只有河南·戏剧幻城 / 北京市建筑设计研究院股份有限公司+王戈工作室
2021年芒种当天，只有河南·戏剧幻城在一片金黄的麦浪中开城迎客。这是王潮歌导演继“印象”“又见”系列之后，全新开创的“只有”系列扛鼎力作。它依托于黄河文明和中原文化，以独特的戏剧和建筑语言为载体，讲述关于“土地、粮食、传承”的故事。
On the “Grain in Ear” day of 2021, Unique Henan Land of Dramas opened its doors to guests amidst a sea of golden wheat. This is a new masterpiece known as the “Unique” series created by director Wang Chaoge after the “Impression” and “Encore” series. It is based on the Yellow River civilization and Central Plain culture, using unique theatrical and architectural language to express “land, food, and inheritance.”
▼观众穿过麦田抵达戏剧幻城入口，The audience enters the entrance through the wheat field
只有河南·戏剧幻城总占地622亩，核心剧场区是一座边长328米、高15米的正方形城郭，城内拥有3个大剧场、18个小剧场、12个地坑院、56个情景空间。其总时长约700分钟的剧目，观众需要3天时间才能完整看完，单日演出可达125场、4050分钟，是目前世界上规模最大、演出时长最长的戏剧聚落群。
设计团队的工作自2016年项目建设开始，涵盖概念设计、核心剧场区规划方案设计、建筑方案设计以及舞美景观设计配合等多方面内容，历时五年，持续至2021年6月正式公演。
Unique Henan · Land of Drama is the largest theater complex with the longest performance time in the world. It covers 102.4 acres. The core theater area is a square 328 meters wide and 15 meters high. Inside the city, there are 3 large theaters, 18 small theaters, 12 pit courtyards, and 56 theatrical areas. The total duration of the performances is about 700 minutes, which takes three days to finish. In a single day, there can be up to 125 performances, a total of 4,050 minutes.
The work of the design team covered conceptual design, planning, the design of the core theater area, architectural design, stage design, landscape design, etc, which lasted for five years from the construction in 2016 to the official performance in June 2021.
▼高粱映衬下的只有河南戏剧幻城，Land of Drama with sorghum as background
跨越语境的障碍Overcoming Barriers
在项目之初，建筑师团队与导演团队之间，横亘了一个艰涩的语言系统障碍。建筑师团队日常的“点线面体”形式语言和理性工作框架，从戏剧创作角度来看显得枯燥乏味且没有表情。而对于导演团队来说，将饱含情感的戏剧语言和创作思路抛给建筑师，常常落入对牛弹琴的境地。
At the beginning of the project, a barrier of different designing languages lay between the architect team and the director team. It seems the usual form language and rational work frame of architects bring nothing but dull and expressionless from the perspective of drama creation, and the emotional drama language of the director team often casts pearls before swine when it comes to architects.
▼光影下极具戏剧感的入口，The entrance with dramatic light
在最初两三年的概念设计时间里，创作的进程像是西西弗斯推石，整个团队在努力学习和理解彼此的语言：导演团队学习适应在工业建造的底色中创作，而建筑师团队在一次次被戏剧感动落泪的过程中充分认识到，戏剧调动人类情感和想象的力度是建筑逻辑推理无法达到的，问题是，该如何去设计一个极具情感浓度的戏剧化空间呢？
During the first two to three years of conceptual design, the creative process was like Sisyphus pushing the rock, going back and forth, as the two teams struggled to learn each other’s language. The director’s team had to adapt the creation context within the industrial construction, while the architect’s team, repeatedly moved to tears by the power of drama, realized that drama has an emotional and imaginative impact that architectural logic alone cannot achieve. The question then arose: how to design a highly emotional and dramatic space?
▼光影下的建筑表情，the architecture expression under light
▼光影下的空间语言，spatial language of light
对于一个戏剧舞台场景，有了类似“一间80年代的卧室和散落一地的行李” 这样的时间、地点、人物、事件，就有了戏剧的种子。但是，建筑空间往往缺少戏剧演出的仪式感：“坐好、噤声、灯光变暗、演出开始……”，建筑所追寻的“阳光”又很难做到像舞台灯光那样的视觉聚焦，空间的情感浓度往往打了大折扣。
For a theatrical stage scene, once you have elements like “an 80s bedroom with scattered luggage” that encompass time, place, characters, and events, the seed of drama is planted. However, architectural spaces often lack the sense of occasion in theatrical performances. It is difficult for an architect to achieve the visual focus of stage lighting following the tradition of pursuing “sunlight”. As a result, the emotional intensity of the space is often highly compromised.
