The new Philharmonic Hall of Szczecin is located (arises) on the historical site of the “Konzerthaus”, which was destroyed during Second World War and recomposes an urban corner in a neighborhood near to the historic city. The building houses a symphony hall for 1.000 spectators, a hall for chamber music for 200 spectators, a multifunctional space for exhibitions and conferences, and a wide foyer, which can also be used to host events. The building is confi gured by a synthetic, but at the same time complex volume, which is resolved through a continuous promenade, which connects all these functions along a single public path through all the levels of the building. Externally, as in the adjacent preexistence, the verticality and geometry of the roof prevail. These characteristics identify the Philharmonic Hall with its surrounding context.
The plan composition is defi ned by a perimetral ring. This element mostly hosts service spaces. On the one hand this allows to defi ne a large void within which gravitate the symphony hall and the hall for chamber music, on the other hand to shape the relationship of the building with its surroundings. The serial modulation of the roof represents the only other expressive element, that permits the integration of the new building within the fragmented urban profi le of the city.
In its materiality, the building is perceived as a light element: the glass facade, illuminated from inside, depending on the use allows diff erent perceptions. The exterior austerity and the simple composition of the interior circulation spaces contrast with the expressiveness of the main hall. In accordance with the central European tradition of the classical concert halls, decoration becomes ornament and function. The hall is composed following a Fibonacci sequence whose fragmentation increases with the distance from the scene, and gives shape to an ornamental space which reminds of the classical tradition through its gold-leaf covering.
A photo shoot of the Philharmonic Hall in Szczecin in April and August, 2015.
The new Philharmonic Hall has its location in the city center at the crossroad of Malopolska and Matejki Streets. The building was designed by Barozzi Veiga Studio from Barcelona and it was awarded the first prize at the international architectural competition. Its shape connects to Szczecin city landscape and the very near scenery with many buildings of dropping roofs, church towers and other public constructions. The elevation style emphasizes its vertical lines and slender mass. The building is an architectural icon of the city and its significant promotion part. The main assignment of the new House is to perform symphonic music. There are two concert halls: the symphonic hall for 951 and chamber hall for 192 visitors. The main entrance is located at Malopolska Street and leads to the representative foyer with a height of three storeys. In the space of the entrance foyer beneath the chamber hall there is located a café too.
More pictures on my webpage: http://pkrajewski.pl/archiv/2014/01/szczecin-filharmonia/
A thousand tonnes of glass, steel and concrete. Twenty-five thousand light-bulbs. Over two thousand days of construction works. For the very first time, “4dimensionHarmony” chronicles the construction of the Szczecin Philharmonic, the 2015 most famous European building.
In the day it resembles an icy palace. At night, its lit-up facade looks like a glowing Chinese lantern. This snow-white mass with soaring tops draws the attention of each and every passer-by. In 2015, the Estudio Barozzi Veiga architectural design studio, which designed the new seat of the Mieczysław Karłowicz Philharmonia in Szczecin, received the Mies von der Rohen award. Since then, the building, an architectural icon of Europe, has become the most recognizable structure in Poland.
Fabrizo Barozzi and Alberto Veiga, the authors of the project, decided on modernity. Their inspiration was the king of instruments - the pipe-organ. And so the building is a representation of music and construction harmony. This is evident in each detail, from the minimalistic white lobby through to the the black and silver chamber hall and the impressive golden symphonic hall.
“4dimensionHarmony” contains over 100 photographs documenting the construction of the Philharmonia. The author, Radek Kurzaj, spent three years at the construction site. His photographs, supplemented with comments by the musicians, workers and citizens of Szczecin, tell the story of the birth of one of the most characteristic buildings in Europe.
The artwork leads the narration. As in the building itself, there are three dominating colours used: black, white and gold. The delicate white graphics of the cover refer to the soaring roofline. Gold pages separate the individual chapters, from the symphonic hall to the chamber hall, and the unknowing sense of black, in the box that the book can be found within. The photographs show the interiors of the building, contrasted against those of the completed structure. The book closes with photographs from the opening ceremony of the Philharmonic, which then was swarming with people for the first time ever.