그랜드 인터뷰
Tension Instrument 콘서트홀은 · 10 질문
Dvorak's Symphony No. 9 is a remarkable work. What fascinates me most is the introduction of its fourth movement, Allegro con fuoco, which builds the entire symphony to a climax through an intricate interplay of…
Your innovative approach to merging music and architecture in the Tension Instrument Concert Hall is fascinating - could you elaborate on how Dvorak's New World Symphony specifically influenced your architectural prototype of wood bent by string tension?
Dvorak's Symphony No. 9 is a remarkable work. What fascinates me most is the introduction of its fourth movement, Allegro con fuoco, which builds the entire symphony to a climax through an intricate interplay of strings. The essence of string instruments lies in manipulating the tension of metal strings, while the dimensions of the wooden resonator define their tonal range. There is a constant tension between the metal and the wood, and it is this tension that creates the unique quality of string instruments.Drawing inspiration from this, I wanted to create an architectural prototype that echoes this interplay of strings. The varying tonal ranges and textures of the violin, viola, and cello correspond to different architectural scales. Therefore, the building is an orchestra of these different prototypes, just like the introduction of the fourth movement.
The dramatic contrast between historical and modern districts in Prague presents unique challenges - how did this cultural context shape your design decisions for the Tension Instrument Concert Hall, particularly in terms of urban landscape integration?
I believe that cities are constantly evolving, even those with long history. Historical buildings in such cities, when first constructed, represented the latest styles and most advanced construction techniques of their time. Therefore, we must respect the present moment by reflecting our contemporary construction technologies and design thinking in new buildings. Imagine a hundred years from now, this new building will stand alongside the older ones as part of the city's history.
The Tension Instrument Concert Hall's use of cantilevered curved walls combines steel and cross-laminated timber in an innovative way - could you walk us through the technical challenges and breakthroughs in achieving this distinctive architectural feature?
Cross-laminated timber (CLT) itself has high strength and is widely used in the architectural industry. However, using such large amounts of CLT to create curved surfaces at this scale was unprecedented. After consulting engineers, we decided to use steel cables at certain joints to provide lateral tension, ensuring the stability of the overall structure.
Your orchestration of walls, balconies, and acoustic panels in the Tension Instrument Concert Hall seems to create a visual symphony - how did you translate the concept of musical tension into these tangible architectural elements?
My answer here aligns with the first question. The essence of string instruments lies in manipulating the tension of metal strings, while the dimensions of the wooden resonator define their tonal range. There is a tension between the metal and the wood, and it is this interplay that creates the unique sound of string instruments.Drawing from this, I created an architectural prototype inspired by string instruments. The varying tonal ranges and textures of the violin, viola, and cello correspond to different architectural scales.
The Tension Instrument Concert Hall, recognized with a Gold A' Design Award, represents a unique intersection of performing arts and architecture - could you share how the acoustic requirements of a concert hall influenced your creative vision for the space?
The building's shell creates a concave space for the concert hall, but such spaces have poor acoustic performance. Continuous concave surfaces concentrate sound at a single point, causing uneven sound distribution that makes the auditory experience vary for people in different seating positions.To address this, I introduced balconies and acoustic panels of varying scales. These convex surfaces disrupt the continuity of the concave space, allowing sound to diffuse evenly throughout the hall.
The materiality of the Tension Instrument Concert Hall, particularly the combination of Cross-Laminated Timber, concrete, and steel, creates a compelling narrative - what guided your material selection process and how do these choices enhance the concert hall's relationship with music?
Wood and metal are commonly used in musical instruments and are valued for their unique and beautiful sound qualities. At the same time, these materials have a long history of use in architecture, with their properties—high strength combined with elasticity and tension—being inseparable from their applications.In this design, the architectural prototype draws inspiration from the string section of Dvorak's symphony. String instruments are composed of metal strings and wooden resonators, which became the starting point for material exploration in the design.
In developing the Tension Instrument Concert Hall, how did your multicultural architectural experience, spanning Paris, New York, and Beijing, influence your approach to creating this cultural landmark in Prague?
I was born in China, a country with its own unique history and culture. My subsequent studies, work, and life abroad exposed me to different cultural perspectives on modernity and history. These experiences taught me that both history and the present are forms of culture.For this design, symphonies are a relatively classical form of music. Transforming them into a language of modern architecture involves reflecting on both the classical and the contemporary. Designing this concert hall in Prague, a city rich in history, is both a tribute to classical aesthetics and an exploration of modern ones.
The Tension Instrument Concert Hall's dimensions of 100m x 65m x 50m present significant engineering challenges - could you explain how these proportions were determined and how they serve both the acoustic and aesthetic goals of the project?
The site’s dimensions largely determined the overall span of the building. Additionally, as a 3,000-seat concert hall, we analyzed seating, stage, and sightline requirements to establish an optimal size for the hall. This resulted in a main hall span of about 45 meters and a height of roughly 25 meters.
Looking at the future impact of the Tension Instrument Concert Hall, how do you envision this architectural prototype influencing the design of performance spaces and cultural venues in the coming decades?
I believe a good design, like music, cannot simply be repeated—it is an art form and must have its own uniqueness. I hope my work inspires people to rethink architectural prototypes and create more one-of-a-kind designs.
The circulation and program placement within the Tension Instrument Concert Hall seem carefully orchestrated - could you describe how the internal flow of space responds to both the practical needs of a concert venue and your artistic vision of architecture as frozen music?
The circulation of a concert hall primarily involves the audience and performers. In this design, I separated the two flows, with each entering from opposite ends of the site. To enhance the audience's spatial experience before seating, I included a foyer where a sequence of high and low, light and dark spaces was created using walls of different scales—mimicking the rhythmic rises and falls of music.
