We wanted to create a building that functions well in relation to the existing school, that is, in a rather special urban context, and, of course, meets the highest possible acoustic requirements, say the designers of the concert hall of the State Music School in Jastrzębie-Zdrój.
Aleksander BEDNARSKI and Mariusz KOMRAUS - founders of SLAS Architekci studio. The office was established in 2008 in Katowice after winning the Europan 9 international competition, and has designed, among other projects, the award-winning expansion of the State Music School in Jastrzębie-Zdrój, the multifunctional Activity Zone in Chorzów, the new building of the Music Academy in Katowice and a residential and commercial complex in Rybnik.
The concert hall of the State Music School in Jastrzębie-Zdrój
Photo: Jakub Certowicz © SLAS Architekci
Ewa Karendys: There is a lot of talk today about inclusive cities and inclusive architecture. Does this also apply to cultural facilities and designing them as closed enclaves is passé?
Mariusz Komraus: I think inclusivity applies to all buildings and public spaces. Such buildings have adequate space and infrastructure, which can create a certain framework for attractive functions, not necessarily related to the primary function. This is the case, for example, with cultural facilities, which are designed with music, art in mind, but by the way they are also places where people meet, do business, have fun. It is important not to close to a narrow group of interested parties, but to open to all participants in the public space.
The concert hall of the State Music School in Jastrzębie-Zdrój
© SLAS Architects
Ewa: Just how to do it effectively, so that - for example, a concert hall - is not just a luxury cultural facility, but serves the residents of cities and towns?
Mariusz: Such a space should be attractive and, if possible, multifunctional. In the concert hall of the State Music School in Jastrzębie-Zdrój, we have managed to create such a space in the foyer. Art exhibitions, music fairs, instrument displays and various other events can be held there. In addition, we also designed a café in this place. Residents have the opportunity to meet here and have a nice time. EU funds were involved in the investment, so commercial use of the premises is prohibited for five years after the building is put into use, nevertheless, the foyer already functions as a gallery for regional artists.
In addition, we managed to remove the fences of the music school and integrate the new building into the urban structure of the city. A substitute for such an outdoor public space has become a square with an entrance plaza used by people even when the building is closed.
The concert hall of the State Music School in Jastrzębie-Zdrój - thanks to the facade made of corrugated sheet metal, the massive mass has been neutralized
Photo: Jakub Certowicz © SLAS Architekci
Ewa: I associate with transparency and openness the white of the foyer contrasted with the black of the concert hall.
Aleksander Bednarski: We wanted to create a contrast between the public spaces and the artists' zone and the hall itself, which, because it is a place for contemplation of music, we felt should be dark.
We wanted the audience to be able to focus on what is most important, namely the music and the artists. On the other hand, the idea for the white color in the foyer was born as a result of some shortcomings that arose at the execution stage, we had originally planned raw reinforced concrete.
Coming back to openness - there is no chance that this type of building, if there is really a demand for art in the city, should be separated from the public. We know that the concert hall hosted more than two hundred different kinds of events related to school and city activities during the year alone. If an art facility is truly created out of need rather than mere possession, it will be used intensively.
The concert hall of the State Music School in Jastrzębie-Zdrój - the school is located at the junction of the new, industrial part of the city and the old, with a spa tradition
Photo: Jakub Certowicz © SLAS Architekci
Ewa: With a population of about 90,000, Jastrzębie-Zdrój is a medium-sized city. Was it your goal from the beginning to create a building that would be iconic for the city?
Mariusz: First of all, we wanted to create a building that functions well in relation to the existing school, that is, in a rather special urban context, and, of course, that meets the highest possible acoustic requirements. The music school was already well-known in the region for its wind instrument section, and needed a suitable space to be able to develop. I think therein also lies its huge success, and we're glad we could put our hand to it.
Alexander: It certainly wasn't the intention to create an icon, but cultural and public buildings have always stood out in urban spaces, if only through more sophisticated facade details. We were looking for solutions that were economically justified and appropriate to the urbanism and architecture of the place.
The concert hall of the State Music School in Jastrzębie-Zdrój - the sheet metal used is intentionally not flat, with its wave it slightly deforms the surroundings
Photo: Jakub Certowicz © SLAS Architekci
Ewa: The competition was a big challenge?
Alexander: Yes, the functional-utility program was relatively simple, but the volume - because of the functions - was enormous. This generated a lot of problems, including the effect of a scaled-down building that "landed" on the plot, so to speak. We analyzed the multifaceted context of the site: the school is located at the junction of the new, industrial part of the city and the old, with a spa tradition. We used a material on the exterior that we believe ties the two worlds together, is attractive in terms of price, durability, and at the same time raises the profile of the building and neutralizes its mass in the surroundings.
Concert hall of the State School of Music in Jastrzębie-Zdrój - conceptual diagram
© SLAS Architects
Ewa: Today you can see that the façade made of corrugated sheet metal worked perfectly. Thanks to it, the massive mass has indeed been neutralized, it reflects the surroundings and enters into a relationship with the neighborhood.
