Nürnberg Concert Hall

Nürnberg Concert Hall

URBAN DESIGN CONCEPT


The urban situation is characteristic for the transition from a clear and open suburban framework to a dense, closed urban makeup. The four-lane Münchenerstraße serves as the main artery for the city center, Schultheißallee acts as a ringed connection and the additional tram provides ample relief from the downtown environment. The intersection of this dominant axis has no urban quality or logic and functions only for the traffic of the area. Meistersingerhalle lies along the park beyond the downtown area. Its building volumes, while large, embed themselves in the park's landscape and therefore to not determine the urban configuration.

The Meistersingerhalle is of unique importance to the city of Nürnberg and beyond that signifcant nationally, necessitating a clear and distinctive urban situation for the building. The new concert hall sits directly at the intersection of both traffic axes that enclose and inform the city space. To supplement the existing building volumes of the Meistersingerhalle can the new concert hall the city space now decisive character and clearness lend. The new concert hall lends a decisive character and clearness to the city which it shapes in conjunction with the existing building volumes. From Schultheißallee, the expanded building ensemble creates a forecourt spanning between the old entrance pavillion and the new concert hall. This serves both parts of the building, serving as common access and divider of program.

In the interior there is another element to bind the buildings: the impressive foyer of the Meistersingerhalle is continued into the new building and connected to the existing hall with a large staircase. From this emerges a comb structure, through which the foyer serves as back bone and the divider of concert and conference rooms. Due to this structuring approach, the buildings are functionally connected with one another but from the outside are seen as independent, sovereign bodies.

The entrance to the new concert hall lies under the auditorium and is developed through a series of ramps and staircases that are connected to the new forecourt. This creates a distinct entry gesture that transforms the total building forms. This gesture raises a suspenseful, unmistakable construction from an ordinary, rectilinear volume. As the volume is raised in front, it descends into the landscape towards the park and hotel. The visitor is led under the building, entering a new world apart from the plane they normally occupy. Once in the building, the visitor is brought with a large staircase into the higher levels of the foyer. The movement leads them along the outer building walls in a spiral form to the top where there is another change in perspective. They reach the auditorium via the front or the long side, completing the spiralling route.

Services and artist foyer are oriented to the park and hotel without crossover with the situation for the spectators, developed in a manner similar to the forecourt.

FACADE


For the design of the facade there were two relevant aspects. For one thing the building should demonstrate to the viewer through its presence and materiality, its cultural significance and function without overshadowing the existing Meistersingerhalle. Rather, an introduction to the connected nature of the buildings should emerge, analogous with the interior connection.
The structural steel skeleton is visible behind the glazed building shell. All four facade displayed are developed on the same principle: the opaque, closed glass surfaces along the upper building edge develop over the vertical course of the building into surfaces which are almost transparent. The highest degree of transparency is at the entrance and foyer area, bringing a luminosity to the condition.
A light colored print on the outer side of the large panels gives the glass its opaque effect. The roofing is from a similarly opaque glass is ventilated by solid ceiling plates. A lighted ceiling is designed for the underside of the concert auditorium.

CONSTRUCTION PRINCIPLE


The concert hall is in principle a simple cubic building, that is transformed. This transformation cantilevers the previously upright volume. A steel framework is used in the building shell as the supporting structure of the cantilever. Solid, reinforced concrete construction is used for the auditorium, all spring-mounted and adjusted to the cubature following the house in house principle. Horizontal supporting structures such as the ceilings and roofs are reduced in height by a reinforced concrete structure of support grids.

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