卡雷爾·德克斯

馬戲場空間與未來前景

在最近的建筑文獻(xiàn)中，對馬戲場空間設(shè)計的研究僅出現(xiàn)在極少數(shù)出版物中。其中，《馬戲團(tuán)是一種表演，但它也是一座建筑——歐洲馬戲場建筑的記憶》[1]一文為了解根特市的馬伊冬季馬戲場這一有意義的更新項目提供了全面的洞察力和框架，作者在下面的文章中清楚而巧妙地說明了這一點。

回顧歐洲馬戲團(tuán)從18 世紀(jì)到今天21 世紀(jì)的歷史，可以看出馬戲、其建筑概念和內(nèi)容是如何隨著社會事件和文化框架的變化而不斷變化的。

馬伊冬季馬戲場代表了這些固定建筑的未來前景的一個完美的研究案例——這些建筑主要在19 世紀(jì)和20 世紀(jì)在歐洲加速發(fā)展，而在最近已經(jīng)被廢棄。冬季馬戲場保持并擴(kuò)大了其作為表演空間的使命，并且——引用作者的話——尊重材料的手工制作和誠實展示，根據(jù)《建筑的第二盞燈》[2]，冬季馬戲場的再生項目可以被認(rèn)為是當(dāng)代馬戲場空間設(shè)計重新定義的基準(zhǔn)，而該基準(zhǔn)與當(dāng)今的社會和城市需求有關(guān)。

2005 年，根特市收購了該建筑，打算在保留其重要歷史價值的同時對其進(jìn)行改造和再利用。其核心目標(biāo)是將冬季馬戲場改造成一個真正的科研場所——關(guān)注創(chuàng)新和健康設(shè)備，也關(guān)注藝術(shù)和創(chuàng)造力。其結(jié)果是一座可舉辦各種活動的建筑，如展覽、表演、公共活動和小型博覽會，從而結(jié)合城市的愿景，將馬戲場空間再生為一個知識、文化和創(chuàng)新創(chuàng)業(yè)的中心。賦予該項目更多誘人意義的最后一個因素是中央競技場下的中和CO2供暖系統(tǒng)，它將響應(yīng)根特在2050 年實現(xiàn)碳中和的目標(biāo)。（喬治亞·塞斯特羅 文）

簡史

始建于1894年的馬伊冬季馬戲場隱身于街道，相當(dāng)不顯眼，從外面幾乎識別不出。然而，一旦進(jìn)入，它就會給人一種驚奇的感覺，并顯示出與羅馬萬神殿相似的尺度和體驗。巨大的圓形且類似競技場的內(nèi)部被一個混凝土大坡道所包圍，頂部的玻璃天窗將觀眾的目光引向天空。奇怪的是，光禿禿的混凝土墻故意沒有使用現(xiàn)代的裝飾材料，卻保留了其原有的魅力。路人在時間和空間上愉快地迷失了方向，因為圓形的建筑與光滑的天頂光線與建筑外的城市日常喧囂形成了強(qiáng)烈的對比。

19 世紀(jì)末，許多歐洲城市出現(xiàn)了用于大眾消遣和娛樂的特定建筑，包括石頭馬戲場i），如位于比利時北部根特的馬伊馬戲場。為了不受天氣的影響，它被覆蓋起來，成為一個室內(nèi)的活動大廳。其他法蘭德斯城市，如根特、安特衛(wèi)普、布魯塞爾也加入了這一國際性的潮流。1894 年，“新馬戲場”根據(jù)建筑師埃米爾·德·維爾特的設(shè)計建造起來，作為“馬戲團(tuán)周邊 ”（Circuswijk）的一部分。這座圓形建筑最初被設(shè)想為一個附帶有聯(lián)誼室的賽馬場，但最終開幕時呈現(xiàn)為一個有頂?shù)氖^馬戲場——許多公司在這里進(jìn)行表演，甚至在冬天也是如此。1920 年的一場大火部分摧毀了這座脆弱的木構(gòu)建筑，只剩下一些局部，如一些外墻、馬廄和馬術(shù)學(xué)校。于是，這些部分在1923 年由建筑師儒勒-帕斯卡爾-勒杜設(shè)計的新馬戲場的建造過程中被復(fù)原。這個“新馬戲場”于1944 年關(guān)門。

Circus spaces and future perspectives

In recent architectonical literature the space given to the study of the circus space design has been limited to few publications.Among thatCircus is a performance but it is also a building -memory of circus buildings in Europe[1] gives a comprehensive insight and framework within which to read the meaningful regeneration project of the Winter Circus of Mahy in Ghent,clearly and masterfully illustrated by the author in the following essay.

Going through the history of circus in Europe which occurred in between the Eighteenth century and today's twenty-first century it is clear how circus spectacle,its architectural concept and its content,has changed throughout the times,following social events and cultural frameworks of time periods.

