罗马尼亚,克鲁日体育场/ Dico si Tiganas

建筑师:Dico si Tiganas Șerban Țigănaș, Florin Dico, Levente Kornis, Cristian Urcan

地点:罗马尼亚克鲁日

项目组:Carmen Brădățeanu , Ciprian Onețiu, Sorin Bularca, Alexandra Bendea, Ioan Sava, Lorant Miklos, Ioan Bera, Ioan Iov, Iustinian Orza, Teodora Dănilă, Ciprian Cătineanu, Bogdan Dico, Diana Edițoiu, Cristian Ioja, Paul Moldovan, Mihai Roșca, Adina Petrica, Sabina Bulboacă, Emilia Bulboacăand Răzvan Câmpeanu

设计合作伙伴:Technical University of Cluj-Napoca, Bogart Construct, DAS Engineering, Grup 4 Instalații, Paul Gilleron Acoustics

施工方:ACI Cluj, CON-A,Transilvania Construcții

总建筑面积:43 000 square meters excluding the playing field and running track

造价:35 million euro+VAT

客户:Cluj County Council

竣工时间:2011

摄影: Dico si Tiganas, Cosmin Dragomir

该体育场替代了之前位于克鲁日纳波卡的Ion Moina市体育场,当人们决定将原有的体育馆搁置不用之后,拆迁工作便随即展开,同时设计师们也尝试着对这片区域进行现代化改造。该体育场位于沿索梅什河河道而建的城市娱乐健身场所一条街,地理位置拥有得天独厚的优势,交通便利并且距离市中心很近。当人们刚刚萌生了修建新体育场的想法,只是修建在另外某个地点的时候,这片区域已经成为“体育场”的代名词,是克鲁日体育迷心中的圣地,甚至说是需要捍卫的最后一块阵地。从一开始确定新体育场的建筑风格起,中心位置就是建筑设计的一大挑战。

体育场的设计理念是基于将体育场与城市主要步行街融合在一起的整体策略,主要步行街始自包含有中央花园的历史中心西端,从市游泳池区域和体育场一直延续到由HoriaDemian体育馆、科技大学游泳区组成的建筑群,随后是包括Babes-Bolyai大学运动设施的Iuliu Hategan运动公园,接着继续延伸到由市政厅和网球俱乐部管理的玫瑰园中。想要形成这种设计理念,首要问题之一便是步行街的连续性。

该项目中最重要的概念元素就是周围环境和建筑室内之间的透明度以及视觉关联效果。透明度的设计主要是以视觉渗透性和心理渗透性为目标,维持公众与充满魔力的草地球场或运动场跑道之间的稳固关系。

设计师们担心的并不是这样一个庞大场馆的功能需求,因为这方面在国际单项体育联合会的规范要求中有着详尽的说明,他们担心的是在没有活动举行时,这座场馆对周边环境的影响,也就是它的日常状态。从城市的角度上,我们感受到了人们对于当代具有象征性地标建筑的需求,因此选择了一种流动的形态作为回应,一片与索梅什河的蜿蜒流动有着紧密联系的广域地形。

从地理位置方面,我们明显减少了面向南北交通枢纽区域的建筑体量,运用对角对称的设计方式,然后将此片区域分隔开来。环绕在看台周围的斜坡形成了公园与体育场的通道,减小了建筑规模,并在入口区域提供了第二条人行道,从入口处,外面的公众就能够看见日常状态下的体育场。不过,四个框架连接起来不便于人们从内向外欣赏城市的高地和景观。

因此,设计师接着运用了相同的视觉透明度策略,立面是半透明的,这样通过由网孔薄板制成的编织带或分开的鱼鳞板就可以自由观赏到周边令人赞叹的景色全貌。白天的景色依靠的是日光条件的复杂性和多样性,尤其是清晨草场上的光线以及河岸边夕阳西下的光线。我们选择了一块有着金色虹彩效果的白色薄板,能够反射出天空的色彩和周围的环境。这样体育场就变成了一条体型庞大的变色龙,在某种程度上来说它也是一块太阳能钟表。

