到城市的体育场

A STADIUM TO THE CITY

 © Leonardo Finotti

莱昂纳多·芬诺蒂

贝洛·奥里宗特。现代主义景观中的现代主义建筑。

Belo Horizonte. A modernist building in a modernist landscape.

Mineir o体育场和Pampulha社区是在40年代构想出来的，当时正值结构主义狂热的开端，这将在接下来的几十年中指导巴西的经济政策。并非巧合的是，潘普拉的导师是朱塞利诺·库比奇克(Juscelino Kubitschek)，他当时是米纳斯·吉拉斯市(Minas Gerais)贝洛·奥里宗特市(Belo Horizonte)的市长，他向年轻的奥斯卡·尼迈耶(Oscar Niemeyer)和罗伯托·伯尔·马克思(Rob从1960年开始为他的巴西利亚写的一篇很成功的文章。

Mineirão Stadium and Pampulha neighborhood were conceived during the 40´s, at the beginning of the structuralist fever that would conduct the economic policies of Brazil during the following decades. Not by coincidence, Pampulha´s mentor was Juscelino Kubitschek, then mayor of the city of Belo Horizonte, Minas Gerais, who granted commissions to vanguard professionals such as young Oscar Niemeyer and Roberto Burle Marx to capture the essence of his modern envisions. Quite a successful essay for his Brasilia from 1960.

 © Alberto Andrich

c.Alberto Andrich

Mineir o于1965年落成，成为世界上第二大足球场，可容纳约13万人。它有节奏的钢筋混凝土结构和其巨大的比例，由Eduardo Mendes Guimar es少年和加斯帕加雷托设计，它立即成为景观中的一个图标。今天，Niemeyer的建筑、Burle Max的花园和Mineir o体育场都被列为遗产。

Mineirão was inaugurated in 1965 as the second largest football stadium in the world, with a total capacity for about 130 thousand people. With its rhythmic structure of reinforced concrete and its monumental proportions, a design by Eduardo Mendes Guimarães Junior and Gaspar Garreto, it immediately became an icon in the landscape. Today Niemeyer’s buildings, Burle Marx’ gardens and Mineirão Stadium are heritage listed.

 Estádio Mineirão in 1970 © Coleção Museu Abilio Barreto

Estádio Mineir o，1970年，c.Cole o Museu Abilio Barreto

在它建造的时候，Pampulha是一个与世隔绝的社区，远离Belo Horizonte的加固织物。现在它在城市范围之内，实际上是在它的扩张轴上。尽管有良好的基础设施，但该地区仍然缺乏城市设施和更好的服务。

At the time of its construction, Pampulha was a secluded neighborhood, miles away from Belo Horizonte’s consolidated fabric. Now it is within the city limits and actually lies on its expansion axis. Despite of having good infrastructure, the area still lacks urban facilities and a better offer of services.

 Sketch - BCMF Arquitetos "d'après" Oscar Niemeyer

素描-奥斯卡·尼迈耶“d‘après”

随着巴西被选为2014年世界杯主办国，有机会将该体育场改造成一个多功能体育综合体，这是当代体育场馆设计的基本趋势：提供各种服务，让这座建筑成为社区和城市的一个吸引焦点，确保其经济可持续性。

As Brazil was chosen to host the World Cup 2014, opportunity came about to transform the stadium into a multifunctional sports complex, a tendency that underlies the design of contemporary stadiums: to offer a variety of services that allow the building to become a focus of attraction to its neighborhood and to the city, ensuring its economic sustainability.

为使这一行动成为可能而选择的手段是公私伙伴关系(PPP)，该伙伴关系确定体育场的重建工作将由一家公司进行，作为回报，该公司将获准在今后25年内使用该体育场。

The instrument chosen to make this operation possible was a public-private partnership (PPP), which determined that the redevelopment of the stadium would be undertaken by a company which, in return, would be granted its use for the next 25 years.

