Care for continuity - the case of Riga Circus Building by Marta Prikule
Master of Architecture Umeå School of Architecture Umeå, 2017 Care for continuity - the case of Riga Circus Building ii
Abstract
Care for continuity - the case of Riga Circus Building by Marta Prikule Master of Architecture, Umeå School of Architecture Umeå, 2017
The presented research focuses on sociocultural abili- ty to sustain the built heritage as a dynamic living place. A human habitat is defined as a genius loci site - manifesting intangible qualities of a material site, perceived both psy- chically and spiritually. From this perspective, the heritage conservation doctrine often does not correspond to spiritual qualities of genius loci ‘living’ sites. From the theoretical perspective the author defines the preservation of genius loci sites as a care for continuity. To sustain the continuity and to provide day-to-day life happening in the building, the main objective is the inside perspective of the dweller or doer, as through the commitment of human interaction the spirit of place brings the environment to a life. The case of Riga Circus Building, seen as a genius loci site, is accordingly sustained as a care for continuity. In order to provide for local communities to continue inhabiting the building, while main- taining the spirit of place, the author outlines several design principles. The research and its application into a real genius loci site resulted in four basic conclusions. First, that - genius loci sites can not be recreated deliberately, because they are ‘accident’, and not inventions. Second, as those sites are not creations, they are not able to accept radical changes, while minor ones are tolerable. Third, that the present conservation policy is, perhaps, able to protect the genius loci sites against threats, however, often it neither aims in maintaining conti- nuity, nor is able for a comprehensive engagement in general domains of human interactions. Forth, the best possible way to preserve genius loci site, as such - Riga Circus Building, is to assure its continuity.
Keywords: atmosphere, change, circus, continuity, genius loci, habitat, heritage conservation, heritage site, local communities, passage of time, perception, preservation, space and place, spirit of the place. Care for continuity - the case of Riga Circus Building iii
Table of Contents
Abstract ii Table of Contents iii List of Figures iv
Chapter I : Theory / Focus Introduction 1 Space, Place and time 2 Space, Place and atmosphere 2 The Spirit of Place 3 Heritage Conservation and Care for Continual Places 5 Continuous Dynamic Change 6
Chapter II: Research / Context of Circus / Chapter written by Martins Ostanevics / Circus: definition and meanings 7 Development of the circus 7 Semiotics at the circus 11
Chapter III: Research / Context of site Riga Circus in context with development of Riga 12 Riga Circus Building: historical overview 13 Riga Circus Building: spatial analysis 14 Potential development guidelines for Riga Circus quarter 15
Chapter III: Practise: Application Riga Circus Building: Care for Continuity 16 Riga Circus Building Analysis: the Spirit of Place 16 Riga Circus Building: Design Approach 18 Concluding Remarks 23
Bibliography 24 Care for continuity - the case of Riga Circus Building 1
Chapter I : Theory / Focus This thesis is divided into three main sections - (1) The- ory/focus, (2) Research/context and (3) Practise/application. Introduction Chapter 1 reviews existing literature in the field of space and place, the perception of space and the preservation doctrines Over the past four decades, the cultural heritage has interpreting the genius loci phenomenon. Chapter 2 investi- evolved into an overly discussed topic. Yet, when talking gates the conditions and context behind the circus and more about built heritage, there is no common understanding nor specifically, Riga Circus, to be able to address the preserva- practical guidelines on how to approach it. The contempo- tion describes. Chapter 3 proposes applicable principles that rary heritage conservation policy is rather binary regarding would respond to the addressed questions and aims of this the concepts of built habitat. On the one hand, conservations thesis. is about safeguarding and sustenance of tangible remnants of the Past. On the other hand, preservation policy seeks to fulfilspiritual aspirations based both on perception-based experience of physical environments, and human interactions with them. In other words, the conservation practise should aim for maintenance of habitats, their physical and spiritual integrity and continuity. However, often, unfortunately, the actual preservation practise is rather cautious as regards concepts of genius loci sites. Heritage conservation, in many aspects, is based on academic approach, is selective and intending to preserve material and visual presentation that reveals and explains outstanding cultural values. As a result, such activities divide the physical and spiritual realities, and factually deal with heritage sites as evidences of Past. Such conceptual gap be- tween intention and the reality are rather typical for conserva- tion doctrine. Therefore, the research presented in this thesis aims at identifying the reasoning behind this type of gaps in the field of interpreting the genius loci phenomenon. Further on, it suggests some particular theoretical concepts and relevant preservation activities in order to narrow the gap between preservation aspirations and realities. This thesis seeks to ad- dress the following questions: how to preserve built heritage, in order to sustain the Continuous of living habitat? How to balance in-between the physical and spiritual realm of built heritage, while providing for local communities to continue as well? In order to challenge and prove the questions addressed, this thesis uses the case of Riga Circus Building. As such, built in the late 19th century, the building seeks for its tangi- ble remnants of the past to be safeguarded, while sustaining it as a genius loci site. Therefore, this thesis aims at preserving the Riga Circus Building as an approach of care for continui- ty. In other words, the preservation attitude is based on main- tenance of specific site: Riga Circus Building, its physical and spiritual integrity and continuity. Care for continuity - the case of Riga Circus Building 2
Space, Place and time Space, Place and atmosphere
Architecture is situated in a way that generates what The richest experiences happen long before the soul takes a thing gathers; its form is created by the direct contacts notice. And when we begin to open our eyes to the visible, we between spaces and by the indirect contacts between past, have already been supporters of the invisible for a long time.3 present, and future. The former mean the physical forms, Gabriele D’Annunzio which are explained by the rapports between form and space, while the latter mean the genealogical elements, which are The quality of space or place is not purely a visual per- explained by the temporal relations expressed in the shape of ceptual quality as it is often presumed. The understanding of time. environmental character is a complex multi-sensory synthesis Perceptions of space and time are critical to our under- of countless factors which are instantly grasped as an overall standing of the world. Appreciation of a particular place is atmosphere, ambience, mood or feeling. Peter Zumthor, one dependent not only upon sensory interpretation of space, but of the architects who emphasises the importance of an atmos- also on our awareness of the passage of time. This theme phere in his architectural works, confirms: ‘I enter a building, recurs throughout architectural writing. As Günter Nitschke see a room, and – in the fraction of a second – have this argues, ‘place is the product of lived space and lived time.’1 feeling about it.’4 The experience of atmospheric perception is John Ruskin continues the idea elaborating that: ‘For, indeed, a multi-sensory in its very essence. the greatest glory of a building is not in its stones, or in its Also, atmospheric perception involves more than the gold. Its glory is in its Age, and in that deep sense of voice- five Aristotelian senses, such as sensation of gravity, orien- fulness, of stern watching, of mysterious sympathy, nay, tation, balance, stability, motion, duration, continuity, scale even of approval or condemnation, which we feel in walls and illumination. Such perception is grasped through diffuse, that have long been washed by the passing waves of human- peripheral and unconscious manner, rather than through ity.’2 For, indeed, built heritage often is looked upon with precise, focused and conscious examination. This complex great and mysterious sympathy precisely because of its age. assessment also includes the fundamental element of time as Architecture is intimately involved with time, simultaneously the observation of space implies duration and the experience connecting the preceding past with arriving future. The fact fuses perception, memory and imagination. that through the experience of space we can place ourselves In addition to previously mentioned environmental in contrast and comparison with passing ways of humanity, atmospheres, we can also talk about cultural, social and other makes architecture worthwhile to be looked at. interpersonal atmospheres. Most likely we will not mistaken However, often we find ourselves to be affected by space the atmosphere in the place of worship in the Western Culture or place beyond the measures of physical forms and relations from that of the Eastern Culture. The ambience of such space expressed in shape of time. In other words, we are affected by can be tempting or repellent, liberating or stifling, inspiring or the space by hardly defining matters - the feeling, mood, at- dull. We can even speak of interpersonal atmospheres in the mosphere otherwise called as the spirit of place - genius loci. scale of regional or national entities. It is also evident that we are genetically and culturally coded to seek or avoid certain types of atmospheres. In architectural writings such phenom- enon is often described as the genius loci. 1 Günter, Nitschke, From Shinto to Ando: Studies in Architectural Anthro- pology in Japan, Berlin: Ernst & Sohn, 1993, p. 49. Genius loci, the Spirit of Place, is alike immediate, em-
2 ‘It is in their lasting witness against men, in their quiet contrast with the bodied, subconscious and non-material essence of experience transitional character of all things, in the strength which, through the lapse of closely related to the atmosphere of place. We can, indeed, seasons and times, and the decline and birth of dynasties, and the changing of the face of the earth, and of the limits of the sea, maintains its sculptured talk about atmosphere of place, which transcends its unique shapeliness for a time insuperable, connects forgotten and following ages character and identity. with each other, and half constitutes the identity, as it concentrates the sympathy, of nations: it is in that golden stain of time, that we are to look for the real light, and colour, and preciousness of architecture; and it is not until a building has assumed this character, till it has been entrusted with the 3 Gabriele, D’Annunzio, Contemplazioni della morte, Milano, Fratelli fame, and hallowed by the deeds of men, till its walls have been witnesses of Treves, 1912, pp. 17-18. As quoted in Gaston Bachelard, Water and dreams: suffering, and its pillars rise out of the shadows of death, that its existence, an essay on the imagination of matter, Dallas, The Pegasus Foundation, more lasting as it is than that of the natural objects of the world around it, 1983, p. 16. can be gifted with even so much as these possess, of language and of life.’ John, Ruskin, ‘The Lamp of memory’ in The Seven Lamps of Architecture, 4 Peter, Zumthor, Atmospheres – Architectural environments – Surrounding Leipzig: Bernhard Tauchnitz, 1907, p. 248-250. objects, Basel - Boston - Berlin, Birkhäuser, 2006, p. 13. Care for continuity - the case of Riga Circus Building 3
