Traditional Culture Imbued in Modern Concert Hall

Located in an emerging arts and cultural district in Inner Mongolia, the Ordos Concert Hall was conceived to attract the likes of the Beijing Symphony Orchestra to perform. The concept of Theater is based on the movement of a traditional Chinese dance - The Long Sleeve Dance –during the Tang Dynasty. The design, with its undulating curves, mimics the footwork pattern of the dance and replicates the movement of the “long sleeves.” The looping of the long sleeves is reflected in circular drums that house the 1,200-seat main concert hall, 335-seat play box theater, and 100-seat black box experimental theater respectively.

Taking gestures from the traditional ‘long sleeve dance’ Mehrdad sketches ideas to begin conceptual design – the sketches evolve and forms begin to take hold. The notion that something so traditional and steeped in storied tradition could be translated
into a modern design was a significant challenge, but an important one as the connection to the Chinese and Mongolian culture
was imperative.

The initial design took a relatively short time, from the cursory sketches a model was developed. This project experimented with process between offices in Los Angeles and Shanghai and ultimately began an almost 24-hour a day workflow.

The Concert Hall is located at a main artery into the Kaokaoshina District – it sits adjacent from the main restaurant (also designed by the Yazdani Studio) and at an elevated crossroad where it acts as a gateway to the District.

The program was undefined and the client asked us to explore the appropriate mix of seating, styles of theaters and ancillary spaces. The client told us that the concert hall had to attract the likes of the Beijing Symphony but also wanted to be able to support a variety of performers – with that we investigated theater options. It was resolved that the optimal mix of theaters includes a 1,200-seat recital hall and a 500-seat performance theater, and multi-purpose area for performances and lectures with the possibility of using it as a rental facility.

As the massing model illustrates, the movement of the long sleeve dances is captured in the form of the building – the circular flow of the ribbon in varying sizes is parlayed into the varying sizes of the theaters and auxiliary spaces.

Although the initial concept occurred rather quickly, time was spent investigating the skin of the building. The harsh climate – strong sun and wind that prompts sandstorms – made the development of the skin of utmost importance. A computer program was developed to determine where the sun and wind would be the most prevalent; it determined that 15 patterned tiles were needed to combat the environmental conditions. In keeping with the movement and metaphor of the dance, circles were used to perforate the metal skin in the computer generated patterns. Behind the metal skin, is either a simple glass curtain wall or cast in place concrete walls. In entry areas where there is no skin, mullion-less glass will be utilized.

The interiors carry the same momentum as the exterior and the shape of the building utilizing circular furniture, patterns and details. The main theater uses red as a nod to Chinese culture which believes red is a very auspicious color. The main public spaces are very whimsical with a modern, hip twist. For the VIP lounge, a more masculine approach was taken to cater to the clientele that would utilize the space while still maintaining the reflection back to the gesture of the dance.

The outdoor spaces will also tie into the circular movements
and connect the public with the building. The perforated skin
will illuminate at night, subtly connecting the outside in and the
inside out.