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 fulfil spiritual 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.