John Dewey, the visionary American philosopher (1859- The connection with past life and the traces of past image- 1952), articulates the character of place as an unique quality: ry in our environment creates safe setting and generate the image of continuity. An experience has a unity that gives it its name, that In architecture schools we have been thought to per- meal, that storm, that rapture of friendship. The exist- ceive, observe and evaluate architectural spaces in the matter ence of this unity is constituted by a single quality that of its formal and aesthetic matters; leaving the atmospheric pervades the entire experience in spite of the variation realm somewhere yet behind. However, the overall ambience of its constituent parts. This unity is neither emotional, is often, if not always, the strongest and the most powerful in practical, nor intellectual, for these terms name distinc- determining our position towards a setting. Hence, I suggest tions that reflection can make within it.5 that we shall become more sympathetic towards the realm of atmospheric setting; as understanding atmospheres can teach Martin Heideggar links the space inseparably with hu- us how to empower architecture with means of influencing man: ‘When we speak of man and space, it sounds as though entire societies, and, meantime, allow us to define our indi- man stood on one side, space on the other. Yet space is not vidual experiential foothold. something that faces man. It is neither an external object nor an inner experience. It is not that there are men, and over 6 and above them space.’ When we enter the space, the space The Spirit of Place enters us; it is simultaneous interaction and fusion into one. Ergo, atmosphere is similarly a transaction between the tangi- By virtue of their nature genius loci sites are no ble properties of the space and the immaterial realm of human ‘ready-mades’. They just happen, gradually shaped by mu- perception, imagination and memory. We can analyse and tual feedback relationships of nature, human creativity and define the first, yet, the latter are equally difficult to analyse interactions, and the passing time. They are happy accidents verbally or alter as experiential realities. – unpredictable integral entities that are difficult to define Thus, the reality of experience consist of previously and to plan. Therefore, these sites are like dear gifts; by mentioned time as the observation of space implies duration. losing them, we lose much more than ‘a lovely old street or a Atmosphere of space or ambience is an extreme experiential picturesque group of trees’ – we are loosening spiritual ties dimension or prediction; as we instinctively read the en- with the surrounding world..8 vironment as a whole consisting of behavioural and social aspects - either real, probable or imaginary, into an atmos- Built heritage has a twofold form, consisting of tangible pheric image. Besides, we also read into atmospheric image (buildings, sites, landscapes, routes, objects) and intangible the temporal layering and appreciate them emotionally. Even phenomenon (atmosphere, memories, narratives, traditions, more so, we feel connected and tempted towards the images knowledge etc.), that is to say the physical and the spiritual of past life in our settings. We obviously like to be connected elements that give meaning, value, emotion and mystery to to signs of the life instead of being detached and placed in place. In other words, the two interact and mutually construct artificial reality. Finnish architect Juhani Pallasmaa writes in one another, constituting the identity of built heritage. ICO- his essay Space, place and atmosphere: MOS Québec Declaration on the Preservation of the Spirit of Place continues noting that: ‘Spirit of place exists, in one Don’t we seek historically dense settings because they form or another, in practically all the cultures of the world, connect us experientially and imaginatively with past and is constructed by human beings in response to their social life, and we feel safe and enriched to be part of that needs.’9 Accordingly, we sense, perceive and reflect the spirit temporal continuum?7 of place in physical and spiritual realm. 5 John, Dewey, Art as experience, 1934 (1987), as quoted in Mark, Johnson, The meaning of the body: aesthetics of human understanding, Chicago - London, The University of Chicago Press, 2007, p. 74. 8 Jūratė, Markevičienė, ‘The spirit of the place – the problem of (re)creat- 6 Martin, Heidegger, Building, Dwelling, Thinking, in Id., Basic writings, ing’, in Journal of Architecture and Urbanism [online journal], 36:1, 2012, New York: Harper & Row, 1997, p. 334. pp. 73-81,
Those physical and spiritual realities act as a mediator 3. Integrity. UNESCO defines the integrity as follows: and media of societal interactions. Robert V. Passfield sug- ‘Integrity is a measure of the wholeness and intact- gests that: ness of the natural and/or cultural heritage and its attributes. Examining the conditions of integrity, (..)The genius loci constitutes the spirit of a place that therefore requires assessing the extent to which brings the environment of the setting to life as a dynamic the property: a) includes all elements necessary to living place, working place, or inhabited landscape. express its Outstanding Universal Value; b) is of ad- The genius loci transmits the patterns, meanings, and equate size to ensure the complete representation of image, which gather together and organize the elements the features and processes which convey the proper- of the environment of the setting into a meaningful and ty’s significance’.11 intelligible whole within conscious or felt boundaries – a 4. Complementarity. As the site is entity, it interlinks gestalt that transcends the meaning of the sum of its con- between the whole and its elements are specific:the stituent parts. In so doing, it orients the visitor, conveys whole is greater than the sum of its parts, and any a sense of functionality and continuity, and manifests ‘part’ of the whole is more than a part. a traditional way of life that links the present with the 5. Continuity. This is a key quality of genius loci sites, past.10 as only by providing continuity the site truly is preserved. Unfortunately, heritage conservation often A spirit of the place for the most part refers to human leads to a situation of discontinuity. perception and sensation. From this perspective, our sensing 6. Non-evidence. Genius loci sites frequently lack largely relies on our participation on a metaphysical degree. features of heritage sites, such as an evident visual On the other hand, conservation activities, by definition of uniqueness. Yet, they may be of great importance for the discipline, deal with the tangible world; although, often local communities, meantime being ‘nothing signifi- affirming preservation of intangibilities. Awareness of the cant’ to others. duality is the fundamental issue of contemporary conserva- 7. Rhizomatousness. The quality is identified in Gilles tion doctrine. Deleuz’s and Felix Guattari’s concept of rhizome, For preservation purposes, built heritage sites are usually where vegetative system is given as a model signifi- identified as physical-morphological structures, consisting of cant for human society, and rhizomes are defined as structures and elements, which can be noted, measured and networks. In other words, genius loci sites are ‘nodes’ recorded. Yet, this type of data is not applicable to spiritual of a ‘major socio-cultural rhizome’, meantime - au- qualities of genius loci ‘living’ sites, and, unfortunately, tonomous rhizomes, with their own unique elements; might be even misleading from the latest perspective. Contra- and usually are rooted in traditions. When ‘node’ is rily, if such tangible sites were seen not as absolute physical isolated from its rhizome, it might be preserved as a objects, but as ‘containers’ of intangible qualities, preserva- representation of the whole, however, the whole stops tion and maintaining actions might target in ‘container-based’ being a habitat. Therefore, often heritage conserva- attempt. tion does not merely corresponds to continual living Previously mentioned issues allow to define an explicit sites.12 set of fundamental features that are vital for understanding of In order to ease relevant interpretations of and caring for genius loci sites. Such sites are qualified as: heritage sites, recognition of the above mentioned qualities 1. Being both a reality and an entity. should be central for any preservation-related activities. 2. Performing a touch of eternity - a particular feeling, associated with extensive time span of evolution and existence of the site.
11 UNESCO, Operational Guidelines for the Implementation of the World 10 Robert V., Passfield, ‘Evaluating Authenticity: Reconstructed Timber Heritage Convention, WHC, 11/01: 23, para. 88, November 2011, [website], Swing Bridges’, in The Journal of the Society for Industrial Archeology,
Heritage Conservation and Care for Continual Places 4. Conservation is based on largely democratic doctrine of all-inclusive equity, exposure and accessibility of Care for habitats and tradition-based continuity is cultural heritage. Yet, the current situation in built possibly as old as the human race is, while conservation and heritage mainly touches upon and adjust to be appeal- preservation is an intellectual result of Modernity.13 Today ing for mass tourism and other heritage industries. both disciplines are inter-weaved, dealing with the same Often, this leads to restrained interactions between realities. However, both activities are rather diverse by the the sites and their dwellers, turning habitats to the faith of their basic elements. This diverse nature can be best ‘sites for show’. Unfortunately, there are many such explained by theory of rhizome by Gilles Deleuze and Felix sites known, that can not be reverted.15 Guattari.14 The theory refers to dissimilar models of thought However, as the heritage preservation is an arboric and systems of knowledge - arborecent and rhizomatic. approach, by safeguarding the tangible heritage, it fulfils an Arboric thought is linear, hierarchic, inactive, segment- extremely important socio-cultural function: it serves as a ed and stiff. It can be compared with a tree-like structure; ‘cradle’ for further possible traditions. Nevertheless, to main- having clear hierarchy and structure. If one of ‘tree’s’ branch tain the integrity of cultural heritage and sustain the Contin- is separated or destroyed, the wholeness of the ‘tree’ can still uous for living, the appropriate activity is the preservation of perform. Rhizomatic thought, on the other hand, is non-line- continual sites. ar, dynamic and heterogeneous. The pattern of such thought Preservation of continual sites is a rhizomatic activity. is mesh-like and it moves in many directions and connects to This approach aims in maintenance of habitats, their physical many alternative ways of thinking, doing and being. In the and spiritual integrity and continuity in such sites, and are case of rhizomatic thought, if one element of the whole is usually rooted in traditions. In other words, sustaining the abstracted, the whole stops performing. Continuous of living involves the previously mentioned spirit Heritage conservation is an arboric activity. In many of place. In fact, the mentioned qualities of such sites are the ways, it is based on musicological and academic idea, is basic conditions in order to provide continuity phenomenon. highly selective and intending to preservation of the Unique While preservation means protecting cultural heritage due to ‘outstanding cultural values’: against threats, protection of continual sites means allowing 1. Conservation approach by definition neither aims at for local communities to continue as well. Sven Arntzen clar- maintaining continuity, nor is able for a throughout ifies the difference between the two noting that: commitment of human interactions. It is a greatly specialized approach, aiming to extend the physical The preservation of works of art and of cultural mon- elements of such heritage. uments is typically an attempt to ‘arrest’ them in some 2. The approach is based on analytical reasoning on why past or present state. This approach has been also applied and what should be preserved. It tends to preserve to the preservation of cultural landscapes (..). When the material visual authenticity, and presentation that preserved along these lines, a cultural landscape is made ‘reveals and explains heritage values’. Accordingly, to be a museum piece, a mere object of observation, as such activities often deal with heritage as an evidence opposed to being a living and lived landscape (..). This of the Past. kind of preservation fails to preserve that dimension 3. This instrumental approach is based on scientific of a cultural landscape, which makes it valuable and rationales. Yet, often it refers back to ‘zones of un- worthy of preservation in the first place: the dynamic certainty’ as values / memories of local communities relationship of mutual influence that humans engage in or cultural identities. Nevertheless, the stated respect with the land. From the point of view of ecophilosophy, towards ‘local cultures and communities’ (as defined preservation of the complex cultural landscapes involves in The Nara Document 1994, The Quebec Declaration maintaining the inside perspective of the dweller and 2008, etc.), frequently turns into a passive attitude doer as opposed to the outside perspective of the visitor and actions. or mere spectator.16
