## Snøhetta’s St Louis Symphony Orchestra Extension: A Symphony of Preservation
The St Louis Symphony Orchestra’s extension, a sculptural addition to the home of the iconic St. Louis Symphony Orchestra, is a testament to Snøhetta’s commitment to preserving and reimagining the past. The project, conceived with a keen eye for the present, aims to create a vibrant and dynamic space that honors the history and artistry of the building’s era.
The building’s original architectural style, a vertical massing reflecting the essence of the 1960s, was subtly reimagined. The facades, shaped like musical instruments, were designed to evoke the feeling of a concert hall, with a distinct, organic feel. The staircases, seemingly simple, were cleverly integrated with the building’s structure, creating a sense of flow and open space. The overall aesthetic is a harmonious blend of old and new, a poignant reminder of the building’s rich history.
The addition doesn’t just re-imagine the building; it actively *re-imagines* its design. The facade is constructed from corbeled masonry, a beautiful and aesthetically pleasing material that complements the building’s rich history. The slope angles towards the sky, an element that has been historically associated with the building’s design, is also incorporated into the design, creating a softer, more flowing visual language.
The extension is not a simple continuation of the existing structure. Instead, it’s a carefully considered evolution, a bold statement that reflects the time periods and cultural influences that shaped the building’s design. The white walls and wooden battens on select details, like the soffit above the ticket counter, are designed to evoke the feeling of a concert hall, reflecting the historical context of the building’s design.
The new wing, while seemingly small, is a reflection of the building’s commitment to sustainability. The architectural style is a blend of Beaux-Arts and contemporary, emphasizing a sense of balance and harmony. The use of state-of-the-art mechanical systems, high-efficiency lighting, and strategic use of daylight in back-of-house areas are all carefully integrated into the design, creating a comfortable and inviting environment.
The addition is not just a building; it’s a living, breathing entity that reflects the history and spirit of St. Louis. It’s a powerful statement about the enduring power of architectural design to connect with the past and create a lasting legacy. The innovative approach, the thoughtful integration of history and modernity, and the commitment to sustainability make this extension a truly special and impactful piece of architectural history.
Architecture studio Snøhetta has completed a sculptural addition to the home of St Louis Symphony Orchestra in St Louis, USA, while revamping historical interiors and creating a public-facing plaza.
Snøhetta restored and expanded Powell Hall, adding a series of arched forms that hug the side of the historic building, which was designed in the early 20th century by Rapp & Rapp as a movie palace, before becoming the home of the St Louis Symphony Orchestra (SLO) in the 1960s.
The addition expands the space toward the street, and holds circulation, an expanded lobby, educational spaces and back-of-house facilities. Its form was conceived of as complementary to the existing building.
“The new expansion was conceived not as an add-on, but as a complementary ‘dance partner’ to Powell Hall – gently leaning against it and smaller in scale, to preserve the original building’s iconic silhouette,” Snøhetta director Takeshi Tornier told Dezeen.
Snøhetta also designed a public plaza for public programming and carpool, which leads visitors up towards the arching forms of the new structure, with its expansive panes of glass framed by a canted shell that comes to points at the apex.
According to Snøhetta principal Craig Dykers the building was designed with direct reference to musical instruments. The “arcing windows” were informed by the waist of a violin and “mimicking the path of the conductor’s baton as they lead the orchestra”.
The facade is made up of corbeled masonry designed, specifically according to Dykers, for beauty in the winter months, layered with snow. The slope too angles eyes toward the sky, negating what Dykers called the “alienating” effect of the current building.
“We aimed to break with the existing building’s vertical massing. This verticality has been perceived as somewhat alienating over the years, particularly along the facades of Grand and Delmar Boulevards,” Dykers told Dezeen.
“Leaning the facades toward the sky provides a softer visual language, especially in connection with the scalloped forms in plan.”
When asked about the juxtaposition in styles between the Beaux-Arts building, Dykers said that while formal elements such as grand open spaces and massing were references to the original, the addition was intended to stand apart and show the time frames of the structure and institution.
He compared this gesture to archaeology.
“While there are simple details in the new wing, the general atmosphere is very dynamic and sculptural, inspired by the lobbies and hall of the existing building,” he said.
“However, the new wing is clearly not a copy of the existing structure. This allows visitors to understand the time frames within which each building was built.”
“This is a thinking often used in archeological conservation, where the new restorations are clearly understood as separate from the older structures. There is also a great deal of grace and verve in the latest design, so although simple and controlled, the design is not severe.”
Inside the addition, a grand staircase weaves the atrium into the existing structure and provides circulation. When viewed from below, the twisting structure forms an oculus up to the ceiling.
