stadium story an icon in europe
Š Lauren Teague, 2015 P repared P rinted
for
by
BA[Hons ] I nterior Architecture
Nevex, London
F ront Cover : London Road, 2012 P eterborough United Football Club P hotographer: J oe Dent C ontent Page: Estadio Municipal De B raga, Portugal Designed B y : E duardo Souto De Moura P hotographer: LuĂs Ferreira Alves I mage Source: T he Pritzker Architecture Prize P ersonal
thanks to and
Paul Ring and Mum for their To P eter Winterburn
proof reading and feedback .
for bringing me chocolate on deadline morning and especially to my
D ad
for taking me to my first
football stadium at the age of
U p The Posh.
11
days .
stadium story an icon in europe
5
content
conclusion
6 8 13 22 30 32 40 45
bibliography
48
introduction ancient history modern generations case study : santiago bernabeu place case study : wembley stadium the future
6
“Icon:
a person or thing that is uncritically adored , revered or
admired , or is regarded as a symbol of a particular culture or sphere , etc ; an idol � (Chambers Dictionary)
7
introduction
A
stadium is a tiered infrastructure built
Architecture P rofessor B enjamin F lowers
B ased
for the purpose of enabling a large volume
notes the absence of written literature
a
of
accepting the stadium as a fundamental
under
spectators
to
witness
a
live
event
taking place in front of them ; it brings together
a
community
of
like - minded
in
architectural
history .
Despite
this , many critics think of the stadium
architectural scrutiny .
intention examine
of the
It
as
comes
therefore ,
the
investigation
to
of
the
stadium
in
quasi - religious qualities that encourage
or
is often typecast as a venue for sporting
supporters to revisit the same place week
valued or even considered by its users .
events .
after week .
By
this
is
unfairly
F lowers
“One purpose [ of
describes the
the
twenty - first
container
is ,
this place
stadium
an architectural typology , reality ,
cathedral ”, drawing upon the
the
as the
In
“new
mere
notion ,
this
individuals in an interactive setting .
‘the
As stadium ’
icon
on
not
its
century
and
architectural
whether
merits
are
studying the motivation for stadium
inconclusive , as the capabilities of these
seemingly
vast structures extend widely beyond this
the stadium ]: to house the pitch on which
possible to determine the importance of its
reach to play host to a variety of social
the game is played and the spectators
construction and position as an icon of
outcomes , from concerts to conventions .
who wish to watch ”.
urban architecture in
the
However,
it is undeniably the sporting
on
straightforward
T his may be true in most literal sense . H owever , he goes to rationalise that , in reality , “T he
world in which the stadium has found its
meaning attached to a stadium is often
most comfortable home .
far more complicated ”
(F lowers,
no date ).
development
throughout
history ,
Europe.
it
is
8
figure
1
T he archaeological remains of the O lympia Hippodrome [G reece] date back to 776BC and hosted the original O lympic G ames until they were
ancient history
T he
first known example of ‘ the stadium ’ as
a conceptual mass , originated in
A ncient ‘stadium’ or
G reece, where “T he word ‘stadion’ referred to [both] a measurement of distance [ equal to approximately 200 m on foot ] and the place where the race was held and observed by spectators ” (A non : no date ). A t this point , the understood requirement of ‘ the stadium ’ as an typology was the enabling of a congregation to experience a mutually enjoyable event .
B roadcast
activities typically ranged from
political debate to theatrical performance , with the main purpose simply being to provide a platform for the general public to
engage
2010). In
a the
(F rank & S teets : beginning , the stadium was crowd
a completely open track with a start and finish line
32 m ,
192 m
apart with a width of
leaving the audience outcast around
the perimeter .
It
was thought to have held
40 000
spectators on
the surrounding slopes which overlooked the simple track .
figure
9
2
C onjectured
plan
of
the
Olympia Hippodrome, [left].
showing the participant entrance
10
figure
3
Artistic
illustration of
The Panathenaic S tadium ,
showing the growing slopes of the spectator steps in conjunction with the surrounding site .
During the subsequent reign Empire, the focus of the
R oman
of the
stadium
was
directed further towards satisfying the needs of the spectator , providing them with entertainment of an often brutal nature .
T hought to have begun the roots of ‘fan culture ’, supporters began to choose sides when competitors were forced against each other in the arena .
T his
caused a different sort of atmosphere
to that previously experienced within
T his
changed
popular .
as
T he
sport
became
P anathenaic
[Athens, G reece]
dates back to
more
S tadium 330BC
growth
of
the
built
environment ,
with
minimal additional excavation disrupting the site .