13 Ibid. 15 Markevičienė, loc. cit.
14 Gilles, Deleuze, Félix, Guattari, A Thousand Plateaus: Capitalism and 16 Sven, Arntzen, ‘Cultural Landscape and Approaches to Nature – Ecophil- Schizophrenia, Translated by B. Massumi, Minneapolis: The University of osophical Perspectives’, in Place and Location, vol. 2. Eds. Virve Sarapik et Minnesota Press, 1987. al., Tallin: Eesti Kunstiakademia, 2002, p. 27–50. Care for continuity - the case of Riga Circus Building 6
This theoretical part of thesis has identified the contro- specific socio-cultural profiling of involved communities to versies between conservation phenomenon and continuity make informed decisions affecting such sites. Development, phenomenon. However, it is essential to note that in actual including alterations or additions, can be applicable if it pro- practise both activities are intertwined, hence the approaches vides the means to enhance or regenerate social aspects, or to may differ and be even more complex. create new elements which will make a positive contribution Yet, the knowledge of the features discussed previously to local identity and a spirit of place. is a precondition for any preservation practise. Hence, the be- forehand planning of any heritage site should not be limited to physical qualities. Specific socio-cultural profiling of -in volved communities, their local values, atmosphere, attitudes, traditions, etc., should be overseen as well. Such knowledge is an irreplaceable apparatus in preservation of genius loci sites. However, in our ever globalizing world sustenance of Continuous of living means also balancing in-between equi- librium of the site and the continuous dynamic change. Thus, radical changes should be avoided, while minor appropriate ones are tolerable.
Continuous Dynamic Change
Every space or place has historic character and origins. The prevailing challenge is not merely to evaluate what is historic, or to label what is most valuable historically, but to resolve what to do with such judgements in terms of continu- ous dynamic changes. Aspects including the Continuous life happening within the habitat, in conjunction with the vulner- ability of a place and its ability to incorporate change without losing its spirit of place and links to the past, are far more significant measures than value on their own. The built habitat is a dynamic living entity and reality. Change, continuous interventions therefore is the fate, wheth- er on wants it or not, to the building. Change is inevitable, but it can be managed to provide the best potential consequences for an integrated whole. The historic environment therefore requires a much deeper and more sensitive approach than only trying to single out the ‘best sites’. The intention of ‘managing change’ can include some selective site protec- tion, however, the main issue of such approach is to allow for communities to continue as well. In other words, any changes should allow different growth options and patterns of devel- opment to happen inside the habitat. The aim of this approach is not to cease change, but to direct its nature and to guarantee that the most adequate form of change happens, in the right way. The goal is to sustain, enhance and create a physically an spiritually rich environment for the communities involved. This requires an in-depth understanding of the historic environment and Care for continuity - the case of Riga Circus Building 7
Chapter II: Research / Context of Circus d : something suggestive of a circus (as in frenzied activ- / Chapter written by Martins Ostanevics / ity, sensationalism, theatricality) a media circus 3. a obsolete : circle, ring Circus: definition and meanings 4. b British : a usually circular area at an intersection of streets Just as the history of circus is elastic and inconclusive, so is its definition. Circus, Cyrk, Cirque, Circo, Zirkus etc. is The circus has been one of the most influential forms known in almost every country in the world, but there are no of mass entertainment means in human history. Yet, it is im- absolutely consistent elements. 1 portant to note, the concept and term ‘circus’ is rather hard to define and to place in clear time and place boundaries as there Word ‘circus’ originates around 1350 - 1400 coexist several circus genres within the field. Besides, often From Latin - circle; from greek ‘kirkos’ - ring. ‘circus’ is seen through perceptions and interpretations rather than particular and ‘known’ rationale. Also, it is difficult to Definition of circus’‘ in english:2 determine, when exactly the concept of circus has emerged, (noun) as several theories are known and favoured.
1. A travelling company of acrobats, clowns, and other en- tertainers which gives performances, typically in a large Development of the circus tent, in a series of different places. • Informal A large group of people travelling together on Wherever the circus came from, it started like this: someone the circuit of a particular high-profile activity. captivated attention by doing what others could not do. This • Informal A public scene of frenetic, noisy, or confused display of startling agility: walking on one’s hands. Springing activity. hands to feet, over and over. Juggling balls, or knives. (..) In 2. (In ancient Rome) a rounded or oval arena lined with short, making a spectacle of oneself. The body as spectacle is tiers of seats, used for equestrian and other sports and the origin of the circus.4 games. Circus before buildings Definition of circus’‘ in english:3 The beginnings of the history of Circus as phenomenon (noun) can be found as early as ancient Rome. Word ‘circus’ here refers to a rounded or oval arena lined with tiers of seats, 1. a: large arena enclosed by tiers of seats on three or all used for equestrian and other sports and games. One of the four sides and used especially for sports or spectacles greatest such example is Circus Maximus, dated in 6th cen- (as athletic contests, exhibitions of horsemanship, or in tury BC, the oldest and largest public space in ancient Rome. ancient times chariot racing)b : a public spectacle It was hosting such events as chariot races, gladiator fights, 2. a : an arena often covered by a tent and used for variety wild beast hunts, and a variety of other shows, processions shows usually including feats of physical skill, wild and popular entertainment-forms. In the book The Greatest animal acts, and performances by clowns Shows on Earth Linda Simon notes that: ‘The Roman circus b : a circus performance celebrated human superiority: of one man over another, of c : the physical plant, livestock, and personnel of such a man over beast.’5 During interludes in-between animal bail- circus ing, chariot races and gladiator fights, jugglers and acrobats offered a light diversion to the audience. 1 Reginald, Bolton, ‘Why circus works. How the values and structures of cir- cus make it a significant developmental experience for young people’, PhD After the collapse of Roman empire, it is hard to trace Thesis, Murdoch University, Perth, 2004, p.128,
8 Ibid. 6 Ibid., p.10. 9 ‘Barnum and Bailey’ Circus in United States was one of the leading circus- 7 Dominique, Jando, ‘Short History of the Circus’, Circopedia, es for forty years (1841 - 1919), when they merged with other success-story
11 Peta, Tait, Circus bodies: Cultural Identity in Aerial Performance, New 13 Duncan, Wall, The Ordinary Acrobat: A Journey Into the Wondrous World York: Routledge, 2005, p. 15. of Circus, Past and Present, New York: Knopf, 2013, p. 229. Care for continuity - the case of Riga Circus Building 10
Semiotician Bouissac branches out these three genres as Early such change can be noticed in mid-twentieth cen- follows: tury. Simon depicts the new movement of clowns’ character: 1. the Traditional ‘Modern’ Circus with its complement ‘New clowns aim not so much to amuse their audiences, but of acrobats, animal trainers and clowns; to make them think. (..) Their object, instead, is to get the au- 2. the purely Acrobatic Circus with a theatrical and dience to see the world in a new way. (..) Some new clowns whimsical elements; and aim to provoke discomfort and even fear.’18 Such turning 3. a new genre - the artistic, aesthetic, educational or point in the social influence of circus performers is explained community circus, that is otherwise known as ‘New’ by semiotician Bouissac: ’The extent to which they succeed- or ‘Contemporary circus’.14 ed in raising socio-political awareness or deeply altering the As Jando notes in the Short History of the Circus, very essence of the circus remains to be assessed. But there old circus performers may have resisted change, but a few is no doubt that they ushered in an aesthetic revolution in the producers, at least, tried to shake up the shows in which they circus.’19 appeared by modernizing staging, lighting, and musical ac- Secondly, Circus as phenomenon changed as the new companiment.15 However, most German, Russian and French circus is characterized by the formation of conceptual perfor- Tradition Circus troupes have not altered the substance of mance by synthesis of traditional circus elements with other their programs, still producing wild animal acts in order to art movements. New circus applies and includes ‘non-circus’ meet remaining public demand. Yet, what has changed is arts in their performances - contemporary dance, video art, the style of presentation and the conditions in which their extreme sports and the fine arts, too. Besides, the goal of wild animals are kept and displayed. Also, from the late 20th the show is to create continuous performance as a fusion of century, a variety of circus schools and public institutions all the arts. The idea and semiotics of the performance has and organizations emerged to improve and promote Tradition changed significantly, bringing compassion and cognition of Circus art. several socio-political concepts into first place. As a result of dynamic changes in Circus character, Bou- Consequently, the variety and complexity of the means issac concludes, that, “On the one hand, traditional circuses of expression of new circus requires certain level of cognitive adapted to the expectations of their audiences, and on the and intellectual maturation as well as sufficient accultura- other hand new circuses devolved toward brilliantly renewed tion. Looking at the circus performances in this context, it is ancient forms.”16 clearly visible, that ‘The supposedly essential link between children and circuses, although historically and culturally New Circus motivated, is nevertheless a misconception if it means that The circus is a tiny closed off arena of forgetfulness. For a circus acts are made for children.’20 space it enables us to lose ourselves, to dissolve in wonder However, the genre of the New Circus is still consider- and bliss, to be transported by mystery. 17 ably limited in space and time. The new form of circus has Henry Miller spread in Northern Europe, where wild animal use in circuses has already been banned. English-speaking countries, such as As already stated, by the mid-twentieth century, signif- Canada, Australia, and more recently, India, have followed icant changes in the ways people perceived circus appeared. the trend. Yet, the traditional circuses in the United States, Several factors influenced the transformations, such as animal Mexico, Central and South America, and Southern and East- protection movement, economical situation and the develop- ern Europe, continue to perform resistant to those changes. ment of technology that offered new ways of entertainment. As the new circus movement has started relatively As a result, acrobats, their physical skills and new, more recently, there is still a lot to discover and learn both, for the meaningful ways of their artistic expression became the cen- circuses and their audience. We all, yet, need to clarify and tral character of new circus. grasp, what can new circus offer, as we still lack an under- standing around the circus art. It should be more that just a 14 Paul, Bouissac, Semiotics at the circus, Göttingen: Hubert & Co: GmbH tent filled with wild animals and red-nosed clowns.. & Co. KG, 2010, p. 184. 15 Jando, loc. cit.
