C-Mine by 51N4E

C-Mine by 51N4E

Brussels firm 51N4E have converted the industrial buildings at this former coal mine in Winterslag, Belgium, into a cultural centre.

C-Mine by 51N4E

Called C-Mine, the project involved building two new structures to house theatres either side of the main machinery hall.

C-Mine by 51N4E

The new buildings have a white concrete base and steel shutters so the auditoria inside can either be flooded with natural light or darkened for performances.

C-Mine by 51N4E

The project also houses a design centre, music room, restaurant, event hall, exhibitions spaces and tourist facilities for the old mining site.

C-Mine by 51N4E

Photographs are by Stijn Bollaert, courtesy 51N4E.

C-Mine by 51N4E

Here are some more details from the architects:


C-MINE: cultural infrastructure reconversion

This project consists of the reconversion of the listed machinery buildings on the former coal mine site of Winterslag. The complex will house up to 5.000 m2 of cultural infrastructure. In the remaining and restored part of the building a design centre, a restaurant, a festivity hall and a touristic infrastructure for the experience of the mining history.

C-Mine by 51N4E

In the arm pits of the old T-shaped building a new theatre hall, a smaller music room, several exhibition spaces and facility functions (a.o. offices) are developed. The new part integrates perfectly into the functional and formal logic of the existing complex.

C-Mine by 51N4E

The former nerve centre of the coal mine of Winterslag is being transformed into the new heart of C-MINE. The former compressor hall, the lift buildings and the ‘Barenzaal’ are reprogrammed and developed into a cultural centre, a design centre and a tourist visitors centre.

C-Mine by 51N4E

Restoration: The existing buildings form brick envelopes housing the different machines. Already through their scale and their engineering they enforce respect. By opting for a light restoration they buildings will remain intact, as privileged witnesses from the mining age.

C-Mine by 51N4E

Extension: The industrial buildings present themselves as a monolith. Functionally they consist of a five meters high labyrinthine foundation base with on top a few majestical machine halls. This contrast between light and dark, high and low, spacious and covered up forms the biggest quality of these buildings. The extension is a resolute option to enhance this contrast and maintain it. The existing base is extended on to the whole available construction site. The new base in white concrete smoothly accommodates all new functions. Only the two new venue hall will pierce trough the base with their volume.

C-Mine by 51N4E

Cultural machines: The two new theatre venues are considered as cultural machines. Together with the lift buildings and the compressor hall they construct a new complex of machine halls on a big ‘piano nobile’. In between these cultural and industrial machine hall unique terrace arise, paved with the same red and white tiles as the existing interior floors of the machine halls.

C-Mine by 51N4E

Like the machine halls the two theatre venues bathe in daylight and are equipped with steal blades for regulatable sun shading and darkening. The big venue (500 spectators) is equipped with a fixed slope while the small venue has a flat ground floor surface.

C-Mine by 51N4E

Program: The new complex has its main entrance on to the urban square in front. A big steal volume filters the public from this square into the foyer. Once inside one finds the tourist visitor centre.

C-Mine by 51N4E

The foyer will function as huge distribution centre form which provides access to the other functions such as an exhibition space, the café and restaurant, the big and small venue, etc.

C-Mine by 51N4E

On top of this foyer the compressor hall is located which can function as an expansion tank for the design centre, the cultural centre, as well as for third parties.

C-Mine by 51N4E

Form the compressor hall on the visitor can access the Mine Experience, the design centre, the café and restaurant and the new roof terraces – accompanied with a unique view on the slagheap.

C-Mine by 51N4E

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C-Mine by 51N4E

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C-Mine by 51N4E

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Location: Winterslag, Genk, BE
Invited competition: 2005
Completion: 2010
Client: City of Genk
51N4E tasks: full process
Project team: Johan Anrys, Freek Persyn, Peter Swinnen, Aglaia De Mulder, Kelly Hendriks, Chris Blackbee, Joost Körver, Lu Zhang, Tine Cooreman, Aline Neirynck, Tom Baelus, Sotiria Kornaropoulou, Bob De Wispelaere, Jan Das, Philippe Nathan.
Consultants: TTAS (theater techniques), Bureau Monumentenzorg (heritage), Arat/ Philip Baelus (restoration)
Structural engineer: BAS/ Dirk Jaspaert
Technical engineer: IRS
Building physics/acoustics: Daidalos-Peutz
Calculation: Probam
Construction: Houben
Programme: theater & concert hall, Tourist Centre, Design Museum
Site surface: 8.800 m2
Built surface: 15.000 m2
Construction cost (excl VAT): 30.000.000 €


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Horno 3
by Grimshaw
Red Diamond by
Chiasmus Partners
Between the Waters by
Ooze and Marjetica Potrc

Kodály Centre by Építész Stúdió

Kodaly Centre by Epitesz Studio

This faceted stone building by Hungarian architects Építész Stúdió contains a concert hall and conference centre in Pécs, Hungary.