 © Joana França

(Joana Fran A)

投标的获胜者是Minas竞技场联合会，该集团邀请以体育建筑专业知识闻名的BCMF建筑师负责新米内罗项目的执行项目(BCMF建筑师以前曾为2007年里约泛美运动会设计过德奥多罗建筑群，以及里约2016年奥运会中标的大部分概念研究。

The winner of the bid was Minas Arena Consortium, which invited BCMF architects, renowned for their expertise in sports architecture, to be responsible for the executive project of the New Mineirão, (BCMFarchitects had previously designed the Deodoro Complex for the Rio 2007 Pan-American Games, plus most of the concept studies of the winning bid for the Rio 2016 Olympic Games.

其任务是审查由巴西政府采购协定签署的作为投标职权范围的基本项目。

The task was to review the basic project used as a term of reference for the bidding, signed by Brazilian GPA&A and German GMP, and to deliver a new design for the stadium, in accordance to the demands of the consortium and of the PPP policies. Innovations ranged from responses to new requirements from FIFA and other technical guidelines, to new concepts to integrate the building to its surroundings context and to enhance the commercial potential of the complex, including the redefinition of the external architecture (“esplanade”) and of the roof extension. All of this taking into account a tight schedule.

 © Leonardo Finotti

莱昂纳多·芬诺蒂

体育场内的变化符合国际足联的要求：通道、安全、容量、能见度、新闻区、运动员设施、后勤等。屋顶的延伸是观众舒适的关键，无论是在体育场内(天气保护)还是室外(以防止广播过程中的暗光对比)。该场地-以前主要用作露天停车场-必须完全重新界定，以便创造进入体育场的条件和对体育场的一般支持，并使购买力平价模式所界定的业务运作得以进行。

Changes inside the stadium respond to FIFA´s requirements: accesses, security, capacity, visibility, press areas, athletes’ facilities, logistics, etc. The extension of the roof is critical to the comfort of the audience both inside the stadium (weather protection) and outside of it (to prevent dark-light contrasts during broadcasting).  Externally, the site – previously used mainly as an open air parking area– had to be completely redefined in order to create conditions of access and general support to the stadium and to enable the business operation defined by the PPP model.

 © Joana França

(Joana Fran A)

对最近几十年增加了新项目的体育场馆类型的分析，揭示了将这些体育场馆置于竞技场之外的趋势。在这方面有两个典型的表述：要么在体育场增加一个讲台，这意味着在其基础上增加一个平台-例如在绿点(南非开普敦)、安联竞技场(德国慕尼黑)和新落成的Castel o(巴西福塔莱萨)等地-或者在其基础上增加一个垂直音量，一起组成一个紧凑的整体-如在建中的Itaquer o(圣保罗)。

An analysis of the typologies of sports stadiums, which had new programs added in recent decades, reveals a tendency of having these placed outside of the arena. Two typical expressions are in this respect: either a podium is added to the stadium, meaning a platform at its base – such as in Green Point (Cape Town, South Africa), Allianz Arena (Munich, Germany), and the newly inaugurated Castelão (Fortaleza, Brazil), among others – or a vertical volume is added to it, together forming a compact whole – as in under-construction Itaquerão (São Paulo).

 © Joana França

(Joana Fran A)

由于Mineir o是一座受保护的建筑，因此增加新的程序完全可以通过在其底部插入一个平台来完成。BCMF所带来的巨大创新是将这一平台传达给城市和体育场的方式。这一平台颠覆了传统的平台概念，指的是具有平顶面的水平建筑(如上面提到的例子和Mineir o的基本项目)，这一平台被雕刻在地面上并相应地形成形状，在不同的层次上创建了半公共广场。

Since Mineirão is a protected building, the addition of new program could be solely made through the insertion of a platform at its base. The great innovation BCMF delivered has been the way of articulating this platform both to the city and to the stadium. Subverting the classic notion of a podium, which refers to a horizontal building with a flat top surface (as in the examples mentioned above and on the basic project for Mineirão), this platform is carved on the ground and shaped accordingly, creating semi-public squares set at different levels.