18 Simon, op. cit., pp. 194-195. 16 Bouissac, op. cit., p.183.
19 Bouissac, loc. cit. 17 Henry, Miller, The Smile at the Foot of the Ladder, 5th edn, New York: New Directions, 1948, p. 48. 20 Ibid., pp. 25-26. Care for continuity - the case of Riga Circus Building 11
Semiotics at the circus However, besides the ‘timelessness’ of circus semiotics, the form of circus in some means is also temporal, closely All cultural events, especially those related to perform- related to site-specifics and follows socio-cultural evolution. ing arts, are routed not only in popular tradition and historical As circus always takes place within a specific culture, it societal modes, but also in human physiology and psychology illustrates through its own spectrum particular ethic values as both have emerged over long time span through natural and social norms, historical and political references, aesthet- selection. Circus has an extraordinary quality in this respect ic standards, the remembrance of circus tradition itself, and as it is rooted in typical actions that can be said to have been even occasionally explicit references to local issues involving crucial for human survival in the deep time of the species social or ideological struggles. when ‘extreme situations offered constant challenges not yet The flexibility of the circus in the time of globalization mediated by cultural artefacts’.21 Such activities are now per- and its adjustment to ever changing cultural contexts keeps formed in the circus ring, using several attributes, to demon- maintaining an intense field for semiotics. The portrayal strate acrobats’ abilities to survive in dangerous actions. of the primal repertory of human survival acts in the ring These core actions are described in the book ‘Semi- provides a rich and yet bold imagery of the fusion between otics in the Circus’ by Bouissac as follows: ‘(1) balancing nature and culture. The attention and awareness to both - bio- and progressing on narrow surfaces; (2) grasping hanging semiotics and cultural semiotics are crucial if one is to come supports that avoid deadly falls; (3) clearing obstacles by to grasp the circus’s symbolic complexity and the hidden jumping and climbing; (4) throwing or catching objects in a agenda and gratification it provides. way that allows a person to reach targets or keep a number of valuable items intact; (5) controlling animals both to exploit the resources afforded by some and neutralize the aggression of predators; and, (6) no less important for a social species, negotiating social situations.22 The circus acts are based on artificial modelling of extreme situations, and, consequently, on needed skills to overcome the challenges they represent. However, important for recognition, is the fact that those skills are some what alien to those we need to perform in our every day life, as the social and cultural realm has developed and we no longer exploit such actions. Yet, we are amazed and intrigued by the actions per- formed by wire walkers, the aerialists, the jumpers and climbers, the sharp shooters and trainers of wild and domestic animals. Whatever act the circus artists perform in front of us in the ring, it resonates and echoes in our minds and bod- ies. Such physical and psychological empathy was recently explained by the findings of mirror neurons in our brains (Stamenov and Gallese 2002; Hurley and Chater 2005). Such discovery unveils, perhaps, why circus is so engaging as it reaches out to our primal brain, and triggers a familiar phys- ical memory which is encoded in our deepest part of genome and is at the physical foundation of our social realm as much as it creates active empathy. This is undeniably the basis of the reason the circus being claimed to be timeless. In other words, circus is not dependent on a specific historical period construed by its cultural construct.
21 Ibid., p. 177.
22 Ibid. Care for continuity - the case of Riga Circus Building 12
Chapter III: Research / Context of site Circus in context with suburbs in 17th century Afore the year 1652, when the first suburban plan was Riga Circus in context with development of Riga introduced, current Riga Circus location was in close prox- imity to medieval fortifications. At the time of 17th century To acknowledge and interpret Riga Circus and its suburbs became an organised built-up area consisting mainly cultural and social role, the context of Riga and its history of single-storey wooden buildings along the street, and exten- plays an important role. As such, the lot of Riga Circus on sive plantings of trees inside the blocks. Current Riga Circus the present-day Merķeļa Street has been in a close relation to plot was amidst the growing suburbs, however, there does all succeeding physical changes in city planning, especially not exist accurate information of what existed on the specific so during the times from 17th century until the First World block. War. The Circus location is not to be seen circumstantial, but Circus in context with suburbs in 18th century rather as a complex issue regarding the development of Riga The 18th century suburban plan gives a clear under- in its extension beyond its medieval core. standing in relation to the present-day situation as the plan In short, as many of the European cities, Riga has rather introduced lasting changes that affected future development typical plan consisting of three main urban typologies as of Riga. The lot of Riga Circus is set within the esplanade follows: - a 400-m-wide belt of open space. However, the esplanade 1. The Old Town of Riga - a medieval core of origins itself was a mixed blessing. On the one hand, it significantly on the right bank of the Daugava River dating back to altered the general form of the city, introducing an extensive 1210, when the city was founded. The old town amongst open space, to be used for recreational purposes. On the other the bank of Daugava is physically and culturally the hand, its wide expanse separated the suburbs from the forti- most significant spatial flair that shapes and defines the fied city even more, resulting in division in its commercial, cityscape of Riga. cultural and social facilities. The separation of the two made 2. Semi-circle of boulevards with a green belt on both the segregation of classes even more immense. sides of the City Canal, transformed from former fortifi- The other factor important to note in the present-day cation walls and moat in the middle of 19th century. Circus location is its proximate position to north-east (cur- 3. Former suburban quarters, surrounding the boulevards rently Central District), south-east and also undeveloped with dense built-up areas with a rectangular network marshy areas between the two (currently - Latgale Suburb). of streets and architecture of the 18th, 19th and 20th Although the present-day location of Circus building is centuries. included into the Central District its ties with the other two Although similar to other European cities, Riga is one districts emerged already in the 18th century. of the very few cities whose physical extension beyond its Circus in context with suburbs in the first half of 19th century medieval core was undertaken by successive, comprehensive The plans from the first half of 19th century indicates plans. Altogether there were seven plans developed: in 1652, significant and lasting features that influenced the location 1771, 1813, 1815, 1856, 1872 and 1883. Some of them being and status of the present-day Circus, namely, the plot its more extensive than others, all were important in shaping the located is within the green belt in a close distance to newly physical form of the city beyond the fortification walls, as it introduced Vērmanes Park and other public areas in between grew and transformed from a suburban fringe into the central the medieval city and suburban area. However, as signifi- area of Riga. Much of this area together with the medie- cant is the aspect of undeveloped area south-west from the val city core, now constitutes the Historic Centre of Riga present-day Merķeļa Street, as it later showed to become an included in the UNESCO World Heritage List. Riga Circus is important communication node in the city while also devel- amidst the Historic Centre of Riga. oping into an obscure part of the area. In order to assess the town planning contribution of each Circus in context with suburbs in the second half of 19th century period to the present day location and appearance of Riga Urban development in the second half of the 19th cen- Circus in the unity of Riga’s central area, all time periods and tury defined the city fabric of Riga. Even more, it outlined plans are analysed in terms of the following aspects: (1) the the current character of the plot and area surrounding Riga character of the current Riga Circus placement; (2) develop- Circus. The most significant changes were former fortifica- ment of adjacent areas to Circus current location; (3) effects tion walls transformed into green park belt. The city along- on the area adjacent to Riga Circus. side the newly introduced park belt developed into several Care for continuity - the case of Riga Circus Building 13 functionally different zones. North from the present-day 13. Furthermore, the Circus quarter is bordered by two Janvāra Street was designed as a residential part with parks streets - the previously described Merķeļa Street and A. and public buildings, while southern area was envisaged for Kalniņš Street, which currently holds the delivery access to transport and commercial development. the building. The street is narrow and serene, and runs only Although the plot of current Riga Circus is located around 200 meters, ceasing into the Vērmanes Park. amidst the residential/public zone, it has strong relation All things consider, the area of the Riga Circus and and influences from hitherto undeveloped area in the south- the Merķeļa Street, upon which the building is located, is east. In fact, the four building blocks (one of them holds the a dynamic urban space, having its benefits and drawbacks. current Circus plot) are a unique pattern in else green belt For one, the location can profit of its lively atmosphere and holding merely public buildings. central position in the city. On the other hand, the area has The other important and everlasting introduction in the its image of a poor and inferior locality. Nevertheless, Riga city was the circular round-point on the central boulevard Circus and its location is seen as a potential focal point of an axis, which connected five radiating streets one of them being area to give a certain sense and meaning to the place. current Merķeļa street. Ergo Merķeļa Street links the two functional zones of the city and therefore holds an important role in city’s transportation network. Riga Circus Building: historical overview In summary, the development of built fabric along- side the inner park belt was early defined creating common The very first known circus performances in Latvia are character of place. On the other hand, the building blocks mentioned in literature as early as 1783, but, initially, all of in-between the planned railway station and otherwise contin- those were held in temporary wooden cabins or cloth-tents, uous green belt lacked its role in the city. As a result, the area travelling from town to town. As for the first temporary of Riga Circus building emerged into space of motion rather wooden building built in Riga is mentioned a construction than space of place. built in the midst of Vermansky garden. Circus in context with present-day situation By the late 19th century, Riga became industrial city; The current Circus character has been strongly influ- hence the leisure-time and entertainment forms grew rapidly. enced by the previously mentioned changes in city planning. During the time, new art-forms emerged to fit the needs of Circus location is situated