▼具有饱满情感浓度的空间，space with rich emotion
跌入空间蒙太奇Plunging into Spatial Montage
因此，必须跨出思维的边界，进入更宽阔的领域思考建筑。差异化的影像衔接在一起，就可以产生最简单的蒙太奇戏剧感。建筑如何参与其中？建筑的空间衔接往往是连贯的、流动的，而戏剧的空间转换是干脆的、突然的，其情感的表达是连续的、递进的。理解了空间的不同，就有了“求同”的基础。
Therefore, it is necessary to step beyond the boundaries of conventional thinking and consider architecture in a broader field. Connecting disparate images create simple montage drama. How can architecture participate in this process? Architectural spatial transitions are often coherent and fluid, while theatrical spatial transitions are decisive and sudden, with emotions expressed continuously and progressively. Understanding these spatial differences is the basis for finding common ground.
▼观众跌入“恍惚”的戏剧空间，audience plunges into the theatrical space of “haze”
▼具有失重感、迷幻感的戏剧空间，the theatrical space of “weightlessness” and “enchantment”
幕布一开一合之间，灯光一明一暗之间，便跌入一重情境之中，这种措手不及的转换方式，让空间有了戏剧化的前提。“失重”“恍惚”“迷幻”成为只有河南·戏剧幻城的空间设计起点。
Between the opening and closing of the curtain, between the brightening and darkening of the lights, one falls into a new emotional context. This unexpected transition gives the space a theatrical premise. “Weightlessness”, “haze” and “enchantment” become the starting point for the spatial design of Unique Henan · Land of Drama.
▼戏剧空间的情感与故事表达，the emotional and narrative expression of theatrical space
▼戏剧故事不断转换的空间蒙太奇，the spatial montage of ever-changing storytelling transition
落笔棋盘格局The Chessboard Pattern
建筑师最初设想，格局是一个带有拓扑结构的空间合集，高矮胖瘦的盒子有机组合在一起，里面装着不同形状的巧克力——也就是戏剧。
As originally conceived by the architects, the pattern was a collection of spatial compositions with a topological structure. Boxes of different heights, widths, and depths were organically combined, each containing “chocolates” of different shapes – the dramas.
▼不断重复、无穷无尽的戏剧空间，theatrical space with endless repetition
王潮歌导演青睐更窄、更集中、更直击人心的方式。最终，落笔棋盘格局极致纯粹、不断重复、无穷无尽，一样的盒子里装着不同味道的巧克力。在戏剧表演空间里，观众不断“跌入”“迷失”其中，得到视觉和心灵的多重冲击。然而对于建筑师来说，“去掉”空间形状如同被绑住半边手脚，更难有施展的空间。
Director Wang Chaoge favored a narrower, more focused, and more direct approach that resonated deeply with the audience. Ultimately, the chessboard pattern emerged as an utmost pure space with endless repetition. Identical boxes contain different chocolates of different flavors. In the theatrical performance space, the audience was constantly “plunged” and “lost”, experiencing multiple visual and spiritual impacts. For architects, however, “removing” the spatial forms was like tying their hands, making it even more challenging to find space for expression.
▼戏剧情感不断叠加的棋盘格局，the chessboard pattern with dramatic emotions continuously accumulated
极致的探寻体验The ultimate exploration experience
棋盘格局每一个空间单元36×36米，墙高9米。从踏入幻城的第一步起，观众每进入一个空间就会面临选择：往前、往左还是往右？选择不同的方向，就选择了不同路径、不同的场景和不同的故事。在一次又一次惊诧新奇的探寻中，每个人都获得了属于自己的戏剧之旅。
Each unit of the chessboard pattern measures 36×36 meters, with walls 9 meters high. Audiences face choices as they enter each space. Moving forward, left, or right means choosing different paths, different scenes, and different stories. Through a series of astonishing explorations, each person embarks on their unique theatrical journey.