 © Leonardo Finotti

莱昂纳多·芬诺蒂

两个主要广场(北部和南部)与周围环境相连，被视为城市地面的延续。缓缓的斜坡和倾斜，两侧楼梯与看台的比例，提供普遍的可达所有点，包括竞技场。用户逐渐接近它，在路上发现了许多广场。从这些广场中的一个出发，从一个行人连接到米尼利尼奥体育馆，悬挂在现有的道路上。

Two main squares (North and South) are connected to their surroundings, being perceived as a continuation of the city’s ground. Gentle slopes and inclines, flanking staircases with grandstand proportions, provide universal accessibility to all points, including the arena. Users approach it gradually, finding many plazas on the way. From one of these plazas departs a pedestrian connection to Mineirinho Gymnasium, suspended over the existing road.

 © Leonardo Finotti

莱昂纳多·芬诺蒂

因此，这种人工地形是为行人和人群的流动而设计的。与此同时，地下楼层拥有复杂的流动和运营区域网络，同时也有PPP模式(商业和机构领域)和政府(足球博物馆、卫生中心、小额索赔法庭)所要求的目的。因此，房子的前面，设置在上面，是分开的房子后面，下面，通过垂直分段(横截面)，与传统的水平一(计划)相关联。

This artificial topography is thus intended for the flow of pedestrians – and crowds. Meanwhile, floors underneath host an intricate network of flows and operational areas, alongside purposes demanded by the PPP model (commercial and institutional areas) and the government (Football Museum, health center, small claims court). Therefore, the front of house, set above, is separated from the back of house, below, through a vertical sectorization (cross-section), associated with the traditional horizontal one (plan).

 © Leonardo Finotti

莱昂纳多·芬诺蒂

然而，最终，这两个世界是相交的：商店的正面出现在游乐场上，在战略上选择的点来激活它。这些商店连同楼梯组成的圆形剧场，以及宣传公共活动和活动的意图，应确保每周七天的使用者流动，为社区的城市体验提供至关重要的质量，并为经营者带来商业利润。

Ultimately, however, these two worlds do meet: shop facades emerge on the esplanade in points strategically chosen to activate it. Together with an amphitheater formed by the staircases and intent to promote public events and activities, these shops should ensure the flow of users seven days a week, contributing to the vital quality of the urban experience in the neighborhood and to the business profitability for the operator.

 © Leonardo Finotti

莱昂纳多·芬诺蒂

在现有的竞技场中，结构框架、屋顶板和上部拱顶都得到了保护。中低档被拆除，球场降低了3.40米，达到了国际足联的视线要求。体育场配备了62.160个坚固的符合人体工程学的新座椅，三种灰色颜色，产生了不同寻常的像素化效果，为由哈代设计公司签署的充满活力的色彩视觉传达项目创造了一个中立的背景。

Of the existing arena, structural frames, roof slab and upper tiars, all protected, were kept. Intermediate and lower tiars were demolished and the pitch was lowered by 3.40m, achieving FIFA´s sightline requirements. The stadium was furnished with 62.160 sturdy ergonomic new seats, colored in three shades of gray that generate an unusual pixilated effect, creating a neutral background for the vibrant colors visual communication project, signed by Hardy Design.

屋顶的延伸完全被重新定义了。Engeserj的工程师们得出结论，Mineir o的坚固的骨架可以-而且应该-参与扩建的结构体系。混合系统与体育场的88个混凝土框架保持同步，在它们上加载，创造了26米的新悬臂覆盖。

The extension of the roof was completely redefined. Engineers from Engeserj concluded that Mineirão´s strong and solid skeleton could – and should – participate on the extension’s structural system. The mix system keeps pace with the stadium’s 88 concrete frames, loading on them, creating 26m of new cantilevered coverage.

