北部流行音樂中心 - Studio Gang Architects 建築師事務所 | Jeanne Gang

[eaGer]

北部流行音樂中心 Taipei POP Music Center

第 2 名：
Studio Gang Architects, Ltd. / Jeanne Gang / 國籍：美國
共同投標者：潘冀聯合建築師事務所 / 潘冀建築師 / 國籍：中華民國

設計概念

本設計案創造了一個可匯集多樣性流行音樂及現場表演經驗的交流場域，並以室內、室外及半戶外的公眾開放場域串聯起各種尺度的獨特表演空間，形成一高密度都會型的音樂活動場景。
藉由建築空間集中化的設計策略，將大面積的基地範圍釋放成為都會公園，並提供了許多附加優勢。這個都會公園是一個能讓生活在高度發展城市的台北市民及流行音樂中心的訪客能共同使用的空間，並成為社群生活中的重要元素。如此不只改善流行音樂中心周圍的都市環境，更提升全台北市的文化生活品質。

身處數位時代，音樂聽眾因網路而迅速擴張，卻也同時使音樂產業的經濟效益及自主性受到威脅。因數位音樂可以免費下載，面對這個挑戰，北部流行音樂中心的首要之務（即建築本身）是使現場演出比線上的虛擬空間更精采誘人。

我們感到來自臺灣流行音樂產業界對於南港基地區位的一份隱憂，南港發展可能太新、未完全開發、距市中心太遠以致於無法吸引聽眾、訪客及音樂產業進駐。本基地將無法如台灣夜市或溫羅汀那樣具有活力。

們想藉由活動能量的聚集，就如同在城市裡舉辦大型派對活動。在台灣，大型戶外聚會常設有能遮風蔽雨的彩色頂棚，並藉此區分各種慶典活動的社交場合。在概念上，本設計就如同臺灣話中「辦桌（Bando）」所架起的頂棚，不只替訪客遮風避雨，更創造都市中有一塊相似於自由派對的開放的場地外，並創造了內外空間交錯的節慶式氛圍。在這個聚會空間中，除了分享各種型態的音樂體驗外，也建構起觀眾在樂團間易於游走的互動關係。在建築概念上，藉由活動與空間型態的整合將北部流行音樂中心的使用發揮到極致。


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↗ Studio Gang Architects 建築師事務所北部流行音樂中心模型 01
↗ Studio Gang Architects - Taipei POP Music Center Model 01


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[eaGer]

Taipei Pop Music Center International Competition

Second Prize:
Studio Gang Architects, Ltd. / Jeanne Gang / Nationality: U.S.A
Joint Tenderer: J.J. Pan and Partners / J.J. Pan / Nationality: R.O.C.

CONCEPT

The idea of this project is to form a live music hub that creates richly diverse experiences reflective of Taipei’s music scene. The design knits together unique venues—large and small—with indoor, outdoor and semi-enclosed public spaces, forming a dense urban architecture connected through the live experience of music.

Concentration of the program into essentially one building offers the added advantage and a rare opportunity of liberating space for an urban park of significant size. This urban park is a space where citizens of this rapidly-developing section of Taipei will come together with visitors to the TPMC, thus becoming an important element in the social structure of the neighborhood. The result will be a higher quality urban environment, not only for the TPMC, but for the entire Taipei city.

Our age of electronic connectivity radically expands pop music’s audience but simultaneously threatens itseconomic viability. Digital music is now essentially free for the download. In the face of this challenge, theimperative for the TPMC (and ultimately for architecture itself) is to make real-space with live-experience more exciting and more enduring than its virtual counterpart.
In Taipei we sensed an anxiety from the music industry over the Nangang site—that it might be too new, undeveloped and distant to attract audiences and visitors. Indeed, the site is not yet as active as the night markets or Gongguan district. We sought to address this with a concentration of energy: urban design’s equivalent of a big party.

In Taiwan, every big outdoor party starts with a tent—their colorful, illuminated fabric protects guests from rain while defining a space for diverse social occasions. Tents signify fun. The building we propose performs as a gargantuan Bando tent. It shields visitors from the rain while creating an atmosphere that feels at once indoor, outdoor and festive. Like a tent, it serves as a meeting place where diverse musical experiences can be shared by creating a space for the dynamic and nomadic relationships between audiences and bands. Architecturally, the building amplifies energy by making activities visible under one shared roof.


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