in a rather unique area in a prox- lower class townspeople - servants, service and factory work- imity to several different city zones, having various historical ers and youth. Establishing new ways of mass-culture, sever- backgrounds. Such context has resulted in an unprecedented al ever-popular yet neglected entertainment forms emerged. urban block amidst where one of the building is Riga Circus. One of them being circus. In many European cities, driven by Circus location is formally a part of a green-belt, howev- the high demand, permanent circus venues were being built. er being more characterized by the adjacent area that was The program of circus revealed emerging industrial society’s formerly undeveloped and resulted as a transportation sector. mentality, values and desires. Featuring the human victory The railway station and several other main transportation over the wild animal, circus in the consciousness of masses network hubs are allocated only couple hundred meters from became a symbol of humanity’s progress. In short, by the late the circus building. As a result, the Merķeļa Street is a highly 19th century, circus grew into highly popular entertainment important street to link railway station and the other parts of form. the city. In Riga, by late 19th century, the formation of the mod- Ergo, the Merķeļa Street is an intensive Street running ern Circus began. It is related with Prussian citizen - eques- through the very heart of Riga Centre. Albeit the Street is trian Albert Salamonsky, who established and built the first only 560 meters long it is of high importance as it starts from permanent circus quarter in Riga and called it ‘Salamonsky Marijas Street next to Central Railway Station Square and Circus’. By the time he built Riga Circus in 1888, he had al- stretches to Brīvības Street. Merķeļa Street is also an im- ready founded circus in Berlin and in Moscow. It is important portant public transport node and has five bus stops, hence to note that Riga Circus building is the only permanent circus the great crowd gathers along it. The street holds residential building in the Baltics. buildings with retail spaces, public buildings - Riga Circus From the very beginning, Riga Circus was mainly used and Latvian Society House and the very first City Park - Vēr- for performances held by foreign circus artists. Hence, it was manes Park. initially represented as exclusive establishment, and it re- Care for continuity - the case of Riga Circus Building 14 mained so until the 1940’s, when circuses in Soviet Republic Riga Circus Building: spatial analysis were nationalized. Due to this change, Latvian artists were included in Riga Circus troupe, and national identity became Riga Circus Building has an unusual and rather compli- increasingly relevant. Consequently, by the 1974, the first cated history. The building, erected in 1888, was later altered, fully Latvian troupe performed in the ring. rebuilt and transformed several times. Important to note, sim- The other noteworthy change in Riga Circus emerged ilarly to the original built, the further alterations were mostly within the time of 1940’s, when Soviet circuses gradually done illegally, without approval or building permit. started to host circus schools and other educational forms. By The architect of the original building is Janis Fridrihs the mid 20th century, circus served as a platform for artists, Baumanis (Jānis Frīdrihs Baumanis, 1834-1891), the very their training and social activities. The circus of Soviet Union first educated Latvian architect. The building at the time con- made great use of circus performances - acting and character sisted of circus arena with spectacular cupola and two wings of performers, their symbolic attributes, and the dialogues of facing present-day Merķeļa Street. Initially, the main circus the clowns, to convey the ideology for the inner consumption. façade towards Merķeļa Street was built in classicism manner Through the years of Soviet time, Riga Circus flour- - highly popular style at the time. The building is also known ished and became an important form of mass entertainment. for its extraordinary construction techniques. The structure However, with the collapse of Soviet Union and the Fall of of circus arena/cupola is made from railroad rails and its the ‘Iron Curtain’ Riga Circus gradually declined. New forms faceted dome is constructed from 16 meridian ribs joined by of mass entertainment emerged, and the overall audience three main circles, which are located in the ribs’ fractures and had changed, thus favouring other means of leisure. Due to visually divide the cupola into three ‘belts’. The main compo- several reasons (see paragraph ‘Riga Circus Building: spatial sition of the building - the ring - is 13 m in its diameter, and analysis’) Circus was closed in the year 2016 and remains so circus arena could accommodate up to 1,700 visitors at its until the present day, when new Circus strategy is sought for. earliest construction. Riga Circus since 1940’s and until its closure in 2016, The first alterations were done only ten years later - in followed the Traditional Circus genre. Hence, the main 1892, when, due to the need for menagerie, stables for horses attraction for the audience, during the whole of Circus his- and elephants were built in the back of the circus building. tory, were menageries. Along with animal feats in the ring, The arena was adjusted and balcony with gallery introduced. aerialists, acrobats, clowns and equestrians remained signifi- Also, alterations in the front façade facing the present-day cant element of Circus acts. Since the year 2008, Riga Circus Merķeļa Street were implemented, including new outer iron studio re-established the educational role to train future circus stairs leading towards second level and an iron construc- artists. tion marquee over the sidewalk. The further changes in the Recently, protests against using animals in circuses building underwent in 1924, when the facade was altered began to appear in the streets of Riga, indicating the changes and several auxiliary buildings built in the back of the circus in societies’ perception of understanding around the circus building. Perhaps, the most extensive refurbishment were art. Currently, a broad and intense debate in the mass-media carried out in the year 1953 - the façade was simplified and between the two oppositions takes place. Such discussion is, detailing abolished. Several technical buildings, including perhaps, current, as a law to ban wild animal use in circuses garage, workshop premises and guard shed, were built. The is viewed in the highest instances, following the example set reconstruction of Riga Circus Building done in the 1960’s by other countries. transformed it as we can experience it at the present-day. As mentioned previously, Riga Circus is currently closed As from year 2013, under the law issued by Ministry and 44 out of 62 circus workers were laid off. The remain- of Culture the building is recognized as cultural monument ing employees keep organizing the performances, providing of State significance.23 Yet, at the present-day Riga Circus administrative support, to produce shows to be performed in Building is closed due to its technical state - as the building culture houses and schools. Today Circus awaits its recon- has not been renovated since the 1950’s. Riga Circus was struction as well as reorganization of its overall strategy, pro- closed for audience in February 2016, and is on hold for gramme and functions in order to correspond with contempo- renovation works. rary circus movement.
23 The order of the Ministry of Culture Nr.126, issued:11.11.2003. Care for continuity - the case of Riga Circus Building 15
The brief history of the Circus Building displays how The other alike condition is the specific location of Riga Cir- the building has gradually accumulated several changes cus, which initially was built outside the city centre, but now and alterations. Instead of having specific, fixed in time and appears in the heart of the city. The mentioned aspect makes space, transformation, the building ‘grew’ mutually with it unreasonably to use the space for animal sheltering. local processes and habitat through the years. Yet, the mutual Above mentioned changes result in spatial and architec- semiotics, atmosphere and ‘feeling’ of the particular place tural revision. At first, to fit the programme of New Circus’ in particular cultural domain has not been lost. The layering needs, new, additional spaces are required to host new from time and social bygones are embedded deep into the performance areas, training facilities, artist residences and walls of Riga Circus Building. recreational facilities. Performance areas include Black Box theatre for 300-350 people, and performance hall for around 60-80 visitors is also recommended. As one of the prerequi- Potential development guidelines for Riga Circus quarter sites of the New Circus is the educational function, training facilities for general public, hosting library and spaces to For any cultural institution, whether we talk about the- provide a platform for interdisciplinary and open discussions atre, cinema, opera or circus, it is highly relevant to provide and processes is considered to be a necessity. Such spatial such performance that is relevant. Yet, what then are the development directions can be solved in the context of the ‘rules’ or general pragmatic conditions to account for the capacity of Riga Circus quarter. differences between successful performance and a failed one? Yet, other spatial challenge is the existent Riga Cir- Bouissac defines such five maxims for circus art as follows: cus building. Given the fact, that Contemporary Circus has meet the audience expectations; communicate effectively; rather different spatial requirements - as in circus arena 24 be relevant; be proper; be in time. All of these maxims are arrangement, as well in supportive spaces. The current spatial site-specific and correlate with particular cultural and social structure is largely based on animal; the spaces are organized, behaviours. adapted in their sizes to suit the dimension of horse, for ex- Considering all the above mentioned ‘rules’, potential ample. Yet, if the animals are displaced from the future circus development guidelines for Riga Circus are set as follows: acts, the challenge remains: how to address the new function 1. Overlook Circus programme and overall strategy; so, that the building does not lose its character and atmos- 2. Overlook the use of animals in Circus; phere which is strongly tied with ‘horse’. 3. Reorganize and refurbish existing spatial capacity Whenever the future lies for Riga Circus, the spatial and provide new spaces for overlooked Circus Pro- development will change within. New spaces are to be looked gramme. for, while existent ones need to be reorganized and refur- The former Circus programme and overall strategy is bished. As seen before, circus, in contrast to imagined, is based on Traditional Circus genre. However, the growing dis- fairly complex and requires attention and awareness to both - cussion indicates the differences between the last leadership’s socio-cultural knowledge and semiotics at the circus. ideas and the ones from the potential audience. Such strategic changes would allow for Riga Circus to become open to New Circus positive aspects, such us educational and community development. More open and towards all-inclusive approach would allow for Riga Circus to become more relevant and timelessness art form. Given the fact that a lot of European Circuses have refused using animals in circuses, the best practise for Riga Circus, perhaps, would be to overlook and follow the same course of action. There are several prerequisites to such step, including public awareness of such issue and subsequent protests/petitions against using animals in circus acts.