▼往左走则选择了“坤台”，turning left means choosing the stage of “Kun”(ground)
▼往右走则选择了“乾台”，turning right means choosing the stage of “Qian”(sky)
也正因为如此，建筑没有多余的、刻意的语言和手法，而将“迷”的感受充分地提炼和放大，使空间参与到戏剧之中，把观念和情感的表达推向了顶峰。
As a result, the architecture has no unnecessary techniques. Instead, it fully amplifies the sense of “lost”, allowing the space to become part of the drama, bringing the expression of ideas and emotions to a climax.
▼观众每进入一个空间就会面临下一个选择，audience face choices as they enter each space
▼每个门洞之后都隐藏着“惊诧”，behind each doorway lies an “astonishment”
▼观众获得独属于自己的戏剧之旅，
each audience embarks on a unique theatrical journey
共赴一场梦境In One Dream
“戏剧是演员和观众共同攒的局”，而戏剧幻城则是演员和数千观众在同一个时空里共同营造的一场梦境，是视觉、听觉、触觉、嗅觉、味觉全方位调动的一场盛宴。
While “drama is a game created by actors and audience together,” Land of Drama is a dream collectively created by actors and thousands of audiences in the same space, at the same time. It is a feast that stimulates the visual, auditory, tactile, olfactory, and gustatory senses.
▼华灯初上如梦如幻的戏剧幻城，as the night falls and lanterns illuminate, a dreamlike Land of Drama unfolds
戏剧幻城正中央是一个进去了就会迷失方向的大“迷宫”，观众游览其中如临梦境，失去方向感，不知身在何处。它以“地坑院”为原型，将商业、餐饮、戏剧相结合，让观众在戏剧情景里体验地方美食与传统文化。在“迷宫”之上，则是幻城内部一处独有的麦田，是一个只看得见天空和大地的超大空间。
At the center of Land of Drama is a grand “maze” that bewilders all who enter, leaving the audience in a dreamlike state, unsure of their whereabouts. With the ” pit courtyard” as its prototype, the maze combines commerce, dining, and theater, allowing the audience to experience local cuisine and traditional culture in a theatrical setting. Above the maze is a wheat field surrounded by walls, where one can only feel the sky and earth.
▼地坑院首层：一个如临梦境的大迷宫，
pit courtyard ground floor：a dreamlike grand maze
▼每个地坑院各个方向均互相连通，pit courtyards are interconnected in all directions
▼一个离天空很近的超大空间，the wheat field close to the sky
▼廊桥系统从四个方向通向地坑院屋顶，the bridge system that leads to the roof from all directions
▼地坑院鸟瞰，bird-eye view of pit courtyard
设计在幻城内部嵌入了新的路径——廊桥系统，形成一个复合立体的空间体系，将建筑和戏剧以一种极其“纠缠”的方式黏合在一起。观众对戏剧空间的感知是三维立体的：上下，前后，左右。
The design incorporates a new pathway, a bridge system that forms a complex three-dimensional spatial structure and intricately blends architecture and drama. The audience perceives the theater space in three dimensions: up and down, back and forth, left and right.
▼上上下下的立体交通系统，three-dimensional transportation system
▼观众也成为“演员”，audience become performers
在多维空间体系中，“看”与“被看”反复切换，如同画中人看梦中人，梦中人看剧中人。现实与戏剧、真实与梦境不断对望，观众最终成为了演员。
Within this multi-dimensional spatial system, the roles of “observer” and “observed” constantly change. Reality and drama, truth and dream, constantly observe each other. The audience ultimately becomes the performers.
▼在戏中，也在戏外，Inside the drama, as well as outside the drama
▼灯光下的立体交通系统，three-dimensional transportation system under the lights
▼台阶也是戏剧故事的发生地，the steps as the stage of dramas
两座山峰的唱和The Dialogue of Two Peaks
棋盘格局有着深刻的中国文化烙印，它的落笔在“空”。一个空间就是一个世界、一个故事、一段人生。在这个空间中不知道下一个空间会是什么，切换时如同从一个世界穿越到另外一个世界。
The chessboard layout bears a profound imprint of Chinese culture, focusing on “emptiness”. Each space represents a world, a story, a segment of life. The next space remains unknown in the current one, and the transition between spaces feels like crossing from one world to another.
