Dr Anton Philipszaal The Hague

The Dr Anton Philipszaal was realised for what was then an extremely low budget. The concept and the design strategy were completely geared to that fact. Despite this low budget, a top quality performing arts centre was realised, and a building which has made and still makes an enormously positive contribution to the cultural life of The Hague. The building enters into an ever changing relationship with its environment, visitors and passers-by. We are now further enhancing the conceptual play of light and dark, opaqueness and transparency, in combination with proposals for a café and for improvement and expansion of the information and recognition for the general public. With the partially integrated Dance Theatre, it is a versatile and attractive complex for a diverse audience. The acoustic basic concept for the world’s best concert halls lies in the box shape, which was deployed here too, partly because of the limited budget. Whereas the traditional halls arrive at the required diffusion by means of ornaments in the walls and ceilings, the diffuse effect here was efficiently achieved by using modern means, in an open and spatial steel construction in the roof and relieved surfaces in the walls. This solution determines the expression of the interior. The facade of the box has a layer of plaster containing a diagonal grid of enamelled glass strips. The hall, foyer and adjoining areas have a reflective, heat-absorbing glass facade, known as structural glazing. In the daytime, when only the ticket desk is open to the public, the high degree of reflection makes this facade appear closed, and it mirrors its surroundings. In the evenings with artificial lighting, it becomes transparent and inviting to guests, thanks to the visual openness thus created. In the interior, the box presents and manifests itself as being the shape of the hall, throughout the entrance area but also in the open gallery between the hall and performers’ area. This spatial development guarantees a self evident orientation of users, making all components of the complex very recognisable. In principle, the hall comprises two shells: one is constructive, massive and sound insulating (on the outside), while the other is a layer of fixed metal panels as the visible interior walls of the hall. The zone between the two provides plenty of room for installations and access routes, so that utility elements such as pipes, shafts etc. are all well concealed. Even the relieved patterns in the walls required for acoustic reasons have been designed as inconspicuously as possible, in order not to distract the audience but rather assist them in directing their full attention to the orchestra and possibly the choir. A ‘drapery’ of plastic around the stage, designed by Marte Röling, adds extra emphasis to the orchestra and supplies the necessary sound diffusion where needed. We consciously sought a modern interpretation in terms of design, colour, materials and details for the elements which have been proven valuable in the history of such halls.