间离剧空间的色调连贯、单一和极简设计_

　　空间的色调连贯、单一、极简。建筑师通过对石膏表面的处理，赋予空间光泽度和层次感。明亮的大厅与此前的空间形成对比，内墙的吸音板和沿墙长椅让这个独立的房间略显柔和；观众可以在演出开始前喘息片刻，静静等待高潮的来临。

　　来到这个剧院的观众，都是自己这出戏的演员和导演。

　　间离剧以独特的形态，为观众提供了别具一格的体验。剧院的构思要求建筑师对空间、事件和运动进行仔细地思考和设计，从建筑层面处理个中关系。MDO在深思熟虑后，决定以夸张的形式、灯光和流线，来应对这一挑战。建筑师将黑色电影的艺术表达和强化的戏剧感融入到设计中，创造出一系列对比性极强的空间；身临其中，就好似在欣赏一组胶片镜头蒙太奇。

　　The Jianliju theatre company, in an interesting examination of typology, offers a unique spectator experience where the audience plays an integral part of their performances and productions, as such the brief for their new premises in Shanghai demands a careful architectural approach to the relationships between space, event and movement. MDO, the architects selected to take on this mantle, have addressed these conditions with a deliberate and exaggerated exploration of form, lighting and circulation. The practice has taken the cinematic expression of film noir and applied its heightened sense of drama to the atmosphere within to create a sequence of contrasting spaces that read as a montage of screenshots from a film reel.

　　伯纳德·屈米先生的建筑理论，尤其是1976年的著作《电影剧本》，对此类项目有着深远的影响。MDO采用的诸多策略都参考了电影编辑的概念以及建筑的时空特性。几位知名的黑色电影导演常常用到的变形、重复和叠加等手段，都被建筑师运用起来，以营造五十年代好莱坞情节电影的氛围。

　　With work of this nature, the architectural theory of Tschumi, especially the 1976 Screenplays project, is never far away and many of the formal strategies employed by MDO directly reference the parallels with screen editing and the time-space nature of architecture. Tools such as distortion, repetition and superimposition often used by the great directors of the film noir scene have all been applied as a method to soak the interior with all the atmosphere of a 50s Hollywood melodrama.

　　剧院位在上海市中心一条不显眼的街道上，大门隐藏在一家古董家具商店后侧。到场的观众会首先收到时间、地点和数字这三条信息。从正门进入，一段台阶将观众带入到几乎全黑的空间内；建筑师通过对流线的设计，使观众就此与外界暂别；弯曲的黑色走廊里，微暗的灯光和不对称的构图造成一种迷失感，并将观众引向剧场内部。空间按线性排列展开，促使观众不断向前探索，就好像深夜里跟随着一个未知的身影前行。

　　The theatre is accessed off a non-descript side-street in central Shanghai, the entrance door hidden at the back of an antique furniture emporium. Visitors arrive only with a time, location and number. From the door, a stair leads down into the darkness and from there the circulation seeks to create a sense of departure from the world outside, a deliberate act of disorientation initiated by a dark curved corridor that emphasizes low-key lighting and unbalanced compositions leads to the spaces inside. The functions are organized into a linear arrangement of spaces, where the visitor is prevented from going backwards, as if following an unknown figure through the street at night.

　　The palette is simple throughout, monotone, minimal with a hint at texture through the treatment of the plaster to give a lustre and depth to the spaces. In contrast to the threshold sequence, the first space, the lobby, is bright and lined with acoustic paneling on the walls and benches creating a closed and soft environment, a moment of respite before the performance begins and the drama is further heightened.

　　时辰到来，参与者各自进入一个狭小的更衣室。针孔光圈将房间号码投射到黑暗的走廊地面上，让气氛略显诡异。更衣室内，厚重的绒布窗帘使人不禁想到大卫·林奇的电影场景。此时，参与者收到一份手稿，开始角色准备。

　　When it is time, each participant in the production enters a small changing space, highlighted by an eerie number projected from a pinhole aperture on to the dark corridor floor. Here in a space reminiscent of a Lynch production set complete with heavy velvet curtains, they are provided with a script and transform into character.

　　换上服装的表演者们走进一条狭窄的环绕走廊，根据放大镜里的显眼数字找到对应的房间。完全不对称的走廊设计，刻意营造不安的情绪，为接下来的表演拉开序幕。

　　They emerge from a costume change into a small anti-chamber where the four enclosing walls are asymmetrical, an unsettling space where the main focus is on a number displayed through a magnifying glass giving stage directions to the participating actors waiting in anticipation.

　　演出结束后，大家会来到一个全镜面房间，并可以在此拍照留念。建筑师通过这一设计，再次向胶片和电影传统致敬，并试图诠释和思索演员与观众这两个角色间的模糊界限，同时呼应整个空间的设计理念。

　　After the show concludes the sequence finishes with a hall of mirrors, one final nod to the film reel and the cinematic traditions that their design engages with. Given this final space is predominantly used for photographs and selfies, their last note is intentionally witty, a critical reflection perhaps on the ambiguous relationship between actor and audience that their architecture has curated throughout.

项目名称：间离剧

　　事务所：More Design Office (MDO) / 木君建筑设计咨询（上海）有限公司