91手机视频在线-91手机视频在线观看-91手机在线-91手机在线播放-91手机在线观看

▲ 視頻介紹? ?Lukas Schmid

改造設計? gmp

1936年設計? 維爾納·馬爾什

項目地點? 德國柏林

項目時間? 2004年

本文文字由設計單位提供。

2006年世界杯足球賽籌備之際，如何對柏林奧林匹克體育場進行翻新和現代化改造成為一個主要問題。柏林奧林匹克體育場屬于“帝國體育場”的一部分，這里是1936年奧運會的舉辦地，其設計深受納粹時期的影響。我們用復雜的技術手段在新屋面上打開一個缺口，由此保留了延伸至鐘樓的視覺軸線這一核心元素，從而強調了奧林匹克體育場與整個建筑群的從屬關系。

When Berlin’s Olympic Stadium was refurbished and modernized for the 2006 FIFA World Cup, the main question was how to deal with a building whose design is so permeated with National Socialist ideology, as part of the overall “Reichssportfeld” for the 1936 Olympic Games. A technically complex opening in the new roof retains the sight line to the bell tower as a central design element of the overall ensemble while also integrating the new Olympic Stadium into the whole.

1936年—1998年

在維爾納·馬爾什（Werner March）的設計中，柏林奧林匹克體育場不僅是1936年奧運會的核心建筑，也是帝國體育場的中心。帝國體育場占地132公頃，設施包括迪特里希-?？ㄌ芈短靹觯ìF森林劇場）、五月廣場、鐘樓、奧林匹克廣場、德意志體育之家、馬術場和游泳館。建筑、景觀設計和雕塑構成一個設計整體，對其誕生的時代來說極具代表性。

Werner March designed the Olympic Stadium not only as the central structure for the 1936 Olympic Games but also as the center of the 132-hectare Reichssportfeld, which included the Dietrich Eckart Open-Air Theater (now Forest Stage), Maifeld sports field, bell tower, Olympic Square, House of German Sports, and equestrian and swimming stadiums. Architecture, landscaping, and sculptures form a creative whole and are characteristic of the era in they were created.

壯觀的視覺軸線穿過開放的“馬拉松門”（Marathontor）將體育場內部與77米高的鐘樓相連，明確表達了體育場與場地的緊密聯系。鐘樓矗立在“西墻”（Westwall）上——這是一座起阻隔作用的弧形看臺，用于劃定五月廣場的邊界。鐘樓下方的開口在場地規劃中扮演著核心角色，來自五月廣場方向的人群在這里經過元首專座并致敬?！拔鲏Α钡膬炔孔渲袄蜀R克紀念堂”（Langemarckhalle），納粹將第一次世界大戰中陣亡上千人的朗馬克戰役塑造成德國的英雄主義神話，塔樓中的鐘既是奧林匹克鐘，也是喪鐘。體育場與塔樓之間的直接視覺聯系使戰爭崇拜和所謂的殉國神話成為體育場內比賽的明顯組成部分。

The close connection between the new stadium and the grounds as a whole is clearly formulated by a sweeping view that links the stadium interior to the 77-meter bell tower via the open Marathon Gate. The bell tower stands on the “Westwall,” a grandstand built as a curved embankment to delimit the Maifeld. The gate beneath the tower played a central role in the arrangement of the site because it was through this gate that the huge crowds entered from the Maifeld to parade past the “Führerloge.” The Westwall incorporated the Langemarck Hall, in which the National Socialists presented the World War I Battle of Langemarck, when thousands were slaughtered, as a myth of German heroism. The bell in the tower was both an Olympic bell and a death bell. The direct line of sight between the stadium and the tower ensured that the cult of honoring the warriors and their supposed heroes’ deaths for the fatherland would be an ever-present element of the games inside the stadium.

1945年后，人們幾乎沒有積極理會體育場和周邊場地的這些核心元素。1947年，在戰爭中遭到損壞的鐘樓被炸毀，但在1962年又被原樣重建。駐柏林的英軍占用了大部分奧林匹克場地。1963年以來，柏林赫塔足球俱樂部在奧林匹克體育場舉行主場比賽，幾乎與此同時，體育場也用于舉辦音樂會或教會活動。到了1974年世界杯足球賽，奧林匹克體育場是三場小組賽的舉辦地，并為此在兩側看臺上建造了兩個局部頂棚。除此之外，體育場和場地——包括納粹時期的雕塑——在很大程度上保留了1936年的狀態。

There was almost no active engagement with these central components of the site and of the stadium after 1945. The bell tower was damaged in the war and blown up in 1947, but it was already rebuilt true to the original in 1962. The British forces in Berlin used a large portion of the Olympic grounds. Hertha BSC started holding its home games in the Olympic Stadium in 1963 and, at about that same time, the stadium also began serving as a venue for concerts and church congresses. For the 1974 FIFA World Cup, the Olympic Stadium hosted three qualifying games. Two partial roofs over the side stands were constructed for the occasion. Otherwise, the stadium and grounds, including sculptures from the Nazi era, largely remained in the same condition as in 1936.