Kodaly Centre by Epitesz Studio

The Kodály Centre houses the Pannon Philharmonic Orchestra.

Kodaly Centre by Epitesz Studio

It was designed in accordance with the mathematical principles of the golden ratio and visitors can walk up a ramped part of the building to a stepped courtyard area.

Kodaly Centre by Epitesz Studio

Photographs are by Tamás Bujnovszky.

Kodaly Centre by Epitesz Studio

More theatres and concert halls on Dezeen »

Kodaly Centre by Epitesz Studio

The following information is from the architects:


The Hungarian city of Pécs was selected as European Capital of Culture for 2010. The new Kodály Concert- and Conference Centre is one of the main projects for this event. There are two identities constituting the units of our world: inside and outside. Object and space. Extrovert and introvert. Active and passive.

Kodaly Centre by Epitesz Studio

Community life and internal silence. The building that we can walk around, and the hall where music surrounds us. The building itself is vivid, moved by the dynamic symmetry of golden ratio. The hall itself is tranquillity filled by the symmetry of intellectual serenity. It all derives from the mathematical basis of our world.

Kodaly Centre by Epitesz Studio

“Music that conveys universal truths itself, shows more direct connections with the physical and spiritual world order.
There are two sequences appearing significant in the sythesis of our world. As demonstrated below, both begin with the number 1 and 2.

Kodaly Centre by Epitesz Studio

In the first sequence, each number is multiplied by 2 to get the next one, while in the second sequence, each remaining number is the sum of the previous two. Both sequences can be found in European music.
The first sequence is represented by the symmetry of classical music. It is filled by pursuit of balance. 
Not like in case of the second sequence.

Kodaly Centre by Epitesz Studio

The Fibonacci-sequence is the most common presentation of golden ratio by integers. Golden ratio is usually called dynamic symmetry. Its most beautiful realisation in music is perhaps the 1st movement of Music for Strings, Percussions and Celeste by Bartók. Golden ratio as a characteristic of the living world is perfectly efficient to express fight, struggle and tension of existence, just as balance to express the intellectual serenity.

Kodaly Centre by Epitesz Studio

Bartók composed his most impressive pieces – Music, Sonata for Two Pianos – implying the sphere of golden ratio in the 1st movements, then principle of classic symmetry in the last movements. The two systems relate to each other just like two worlds – more precisely, as two faces or sides of the same world. The first one applies balance as a guiding principle, the second one applies tension. They are connected in mutual presupposition and exclusion, they compose unity and contrast.”
/after Ernő Lendvai and Erzsébet Tusa/

Kodaly Centre by Epitesz Studio

The architectural characteristics of the concert hall are in close harmony with the common principles of design and musical composition. Dynamics and balance. Two sides of the same world.
The building elements: stone and wood. Hard and soft. Cold and warm. Age of myriads and centuries. Enduring and intimate. The ancient white stone snail slowly embraces the concert hall lined with pure wood. As if we were listening to music inside a gigantic wooden shape or instrument.

Kodaly Centre by Epitesz Studio

The opening of the concert hall means that a 200-years-dream is about to come true in the city’s musical development. Its essential artistic and professional aim, applying the principle of regionalism, is to introduce Pécs as the musical centre of the Southern Cultural Zone. As the residing orchestra, the Pannon Philharmonic Orchestra is going to determine the professional musical concept of the concert hall.

Kodaly Centre by Epitesz Studio

The existing traditional concerts gain new dimensions: having the opportunity to invite dominant guest artists who have not visited Pécs before because of infrastructural sanctiness, as well as to perform pieces that could not be staged in the previous venues. These are conditions for further advancement of the orchestra -and now all attainable by the concert hall.

Kodaly Centre by Epitesz Studio

The new building include, in addition to a concert hall and a large rehearsal room, the offices of the Pannon Philharmonic and the Conference Centre, other rooms necessary for the operation of the orchestra (such as storerooms for sheet music and instruments), facilities serving the audience -café, bookstore, lounge, etc. – and several service premises.