Mariusz: The sheet metal we used is intentionally not flat, with its wave it slightly deforms the surroundings. We didn't want the building to become a total mirror, but to subtly mark its materiality. In addition, the stainless steel sheeting is also resistant to vandalism, which, with the building's location so close to the pedestrian route, was very important to us.
The concert hall of the State School of Music in Jastrzębie-Zdrój - the idea for the white color in the foyer was born as a result of some shortcomings that arose at the stage of construction; originally the architects planned raw reinforced concrete
Photo: Jakub Certowicz © SLAS Architekci
Ewa: However, such a solution can be considered bold, controversial. Weren't you afraid of the residents' reaction? After all, what is different often arouses discussions.
Alexander: From the beginning we thought it was the right solution. Of course, there will always be critics. We found out on the Internet that the building looks like the paprikash of Jastrzębie, someone even took the trouble to make a visualization (laughs). Many aspects spoke in favor of this material, I think that today the building has grown into the space of the city, has gained acceptance.
The concert hall of the State Music School in Jastrzębie-Zdrój - the foyer can be used for art exhibitions, music fairs, instrument exhibitions and various other events
Photo: Jakub Certowicz © SLAS Architekci
Ewa: As a resident of Gdansk, I have an association with the European Solidarity Center. The corten facade initially aroused discussions in the city, but these have fallen silent over the years, the building fits in well with its surroundings.
Mariusz: Some things are controversial just because they are new and there is a lack of similar examples around. When a building functions well, usually most doubts disappear. I think this is also the case with the concert hall of the State Music School in Jastrzębie-Zdrój. I think most residents have already accepted it in the city's landscape.
The concert hall of the State Music School in Jastrzębie-Zdrój - the white spaces of the foyer are meant to be a perfect backdrop for the visitors who fill these interiors
Photo: Jakub Certowicz © SLAS Architekci
Ewa: The location is also of great importance in the case of the project - the building is close to the street, it is highly exposed.
Mariusz: The program was so extensive that there was no chance that this building would not be adjacent to the boundaries of the plot. But at the same time it steered the project in a positive direction in terms of the contact between architecture and passersby.
Alexander: The form of the building, its rounded corners, derive from the immediate urban context and lead the passerby around the building, allowing direct insight into its life.
The concert hall of the State Music School in Jastrzębie-Zdrój
© SLAS Architects
Ewa: The idea for the facade came later. Where did you start with the design?
Alexander: First of all, we started from urban planning, the relationship of the new building with the school and with the surroundings. Later it was design, like putting together a Rubik's cube. Not too much could be added, subtracted - our task was to put everything well in relation to each other. We are satisfied with the result.
The concert hall of the State Music School in Jastrzębie-Zdrój
© SLAS Architects
Ewa: This project is proof that a building with a low budget can win awards, can be appreciated. You yourself say about the budget that it was more for a community center....
Mariusz: That's right, but we like this kind of challenge. With an unlimited budget, you can get a little lost. Keeping on top of the budget not only promotes creativity, but also increases the chances of implementation. We all know how important economics is today.
Alexander: The budget was a huge challenge, but I think this kind of design is more true. It allows you to focus on the most essential things, so that there is nothing superfluous in the concert hall.
Another thing is that arts and culture buildings are complicated subjects, however, because of acoustics, ventilation, lighting, so they are not the cheapest. In the case of the hall in Jastrzębie-Zdrój, we had to design the building for natural acoustics, which allowed us to reduce the very expensive electroacoustic equipment, which can be supplemented in the future.
The concert hall of the State School of Music in Jastrzębie-Zdrój - the designers wanted to create a contrast between the public spaces and the artists' zone and the hall itself, which - because it is a place for contemplating music - in their view should be dark
Photo: Jakub Certowicz © SLAS Architects
Ewa: Did you have to fight battles with the acoustician?
Alexander: Maybe not battles, but we had discussions. Fortunately, concrete is an overwhelmingly desirable material for acoustics. We have a fairly busy road in the neighborhood, and concrete is a great sound insulator. At the same time, the acoustician had great concerns about using reinforced concrete for the entire hall, so he introduced some areas of acoustic reserves where he could tune the hall to the desired parameters. From the beginning, we wanted to avoid additional cladding of the hall's walls with acoustic materials, which would have increased costs and covered up the truth about the structure of this building. Therefore, we tried to expose and design the structure in such a way that it would also become the final element of the interior acoustics. On the other hand, we did not try, and never have, to design interiors in a decorative sense. It seems to us that in a well-designed building we can talk about a space that is itself an interior. We try to avoid scenography. The white space of the foyer is a perfect backdrop, because the almost four hundred people who come to the concert decorate it enough.
interviewed Ewa Karendys
Read more: A&B 2/2024 - Public Architecture,
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