블랙의 역동적인 형상으로 디자인된 페스티발홀은
이지역 여름축제를 위해 사용된-1950년대~1998- 패션 플레이하우스와
대조적인 시퀀스를 만들며, 새로운 축제의 장을 준비한다.
새로운 축제의 시작은 여름축제와 대조를 이루는
겨울축제의 중심으로 주변 암석, 지형을 형상화한
주변 랜드스케이프를 형상화한 모놀리틱 볼륨으로 디자인된다.
이것은 또한 두가지 변수, 내부 프로그램의 기능적 요구와
주변 자연환경과의 조우를 통해 다듬어지고 완성되어 진다.
지역주민들의 문화 및 여가활동의 증진을 위해 만들어진
페스티발홀은 내부에 설치된 오케스트라 공연장 이외에
다목적실을 포함한 다양한 커뮤니티 활동을 보장하는
공간을 제공함으로써 지역 커뮤니티의 거점으로 자리 잡을 것이다.
reviewed by SJ
Positioned against a background of rock formations, the new stunning angular black Festival Hall at the Tiroler Festspiele Erl (Mühlgraben 56 A 6343 Erl, Tyrol, Austria) by Austrian architectural firm Delugan Meissl Associated Architects undoubtedly derives its form from the site's surrounding topography.
The existing Passionsspielhaus
or ''Passion Playhouse'', originally constructed in the 1950s, has
operated extensively since 1998 as a summer opera and orchestra venue
hosting a large part of the Tyrol Festiva. Delugan Meissl Associated Architects
were called upon to design a new festival hall for the winter months
and their new single monolithic volume design virtually pierces into the
existing structure. As the one is oriented towards the other, both
structures complement and elevate their respective architectural
dialogue through their dramatic visual interaction with one another.
The new faceted black structure which was completed in August 2012 accentuates both the natural and architectural environment through the duality in the contrasting geometry and color augments in the two. While the white surface of the Passionsspielhaus stands out optically during the light summer months of the festival, the changing of seasons brings about an achromatic reversal of the ensemble where the new winter structure comes to the fore. The topographic imprint of the new building is continued throughout its interior directed by two dominant parameters; the interrelation between the interior and the surrounding natural space as well as the spatial configuration of a functional, internationally acclaimed concert hall.
A recessed staircase transitions into an asymmetric construction in the strikingly clean-white grand foyer which leads into a geometrically timber-lined auditorium (there are two other entrances on the upper level). The transition from the foyer into the auditorium with its soaring spatial elements exerts a plethora of sentiments on visitors where dynamism, variability and asymmetry give way to maximum concentration, static calm and orthogonality, as the architects themselves point out.
All in all, the general spatial layout and corridors throughout the new festival hall act as immense communication zones where flowing visual and functional spatial references define the architecture making for a building with an orthologic, yet captivating and coherent architectural layout.
from yatzer