在黑暗中,两种可能存在的状态却有着截然不同的景象:每天夜晚,温暖的光线都会区分出结构和立面的节奏,每当有比赛在进行,体育场都会变为城市中一盏最庞大的明灯,而透明度会使它的存在感消失。作为建筑师,我们一直在思考如何利用这座建筑为人们带来喜悦:为那些因为比赛而进入体育场内部的人们,那些停留在外面感受它的脉搏的人们,还有那些在它身旁匆匆而过的行人以及那些在远处正凝望着它的人们。


Architects: Dico si Tiganas – Șerban Țigănaș, Florin Dico, Levente Kornis, Cristian Urcan

Location: Cluj, Romania

Team: Carmen Brădățeanu , Ciprian Onețiu, Sorin Bularca, Alexandra Bendea, Ioan Sava, Lorant Miklos, Ioan Bera, Ioan Iov, Iustinian Orza, Teodora Dănilă, Ciprian Cătineanu, Bogdan Dico, Diana Edițoiu, Cristian Ioja, Paul Moldovan, Mihai Roșca, Adina Petrica, Sabina Bulboacă, Emilia Bulboacăand Răzvan Câmpeanu

Design Partners : Technical University of Cluj-Napoca, Bogart Construct, DAS Engineering, Grup 4 Instalații, Paul Gilleron Acoustics

Constructors: ACI Cluj, CON-A,Transilvania Construcții

Total Built Area: 43 000 square meters excluding the playing field and running track

Cost: 35 million euro+VAT

Client: Cluj County Council

Completion: 2011

Photographs: Dico si Tiganas, Cosmin Dragomir

The Arena replaces the former Ion Moina Municipal Stadium in Cluj- Napoca, after the decision of laying up, demolition and modernization attempts that preceded it.Its location within the city has a privileged position in the axis of leisure and sport developed along the course of the Somes River, being very easily approachable and near downtown. The place has gain its name “at the stadium” and was considered by the ClujCity sports fans a sacred space and even a redoubt to be defended when the idea of a new Stadium was born, but placed in a different location. The central location was a challenge from the beginning when defining the architecture of the new Stadium arose.

The concept is based on the integration strategy of the Arena within the city’s main promenade that starts at the West end of the Historic Center with the Central Gardens, and continues in the Municipal swimming pool areas and the stadium unto the group of buildings formed by HoriaDemian sports hall and the group of natation of the Technical University, being followed by the Iuliu Hategan Sports Park including the sports facilities of the Babes-Bolyai University and then continues the Rose Park, managed by the City Hall and a Tennis Club. One of the first issues that led to the concept was the continuity of the promenade.

The most important conceptual element for this project is the transparency and visual connections between the contextual environment and indoor. This transparency aims primarily the visual and mental permeability designed to maintain constant relationship between the public and the magic green rectangle of the grasscourt or the athletic track.

What concerned us far beyond the functional requirements of such a huge project, defined thorough in the normative guidelines of international sports federations, was the impact of the arena when no shows were performed, its daily state. At the city scale we experienced the need of a symbolic contemporary landmark, for which we have chosen a fluid and flowing of forms answer, a macro-relief with a strong connection to the meander of the Somes River.

At the location scale we have significantly decreased the volume on the contact areas with traffic from North to South, fragmenting after a strategy for diagonal symmetry. The perimeter slope that surrounds the tribunes makes possible the park-construction passage, reduces the scale and offers a second promenade from the access areas, wherefrom the outside public can take a glimpse at the everyday life arena. As an answer, the eyesight from the inside balks through the joints of the four frames to the highlands of the city and landscape.

Following the same visual strategy of transparency, the facades are translucent, allowing free and startling overview to the surroundings through the woven strips or parted “gills” made of punctured sheet. The picture of the day relied on the complexity and diversity of the sunshine conditions and especially on the grazing light of the morning and the sunset along the river. We have chosen a white sheet with gold irisationsthat reflects the sky colors and the surrounding environment. So the stadium becomes a huge chameleon and a in a way, a solar clock.

In darkness the two possible states have distinct images: a warm light distinguishes every night the rhythms of structure and facades, and whenever the shows enflames the arena, this grows into the largest lamp in the city and is dematerialized by transparency. As architects we always wondered how to bring joy through this construction. To those entering inside at a show and to those who stays outside feeling its pulse, to those who are walking nearby and to those who are watching from the distance.