The Concept
Our design for the Krakow Music Center (KCM) is, in its urban and architectural intent, symbolic and multifaceted. The Concert Hall, as the heart of musical Krakow, is oriented along its main axis toward Wawel Hill, and, surrounded by an orthogonal courtyard of foyers, subtly and symbolically defies their rectilinear layout. The minimalist, rectangular form of the Music Center is sculpturally crystallized around the courtyard and patio, creating a transparent façade along the existing park. The column-free glass facades of its foyers open the interiors of the music center onto Błonia Park and, in the opposite direction, allow visual contact between the surroundings and the external landscape with the interior. The Concert Hall is situated as close as possible to Błonia Park, and the expansive mineral plaza along Piastowska Street becomes its natural, functional forecourt. The International Artistic Preschool forms the northern frontage of the plaza. This symbolic placement of children’s spontaneous and joyful music-making is part of the spatial and functional message of the Music Center. After all, every concert is a source of childlike wonder and a discovery of the world of sound, regardless of the listener’s age. The daily activities of the arts preschool are clearly visible from the plaza, the forecourt of the Concert Hall, and its foyers, forming an important part of the symbolism of this space. The preschool’s lobby, adjacent to the foyers, makes it an integral part of the house of music, which is in operation for most of the day. Illuminated by large glass facades and lit from above in a cascading pattern around the walls of the Concert Hall, the foyer space flows further into the northern part of the Music Center, transforming into the foyers of the Auditorium and the conference room. In this way, it also serves as a connecting space linking them to the foyers of the Choir Studio, the Orchestra Studio, and the Black Box Studio. The outdoor courtyard with its checkerboard pattern of plane trees allows the Choir Studio, the Orchestra Studio, and the Auditorium to connect with nature and the landscape. A similar role is played by the patio situated between the Auditorium, the conference room, and the artists’ entrance. The existing landscape park surrounding the fort plays a symbolic role. After additional planting, maintenance, and landscaping, it will create magnificent natural spaces forming a kind of outdoor lobby separated from the mineral lobbies only by the glass mega-panels of the facade. From this park space, one can enter the Auditorium as well as the Choir Studio and the Orchestra Studio. From the landscaped amphitheater situated in the park, it will be possible to listen to music played in the Orchestra Studio after its sliding facade is opened.
Concert Hall
We propose a hall with a vineyard-style layout constructed in accordance with the program requirements. The layout features three levels of balconies-vineyards with an expanded ground floor plan. The individual “terraces” of the vineyard seating arrangement accommodate between approximately 30 and 240 seats, for a total of 1,002 seats. Mobile choir steps allow the stage to be connected to the choir balcony. The organ is located behind the choir balcony, as specified in the program.
Structure
For the Concert Hall, two-way cantilever beams were used, supported by a reinforced concrete structure of walls and columns. Cantilever beams spanning the reinforced concrete wall structure form the roof over the foyers and allow for the suspension of a self-supporting steel-and-glass façade. The Choir Studio, Orchestra Studio, Black Box Studio, and Auditorium are also covered using Wirandela girders or trusses arranged in a single direction. In consultation with the Investor, fire-retardant glued laminated timber is also planned for use as structural elements.
Material Solutions
After formwork removal, the reinforced concrete will be stained and hot-waxed. The facade glazing will consist of iron-free, non-reflective glass, ensuring transparency and the integration of the interior with its surroundings. The interiors of the concert halls will be finished with natural wood, and the acoustic systems on the walls will be implemented using translucent Corian®, the floors will be made of mass-colored poured rubber and solid wood.
Concert Hall Technology
The audience and artist areas have been separated as much as possible. Separate technical entrances are provided for the transport of instruments, decorative elements, and props. Storage areas are located in close proximity to the freight elevator and the stage. Easy transport of instruments from the storage areas to all halls is provided. The facility will be equipped with motorized stage platforms, lighting trusses, stage lighting, and a sound system capable of announcing concerts and supporting concerts requiring occasional amplification.
Soundproofing
The entire building is protected against external, domestic, and mechanical noise transmitted through air and structure-borne paths. The concert hall, auditorium, and rehearsal rooms will be constructed using a box-in-box design. Heavy, solid partitions and double partitions will separate all spaces requiring such isolation. All technical installations will be soundproofed and mounted using vibration isolators. All rooms intended for sound-related work will feature windows and doors with enhanced sound insulation ratings. Entrances to these rooms will be implemented via acoustic airlocks.
Interior Acoustics
All rooms will be acoustically adapted to their intended function. The design aims to meet the highest standards of classical concert halls intended for live music performance through the natural acoustics of the rooms without electroacoustic amplification. The appropriate selection and placement of acoustic elements will ensure compliance with the client’s requirements and applicable standards.