Munich Concert Hall Competition


1st Prize project by Cukrowicz Nachbaur Architekten (image ©  Cukrowicz Nachbaur Architekten)

 

Until the early 1970s, architecture in Bavaria, and in Munich in particular, was not only viewed as traditional, but even leaving the impression to some as being ‘quaint.’ Then came the 1972 Olympic Games, which marked a watershed moment in design for that community. Not only was a contemporary solution for the site of the games implemented—the roof tensile structures designed by the German architect, Frei Otto was revolutionary—but a new cylindrical BMW Headquarters building arose nearby. Designed by the Austrian architect, Karl Schwarzer, as the result of an invited competition, the building became one of the city’s major landmarks—a prominent tower as arrival feature in a low-rise city.

 

Since then, numerous modern structures have appeared, both in the city itself and in the surrounding suburbs—the most prominent being Coop Himmelb(l)au’s BMW World in the city, Herzog de Meuron’s Allianz Arena in a nearby suburb, and Helmut Jahn’s new Munich Airport Terminal near Freising. Based on Munich’s long tradition as a center of music, especially opera, the city is finally moving forward with a new Concert Hall project, starting with a recently completed competition.

 

The Process

Supported by the State of Bavaria and coordinated by phase1 of Berlin, the competition was launched on 12 August 2016 and concluded with the selection of the winner and other premiated designs in late October 2017. It was an invited competition, with 35 participants in all—29 shortlisted from the RfQ and six preselected for participation in the design stage. The latter were:

 

• Gehry Partners, LLP, Los Angeles
• gmp Architekten von Gerkan, Marg und Partner, Hamburg
• Henning Larsen Architects, Copenhagen/Munich
• Herzog & de Meuron, Munich
• Schultes Frank Architekten, Berlin
• Snøhetta, Oslo

 

When the final submissions were received, 31 of the 35 invitees responded with entries. For those designs which were premiated by the jury, the following compensation was available:

1st prize: EUR 125,000 (w/o VAT)
2nd prize: EUR 100,000 (w/o VAT)
3rd prize: EUR 75,000 (w/o VAT)
4th prize: EUR 60,000 (w/o VAT)
5th prize: EUR 40,000 (w/o VAT)
Recognitions (total) EUR 100,000 (w/o VAT)

 


1st Prize model (photo © Cukrowicz Nachbaur Architekten)

 

 

The professional architects on the jury panel were:

Prof. Markus Allmann, Munich
Ldt. BD Kurt Bachmann, Chief Building Director, Head State Building Office Munich 1
Kai-Uwe Bergmann, New York/Copenhagen
Prof. Hannelore Deubzer, Munich
MDirig Friedrich Geiger, Head Section State Buidling, Supreme Building Office, Munich
Prof. Finn Geipel, Paris/Berlin
Prof. Harry Gugger, Basel
Prof. Hubert Hermann, Vienna/Leipzig
Prof. Hermann Kaufmann, Munich
Prof. Ulrike Lauber, Munich /Berlin
Prof. Arno Lederer, Stuttgart
Josef Peter Meier-Scupin, Munich
Prof. Dr.(I) Elisabeth Merk, Planning Director, State Capital Munich

 

Alternate Architectural jurors

Lutz Heese, Munich
Ltd BD Harald Löhnert, Head Section State Building, Government of Upper Bavaria, Munich
Susanne Ritter, City Director, Leader Urban Design, State Capital Munich
Prof. Kirsten Schemel, Berlin/Munster
Elena Schütz, Berlin/Zurich
BDin Christine Mantel, Project Leader Concert Hall, State Building Office Munich 1
MR Andreas Muschialik, Head Section IIA3, Supreme Building Office, Munich

At the end of the adjudication process, the jury settled on the following ranking:

1st Prize – Cukrowicz Nachbaur Architekten ZT GmbH, Bregenz, Austria
2ndPrize – PFP Planungs GmbH,
Hamburg, Germany
3rd Prize – David Chipperfield Architects Gesellschaft von Architekten mbH, Berlin
4th Prize – 3XN A/S, Copenhagen, Denmark
5th Prize – Staab Architekten GmbH,
Berlin
Honorable Mentions:
• Henning Larsen Architects,
Copenhagen/Munich
• Zaha Hadid Architects,
London
• Mecanoo,
Delft, The Netherlands
• Christ & Gantenbein
, Basel, Switzerland

 

The choice of Cukrowicz Nachbaur Architekten as the winner only found one dissenting vote. Aside from fulfilling all of the technical requirements, the cruise-ship-like (or shed) configuration of the structure was greeted as a good fit for the neighborhood, not overbearing, but certainly presenting a recognizable icon in a less than upscale environment. This, although the main concert venue was located in the upper levels of the building—evidently hardly seen as an issue after the recent opening of the new Hamburg opera.


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Interview: Silvio d’Ascia (2013) with Olha Romaniuk

with Olha Romaniuk

silvio2

COMPETITIONS: You moved from Italy to France in 1993. What was your decision behind moving and starting your architecture firm in Paris?

 

Silvio D'Ascia: Ever since I was a little boy, I wanted to be an artist and, ever since the first time I went to Paris when I was 12 years old, it was a childhood dream of mine to live in such an artistic city. After receiving my degree in Italy, I came to live in Paris and was supposed to stay only for a few months. This temporary visit turned into an opportunity for me to stay and work in France.

 

COMPETITIONS: How do you find the architectural scene in France compared to Italy?

SD: The main difference between Italy and France is that in Italy there was not a competition system in place in the 1990s. Every country in Europe looked at France as a place where it was possible for a young architect to participate in and win competitions, as well as be paid for competition participation and have a chance to do research even if the competition fee was not so high. During the first year of my firm in Paris, we participated in 9 public competitions. It was a great opportunity and my main reason behind the decision to stay in Paris.

 

COMPETITIONS: Were competitions always a part of your firm’s strategy to acquire new work or has that been a fairly recent development?


SD: Competitions have always been important for my own career as they paved the way for me in many areas. In the beginning, during my first four or five years in Paris, I was associated with another architect and we won several competitions together. And in 1999, as we went our separate ways, I entered an anonymous international competition for the Palais de Congrès, going against architects like Richard Rogers and Rafael Vinoly, with Norman Foster as the president of the jury. Massimiliano Fuksas won the competition and I received a second prize. This competition marked the beginning of Silvio d’Ascia Architecture.

One and a half years later, after the above-mentioned project, we won another competition for the Turin (Italy) high-speed railway station. This was the beginning of the next chapter of my professional experiences and projects. The Turin high-speed railway station has brought many other commissions in the railway and transport sectors for the firm.

rome 2 rome 1

Congress Center of Rome (1999 design competition)

 

COMPETITIONS: How do you decide which competitions to go after?

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