Snøhetta新作：布里斯班玻璃屋剧院，层层起伏的透明幕墙

编辑：王子萱 | 校对：王子萱 | 2026.03.16 17:44

设计单位 Blight Rayner + Snøhetta

项目地点 澳大利亚布里斯班

建成时间 2026年

建筑面积 13423平方米

本文文字由Snøhetta提供。

2019年5月，Blight Rayner与Snøhetta携手赢得昆士兰新表演艺术场馆的国际竞赛项目，这座建筑如今被命名为“玻璃屋剧院”。新剧院伫立于南岸艺术区，隶属昆士兰表演艺术中心（QPAC）。其层层起伏的玻璃幕墙如水光轻荡，亦以其重新构想文化建筑与城市关系的雄心，成为南岸滨河天际线上的全新焦点。

In May 2019, Blight Rayner and Snøhetta 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 façade and its ambition to reframe how a major cultural building engages with the city.

新剧院设有1,500个座位，使QPAC成为澳大利亚单一建筑体量下规模最大的表演艺术中心，能够以同等水准举办芭蕾、舞蹈、交响乐、歌剧、戏剧与音乐剧等大型演出。基地条件要求新建筑在街道侧悬挑约六米，以顺利在既有限制的场地范围内落位，覆盖既有的Playhouse Green。

Designed by Blight Rayner Architecture in partnership with Snøhetta, 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.

为了削弱悬挑体量对城市的压迫感，设计团队选择以高度通透的界面处理，让剧场主体得以与原有建筑视觉对齐，也由此回应QPAC与昆士兰文化区原建筑师Robin Gibson AO的文化遗产脉络。

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.

透明的外立面不仅是技术策略，更构筑了开放的“城市剧场”——往来行人可透过幕墙，窥见前厅中清晰或朦胧的身影。设计团队亦将昆士兰的第一民族群体“First Nations”（包括原住民“Aboriginal peoples”和托雷斯海峡岛民“Torres Strait Islander peoples”）的文化叙事融入建筑之中。

The transparent façade 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.

例如，屋顶的七个天窗象征昆士兰的七大集水区，其概念来自长者Aunty Colleen Wall的研究；托雷斯海峡艺术家Brian Robinson的雕塑《Floriate》同样以七种象征性的昆士兰开花植物，呼应这一地景寓意。

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.

前厅空间因起伏的玻璃幕墙而呈现独特张力。幕墙采用四层结构与空气间层以提升热工性能，其受阳面嵌入黑色陶瓷嵌条，作为内置遮阳构件，有效减少太阳辐射与眩光，使建筑的能效与舒适性兼具。

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.

轻盈通透的前厅与剧场内部形成鲜明对比——剧场如深色铁桉与雨林绿地毯包裹而成的“茧”，沉稳而专注。最初的设计任务书要求单层阳台与侧面包厢，但为了强化观众与表演者之间的联结，设计团队将阳台前缘最大程度地向舞台靠拢，并增设额外一排包厢，使空间关系更丰盈、均衡。

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.

剧场最远座位与舞台的距离仅28米——只比半个奥运泳池长三米——结合环抱式阳台布局，让观演氛围格外亲密。设计灵感来自弦乐器的结构特质，以精准的技术逻辑和层叠的木质“琴弦”语言，构筑出具有昆士兰气息的听觉与视觉体验。

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.

为了增强空间凝聚力，剧院前区采用“大陆式”座席布局，后区座席则在上下层设置约25%–50%–25%的侧向通道，以平衡通达性与整体性。乐池由三块可独立升降的平台组成，能够适配不同规模的乐队，提供四种配置，比传统设置多出两种。剧院的全自动吊杆系统延伸至24米高的吊塔，使布景与演出元素得以深度介入观众视野之上。

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.

玻璃屋剧院作为地标性建筑进一步巩固了昆士兰作为文化旅游目的地的地位。昆士兰对表演艺术的需求日益增长，早在十多年前便已显现建造新剧院的迫切性。如今，玻璃屋剧院正式启用，与QPAC其他四座剧场一同运营，预计每年将吸引额外30万名访客，使总访问量提升至160万人次。

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.