T he new, wider U- shaped enclosure known as ‘T he H ippodrome ’ and
and was developed from the topography
became
of
the
allowed an open structure at one end for
hillside
the entry of horses and chariots which , by
so that banks of seats with good sight
this time , had become an engaging spectator
lines could be formed naturally ”
sport .
the
I lisos
et
al :
generic
valley
river ,
2007, G reek
either
“C ut
p .3).
out
side of
T his
the
of
(J ohn
followed
Observers
were
strategically
the
positioned along the longest sides of the
style of encouraging the
track , where they were considered to be ‘ out
use of the landscape as a tool for the
of the way ’.
stadia .
In
were utilised during this period :
(a
G reek
essence , two major typologies
T he
circus
G reek hippodrome) and the amphitheatre . T he C ircus M aximus [R ome, I taly] indicates an early example of development of the
the use separate of exterior and interior spacial
concepts
experience .
within
the
stadium
figure
S ite the
4
11
sketch indicating the location and scale of
Colosseum
and
Circus Maximus
venues in
Rome.
12
F ollowing the demise of the Roman Empire, Western society moved into an obsession with C hristianity , subsequently shifting the focus of architects to the church . I t is accepted that the construction
to hold local events in the streets , with
S porting
the boundaries between participants and
industrial
spectators
as football , cricket and rugby
of
a physical act
stadia
was
abandoned
fifteen centuries and so
for
“T he
the
next
stadium as
neglected
indifference .
2010,
to
the
point
of
S hulke (F rank & S teets :
pp .56-73) argues that sport as
spaces ” ( p .57).
“Does In
not need special
other words , the desire
were
culture
developed
revolution
codified
to
and
after
the
(such football )
sports
nationally
recognised
competitive games , with set rules .
T his
increased the interest in spectating for pleasure .
The subsequent development of the
a building category lapsed into oblivion ”
of a public audience to spectate a sporting
stadium to facilitate such activities became
(S heard: 2005, pg .103). This is not to say , however , that competitive sporting events no longer took place . R esidents
event does not rely on the existence of
necessary alongside the movement of sport
a purpose - built building and often took
from an all - inclusive leisure activity to
place in spaces built for other uses , such
that of a competitive , professional nature .
of modern cities took it upon themselves
as town squares .
figure
5
C onjectured
13 plan
of
the
Olympia Hippodrome, [left].
showing the participant entrance
modern generations
I n the wake of this new era, the construction on the C hamp de M ars [P aris , F rance ] in 1790 is regarded as the first purposebuilt multifunctional modern stadium . T his escalated the desire , once again , to build arenas for use by the masses . A lthough it was not constructed as a sporting arena
(more
so as a political base for mass use ),
this historical precedent shows the first revival of the stadium as a public building .
I ts
central location within the city showed
its importance as an architectural venue .
14
As
the public demand for sport as a mass
of
the
European city and transport , which meant
modern
the
spectating activity began its revival , the
expansion of
nineteenth
the public was more able to travel cross -
century
saw
the
growth
of
the stadium as it is known and accepted
country .
today .
were becoming of national interest , with
The
boundary between
‘those
who
Even
that
at this time , sports stadia
played and those who watched ’ became more
“Football
distinguished
only place in town outsiders would visit ”
payment
to
and
it
was
professional
realised sports
that
players
ground [ s ]
(B ale: 1995,
often
pg .222).
It
[being ]
the
was inevitable
could be generated by charging spectators
that the stadium would continue to develop
an entrance fee for the entertainment .
as the needs of the spectator changed .
T his,
in turn , forced the need for the dedicated
With
sports ground as a defined enclosure .
stage development plan for the subsequent
this ,
S heard
puts forward a five -
‘Generations Of S tadia’, In
addition to the evolving of construction
materials
and
methods ,
the
industrial
revolution also brought about the growth
of
the
way
in
as an observation
which
outside
factors
have contributed to the advancement of the
stadium
as
its
“Between 1889
own
building
and
type .
1910,
fifty - eight
Football League
clubs
moved into the stadiums that most of them continue to use today ” (Bale: 1995,
pg .221).
figure
6
Queens Park Rangers [QPR] FC’s Loftus Road ground dates back to 1904, although the football club weren ’ t to move in until S eptember 1917.
first generation
In
order to accommodate the growing
number
of
sports
first
the
early
in
spectators , stages
of
the
stadium
development introduced the grandstand ; this was usually placed at the finishing line
of
sporting
athletics ),
activity
allowing
viewers
( primarily to
gain
an immediate result to any given race .
L ittle
consideration was made towards
public
comfort
or
amenities .
O pen
terraces became a standard feature of grounds ,
sports
with
“G randstands
fashioned from brick , iron and timber
[ and ]
corrugated iron sheets providing
overhead protection from the elements ”
(S heard
et al :
2005,
pg .103).