WinterCircus Mahy represents a perfect study case of the future perspective of these stationary architectures which speeded out mainly in the Nineteen and Twenty century in Europe and which fell in disuse in the most contemporary times.Maintaining,but also enlarging,its vocation to be a space for performances and-to cite the author-respecting the handcrafted and honest display of materials,according tothe Second Lamp of Architecture[2],the regeneration project of the Winter Circus could be considered a benchmark of the contemporary redefinition of the circus space design related to the need of the nowadays social and urban needs.

In 2005,the city of Ghent acquired the building with the intention of renovating and repurposing it while preserving its significant historical value.The primary goal was to convert the Winter Circus into a dedicated hub for research and technology,emphasizing innovation and advancements in healthcare,as well as fostering art and creativity.The result will be a building hosting a wide range of activities such as exhibitions,performances,public events and small fairs so to combine the vision of the city in regenerating the circus space into a center of knowledge,culture,and innovative entrepreneurship.The last ingredient which gives to the project even a more alluring meaning is the CO2-neutral heating system hosted under the central arena which will response to the aim of Ghent to be climate-neutral by 2050.(Text by Giorgia Cestaro)

1 剖面Section

Short History

Quite hidden from the streetside,the Winter Circus of Mahy -dating from 1894-presents itself as quite anonymous and hardly discernible from the outside.However upon entering,it provides a sense of wonder and reveals a dimension and experience similar to Rome's Pantheon. A large circular and arenalike interior,encircled by a large concrete ramp and crowned by a glazed skylight,pushes the gaze of the viewer upward to the sky.Oddly enough,the bare concrete walls,deliberately untouched by modern finishing materials,have retained their original charm.The passerby is pleasantly disoriented in time and space as the circular building with smooth zenithal light contrasts heavily with the daily bustle of city just outside from the building.

2 大廳Hall

二戰(zhàn)結(jié)束后不久，冬季馬戲場被改造成吉斯蘭·馬伊的車庫，用于修理和銷售汽車。在這次改造中，原來馬戲場的木構(gòu)內(nèi)部被拆除，建筑被改造成一個貿(mào)易場所，但經(jīng)馬伊之手增加了一系列迷人的室內(nèi)干預(yù)措施。他拆除了假天花板，暴露了建筑的粗獷魅力；一個新的混凝土結(jié)構(gòu)與加建的斜坡系統(tǒng)到位，使得汽車可以一直開到頂層。隨著車庫在1978 年關(guān)門，該建筑繼續(xù)作為老式汽車的倉庫又持續(xù)了20 年。除了950 輛老爺車外，該建筑多年來一直空置，沒有被使用。

但馬伊的遺產(chǎn)——盡管他不是一個經(jīng)過訓(xùn)練的建筑師——是令人佩服的，他的現(xiàn)代主義風(fēng)格的加建創(chuàng)造了一種超現(xiàn)實的體驗，有著豐富的景觀和光線變化，以及隨心所欲的室內(nèi)，它們?nèi)匀慌c建筑的原始調(diào)性一致。

設(shè)計作為主動沉默的一種形式

2005 年，根特市購買了該建筑，目的是在尊重其豐富遺產(chǎn)價值的前提下進(jìn)行翻新和重新利用，其核心目標(biāo)是將冬季馬戲場改造成一個真正的科研場所——關(guān)注創(chuàng)新和健康設(shè)備，也關(guān)注藝術(shù)和創(chuàng)造力。

2011 年，鹿特丹建筑師和規(guī)劃師Kempe Thill 工作室與根特的aNNo 建筑事務(wù)所合作，贏得了冬季馬戲場的改造和再利用的概念設(shè)計競賽。2015 年，一個新的團(tuán)隊——BARO-SUM 接管了實際的適應(yīng)性設(shè)計并完成了該項目，改變了流線以及該建筑與城市結(jié)構(gòu)的關(guān)系。整體方案保留了原有的氣氛和特色，尊重了建筑的歷史特征。為了更好地呼應(yīng)馬伊飄忽不定的風(fēng)格，建筑師們在建筑設(shè)計過程中自我設(shè)定了4 個重要的準(zhǔn)則：

首先，中央競技場——一個1200m2的有頂內(nèi)院——被刻意留空，白天所有人都可以進(jìn)入。對于設(shè)計師來說，競技場的開放性是一個需要保護(hù)的品質(zhì)。

其次，地下?lián)u滾音樂廳的聲學(xué)挑戰(zhàn)需要采取具體措施，防止聲音泄漏到鄰近的建筑物。因為同樣的原因，現(xiàn)有穹頂?shù)姆乱脖蛔C明是一個挑戰(zhàn)。屋頂?shù)母采w物被更新，包括有關(guān)穩(wěn)定性、絕緣和聲學(xué)的新限制。

