Excerpt from the competition description:
COMPETITION FOR THE DEVELOPMENT OF AN ARCHITECTURAL CONCEPT FOR THE RENOVATION, RECONSTRUCTION, AND EXTENSION OF THE JULIUSZ OSTERWA THEATRE IN LUBLIN
ARCHITECTURE
LUBLIN CITY MEMORY SPACE
Built between 1884 and 1886 according to the design of architect Karol Kozłowski, the building was then called the Grand Theatre. It was undoubtedly a new, magnificent element in Lublin’s emerging metropolitan character. The opening of the Grand Theatre in Lublin was a significant event, especially since the then-modern theatre was one of only three institutions of its kind in the Polish-Lithuanian Commonwealth. Designed in the Italian-French Neo-Renaissance style, it appears to be the fruit of its architect, Karol Kozłowski (1847-1902), a creative fascination with buildings such as the Théâtre du Châtelet in Paris (completed in 1862), opened while the young Karol Kozłowski, a 15-year-old French high school student, was visiting the French capital. The multi-balcony, horseshoe-shaped theater hall surrounding the ground floor, the tectonics of the façade, and the method of construction have much in common with the Parisian theater, which was over twenty years older and larger.
The Lublin Grand Theater, which later became a municipal theater, and now, as the Juliusz Osterwa Theater, is an integral part of historic Lublin, building a space of remembrance for the city.
Our project for the renovation, reconstruction, and expansion of this building respects the existing architectural values of the theater and the Genius Loci of the place. And so:
THE THEATRE AND THE CITY STRUCTURE
We propose to complete the development of the theater area on Kapucyńska Street, planned by its architect back in the 19th century.
The expansion of the theater building on the north side and Kapucyńska Street will respect the 19th-century structure of the city by complementing the frontage and dimensions of Kapucyńska Street and ultimately utilizing the potential of the plot by developing it within the sharp northern boundary in Phase II of the investment.
At the same time, we plan to designate the dimensions of the Philharmonic Hall foyers as a resolutely monumental façade, complemented by a garden in the courtyard overlooking Kapucyńska Street and Krakowskie Przedmieście Street, at the end of Phase I of the investment. A monumental tree with a beautiful silhouette fills this garden-garden, surrounded by internal walkways – piers, which, from their two levels above the ground floor, allow for contemplative or meditative strolls among the treetops while enjoying views of the city.
We also anticipate the possibility of a transitional development for the period between the completion of Phase I and the construction of the transparent wall surrounding the Garden-Garden. This short-term development involves the creation of a public square with trimmed hedges, benches, and the monumental tree.
The tree’s bowl, of appropriate dimensions, is designed as a reinforced concrete structure, approximately 1.5 meters high and embedded within the volumetric volume of the theater’s underground spaces.
Phase II of the Investment will, once financing is secured, consist of building the internal patio/garden (or square described above) over the above-ground part of the New Stage – the auditorium and stage. This is based on the understanding that the underground part of Phase II, i.e., the underground section of the New Stage: the substage, the substage backstage area with the stage crew workshops, the acoustic workshop, the rear compartment for decoration under the future New Stage auditorium, along with a large-scale locksmith and carpentry workshop, and the above-ground side compartment of the New Stage, have already been completed in Phase I.
In keeping with the historical tradition of 19th-century Lublin, we propose completing the frontage development of Peowiaków Street (also known as Visakowska Street in the 18th century, Szpitalna Street around 1880, and finally Peowiaków Street in 1934, commemorating the 20th anniversary of the Polish Military Organization, with the episodic name of W. Street. Pstrowskiego Street – in 1952).
It is possible that this street existed earlier – in the 17th century – and that it was then called Zakonna Street or Zakonnic Św. Brygidy Street.
All these rich and diverse, historically layered references of Peowiaków Street led us to design a thoroughly contemporary space here, modern in our understanding. It connects the present day with the traditions of Lublin – the city and its suburbs – monastery gardens, jurydykas, and partially developed fields, adjacent to the Old Town and connected by roads, in the urbanization process of functional, ownership, and spatial transformations, as well as 19th- and 20th-century urban regulation.
At the same time, the frontage of Peowiaków Street is created by a symbolic and functional glass façade, which serves as acoustic protection for the garden and ensures silence and essential privacy. This glass façade simultaneously provides visual contact with the garden interior from the street, as well as contact from the garden interior with the surrounding city. The entire project represents a symbolic symbiosis of cultural space and the historic urban fabric. The glass façade is located several meters above the sidewalk level of Peowiaków Street, providing a pleasant view into the garden from the street, from pedestrian level. Sunlight penetrates the garden through the glass façade, and after dark, the garden, illuminated by electric lighting, becomes a mysterious, theatrical venue for urban art and performance. This connection can be a testament to contemporary modernity stemming from respect for the site’s history.
In the underground section of the theater, facing Peowiaków Street, beneath the Garden – Courtyard of Contemplation and Meditation, the following areas, which do not require daylight, are located: a two-level trapdoor area under the rear pocket (-9.45) on the extension of the Main Stage’s substage, connected directly by the main large-scale warehouse; the main rehearsal room; two rehearsal rooms with the possibility of combining them into one larger room; and a third rehearsal room (all of these rooms are on the same elevation (-9.45), allowing for the efficient rolling and transport of sets and technical elements for the performance). A large-scale elevator connects this level (-9.45) with the Garden’s level (-0.48 -0.62) (…), including the large-scale unloading ramp and the rear pocket of the Main Stage. Several parking spaces in the landscape garden and several dozen spaces for two-wheelers, including bicycles and scooters, located at the entrance to the theater allow for the efficient daily operation of the institution.