• Eight teams were invited for second stage:

    ALA ARCHITECTS LTD

    ARATA ISOZAKI Y ASOCIADOS ESPAÑA S.L

    BAYÓN ARQUITECTURA Y URBANISMO S.L.

    DOMINIQUE PERRAULT

    KENGO KUMA Y ALONSO, HERNÁNDEZ & ASOCIADOS, ARQUITECTOS S.L.

    NAVARRO BALDEWEG ASOCIADOS S.L.

    UTE MANGADO Y ASOCIADOS S.L. & RAMÓN FERNÁNDEZ-ALONSO Y ASOCIADOS S-L.

    ZAHA HADID ARCHITECT

  • "Psychoacoustics" is an important part of acoustical design of concert halls. It is defined more or less as follows:

    If a room is visually and atmospherically beautiful, the musicians feel good in it. When the musicians feel good (in a room), they play better, therefore contributing to the sound (i.e. acoustics) of the room.

    (...and I thought absolutely everyone would register this as architecture)

  • Jury meeting

  • The Winning entry by Kengo Kuma

  • kkaa.co.jp

  • Kuma uses the city namesake fruit for inspiration.

  • After our workshop with Arup in London the Spanish structures team sent us 552 images of Frei Otto's sketches.

  • Site drive by

  • We developed an opera hall form linked to traditional gatherings.

  • The site in 2008 next to Alberto Campo Baeza's Museum.

  • We used local earth for the concrete walls of the hall

  • Early sketch of the upper level foyer space

  • A late meal in Albaicin

Granada Grand Hall

Because of the two main directions of entering the site, the hall is placed at an angle to the surrounding coordinates. This accommodates for the arrival by the pedestrians along the river from the north, as well as entering from the park and parking from the east. This turn also gives the Grand Hall independence in relation to the surrounding monuments. The rotation angle of 22.5° points to the Moorish geometrical tradition of dividing the circle into eights as a starting point for a shape. The angle also gives direct views towards Alhambra and the Sierra Nevada from the upper foyer levels.

As the architectural grand gesture, the hall is tied down into context by a large hanging surface paljo. The canopy covers the entire site by connecting the four corners of the hall roof to the four corners of the perimeter wall. The space covered by the canopy becomes the largest outdoor venue in Granada by offering a comfortable climate and an auditorium accommodating thousands of people. This informal performance space can be used in many confi gurations and combined with the services and support facilities of the Grand Hall. Near the Hall the canopy is perforated with minute holes to create a soft light effect in the foyer and gallery areas, whereas in the park the holes are very large to accommodate
for trees growing through and sunny picnic spots for cooler days. These requirements create a gradient pattern of holes growing denser towards the Hall.

The main hall finds its forms from one of the most basic spaces of performance: the city square. The hall comprises of four separate houses: the stagetower, the rear balconies and the side balconies on both sides. Between these, on the square, are the stalls level seats. The openings between these houses allow views to the outside and the paljo, as well as allowing daylight into the hall when desirable.

Name: Granada Grand Hall

Status: Concluded

Program: 15.000m2 Performance hall with 1400 seats, car park for 300 cars + supporting spaces

Location: Granada, Spain

Client: Junta da Andalucia

Team: Juho Grönholm, Antti Nousjoki, Janne Teräsvirta, Samuli Woolston with Roberto Aparicio, Aleksi Niemeläinen, Jan Galecki, Auvo Lindroos, Risto Wikberg

Collaborators: Arup (structures, mechanical, environmental, acoustics), TPC (theatre technics)

Rendered (4 images)
Drawings (8 images)
Model photos (5 images)
Diagrams (2 images)