Architectural styles derive their uniqueness by demonstrating the construction techniques, political movements, and social changes that make up the zeitgeist of a place in a particular moment of time. Whether it was the rebirth of art and culture with Renaissance architecture, or the steel skyscrapers that emerged in the post-war movement, each stylistic change tells us something different about the transitions of architectural history. But what if architecture rejected a critical regionalist approach, and buildings took on the characteristics of another place? These seven images made for Expedia provide a glimpse into what some of our favorite architectural icons would look like if they were built in a different style.
BART//BRATKE & Matthijs la Roi Architects have released images of their proposed new concert hall in Nuremberg, Germany. The “Nuremberg Konzerthaus” seeks to extend the historically rich heritage of the Meistersingerhalle municipal center, contributing a unique musical experience to the cultural city. The proposed concert hall establishes a dialogue with the Meistersingerhalle, connected in a symbolic “band” podium made of natural stone, recalling the rock formations of nearby quarries.
Seeking to represent a cultural jewel in the Nuremberg area, the Konzerthaus playfully interacts with the modernist elements of the Meistersingerhalle, manifesting them in a contemporary language. While a solid base grounds the structure horizontally, vertical elements such as a foyer, expressive stairway, public bleachers, assembly venues and diagonals break the stringent horizontality of the band, resulting in an open, inviting perimeter.
The Konzerthaus seeks to seamlessly integrate with the surrounding urban park landscape of the Luitpoldhain, running through the open foyer and elevated corridors of the building. The concert hall volume, combined with the Meistersingerhalle, define an articulated forecourt and main entrance, activated through the public foyer functions along its perimeter. The concert hall, perceived as a freestanding object from the outside, is clad in wooden strips on the interior and exterior. In order to maintain a human scale in the 1600-seat space, the monolithic form the hall is broken into balconies, information desks, and break-out zones.
A separation of public and private functions defines the interior program. The main entrance for visitors leads directly into the vertical atrium, with all public functions arranged along the foyer. Meanwhile, a rear building caters for artists and employees, with a centrally-located artists lounge directly connecting to the stage and catering area. To improve circulation efficiency, the delivery, instrument room, and artists’ dressing rooms are all connected at the same level.