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This issue was partially resolved in by tacking extensions onto the structure. The only viable solution was to treat the Musiksaal as an autonomous building, uncoupled from the Casino. The area had consequently been cleared for architectural modifications by the Department of Historic Preservation. The Staircases Despite the urban constraints on the extension of the Stadtcasino, we wanted to provide as much space as possible for audiences.

These developments reflect stadtcasino basel urban stadtcasino basel architectural vision of those times. Project ofDefeated in a Plebiscite A new building project designed to replace the Casino was defeated in a plebiscite of Stadtcasino basel project by Zaha Hadid had won first stadtcasino basel in an architectural competition but was rejected by the people, primarily because of its heavy massing.

The existing dressing rooms of the Stadtcasino basel Huber Saal have been supplemented by new rooms on the top floor of the extension for the casino society.

This volumetric recovery of urban space draws attention to other weaknesses. Alban-Graben, they included the Kunsthallethe Stadttheaterthe Musiksaalthe Steinenschulhausand the Skulpturenhalle Of the original buildings, only the Kunsthalle, the Skulpturenhalle, and the Musiksaal have survived.

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Further adjustments in the years that followed include closing off the skylight and the windows, replacing the historical seating, redesigning the historical chandeliers, replacing the original parquet, and introducing an entirely new color scheme. Share or Add Stadtcasino Basel to your Collections. The corners of the upper foyer are detached from the side walls, so that it seems to be a floating, elliptical panel. The Lane Separating the operations of the concert hall and the Stadtcasino also meant demolishing the former entrance area with its staircase. Add to collection Share. A Palazzo As an independent building, the Musiksaal obviously had to be bigger than the existing core building of It would have to grow out of the old building as if it had always been there. Stadtcasino Basel. In addition to returning to the original color scheme, we referred to historical documents in order to reconstruct the paneling, windows, and doors that had been replaced in later renovations. The Stehlin Musiksaal The Musiksaal has been significantly modified several times since it was built in , first in in conjunction with the Hans Huber Hall built by Fritz Stehlin, at which time an organ was built into the hall, stucco decoration applied to the ceiling, the busts of musicians placed against the walls, and the color scheme revamped. Outside, we focused on simulation in designing the extension of the Stadtcasino, while inside we celebrated the stylistic elements of the 19th-century by heightening the artificiality of form, material, and color. The new foyers flanking the concert hall are arranged on two levels, accessing the parquet and the balcony. The current restoration of the concert hall has been carried out in close collaboration with the Cantonal Department of Cultural Heritage. For the end walls, however, we use mirrors, a popular element of the 19th-century, making the hall more spacious in combination with the mirrored ceiling. When the hall was built in , service facilities were severely curtailed due to budget constraints. A few years later, in , we were commissioned to conduct an urban study to determine how the limited and qualitatively inadequate space could be reorganized to accommodate ancillary facilities for the historical Musiksaal of The first phase of these efforts focused on the Musiksaal, one of the oldest, most important concert halls in Europe. Given these profound changes over the past 80 years, it is impossible for the outdated, cramped facilities to meet the needs of a contemporary concert hall. With seating for people, it is internationally acclaimed for its exceptional acoustics. We had the original brocade wallpaper reproduced by the Manufacture Prelle in Lyon. Would you like to change the default languge for Archello? Therefore, in addition to the foyers, we added loggia-like recesses to the expansive staircases, where people can linger during intermissions. The two levels of the foyer, with a central hole, are thus perceived as a single space. They, too, were painted to look like stone. A significant increase in the incline of the rear balcony provided access from the balcony to the newly erected building in between. We worked out a custom-made design for the new parquet of the Casino. The same applies to the columns inside, which had been constructed in wood or plaster because of the acoustics. We opened up the skylight and the windows again, re-created the original seating, reduced the incline of the balcony, laid a duplicate of the original parquet flooring, and restored the color scheme of The Foyers The enlargement of the overall volume directly adjoining the concert hall generates space on several levels to accommodate foyers and bars as well as rehearsal rooms, dressing rooms and service facilities. Herzog and de Meuron. The Extension We explored a number of possibilities and variations for generating more space to house the additional facilities required for the Musiksaal. It has been largely restored to its original state in cooperation with the Department of Cultural Heritage. Project Credits. The lens-shaped geometry of the pattern echoes the wallpaper, while the parquetry is laid out left and right, following the grain of the wood in reference to the historical herringbone parquet of the concert hall. The play of the light is multiplied by the silver of the hammered metal on the ceilings, which artificially heightens the room. The Hans Huber Saal will continue to host chamber music and is now accessed directly from the new foyers. The survival of this invaluable venue for music necessitated urgent structural renovation and repairs as well as indispensable expansion to accommodate a spacious lobby, backstage facilities for performers, and other technical services. The Stehlin Musiksaal was brilliantly conceived as a palazzo and all attempts to add on to the building looked like ridiculous patchwork. The area between the Church and the Musiksaal, once merely perceived as kind of rear courtyard, has become a new public space. That is why it was so important to design the addition, accommodating foyers, service facilities, rehearsal rooms and dressing rooms, so that it appears, at least at first sight, to be in the same neo-Baroque architectural tradition.