感谢 goa大象设计 对gooood分享以下内容。更多关于：GOA on gooood
Appreciation towards GOA for providing the following description:

飞鸟剧场是一次关于人、自然和心灵的冒险。场所不再是庇护，而是一种提问：我们与自然的距离究竟有多远，我们与自己又有多近？”
——徐琦，飞鸟剧场主持建筑师

“The Earth Valley Theater is an adventure of humans, nature, and the mind. Space is no longer a shelter, but a question: how far are we from nature, and how close are we to ourselves?”
——XU Qi, Lead Architect of the Earth Valley Theater

都市的形成伴随着人类与非人类物种的疏离。现代动物园兴起以来，鸟类往往由于其飞行特性，被置于封闭的笼舍或温室中展示。尽管环境不断向模拟自然栖地的方向演化，但“屋顶”始终限制着鸟类的飞行，并提醒人类以单向度逻辑观看作为他者的鸟类。在对人类中心主义的反思中，建筑师尝试探索一种不以围合笼舍为核心，能容纳鸟类的自主飞行，并允许跨物种共享空间的尝试。以中法两国团队共同打造的《飞鸟之约》项目为契机，goa大象设计在江苏宜兴的飞鸟剧场项目中重构了让鸟类遵循自身逻辑飞行、停驻或栖息的开放系统。

▼项目视频，Project video ©goa大象设计

Urbanization has gone with a gradual estrangement between humans and non-human species. Since the advent of the modern zoo, birds have typically been displayed in sealed aviaries, confined to prevent them from flying away. Even as these environments evolve to imitate natural habitats, the roof continues to limit avian movement and reinforces a one-sided way for humans to view birds as the other. Reflecting on anthropocentrism, the architects sought an alternative to traditional aviaries: a space that accommodates birds’ autonomous flight and allows interspecies cohabitation. Taking the Sino-French art project Dancing with the Birds as a starting point, GOA used the Earth Valley Theater in Yixing, Jiangsu, China as a test ground to reconstruct an open system in which birds can fly, perch, and roost according to their own logic.

▼山谷环抱的剧场，The theater embraced by the valleys ©陈曦工作室

▼鸟与人自然共生，成为开放系统的参与者，
Birds and humans as co-participants in an open system ©陈曦工作室

▼鸟与人共同成为开放系统的参与者，
Birds and humans as co-participants in an open system ©陈曦工作室

飞鸟剧场的建筑、室内与景观设计由goa一体化完成。在各专业协同的基础上，设计团队有机会进一步尝试与理查德·瓦格纳提出的“整体艺术（Gesamtkunstwerk）”概念形成共鸣——goa与樊跃导演团队共同创作了这件建筑作品，多元背景的艺术家和动物行为学家在项目伊始便与设计和工程专家合作，将鸟类行为、地形、声光环境、演出叙事与设计建造纳入统一的体系中。

The architecture, interior, and landscape of the Earth Valley Theater were completed by GOA through an integrated design process. Building on collaboration between disciplines, the team was able to explore an idea resonant with Richard Wagner’s notion of the Gesamtkunstwerk, or total work of art. Together with director Fan Yue and his team, GOA conceived the theater as a single artistic work: from the outset, artists and animal experts worked alongside designers and engineers, integrating avian behavior, topography, sound, light, performance, design and construction into one coherent system.

▼《飞鸟之约》在剧场中上演，Dancing with the Birds staged in the theater ©陈曦工作室

01 作为地景的建筑
Architecture as Land Art

飞鸟剧场的设计开始于2021年，在宜兴完成了一系列住宅与公共建筑项目后，goa再次接到来自业主窑湖小镇的委托，为樊跃导演团队创作的一场“生态叙事作品”设计露天剧场。场地位于小镇南侧一条溪谷未开发的末端，谷地拥有柔和的轮廓与多向延伸的形态。建筑师希望减少高耸于地面之上的体量，让剧场沉入山谷中，成为地景的一部分。

Design for the Earth Valley Theater began in 2021. After completing a series of design projects in Yixing, GOA received a new commission from a longtime client, Yaohu Town: to design an open-air theater for an “ecological narrative show” by director Fan Yue. The site lies at the undeveloped end of a valley on the town’ s southern edge, a gentle landform that opens out in several directions. Rather than placing significant volumes above ground, the architects sought to sink the theater into the valley, allowing it to read as part of the land art.