24 Bouissac, op. cit., pp.170-172. Care for continuity - the case of Riga Circus Building 16
Chapter III: Practise: Application building from the above mentioned aspects: the semiotics, cultural identity and traces of past. Without further delay, let Riga Circus Building: Care for Continuity us come to the semiotics at circus buildings. The spirit of place: the semiotics This thesis aims at preserving the Riga Circus Build- The focus of this typology is the circus ring with respect ing as an approach of care for continuity. In other words, to which the whole structure is formed. The ring is the regu- the preservation attitude, proposed and demonstrated in the larly marked focus of all the other actions, its semiotic centre following chapters, is based on maintenance of specific site: of gravity.1 Yet, the ring is a space strongly influenced by its Riga Circus Building, its physical and spiritual integrity and enclosure. The cupola above the ring is the space that offers continuity. Hence, to sustain the Continuous of living habitat, the sense of balance and stability. However, the ring is not a crucial and irreplaceable part of such attitude is care for plainly passive or neutral. According to Bouissac, there are spirit of place. several binary geometrical oppositions that plays significant As stated before, the care for any preservation practise role in perceiving circus space, as well as organizing the should not be limited to its physical realm, as the quality of movement within the vicinity of the ring: space or place is not purely a visual perceptual quality as it 1. Inside versus outside of the ring; is often presumed. The spirit of place involves communities, 2. Centre of the ring versus its periphery; their traditions, values, attitudes, atmospheres etc. The under- 3. Movement – diametric versus circular; standing of environmental character is a complex multi-sen- 4. Horizontal plane versus the vertical dimensions.2 sory synthesis of a countless factors that are instantly grasped Hence, not less important in the semiotics of Riga as one enters a space. I believe, the character of Riga Circus Circus is the selection of an axis which provide the infinite Building is as bold and powerful, precisely because of its spatial reference for the inner structure of the entire circus. spiritual realm. The main axis often determine where the entrance to the ring Therefore, to further assess this approach, it is highly is located for both - the public and for the performers. Ideally important to interpret Riga Circus Building in its physical and and most frequently, this axis is aligned, in the opposite spiritual integrity. Note, ‘integrity’ has two parallel meanings; direction of the ring, creating strong local constraints. This is honour or uprightness and also completeness, cohesion. This precisely the case of Riga Circus Building. is important to mention, as, often, both - the physical and Another important axis is the gallery/corridor surround- spiritual - realms are intertwined and exists in a cohesion. In ing the circus ring. Such organization (note: spatial quality) other words, to talk about one of them, involves the other, as creates atmospheric perception (spiritual quality) such us genius loci sites are characterized by complementarity and orientation, gravity, balance (or imbalance), stability (or perceived both - physically and spiritually. instability), motion, to name just few. In other words, the spectators navigate a new geography through the circular Riga Circus Building Analysis: the Spirit of Place corridors bordered by forbidden zones. This geography is a new spatial arrangement as much as the narrow streets of an A spirit of place primarily applies to human perception unfamiliar city. and sensation; there is no doubt we can sense it. Riga Circus As similarly to the previous analogy, the circular Building is extremely spiritual, if one can argue so. As such, corridor is rather narrow, if one would imagine the num- this fact is strongly linked with the function, namely: circus. ber of spectators seated in the arena. But do not take it for As previously analysed (please, refer to the chapter: The coincidence! The usual interpersonal space which normally semiotics at the circus), any building dedicated to circus provides the fluidity of the movement is transformed within acts, has rather specific, singular spirituality. Secondly, the the circus into the jammed crowd condition. The thin line spiritual realm is defined by the commitment of human between proximity and promiscuity can create a sense of cer- interactions and, therefore, involves cultural identity. Besides, emonial fusing of sexuality, for the surprise of many, as the the commitment of human interaction happens gradually, sub- circus acts imply symbolically a large part of erotic message.3 sequently, leaving the traces of past as yet another defining 1 Bouissac, op. cit., p.16. element of the spirit of place. 2 Ibid. Therefore, the following chapter will briefly analyse the 3 Ibid. Care for continuity - the case of Riga Circus Building 17
But there is more. Not just the circus space is visually As such, it is important to mention the circular corridor (x), acoustically, and tactually concentrated but it is also around the ring, which is visually and tactually over-satu- saturated with specific odorous qualities.4 In Riga Circus rated. The paintings, brightly coloured and saturated with which (until the day of its closure) featured animals the air is countless circus characters, invoke the childhood memories infused with their acidic odorous presence that fuses together of a mysterious and joyful place. If taken out of the context of with the sugary smell of the candy floss and popcorn. These local community and their values, this tangible quality would odours, unconsciously awakens the childhood memories and look grotesque. However, in the particular case the painted creates the ‘image’ of the circus. walls create, perhaps unconsciously, truly logical continuity The above mentioned characters of the place, such us the and a strong link to community of circus. overall circus organization and movement, ring and its atmos- Similarly, an important aspect to mention is the figure pheric contribution, the circular corridor and the movement of animal, as the presence of which the whole building has within it, the smell, etc. are intangible and often forgotten been influenced. The particular measure of a horse has set qualities of a space. However, they are substantial dimensions the dimensions of all spaces, the degree of illumination and of the typical property of the circus atmosphere and create the flooring and its levelling. While the animal itself could and hold the spirit of place of Riga Circus Building. be forgotten in the context of the New Circus, the ‘ghost’ of it, expressed in the building itself, will be always present, The spirit of place: cultural identity whether one wants it or not. Further on, the specific site of Riga Circus Building All in all, these examples clearly represent the spirit of reveals the throughout commitment of human interaction and, place which is constructed by human beings in their response therefore, manifests values and memories of local communi- to their social needs. The ‘otherness’ of circus and, subse- ties and cultural identities. The building itself, in its spatial quently, physical and spiritual qualities embedded in the and spiritual qualities, constitutes the spirit of place as a building reveal the divergence of the communities ‘behind’ dynamic living place. The tangible elements of the building, the building. Perhaps, both - the reality and entity of Riga the past layers and vestiges are the actual imprint of the spirit Circus Building has allowed, at least for a while, for com- of place - transmitted values, memories, patterns, meanings munities involved, to be ‘other’ or different. As for a space, and images of local communities. circus allows to lose the usual self, the known realm and ‘to In order to perceive and appreciate the embedded spirit be transported by mystery’6. of place, it is crucial to appreciate the particular culture and the local community, their values and memories. In the case The spirit of place: traces of past of Riga Circus Building, it is strongly tied with the com- Yet, another important element involved in sustaining munity of Tradition Circus. If taken out of the context of its the spirit of place is the connection with past life and traces cultural identity, many (if not all) tangible qualities of specific of time gone by, as much as the temporal layering. The place would become alien and, most likely, aesthetically imagery of time in our environment create safe setting and bizarre. Therefore, the understanding of the commitment of the notion of continuity. Time in built heritage is revealed human interactions is highly important. in the tangible realm, however, these tangible changes do The overall spirit of place in Riga Circus Buildings tran- not happen for an accident. The imprints of time in building scends the ‘otherness’. Circus has been and still is a place that uncover the socio-cultural and behavioural aspects. The Riga offers the feeling of exoticism. Once one enters the buildings, Circus Building and its historically dense settings allow for the Circus space reveals to be (over)saturated - visually, the communities to be connected towards the images of past acoustically, tactually. However, these qualities are not to be and temporal life and appreciate them emotionally. seen incidental, just the opposite - they imply in themselves The physical changes accumulated in the building, from the meaning of the whole and direct the visitor, conveys the as early as the year 1888, and until the present-day unfold sense of functionality and continuity, and manifests ‘a tradi- multiple shifts in socio-cultural setting and principles. If tional way of life that links the present with the past’.5 looked into carefully, pure physical alterations on the main facade tells more that just the formal and aesthetic attitude at certain time given. The changes reveal the larger whole
4 Ibid. 6 Miller, loc. cit. 5 Passfield, loc. cit. Care for continuity - the case of Riga Circus Building 18 and conveys the virtue of their nature as a ‘happy accident’7. The other case to argue my point is the horse stables, In other words, the Riga Circus Building is characterised by built only ten years later as the ring - in the year 1892. This its gradual development (please, refer to the chapters: Riga particular space is one of the most valuable in the whole Circus Building: historical overview and Riga Circus Build- building, as it holds rather specific atmosphere. The stables, ing: spatial analysis) and, most certainly, is not a ‘ready- until the date of circus closing, served for singular, rather made’ site. The building has emerged and shaped by mutual specific reason and, hence, the figure of animal has defined relationships of human perceptions and interactions, and the the space. The tectonics of the space and the construction of passing time. vaulted brick ceiling carried on railroad rail columns is the Such pace and way of changes is an indicator for genius trace of late 19th century, while the wall finishing displays loci sites. As such, the Riga Circus Building bears a valuable the mid 20th century. Besides, due to the lack of any repairs traces of past. However, they are not to be seen as an evi- in the building, the space boldly exposes countless layers of dence of the past, but rather as a constituent of the whole, that colouring, tiling work etc. transcends the spirit of pace. In other words, buildings’ virtue Traces of past as well as temporal layers create and is not homogeneous; just the opposite. The wholeness of the sustain the continuity of the space, and therefore is of great building is composed of many parts of different kinds that importance. Riga Circus Building is, perhaps, a ‘happy acci- create the building’s entity and reality. dent’ as it has merely lacked resources for large and rushed From the facade of the building to its interior - tectonics, refurbishments. Just the opposite, the smallest alteration formal structure, spatial characters, form language, used ma- in the building has done carefully by the community itself, terials and level of detailing uncover building’s heterogeneity. hence, maintaining the spirit of place. I imagine someone All those parts of different kind and different time reveal the thinking of the building as of a poor and threadbare ruin. I buildings ability to perform as a single and integral whole. would argue, thou, with the words of Bernard Tschumi, who Each area and space is characterized by multiple elements, once said that ‘the most architectural