© Matteo Piazza

(Matteo Piazza)

架构师提供的文本描述。两个基本假设汇合在这个项目中：第一，历史性质；第二，政治-文化性质。

Text description provided by the architects. Two fundamental assumptions converge in the project: first, historical nature; the second, political-cultural nature.

 © Matteo Piazza

(Matteo Piazza)

 © Matteo Piazza

(Matteo Piazza)

历史上：这个波罗的海城市在十七世纪初就已经知道伊丽莎白剧院的木制建筑了。大约四个世纪后，新剧院建在同一个地方，但在一个城市和景观的背景完全不同，重新开始他们的考古遗迹，发现了那遥远的存在。

A-Historically: the Baltic city had already known at the beginning of the seventeenth century the wooden building of the Elizabethan Theatre. After about four centuries builds the new theatre on the same place, but in an urban and landscape context completely different, restarting from their archaeological traces found of that far away presence.

 © Matteo Piazza

(Matteo Piazza)

政治：在2004年，有一个国际竞争设计的新伊丽莎白剧院。仿佛新剧院必须在格但斯克舞台上代表政治地平线的逆转。

B- Politically: in 2004, there was an international competiton for the design of the new Elizabethan Theatre. As if the new theatre had to represent on the stage of Gdansk of the reversal of the political horizon.

 © Matteo Piazza

(Matteo Piazza)

剧院建筑从形式上和功能上分为三个主要部分：

The theatre building is divided formally and functionally into three main parts:

环绕外缘的走道，剧院本身，行政区域。

the walkway around the outer edges, the theatre itself, the administrative area.

 © Matteo Piazza

(Matteo Piazza)

1边缘。

1 The edges.

外围是环绕整个建筑群的公共通道。这座新的步行街月台位于入口六米处。高度为历史城市和现代城市提供了一个新的视角，它的对比和构成的对立面。在功能上，边缘确保从剧院的逃生通道，和行人连接所有的综合设施，包括地下室在5米以下的地面。

The outer edges are public passageways leading around the whole complex. This new pedestrian urban platform lies six metres above the entrance level. The height offers a new viewpoint of the historic and modern city with its contrasts and compositional counterpoints. Functionally, the edges ensure escape ways from the theatre, and pedestrian links with all the levels of the complex, including that of the basement at five metres below level ground.

 © Matteo Piazza

(Matteo Piazza)

2剧院。

2 The Theatre.

A-外面

A - Outside

在外面，剧院的轮廓有三个方面的特点：体积，砖石排骨，和一个开放的屋顶。

On the outside, the theatre’s silhouette is characterised by three general aspects: volumes, masonry ribs, and an openable roof.

 © Matteo Piazza

(Matteo Piazza)

从卷的简介中，出现了两个非常不同的部分。第一座属于伊丽莎白时代的剧院，并将建筑物的高度设为12.00米。第二个属于1800米高的风景塔。技术，系统相关和象征性的要求使它成为最高的全景点。当剧院的屋顶打开时，塔上的景色包括剧院的内部。

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

 Plan Level +3,2mt

计划级别3，2 mt

 Plan Level +6mt

计划级别6 MT

外墙的砖石排骨是剧院和风景塔体积的特征。在外部，它们表明了模块化室内结构的节奏。它们需要吸收屋顶张开的“翅膀”在下面墙壁上施加的压力，以对比北风的力量。

Masonry ribs in the outer walls 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 open “wings” of the roof exert on the walls below in order to contrast the force of northerly winds.

 © Matteo Piazza

(Matteo Piazza)

可打开的屋顶。它来自于类型学和象征性的需求。它的翅膀直直地张开，边缘达到24米的高度，完成了水平的垂直推进(6，12，18，24米)。在计划中，整体假设为一个以东西向主轴为中心的底盘图.景区塔横向将剧院区与行政区隔开。它的中心位置限制了行人外部边缘的通道。位于底座周围(3.6米厚)的是所有的水平和垂直步行道。为了表达不同形式系统之间的空间层次，这一形象化的自治部分被精确地从外部边缘返回。

Openable roof. It comes from typological and symbolic needs. With its wings opened straight up, the edges reach a height of 24 metres, concluding the vertical progression 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 the theatre area from the administrative one. Its central position restricts the pathways of the outer pedestrian edges. Situated within the perimeter of the diapason (3.6 metres thick) are all the horizontal and vertical walkways. This figuratively autonomous part is set back from the outer edges precisely in order to express the spatial hierarchy between the different formal systems.

 © Matteo Piazza

(Matteo Piazza)

相对于外墙的重力和紧凑性，建筑内部采用两种类型的轻质木材，一种用于伊丽莎白时代的剧院，另一种用于大厅上方的悬浮体积。前者的类型学模块为2.8×2.8米，取自考古发掘时发现的模块。在计划中，两个长边有六个模块，一个短边有五个模块，形成一个C形图形。总共有51个模块，供大约600名观众观看。木柱(25x25厘米)包含一个内部的钢结构，并按照画廊的模块化模式定位。

In contrast to the gravity and compactness of the outer walls, the interiors of the building are in light wood of two types, one for the Elizabethan theatre, and one for the suspended volume above the foyer. For the former, the typological module of 2.8 x 2.8 x 2.8 metres is taken from the one found during archaeological excavations of the site. In plan, there are six modules on the two long sides and five on the one short side, making a C-shaped figure. All in all, there are 51 modules for about 600 spectators. Wooden columns (25 x 25 centimetres) contain an internal steel structure and are positioned in accordance with the modular pattern of the galleries.

 © Matteo Piazza

(Matteo Piazza)

伊丽莎白和意大利的舞台是完全机械化的，以满足剧院的各种配置需要。舞台运动技术位于楼板下面的底座。舞台是可移动的，几乎是为了响应屋顶的翅膀。在门厅的体积中，一个悬挂式的盒子抵消了外部的质量。从地下室的博物馆区到剧院本身的画廊，一个大的双高房间可以俯瞰不同类型的洞口，以区分和包住入口处的空间。当翅膀张开时，阳光会延伸到地下室。

The Elizabethan and Italian stages are fully mechanised to meet the theatre’s varying configuration needs. The stage movement technology is located in the base below the floor slab. The stages are mobile, almost in response to the wings of the roof. In the foyer volume, a suspended box offsets the external masses. A large double height room overlooks the different types of voids that distinguish and envelop the entry spaces, from the museum area in the basement to the galleries of the theatre itself. When the wings open, the sun rays can extend until the basement.

 Longitudinal Section 1

纵向第1节

3行政区域。

3  Administrative area.

它包含剧院的所有次要活动。办公室、监视、餐厅、更衣室等。一个两层楼的体积，有一个屋顶露台在同一水平与外部边缘，从那里可以进入广场屋顶向整个城市开放。另一个意料之外的表现地方。第三阶段。

It contains all secondary activities of the theatre. Offices, surveillance, restaurant, dressing rooms, etc. A 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 the entire city. Another unexpected place for representations. The third "stage".

 © Matteo Piazza

(Matteo Piazza)

第四个“舞台”：仰望格但斯克的天空，莎士比亚的天空，我们每个人的内心天空。

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

Architects Renato Rizzi

Location Gdańsk, Poland

Category Theater

Local Office Q-Arch

Area 4000.0 sqm

Project Year 2014

Photographs Matteo Piazza, Lorenzo Sivieri