▼建造过程尽可能减少对原始地貌的干预，
Construction minimized intervention in the original landform ©goa大象设计、陈曦工作室

为预设内容的表演建造专属场地，无法像设计多功能剧院那样，利用经验打造“通用”的观演空间，而必须提前让空间结构与演出逻辑相适配。鸟类作为主角的特殊语境，则进一步放大了这种挑战。为此，建筑师尝试代入“人”和“鸟”的视角，双向规划剧场的空间结构：飞鸟剧场对人类而言，是缓解现代焦虑的避世之所；而鸟类则需要远离外界喧嚣干扰的栖息地。

▼剧场顺应地势，“镶嵌”在谷地中，
The theater “inlaid” into the valleys following the terrain ©goa大象设计

Creating a theater for a specific show is different from designing a “generic” venue based on established typologies. Here, the logic of space had to be tailored in advance to the logic of the performance. The fact that birds, rather than humans, are the protagonists amplified this challenge. In response, the architects approached the theater from both “human” and “avian” points of view, planning its spatial structure in two directions at once. For visitors, the Earth Valley Theater is conceived as a retreat from urban anxiety; for birds, it must function as a habitat shielded from external disturbance.

▼叠台与剧场，Plinth and auditorium ©陈曦工作室

场地的东西两端分别被组织为容纳入口厅与售票处等公共功能的叠台区，以及鸟类栖居的鸟舍区，中央则是室外剧场。叠台临近道路，层叠的矩形体量分隔了外界与剧场内部，两者彼此间几乎不可见——观众穿过三个入口厅中的一个进入演出场地，与日常生活相疏离，标示出现实与飞鸟“梦境”的边界。2000余个座位的剧场在叠台背面展开。团队希望尽可能多地利用平整土地，使建筑边缘贴合地形。山谷成为了限定建筑形态的容器，体量保持流动，直至达成理想的几何状态，再被赋予功能。建筑沉入环绕的丘陵中，后者既是鸟类生活经验的一部分，又在演出开场后成为了天然的沉浸式布景。另一条谷地与剧场所在的山谷垂直，向竹林深处延伸，随即融入山体，鸟舍沿着宁静的谷地展开，与外部世界温和地隔离。多变的地形拓展了舞台——群集的白鹳将从狭长的山谷中现身，伴随声光效果，象征戏剧的高潮阶段。

The site’s two ends are organized into distinct zones: a stepped plinth containing the public functions such as entrance and ticketing, and an aviary zone for bird habitation. In between lies the auditorium. The plinth, set close to the road, is composed of rectangular volumes that screen the theater from the outside world; the two realms are almost invisible to each other. Passing through one of the three entrance halls into the auditorium, visitors leave daily life behind and cross a threshold between reality and a dreamscape to be created the birds. The 2,000-seat auditorium sit behind the plinth. The design maximizes the use of level ground, letting the building’s edges trace the topography. The valley serves as a container that defines the form, which remains fluid until it reaches a desirable geometric state. The building sinks into the encircling hills, which are both part of the birds’ lived environment and, once the performance begins, a natural backdrop. A second valley intersects the main one and extends toward bamboo grove. The aviaries line this quieter valley, gently separated from the human world. The varied terrain extends the stage: flocks of white storks emerge from the narrow valley corridor, accompanied by sound and light effects that mark the dramatic climax.

▼鸟舍沿着宁静的谷地展开，The aviaries line this quieter valley ©陈曦工作室

02 “适鸟化”设计
Bird-Oriented Design

在以“自然共生”为核心理念的演出中，飞鸟在完全开敞的剧场中自然飞行，穿梭盘旋，并最终回归。建筑师身处陌生的问题之中：鸟类需要怎样的起飞路径？它们的视野和安全感来自何处？不同的鸟类的生活习性如何，分别需要怎样的居住环境？哪些材料对鸟类具有吸引力？哪些声音、光线、风向又是它们拒绝的？以及——剧场在鸟类眼中是否可以成为“可读的地景”？

In a performance built around the idea of “coexistence in nature,” birds fly freely through the open theater, weaving, circling, and eventually returning to their roosts. In this context, architects faced a set of questions: What kind of take-off paths do birds need? From where do they derive their field of vision and sense of safety? How do different species live, and what kinds of habitats do they each require? Which materials attract them, and which sounds, lights, or wind conditions do they avoid? Finally, can the theater itself become a landscape from a bird’s point of view?