The
image
shows
the
surrounding
three
sides
traditional of
the
open pitch,
terracing as
well
QPR’s previous ground at Royal Park (Aerofilms: 2010, pg.137). as
the
cover
brought
to
the
site
from
16
However,
while the simplicity of the open -
“With no architectural value� (worldstadiums.com , no date) was being utilised across G reat B ritain , architects in E urope were already beginning to air ground
imagine the potential of the stadium as an influential building category .
T he M unicipal S tadium [Florence, I taly] was
designed
by
engineering
P ierre Luigi Nervi . While
enthusiast
the thematic
concept of the stadium is very similar to that of the
B ritish Grandstand,
the detail
and construction involved was of a much higher scale .
This
began to pave the way
for a more aesthetically interesting way of looking at the stadium environment .
figure
7
C onstructed 1930-32, the Florence Municipal S tadium appears to be ahead of the times against the typical grandstand ( as seen at L oftus R oad ) with its sweeping cantilevered roof structure and highly elevated terracing levels .
figure
8
T he Alfred Mc Alpine S tadium level
of
stadium
inspired a higher
construction
forefront of architectural design .
generation
of
commercial
stadia
brought
take
the
T he
opportunities to incorporate merchandising , food
unusual shape
courts and recreational areas without the enclosed
Huddersfield
environment to provide a public arena for more than
and enhanced facilities brought the stadium into the spotlight .
T he
to
to
just a once - a - week sport venue .
19
second generation
While is
‘television
the
thought
cricket ,
third generation
to
age ’ of the
have
saved
1950 s
sports
like
Prior
to the
1990 s ,
catastrophic events
were becoming a regular occurrence at
I n 1995, the Alfred Mc Alpine S tadium (home to Huddersfield T own F ootball C lub and R ugby L eague C lub ) became the first stadium to receive the prestigious ‘RIBA B uilding O f T he Y ear ’ (The S tirling P rize since 1996) A ward . C hosen by RIBA P resident O wen Luder , he stated that “A decade ago , it would not be possible to
the provision of artificial
UK. C rowd disorder and hooliganism was becoming uncontrollable . T he 1985 fire at V alley P arade [B radford FC] spread across the wooden terraces within minutes , claiming the lives of 56 fans . I n April 1989, 96 Liverpool supporters were killed at H illsborough S tadium [S heffield Wednesday FC] when
became
overcrowding in the terraces resulted in
an excellence in design award ”
hundreds of fans being crushed .
1995).
Investigations
T he
it
also
seemingly
caused
a
decline in attendances at stadia hosting other
sports .
S uddenly,
the
aesthetic
appearance of the stadium was being taken into consideration , as it would now be seen by more people than just those who already attended regardless . a
normal
night matches to be
In
addition ,
[flood]lighting expectation , allowing shown on screen .
T his second generation became as ‘T he E quipped S tatdium ’, due
known to the
enhancement of comfort and the overall experience stadia
for
were
facilites internally ,
and
visitors .
M any
existing
upgraded
with
additional
became
more
marvellous
despite
still
anonymous from the outside .
being
fairly
sports stadia in the
were performed to isolate the
find a football stadium that warranted a second glance , let alone one that had won
(Luder :
stadium was one of the first to be built
Taylor Report
problems in stadium safety and the findings
after the writing of the
Taylor Report. Although aimed primarily at stadia in the UK, it wasn’t long before the concern for spectator safety reached the rest of Europe
and fully embraced the new legislation
and grounds everywhere were incorporating
G reat B ritain
full seating and more accessibility throughout.
of on the urban landscape of the city .
were subsequently released in the
within its design , rather than seeing it as an obstacle . thought of
S uddenly, stadia were being as ‘ serious architecture ’ in and something to be proud
20
fourth generation
S heard
degrades the
fifth generation
Fourth Generation
All
of this happened as part of a wider
T he Fifth G eneration
stadium
is
the
“Direct result of the demands TV” (2005, pg .115) More- so
commercial desire to show the architecture
destination of the twenty - first century .
as more than just a stereotypical conrete
T his
than ever , this shows how the stadium is
container , unsympathetic to the needs of
reputation of its occupant and location .
able to provide an outwards representation
its
of the city to a wider audience .
Under
extended past the merchandise stall to the
scrutiny to be more than a live spectator
corporate environment of sponsorship and
At
experience , the stadium came was relied
advertising .
possible
stadium as a of satellite
upon
to
showcase
the
most
occupants .
M arketing
opportunities
M ore
than ever before , the stadium seemed
to ignore its architectural potential and
It
is at this point that the concept of
the flexible stadium came to light
-
the
ability to convert the main field of play into a concert venue or convention centre .
