Reconstruction of Riga Circus
Basic information
Project Title
Reconstruction of Riga Circus
Full project title
Reconstruction and energy efficiency improvements of the historical Riga Circus building
Category
Shaping a circular industrial ecosystem and supporting life-cycle thinking
Project Description
Continuing the tradition of non-standard construction that characterizes the historic building, NRJA, together with engineers and builders, have realized an unusual, globally unique solid wood dome structure that is capable of taking both structural and working loads created by various performance scenarios, as well as improving energy efficiecy and functionality of the building.
Geographical Scope
Local
Project Region
Riga, Latvia
Urban or rural issues
Mainly urban
Physical or other transformations
It refers to a physical transformation of the built environment (hard investment)
EU Programme or fund
Yes
Which funds
ERDF : European Regional Development Fund
Description of the project
Summary
Riga Circus, built in 1888, is one of the oldest in Europe, the only permanent circus building in the Baltic states, as well as an architectural monument of national significance. It is a brick building with an arena, designed for circus numbers with horses, covered by an unheated dome 24 metres in diameter. The historic dome structure consists of sixteen columns constructed from railway tracks. The only reconstruction works of the circus building took place in 1953. During the 21st century the activities in the circus were repeatedly suspended due to the poor technical state of the building.
Along with a change in the management of Riga Cicus in 2017, a change in the attitude towards the content of the circus also takes place — animals are no longer used for the shows. To reflect the substantive changes and prevent the critical technical condition of the building, an architectural competition for the restoration of the historic building and a vision for the development of the site was launched in 2018. The winning proposal by NRJA envisages converting it into a multifunctional cultural site.
During this first phase of reconstruction, energy efficiency improvement measures have been carried out. The project’s main aim was to insulate the building, while preserving the historical architecture of Riga Circus, and to carry out fundamental foundational works to ensure the functioning of the arena. It has been done through a method or radical conservation - preserving and reusing as much as possible of the original materiality, thus achieving the energy efficiency and circularity goals, while simultaneously connecting visitors of the circus and residents of Riga with the historical and authentic 1800s building and saving it from complete disrepair.
Along with a change in the management of Riga Cicus in 2017, a change in the attitude towards the content of the circus also takes place — animals are no longer used for the shows. To reflect the substantive changes and prevent the critical technical condition of the building, an architectural competition for the restoration of the historic building and a vision for the development of the site was launched in 2018. The winning proposal by NRJA envisages converting it into a multifunctional cultural site.
During this first phase of reconstruction, energy efficiency improvement measures have been carried out. The project’s main aim was to insulate the building, while preserving the historical architecture of Riga Circus, and to carry out fundamental foundational works to ensure the functioning of the arena. It has been done through a method or radical conservation - preserving and reusing as much as possible of the original materiality, thus achieving the energy efficiency and circularity goals, while simultaneously connecting visitors of the circus and residents of Riga with the historical and authentic 1800s building and saving it from complete disrepair.
Key objectives for sustainability
The reconstruction of Riga Circus is an example implementing energy efficiency improvement measures in a meaningful way, with relatively small funds providing both a functional, energy efficient and aesthetic improvement. During the reconstruction, the original materials were preserved or reused to a high degree. The logs supporting the hisotircal stands (which lacked acceddiblity and functionality) were sawn into boards and used for the walls of the perimeter of the arena. The notches and grooves made in the wood in the past have also been preserved, which now tell about the building's history. In order to preserve the brick masonry facades in the outdoor space, the perimeter walls are insulated from the inside, with the interior finish made from preserved, carefully dismantled historical boards. The dismantled technical stairs were used as a symbolic accentuating element of the entrance, the dismantled bricks were later used to restore the walls.
A. Solomonskis, the original owner and founder of Rigas Circus, was a horse trainer and circus artist whose profession influenced his attitude towards the construction process. Analysis of the historic building has revealed baseless walls, uninsulated roofs, and other unusual building techniques. For example, the 130 year–old arena stands proved to be a temporary construction built using repurposed timber. Continuing the tradition of unusual building techniques, NRJA has implemented a unique CLT panel dome that is capable of bearing both the constructive and workloads that are required from different performance scenarios.
As the historic dome metal structure has lost its bearing capacity, a parallel construction of a new column network and CLT panel dome was built, keeping the historic structure unloaded and exposed. The CLT panels not only provide the structural stability, but also create a smooth, solid internal plane that does not require further finishing and improves energy efficiency significantly.
A. Solomonskis, the original owner and founder of Rigas Circus, was a horse trainer and circus artist whose profession influenced his attitude towards the construction process. Analysis of the historic building has revealed baseless walls, uninsulated roofs, and other unusual building techniques. For example, the 130 year–old arena stands proved to be a temporary construction built using repurposed timber. Continuing the tradition of unusual building techniques, NRJA has implemented a unique CLT panel dome that is capable of bearing both the constructive and workloads that are required from different performance scenarios.
