Tuesday 16 November 2016, the Malmö Live complex in Southern Sweden, designed by Schmidt Hammer Lassen Architects, was announced winner of the Mixed-use Completed Buildings category at the 2016 World Architectural Festival in Berlin. Since its opening in Spring 2015, Malmö Live has become a popular cultural meeting place and landmark in the city of Malmö, offering a setting in which the spirit of the city, its diversity and intimacy receive an architectonic expression.
 

 

Malmö Live是瑞典馬爾默的標(biāo)志性建筑，其開(kāi)放，富有表現(xiàn)力，動(dòng)感，內(nèi)部空間為城市提供多樣性和親切性的公共場(chǎng)所。 Schmidt Hammer Lassen Architects的高級(jí)合伙人Kristian Ahlmark提到該建筑的設(shè)計(jì)旨在融入馬爾默，因此選材，色彩和尺度均考慮城市文脈，不過(guò)，建筑設(shè)計(jì)本身卻是放眼未來(lái)。
 

 

Malmö Live is an open, expressive, dynamic building offering numerous activities within its architecture. The point of departure for the building’s design is the modern Scandinavian architectural tradition, which focuses on clear, functional organisation and an accessible, open ground floor layout. The building will become a focal point and landmark in Malmö, offering a setting in which the spirit of the city and its diversity and intimacy receive an architectonic expression.
 

 

“The idea was to create a ‘house of the city’ incorporating the architectonic expressions of Malmö to develop a building that will contribute to existing urban life,” says Kristian Ahlmark, Senior Partner at schmidt hammer lassen architects. He adds, “The context inspired our choice of materials and colours as well as the various sizes of the building’s areas, yet the building design itself points to the future.”
 

 

Malmö Live位于城市運(yùn)河旁，由幾座高低不一的白色方體建筑組成，立面表達(dá)勻致統(tǒng)一。整體如同一個(gè)建筑雕塑。
 

 

Malmö Live is situated on Universitetsholmen in Malmö. The building consists of cubic areas that are twisted and given different sizes to match the directions and heights of buildings in the surrounding city. The facades are designed with a homogeneous expression to make the composition appear as one architectonic sculpture.
 

 

一道橫跨運(yùn)河的橋梁直達(dá)建筑主入口廣場(chǎng)。建筑內(nèi)部多樣化的功能組合在一起像一個(gè)中世紀(jì)小城，而大堂就是街道，彎曲的“街道”貫穿整個(gè)樓宇，讓所有功能緊密聯(lián)系。酒店大堂擁有愜意的小型聚會(huì)場(chǎng)所，人們可在這里欣賞運(yùn)河美景。
 

 

The main entrance is found at the northern part of the building, which has a classic loggia motif facing the plaza in front. From the south, visitors enter the building directly from the promenade running along the canal. The different functions of the building are organised as separate elements to resemble a small city. The lobby becomes the street, which runs through the entire ground floor and ties everything together. Like medieval cities, which had curved, narrow streets organised around plazas and squares, the lobby is designed to form small gathering places and recesses where visitors can stop, sit and enjoy the view of the canal and the park.
 

 

Schmidt Hammer Lassen Architects的高級(jí)合伙人Kristian Ahlmark繼續(xù)告訴我們，被分解成更小實(shí)體的建筑具有十分強(qiáng)烈的層次結(jié)構(gòu)和視覺(jué)規(guī)模，整個(gè)體量有利于與環(huán)境（周?chē)牡缆罚瑥V場(chǎng)，公園，運(yùn)河）進(jìn)行交互，重新定義了帶狀濱水空間。
 

 

“We have broken the building mass down into smaller entities that interact with the context. The clearly defined volumes also create a hierarchy in the way in which the building is perceived. The exterior expression uses the city’s scale and its colour and materiality as a starting point. Here, qualitative and differentiated spaces are created around the building in conjunction with the surrounding buildings. These spaces include a common space for skating or watching football on a big screen, a green park path, a new promenade along the canal to the south and two large wooden decks that connect the water and the building,” says Kristian Ahlmark.
 

 

建筑內(nèi)部還有一個(gè)大型的交響樂(lè)音樂(lè)廳，一個(gè)多功能大廳和一個(gè)會(huì)議廳。這些公共場(chǎng)所有一個(gè)“城中城街道”概念的公共交通空間聯(lián)系，這個(gè)“街道”空間采用了黑色混凝土，石材，木材和黃銅打造。
 

 

Inside, three volumes hold a large symphony hall, a flexible hall and a conference hall, which are clearly defined elements that, through their mutual composition, set the tone for the musicality of the building. The three building masses have an almost-urban scale that supports the idea of ‘a city within the city’. The interior is simple, consisting of rough black concrete, stone, wood and brass. The street life outside is drawn directly inside to support the open nature of the building. In the concert hall, the mood changes. The hall is an intimate space outfitted in oak and brass.

音樂(lè)廳內(nèi)部設(shè)計(jì)通過(guò)與Akustikon合作設(shè)計(jì)，打造出世界一流的音效空間。同時(shí)該空間的光環(huán)境和根據(jù)表演氛圍進(jìn)行調(diào)節(jié)。
 

“We worked in very close cooperation with Akustikon to achieve two things: an absolutely world-class sound and a room with a musicality that works with the music, like sitting inside an instrument. The result is a composition of cubic elements. Each surface has a function, angle and size that supports the acoustics. Light is integrated into the walls so the mood can be changed depending on what is being performed in the hall,” concludes Kristian Ahlmark.