架构师提供的文本描述。小组：Carmen Br dățeanu，Ciprian OnețIU，Sorin Bularca，Alexandra Bendea，Ioan Sava，Lorant Miklos，Ioan Bera，Ioan IOV，Iustian Orza，Teodora Dănilă，Ciprian Cătineanu，Bogdan Dico，Diana EdițOIU，Cristian Ioja，Paul摩尔多瓦van，Mihai Roșca，Adina Petrica，Sabina Bulboacă，Emilia Bulboacă和Răzvan C m花生

Text description provided by the architects. Team: Carmen Brădățeanu , Ciprian Onețiu, Sorin Bularca, Alexandra Bendea, Ioan Sava, Lorant Miklos, Ioan Bera, Ioan Iov, Iustinian Orza, Teodora Dănilă, Ciprian Cătineanu, Bogdan Dico, Diana Edițoiu, Cristian Ioja, Paul Moldovan, Mihai Roșca, Adina Petrica, Sabina Bulboacă, Emilia Bulboacăand Răzvan Câmpeanu

这座竞技场取代了位于克鲁吉-纳波卡的前离子莫伊纳市体育场，在此之前作出了铺设、拆除和现代化的决定。它在城市内的位置在沿索梅斯河发展起来的休闲和体育轴心中享有特权地位，非常容易接近和靠近市中心。这个地方已经获得了“在体育场”的名字，并被克鲁吉城体育迷认为是一个神圣的空间，甚至是一个堡垒，当一个新的体育场的想法诞生，但被安置在一个不同的位置。当定义新体育场的建筑时，中心位置从一开始就是一个挑战。

The Arena replaces the former Ion Moina Municipal Stadium in Cluj- Napoca, after the decision of laying up, demolition and modernization attempts that preceded it.Its location within the city has a privileged position in the axis of leisure and sport developed along the course of the Somes River, being very easily approachable and near downtown. The place has gain its name “at the stadium” and was considered by the ClujCity sports fans a sacred space and even a redoubt to be defended when the idea of a new Stadium was born, but placed in a different location. The central location was a challenge from the beginning when defining the architecture of the new Stadium arose.

这一概念是基于该城市主要步行街内竞技场的整合战略，从历史中心的西端和中央花园开始，并继续在市政游泳池区和体育场内进行，直至霍里亚德米安体育馆和技术大学自然组形成的建筑群，其次是尤柳哈特根体育公园，包括婴儿-博莱大学的体育设施，然后继续玫瑰公园，由市政厅和一个网球俱乐部管理。导致这一概念的第一批问题之一是长廊的连续性。

The concept is based on the integration strategy of the Arena within the city’s main promenade that starts at the West end of the Historic Center with the Central Gardens, and continues in the Municipal swimming pool areas and the stadium unto the group of buildings formed by HoriaDemian sports hall and the group of natation of the Technical University, being followed by the Iuliu Hategan Sports Park including the sports facilities of the Babes-Bolyai University and then continues the Rose Park, managed by the City Hall and a Tennis Club. One of the first issues that led to the concept was the continuity of the promenade.

 Courtesy of Dico si Tiganas

迪科·西·蒂加纳斯

这个项目最重要的概念元素是上下文环境和室内环境之间的透明度和视觉联系。这种透明性的主要目标是视觉和精神的渗透性，目的是在公众与草地或田径跑道的神奇绿色长方形之间保持恒定的关系。

The most important conceptual element for this project is the transparency and visual connections between the contextual environment and indoor. This transparency aims primarily the visual and mental permeability designed to maintain constant relationship between the public and the magic green rectangle of the grasscourt or the athletic track.

 Courtesy of Dico si Tiganas

迪科·西·蒂加纳斯

我们所关心的远远超出了这样一个大型项目的功能需求，国际体育联合会的规范准则对它进行了彻底的界定，它的日常状态是，当没有表演时，竞技场的影响。在城市尺度上，我们经历了一个具有象征意义的当代地标的需要，为此我们选择了一种流淌的形式的答案，一种与索姆斯河的蜿蜒有很强联系的宏观浮雕。

What concerned us far beyond the functional requirements of such a huge project, defined thorough in the normative guidelines of international sports federations, was the impact of the arena when no shows were performed, its daily state. At the city scale we experienced the need of a symbolic contemporary landmark, for which we have chosen a fluid and flowing of forms answer, a macro-relief with a strong connection to the meander of the Somes River.

 Courtesy of Dico si Tiganas

迪科·西·蒂加纳斯

在位置尺度上，我们已经显着地减少了从北到南交通的接触区域的体积，在对角线对称的策略之后变得支离破碎。围在围场周围的周边斜坡使公园建设通道成为可能，减少了规模，并提供了一条从通道进入的第二条长廊，从外面的公众可以窥见日常生活的舞台。作为一个答案，视力从内部通过连接的四个框架到高地的城市和景观。

At the location scale we have significantly decreased the volume on the contact areas with traffic from North to South, fragmenting after a strategy for diagonal symmetry. The perimeter slope that surrounds the tribunes makes possible the park-construction passage, reduces the scale and offers a second promenade from the access areas, wherefrom the outside public can take a glimpse at the everyday life arena. As an answer, the eyesight from the inside balks through the joints of the four frames to the highlands of the city and landscape.

按照同样的透明视觉策略，正面是半透明的，允许通过编织条或由刺破的薄片制成的分开的“鳃”对周围环境进行自由和惊人的观察。白天的景象取决于阳光条件的复杂性和多样性，尤其是清晨的放牧光线和沿河的日落。我们选择了一张金色的白色床单，它能反映天空的颜色和周围的环境。所以体育场变成了一个巨大的变色龙，在某种程度上成为了一个太阳能钟。

Following the same visual strategy of transparency, the facades are translucent, allowing free and startling overview to the surroundings through the woven strips or parted “gills” made of punctured sheet. The picture of the day relied on the complexity and diversity of the sunshine conditions and especially on the grazing light of the morning and the sunset along the river. We have chosen a white sheet with gold irisationsthat reflects the sky colors and the surrounding environment. So the stadium becomes a huge chameleon and a in a way, a solar clock.

 Courtesy of Dico si Tiganas

迪科·西·蒂加纳斯

在黑暗中，这两种可能的状态有着截然不同的形象：每晚都有一束温暖的光线区分结构和正面的节奏，每当这些灯光点燃竞技场时，它就会成长为城市中最大的灯，并被透明度所消除。作为建筑师，我们总是想知道如何在这个建筑中带来快乐。对于那些在节目中进入室内的人，对于那些在外面感受到脉搏的人，对于那些在附近行走的人和那些从远处观看的人。

In darkness the two possible states have distinct images: a warm light distinguishes every night the rhythms of structure and facades, and whenever the shows enflames the arena, this grows into the largest lamp in the city and is dematerialized by transparency. As architects we always wondered how to bring joy through this construction. To those entering inside at a show and to those who stays outside feeling its pulse, to those who are walking nearby and to those who are watching from the distance.