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  1. ArchDaily
  2. Projects
  3. Concert House
  4. Switzerland
  5. Bernard Tschumi Architects
  6. 2014
  7. Carnal Hall at Le Rosey / Bernard Tschumi Architects

Carnal Hall at Le Rosey / Bernard Tschumi Architects

  • 03:00 - 9 September, 2015
Carnal Hall at Le Rosey / Bernard Tschumi Architects
Carnal Hall at Le Rosey / Bernard Tschumi Architects, © Iwan Baan
© Iwan Baan

© Iwan Baan © Iwan Baan © Iwan Baan © Iwan Baan + 27

    • Design Team

      Bernard Tschumi, Kate Scott, Joel Rutten, Christopher Lee, Jocelyn Froimovich, Bart-Jan Polman, Jerome Haferd, Paul-Arthur Heller, Clinton Peterson, Emmanuel Desmazières, Nianlai Zhong, Olga Jitariouk, Colin Spoelman, Kim Starr, Grégoire Giot, Dustin Brugmann, Taylor Burgess, Sheena Garcia, Sung Yu, Pierre-Yves Kuhn, Alison McIlvride, Jessica Myers
    • Local Architect

      Fehlmann Architectes (Serge Fehlmann, Nicolas Engel, Christophe Faini, Julio Rodriguez, Julien Camandona, Jean-Jacques le Mao, Victor Goncalves)
    • Engineers (Schematic Design, Design Development)

      ARUP (Ray Quinn)
    • Mechanical and Plumbing, Structure

      David Farnsworth, Michelle Roelofs
    • Acoustics

      D’Silence Acoustique SA / Facades - Biff SA
    • Audiovisual, Lighting, Theater, Facades/ Envelopes Swiss Consultants (Execution)

      Mechanical, Plumbing Engineers – Sorane SA
    • Structural Engineers

      Alberti Ingénieurs SA
    • Electric, Security, Fire Engineers

      Scherler SA
    • Wood Conceptor / Engineer, Concert Hall

      Schwab System SA
    • Site Surveyor Engineers

      Bureau d’études D. Belotti
    • Geotechnical Engineer

      Karakas et Français SA
    • Ground Engineers

      Impact-Concept SA
    • More Specs Less Specs
    © Iwan Baan
    © Iwan Baan

    From the architect. The new building infuses the campus with a contemporary architectural image while nevertheless maintaining the qualities that have made the school a revered institution. How can it remain sufficiently abstract to avoid being caught in a formal battle with the existing surroundings? A further question pertains to the program requirements—a concert hall, music conservatory, art studios, learning center, black-box theater, library, offices, guest rooms, and so on. Should you scatter them around the site or will you find a common denominator among them?

    © Iwan Baan
    © Iwan Baan

    We felt the various aspects of the program should intersect in one single place, and proposed a low-lying, flat dome—a metal envelope that seems to emerge from out of the landscape, shining by day and reflecting ambient campus light by night.

    © Iwan Baan
    © Iwan Baan

    From the air, the dome appears as a distinctive object, but at ground level its curvature fits into the landscape. In plan, its shape recalls a rose or rosette—a fitting allusion for Le Rosey.

    © Iwan Baan
    © Iwan Baan

    The aim of the distribution of activities is clarity and legibility. On arrival, the visitor encounters the main concert or performance hall, the conference rooms, and the black- box theater. To the left are ground-floor educational spaces. To the right is access to the learning center and the restaurant, which also has an independent entrance located near its terrace. A series of side openings articulates the periphery. A forecourt to the main entrance and the concert hall is located along the west facade.

    Ground Floor Plan
    Ground Floor Plan

    Figure-ground studies in plan and section show the role played by solids and voids, objects in space, or spaces within objects in Carnal Dome.

    © Iwan Baan
    © Iwan Baan

    Located at the center of a semi-spherical void, a complex solid object contains four rectangular voids: the concert hall, black-box theater, music rehearsal room, and library. The void between the dome and this central object is a dynamic space of movement and fluent exchange. In contrast, the four voids inside the central object are intentionally static.

    © Iwan Baan
    © Iwan Baan

    The architectural concept articulates the building into three parts: first, the dome with its steel structure and stainless-steel outer envelope; second, the base with two carefully detailed concrete levels accommodating art studios, practice rooms, learning center, backstage, and all offices; and third, the wooden core containing the concert hall, black-box theater, music rehearsal room, and library.

    Section AA
    Section AA
    © Iwan Baan
    © Iwan Baan
    Section DD
    Section DD

    Materials played a role in conceptualizing the project: the most important part of the program, the concert hall, fits under the dome and is clad inside and outside in pressed chipboard wood (OSB) panels to contrast with the metal outer envelope. This double- envelope strategy also helps isolate the concert hall acoustically, so as to mitigate noise from nearby rail lines.

    © Iwan Baan
    © Iwan Baan

    Each material is expressed and detailed specifically to reinforce the concept of the wooden box under a steel dome. Glass is present only as a vertical separation between exterior and interior or public and private and (in alternatively transparent or reflective forms) as a screen.

    © Iwan Baan
    © Iwan Baan
    Location to be used only as a reference. It could indicate city/country but not exact address. Cite: "Carnal Hall at Le Rosey / Bernard Tschumi Architects" 09 Sep 2015. ArchDaily. Accessed . <http://www.archdaily.com/773309/carnal-hall-at-le-rosey-bernard-tschumi-architects/>
    Read comments
    Read comments
    © Iwan Baan

    萝实学院Carnal大厅 / Bernard Tschumi Architects