In order to give the task a space and a figure, the abstraction of the early 20th century is a good starting point. The thinking and acting subject, who finds a counterpart to his subjectivity outside himself in the form itself, is, as in Malevich‘s work, as much a motif for design as harmony and the key as the temperature of music.
The location in the city demands the solitaire. The different directions from which the body receives impulses and to which it sends them determine the height development of the volume. The triad of form can be read in the fanning out of the storeys and shapes the vertical sculpture inside and out. The proportions and relationships of the form are linked on all
on all levels with an arch. The result is a solitaire that is a unique synonym for the cultural city of Nuremberg, both in the urban landscape and in the world of concert halls.
The new concert hall defines a square, the New Meistersingerplatz, with the existing Meistersingerhalle as an open interplay of free structures. This square provides access to all components and event areas. The public infrastructure should organise its stops towards this new centre. The eastern car park on Schultheißallee will serve the New Meistersingerplatz to an appropriate extent. To the south of Münchener Straße, the access road to the Parkhotel is taken up and serves the development of the administration building with the artist‘s entrance.
The reddish granite typical of Nuremberg determines the materialisation of the square and the building. Its colour corresponds to the exposed concrete of the building. The result is a locally rooted spatial sculpture that is recognisable and unambiguously addresses the place and type internationally.