As the historic dome metal structure has lost its bearing capacity, a parallel construction of a new column network and CLT panel dome was built, keeping the historic structure unloaded and exposed. The CLT panels not only provide the structural stability, but also create a smooth, solid internal plane that does not require further finishing and improves energy efficiency significantly.
Key objectives for aesthetics and quality
The reconstructed arena is an example of radical conservation — the architects have only peeled off the layers that were ready to detach themselves due to decay, not hiding any presumably unaesthetic elements behind cladding and not correcting apparently non–architectural details. The hidden dimension of the building — time — is revealed in a seemingly random way, relinquishing direct authorship over what to reveal and what to keep hidden. The accumulated historical cultural layers are the main source of the sensory experience in the rebuilt circus building.
Only the necessary measures for ensuring energy efficiency have been taken for the main facade of the circus building, providing for full restoration of the facade in the next phase. The silhouette of the historic facade has been restored, eliminating side parapets built in 1953 that partially obscured the dome in view from the street. The facade is covered with lime plaster, which will revive the historic brick wall and prepare the facade for full restoration.
The reconstruction was realized with respect for the historical heritage, not creating imitations, but modern constructions. The combination of different layers of history is able to create a true picture of the life cycle of a historical building and an authentic aesthetic experience.
By saving the historical Riga Circus buiding from disrepair, the cultural field of contemporary circus, theatre and dance is supported and furthered, offering a much wider range of cultural activities to the visitors.
The reconstruction has removed the accumulated layers of new substances, returning to the original material substance of the building and ensuring funcionality with minimal, unobtrusive and clearly separate new additions.
Architectural and solutions were created with the conviction that the construction of a contemporary circus should also visually reflect the unique function for which it is intended.
Only the necessary measures for ensuring energy efficiency have been taken for the main facade of the circus building, providing for full restoration of the facade in the next phase. The silhouette of the historic facade has been restored, eliminating side parapets built in 1953 that partially obscured the dome in view from the street. The facade is covered with lime plaster, which will revive the historic brick wall and prepare the facade for full restoration.
The reconstruction was realized with respect for the historical heritage, not creating imitations, but modern constructions. The combination of different layers of history is able to create a true picture of the life cycle of a historical building and an authentic aesthetic experience.
By saving the historical Riga Circus buiding from disrepair, the cultural field of contemporary circus, theatre and dance is supported and furthered, offering a much wider range of cultural activities to the visitors.
The reconstruction has removed the accumulated layers of new substances, returning to the original material substance of the building and ensuring funcionality with minimal, unobtrusive and clearly separate new additions.
Architectural and solutions were created with the conviction that the construction of a contemporary circus should also visually reflect the unique function for which it is intended.
Key objectives for inclusion
The reconstruction connects the streets on both sides of the block through courtyards, which were previously closed to the public and cluttered with technical buldings. By bringing visitors into the circus courtyard, the place transforms from a cultural space within the building into an open public outdoor space, which creates an experience similar to a circus show in the urban environment, which is accessible to all Rigans and visitors.
The circus reconstruction project has expanded the public space available to the whole community by opening up the courtyard for public use and has democratised the accessibilty of circus shows by organising free events in the new outdoor space. The project has also improved the accessibility of the space for people with functional disabilities, included the needs of visually impaired visitors in the development of the navigation design and made the circus space available for a much wider range of cultural events. The values of equality are manifested in unnumbered seats - all circus visitors are equal, regardless of their economic status - all tickets are priced equally and affordably.
Through several performances and excursions spanning a time frame from the beginning of the reconstruction until its end, the visitors were introduced to the historical building, the upcoming changes, and also received explanations about the new values of the circus. This helped to elign the values of the circus and the expectations of the visitors. These social values are also embodied in the honest, democratic and open material space created by the architects.
The circus reconstruction project has expanded the public space available to the whole community by opening up the courtyard for public use and has democratised the accessibilty of circus shows by organising free events in the new outdoor space. The project has also improved the accessibility of the space for people with functional disabilities, included the needs of visually impaired visitors in the development of the navigation design and made the circus space available for a much wider range of cultural events. The values of equality are manifested in unnumbered seats - all circus visitors are equal, regardless of their economic status - all tickets are priced equally and affordably.
Through several performances and excursions spanning a time frame from the beginning of the reconstruction until its end, the visitors were introduced to the historical building, the upcoming changes, and also received explanations about the new values of the circus. This helped to elign the values of the circus and the expectations of the visitors. These social values are also embodied in the honest, democratic and open material space created by the architects.
