Le Silence de la Casa da Musica / Nathalie Fontaine-Pham / 2009
There is not a lobby space in the sense of the foyer but rather processional spaces either embracing the functional areas or becoming part of them. There are capricious staircases, angular spaces disappearing in a further spot, narrow tunnels with ramps or escalators leading to the next surprising location.
The route is not clear; suddenly there is a cross view to the main auditorium; another bit of city framed just ahead; a chamber orchestra in one of the rehearsal rooms; a pop-star conferencing for the press in the VIP room. ➡︎
The irregular form does not mean that the building does not have a front face with which to address the square in a conventional way. But Koolhaas says of the axial planning: “It was very exciting for us to establish a relationship with the very classical context of the axis. So we aligned the volume of the concert hall with the axis. The rest of the building is so eccentric that we could accept this without being traumatised by it.” This eccentric form is generated by conceiving of the shoebox hall as larger than the rest of the building, with the concrete skin simply expanding to accommodate it – the two ends of the shoebox are legible from the exterior. ➡︎