21座剧院实例，教你合理布局观众席

编译 │ 袁田

观众的视线与视野，易用程度和声学都使剧院座位布局极其精确，剧院解决方案公司（TSI）的团队 根据建筑师和设计师提供的在线资源的一部分， 编制了21个剧院座位布局示例的目录。 每个布局都很详细，有座位数，地板座位区和行间距的信息。这些布局一般分为3种类型。为了补充这些信息，除了TSI的图表，文中还举例了每种类型的利弊，以及使用每种格式的项目示例。

Audience sightlines, accessibility and acoustics all make theater seating a hugely precise art. As part of their setof online resources for architects and designers, the team at Theatre SolutionsInc (TSI) have put together a catalog of 21 examples of theater seatinglayouts. Each layout is well detailed, with information on the number of seats,the floor seating area and row spacing. These layouts fall under three generalforms; to supplement this information, alongside TSI's diagrams we've includedthe pros and cons of each type, as well as examples of projects which use each format.Read on for more.

在这一形式中，全部观众都以一个方向面向舞台。视野非常开阔直接，这一类型的布局可以完美匹配演讲、电影及幻灯片演示的需求，传统的End stage以矩形设计为主。

In the End Stage form, the entire audiencefaces the stage in the same direction. Sightlines are kept simple, making theselayouts perfect for lectures, films and slide-based presentations. They alsofit well into conventional rectangular plans.

但是，在构建表演者和观众之间的密切关系方面，这一布局并不理想。此外，由于声学限制，这种布局的剧院一般也不会太大。

However, End Stages are not overly successful at creating a close relationship between performer and spectator.Theatres in this form also can’t be too large due to acoustic limits.

【实例】

布莱思艺术中心---Stevens LawsonArchitects

Agora 剧院---UNStudio

Guarda市政剧院--- AVA Architects

这种剧院的布局将观众席以130°夹角包围着舞台，可以拉进观众与演员的距离，享受更为亲密的观演体验。

In this form, theatre seats are placed within a 130-degree angle of inclusion. This brings in the audience closer tothe performer, establishing a more intimate experience.

130°角度的设计也意味着这种布局更适合那类与语言相关的表演。如果在这种剧院里放电影，可能就比较复杂了，因为需要给银幕一个正确的定位——也许会放置在舞台很深远的位置，以弥补座位排布而导致的视线扭曲。

This angling also means that the form is better geared towards speech-related performances. Film presentations would be trickier in these spaces, with screens requiring proper positioning – perhaps further back from the stage, to compensate for seats that find their sightlinesdistorted.

【 实例 】

中国国家大剧院---Paul Andreu

Ulumbarra剧院---Y2建筑

利摩日音乐厅---Bernard TschumiArchitects

这种布局是观众席以180-270度的夹角包围舞台。观众与表演者之间的视听感受都会改善，而且观众正视前方，就能看到对方，会有更为强烈的融入感。

3/4 arenas see a 180-270-degree angle ofinclusion. Hearing and visual contact between spectator and performer is improved, and as audience members can see each other when facing ahead, the sense of inclusion is increased even more.

然而，以传统方式放映影片的话就几乎看不了了，这就需要一个替代的屏幕放置方案，例如在整个空间中布置多个较小的屏幕。

However, conventional film presentationsare almost impossible and would require an alternative screen layout, such as anumber of smaller screens arranged throughout the space.

【 实例 】

汉秀剧院---StufishEntertainment Architects

Dee和Charles Wyly剧院---REX + OMA

Hardelot剧院---Studio Andrew Todd

虽然上述三种往往是座位布局最常见的形式，但这些绝不仅限于此。 进一步的选择，例如Arena布局的基础上升级，观众在舞台周围可360度的观看，像常见的皇家艾伯特音乐厅这样的超大剧院，以及葡萄园风格，其中座位排列成不同层面的迷你板块，包括舞台后方，如在汉堡Elbphilharmonie中看到的那样。

While the above three tend to be the most common forms of seating layout, they are by no means the only ones. Further options include Arena seating where the audience wraps around the stage a full360 degrees, common for extra-large theaters like the Royal Albert Hall, andthe Vineyard style where seats are arranged in cascades of mini-blocks ofvarying levels, including the rear of the stage, as seen in the Hamburg Elbphilharmonie.

或者更为不同的是，Bijlmer公园剧院是一个End Stage和Arena布局的混合体，它可以任意的伸缩座位，“波浪型座椅”也由此得名。

Or even more differently, Bijlmer Park Theatre is a hybrid between End Stage and Arena, with flexible pull-outseating turning it from one to another, while The Wave’s seating takes after its namesake.

图片来源于搜建筑（ID：sjz9999）

由于译者能力的限制，翻译不当之处，还请谅解，欢迎指正！