According to Tornier, it serves as a beacon from outside the building and provides a procession to the terraces that line the atrium space in the addition.
In terms of interior pallette, the addition is quite minimal, contrasting again the style of the original, with white walls and wooden battens on select details such as the soffit above the ticket counter.
The studio also restored the interior of the theatre, making it accessible and opening up sightlines, making it not just an extension but an adaptive reuse project.
Torner spoke to the sustainability benefits generated by this repair and of the new structure.
“Sustainability is central to the project, beginning with the adaptive reuse of the 100-year-old Powell Hall – preserving its historic character while transforming it to meet the needs of a modern symphony,” he said.
“Energy efficiency is improved through state-of-the-art mechanical systems, high-efficiency lighting, and the strategic use of daylight in back-of-house areas. Stormwater is managed on-site through permeable surfaces, new planting areas, and silva cells integrated beneath paved tree zones.”
Elsewhere, the studio has completed a curved fish-farming facility wrapped in black-glass panels in Norway and added a curving outdoor space as part of a renovation of a 1960s office building in Milan
The photography by Sam Fentress.
Architecture studio Snøhetta has completed a sculptural addition to the home of St Louis Symphony Orchestra in St Louis, USA, while revamping historical interiors and creating a public-facing plaza.
Snøhetta restored and expanded Powell Hall, adding a series of arched forms that hug the side of the historic building, which was designed in the early 20th century by Rapp & Rapp as a movie palace, before becoming the home of the St Louis Symphony Orchestra (SLO) in the 1960s.
The addition expands the space toward the street, and holds circulation, an expanded lobby, educational spaces and back-of-house facilities. Its form was conceived of as complementary to the existing building.
“The new expansion was conceived not as an add-on, but as a complementary ‘dance partner’ to Powell Hall – gently leaning against it and smaller in scale, to preserve the original building’s iconic silhouette,” Snøhetta director Takeshi Tornier told Dezeen.
Snøhetta also designed a public plaza for public programming and carpool, which leads visitors up towards the arching forms of the new structure, with its expansive panes of glass framed by a canted shell that comes to points at the apex.
According to Snøhetta principal Craig Dykers the building was designed with direct reference to musical instruments. The “arcing windows” were informed by the waist of a violin and “mimicking the path of the conductor’s baton as they lead the orchestra”.
The facade is made up of corbeled masonry designed, specifically according to Dykers, for beauty in the winter months, layered with snow. The slope too angles eyes toward the sky, negating what Dykers called the “alienating” effect of the current building.
“We aimed to break with the existing building’s vertical massing. This verticality has been perceived as somewhat alienating over the years, particularly along the facades of Grand and Delmar Boulevards,” Dykers told Dezeen.
“Leaning the facades toward the sky provides a softer visual language, especially in connection with the scalloped forms in plan.”
When asked about the juxtaposition in styles between the Beaux-Arts building, Dykers said that while formal elements such as grand open spaces and massing were references to the original, the addition was intended to stand apart and show the time frames of the structure and institution.
He compared this gesture to archaeology.
“While there are simple details in the new wing, the general atmosphere is very dynamic and sculptural, inspired by the lobbies and hall of the existing building,” he said.
“However, the new wing is clearly not a copy of the existing structure. This allows visitors to understand the time frames within which each building was built.”
“This is a thinking often used in archeological conservation, where the new restorations are clearly understood as separate from the older structures. There is also a great deal of grace and verve in the latest design, so although simple and controlled, the design is not severe.”
Inside the addition, a grand staircase weaves the atrium into the existing structure and provides circulation. When viewed from below, the twisting structure forms an oculus up to the ceiling.
According to Tornier, it serves as a beacon from outside the building and provides a procession to the terraces that line the atrium space in the addition.
In terms of interior pallette, the addition is quite minimal, contrasting again the style of the original, with white walls and wooden battens on select details such as the soffit above the ticket counter.
The studio also restored the interior of the theatre, making it accessible and opening up sightlines, making it not just an extension but an adaptive reuse project.
Torner spoke to the sustainability benefits generated by this repair and of the new structure.
“Sustainability is central to the project, beginning with the adaptive reuse of the 100-year-old Powell Hall – preserving its historic character while transforming it to meet the needs of a modern symphony,” he said.
“Energy efficiency is improved through state-of-the-art mechanical systems, high-efficiency lighting, and the strategic use of daylight in back-of-house areas. Stormwater is managed on-site through permeable surfaces, new planting areas, and silva cells integrated beneath paved tree zones.”
Elsewhere, the studio has completed a curved fish-farming facility wrapped in black-glass panels in Norway and added a curving outdoor space as part of a renovation of a 1960s office building in Milan
The photography by Sam Fentress.
