations”（包括原住民“Aboriginal peoples”和托雷斯海峽島民“Torres Strait Islander peoples”）的文化敘事融入建筑之中。例如，屋頂?shù)钠邆€(gè)天窗象征昆士蘭的七大集水區(qū)，其概念來自長者Aunty Colleen Wall的研究；托雷斯海峽藝術(shù)家Brian Robinson的雕塑《Floriate》同樣以七種象征性的昆士蘭開花植物，呼應(yīng)這一地景寓意。

The transparent fa?ade also creates a setting for a kind of public theatre where people in the foyers would be seen variously clear and blurred from the street. Furtermore, the design team wanted to embed the beginnings of First Nations narratives related to the context into the design. One of these narratives concerns seven skylights in the roof representing the seven watersheds of Queensland, based upon research by First Nations Elder Aunty Colleen Wall. This is complemented by the sculpture Floriate by Torres Strait Islander artist Brian Robinson that features seven emblematic flowering plants that grow in abundance across Queensland.

前廳空間因起伏的玻璃幕墻而呈現(xiàn)獨(dú)特張力。幕墻采用四層結(jié)構(gòu)與空氣間層以提升熱工性能，其受陽面嵌入黑色陶瓷嵌條，作為內(nèi)置遮陽構(gòu)件，有效減少太陽輻射與眩光，使建筑的能效與舒適性兼具。

The wavy glass walls give dramatic character to the foyers. They are highly engineered for thermal performance, fabricated in four layers with an intervening air gap. The facets that receive direct sunlight are embedded with a black ceramic inlay that acts as an integrated louvre to block solar penetration, optimising the building's energy performance and minimising glare.

輕盈通透的前廳與劇場內(nèi)部形成鮮明對(duì)比——?jiǎng)鋈缟钌F桉與雨林綠地毯包裹而成的“繭”，沉穩(wěn)而專注。最初的設(shè)計(jì)任務(wù)書要求單層陽臺(tái)與側(cè)面包廂，但為了強(qiáng)化觀眾與表演者之間的聯(lián)結(jié)，設(shè)計(jì)團(tuán)隊(duì)將陽臺(tái)前緣最大程度地向舞臺(tái)靠攏，并增設(shè)額外一排包廂，使空間關(guān)系更豐盈、均衡。劇場最遠(yuǎn)座位與舞臺(tái)的距離僅28米——只比半個(gè)奧運(yùn)泳池長三米——結(jié)合環(huán)抱式陽臺(tái)布局，讓觀演氛圍格外親密。設(shè)計(jì)靈感來自弦樂器的結(jié)構(gòu)特質(zhì)，以精準(zhǔn)的技術(shù)邏輯和層疊的木質(zhì)“琴弦”語言，構(gòu)筑出具有昆士蘭氣息的聽覺與視覺體驗(yàn)。

The lightness and airiness of the foyers contrast dramatically with the theatre interior, conceived like a cocoon of dark grey ironbark walls and rainforest green carpet. The original brief calls for a single balcony with side circle boxes. To increase the sense of intimacy and connection between audience and performers, the front edges of the balcony were pulled as close to the stage as possible, and an additional row of balcony boxes was added to create fullness and visual balance. The distance from the stage to the furthest seat in the theatre is only 28 metres, only three metres longer than a half-Olympic pool. Together with wrap-around balconies, the atmosphere is incredibly intimate for both patrons and performers.

為了增強(qiáng)空間凝聚力，劇院前區(qū)采用“大陸式”座席布局，后區(qū)座席則在上下層設(shè)置約25%–50%–25%的側(cè)向通道，以平衡通達(dá)性與整體性。樂池由三塊可獨(dú)立升降的平臺(tái)組成，能夠適配不同規(guī)模的樂隊(duì)，提供四種配置，比傳統(tǒng)設(shè)置多出兩種。劇院的全自動(dòng)吊桿系統(tǒng)延伸至24米高的吊塔，使布景與演出元素得以深度介入觀眾視野之上。

Inspired by the qualities of stringed instruments, the design team has combined technical precision with atmospheric intimacy, enriched by layered timber ribbons that feel quintessentially Queensland. To enhance the sense of intimacy, continental seating is used at the front of the stalls and balcony, with the rear seats on both levels having aisles at the sides at approximately 25%, 50% and 25% distribution. This achieves a balance between accessibility and togetherness. The orchestra pit has three floor sections that can be raised or lowered independently to accommodate orchestras of different sizes, and there are four different pit configurations, two more than the convention. The fly system is fully automated, with the fly tower being 24 metres high and fly lines extending out for objects and performers to reach far out over the audience.

玻璃屋劇院作為地標(biāo)性建筑進(jìn)一步鞏固了昆士蘭作為文化旅游目的地的地位。昆士蘭對(duì)表演藝術(shù)的需求日益增長，早在十多年前便已顯現(xiàn)建造新劇院的迫切性。如今，玻璃屋劇院正式啟用，與QPAC其他四座劇場一同運(yùn)營，預(yù)計(jì)每年將吸引額外30萬名訪客，使總訪問量提升至160萬人次。

The Glasshouse Theatre is a landmark that fortifies Queensland's reputation as a cultural tourism destination. The appetite for the performing arts in Queensland is insatiable and the need for a new theatre was flagged more than a decade ago. With the Glasshouse Theatre now open alongside four other theatres, QPAC expect to welcome an extra 300,000 people to increase the visitation to 1.6million visitors per year.