Bonn, Germany
The design for this concert hall and rehearsal space in Bonn, the birthplace of Ludwig von Beethoven, comprises a scheme of indoor and outdoor spaces to link the city’s musical heritage with the beauty of its position on the banks of the River Rhine. The urban concept for the project proposes a Beethoven Plateau, connecting the cultural institutions on the Museum Mile and the river with a large urban park, designed in collaboration with landscape architect James Corner’s Field Operations.
The project is organized around three major spaces: the Concert Hall, the Recital/Rehearsal Hall and the Public Foyer. The Concert Hall spans the riverbank’s esplanade, marking the venue from the Rhine, while the Recital Hall identifies the building from the park. The Foyer connects the two halls at their public entrances and dramatically signals the transition from park to river. The organization is completed by the multi-purpose rooms which support the main spaces.
A central atrium space draws the visitor from the main entrance through the building to the view of the Rhine from the expansive glass wall from the east façade. The lower level of the atrium provides an entrance from the river front and parking areas. The central concept in the design of the atrium is its function as a connector between the park and the esplanade along the Rhine. A grand public staircase creates this transition in levels and draws visitors through the building from the park down to the river and vice versa.
The exterior of the Concert Hall is an embossed aluminum “box” that allows natural light to filter into the hall through perforations in its skin. The surface of the box will evolve from a strong, solid form during the day to a light diffusing screen at night. The basic interior shape of the hall draws on the “shoebox” configuration of the best-loved traditional halls, particularly Vienna’s Musikverein, but the layout is sculpted to create a more intimate feeling in plan and section. Overall, the shape of the room is designed to provide a wealth of supportive sound reflections to all the seats in the hall while developing reverberation that every audience member will be able to experience. The acoustic plan was developed by world-renowned acoustician Larry Kierkegaard.
Interior surfaces are paneled in Anegre wood veneer to give the space a feeling of both warmth and strength. Vertical openings in the upper hall, which reach a crescendo above the stage and orchestra, are inspired by the varying densities of notes on Beethoven’s symphony scores. A stacked glass wall behind the organ also offers a source of ambient natural light.
一个标志性的音乐厅将室内和室外空间无缝地融合在一起，和谐地致敬波恩独特的音乐遗产。
该项目旨在庆祝贝多芬的诞生地，在这座城市的文化历史与莱茵河沿岸的自然美景之间建立建筑联系。该项目提出了一个贝多芬高原，它将连接被称为博物馆大道的河段沿线的文化机构与一个大型城市公园，该公园是与景观设计师 James Corner 的 Field Operations 合作设计的。
该项目围绕三个主要空间组织：音乐厅、演奏和排练厅以及公共门厅。音乐厅是该项目的物理和概念核心，遵循世界著名声学家拉里·克尔凯郭尔 (Larry Kierkegaard) 制定的声学计划。大厅的基本内部形状借鉴了最受欢迎的传统大厅的“鞋盒”配置，尤其是维也纳金色大厅，但布局经过精心设计，在平面和剖面上营造出更加亲切的感觉。总的来说，房间的形状旨在为大厅中的所有座位提供丰富的支持性声音反射，同时产生每个观众都能体验到的混响。 中央中庭空间充当建筑、公园和莱茵河畔滨海大道之间的连接器。中庭的主楼层通过其东立面的宽阔玻璃墙提供莱茵河的壮丽景色，吸引游客从主入口穿过大楼，而中庭的下层为来自河边的游客提供进入大楼的入口.
