建筑师 Renato Rizzi 给gooood分享了他在波兰格但斯克的莎士比亚剧场。该剧场的方形屋顶可以像翅膀一样打开，让剧院与天空对接。在这里，人们望向Gdansk的天空，望向莎士比亚的天空，望向我们每一个人内心的天空。更多请至：Renato Rizzi on gooood

Two concepts converge in the project: first, historical nature; second, political-cultural nature.

Historically: the Baltic city had already known on the seventeenth century the wooden building of the Elizabethan Theatre. After about four centuries it builds the new theatre on the same place, but in an urban context completely different.

Politically: in 2004 Poland leaves Soviet Union and officially enters European Union. The same year of the new Elizabethan Theatre international competition. As if the new theatre should represent on the stage of Gdansk the reversal of political horizon.

Theatre building is divided formally and functionally into three main parts:

1 outer edges,

2 theatre,

3 administrative area.

这个项目融合了两个概念：其一是历史上的性质，其二是政治文化上的性质。

历史上：这个波罗的海城市早在七世纪就以其伊丽莎白女王剧院的木结构建筑而文明。而大约在四百年之后，在同一个地方又建起了新剧院，而周围的城市文脉早已完全改变。

政治上：2004年，波兰脱离苏联并正式加入欧盟。新伊丽莎白剧院国际建筑竞赛同样发生在这一年，好像这个新剧院应该要表现Gdansk的阶段以及政治环境的巨变。

剧院建筑被从形式上和功能上分为三个主要部分：

1 外围边缘，2 剧院，3 管理区。

Edges 外围边缘

The outer edges are public passageways leading around the whole complex. This new pedestrian urban platform lies six metres above entrance level. The height offers a new viewpoint of historic and modern city with its contrasts and compositional counterpoints. Functionally, the edges ensure escape ways, and pedestrian links with all the levels of complex, including the basement (-5m).

1 外围边缘是围绕着整个综合体的公共通道。这个新建的城市步行平台位于主入口层上方六米。这个高度为人们提供了观赏这个历史与现代城市的对比和新旧结合。功能上，外围边缘确保了逃生通道，以及连接到各层，包括地下室（负五米）的人行通道。

Theatre 剧场

Outside

The theatre’s silhouette is characterised by three general aspects: volumes, masonry ribs, openable roof.

From volume’s profile two very distinct parts emerge. First belongs to the Elizabethan Theatre, and sets the high of the building to 12.00m. Second, the 18.00m high scenic-tower. Technical and symbolic requirements make it the highest panoramic point. When the theatre roof is open, the view from the tower includes the theatre’s interior.

Masonry ribs characterise the volumes of the theatre and scenic tower. On the outside, they indicate the rhythm of the modular indoor structure. They are needed to absorb the pressure that the roof’s “wings” exert on the walls.

Openable roof. It comes from typological and symbolic needs. The wings opened, reach 24m height, concluding the vertical scale of levels (6-12-18-24m). In plan, the whole assumes the figure of a diapason with the main axis oriented east-west. The scenic-tower transversely divides theatre from administrative area. Its central position restricts the pathways of the outer pedestrian edges. Situated within the perimeter of the diapason (3.6m thick) are all the horizontal and vertical walkways. This figuratively autonomous part is distinguished from the edges precisely to express the spatial hierarchy between different formal systems.

外部

剧院在轮廓上有三个方面的主要特色：体量，砌体肋支撑，可开合屋顶。

从体量上看有两个截然不同的部分。首先是伊丽莎白剧院的部分，它把建筑高度设定在12米。第二是18米高的观景塔。技术上以及象征上的要求使它成为最高的全景观望点。当剧院屋顶打开时，观景塔还能俯瞰到剧院内部。