第三，與羅斯金關(guān)于建筑真實的“第二盞建筑之燈”相類似的，設(shè)計師選擇保留其粗糙的未涂抹的磚墻完成面，仿佛那屬于建筑的靈魂。舊的石膏天花板被刷掉了，但進(jìn)一步刻意保留了原樣，保持了室內(nèi)氣氛的完整。原有的元素，如鑄鐵柱子和老馬廄的舊石制飲水井都被保留下來。這種對過去事物的真實而明智的展示，呼應(yīng)了設(shè)計師的尊重態(tài)度。

At the turn of the 19th century,specific buildings for mass recreation and delight appeared in many European cities,including stone circuses such as the Circus Mahy,located in the North of Belgium,in Ghent.In order to be immune from weather events,it was covered and became an indoor event hall.Flemish cities such as such as Ghent,Antwerp,Brussels also joined this international trend.In 1894,the so-called ＂New Circus＂ was built,after a design by architect Emile De Weerdt,as part of the ＂Circuswijk＂.The circular building,initially conceived as a horse racing track with accompanying party room,was eventually inaugurated as a covered circus,where numerous companies gave performances,even during the winter.As a fire partly destroyed the fragile wooden building in 1920,only a few parts,such as some outer walls,the stables and the riding school remained.These parts were therefore recovered during the construction of the new Circus in 1923,designed by architect Jules-Pascal Ledoux.This ＂Nouveau Cirque＂ closed its doors in 1944.

Shortly after the Second World War,the Winter Circus was converted into Ghislain Mahy's garage for repairing and selling cars.With this transformation,the original wooden circus interior was removed and the building was transformed into a place of trade yet with a fascinating range of new interior interventions by the hand of Mahy.He removed the false ceiling exposing the rugged charm of the building; a new concrete construction with an extensive system of ramps came in place,which allowed the car to be driven all the way to the top.As the garage closed its doors in 1978,the building continued to serve as a depot for vintage cars for another two decades.With the exception of 950 vintage cars,the building was left empty and out of use for years.

But Mahy's heritage-even though he was not a trained architect-was formidable,his modernist extensions created a surreal experience with a rich variety of views and light situations and informal interiors yet still in line with the original architecture of the building.

Design as a Form of Self-imposed Silence

In 2005,the building was purchased by the city of Ghent with the aim to renovate it and repurpose it with respect for its rich heritage value.The central objective was to transform the Winter Circus into a genuine place of research and technology,with a focus on innovation and health appliances,but also on art and creativity.

In 2011,the Rotterdam architects and planners Atelier Kempe Thill,in collaboration with aNNo Architects from Ghent,won the design concept for the renovation and repurposing of the Winter Circus. In 2015,a new team,BARO Architectuur-SUM project took charge of the actual and adapted design and completion of the project,implementing changes to circulation and relation to the urban fabric.The overall proposal retains the atmosphere and character,respecting the historical character of the building.In order to empathize better with the erratic spirit of Mahy,the architects selfimposed four important guidelines during the architectural design:

3-5 內(nèi)景Interiors

6.7 坡道Slopes

8 細(xì)部Details

第四，設(shè)計師表達(dá)了對該建筑在時間上所經(jīng)歷的許多復(fù)雜調(diào)整所產(chǎn)生的共鳴：在新的概念中整合和激活它們本身就成為一種設(shè)計目標(biāo)。后來加建的部分，如混凝土坡道、舊的大象坡道也被包括在新項目中。此外，位于老車庫污水井內(nèi)的舊駕駛軌道將在未來的咖啡館中重新利用。

建筑的未來

冬季馬戲場的新建筑方案為游客考慮了全面的無障礙環(huán)境。人們都可以通過3 個入口進(jìn)入內(nèi)部廣場——除了現(xiàn)有的兩個入口（在Lammerstraat 街和Sint-Pietersnieuwstraat 街），還增加了Miriam Makebaplein 廣場的一個新入口，從那里可以進(jìn)入最近由建筑師RCR/Coussée Goris Huyghe architecten 在Plattenberg 新建的公共圖書館。

在未來的大樓里，各種活動，例如展覽、公開演示或小型博覽會，都可以進(jìn)行。工位區(qū)將圍繞中間的競技場布置，初創(chuàng)企業(yè)、上升企業(yè)和技術(shù)公司可以靈活地（一起）為未來的社會挑戰(zhàn)提供技術(shù)解決方案。社區(qū)活動的區(qū)域也已經(jīng)建立起來，包括第三方在內(nèi)的每個人都可以使用。在中間競技場那一層，還提供了一個雙層的零售功能區(qū)，符合根特市作為知識、文化和創(chuàng)新創(chuàng)業(yè)中心的更廣泛愿景。