Kodaly Centre by Epitesz Studio

Click for larger image

The design competition was closed in the spring of 2007. The winning proposal was submitted by the Építész Stúdió Ltd. from Budapest. The archaeological explorations and licensing procedures were completed, construction work began in July 2009. The opening concert took place in December 2010.

Kodaly Centre by Epitesz Studio

Click for larger image

project name: KODÁLY KÖZPONT / KODÁLY CENTRE – CONCERT HALL in PÉCS
location: PÉCS /Hungary/
client: the city of PÉCS
architects: ÉPÍTÉSZ STÚDIÓ
Kodaly Centre by Epitesz Studio

Click for larger image

(abc) Tamás Fialovszky, Richard Hőnich, Ferenc Keller, Benedek Sólyom
interior design: László (f) Rádóczy, Zsolt Tolnai – PÉCSÉPTERV
acoustics: Éva AratóAnders Christian Gade, András Kotschy
Kodaly Centre by Epitesz Studio

Click for larger image

landscape: Sándor Mohácsi, Borbála Gyüre – S73
design period: 2007 – 2010
completion date: December of 2010.
gross area: 11.200 m2


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La Llotja de Lleida by
Mecanoo
Art Museum by KSP Jürgen Engel ArchitektenTampa Covenant Church by Alfonso Architects

Dezeen archive: theatres

Dezeen archive: following the popularity of our story on Frank Gehry’s New World Centre in Florida, we’ve compiled all our stories about theatres, concert halls and auditoria. See all the stories »

Paraninfo de la Universidad del País Vasco by Álvaro Siza

Paraninfo de la Universidad del País Vasco by Alvaro Siza

Photographer Montse Zamorano has sent us his photographs of Álvaro Siza’s recently-completed auditorium for the Universidad del País Vasco in Bilbao.

Paraninfo de la Universidad del País Vasco by Álvaro Siza

Called Paraninfo de la Universidad del País Vasco, the L-shaped upper storeys create a terrace at first-floor level.

Paraninfo de la Universidad del País Vasco by Álvaro SizaThe inside faces of the L are clad in grey tiles, while the remaining facades are clad in white marble.

Paraninfo de la Universidad del País Vasco by Álvaro Siza

The project sits opposite the Nueva Biblioteca de la Universidad de Deusto by architect Rafael Moneo, opened in 2007, with the two five-storey buildings forming a gateway to the Abandoibarra area of the city.

Paraninfo de la Universidad del País Vasco by Álvaro Siza

Photographs are copyright Montse Zamorano.

Here’s some more information from the architects (in Spanish):


El Edificio BBK Paraninfo se sitúa en la antigua zona portuaria de la ría de Bilbao, transformada hoy gracias a un ambicioso proyecto de ciudad y en la que se han sucedido actuaciones de gran relevancia.

Paraninfo de la Universidad del País Vasco by Álvaro Siza

Destacan obras como el Museo Guggenheim de Frank Gehry, la Biblioteca de Deusto de Rafael Moneo, la Torre Hiberdrola de César Pelli…

Paraninfo de la Universidad del País Vasco by Álvaro Siza

El planeamiento preveía dos edificios de cinco plantas, al inicio de la calle Ramón Rubial (de gran desnivel), para configurar una especie de puerta al interior del sector.

Paraninfo de la Universidad del País Vasco by Álvaro Siza

De un lado la Biblioteca de la Universidad de Deusto, volumen rotundo y autónomo (en parte construido cuando se produce el encargo), y del otro el Paraninfo.

Paraninfo de la Universidad del País Vasco by Álvaro Siza

En la parte trasera, al Suroeste, surge el imponente volumen de la torre con una altura de coronación de 176.30 metros.
La edificación en Planta Baja ocupa toda la parcela, mientras que en las plantas superiores son dos brazos en “L” al Sur y Oeste, configurando un gran vacío con la Biblioteca y la ría.

Paraninfo de la Universidad del País Vasco by Álvaro Siza

Ese vacío genera, en Planta Primera, una terraza de 1162.5m2 ajardinada en su mayor parte.

Paraninfo de la Universidad del País Vasco by Álvaro Siza

Es en la cara interior de esta “L” donde se desarrollan las circulaciones con ventanas corridas proporcionando vistas a la ría y al verde de la ladera Norte.

Paraninfo de la Universidad del País Vasco by Álvaro Siza

En Planta Baja, centrado, se encuentra el auditorio principal (Paraninfo) con servicios anexos, una tienda y el gran vestíbulo-distribuidor acristalado, muy permeable con el paseo de la ría y el movimiento que en ella se produce.