第一步是用液压千斤顶和钢缆减轻梁的应力。这座建筑被拆除，中和了它多年来一直下沉的30厘米。事实上，它被拉了几厘米，比原来的水平高了一点，这样，随着屋顶延伸处的新载荷，最终的结果将类似于体育场的第一天的情况。然后，用由钢板和钢索组成的支撑系统对柱子和梁进行加固。由钢管组成的扁桁架，在每根柱子的旁边浇筑连接件后，一个接一个地插入。最后，在新的覆盖层上放置了一个自清洁膜。

First step was to relieve stress at the beams with hydraulic jacks and steel cables. The structure was lifted, neutralizing the 30cm that it had subsided throughout the years. In fact, it was pulled a few centimeters more, a bit higher than its original level so that, with the new loads from the roof extension, the final result would resemble the conditions of the stadium’s first days. Then, pillars and beams were reinforced with bracing systems composed by steel plates and cables. Flat trusses composed of steel pipes were inserted one by one, after joint pieces were concreted next to each of the pillars. Finally, a self-cleaning membrane was laid on top of the new coverage.

 © Joana França

(Joana Fran A)

现有楼板上方的整个地区都有一个太阳能电池板网络，将产生足够的能源为大约1，200户家庭的房屋服务：体育场将为公共网络提供电力，并在需要时将其收集回来供其自己使用。雨水正在收集和使用。在新的混凝土中，约90%的拆除残渣被用作骨料，旧草坪和旧椅子被捐赠给其他体育场。

The whole area above the existing slab received a network of solar panels that will produce enough energy to serve about 1,200 single-family houses: the stadium will make this power available to the public network, and collect it back whenever needed for its own use. Rainwater is being collected and used. About 90% of the demolition spoils were triturated and reused as aggregate in the new concrete, and old lawn and chairs were donated to other stadiums.

 © Joana França

(Joana Fran A)

米尼昂体育场指出了大型体育赛事可以给主办城市留下持久遗产的方式。在这里，尽管干预是在建筑规模上进行的，但它们对更大范围的需求做出了反应，例如社区和城市本身。新计划是通过建立新的半公共空间和广场来实现的。因此，城市领域被邀请进入体育场的领域和范围。

Mineirão Stadium points out ways in which sports mega events can leave a lasting legacy to the host cities. Here, even though interventions are made on a building scale, they respond to the demands of larger scales, such as the neighborhood and the city itself. The new program is incorporated through the creation of new semi-public spaces and plazas. Thus, the urban domain is invited into the realm and scope of the Stadium.

 Level 01 Plan

01级计划

文本：Mariana Siqueira。原载于AU-Armisetura e Urbanismo(Ed Pini)杂志，第229期，2013年4月

Text by: Mariana Siqueira. Published originally on magazine AU – Arquitetura e Urbanismo (Ed PINI), issue 229, April 2013

Architects in Charge Bruno Campos, Marcelo Fontes, Silvio Todeschi

Location Pampulha, Belo Horizonte - Minas Gerais, Brazil

Category Soccer Stadium

Project Team Patrícia Bueno, Leonardo Paes, Luciana Maciel, Michelle Moura, Mara Coelho, Leonardo Rodrigues, Joana Vieira, Carolina Eboli, Gabriela Jacobina, Henrique Amin, Isabel Garcia, Thiago Bandeira, Camila Belisário, Fani Frkovic, Demetris Venizelos, Daniela Ribeiro, Marta Guedán Vidal, Felix Morczinek, Charlotte Fredriksson e Frederico Almeida

Project Area 348900 sqm

Ano do projeto 2012

Fotografias Alberto Andrich, Leonardo Finotti, Joana França, Eugênio Sávio, Gustavo Xavier, CEMIG, Museu Abilio Barreto Collection

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