▼建筑在鸟与人的视角中呈现迥异的形态，
The architecture appears different to birds and humans ©陈曦工作室

鸟类顾问为设计提供了全程指导。飞鸟剧场采用环绕式布局。鸟类将从鸟舍抵达剧场最上端的零号鸟箱，展开穿越场地的飞行。为此，建筑师必须巧妙地规划鸟类的飞行路径，并在高差基础上谨慎安排观众席的坡度——猛禽从观众的头顶上掠过，创造身临其境的强烈观感，但又保持了人与鸟互不干扰的安全距离。

Avian consultants accompanied the design. The Earth Valley Theater adopts a ring-like configuration: birds travel from the aviaries to bird boxes at the top of the auditorium, then launch into flight across the site. This required the architects to choreograph the flight paths with great care and to calibrate the seating slope relative to the vertical difference. Raptors sweep just over the visitors’ heads, creating an intense sense of immersion while maintaining a safe distance between humans and birds.

▼鸟类在为其“量身定制”的剧场中，Birds in a theater made for them ©goa大象设计、陈曦工作室

▼“适鸟化”设计，Bird-oriented design ©goa大象设计、陈曦工作室

为了达成真正的“适鸟化设计”，玻璃门窗上按照固定间距粘贴点状贴纸，防止鸟类撞击；鸟舍内表面采用经热处理的木材，可以在规避油漆毒性的同时提升材料耐候性；针对不同鸟种，地面碎石的颗粒度、鸟舍网格的尺度与空间的分隔方式等，都需与其体型和习性相匹配。

To achieve a bird-oriented design, the team implemented a series of detailed measures. Dot stickers are applied to glass to prevent collisions. The interior surfaces of the aviaries are clad in thermally treated timber, improving durability while avoiding the toxicity of paint. For each species, the grain size of ground gravel, the mesh size of the aviary windo, and the partitioning of space are all adjusted to match its body and behavior.

▼高差与地景的巧思使鸟舍与人类活动区互不干扰，
Topography and level changes subtly separate aviaries from human ©陈曦工作室

03 在地材料的变奏
Variations on Local Materials

材料应当是建筑情感的载体，而非简单、缺乏厚度的饰面。宜兴自古以“陶都”闻名，而窑湖小镇则背靠竹海。材料选取遵循在地性优先的策略：“陶”与“竹”成为了两组核心意象。多次实验后，团队在保留材料象征质感的同时，用强耐候性的材料进行转译，以适应室外剧场的条件。作为文化象征的“陶”具有多重形态：未开采的陶土、可塑的陶泥，以及塑形后的陶片。建造中，雕刻混凝土的结构龙骨通过数控加工控制整体形态，再由工匠在现场进行表面塑形，最终呈现的体量在尺度放大的同时保存了陶器的独特质感。“竹”构建了舞台中央的艺术装置与鸟舍的围护体系。出于耐久性与维护成本的考量，团队选择高密度聚乙烯（HDPE）模拟竹编质感：通过三种不同色度的构件随机拼配，构成斑驳的立面。

▼“陶”与“竹”的多种形态，
Multiple manifestations of “clay” and “bamboo” ©goa大象设计

▼加工雕刻混凝土，Shaping carved concrete ©goa大象设计、陈曦工作室

Material, here, is intended as a carrier of architectural emotion rather than a thin, decorative surface. Yixing has long history of local pottery production, while Yaohu Town is backed by forest of bamboo. The material strategy therefore privileges locality: “clay” and “bamboo” become two core motifs. After numerous tests, the team translated their symbolic textures into more weather-resistant materials that could withstand the conditions of an outdoor theater. As a cultural symbol, “clay” appears in several guises: raw earth, malleable clay, and shaped terracotta. In construction, the structural ribs of the carved concrete were CNC-shaped to control the form, then hand-sculpted on site by craftsmen. The resulting volumes are enlarged in scale yet retain the tactile qualities of pottery ware “Bamboo” forms the stage installation and the envelope of the aviaries. For durability and maintenance, the team chose high-density polyethylene (HDPE) to simulate the texture of woven bamboo fiber. Components in three different tones are randomly combined to create a dappled facade.