Paraninfo de la Universidad del País Vasco by Álvaro Siza

En cambio, en los pisos superiores la relación es más controlada, con ventanas y antepecho.

Paraninfo de la Universidad del País Vasco by Álvaro Siza

En Planta Primera, la conexión de las salas de museo con la terraza es a través de la zona de circulación.

Paraninfo de la Universidad del País Vasco by Álvaro Siza

La Planta Segunda con salas de diferentes tamaños de apoyo al auditorio principal y una sala para los fondos de museo.
En la Planta Tercera se alberga la Sala de Consejo para las reuniones del máximo órgano de gobierno de la universidad, despacho del Rector y anexos y otros despachos.

Paraninfo de la Universidad del País Vasco by Álvaro Siza

La Planta Cuarta con despachos en el ala Oeste e instalaciones y patio de ventilación en el ala Sur.

Paraninfo de la Universidad del País Vasco by Álvaro Siza

La Planta Quinta (en el ala Norte) con instalaciones y un patio de ventilación.

Paraninfo de la Universidad del País Vasco by Álvaro Siza

El edificio tiene una volumetría rotunda que se intensifica tanto por el material, todo recubierto de Mármol Macael, como por los recortes de huecos bien delimitados y estratégicamente colocados.

Paraninfo de la Universidad del País Vasco by Álvaro Siza

Sólo en el interior de la “L” es de un material diferente, con azulejo de fabricación semiartesanal que con su textura multiplica los matices y reflejos:

Paraninfo de la Universidad del País Vasco by Álvaro Siza

“Se abren a la ría y al verde de la ladera a Norte tres cuerpos en constante vibración.

Paraninfo de la Universidad del País Vasco by Álvaro Siza

La materia de cada uno de ellos envía a los otros y al paisaje renovados reflejos: titanio del Guggenheim, vidrio de la Biblioteca, azulejo del Paraninfo.”

Paraninfo de la Universidad del País Vasco by Álvaro Siza

FECHA: 2005 – 2010

Arquitecto Proyectista:
Álvaro Siza Vieira Arquitecto

Paraninfo de la Universidad del País Vasco by Álvaro Siza

Ejecutivo:
Ramón Losada

Paraninfo de la Universidad del País Vasco by Álvaro Siza

Arquitectos coordinadores de proyecto:
Miguel Nery (Proyecto Básico)
Antonio Mota (Proyecto de Ejecución y obra, estructura)
José Manuel Pelegrín Santacruz (obra, estructura y acabados)

Paraninfo de la Universidad del País Vasco by Álvaro Siza

Arquitectos colaboradores:
Abajo Castrillo, Begoña de Alves Teixeira, Patricia Abreu, Luis Bataller Alberola, Lola Campello, Gonçalo D ́Agostino, Matteo María Ferreira Krüguer, Duarte Nuno Gutiérrez Peinado, Daniel Ruiz Rubio, Eduardo Javier Silva, José Pedro Santiago

Paraninfo de la Universidad del País Vasco by Álvaro Siza

Proyectos Técnicos:
IIngeniero de Estructuras: Jorge Silva y Raquel Dias (GOP)
Ingeniera de Aguas y Saneamiento: Raquel Fernandes (GOP)
Ingeniero de Instalaciones Eléctricas y Seguridad: Alexandre Martins (GPIC)
Ingeniero de Instalaciones Mecánicas: Raul Bessa (GET)
Ingeniero de Acústica: Octavio Inácio
Arquitecto Técnico: Arturo Gastaminza
Ingeniero telecomunicaciones: Älvaro Ubierna
Coordinación Seguridad y Salud: CERTUM S.A.
Estructuras: Egia Ingenieros s.c.p
Gestión de proyecto y construcción: IDOM

Paraninfo de la Universidad del País Vasco by Álvaro Siza

Constructor:
UTE Paraninfo (Cimentaciones Rodio/ Kronsa)
Construcciones y Promociones Balzola S.A
Elecnor
Prosegur

Paraninfo de la Universidad del País Vasco by Álvaro Siza

Cliente:
BBK, Bilbao Bizkaia Kutxa
Cedido a UPV (Universidad del País Vasco)

Paraninfo de la Universidad del País Vasco by Álvaro Siza

Localización:
Bilbao , Avda. Abandoibarra no 3

Paraninfo de la Universidad del País Vasco by Álvaro Siza

Paraninfo de la Universidad del País Vasco by Álvaro Siza

Paraninfo de la Universidad del País Vasco by Álvaro Siza

Paraninfo de la Universidad del País Vasco by Álvaro Siza


See also:

.