A
stadium which cannot just blend in . this
point , by
almost way
of
anything
seems
architectural
construction and a stadium ’ s design is
positive
attributes of a consumer - friendly space .
is a stadium which must uphold the
exploited the financial benefits of showing
[such as retractable roofs and removable seats ] to maximise the useful life of the venue . off new technologies
“The
limited only by the imagination of the architect .
John B ale describes spectator sports as “C entral features of modern urban society ” (B ale : 1993, pg .9) and , as such , the desire for new facilities generates the need for new architecture .
presence of the stadium as an illuminated body that can
change its appearance and is situated in an open landscape , the procession - like arrival of fans and the crater - like interior ” (Herzong + De Meuron
on the
Allianz Arena)
figure
9
T he Allianz Arena [Munich] illuminated in one of many optional colours . V iewable from any elevation and completely unobstructed .
With
seemingly
little
sympathy
to
its
immediate surroundings , the designed by
Herzog
Allianz Arena, + D e Meuron, makes
its presence known through its brightly lit
ETFE
exterior and is known more as
a beacon of the area than for its quality as a sports facility .
This
isn ’ t to say that
the arena lacks in quality but its iconic nature relies upon its physical aesthetic .
T he
debate is whether looking impressive is
a solid enough basis for determining the quality of a stadium .
Ergo,
the exterior
vs interior argument should be considered as much as the contextual environment in which the venue resides .
21
22
case study : el stadio santiago bernabeu
R eal M adrid CF [F ootball C lub ; Madrid, S pain] was formed in 1902, at which point land which they rented from its owner .
I n 1923, the O’Donnell land was sold and R eal M adrid were forced to find a new place to play . T he football club moved briefly into the V elodrome at C iudad L ineal
F ans
before employing an architect to build
they played their matches on a plot of
gathered around the playing fields
(T he Old C harmartin) a capacity for 15 000 fans , where stayed for the next 23 years .
to watch the games and a nearby building
their own stadium
was used for storage and player facilities .
with they
As
the popularity of the club grew, the need
for a new ground was accommodated by a move
Although
O’Donnell, where two house 6 000 fans) and a
(to
interest would have been created by the
fencing surround
success of the team , the development of
to
grandstands
part of the increase in public
were built to separate the athletes from the
the ground ties in with the
spectators around the full perimeter of the
C ulture
playing surface.
terraces built at
This
was the club’s first
of
the
1900 s and O ld C harmartin
early
T he
G randstand the echo
enclosed ground, as part of a generation
the traditional ground with three open
that saw clubs move away from playing on
sides and one main stand with a pitched
expanses of grass in the middle of nowhere.
roof .
figure
10
T he Estrada Lot . O pen
figure land used for competing .
11
T he team ’ s first dedicated Segregation introduced between G eneration 1.
23 pitch
at
O’Donnell.
supporters and athletes.
24
figure
12
G radas del Nuevo Chamartin G eneration 2.
T he stadium ’ s capacity was enlarged to 25 000 in 1939, after the damage caused by the S panish C ivil W ar made a restoration project a necessity . F or the first time , the terraces surrounding 360 o of the playing field and had more space to move around and enjoy watching the sport without feeling compromised by the environment .
When
the stadium ’ s capacity was still not
enough to cope with the spectator demand , the stadium went through a second phase of construction .
Now
equipped with the latest
in modern amenities , the ground was still lacking a roof structure and seating .
T his European stadia apart in the UK at the time .
is what sets the from those built
figure en obras .
13
Encuentro en el Santiago B ernabeu . G eneration 3.
25
C oinciding
1982 World C up, made , including the
with the
rennovations
were
construction of a roof and installation of seats in half of the stadium . how important it was for
T his shows R eal Madrid to
have their arena shown off to its full potential for the sake of the television broadcast
and
spectators
of
competing
countries .
By
1990 s , the stadium was required to become an all - seater [ mirroring the T aylor R eport released in the UK]. S o as not to reduce the capactiy by over 60%, a full the
redevelopment program was established and corporate facilities came to the
In
B ernabeu .
addition , the four towers in the corners
of the stadium were built at this time .
figure
14
P anoramic
view of the
[2014]. 4.
current form
G eneration
S antiago B ernabeu
in its
27
28
figure
15
C onstruction
sequence
of
the
new
B ernabeu ,
indicating the discreet nature in which the existing site in concealed .
