非常感谢 Batay-Csorba Architects 予gooood分享以下内容。更多关于他们：Batay-Csorba Architects on gooood.
Appreciation towards Batay-Csorba Architects for providing the following description:

在与Goh芭蕾舞学院的院长Chan Han Goh的初步对话中，她说 “跳舞并不代表一种奢华的生活乐趣，它关乎于工作，是一件需要在专门的工作室中完成的事情”，因此在进行室内设计的时候，建筑师采用极简主义的设计手法，使空间尽量回归其原始的面目，从而让所有人都将目光聚焦在舞蹈技术上。作为加拿大国家芭蕾舞团的前主要成员，Chan Han Goh的芭蕾舞生涯始于父母家中的地下室，如今她终于有了属于自己的舞蹈工作室，在兴奋之余她也希望能够向大众展现适度的芭蕾舞训练的重要性。

In the initial conversations with Chan Han Goh, the director of Goh Ballet Academy, she identifies that ‘dance is not about luxury, it is about the work, and what is done in the studio,’ and that is why the architecture of the Goh Ballet Academy is stripped back and minimal, creating a focus on the technical aspects of dance. The former principal dancer of the National Ballet of Canada had begun her training in her parent’s basement and wanted her studio to reflect the modest necessities for training in ballet.

▼芭蕾舞工作室概览，overview of the Ballet studio © doublespace photography

实际上，这个舞蹈工作室的设计也确实别具匠心，当人们迈进这里的时候，便会看到粉色和深色的条纹色带交替出现，然后逐渐构成了一幅抽象的透镜式图像；当人们移动的时候，这个图像也会随之变化，赋予整个空间一种动态感。随着画面的展开，从一侧看是黑色的天鹅湖和白色的舞者，从另一侧看则是Goh所扮演的朱丽叶的照片（该照片由Joseph Ciancio拍摄于1997年），值得一提的是，朱丽叶这个角色在Goh的舞蹈生涯中占据着举足轻重的地位。这两个交替出现的图像寓意着Chan Han Goh的芭蕾舞生涯。她曾连续四年作为加拿大国家芭蕾舞团的主要成员在外演出，所扮演的朱丽叶广受好评；随后，因为要在丹麦皇家芭蕾舞团中担任演出嘉宾，她走出了原有的舒适圈，继而开始扮演芭蕾舞天鹅湖中的角色。事实上，她在丹麦皇家芭蕾舞团演出时曾面临着诸多挑战，但她对搭档的绝对信任给予了她走下去的力量。这两个图像结合在一起，不仅向人们展示了芭蕾舞演员之间的团队合作精神，同时也在鼓励着现在的芭蕾舞者与自己的搭档建立信任，因为这会大大提高表演的精彩程度。

▼芭蕾舞工作室的空间轴测图及交通流线，space axon and circulation of the Ballet studio

As you enter, abstract alternating dark and pink stripes peel and unfold into a lenticular image, that dynamically reveals itself as you circulate the space. As the images unfold, you see both the corps de ballet of Swan Lake in black and white, and the other of Goh herself in her seminal role of Juliet (photograph by Joseph Ciancio, 1997). These two alternating images reflect Chan Han Goh’s career. As principal dancer for the National Ballet of Canada for four years running, she had achieved critical acclaim in the role of Juliet; and for a guest role in the Royal Danish Ballet, she had stepped outside of her comfort zone to play in Swan Lake. Her role in the Danish Ballet had challenges, but what gave her strength was an absolute trust in her partner. These two images together communicate the teamwork of being in a corps de ballet, and how trusting in your ensemble is what strengthens your performance.

▼芭蕾舞工作室入口，粉色和深色的条纹色带交替出现，逐渐构成一幅抽象的透镜式图像，the entrance of the Ballet studio, abstract alternating dark and pink stripes peel and unfold into a lenticular image © doublespace photography

▼芭蕾舞工作室入口处的墙面，从一侧看是黑色的天鹅湖和白色的舞者，the wall at the entrance that shows the corps de ballet of Swan Lake in black and white from one side © doublespace photography

▼芭蕾舞工作室入口处墙面的上半部分，从另一侧看是Goh所扮演的朱丽叶的照片，the upper part of the wall at the entrance, the image on the wall shows Goh herself in her seminal role of Juliet from the other side © doublespace photography

▼芭蕾舞工作室入口处墙面的上半部分，这个图像会随着人们的移动而变化，从而赋予整个空间一种动态感，the upper part of the wall at the entrance, the image dynamically reveals itself as people circulate the space © doublespace photography

▼透镜式图像墙面细节，details of the lenticular image © doublespace photography

Chan Han Goh希望工作室是“轻盈且流动”的，这样人们就可以在其中尽情地舒展自己的身体。为了实现这一目标，建筑师将五间舞蹈室的层高都做到了5米，更为重要的是，除了训练的必需品如装在墙上的扶手杠、镜子、挂钟、音乐伴奏设施和专业的弹簧地板等外，这里没有任何其他的空间装饰，以便舞者能够全身心地投入到芭蕾舞中去。此外，所有的舞蹈室都采用中性的空间色调。

Chan Han Goh wanted the studios to be ‘light and airy,’ where they could account for all movements, such as lifting of the human body. To account for that, the five studio spaces have a floor to ceiling height of five meters, and are adorned with nothing but the essentials necessary to train: ballet barres, mirrors, a wall clock, musical accompaniment, and a specialized sprung floor to absorb the impact of the dancers. Otherwise, the studios are focused and neutral in palette.

▼极简的舞蹈训练室，空间轻盈且流动，the minimalist studio space that is ‘light and airy’ © doublespace photography

▼舞蹈训练室，采用粉色和白色色调，the studio space in the pink and white tones © doublespace photography

▼舞蹈训练室，不设任何多余的装饰，the studio space that is adorned with nothing but the essentials necessary to train © doublespace photography

芭蕾舞训练的另一个关键点在于舞者必须要完全沉浸在自己所跳的舞蹈之中，从这一个层面上来看，练舞室就像是一个与世隔绝的庇护所。入口大厅和交通空间的设计都有利于学生们完成自己的训练。当他们穿过商场或者停车场进入练舞室的那一刻，世间的所有纷扰都被阻隔在了空间之外，在这里他们只需要完全沉浸在舞蹈之中。

Another key aspect of training in ballet is the ability to immerse yourself in your work, where the studio could be a place of solace and refuge. The entrance lobby and circulation space is designed to precondition the students for the work to be done. As they enter through the mall or parking lot, they can put away all distractions and thoughts of the outside world by fully immersing themselves in the idea of movement.

▼下层平面图，lower floor plan

▼上层平面图，upper floor plan

Project size: 7000 ft2
Completion date: 2019
Building levels: 2
Project team: Batay-Csorba Architects – Architecture

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