▼建筑的形象消失，落笔在“空”，Dissolving the form of architecture and focusing on “emptiness”
▼“土”产生了强烈的包裹感和沉浸感，“earth” evokes a strong sense of immersion
建筑的形体和形象消失，溶解在了连绵不断的墙体和空间中，一面一面的夯土墙成为极具力度的视觉印象，产生了强烈的包裹感和沉浸感。最重要的是，河南的“土”成为唯一的材料语汇，铺天盖地而来，没有其它因素侵扰，“留白”的意境也由此产生。
The form of the architecture dissolve as the walls continuously expands. Layer upon layer of rammed earth walls creates a powerful visual impression, evoking a strong sense of immersion. Most importantly, the “earth” of Henan becomes the sole material vocabulary, enveloping everything without intrusion. As a result, the atmosphere of “emptiness” rises.
▼灯光雕琢下呈现与阳光下截然不同的氛围，The land under light presents an different atmosphere from that under sunlight
厚土之“厚”，它接纳了一切故事、形状、语言、声音，任由戏剧创作在其中恣意挥毫。它具有接纳数千观众在其中自由奔跑、发现和探寻的内涵，也具有接纳时光变迁，任由戏剧、故事和事件在其中更新迭代、自由生长的气度。
The “earth” embraces all forms, languages, and sounds. It accommodates thousands of audiences exploring and discovering. It also embodies the passage of time, allowing dramas, stories, and events to renew and grow freely. The chessboard layout bears a profound imprint of Chinese culture, focusing on “emptiness”. Each space represents a world, a story, a segment of life. The next space remains unknown in the current one, and the transition between spaces feels like crossing from one world to another.
▼戏剧语言与建筑语言对话：“老院子”，dialogue between the drama and architecture – “the old courtyard”
▼戏剧语言与建筑语言的对话：“荒草”，dialogue between the drama and architecture – “weeds”
▼戏剧语言与建筑语言的对话：“红庙小学”，dialogue between the drama and architecture – “Hongmiao (Red Temple) Elementary School”
戏剧语言和建筑语言都获得了新生。全新的戏剧艺术形式和独特的建筑表达在河南这片土地上找到了生根发芽、共生共长、生生不息的力量，最终实现了戏剧和建筑两座高山之间的对话，使二者成为不可分隔的整体。
Both drama and architecture experience a rebirth. A completely new form of theatrical art and a unique expression of architecture find their roots, coexist, and flourish in this land of Henan. A harmonious dialogue between the two peaks of architecture and drama will eventually be achieved, and the two arts will become inseparable.
▼戏剧语言与建筑语言的对话：“张家大院”，dialogue between the drama and architecture – “Courtyard of the Zhangs”
▼戏剧语言与建筑语言的对话：“椅阵”，dialogue between the drama and architecture – “the chair matrix”
戏剧不知从哪里开始，也不知到何时结束Theater without beginning and end
正如王潮歌导演所说：“我希望打破过去对于剧场的界限，当观众走进戏剧幻城的一瞬间，戏剧已经开始；当观众走出幻城后，戏剧尚未结束，它将在每个人心里继续上演。” 麦田是迎接观众的第一个演员。麦田不只是物质和视觉符号，它本身已经参与到了戏剧之中，成为戏剧幻城的一部分。日月变幻，季节更替，光阴流转，每时每刻麦田都有自己的诉说和表情。成千上万的人在麦田里的田埂中行走，耕种的人在田间劳作，谁是观众、谁是演员，难以分辨清楚。
As director Wang Chaoge said, “I hope to break the boundaries of traditional theater. When the audience enters, the drama has already begun. After the audience leaves, the drama is not over; it continues in each person’s heart. The wheat field is the first actor the audience encounters. It is more than a visual symbol but a part of the drama. As time pass, the wheat field develops its own stories and expressions. Countless people walk between the ridges of the field, and farmers work there. It is difficult to tell the audience and the actors apart.
▼田间耕作的人们就像演员成为戏剧的一部分，farmers working in the field become actors in the drama
全长328米、高15米的夯土墙是第二个演员。它是由河南的土一寸一寸夯筑而成。踏过麦浪，抵达气势磅礴的夯土墙下，人们忍不住驻足停留、拍照合影，感叹“前无古人，后无来者”。夯土墙正中裂开一条缝，光线从这里倾泻而出，观众也从这里跌入幻城。离开幻城的傍晚，巨幅清明上河图在夯土墙特有的肌理映衬下徐徐展开，如梦如幻的光影大秀把过去、现在和未来连接在一起，戏剧的魅力如余音绕梁，绵绵不绝。
The 328-meter-long and 15-meter-high rammed earth wall is the second actor. It is fully built with the soil of Henan. Crossing the waves of wheat and arriving under the majestic rammed earth wall, people can’t help but stop and take pictures, marveling at its uniqueness. In the middle of the rammed earth wall, there is a crack through which light pours out, and it is here that the audience plunges into Land of Drama. As one leaves the city in the evening, the famous painting, “Along the River During the Qingming Festival” which depicts the everyday life of ancient Chinese is projected on the distinct texture of the rammed earth wall. The dreamlike light and shadow connect the past, present, and future. The enchantment of the drama lingers like echoes, never-ending.
