面积为35000平方米的皇家体育场是哥本哈根最受瞩目的文化场地之一，日前在Metallica乐队的四场满座演唱会中正式开放。这一专门为音乐会和世界级体育赛事设计的场馆旨在实现两个目标：成为独具特色的、高灵活度的多功能体育场，吸引当地及全世界的观众；激活整个区域乃至哥本哈根的发展。平台式的体量为聚会和日常活动提供了不同的公共空间，温暖的木制立面为内部的观众和外面的行人带来双向的视野，在丰富并融入都市生活的同时，也为周边地区带来更多价值。

One of the most anticipated cultural venues in Copenhagen, the 35,000 m2 Royal Arena, opened with four sold out concerts by Metallica. Specially designed for concerts and international level sporting events, this new venue combines two key ambitions: to create an attractive and highly flexible multi-purpose arena that can attract spectators locally as well as internationally, while ensuring that the building’s presence will be a catalyzer for growth for the entire district as well as Copenhagen. With a podium that offers different public areas for social meetings and daily activities with a warm timber façade allowing spectators to look out and the curious to look in, the arena is designed to catalyse urban life, thereby adding value and fitting into the surrounding neighbourhood.

▼建筑外观，exterior view

“好邻居” | “The Good Neighbour”

类似尺度的建筑毫无疑问会影响到其周围的社区。皇家体育场并没有像传统的体育场那样位于城市的边缘，而是坐落在高密度的住宅及商业区域。作为一名“好邻居”，场馆的设计需要引发更多积极的互动，为周边社区带来独特的价值。3XN Architects的创始人及创意总监Kim Herfoth Nielsen说：“在我们着手皇家体育场的项目之前，最大的一个问题就是，我们如何为该区域设计一位好的邻居？” 因此从一开始，建筑团队的工作重心就是在建筑与社区之间建立一种亲密的共生关系，使其为周边环境注入活力，同时为在附近居住和工作的人们提供更多新的机会。体育场的每个部分都是为了成为“好邻居”而生，“以人为本”则是整个项目的主旨所在。这也必然引起了对体育场原型的透彻反思。

Without a doubt, a building of this size affects the community next to it. Copenhagen’s new international arena is not, like a traditional arena, located on the outskirts of the city. It sits amidst a dense residential urban area with housing and businesses. As “the good neighbour”, therefore, its design needs to encourage active interaction and those characteristic values which make a neighbourhood enjoyable. “Our most important question before starting out the Royal Arena project was: How do we design the good neighbour for this area?” tells Kim Herfoth Nielsen, Founder and Creative Director at 3XN Architects. From the beginning, therefore, it was central to 3XN to create an intimate symbiosis between the building and the community, activating its surroundings and offering new opportunities for those who live and work adjacent to the building. All its facets, the arena is designed to be a ‘good neighbour’. Central was the idea of ‘putting people first’. A radical rethinking of the Arena typology was, therefore, inevitable.

▼体育场坐落在高密度的住宅及商业区域，the arena sits amidst a dense residential urban area with housing and businesses

▼温暖的木制立面为内部的观众和外面的行人带来双向的视野，the warm timber façade allowing spectators to look out and the curious to look in

斯堪的纳维亚风格的引入 | A Scandinavian take on the typology

体育场的设计重心是一个连接了周边环境的独特平台。不同类型的小广场、口袋空间和集会场地环布于平台周围，能够更加高效地承载观众的流动。这一设计为社区带来了多样的公共空间以及楼梯等邻接场地，使体育场在空闲的情况下也能够促进和激发社区活力。

Central to the design of the Royal Arena is a unique podium acting as a link to the adjoining neighbourhood. This feature is designed to efficiently absorb the movement of spectators through a variety of small plazas, pockets and gathering areas which have been carved from the podium’s perimeter. It simultaneously encourages the community to embrace the variety of public spaces, staircase, and adjacencies which promote activity and liveliness when the building is not in use.

▼主入口立面，entrance facade

▼观众经由宽阔的楼梯进入平台，visitors enter the podium via a wide staircase

▼不同类型的小广场、口袋空间和集会场地环布于平台周围，a variety of small plazas, pockets and gathering areas were carved from the podium’s perimeter

“皇家体育场是一座本地性的建筑，因此它应当为该区域带来更多美学上的贡献，而不是像其他体育场馆那样，仅仅作为一个庞大的混凝土体量而存在。流线型的木制叶片和北欧风格的表现手法为体育场带来易于辨认的特征，同时与周围环境融为一体。”Kim Herfort Nielsen补充道。

“Since the arena is a local building, it was important to us to design it as an aesthetic contribution to the area, and not just a massive concrete block like other stadiums tend to be. Design wise, Royal Arena is easy to recognize with the curvy wooden fins and the minimalistic Nordic expression and fits the nearby area,” Kim Herfort Nielsen explains.

