9號石宕就像用一把利刃切割過巖石一樣，在狹窄的入口后擴展成了一個近似于矩形的區(qū)域，內部承錐型向上，就像一個陡峭的傾斜屋頂，狹窄的裂縫間灑進陽光。這個石宕是自上而下開采的一個典型例子。但是，不同于頂部手工開采的形狀，石宕底部可以看到機器挖掘的部分。機器的使用使得墻體的底部近乎垂直，而頂部人工開采則呈現(xiàn)出了圓錐形。采石過程中偶然形成的后部部分覆蓋的教堂形空間具有良好的聲學效果。在進行了各種測試后，地板、側欄桿的面板和吸聲措施使聲學環(huán)境得到了改善，方便空間多功能使用。

原本優(yōu)異的聲學條件加上后期技術的優(yōu)化使這里更適用于講座、表演或上演傳統(tǒng)的婺劇，婺劇是地方特色劇目，同時可以吸引當?shù)赜^眾和游客。巧妙的照明設計，營造出一種節(jié)日氣氛，強調了空間的性質，并突出了雄偉的、帶有自然裂紋的石窟墻面。

下雨時，雨水會在內部中央的下沉處聚集，水面反射出周圍的環(huán)境；在光的照射下，水的波光映射在墻面，而滴水聲提供一種別樣的的聲學體驗。

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縉云豐富的凝灰?guī)r資源和不同開采的方式、方向使得石宕呈現(xiàn)出各異的奇觀，緊鄰10號石宕的9號石宕擁有與10號石宕石料不同的色澤和形態(tài)。9號石宕的凝灰?guī)r為不同肌理的紅色凝灰?guī)r，上部因為人工開采和自然侵蝕形態(tài)不規(guī)整，顏色也富有變化；下部在機器開采的作用下呈現(xiàn)出橫向肌理。

9號石宕音樂廳的原始聲場，天然地適于音樂廳效果。石宕側壁巖石材料，與常見的光滑硬質巖石不同，屬于多孔吸音類型，再加上人工開鑿，表面天然起伏凸凹，形成了漫反射，使得室內聲音更加柔和細膩。石宕開鑿的長寬高尺寸，非常完美地與音樂廳所需的調和級數(shù)比例相符合，空間形成了完美的擴散聲場。9號石宕的聲場條件得天獨厚，巧奪天工，利用聲學技術手段，使音樂廳最大程度地展現(xiàn)出了最優(yōu)美的聲學效果，盡可能地保護了石宕的原生態(tài)風貌，甚至原生態(tài)的音效。

不同天氣條件下，9號石宕呈現(xiàn)出不同的場景。平時，擺放椅子的劇場可以用于婺劇表演及講座；下雨時，雨水會在內部中央的下沉處聚集，水面反射出周圍的環(huán)境；在光的照射下，水的波光映射在墻面，而滴水聲提供一種別樣的的聲學體驗。

Quarry No. 9: Stage Space

Quarry No. 9 is cut into the rock as if with a knife and after a narrow entrance widens into an approximately rectangular area that tapers upwards in the interior like a very high-pitched roof with a narrow slit that lets daylight in. This quarry is a typical example of top-down mining. But, here, the fact the lower part that was created by means of machine excavation is also visible, since it differs in shape from the hand-worked parts above it. The lower area has a vertical wall structure due to the use of machines, while the conical shape above is the result of manual work. The cathedral-like space, the rear part of which is partly covered, has excellent acoustics, even though its shape was created by chance during the quarrying of stones. After various tests were performed, the acoustic qualities were improved by means of the flooring, panels in the side railings, and sound-absorption measures to facilitate versatile use.

The existing conditions along with the technical optimization make this location suitable for lectures, performances, or the staging of traditional Wuju opera, which is common solely in this region and appeals to both local audiences and visitors. Cleverly staged artificial lighting creates a festive atmosphere that emphasizes spatial qualities and brings the massive, cracked wall surfaces into focus.

When it rains, the water collects in the slightly lower interior surface and mirrors the surroundings. Slight undulations are reflected on the walls of the space depending on the incidence of light, and the sound of dripping water can be heard as an additional acoustic experience.

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Please link/or mention that it was from Eduard Koegel and first published in the magazin on world-architects.com. 

(https://www.world-architects.com/en/architecture-news/reviews/quarries-as-spatial-resource)