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在狄奧尼索斯的神性輝光中，人與人的裂隙迸發(fā)著愈合的巖漿，那疏離、充滿敵意又枷鎖纏身的自然，也終與失落的子嗣——人類，重締盟約。此刻每個(gè)靈魂觸摸到的，不止是和解與交融，而是穿透血肉藩籬的終極共相——所有存在在此熔鑄成渾然一體。 ——尼采 ——Nietzsche
Unter dem Zauber des Dionysischen schließt sich nicht nur der Bund zwischen Mensch und Mensch wieder zusammen: auch die entfremdete, feindliche oder unterjochte Natur feiert wieder ihr Versöhnungsfest mit ihrem verlorenen Sohne, dem Menschen.fühlt sich jeder mit seinem Nächsten nicht nur vereinigt, versöhnt, verschmolzen, sondern eins.
空間敘事 / Spatial Narrative
從人類歷史萌芽到現(xiàn)代社會的發(fā)展，精神文化活動始終伴隨文明的演變。由歌舞、儀式、競技到文學(xué)、詩歌，再到如今的影視、電子游戲、流媒體世代，隨著社會的進(jìn)步與發(fā)展，人們的角色身份日益多樣化，傳統(tǒng)形式已難以滿足人們復(fù)雜的情感需求。唯因萬境由此誕生，以傳統(tǒng)的文娛休閑形式：戲劇為引子，融合社交、輕餐、酒吧、冥想與沙龍，打造一場文化與消費(fèi)交融的空間實(shí)驗(yàn)。
From the dawn of human history to the development of modern society, spiritual and cultural activities have consistently evolved alongside civilizations. Spanning from song-dance rituals and competitive games to literature and poetry, then progressing to contemporary film, video games, and the streaming media era, the advancement of society has witnessed increasingly persified human roles and identities. Traditional forms have gradually become inadequate in satisfying people's complex emotional needs. It is within this context that WEIIN DRAMA emerges - using traditional theatrical entertainment as its foundation while innovatively integrating social interaction, light dining, bars, meditation, and salons to create a spatial experiment where cultural elements interweave with consumer experiences.
▼ 唯因萬境主界面，WEIIN DRAMA Main entrance ©徐英達(dá)，黃迪
▼ 入口，Entrance ©徐英達(dá)，黃迪
▼ 首期劇目，Premiere Production ©唯因萬境
古希臘人視酒為現(xiàn)實(shí)與精神的紐帶，是滿足物質(zhì)需求之余，從生存的勞作中暫時(shí)解放的靈藥。根據(jù)亞里士多德記載，希臘人每年都會通過暢飲、高歌、舞蹈及象征意義的慶典以祭祀酒神狄俄尼索斯——葡萄收獲與釀酒之神。戲劇便源于酒神慶典中的歌舞表演。
The ancient Greeks viewed wine as a bridge between the physical and spiritual realms – an elixir that satisfied material needs while offering temporary liberation from life's toils. According to Aristotle's records, Greeks annually honored Dionysus, the god of wine, grape harvest, and winemaking, through ecstatic drinking, impassioned singing, ritual dances, and symbolic ceremonies. It was within these Dionysian rituals that theater itself was born, emerging organically from the choral performances and ecstatic celebrations dedicated to the wine deity.
▼ 狄俄倪索斯——酒與戲劇之神，Dionysus —— God of Wine and Theater
項(xiàng)目位于上海市浦東區(qū)前灘31樂薈商圈，整體室內(nèi)面積880平方米。包含酒吧、輕餐、劇社、劇場等多重復(fù)合功能。在唯因萬境，劇場與酒吧是戲與酒的交叉賦能。舞臺與吧臺打破傳統(tǒng)界限，不必是平鋪直敘的兩個(gè)空間，通過非線性動線、燈光與結(jié)構(gòu)設(shè)計(jì)——就如同戲劇講究通過劇幕結(jié)構(gòu)的編排、布景與燈光的變化來交代情節(jié)的與角色的轉(zhuǎn)換一樣，賦予空間起承轉(zhuǎn)合的戲劇性，構(gòu)建出一個(gè)環(huán)形的敘事空間，將分離的角色、事件、場景重新組織，讓觀眾與演員共同編織故事，模糊觀演邊界。
The project is located in the Qiantan 31 Lehui Commercial District, Pudong New Area, Shanghai, with a total indoor area of 880 square meters. It integrates multiple composite functions including a bar, casual dining options, a drama club, a theater, and other versatile spaces. In WEIIN DRAMA, theater and bar converge through a synergistic interplay of performance and libation. The stage and the bar counter dissolve their conventional pide—no longer linear, isolated spaces but a choreographed ecosystem where non-linear circulation paths, lighting interventions, and architectural gestures operate as spatial "stage directions." Much like theatrical dramaturgy manipulates acts, scenery, and lighting to orchestrate plot shifts and character metamorphoses, this design philosophy imbues the space with narrative cadence—transforming it into a cyclical story loop that reconfigures fragmented roles, events, and scenes. Here, audiences and performers co-author narratives within a permeable fourth wall, their identities fluidly oscillating between observers and protagonists amidst the intoxicating alchemy of drama and Dionysian revelry.