Results in relation to category
Project results:
1) reconstructed and preserved historical building;
2) new courtyard made accessible to the wider public;
3) new cultural acitivities enabled to take place in the new arena;
4) the field of contemporary circus, dance and theatre strengthened;
5) energy efficiency of the building significantly improved;
6) accessibility to persons with movement impairments improves;
7) historical and authentic character of the place preserved;
8) the character of the inner city improved by raising the quality of public outdoor space;
9) site prepared for further reconstruction works
1) reconstructed and preserved historical building;
2) new courtyard made accessible to the wider public;
3) new cultural acitivities enabled to take place in the new arena;
4) the field of contemporary circus, dance and theatre strengthened;
5) energy efficiency of the building significantly improved;
6) accessibility to persons with movement impairments improves;
7) historical and authentic character of the place preserved;
8) the character of the inner city improved by raising the quality of public outdoor space;
9) site prepared for further reconstruction works
How Citizens benefit
The users of the building - Riga Circus and Riga Circus School, as well as the resident theatre trouppe Kvadrifrons have been involved in all design stages, starting from compiling the program for the international architectural competition that was the basis for this architectural vision. A circus has a plethora of technical requirements that have to be met in order for the artists to be able to work comfortably, and countless meetings and workshops have been held with the end users and the directors of the Circus in order to achieve that.
A broader society has been involved in the project through performances and shows dedicated to aquaint the audience with the historical building, the changes its about to undergo and the new democratic, open, inclusive and free-from-animal-cruelty values of the new circus.
Such collaboration between the architects, circus artists and a broader audience exemplifies a creative and flexible approach in the co-creation of a space. The circus has hosted an excursion/performance Brīnuma skartie about the building's past and expected changes before the reconstruction to give visitors the chance the explore the building and identify the historical values they'd like to preserve. An audio performance Set Sound to Riga Circus that was heard by all passers-by popularised the expected reconstruction project, drawing visitors to an exhibition of the architectural vision and gathering their opinions of the expected changes. After the end of the reconstruction another interactive performance/excursion was held in circus to let the audiences explore the reconstructed building, see what changes it has undergone and share their impressions of the newly created space.
A broader society has been involved in the project through performances and shows dedicated to aquaint the audience with the historical building, the changes its about to undergo and the new democratic, open, inclusive and free-from-animal-cruelty values of the new circus.
Such collaboration between the architects, circus artists and a broader audience exemplifies a creative and flexible approach in the co-creation of a space. The circus has hosted an excursion/performance Brīnuma skartie about the building's past and expected changes before the reconstruction to give visitors the chance the explore the building and identify the historical values they'd like to preserve. An audio performance Set Sound to Riga Circus that was heard by all passers-by popularised the expected reconstruction project, drawing visitors to an exhibition of the architectural vision and gathering their opinions of the expected changes. After the end of the reconstruction another interactive performance/excursion was held in circus to let the audiences explore the reconstructed building, see what changes it has undergone and share their impressions of the newly created space.
Physical or other transformations
It refers to a physical transformation of the built environment (hard investment)
Innovative character
The methods of rebuilding the arena are innovative and modern, while at the same time preserving and emphasizing the existing historical value and authenticity of the building. The CLT dome solution is an ingenious answer to the building's technological, functional and energy efficiency challenges. A new, safe suspension system has also been implemented in the arena, which makes it possible to make all the necessary fastenings in the dome area, as well as providing easy access to it. The dome has 76 suspension points, each of which withstands a load of 6t, ensuring the technical requirements for a wide variety of performances. During the reconstruction, insulation works were carried out and a new heating and ventilation system was introduced. The arena is adapted to a wider range of cultural events, ensuring the flexibility of the space.
The project is also an example of radical conservation - most of the original historical materials have been preserved or reused, thus lessening the CO2 imprint of the project and avoiding unnecessary decorative finishes. Instead, the original substance has been reveal, warts and all, preserving the historical character of the building. None of the technical infrastructure has been hidden, ensuring ease of access and maintenance. A close collaboration between the architects and builders has ensured creative and flexible solutions to problems that arose during the construction process. A collaboration between the client and the architects has given rise to an innovative approach to involving the end users and a broades audience in the design and construction phases, as well as has ensured clear and attractive communication of the project. Circus shows have been used as educational tools to highlight and explain the values of the project - openness, honesty, inclusion, sustainability, reuse, social fairness and accessibility an the broadest sense.
The project is also an example of radical conservation - most of the original historical materials have been preserved or reused, thus lessening the CO2 imprint of the project and avoiding unnecessary decorative finishes. Instead, the original substance has been reveal, warts and all, preserving the historical character of the building. None of the technical infrastructure has been hidden, ensuring ease of access and maintenance. A close collaboration between the architects and builders has ensured creative and flexible solutions to problems that arose during the construction process. A collaboration between the client and the architects has given rise to an innovative approach to involving the end users and a broades audience in the design and construction phases, as well as has ensured clear and attractive communication of the project. Circus shows have been used as educational tools to highlight and explain the values of the project - openness, honesty, inclusion, sustainability, reuse, social fairness and accessibility an the broadest sense.