1998年—2004年

1998年建筑設計競賽的要求充斥著各種幾乎無法解決的矛盾。既需要實現世界足球協會的功能及技術標準，同時滿足城市對現代化體育場的要求，還要兼顧歷史遺址保護的需要。顯而易見的是，無論采用何種更新改造方式，在設計中必須明確對歷史的態度。

The specifications for the 1998 architectural competition were filled with virtually unresolvable conflicting goals that included complying with the functional and technical standards of FIFA, granting the city’s wish for a contemporary stadium, and meeting the requirements for monument preservation. It was evident that all the alterations would demand that a clearly identifiable, creative approach to the past be taken.

對整個建筑群進行了深入研究后，我們確信必須要保留體育場和鐘樓之間的視覺軸線。切斷這個連接將使體育場變成獨立的單體，并將割裂體育場內部與場地及歷史的關系。所以，我們設計了一個極為輕盈的屋面，白天可以將光線均勻地引入體育場內部。夜晚，屋頂體量在間接照明下熠熠生輝。在馬拉松門的上方，我們在屋面上留下了一個缺口，由此保留甚至強調了延伸到鐘樓的視覺聯系。

Following a thorough survey of all the existing structures, we came to the conclusion that the sight line between the stadium and the bell tower had be retained as a central element of the overall ensemble, despite all the Nazi connotations. Severing this connection would have inevitably isolated the stadium and, in particular, separated the stadium interior from the grounds. Instead, we developed an extremely lightweight roof as weather protection that allows diffuse light to penetrate into the interior during the day. At night, the roof volume itself becomes a luminous object thanks to indirect lighting that can take on different colors. Above the Marathon Gate, we left a gap in the roof panel that preserves the view of the bell tower and even calls attention to it.

這一設計決策在團隊內部以及所有合作伙伴和招標方之間引發了激烈的討論，特別是這個缺口也帶來了復雜的技術難題。如果屋面合攏，就不需要在體育場內分布26個支承柱。然而，正是這個缺口表達了明確的態度，即這不是為了評判、改寫或隱藏歷史。通向鐘樓的視覺軸線在今天仍可能引起不適，但這也不無裨益。因為只有這樣，體育場才能作為場地的一部分并保留其歷史。這條軸線也使體育場在未來成為一座永久的主動回應歷史的紀念碑。

This creative decision inspired lively discussions, both within the office and with all the partners and sponsors, particularly because this gap also resulted in technical complications. For example, the 26 tree columns supporting the roof and distributed around the inside of the stadium wouldn’t have been necessary without the break in the roof panel. But it is this empty space in the roof that formulates a clear stance. It isn’t a matter of commenting on, revising, or hiding the past. The view of the bell tower can still cause discomfort today — and that’s also a good thing. It shows that the stadium continues to be closely interwoven with the overall grounds and Germany’s past. By preserving this axis, the stadium continues to be a monument in the sense of an enduring and active encounter with the past.

改建中也必然涉及如何處理朗馬克紀念堂。在我們的建議下，與德國歷史博物館共同設立了一個文獻中心，為場所及其歷史提供背景知識。朗馬克紀念堂的所有裝置都在現有建筑中顯得與眾不同。一臺玻璃電梯通向觀景層，可以從上俯瞰城市、體育場和場地。

This also has to include an encounter with the Langemarck Hall. On our recommendation and in cooperation with the German Historical Museum, a documentation center was established inside the hall that provides information on the site and its history. On the other hand, we clearly broke with the past when it came to materials and designs. All the fixtures in the Langemarck Hall are distinct from the existing context. A glass elevator ascends to a viewing platform that offers panoramic views of the city, stadium, and grounds, making them a central part of the presentation.

我們還將新的體育場屋面表達為一種對比元素。它在體育場上方呈現為輕盈、透明的橢圓形態。從外面看，更像沉重的女兒墻上伸展的一條細長的水平線，與沉重的石質建筑遺產保持批判距離的同時，形成了一種新穎的、精巧的照明效果和輕盈的建筑風格。文保建筑盡量保持原樣，只是得到了一些補充，新舊元素的結合中也保留了些許不適。

We also formulated the new stadium roof as a contrasting element. It appears as a lightweight and transparent oval above the stadium. From the outside, it comes across as a simple, narrow, horizontal band above the substantial parapet. The historic monument remains entirely unadulterated. A new, delicate architecture of light and lightness is generated that maintains a critical distance from its heavy, stony heritage. The result is an architectural synthesis of old and new. History is preserved in its entirety and the stadium is enhanced, without fully eliminating the discomfort.

同時，這種不適并不是必然會發生的。正如我們在2006年世界杯足球賽上所見到的，人們在這里可以愉快地慶祝體育活動，大多數人甚至不知道通向鐘樓的視覺聯系意味著什么，也不知道朗馬克紀念堂的存在。奧林匹克體育場是一座歷史層次豐富的紀念碑，要發掘多少層次，取決于參觀者和使用者本身。

At the same time, discomfort isn’t necessarily a mandatory feature of the stadium. As the 2006 FIFA World Cup more recently demonstrated, the stadium is also a place where sports can be thoroughly enjoyed. Most people won’t even know why the view of the bell tower is controversial or that Langemarck Hall exists. The Olympic Stadium has been retained as part of the overall grounds and as a multilayered monument. The people who visit it will decide how many layers they want to uncover.

項目信息

柏林奧林匹克體育場

德國

2004年

業主：柏林市

1936年設計：維爾納·馬爾什

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