▼ 酒吧空間，Bar area ©徐英達(dá)，黃迪
▼ 吧臺a，Bar a ©徐英達(dá)，黃迪
▼ 吧臺b，Bar b ©徐英達(dá)，黃迪
除了劇場與酒吧的屬性，唯因萬境還包囊了輕餐及劇社工作室的功能。劇場、酒吧、工作室，在空間與時(shí)間的組織上鑲嵌交錯(cuò)，按人群的動態(tài)特征，將學(xué)習(xí)、體驗(yàn)、表演、觀影、餐飲、小酌等功能，由主界面向內(nèi)依次排布，同時(shí)利用流動的通道將三個(gè)板塊溝通串聯(lián)，使得不同動機(jī)的角色在空間中得以靈活地穿行，角色之間的對話互動也更加有機(jī)自然。
Beyond its theatrical and bar identities, WEIIN DRAMA integrates light dining and theater workshop studios, creating a multifunctional cultural hub. The theater, bar, and studios are interwoven in both space and time, forming a dynamic ecosystem where learning, experiencing, performing, film-watching, dining, and casual drinking are arranged in layers radiating inward from the main interface. Fluid pathways seamlessly connect these three zones, allowing inpiduals with perse intentions to move freely through the space. This design fosters organic interactions and dialogues among participants, transforming the venue into a living, breathing narrative where boundaries between roles blur and creativity flows naturally.
▼ 平面圖，Main Plan
▼ 非線性的動線設(shè)置，Non-linear circulation
沉浸體驗(yàn) / Immersive Experience
入口：步入非現(xiàn)實(shí)的現(xiàn)實(shí)
Entrance：Into the virtual reality
開幕前，入口幕布打開，觀眾可進(jìn)入酒吧享受閑暇時(shí)光的一杯小酌，演員則在劇社進(jìn)行創(chuàng)作、排練，劇場內(nèi)則進(jìn)行著設(shè)備調(diào)試與場地布置。隨著暗示“即將開演”的幕布落下，以裝置藝術(shù)為引導(dǎo)，觀眾開始通過拱形隧道進(jìn)入主空間，穿行在細(xì)長的前場通道內(nèi)，昏暗的燈光，朦朧的幕布與肌理，都在一步步過渡、削減觀眾對外部商場的空間感知，使其從現(xiàn)實(shí)世界逐步剝離，沉浸于曲線與光影交織的“洞穴”中。
Before the curtain rises, the entrance drapes part, inviting the audience to step into the bar for a leisurely prelude of cocktails and conversation. Meanwhile, actors immerse themselves in creative rehearsals within the studio, and the theater buzzes with the final touches of technical adjustments and stage preparations. As the "curtain call" is subtly signaled by the lowering of a dramatic drape, an installation art piece guides the audience through an arched tunnel into the main space. They navigate a slender, dimly lit passageway, where soft lighting, translucent fabrics, and textured surfaces gradually dissolve their awareness of the external shopping mall. Step by step, the transition strips away the mundane, drawing them deeper into a curvilinear "cave" where light and shadow intertwine, crafting an immersive cocoon that severs ties with reality and primes them for the theatrical journey ahead.
▼ 劇場入口，Entrance of Theatre ©徐英達(dá)，黃迪
▼ 隧道入口，Tunnel entrance ©徐英達(dá)，黃迪
舞臺與觀眾席：觀眾融入戲劇
Stage and Audience: The Integration of Spectators into the Drama
流淌的曲線貫穿整個(gè)空間，給人以飄渺虛幻的暗示，同時(shí)也模糊著空間的邊界，最終打破戲劇的“第四面墻”： 異形舞臺與觀眾席交織，共處于同一場域；沉浸式投影幕在四周延伸，無限擴(kuò)大了邊界。觀眾不再是被動地觀看表演，而是在空間與劇情的編排下嵌入到了故事之中，與演員們共同編織完成生動的故事。
Flowing curves traverse the entire space, evoking an ethereal, dreamlike quality while simultaneously blurring the boundaries of the physical environment. This design ultimately dismantles the "fourth wall" of traditional theater: the amorphous stage and seating area intertwine, coexisting within a unified field. Immersive projection screens extend in all directions, creating an illusion of infinite expansion. Here, the audience is no longer a passive observer of the performance; instead, they are woven into the narrative through the choreography of space and plot. Together with the actors, they become co-authors of a living, breathing story, actively participating in its unfolding.