▼波浪般起伏的木制叶片微微抬升，指示出入口的方向， the wavelike movements of the wooden fins lift up slightly above the natural entry points of the Arena

▼立面细部，detail of the facade

为了优化各种规模的活动流程，设计团队设计了一个单体平台，能够更加高效地吸纳人群。观众经由宽阔的楼梯进入平台，再经由大尺度的主入口进入建筑内部。在人数特别多的情况下，还可通过沿着立面平缓分布的四个不同的入口进入。波浪般起伏的叶片微微抬升，指出入口的方向，带来易于辨认且符合逻辑的交通路径。

To achieve optimal flow at all scales of events, 3XN designed the building with a single podium. Visitors enter the podium via a wide staircase and from the podium enter the building via a large main entrance or, in case of large audience sizes, are distributed smoothly along the facade between four different entries. The wavelike movements lift up slightly above the natural entry points of the Arena making way-finding easy and logical.

▼平台内部的宽阔空间能够更加高效地承载观众的流动，the wide space in the podium will efficiently absorb the movement of spectators

▼交通空间，circulation

▼楼梯间的有趣壁画，the wall painting of the stair well

场地 | arena

碗状的体育场地具备了各种各样能够优化观看体验的设计，例如能够改善视野的折线形的墙壁、水平的天花板、隔音墙、便捷的出入口，以及一流的舞台设备。由于演唱会占据了体育馆活动的很大一部分，因此舞台的设计尤为重要。22米高的舞台装置成为了所有方向上的焦点，它能够提供各种类型的舞台场景。灵活的设计使体育馆能够适应各种类型的活动，且在功能方面拥有无限的可能性。对称式的设计使座位可以根据每场音乐会进行组合、拆卸、扩增或分隔，并可以根据售票量的大小及时调整布局。

The bowl contains a variety of design features to improve performance experience, such as angled walls to improve sightlines, a flat ceiling, acoustic walls, vomitories to facilitate access and a stage set up which is first rate. With a 22 meter height around the stage, it is the focus point no matter where one is seated. The flexibility of the design allows for the widest range of events; and possible configurations that is therefore almost infinite. As concerts will make up a large proportion of events at the Royal Arena, the end stage configuration is very important. The Arena is also extremely flexible. It allows for a comprehensive range of staging options with a 22 meter height surrounding the stage. In addition, the symmetrical block layout, allows seating to be built up, reduced, expanded or sectioned off in the most appropriate ways for each concert, but also highly capable of adapting to quick operational changes and requirements based on ticket sales.

▼碗状的体育场地具备了各种各样能够优化观看体验的设计，the bowl contains a variety of design features to improve performance experience

▼对称式的设计使座位可以根据需求进行调整， the symmetrical block layout allows the seating layout to be adjusted

▼体育场看台楼梯，stairs of the audience area

▼细部，detail

建筑的首层有着开放的平面，二楼包含一个公共平台。大部分观众的座位环布在中央场地的三面，在举办体育赛事或特殊文化活动时会打开第四面的座位。在举办音乐会时，舞台层还可以进行伸缩。皇家体育场于今年在柏林举办的世界建筑节中被授予年度体育建筑的称号。

The building has an open ground floor and a public plateau at the first floor level. Most of the spectators are seated on three sides of the stage/track/court, with the option to accommodate further visitors on the fourth side for sporting events and special cultural events. In concert-mode, the arena floor can be retracted. The Royal Arena is nominated for sports building of the year at this years World Architecture Festival in Berlin.

▼音乐会场景，concert scene

▼首层平面图，ground floor plan

▼二层平面图，first floor plan

▼三层平面图，second floor plan

▼四层平面图，third floor plan

▼五层平面图，fourth floor plan

▼东立面图，east elevation

▼南立面图，south elevation

▼剖面图，transverse section

▼结构细部，construction detail

Project name: Royal Arena

Location: Copenhagen, Denmark

Typology: Multi-purpose Arena for international concerts, culture and sports events Assignment: 1st prize in invited competition 2012

Size: 37 000 m2

Height: 35 m

Capacity: 16,000

Seating: 12,500

Credits

Client: Arena CPHX P/S

Architect: 3XN (Lead Consultant and Design Architect) & HKS (Arena Specialist)

Engineer: Arup, HAMI and ME Engineers

Landscape architect: Planit-IE

Team: Kim Herforth Nielsen, Jan Ammundsen, Bo Boje Larsen, Peter Feltendal, Audun Opdal, Maria Tkacova, Jack Renteria, Robin Vind Christiansen, Dennis Carlsson, Andreas Herborg, Anja Pedersen, Bodil Nordstrøm, Christian Harald Hommelhoff Brink, Gry Kjær, Ida Schøning Greisen, Jakob Wojcik, Jan Park Sørensen, Jeanette Hansen, Juras Lasovsky, Laila Fyhn Feldthaus, Mads Mathias Pedersen, Marie Persson, Mikkel Vintersborg, Pernille Ulvig Sangvin, Sang Yeun Lee, Sebastian le Dantec Reinhardt, Simon Hartmann-Petersen, Stine de Bang, Sune Mogensen, Søren Nersting, Tobias Gagner, Torsten Wang, Henrik Rømer Kania

Timeline

Completion: 2017