F ew
external
changes
have
been
made
T he
latest design for rennovation to the
B ernabeu since this stage. T he interior , however , tells a different story . Despite the demand for match tickets in the 90 000 seater stadium , a monumental portion of the ground ’ s spacial allowance is given over to the tourism accrued . A n extensive museum depicts the club ’ s history and acheivements , the stadium tour opens
existing building consists of an enveloping
up the player changing rooms and the
standing proud with no excuses as well as
pitchside itself to public invasion and
fulfilling its functional needs .
the the
skin wrapped around the full site . images projected onto the shiny
With surface ,
this venue is making a conscious effort to entice the passers - by with sharp graphics and novel ideas . modest classic
S tanding out against its surroundings , the B ernabeu is a example of an iconic development ;
the merchandise store extends over three floors .
C ritically ,
the four corner towers will be
retained and unaffected by the new cladding ,
This
shows how stereotypically important the
which not only makes construction cheaper
consumer-friendly, flexible stadium has become
and more simple , but also holds onto some
in modern society.
main sporting event
of the stadium ’ s previous identity rather
is almost on a par of importance with the
than ignoring the historical value of what
activities that can take place off the field.
already exists .
The
figure
T he
16
new
B ernabeu . G eneration 5.
29
30
place
It
is not the architecture of the stadium
alone that draws the masses to it .
T he
historical value and emotional connotation of any built environment is enough to warrant an attachment to a place . geographer
Yi -F u Tuan
A merican
John B ale in
reconstructs
presentation
of
his
Tuan’ s
argument
own
five - point
‘sporting spaces and emotional attachment ’. F ocusing on the ‘ sense of place ’ for the spectator , he pursues : theory of
explores the genius
loci of place and its connection with
– He calls this ‘Topophilia’; “T ies that unite humans and their material surroundings , especially [those] that combine emotion and place” (B ale & M oen: 1995, pg .26). human society
to experience the
M irroring
“The stadium as a sacred place, The stadium as a scenic space, The stadium as home, The stadium as a tourist place, Place, pride and local patriotism”
back to the original use of the
stadium as a communal meeting space ,
(Williams & Wagg: 1992).
31
T he
primary
function
of
the
[sports ]
M any
regular stadium users comment on
T he
historical
meaning
of
the
stadium
stadium as an architectural space is to
the ability to ‘ leave real life behind them ’,
to the spectator could be said to hold
facilitate the participation and spectating
as the only thing that matters at that
more
of a event .
moment in time is what is happening on
architectural
As
an iconic mass on the urban
landscape , its presence makes itself known for miles around .
However,
the
playing
surface
in
front
them .
of
it is upon close
Despite G oldberger ’ s
greatest of experiences present themselves .
new is often hard to accept ”, describing
G oldberger
it
will
almost
always
“I nterior
provoke
a
space
greater
as
seemingly
suggestion that
“U gly,
only seldom seen as
“T he
[and] beautiful ” (2009, coarse
emotional response than the outside of a
pg .48), it is not unusual for stadium
building does ”
architecture to be adapted and renewed .
(2009,
pg .111).
is not a new revelation .
Even
when
that
and ,
of
its
subsequently ,
the prospect of a newly built environment
redevelopment of the traditional
T his
In
some
circumstances ,
replacement
(often
‘home’.
brings forward the questioning of
priority
-
the idea that the place name and
the ritual of attending this place holds more importance that the place itself .
Equally , T his
than
value
is often less attractive than that of the
proximity with the environment that the
claims that
importance
the
an outsider to the city appreciates
iconography
of
stadia
-
tourists
G reek
outside of the city it unites , due to lack of
C amp S tadium
infrastructure ).
their guided tour as
G audi ’ s
visitors to such venues often publicise
S agrada
as it has become part
their own opinions on stadium alteration .
of the cultural landscape .
describe
R oman Empires , Frank & S teets
“T he
that outside atmospheres ”
world inside these stadia and
[as ] two completely (2010, pg .50).
different
However,
the most regular
de
will find that the
Nou
stadia are built at a new location
and
visiting
B arcelona
referring to the historical stadia of the
is just as much a part of
F amilia],
cathedral
[La
32
figure
T he
17
first version of
Wembley
stadium shows its
multifunctional use with the running track circling the perimeter of the playing field .
case study : wembley stadium
Wembley Stadium [London, UK] is indisputably one of the most famous stadia in the world. Despite its most renowned use as a football and entertainment (concert) venue, Wembley has hosted sixteen different sporting events throughout
its
history,
from
greyhound
racing and hockey to wrestling and baseball
(Tonsett & Brand: 2007). Originally constructed in 1924 as part of the city’s rehabilitation project, the stadium was seen for some time as inadequate to the comforts of the spectator and has, therfore, undergone various developments in its history.
figure
18
T hroughout
33 the
development
environment , the two towers fixture in the
of
[left] stadium ’ s identity .
the
internal
are a prominent
34
figure
T he
By
1990 s
the early
19
two towers of
Wembley ,
prior to demolition .
it became inevitable
that the whole stadium would need to be entirely replaced :
Wembley
stadium was
being shown up by other more modern venues and constant expansions of the ground
[most
noticeably the change from standing
to seated terracing ] had left the building old and tired .
