The world of music performance presents a whole new universe of emotions, feelings and relationships. A concert hall is as much an instrument as the instruments that make up an orchestra. But, above all music is about relationships, and a hall’s emotion can not only facilitate that relationship; between performer to audience, between performers themselves (psychoacoustics),
and most importantly it can enhance the multitude of relationships involved in making the singular vortex of the performance into an amplitude level of euphoric high.
In contemporary music, experimentation on music performance from Pierre Boulez’s Repons to Simon Rattle and Peter Sellar’s rendition of St’ Matthew’s Passion has led the evolution of single orbital performances to multiply, creating dynamic pulses of musical orbits within the greater performance.
The seamless diffusion of colors of ‘Orbital’ which emotes the eddy of music performance became the main generator of form and flow of the hall. The concave resolution of the hall is coupled with studies in convex roof structure with the goal of achieving an ethereal experience within the hall.
The Hall itself follows the rough dimensions of the Disney Concert Hall in Los Angeles. It was imagined as a single surface that swirls down on to the stage continuously. As such, there are no balconies which disengages the audience and performers on stage. An audience at the top most terrace may traverse down on to the stage freely with no physical obstruction. The hall is conceived as a singularly conceived surface. Lines and terraces intersect and spiral around and into one another creating an integrative wineyard
layout, enhancing the performance through inter-audience visual interactions.
A major site proposal was to reshuffle the proposed plans around the allotted site, and expand the site boundary to pull the flux of people from all corridors of the neighborhood, enabling the creation of mini side orbits outside of the hall itself as the main site strategy.
By offsetting the hall right in the center of the site, audiences from all entry corridors are forced to engage with the building to pass through the site, opening the orchestra physically to the greater sphere of visitors and landscape beyond the hall itself.