Mimesis Museum
by Álvaro Siza
Duccio Malagamba photographs Álvaro Siza worksBilbao culture and leisure
sentre by Philippe Starck

Rabat Grand Theatre by Zaha Hadid Architects

Grand Theatre by Zaha Hadid Architects

Zaha Hadid Architects have unveiled designs for a theatre in Rabat, Morocco.

Grand Theatre by Zaha Hadid Architects

The Grand Theatre will comprise two theatres, studios and a 7,000 capacity outdoor amphitheatre.

Grand Theatre by Zaha Hadid Architects

See all our stories about Zaha Hadid »

Grand Theatre by Zaha Hadid Architects

Here’s some more information about the project:


Zaha Hadid Architects and the Bouregreg Valley Development Agency Announce the Rabat Grand Theatre

Zaha Hadid, founding partner of Zaha Hadid Architects, and Lemghari Essakl, Managing Director of l’Agence pour l’Aménagement de la Vallée du Bouregreg (The Bouregreg Valley Development Agency) signed an agreement for the architectural design of the Rabat Grand Theatre at a ceremony held in Rabat on November 5.

During the event, Mr. Essakl also signed the project financing agreement with Mr. Salaheddine Mezouar, Moroccan Minister of Economy & Finance, Mr. Taieb Cherkaoui, Minister of the Interior, and Mr. Abdelouahed Kabbaj, Chairman of the Executive Board of the Hassan II Fund for Economic & Social Development.

Grand Theatre by Zaha Hadid Architects

With a dedicated land area of 47 000 sqm and a gross floor area of 27 000 sqm, the Rabat Grand Theatre is a cultural venue of the highest standards. It will include a 2,050-seat theatre, a smaller 520-seat theatre, creative studios and a fully-equipped outdoor amphitheatre with a capacity of up to 7,000 people. The cost of the project is estimated at 1.35 Billion Moroccan Dirhams (120 Million Euros).

The Grand Theatre will be located in the Bouregreg Valley, a 6,000 ha area in the heart of the Moroccan capital, home to one of the largest developments in the country. By the end of 2014, the valley will host a wide range of residential, commercial, leisure and hospitality complexes, turning Rabat into one of the most attractive destinations of the Mediterranean area. With its dynamic, innovative design and cutting-edge infrastructure, the Rabat Grand Theatre will be a major landmark in the region.

Grand Theatre by Zaha Hadid Architects

In his statement to the press, Mr. Essakl said, “The Grand Theatre is part of a national programme of cultural development initiated by His Majesty King Mohammed VI. The construction of the Grand Theatre will allow Rabat to showcase its rich cultural heritage as one the world’s greatest cultural centres.”

“I am delighted to be building the Grand Theatre in Rabat”, said Zaha Hadid. “Morocco’s unique musical traditions and rich cultural history in the performing arts are renowned throughout the world. I am honoured to be part of the cultural development of the nation’s capital.”
The Bouregreg Valley Development Agency is a public company in charge of the development and project management of the Bouregreg riverbanks. The Agency also supervises large-scale infrastructure projects such as the Rabat-Salé Tramway.


See also:

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Chengdu Art Centre by
Zaha Hadid Architects
House of Culture & Art by
Zaha Hadid Architects
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Dezeen

Frits Philips Concert Hall by Niels van Eijk & Miriam van der Lubbe

Frits Philips Concert Hall by Van Eijk & Van der Lubbe

Dutch designers Niels van Eijk & Miriam van der Lubbe have refurbished a concert hall in Eindhoven.

Frits Philips Concert Hall by Van Eijk & Van der Lubbe

The Frits Philips Concert Hall features interiors, furniture, staff uniforms and even cutlery by van Eijk and van der Lubbe.

Frits Philips Concert Hall by Van Eijk & Van der Lubbe

Visitors are led from the entrance area into the concert hall by subtle lighting, which move from a high-tech wall over the ceiling.

Frits Philips Concert Hall by Van Eijk & Van der Lubbe

A large leaning glass façade at the front of the building provides views into the foyer and the two floors above.

Frits Philips Concert Hall by Van Eijk & Van der Lubbe

Photographs are by Frank Tielemans.

Frits Philips Concert Hall by Van Eijk & Van der Lubbe

The following information is from the designers:


Concert Hall of the future opens

Sat. 9 Oct. – Festive re-opening of the Frits Philips Concert Hall, Eindhoven

The spectacular metamorphosis of the Frits Philips Concert Hall in Eindhoven is nearing completion.