C hanges
T aylor Report
in legislation post -
also meant that further
expansion was needed to accommodate lack of overall space at the site .
It
as
mentality of the
F oster & P artners , LOBB and HOK Architects] that the G rade II listed structures would be saved . H owever , with the permission of E nglish H eritage , it was
-
ultimately agreed that the overwhelming
iconic impact on the city of
size of the new stadium would overpower the
new stadium would provide comfort and
T owers,
“U nnecessarily
spectator facilities on a level that could
part of footballing folklore across the
inhibiting factor ” in the design of the
never have been matched by its previous
globe ”
new construction
counterpart .
intention of the architects involved with
pg .31).
sustain its emotional value and nostalgic
the project [ a compilation of persons from
was described in early sketch drawings
stands to reason that older generations
of spectator initially failed to embrace the
as of
‘knock
it
down
and
start
again ’
Wembley S tadium rebuild Twin Towers were labelled “Quintessential [to the] experience going to W embley [ and had ] become
the famous
(News: 2003). I t
was initially the
which would be an
I ts
(Foster & I nglis : 2012, replacement , the W embley arch ,
‘T he New Symbol Of Wembley ’. This shows how critical it was , even in the early design process , to recognise the significance of this sporting venue and its
importance .
M ore
London. T he
crucially ,
it
would
figure
20
Design illustrations by Norman F oster likening the new W embley arch to such icons as the E iffel tower in its cultural significance .
35
figure
21
T he ‘New Wembley ’ S tadium
is prominent from miles
around with the iconic arch showing off its location around the clock .
figure
22
Wembley
39
stadium interior view .
P rofessional
A dam B artlett Wembley as “A sense
goalkeeper
describes playing at
of achievement ” at the end of a successful
- “Y ou
season
need to earn the chance to
play under the arch ”
(2015). T he emotional
famed the
‘Wembley
architectural
Experience’ value and ,
outlives while
the
design of the new stadium may be a feat in
constructional
technology ,
it
goes
potentially unnoticed by the masses .
connotation of the venue is so strong that it is likely to be present regardless of the
Despite
physical aesthetic .
association
T his
is evident through
the stadium ’ s historical precedence .
If
the
stadium
itself
looked
entirely
different , it would hold no less importance to its audience .
S omehow,
“Growing
the ineffable and
change
in
appearance,
up , it ’ s where you watched your heroes play ; is not just a
the
attached to visiting Wembley Stadium, whether as a spectator or participant, seems not to have altered. In this instance, the ‘sense of place’ extends past the concept of ‘home’ and becomes a more powerful emotion drawn out by the promise of success.
‘One day that will be me’. stadium - it ’ s THE stadium ”
watching cup finals thinking
Wembley
its
(Adam Bartlett: 2015)
40
the future
While lives ,
Olympic
continually with stadia constructed for
(after a short list of five final candidates ). T hroughout the document of evaluation for suitability , the London C ommission emphasised the games as a “C atalyst for the redevelopment [...]
one - off events , such as the
rehabilitation
that of temporary architectural structures
many stadia live long and happy serving the community as a staple
icon on the urban landscape , others fall into disuse and dilapidation .
T his
Olympic
occurs games .
approval of the panel
in
In
the modern
World,
it is no longer
acceptable for a stadium to be built , used
regeneration
East London� (pg .64),
as
project well
as
considering the positive impact for the future of sport in
Great B ritain.
and then abandoned . a bid to host the with
London
Nine cities put in 2012 O lympic Games ,
and
ultimately
winning
the
venues was that of sustainability
the prospect that each work of architecture would have an equally useful life after the closing of the of the
G ames . The
London Olympic
philosophy
venues resembled
and could prove a key movement in the future of the stadium .
I deally ,
this would
reduce the number of venues left abandoned and wasted after the
However,
–
G ames ,
despite the
substantial
promises made and the substantial amounts
promises made for the construction of the
of money spent on design and construction .
one
of
the
most
figure
23
Athens [2004]
figure softball stadium is now overrun
with weeds and abandoned due to lack of interest in the sport since the
Olympics .
T he
24
surrounding
41 Olympic V illage
was destined to be
turned into social housing but this never happened and the whole area lies practically deserted .
“It
is not abandoned .
It’s
just
that nobody ever plays softball .