▼仿佛时光裂开一条缝，观众从这里跌入幻城，
The crack where the audience ” plunges” into Land of Drama
抵达文学的想象Reaching the Literature Imagination
对于大多数人来说，戏剧似乎是陌生又遥远的，但其实戏剧一直就在每一个人身边。看见一望无际的麦田，看见气势恢宏的夯土大墙，无数观众的内心都被震撼和点燃，在一幕一幕戏剧故事的感动中，抵达了自己内心的文学世界。
The drama may seem unfamiliar to most people, but in fact, it has always been around every person. Countless audiences have been touched by the boundless wheat fields and the magnificent rammed-earth walls, and have reached their inner literary world through the emotional impact of each dramatic story.
▼一望无际的田地，它的情绪一年四季都在，
The enormous wheat field expresses different emotions every day
土地、夯土墙、麦田、粮食，是一步又一步提纯的过程。比如“麦田”，最初的概念是“麦田+”，设计尝试过半埋的石像、残破的遗迹、柱阵等，试图从文学上，用和麦田叠加历史碎片的方式来表现戏剧感，但最终只留下了简单而强悍的单一麦田景象。 巨大的麦田，它的情绪一年四季都在。绵延不断的夯土墙，它的话语就在一粒一粒的尘土中。一切从可以解读，到无需解读。
The land, rammed earth walls, wheat fields, and grain all have gone through a process of refinement. For example, the initial concept of “Wheat Field” tried to incorporate elements such as half-buried statues, fragmented remnants, and column formations to express a sense of drama in a literary way by overlaying historical fragments with wheat fields. In the end, however, only the simple and powerful image of a single wheat field remained. The enormous wheat field expresses different emotions every day. The continuously rammed earth wall hides its words in every speck of dust. Everything goes from interpretable to beyond interpretation.
▼一寸一寸夯筑而成的墙极具情感冲击力，The rammed-earth wall carries a profound emotional impact
美学和情感Aesthetics and Emotions
正如鲁迅先生描述的红楼梦：悲凉之雾，遍被华林，呼吸领会之……一部戏剧、电影或文学作品，都有一个贯穿全局的底色，或者说是美学意向。
一部河南史，半部中国史。只有河南·戏剧幻城的美学意向建立在农耕民族数千年奋力求存的悲悯之上，建立在灿烂不朽的文明史之中。它情绪万千，厚重绵长，气度沉稳，无法准确被定义。而厚厚之土、生生之麦可能是唯一装得下这种情绪的美学意象。
一切都在消逝、孕育和成长，历经岁月锤炼的情感和浩瀚历史长河中矢志不渝的河南精神，都凝聚在这样一座极具未来感的戏剧幻城之中，也成为每一个河南人的骄傲。
Every play, film, or literary work has an underlying theme or aesthetic intention. Land of Dramas embodies the entire history of Henan and half of the history of China. Its aesthetic intention is rooted in the millennia-long Chinese agrarian civilization. It encompasses a myriad of emotions and carries profound weight. The earth and wheat are perhaps the only aesthetic images that can contain such emotions. Everything is fading, nourishing, and growing. The time-tested emotions and unshakable spirit of Henan are concentrated in Land of Drama. It has become the pride of every person in Henan.