thing about the (this) which, although, widely dissimilar, create the continuity in building is the state of decay in which it is.’8 In the case of the building. I will prove this idea by making use of two Riga Circus Building, I believe the decay is not merely the spaces of Riga Circus Building - the ring and the horse goal or destination but rather a testimony of a dynamic living stables. Let us firstly access the ring, which is the formal place. structure and the dominant of the whole building. The spirituality of the place is a complex entity. For this The ring with its cupola was constructed as early as the reason, I do not argue to have covered all of the aspects in or- original built, namely year 1888, and until the present-day der for the reader to be able to grasp the metaphysical realm has accumulated several changes in its formal arrangement of the particular building. However, I have tried to set out the and spatial characters. Presently, ring unfolds various traces essential perspectives as a framework for any preservation of past and temporal layering - its formal tectonics and con- practise, in order to assess each case as a care for continuity. struction materials are as old as the original building, while I have tried to prove and discuss the spirit of place - an the coatings, colourings and the seating dates back to the entity rather impossible to define in words, yet, crucial to middle of 20th century and embody the soviet time ‘aura’, think of in any preservation case. To better ‘hand over’ the which is perhaps unknown or foreign for the ones unlinked ‘feeling’ or atmosphere of the building, I am enclosing some to particular community. Contradictory, perhaps, the tent’s well chosen photographs from the interior spaces, as well of inner coating with the Latvian folk signs dates back to first some street views in hope that it will deliver the message and Latvian independence times and symbolise the notion of sensation one gets when actually visiting the building. identity. Finally, the latest additions - lightning and sound systems attached to original railroad rail and wooden con- structions are the signs of temporal layer. All those elements Riga Circus Building: Design Approach coexist together and maintain the continuity and integrity of the building, thus providing connections, experientially and As for now, with clarified and discussed issue of the imaginatively, with past life. spirit of place of the building, further chapters will discuss how to implement and approach these matters. As discussed previously, care for continual sites are based on maintenance
7 Markevičienė, loc. cit. 8 Bernard, Tschumi, Advertisement for Architecture, 1976-7. Care for continuity - the case of Riga Circus Building 19 of habitats as dynamic living places. For this reason, the maintaining the spirit of place, I have outlined several design change is inevitable in built heritage. Even more so, in our principles. The following paragraphs will unfold those by ever globalizing world, where one of the greatest challenge is giving examples and approaches. to balance in-between equilibrium of site and the continuous Principle: exposure dynamic change. Exposure, both - visual and physical, is a mean to (re) As follows, the challenge and the aim of this project is to connect the communities with the building and enhance the maintain and, if possible, enhance the spiritual and physical place as a dynamic living place. By uncovering the building integrity and continuity of the building as a dynamic living to someone lost to the genius loci site, the building regains its place. In other words, this project aims at finding principles significance. However, by no means this principle is aimed that would allow the building to absorb transformations, to all-inclusive equity, exposure and accessibility of cultural changes, distortions, while never stopping to be the building heritage that often, unfortunately, ends with ‘sites for show’. it was - respecting its origins. Just the opposite, the proposed principle targets the inside Just before we come to the principles, I would like to perspective of the dweller or doer. In other words, the Circus pay attention to the origins of the building that was previ- Building would be exposed to the community involved, creat- ously mentioned. When architect realises a building, he then ing the positive response. creates an entity understandable as a whole. In other words, One of the strongest such approach is to open the quarter the building has the formal principles embedded in its archi- with a link - inner passage that connects both streets. Ergo, tecture that transcends and goes beyond the moment when the newly introduced street allows for both - physical and it is completed. If these principles are robust enough, the visual exposure of existing building. In the context of Riga, building will be able to absorb transformations, remaining the the inner courtyards hidden in otherwise dense urban pattern same entity once built. I believe, Riga Circus Building is the are symbolic way for communities to reach out and inhabit case and, precisely of this reason, the building has remained the semi-public spaces of the city. Similarly, the street allows an important dynamic living place. for communities to reconnect with such traditions, while also Riga Circus Building has rather strong and robust formal maintaining the circus habitat. The street, accessed from the principles embedded in the buildings. Firstly and mainly, it is main facade, is an almost mysterious tie with the inner world the ring with the cupola, which is the main physical feature of circus. When entering the courtyard, the cupola and the at- of the building. Furthermore, the building has rather strong mospheric scene of the building reveals itself in a new, rather principle of symmetry and the overall system of the building, unexpected way. The place, beforehand unknown becomes height difference in the city morphology and outer stairs on exposed both - physically and spiritually. the main facade as an individual element of particular place. Visual connection towards the interior spaces is also The fact that the building is still itself after all interventions gained by new openings in the existing façades. In fact, these undertaken (here, please, refer to the chapters about Riga proposed doors/windows are merely ‘new’ as they have been Circus Building and its historical development) constitutes an existing at some point of the time. However, due to several admiration to its own integrity. reasons, thereafter they have been built-up. My intention, In the case of Riga Circus Building, its architecture however, is not to replicate them, as it is not possible what- and the formal mechanisms of its composition once defined, soever. Just the opposite - I am proposing to add new layer of established endlessly both the image and the structure of the my own, yet, respecting the origins of the building. Such new building, which will last and stay open to new interventions openings, for example, are introduced in the inner courtyard, carried out over time. Therefore, it is the respect for the archi- more precisely - in the horse stables, gaining an exposure to tectonic identity of a building that makes change possible - it interior spaces of high significance. These re-introduced arch- is the degree of continuity that allows to appreciate the ever es will also serve as an exposure to the circus ‘life’, as from dynamic life of a building. the inner passage the view will unfold the training spaces, Design approach: principles located in the former horse stables. As this thesis argues for the position of preservation as a Previously described functional changes is yet anoth- care for continuity, it involves in many aspects the intangible er means how to expose the building to the communities. realities of the building. In order to provide and allow for Beforehand, the building was merely ‘open’ for community local communities to continue inhabiting the building, while to experience, as only the circus ring, the circular passage Care for continuity - the case of Riga Circus Building 20 around it and the cafe was accessible. Now, with the circus He explains that a building without life stops being a build- concept slightly changing (as mentioned before, the new ing and becomes yet another type of object. A museum piece leadership of the circus has withhold to use any animals in of architecture is impossible, and the efforts that have been the future circus performances) several spaces are vacant to made to make one have showed that perhaps it is possible to be revealed for everyone to discover. Various highly atmos- collect fragments of architecture, which perchance illustrate pheric and spiritual spaces are adjusted for public use to give it, however, they are not able to recreate the experience that a new perspective of the building for the dweller. Such spaces any architecture implies. are the previously mentioned horse stables and the original Therefore, the proposed principle of uncovering the circus volume along the Merķeļa Street. traces of past is to be seen as a way of unfolding what the As stated before, an important formal character of the building already possess and not as a falsification of elements building is the outer iron stairs on the main facade facing that have been lost. Also, it is important to remind of the Merķeļa Street. The stairs are rather unique urban element main aim of the project, namely - continuity. In other words, in the whole city, yet, formerly were not in use. Hence, this by no means this approach intend to ‘go back’ to any particu- project aims at exposing the stairs, furthermore, reviving the lar time, just the opposite. Since the most valuable feature second floor of the building. The proposal suggests to use the is the integrity of a building as a dynamic living place, this second level as a potential entrance to the circus, transform- approach aims at maintaining it. ing the hallway of the second level as an inner public street. There are countless examples of intended approach to To put it simply, visual and physical exposure is a me- reveal; however, I will further unfold some of them. By giv- dium to enhance the human interaction with the physical and ing these examples, I will try to group them into sub-princi- spiritual realities of the building. Besides, the building itself ples. Nevertheless, all of them can be looked at in the context has been constructed by human beings in response to their of time, as all of them implies an intention to uncover the social needs, values and therefore, by unfolding the building, sensation of continuity. these memories, values are recovered as realities. While the Sub-principle: uncovering fundamentals building is protected against threats of further decaying, it is Fundamentals here are to be seen as basic features that allowing for local communities to continue as well. have formed the circus building and still hold vital signifi- Principle: uncovering the traces of time cance. However, for some reasons, during the time some of Riga Circus Building has emerged in a rather long time the formal fundamentals have been ‘forgotten’ or others are span and been shaped by continuous mutual relationships of in jeopardy because of upcoming changes in overall circus human interactions and the passing time. This is the reason programming. for building to be able to uncover the traces of past. Such As such, let us firstly look at the circus ring and arena layers are seen in every part of building, as well from interior which is the essential formal feature of the circus building. spaces as from exterior views. This imagery of time gives The cupola, built on 1888, carried on sixteen pillars (railroad more than just a patina to the building, it sustains the spiritual rail) was a structural novelty of the time. Therefore, as such sensation and connects us with the passing waves of human- the pillars were displayed and the seating organized around ity. them. In the later years, the pillars were built up in the walls The building itself in its characteristic formal features, and the structural fundamentals were lost for communities to materials and details uncover countless traces of past. Riga experience. In order to uncover these ‘forgotten’ fundamen- Circus Building is a proof that a building does not conclude tals, the ring is once again altered. The existing rounded walls with its construction and therefore, its integrity does not are planned to be dismantled, allowing for construction to consist of keeping it exactly as its builders left it. Hence, this be seen. In order for the circus performances to happen, the project in any way does not aim at any conservation works space