[This]
sums up the problem with these stadiums � (Business Insider: 2014)
figure
25
T he new West Ham stadium converted from the Olympic S tadium after the London 2012 G ames , shown in athletics format [ top ] and football venue [below].
S ignificant
London
Rio.
C healsea FC are in the search for a new stadium . B attersea P ower S tation is a G rade II listed building in London, UK. T he football club were hoping to create an
the permanent fixtures which remain ,
iconic statement within the parameters of a
parts of the
venue
schedule of accommodation were constructed with
the intention
shipping off to the
Of
various
of
dismounting
2016 O lympics await .
futures
Of
in
and
particular
O lympic S tadium , by W est H am U nited
significance is the main which has been bought
F ootball C lub and will be rennovated time for the 2016/17 season .
in
proposed stadium insertion .
Although
their
bid for the power station was ultimately unsuccessful , the principal of reusing an existing building to house a sport venue is both unusual and intriguing .
As
a rule ,
stadia are purpose - built arenas .
T his
venue , too , was originally intended to
be of temporary existence , despite the hefty
However,
ÂŁ429 m
it will now
design calls for aesthetically iconic consideration
continue to operate as a multi - functional
then something as unique as adaptation of an
status
pricetag .
[hosting ÂŁ154 m
due to a
However, football
and
athletics ]
conversion project which
if the latest generation of stadium
existing historical site potentially falls within this category.
adds a retractable roof and additional
building
permanent seating .
ultimate
Additionally, this puts an old to good use, rather than expecting the abandonment of a new one.
figure
26
I nterior render [unrealised] of the design for C helsea FC’ s new stadium at the site of B attersea P ower Station.
figure
27
Areal
view showing the insertion of the stadium
intervention between the existing towers .
43
44
S hulke
challenges the architectural future
of the stadium in accordance with the growing appreciation of
[PV]
struggle in this sense , however , is the
lacking of an interior environment .
Additionally ,
As
traditional
venues
technological viewing and more extreme
‘Public V iewing’
sports ,
the
traditional
stadium
could
struggle
appreciated at the
This theory implies that the topophilic qualities of the stadium reside within the individual’s
C up
ability to engage with the activity taking
New,
stadium is to facilitate the needs of the
place on an emotional level, regardless of the
growing in popularity and this is proven by
spectator to engage with the live sporting
connection to the physical environment.
the interest in T he
event , then the
describes a situation in which the stadium as
[European
this
an architectural icon ceases to exist and is
inspire a new generation to participate in
commitment , by providing an atmospheric
replaced by the electronic capturing of an
winter sports , such as snowboarding and
condition that equals that of the stadium
event taking place in a remote environment,
skiing , which cannot physically take place
interior .
questioning the necessity for the containing
within the boundaries of a sterotypically
of an audience at all.
enclosed stadium environment .
spaces
in
adequate
–
T he
a phenomenon first fully
2006 [F ootball] World G ermany . I f the purpose of the
in
PV
its
P ublic Viewing
platform is just as
ability
to
fulfil
Shulke
to
compete
with
the
cultural
movement towards this new type of event . less limiting sporting events are
Winter O lympics in S ochi R ussia, 2014], which is set to
increases the accessibility
of sport to the spectator by providing a stage of action that does not require stadium attendance . large
screens
in
S howing
town
matches on
squares
enables
flexibility of movement and nods back to the roots of spectator sports before the introduction of purpose - built architecture .
“Bringing
crowds
of
people
together is a privilege ” (Shulke: 2010)
45
conclusion
On the importance of sports architecture, R od Sheard puts forward his argument by stating that “T he greatest buildings , the ‘icons ’, have always reflected the zeitgeist . And right now, the zeitgeist is sport ” (2005: pg .20). T he
relevance of the stadium as an urban
landmark is implicated by its connection to an audience
T hroughout
–
the sports spectator .
historical precedence and five
[modern]
subsequent generations of stadia
(S heard: 2005), This
experience
for
both
spectator
and
participant .
S heard
struggle
for
by the intended user .
“S tatus
and
used once a week is perhaps more important
deserve
within
and worthy , therefore , than one which is
the architectural establishment ”
(2001,
used intermittently over a period of time .
sport
also venues
creditability
notes to
the
gain
that
they
the
pg . xiii ).
always the
case .