▼美学和情感都凝练在厚土之中，
Aesthetics and emotions are condensed within the thick earth
▼一座无法准确定义的“城”，The indefinable land
“新物种”的诞生The Birth of a New Species
清晨，勤劳的工作人员仔细擦拭每一块标识上的灰尘，认真冲洗边边角角，准备迎接客人，此时的只有河南·戏剧幻城呈现出一种精心梳妆后的美。
自开城以来，戏剧幻城很快成为打卡圣地，豆瓣评分达8.8分，激发了越来越多的观众，尤其是年轻人，踏入其中体验戏剧的力量，被称为现实版“拆盲盒”。其作为国内首个戏剧表演聚落群，因全新的艺术形式和对本土文化的弘扬，被媒体评价为文旅界“新物种”。
而对建筑师团队来说，在这样一部鸿篇巨制的漫长创作旅程中，艰难窘迫的处境却是五年来的主旋律。感谢王潮歌导演的构想、编剧和导演，以及参与对建筑设计的共同创作，这个戏剧语言和建筑语言唱和的作品终于走出了禁锢，诞生出别样的生命力。
Early in the morning, the staff carefully wiped off the dust from every sign, washed every corner, and prepared to welcome guests. At that moment, Unique Henan · Land of Drama presented a meticulously groomed beauty.
Since its opening, Land of Dramas has quickly become a popular tourist attraction entitled a real-life “blind box”, with a Douban rating of 8.8. It has attracted an increasing number of audiences, especially young people, who enter it to experience the power of drama.
As the first drama performance cluster in China, it has been praised by the media as a “new species” in the cultural tourism industry for its innovative form and promotion of local culture.
For the team of architects, however, the constrained creative situation has been the main theme of the design journey over the past five years. Thanks to the concept, playwriting, and directing of director Wang Chaoge, and her collaborative efforts in architectural design. The masterpiece that harmonizes drama and architecture has finally broken out of confinement and generates a unique vitality.
▼鸟瞰图，bird-eye view
规划设计Planning
只有河南·戏剧幻城核心剧场区每边长328米，呈正方形方格空间组成的棋盘格局。每一个方格空间轴线尺寸边长36米，墙高9—15米。
基于总导演对戏剧幻城的构想，幻城内共容纳5大单体，包括角部的4个大型主题剧场建筑和中心的1个情景商业建筑。其中，主题剧场被分别置于“棋盘”四角，建设中期因运营思路变化，其中一个主题剧场被调整为“麦浪餐厅”。被主题剧场环抱于中央的是具有戏剧体验感的情景商业“地坑院”。小剧场嵌入、穿插在棋盘格局中，增强了空间的迷幻感。廊桥系统以“依附”的方式沿着墙体布置，串联起不同的情景空间并通向地坑院屋顶层，营造出立体的幻城体验。麦田景观延续了棋盘格局，形成阡陌纵横的行走路径。设计按照消防规范，全园贯通消防车道，并通过门洞设计使消防车道体系消隐在整个园区的戏剧场景中。
The core theater area of Land of Dramas is composed of a square grid pattern with each side measuring 328 meters. Each grid space has an axis dimension of 36 meters and walls ranging in height from 9 to 15 meters.
Based on the concept of the director of Land of Drama, the complex accommodates five major structures, including four large themed theater buildings at the corners and a central commercial building for scenic experiences. During construction, due to changes in operational strategies, one of the themed theaters was transformed into the Wheat Wave Restaurant. Surrounded by the themed theaters, the central area features the scenic commercial space, “The Pit Courtyard,” which provides a theatrical experience. Small theaters are embedded and interspersed throughout the grid pattern, adding to the sense of enchantment in the space. The bridge system is attached to the walls, connecting different scenic areas and leading to the roof of the pit courtyard, creating a multi-dimensional experience. The design of the wheat field landscape continues the grid pattern, creating a network of paths. In accordance with fire safety regulations, the entire site is equipped with fire lanes, and the design of the archways ensures that the fire lane system blends harmoniously with the theatrical setting throughout the site.
▼核心剧场区规划总平面图，the core theater area site plan
建筑设计Architectural Design
主题剧场建筑为定制剧场，平面设计和组织逻辑服务于剧目和观演方式的要求。
地坑院建筑为108×108米，占据3×3个棋盘格空间，外墙高15米。其首层包含11个不同尺度的合院，加上屋顶层一个完整的合院，共有12个院落空间。各合院之间有半室外通道串联，每个院落的四个方向都能相互贯通。设计将河南特有的“地坑院”空间形式与商业、餐饮、戏剧表演相结合，形成独具地域及戏剧特色的商业空间。通道内设置有上屋顶的垂直交通，在屋顶上四周高墙环绕，观众可以获得不被干扰、俯瞰完整地坑院的极致体验。
The themed theater buildings are customized, with the layout design and organizational logic serving the requirements of the performance and viewing experience.