would be closed up using sliding wall construction. Be- implied in the building, as it would reduce its life to a single, sides the primal reasoning of such transformations, it would petrified instant. I agree with the comments made by John also bring about capability for venue to transform for other Ruskin in the ‘Lamp of Memory’, when he argues his point in kinds of events. restoration practice and the problems involved.9 The other example to mention is the fundamental of an animal, the figure of which the whole circus space have been 9 Ruskin, J., The Seven Lamps of Architecture, London, Smith, Elder & Co.: designed. Now, as mentioned before, with the circus program 1849. Care for continuity - the case of Riga Circus Building 21 in change, the figure of animal is ceasing to take place in the Soviet times is proposed to be dismantled. The volume itself building. However, while respecting the changes, I argue was built for the needs of sanitized lavatory. Ever since, this that the animal can and shall not ‘vanish’ from both reali- has been the functional program of the volume, resulting in ties - spiritual and physical. Therefore, this approach aims at a bizarre situation, when the original built is made spatially preserving the physical formal features of the building that unclear and hard to read. As the volume is also taking up the would allow for the known atmosphere to continue. For this space from the proposed public street/courtyard, it is seen as reason, the stables are not changed nor dismantled, they are a logical approach to dismantle such annex. only minimally adjusted to fit other functions. Similarly, the All in all, these alterations are done carefully investigat- wide hallways on the first level are not changed, also leaving ing the reasons behind such actions. In most cases, they can intact the sloped floor coverings, designed to collect animal be well argued, however, some inner walls/parts of ceiling faeces. In other words, the transaction between the tangible have been dismantled because of mere spiritual or atmospher- properties of the space and the immaterial realm of human ic ‘feeling’. In these cases, the sensation or feeling of specific perception, imagination and memory allows for the figure spatial alteration is seen as an equivalent argument to justify of animal, although not in the form of physical presence, to such approach. Changes to provide spatial clarity bring about remain as a significant feature of Riga Circus Building. other improvements in lightning, movement etc. and most certainly provide spiritual sensation of time. Sub-principle: spatial clarity The passage of time in the building is directly tracea- Principle: illumination ble in its spatial features. Beforehand apparent and simple Spiritual realm of a building is a complex intangible building logic has somewhere lost in the continuous changes reality, difficult to justify and even more difficult to form. and alterations. The spaces, designed as clear and definite However, this thesis aims at maintaining the existing atmos- spatial features for specific function, has been built up and phere of the building and, where and if possible, to strengthen in-between with new walls, volumes. On one hand, this is a it. We perceive space by several sensations, such us illumi- proof of a genius loci site - a dynamic living place. On the nation, scale, motion, duration etc. All of those are merely other hand - such undirected spatial changes may lead to an intangible realities, however, the spatial characteristics of a undesired separation between the spirit of place and involved space are formed, either consciously or unintentionally, to communities. emphasize or reduce the ability for such sensation. To exemplify, the building has accumulated several spa- In order to emphasize the spiritual reality of the building tial changes in its volumes. The original built was adjusted, several design principles can be assessed. One of them - the adding various annexes. Such building practise has resulted illumination or the use of light, is a strong sensations that in a rather vague appearance both in exterior and interior directs particular atmosphere. In the case of Riga Circus spaces. Therefore, as these later additions in many ways Building the degree of light and the transition from spaces distort the spatial clarity of the building, this thesis proposes with different illumination creates a strong sensation. How- to dismantle such additions. Important to note, ahead of each ever, several spaces are lacking the sense of illumination, alike decision scrupulous evaluation has been executed, in as many original openings have been built-up. Hence, this order to prove such decision. project proposes to re-invent several windows/doors in order To give an example to the mentioned principle, I have to sustain the spirit of place. outlined here two such places: both of them being one storey The best case to demonstrate the virtue of light and, on high annexes to original built. One such volume, built in the the other hand, its absence, is the cupola. The spike of the mid 20th century, is the addition adjacent to elephant stables. dome was originally designed with openings to let the light In its spatial features, the volume is creating a vague image of on to its structure, creating the sensation of diffused, hazy the main structure of the building, by blocking the character- illumination reaching the ring. However, in the later years the istic bevelled square of the circus main volume. By disman- windows in the turret were built-up and the dome lost one of tling the annex, the formal volume will regain its spatial its strongest atmospheric feature. Accordingly, to regain the clarity, besides, the interior spaces of former elephant stables sensation of illumination in the dome, this thesis proposes to will acquire lightning improvements, as the annex blocks the uncover the windows. Similarly, several other such re-open- daylight access. ings are executed throughout the whole building in hope that Similarly, an annex behind the facade volume built in these rather simple interventions will give a touch of spirit to Care for continuity - the case of Riga Circus Building 22 the building. building are done in order to add new features, if needed, Perhaps, the most significant intervention proposed for nevertheless, respecting the existing. the building is the change in the radial hallway around the In order to prove my point, I will use an example of the ring. At the present time, the hallway is a dark, narrow space facade facing the proposed inner courtyard. The brick facade, with rather low ceiling height. Although, visually saturated, built in the year 1888, had several openings. Although built the space is lacking the sense of being a part of the larger up, they are visible as the brick work changes its pattern and whole, namely, circus with its ring and cupola. Therefore, to the gauged arched bricks are vividly visible. As I propose gain mere atmospheric sensation, the proposal is to open the to reinvent the windows at the original locations, the work space to the roof plane and let the daylight coming in to the would be done with respect to both layers. In other words, hallway. The space would then become more dynamic, high- the new window would not replicate the original, but with a lighting its physical and spiritual significance. This example respect to all brickworks, it will be composed as a new open- allows to move us to the next principle - motion. ing, leaving both layers visible. Similarly, the main facade will be altered. The building Principle: motion has changed gradually, mainly reflecting the alterations on Motion, similarly to illumination, is yet another mean to its facade, as it was the only apparent part of the building. how to reveal and form the spiritual realities of space or The materiality of it, the plastered brick and metal detailing place. The almost scenery sequence of spaces with all the em- are an important characteristics of the building. However, bedded meanings, values, memories are revealed as we move during the alterations in the mid 20th century, lot of the on through the building. Motion, therefore, is a strong tool to detailing was lost. To regain the detailing, I propose new, mediate the atmosphere and the spirit of place. visually and tactually saturated facade solution. The original Circus spaces, in general, have a strong sense of the doors on the ground level are proposed to be reinvented as arranged motion; how one enters the building and how the a new element, introducing ornamental pattern to be used path leads to the entrance into the ring. Besides, all of this throughout the new interventions in the building. The metal, embedded meaning is symbolic, as I wrote in the chapter as a characteristic feature, is also used presently, to reflect ‘The spirit of place: the semiotics’. In the previous principles upon the origins, while providing new design and layer of I have already touched upon the importance of motion. The today. earlier example of the circular hallway is a great illustration I have now outlined design principles to clarify the to convey the value of motion. The circularity of the building intentions and ways to approach planned interventions. All is one of the rare precedent in our cities that still provides to of those principles mentioned are the means how I believe experience movement so unusual to us. the building can be preserved as a care for continuity. Also, Principle: visual and tactual saturation its is important to note that all interventions are done not to The last, but not the least, is the principle of visual preserve physical elements of the building as an ‘evidence of and tactual saturation. As we move through a building, we past’ but rather to enhance and allow for local communities to perceive the visual and tactual information and, dependent on continue as well. our sensation, the atmospheric image grips into our senses. Riga Circus Building is over-saturated, if I can argue so. The notion of ‘otherness’ is evident in the building - revealed in the colourful paintings, bright colours of the walls etc. How- ever, it is not just the function that defines such saturation. The building also is the evidence of its own integral life. The layers of materiality and colours exposed in the building as traces of past constitutes its life that flows through it. With a great respect towards it, I aim for this building to maintain its integrity. Each layer and colour is seen as equally signif- icant; either it is the brick of the year of 1888 or the yellow wall colouring from the Soviet times. Both are constituents of the buildings life, hence, interventions executed in the Care for continuity - the case of Riga Circus Building 23
Concluding Remarks
Genius loci sites are defined by their intangible character of the material site. We sense, perceive and reflect uponspirit of place physically and spiritually. It is an immaterial realm, therefore, so hard to define, write about, prove and even more difficult (in fact - impossible, as this thesis proved me) to cre- ate intentionally. Perhaps, this is the reason why such matter becomes an absence in the overall field of architecture. Nevertheless, when being in such place, it can not be missed. However, the same place can be a spiritual place for one, but ‘nothing special’ for the other. In other words, the genius loci sites are characterized as an interaction between the tangible properties of the space and the immaterial realm of human perception, imagination and memory. To sense the spirit of place involves not only our individual ‘feeling’, but also specific socio-cultural inclusion or nativeness. Besides, it is a two way process; genius loci sites also transmit and sustain the self-identity and a sense of inclusion. Hence, it is in our best interests and necessity to care for such places and preserve their continuity. The research and its application into a real genius loci site of Riga Circus Building resulted in four basic con- clusions. First, that - genius loci sites can not be recreated deliberately, because they are ‘accident’, and not inventions. Second, as those sites are not creations, they are not able to accept radical changes, while minor ones are tolerable. Third, that the present conservation policy is, perhaps, able to protect the genius loci sites against threats, however, often it neither aims in maintaining continuity, nor is able for a com- prehensive engagement in general domains of human interac- tions. Forth, the best possible way to preserve genius loci site, as such - Riga Circus Building, is to assure its continuity. Care for continuity - the case of Riga Circus Building 24
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