I n fact , this was not T he Panathenaic Stadion
of
G reece
Ancient
was considered of such importance
as an entertainment arena that it began the tradition of competitive sports and was subsequently redeveloped in order to host
has
The
truly come to light when they are occupied
sports
development
or that it is considered irrelevant .
architectural merits of any space most
the stadium has
provided an appropriate arena for communal activity .
the
the first modern
In
A
stadium which is
attending to this theory ,
Goldberger “When we see a concert hall empty , after hours , we can appreciate its physical form , but we see it as a vacuum , cut off from its purpose , and thus we barely see it at all ” (2009, pg .16). declares that
Olympic Games . While
always
a stadium like
Wembley
might possess
coincided with the changing needs of the
M ore
often than not , the historical value
a faerie - tale quality in the imaginations
sporting world : as spectator sports evolved
and ineffable qualities of the stadium hold
of those who can only dream of seeing the
more importance to the average spectator
iconic arch of
than its architectural character .
u
of the experience is heightened when the
events ,
does not , however , mean that supporters
community joins together to appreciate the
enhance
are not impressed by the stadium ’ s design
spectacle that is ‘ match day ’.
from
fights
in
amphitheatres ,
through
cricket and athletics in grandstands , to multipurpose facilities for the
stadium
has
Olympic
expanded
to
T his
Wembley S tadium ,
the awe
figure
28
Herzog + D e Meuron: T he Allianz Arena, M unich.
48
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(2006) Sportstatten-architektur by GMP: Stadium Choreography. Germany: Hatje Cantz Publishers. Michael, S. and Sam, M. (2010) Sport in the City: Cultural Connections. Taylor & Francis. News (2003) ‘Last day for Wembley twin towers’, 7 February. Available at: http://www.dailymail.co.uk/news/article-159090/Last-day-Wembley-twin-towers.html (Accessed: 4 January 2015). Olmo, C. and al, et (2011) Pier Luigi Nervi: Architecture as a Challenge. Italy: Silvana. Pascoe, J. and Culley, P. (2012) Sports facilities and technologies. United Kingdom: Taylor & Francis, Inc. Realmadridcf (2014) ‘Extra Time: Real Madrid unveil the new Santiago Bernabeu stadium’. Extra Time: Real Madrid unveil the new Santiago Bernabeu stadium. Available at: https://www.youtube.com/ watch?v=Abo2cw4Pzgk (Accessed: 4 January 2015). Rogers Stirk Harbour + Partners (no date). Rogers Stirk Harbour + Partners. Available at: http://www.rsh-p.com/render.aspx?siteID=1 (Accessed: 4 January 2015). Santiago Bernabéu Stadium (no date). Estadio Santiago Bernabéu History | Real Madrid CF. Available at: http://www.realmadrid.com/en/history/santiago-bernabeu-stadium (Accessed: 18 November 2015). Sheard, R. (2000) Sports Architecture. Taylor & Francis, Inc. Sheard, R., Bingham-Hall, P., Bingham-Hall, P., Cook, P. and Powell, R. (2005) Stadium: Architecture for the New Global Culture. Periplus Editions (HK) Ltd. Sheard, R., Cook, P. and Powell, R. (2005) The stadium: architecture for the new global culture. Periplus Editions (HK) Ltd. SpA, M. E., Leoni, G. and Esposito, A. (2004) Eduardo Souto De Moura: Works and Projects. United Kingdom: Distributed by Phaidon Press. Stadium (no date). Stadium. Available at: http://www.ancient.eu/Stadium/ (Accessed: 15 November 2014). ‘stadium | architecture’ (2014) Encyclopædia Britannica. Encyclopædia Britannica. Available at: http://www.britannica.com/EBchecked/topic/562319/stadium (Accessed: 4 January 2015). TheFA (no date). Remembering the 1985 Bradford City stadium disaster. Available at: http://www.thefa.com/news/2014/may/remembering-bradford-stadium-disaster (Accessed: 2 January 2015). Thompson, P., Tolloczko, J., Clarke, N. and Benedetti, J. (1998) Stadia, Arenas and Grandstands: Designing, Construction and Operation. United Kingdom: Taylor & Francis. Tomsett, P. and Brand, C. (2007) Wembley: Stadium of Legends. United Kingdom: Dewi Lewis Media Ltd. Vertinsky, P., Bale, J., Mangan, J. A. and Mangan, J. A. (2004) Sites of Sport: Space, Place and Experience( Sport In The Global Society Series). Taylor & Francis, Inc. Williams (1991) British Football and Social Change. Continuum International Publishing Group Ltd. Williams, J. and Wagg, S. (1992) British Football and Social Change. Leicester Univ Pr. (no date a). World Stadiums - Architecture :: Stadium history. Available at: http://www.worldstadiums.com/stadium_menu/architecture/historic_stadiums.shtml (Accessed: 2 January 2015). (no date b). My Website. Available at: http://www.panathenaicstadium.gr/ThePanathenaicStadium/History/tabid/96/language/en-US/Default.aspx (Accessed: 18 November 2014).
“The
real skill in designing a stadium is not the technical stuff
– it’s
designing a building that bottles emotion ” Norman Foster