Disciplines/knowledge reflected
The project is a collaboration between architects, designers, circus artists, construction engineers, landscape architects and experts for the suspension system. The reconstruction features the first CLT dome in the Baltic states, which has been possible to implement only thanks to the close collaboration of the architects and engineers and the trust and willingness to take a risk from the client's side. A landscape architect has worked closely with the architects to enliven the courtyard in line with the architectural values of the project. The circus artists and the directors of the circus have helped to design a suspension system that preserves the historical constructions. An expert of historical architecture and reconstruction has been involved to preserve the authentic values of the building and to suggest ways to re-use some of the materials for new functions. The resident theatre trouppe has worked together with the designers to come up with flexible use scenarios for the arena and the small hall.
Methodology used
The project has used a reiterative approach - returning to earlier design steps after new information has arisen either during the construction process, the architectural-artistic research or meetings with the end users. The project is characterised by a high level of flexiblity, adapting to new circumstances and searching for creative solutions to technical problems.
How stakeholders are engaged
The project is characterized by close and successful cooperation between the client, architects and civil engineers. An interested and open-minded customer was ready to be actively involved in the design and construction process, attracting foreign experts to ensure the best possible conditions for circus artists and visitors. The building designers were ready to undertake a unique, complex and risky task - designing the first CLT dome in Latvia, looking for innovative solutions. The architects managed to express the client's democratic, contemporary and inclusive values through the reconstruction project. In the course of construction, successful non-standard solutions were achieved thanks to the close mutual cooperation and trust between the architect and the client.
Riga Circus is a company owned by the government. The Ministry of Culture of the Republic of Latvia was an important partner, iniciator and supporter of the project through consulting Riga Circus about securing of funds and a succsesfull implementation of the project.
Riga Circus is a company owned by the government. The Ministry of Culture of the Republic of Latvia was an important partner, iniciator and supporter of the project through consulting Riga Circus about securing of funds and a succsesfull implementation of the project.
Global challenges
The project addresses sustainability, circularity, inclusion and aesthetic goals. Since less developed European countries face distrust and resistance to projects dedicated to energy efficiency, it has been important during this project to demonstrate that energy efficiency solutions can benefit the wider society, as well as preserving the values of historical architecture. The project created a more positive outlook on energy efficiency projects in the country, furthering the implementation and interest in other similar projects.
The reconstruction has also addressed the issue of preserving and saving delaipdated historical buildings, strengthening the city centre and indirectly lessening urban sprawl.
The reconstruction has also addressed the issue of preserving and saving delaipdated historical buildings, strengthening the city centre and indirectly lessening urban sprawl.
Learning transferred to other parties
The technical solution of superimposing a CLT dome on top of a historical construction can be implemented in other historical buildings that have losed their structural integrity. The approach of redical conservation, that maximises preservation, reuse, open infrastructure and doesn't shy away from historical imperfections and "non-architectural" details is an example of a sustainable and circular reuse of historical buildings that allows to preserve the authentic character of a place with little cost. The reconstruction is an example of a new kind of authentic and honest aesthetic that aligns with our climate goals and the mindful use of materials.
The method of using circus shows (in other instances those could be other cultural activities) to engage, involve and educate the wider audience into a reconstruction process can be widely replicated.
The democratising process of offering some of the cultural activities to a wider audience for free, and in a public outdoor space, helps to engage a wider society into a dialogue about preserving historical buildings on a tight budget.
The project features many non-standard, self-made alternative solutions to mainstream practices, showcasing how mindful design can lessen the impact on climate, lessen costs and preserve the historical character of a place. Although some of these solutions have been driven by an incentive to reduce costs, such an approach can be used in other projects with less restrictive budgets to achieve sustainability and circularity goals elsewhere.
The method of using circus shows (in other instances those could be other cultural activities) to engage, involve and educate the wider audience into a reconstruction process can be widely replicated.
The democratising process of offering some of the cultural activities to a wider audience for free, and in a public outdoor space, helps to engage a wider society into a dialogue about preserving historical buildings on a tight budget.
The project features many non-standard, self-made alternative solutions to mainstream practices, showcasing how mindful design can lessen the impact on climate, lessen costs and preserve the historical character of a place. Although some of these solutions have been driven by an incentive to reduce costs, such an approach can be used in other projects with less restrictive budgets to achieve sustainability and circularity goals elsewhere.
Keywords
reconstruction
reuse
radical conservation
cultural venue
cross-laminated timber construction
