GHEORGHE DIMA MUSIC ACADEMY -
400561 | CLUJ - NAPOCA
The concept of the academy houses the Auditorium with a capacity of 550 seats, organized around the foyer. The connection between levels is located in the center of the building by a series of fluid ramps that animate the floor layout. Just like in the case of music, ramps become both for the participant and for the observer, the sense that gives the right to choose the tempo in completing the space, so the person will dictate the rhythm, emphasis, and linearity of the process, being able to stop or return whenever he or she wants.
Around this core, set as musical notes on a staff, there are chamber music halls organized on two levels, a café, sound studios, a library arranged on three levels along with spaces for reading, multi-functional halls with mobile ranks and a small organ hall with a capacity of 60 places. The first floor fulfills the administrative role, equipped with office spaces, conference and archive rooms. The upper floors are assigned to both students & teachers, each floor equipped with 34 rooms: 8 for individual study, 15 classrooms, 6 seminar rooms, 3 studio recording rooms, a big hall for chamber music and a room for faculty staff. We assigned a re-partitioning possibility for all spaces by using mobile walls soundproofed so the interior space is adjusted according to the courses /events needed.
Everything starts with the concept. Although the old building has already predefined space advantages, the new building wins with a layout much clearer of duties, respecting the space already built. We attributed great importance to the landscape, taking over its organic gestures and morphological language, but first I kept the idea of music, for which we chose this site. We chose Johann Wolfgang von Goethe’s quote “I call architecture frozen music.” to define my construction, I’ve chosen to let it through each assembly gap and pick it up in its virtue. The perfection of frozen water, these fine structures but powerful gestures are represented by a Voronoi pattern.
We chose music to organize the DNA of this structure; chose to strengthen its vibrancy, leaving the building, all through the mind and technology, to stand up by itself. I tried to go beyond what is tactile, to span the environment with meaning and value, in a perfect symbiosis. Thus music, topography, shape, and structure are affined with frozen water in an impenetrable connection; nothing can be excluded, but only explored, man becomes a participant of the creative act, and I’ve molded material just like music reverberates water.