▼ 流淌的空間形態(tài)，F(xiàn)luid Spatial Morphology ©徐英達(dá)，黃迪
▼ 模糊邊界，Blurred Boundaries ©徐英達(dá)，黃迪
▼ 交織的舞臺和觀眾席，Intertwined stage and auditorium ©徐英達(dá)，黃迪
▼ 酒吧立面圖a，Bar Elevation a
▼ 酒吧立面圖b，Bar Elevation b
藝術(shù)裝置 / Installation
首期劇目改編自東野圭吾作品，通過面具道具探討身份的多重性與真實(shí)性。觀眾從疑惑到沉浸，在虛擬布景技術(shù)的立體投影中體驗(yàn)變幻莫測的敘事。
The inaugural production, adapted from a work by Keigo Higashino, delves into the multiplicity and authenticity of identity through the symbolic use of masks. As the audience transitions from curiosity to immersion, they are enveloped in a kaleidoscopic narrative brought to life by cutting-edge virtual scenography and three-dimensional projections. The story unfolds in a fluid, dreamlike space where reality and illusion intertwine, challenging perceptions of self and other.
▼ 面具暗示角色性格，Masks hint at character traits ©唯因萬境
面具最初是祭祀中神性的象征，祭司通過佩戴面具將自己轉(zhuǎn)化為神明。演員則通過更換面具，來表現(xiàn)角色的心理變化、情緒變化、身份變化，觀眾則被面具指引進(jìn)入戲劇語境。面具所隱含的關(guān)于角色轉(zhuǎn)換的暗示，也是現(xiàn)代人常常受困于自身標(biāo)簽的隱喻。
Masks, originally symbols of pinity in ancient rituals, allowed priests to transform into deities by donning them. In theater, actors use masks to embody shifts in character psychology, emotion, and identity, guiding the audience into the dramatic narrative. The mask, as a vessel for metamorphosis, carries an implicit commentary on role transformation—a metaphor for the modern inpidual's struggle with the constraints of societal labels. Through this interplay of concealment and revelation, masks become a bridge between the sacred and the performative, inviting both actors and spectators to explore the fluidity of identity.
▼面具與身份象征，Masks and identity symbols
裝置主體設(shè)計(jì)融合了多座雕像的面部特征，以幾何造型與超現(xiàn)實(shí)風(fēng)格，塑造戲劇感，也在探討現(xiàn)代社會中的角色復(fù)雜性——象征著個(gè)體在單一軀殼下卻扮演著不同社會角色中的多重身份。
The installation design integrates the facial features of multiple statues, employing geometric forms and surrealist aesthetics to evoke a theatrical atmosphere. This artistic approach not only heightens the dramatic tension but also probes the complexity of roles in modern society—symbolizing the multifaceted identities that inpiduals embody within a single physical form. Through this fusion of art and metaphor, the installation becomes a visual exploration of how one person can simultaneously inhabit perse social roles, each demanding a unique mask or persona.
▼ 面部特征采集，F(xiàn)acial feature collection
裝置由不同形態(tài)的多張面具構(gòu)成：正面橫向展開的面具背后是另一張充滿雕塑感的面龐，象征未知與無限；側(cè)面造型則遵循簡明的幾何推演規(guī)律，使其更具希臘古典韻味。
The installation is composed of multiple masks of varying forms: from the front, a horizontally arrayed mask reveals, behind it, another face imbued with a sculptural quality, symbolizing the unknown and the infinite. The side profiles, however, adhere to a clear geometric logic, evoking the classical elegance of Greek art. This interplay of complexity and simplicity, mystery and order, creates a visual dialogue that transcends time and culture, inviting viewers to contemplate the duality of human identity—its tangible expressions and its hidden depths.
▼ 展開，Expand
▼ 幾何造型推演，Geometric modeling
▼ 外立面，F(xiàn)acade
▼ 面具，The mask ©徐英達(dá)，黃迪
▼ 裝置局部，Installation detail ©徐英達(dá)，黃迪
▼ 從劇場回望入口，Viewing the entrance from entrance ©徐英達(dá)，黃迪
項(xiàng)目信息
Project Information
項(xiàng)目名稱：唯因萬境實(shí)驗(yàn)劇場酒吧
設(shè)計(jì)方：上海潛水鐘建筑科技有限公司，上海平介建筑設(shè)計(jì)事務(wù)所
項(xiàng)目完成年份：2024年7月
設(shè)計(jì)團(tuán)隊(duì)：肖明峰，黃迪，武升華
項(xiàng)目地址：上海
攝影版權(quán)：徐英達(dá)，黃迪
合作方：蘇州再造設(shè)計(jì)
建筑面積：880㎡
Project Name: WEIIN DRAMA Experimental Theatre Bar
Designer: Shanghai Diving Bell Architecture Technology Co. Ltd., Shanghai Parallect Architecture Design Studio
Project Completion Date: July 2024
Team: Mingfeng Xiao, Di Huang, Shenghua Wu
Project Address: Shanghai
Photo Credits: Yingda Xu, Di Huang
Partners: Suzhou Re-design Studio
Building Area: 880㎡
來源：本文由上海平介建筑設(shè)計(jì)事務(wù)所提供稿件，所有著作權(quán)歸屬上海平介建筑設(shè)計(jì)事務(wù)所所有。
本文版權(quán)歸腿腿教學(xué)網(wǎng)及原創(chuàng)作者所有，未經(jīng)授權(quán)，謝絕轉(zhuǎn)載。
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