Frits Philips Concert Hall by Van Eijk & Van der Lubbe

The renowned designer duo Van Eijk & Van der Lubbe got together with Philips Ambient Experience Design to design a concert hall that, with the help of lighting, technology and design, is completely in tune with the needs of its visitors.

Frits Philips Concert Hall by Van Eijk & Van der Lubbe

The festive re-opening is on Saturday, 9 October.

In the middle of Eindhoven now stands the absolute music centre of the future, a place where lighting, design and technology are integrated innovatively, without it becoming merely a high-tech building.

Frits Philips Concert Hall by Van Eijk & Van der Lubbe

Niels van Eijk and Miriam van der Lubbe of Geldrop designed both the interior and the exterior around the central idea of the Concert Hall as a meeting place.

Frits Philips Concert Hall by Van Eijk & Van der Lubbe

Together with Philips Ambient Experience Design, Hypsos and Rapenburg Plaza, the duo produced an exceptional composition of light, image and specially developed technology.

Frits Philips Concert Hall by Van Eijk & Van der Lubbe

Take for example the way concert-goers are led intuitively from foyer to concert hall by way of subtle lighting signs which move from a high-tech wall and over the ceiling.

Frits Philips Concert Hall by Van Eijk & Van der Lubbe

Van Eijk & Van der Lubbe designed every detail especially for this project, from the enormous glass façade to the foyers and furniture, from the working wear to the crockery.

Frits Philips Concert Hall by Van Eijk & Van der Lubbe

The most remarkable change is to the main entrance of the new Concert Hall.

Frits Philips Concert Hall by Van Eijk & Van der Lubbe

This consists of a forward-leaning glass façade, 25 meters wide and 13 meters high.

Frits Philips Concert Hall by Van Eijk & Van der Lubbe

Behind it is a cultural city-foyer where people are welcome throughout the day for a cup of coffee, and to listen to, and buy music.

Frits Philips Concert Hall by Van Eijk & Van der Lubbe

The city-foyer will be fitted with an ambient wall, several meters long, consisting of thousands of led lights, on which films, works of art and concerts will be projected.

Frits Philips Concert Hall by Van Eijk & Van der Lubbe

Visual artist Gerard Hadders realised the content of this living wall.

Frits Philips Concert Hall by Van Eijk & Van der Lubbe

Visitors can listen to their favourite music in ‘listening chairs’ with integrated audio systems, designed specially by Van Eijk & Van der Lubbe.

Frits Philips Concert Hall by Van Eijk & Van der Lubbe

They also designed multi-functional furniture for the foyers, and special duo-chairs with an innovative lighting system.

Frits Philips Concert Hall by Van Eijk & Van der Lubbe

The Frits Philips Concert Hall, Eindhoven, celebrates the festive re-opening on Saturday 9 October with a musical Open House from 11.00h to 17.00h.

Frits Philips Concert Hall by Van Eijk & Van der Lubbe

Commissioned by: Muziekgebouw Frits Philips Eindhoven

Frits Philips Concert Hall by Van Eijk & Van der Lubbe

Total design: Van Eijk & Van der Lubbe together with Philips Design (creative concept & direction)Geldrop, Eindhoven

Frits Philips Concert Hall by Van Eijk & Van der Lubbe

Interior architect: Van Eijk & Van der Lubbe Geldrop

Frits Philips Concert Hall by Van Eijk & Van der Lubbe
Advice image, lighting and sound: Hypsos Soesterberg

Frits Philips Concert Hall by Van Eijk & Van der Lubbe

Lighting designer: Rapenburg Plaza Amsterdam

Frits Philips Concert Hall by Van Eijk & Van der Lubbe
Graphic identity: Gerard Hadders Schiedam

Frits Philips Concert Hall by Van Eijk & Van der Lubbe

The redesign was made possible due in part to a contribution from the European Fund for Regional Development within the framework of OP-Zuid and contributions from the SRE Regional Fund, Brainport Development, Province Noord-Brabant and Gemeente Eindhoven.

Frits Philips Concert Hall by Van Eijk & Van der Lubbe

Frits Philips Concert Hall by Van Eijk & Van der Lubbe

Frits Philips Concert Hall by Van Eijk & Van der Lubbe

Frits Philips Concert Hall by Van Eijk & Van der Lubbe


See also:

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La Divina Commedia by Niels Van Eijk & Miriam van der LubbeDouble Dutch curated by
Jane Withers
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