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From the complicated jumble of styles and eras that characterise the former industrial neighbourhood, our project emerges as a new urban landmark. Looming over the long-established roofscape, the new concert hall is at once incisive and assertive, strong and independent, restrained and self-evident: a new presence in the cityscape, but in a familiar guise. Different from every angle, Munich Concert Hall variously evokes a marquee or a production hall, perhaps even a temple or a cathedral. In everyday reality, it is a place for creating music; a production hall of sorts for students and nascent musicians, a venue for workshops, a realm of possibilities. The form is open to interpretation and various uses – at its best, the building is a protected but pulsating home for the zenith of cultural achievement in musical form. On the other hand, the building offers the peaceful and contemplative setting of a temple to foster the perception of music and, indeed, of oneself. In the collective mind, the concert hall serves as an auditory repository and venue for concentrated musical pursuit. This is a new archetype, provided for people with a shared vocation. To reflect on what is essential - the basic virtues of quality and aspiration – spectacle is unnecessary. This thesis is expressed in the concert hall’s appearance and character, starting with the primordial form. The house for music is made strong by its determined self-awareness, which, despite its height, prevents conflict with neighbouring architectural landmarks. The architecture seeks to embody its contents and not underplay its significance, while still pursuing equilibrium for the urban ensemble. From afar, the concert hall is conceived as a strong stalwart: the steep roof pitch combines with the height to make the volume assertive. Just as a cathedral emits lofty charisma across its profane neighbours, Munich Concert Hall uses its sculptural form to create a sense of identity and a highly recognisable icon. Nevertheless, the human scale at ground level prevents the building from seeming unapproachable. When near, the building reads as a component embedded in the life of its surroundings; resonating with and enriching the wider neighbourhood. With this in mind, we are especially interested in the materials, which define the building’s character just as much as its shape does. The brief called not only for a ceremonial guise suitable for grand occasions, but also an everyday guise for the times in betwee
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