過去大象進(jìn)入冬季馬戲場的內(nèi)部坡道現(xiàn)在變成了一個公共空地；以前的馬廄變成了會議室。馬戲場的表演區(qū)將被一個全新的可容納120 人的禮堂取代；會議室、休息區(qū)、禮堂和露臺酒吧為游客提供了城市的視野。二樓還有向中央競技場開放的一個咖啡館和一個餐廳的空間。

為了配合到2050 年成為碳中和城市的目標(biāo)，該建筑在冬季馬戲場的中央競技場下安裝了一個中和CO2的供暖系統(tǒng)。鉆孔儲能提供了一種新的技術(shù)，即利用土壤的溫度來加熱和冷卻建筑物。得益于該領(lǐng)域，熱量在冬季從土壤中被提取出來——對能源花費和氣候來說都是一種勝利。

總而言之，這座建筑似乎給根特市民帶來了活力并贏得了他們的喜愛，這不僅是因為它充滿活力的表現(xiàn)和雄心勃勃的計劃，最重要的是它所展示的一種完整性：通過有意避免強(qiáng)加另一種標(biāo)志性，并小心翼翼地回避新舊對比，該建筑溫和地透出一種謙遜的氣質(zhì)。這種慷慨預(yù)示著這座令人眼花繚亂的復(fù)合性建筑將有一個令人興奮的未來：通過這種方式，冬季馬戲場就可以慶祝新的前景，在空間性、物質(zhì)性和氛圍調(diào)性上保留其狂野的魅力，而不會被它所奴役?！?/p>

First,the central arena,a covered inner courtyard of 1200 m2,is deliberately left empty and will be accessible to everyone during the day.For the designers,the openness of the arena is a quality that needs to be safeguarded.

Secondly,the acoustic challenges of the underground rock concert hall demanded specific measures to prevent sound leakage to neighboring building.By the same token,the refurbishment of the existing dome also proved to be a challenge.The cover of the roof was renewed,including new restrictions concerning stability,insulation and acoustics.

Thirdly,akin to the Ruskin's second Lamp of Architecture on truth in architecture,the designers chose to retain its rough unplastered brick walls finishing as if it belongs to the soul of the building.Old plaster ceilings have been brushed off,but further deliberately left untouched,keeping the interior atmosphere intact.Original elements such as the iron cast columns and old stone drinking wells of the old horse stables have been retained.This truthful and intelligent display of what has been echoes the designer's respectful attitude.

Fourthly,the designers showed empathy for the many complex adaptations the building has undergone in time: it became a design endeavor in itself to integrate and activate them in the new concept.Later additions such as the concrete ramps,the old elephants ramp,have also been included in the new project.Furthermore,the old driving tracks located within the sewage wells of the former garage will be reused in the future café.

Architectural Future

The new architectural program of the Winter Circus envisages full accessibility for the visitor.The interior square will be accessible to everyone through three entrances;the two existing ones (in Lammerstraat and Sint-Pietersnieuwstraat) have been supplemented by a new entrance at the Miriam Makebaplein,giving access to the recent new public library by RCR/Coussée Goris Huyghe architecten on Plattenberg.

In the future building,all kinds of activities can take place,exhibitions,public demonstrations or small fairs. Workstations will be set up around the middle arena where start-ups,scale-ups and technology companies can work flexibly (together) on technological solutions for the social challenges of tomorrow.Community areas have also been set up,which everyone will be able to use,including third parties.At the level of the middle arena,a duplex has also been provided for a retail function that fits in with the broader vision of Ghent as a center for knowledge,culture and innovative entrepreneurship.

The interior ramp onto which elephants descended into the Winter Circus now becomes a public esplanade;The former horse stables turn into meeting rooms.The old scene of the circus will give rise to a completely new auditorium for 120 persons;Meeting rooms,lounge areas,an auditorium and a terrace bar provide the visitor with a view of the city.Opening towards the central arena,there is also space for a café and a restaurant on the second floor.

In tune with the aim of being a climate-neutral city by 2050,the building houses a CO2-neutral heating system under the central arena of the Winter Circus.The Boreholes Energy Storage (BEO)offers a new technique in which the temperature of the earth is used to heat and cool a building.Thanks to the field,the heat is extracted from the soil during the winter.A win for the energy bill and also for the climate.

All in all,this building seems to energize and win the hearts of many citizens in Ghent,not only for its energetic performance,ambitious program but foremost its display of integrity: by deliberately not imposing yet another kind of signature and carefully avoiding contrasts between new and old,the architecture gently breaths a sense of modesty.This generosity anticipates an exciting future for this dazzling and complex building: in so doing,the Winter Circus celebrates new horizons,retaining its wild charm in terms of spatiality,materiality and atmospheric quality,without becoming enslaved by it.

譯注

Notes from Translater

i）指永久性的馬戲場建筑。