砌体肋支撑结构表现了剧院和观景塔的空间特征。它们从建筑外部显示出内部结构的模数节奏。这些肋支撑需要用来吸收屋顶的“两翼”对墙体施加的压力。

可开合屋顶来自建筑类型学上和象征意义上的需要。“翅膀”打开的时候高达24米，确定了建筑竖向上的尺度(6-12-18-24m)。平面上，建筑整体与东西向的主轴呈现出“音叉”的形象。观景塔把剧院和管理区横向划分开来。其中心位置限制了外围人行边缘的通道走向。所有的横向和竖向走道都位于音叉（3.6米厚）的轮廓之内。这个形象上的独立部分能够精确地从边缘区别出来，以表达不同建筑形式系统之间的空间等级。

Inside

In contrast to gravity and compactness of outer walls, the interiors are in light wood of two types, one for the Elizabethan theatre, and one for

the suspended foyer volume. The former, the typological module of 2.8×2.8×2.8m derives from archaeological excavations on site. In plan, six

modules on two long sides and five on short one, make a C-shaped figure. 51 modules for 600 spectators. Wooden columns (25x25cm) contain

a steel structure and are positioned in accordance with the modular pattern of the galleries. The Elizabethan and Italian stages are fully

mechanised to meet the theatre’s configuration needs. The stages are mobile, almost in response to the wings of roof.

In the foyer volume, a suspended box offsets the external masses. A double height room overlooks different voids distinguishing and enveloping the entry spaces, from the lower museum area to the galleries of the theatre. When wings open, the sun rays can extend until the basement.

内部

与外墙的致密性和重力形成对比的是建筑内部轻量木材。伊丽莎白剧院和悬挂门厅所使用的是两种不同的木材。前者使用的是源自现场考古发掘类型的2.8立方米模数材料。平面上，长边和短边分别包含六个和五个模数，确定出一个C型的轮廓。51个模数容纳下600名观众。木柱(25x25cm)里包含了钢结构，并根据画廊模数的图形来放置。舞台为满足剧院配置需求实现了完全机械化。舞台都是可以移动的，几乎与屋顶的翅膀相呼应。在门厅空间内，一个悬挂的方盒子抵消了建筑外部的体量。从较低的博物馆区域到剧院的画廊区，一个两层高的房间能看到区分并包括着入口空间的不同空隙。翅膀打开的时候，阳光能够直接照射到地下室。

Administrative area 管理区

It contains all secondary theatre activities. Two floors volume, with a roof terrace at the same level with the outer edges from which it is possible to access the square roof open to entire city. Another unexpected place for representations: stage third.

Stage fourth: the one that looks to the sky of Gdansk, the sky of Shakespeare, the inner sky of each of us.

两层的管理区空间包括了所有的剧院附属活动。屋顶平台与外围边缘位于同一层，使它能到达向整个城市敞开的方形屋顶。第三舞台是另外一个让人意外的空间。第四舞台：这里望向Gdansk的天空，望向莎士比亚的天空，望向我们每一个人内心的天空。

Name and site of the project
Teatro Elisabettiano – Danzica – Polonia

Architects
Renato Rizzi

Design team
Capogruppo Renato Rizzi

Gruppo di lavoro Rizzi – Pro.Tec.O.
Roberto Rossetto
Roberto Giacomo Davanzo
Andrea Rossetto
Emiliano Forcelli
Susanna Pisciella
Denis Rovetti
Lorenzi Sivieri
Luca Sirdone
Ernst Struwig

Strutture    Armando Mammino
Meccanica tetto    A.C.R.
Consulente impiantistico  Gianfranco Rorato

Coordinamento specialistico Q-Arch Sp. z o.o. (Cracovia)
Robert Kuzianik (Coordination)
Wieslaw Socha (Coordination)
Anna Socha (Coordination)
Karol Korycki (Coordination)

Andrzej Dabrowski (Structural engineering)
Jan Wachacki (Electrical)
Arkadiusz Kontecki (Mechanical)
Lukasz Pilch (Hydraulic)
Bartek Zdeb (Others)
Zbigniew Koska (Building technology)
Feliks Mikulski (Fire consulting)

Direzione Artistica Renato Rizzi

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