▼雕刻混凝土被加工成陶土的不同状态，
Carved concrete shaped to evoke clay in its different states ©goa大象设计、陈曦工作室

▼身处“陶”与“竹”中的人类和飞鸟，Humans and birds inhabiting a world of “clay” and “bamboo” ©陈曦工作室

▼在地材料的变奏, Variations on local materials ©陈曦工作室

▼既存的溪流成为景观水系的主体，与场地排水一体化，
Existing streams form the backbone of the landscape water system,
integrated with site drainage ©陈曦工作室

04 设计师成为建造者
When Designers Become Builders

一体化设计模式下，goa的多专业团队完成了项目的建筑、室内与景观设计工作，并参与了工程管理，传统上方案设计与施工图设计间的分野也不复存在。专业板块间界限的模糊使协调更加顺畅；而设计师们也必须脱离自身专业范畴的局限，共同成为“建造者”。观演区域起伏的微地形被用于暗藏排水孔，雨水引入一体化成型的排水沟，再与既有的山谷泄洪沟渠与景观水系整合；“陶土”地景内部也设有夹层，声学设备安置在其内部，确保了导演团队为《飞鸟之约》设计的多媒体效果得以实现。为了保证安装效率与构造精度，鸟舍采用低碳轻钢结构的预制构件，并通过三类标准化单元墙板的组合，完成外饰面与内保温层的构造。

▼“隐形”的技术设备，“Invisible” technical equipment ©goa大象设计、陈曦工作室

Within the integrated design system, GOA’s multidisciplinary team undertook the architecture, interior, and landscape design, and also took part in construction management, dissolving the traditional boundary between concept design and construction drawing. As professional divisions blurred, coordination became more fluid—and designers were compelled to move beyond the confines of own specialties to become builders collectively. The gentle topography of the performance area conceals a network of drainage inlets: rainwater is guided into integrally cast gutters, which then tie into the valley’s existing flood channels and landscape water system. The “clay” landforms also house concealed cavities that contain acoustic equipment, enabling the multimedia effects devised by the director’s team for Dancing with the Birds. To ensure efficiency and precision, the aviaries employ prefabricated components in a light steel system. Three standard types of wall panels are combined to complete both the external cladding and the internal insulation.

▼“隐形”的技术设备对演出体验至关重要，
“Invisible” technical equipment is crucial to the performance ©goa大象设计、陈曦工作室

设计团队不停留于通过控制模型与图纸间接地参与建造，而是具体介入材料、构造、设备与施工流程，使飞鸟剧场从构想转化为真实可感的建筑。更重要的是，建筑的设计和建造与演出也被纳入同一整体：设计不再只是为通用的范式化“舞台”，演出也不再只是在空间中发生的一次性事件，借由这一过程，飞鸟剧场最终成为一件“整体艺术品”。

▼鸟舍与竹编建造示意图，
Aviary units modular and bamboo weaving construction diagram ©goa大象设计

▼搭建钢制构架并建造鸟舍的过程，
Erecting the steel frame and constructing the aviaries ©goa大象设计

Rather than participating only indirectly through models and drawings, the design team became deeply involved in materials, details, equipment, and construction processes, guiding the Earth Valley Theater from concept into inhabitable form. More importantly, the design and construction of the building and the staging of the performance were conceived as one continuous whole. Architecture is no longer standardized “stage,” and the performance is no longer a one-off event merely occurring in space. Through this process, the Earth Valley Theater ultimately emerges as a “total work of art.”

▼“飞鸟之约”的完整呈现，The final presentation of Dancing with the Birds ©陈曦工作室

▼总平面图，Site plan ©goa大象设计

▼一层平面图，First Floor plan ©goa大象设计

▼二层平面图，Second Floor plan ©goa大象设计

▼A-A剖面图，A-A Section ©goa大象设计

▼西立面图，West Elevation ©goa大象设计

项目名称：窑湖小镇飞鸟剧场
项目地点：江苏省无锡市
设计/竣工：2021/2025
建筑面积：9,200㎡
业主：江苏茗岭窑湖小镇旅游有限公司
建筑室内景观一体化设计：goa大象设计
设计管理：goa大象设计
导演团队：跃上工作室
声学顾问：易科
环境视觉顾问：图石设计
鸟类管理：普德赋
摄影：陈曦工作室

Project Name: The Earth Valley Theater in Yaohu Village
Location: Wuxi, Jiangsu Province
Design/Completion: 2021 / 2025
Floor Area: 9,200 m2
Client: Jiangsu Mingling Yaohu Town Tourism Co., Ltd.
Integrated Design (Architecture, Interior, Landscape): GOA
Design Management: GOA
Director: Yueshang Studio
Acoustic Consultant : EZPro
Environmental Visual Consultant: ToThree
Aviary Management: Puy du Fou
Photographer: CHEN Xi Studio

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