The Pit Courtyard Building has dimensions of 108×108 meters, occupying 3×3 grid spaces. The outer walls are 15 meters high. The ground floor consists of 11 courtyards of different sizes and a complete courtyard on the roof, making a total of 12 courtyards. Semi-outdoor passages connect each courtyard, allowing access in all four directions. The design combines the unique spatial form of the “pit courtyard” in Henan with commercial, dining, and theatrical performances, creating a commercial space with distinctive regional and theatrical characteristics. Vertical access is provided by passageways leading to the roof. The rooftop is surrounded by high walls, providing the audience with an undisturbed and panoramic view of the entire pit courtyard.
▼“地坑院”首层平面图，“pit courtyard” ground floor plan
▼“地坑院”屋顶平面图，“pit courtyard” roof plan
▼“地坑院”剖面图，“pit courtyard” section
墙体设计Wall Design
“墙”构成了戏剧幻城的第一视觉形象。墙上门窗洞口以“少+小”为原则，塑造墙体的厚重感，并强化了“城”的意象。
入口东大墙长328米、高15米，采用现代夯土建造技术逐层夯筑而成。顾问团队克服一系列技术难题，最终采取以扶壁梁柱的混凝土基墙作为抗震结构主体，夯土墙紧贴夯筑并与结构主体逐层拉结的全新建构方式。
幻城内部墙体采用面层水泥直塑工艺，仿传统夯土墙肌理状态，并以其极强的可塑性，较好地呈现了丰富多样的戏剧场景。墙体系统采用了悬臂钢桁架体系，戏剧幻城内的电缆、电线、电箱、灯光设备、音箱设备、雨水排水管等设备均藏于墙体桁架空间内。
The “walls” are the first visual image of Land of Drama. The doors and windows on the walls are designed with the principle of “less and small”, creating a sense of solidity of the walls and reinforcing the image of the land.
The main east wall at the entrance is 328 meters long and 15 meters high, built using modern rammed earth construction techniques. The consulting team overcame several technical challenges. Ultimately, they adopted a new construction method that combines a concrete base wall with buttress beams and columns as the main seismic structure, with the rammed earth wall tightly compacted and connected to the structural core layer by layer.
The interior walls of Land of Drama are constructed using a surface layer cement casting technique, imitating the texture of traditional rammed earth walls. With its strong plasticity, it effectively presents a rich variety of theatrical scenes. The wall system utilizes a cantilevered steel truss system that conceals cables, wires, electrical boxes, lighting equipment, sound equipment, rainwater drainage pipes, and other equipment within the space of the wall trusses.
▼核心剧场区外立面图，the core theater area elevation
项目信息
Project Information
Project Name: Unique Henan · Land of Drama
Project Location: Northwest corner of the intersection of Ping’an Avenue and Guangxin Street, Zhongmu County, Zhengzhou City, Henan Province, China
Developer: Henan Jianye Live Performance Cultural Development Co., Ltd.
Gross Floor Area: 82,792 m² (Core Theater Zone)
Completion Year: 2021
Design Firms: Beijing Institute of Architectural Design Co., Ltd. (BIAD) + Wang Ge Studio
Concept Designers: Wang Chaoge, Wang Ge
Chief Architect: Wang Ge
Design Team: Zhang Diming, Wang Dongliang, Sheng Hui, Wang Peng, Zhang Hongyu, Zhao Tiantian, Zhang Rui, Zhao Xuan, Yang Wei, Yang Da, Li Qiangqiang, Li Jieran, Ma Di, Xu Wenting, Chu Dongxu, Hou Weichang, Wang Ziyi, Chen Jing, Wang Yingying
Construction Drawing General Contractor: China IPPR International Engineering Co., Ltd.
Landscape Design: East China Architectural Design & Research Institute Co., Ltd.
Lighting Design: Beijing Leuchte Lighting Design Co.,Ltd
Interior Design: Shenzhen Hongtao Group Co., Ltd.
Rammed Earth Wall Consultant: Onearthstudio, Beijing University of Civil Engineering and Architecture
Façade Consultant: Stern Engineering Consulting (Beijing) Co., Ltd.
Traffic Consultant: Qianmo Traffic (Beijing) Technology Co., Ltd.
Green Building Consultant: CSCEC Shenghua (Beijing) HVAC Technology Development Co., Ltd.
Construction Contractor: China Construction Seventh Engineering Division Corp., Ltd.
Photography: Arch-Exist Photography
Article by Li Qiangqiang
Translate by Liu Shiyue
