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观众的视线，无障碍和声学都使剧院座位成为极其精确的艺术。 作为他们的建筑师和设计师提供的在线资源的一部分，剧院解决方案公司（TSI）的团队已经编制了21个剧院座位布局示例的目录。 每个布局都很详细，有座位数，地板座位区和行间距的信息。 这些布局分为三种一般形式： 为了补充这些信息，除了TSI的图表，我们还包括了每种类型的利弊，以及使用每种格式的项目示例。 Audience sightlines, accessibility and acoustics all make theater seating a hugely precise art. As part of their set of online resources for architects and designers, the team at Theatre Solutions Inc (TSI) have put together a catalog of 21 examples of theater seating layouts. Each layout is well detailed, with information on the number of seats, the floor seating area and row spacing. These layouts fall under three general forms; to supplement this information, alongside TSI's diagrams we've included the pros and cons of each type, as well as examples of projects which use each format. Read on for more. 1、结束阶段 在结束舞台形式中，整个观众在同一方向上面向舞台。视线保持简单，使这些布局完美的讲座，电影和幻灯片演示。它们也适合传统的矩形计划。 In the End Stage form, the entire audience faces the stage in the same direction. Sightlines are kept simple, making these layouts perfect for lectures, films and slide-based presentations. They also fit well into conventional rectangular plans. 然而，结束阶段在创建表演者和观众之间的密切关系方面并不是太成功。这种形式的剧院由于声学限制也不能太大。 However, End Stages are not overly successful at creating a close relationship between performer and spectator. Theatres in this form also can’t be too large due to acoustic limits.
实例： 布莱思艺术中心---Stevens Lawson Architects
Agora 剧院---UNStudio
Guarda市政剧院--- AVA Architects
2、范围 在这种形式中，剧院座位被放置在130度的夹角内。这使观众更接近表演者，建立更亲密的体验。 In this form, theatre seats are placed within a 130-degree angle of inclusion. This brings in the audience closer to the performer, establishing a more intimate experience.
这种角度也意味着形式更好地适应于与言语相关的表演。 电影演示在这些空间将是棘手的，屏幕需要适当的定位 - 可能更进一步从舞台，以弥补发现其视线扭曲的座位。 This angling also means that the form is better geared towards speech-related performances. Film presentations would be trickier in these spaces, with screens requiring proper positioning – perhaps further back from the stage, to compensate for seats that find their sightlines distorted.
实例： 中国国家大剧院---Paul Andreu
Ulumbarra剧院---Y2建筑
利摩日音乐厅---Bernard Tschumi Architects
3、3/4竞技场 3/4角度看到180-270度的夹角。 观众和表演者之间的听觉和视觉接触得到改善，并且作为观众成员在面向前方时可以看到彼此。 3/4 arenas see a 180-270-degree angle of inclusion. Hearing and visual contact between spectator and performer is improved, and as audience members can see each other when facing ahead, the sense of inclusion is increased even more.
然而，传统的电影显示几乎是不可能的，将需要一个替代的屏幕布局，例如布置在整个空间中的多个较小的屏幕。 However, conventional film presentations are almost impossible and would require an alternative screen layout, such as a number of smaller screens arranged throughout the space.
实例： 汉秀剧院---Stufish Entertainment Architects
Dee和Charles Wyly剧院---REX + OMA
Hardelot剧院---Studio Andrew Todd
4、其他布局选项 虽然上述三种往往是座位布局最常见的形式，但它们绝不是唯一。 进一步的选择包括竞技场座位，观众在舞台周围可360度的观看，像常见的皇家艾伯特音乐厅这样的超大剧院，以及葡萄园风格，其中座位排列成不同层面的迷你街区，包括舞台后方，如在汉堡Elbphilharmonie中看到的。 While the above three tend to be the most common forms of seating layout, they are by no means the only ones. Further options include Arena seating where the audience wraps around the stage a full 360 degrees, common for extra-large theaters like the Royal Albert Hall, and the Vineyard style where seats are arranged in cascades of mini-blocks of varying levels, including the rear of the stage, as seen in the Hamburg Elbphilharmonie.
或者更为不同的是，Bijlmer公园剧院是一个结合阶段和?竞技场之间的混合，有灵活的拉出座位，从一个到另一个，而波浪的座位需要同名。 Or even more differently, Bijlmer Park Theatre is a hybrid between End Stage and ? Arena, with flexible pull-out seating turning it from one to another, while The Wave’s seating takes after its namesake. |
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