Anneliese Brost Musik Forum Ruhr
© Brigida González
Product Spec Sheet

ElementBrandProduct Name
Windows – Janisol ArteJansen
LightingBEGA
Fittings – FSB 1045 / 1015FSB
FSB 1045, FSB 1015
Tiles in the sanitary rooms – Serie beige & brown, color 264 VMosa
Roof insulation - GeorockROCKWOOL International A/S
Bespoke SeatingASCENDER Seating

Product Spec Sheet
Windows – Janisol Arte
Fittings – FSB 1045 / 1015
FSB 1045, FSB 1015 by FSB
Tiles in the sanitary rooms – Serie beige & brown, color 264 V
by Mosa
Roof insulation - Georock
Bespoke Seating

Anneliese Brost Musik forum Ruhr

Bez + Kock Architekten as Architects

The former St. Mary’s church is a brick-built, neo-Gothic, three aisled hall church. Owing to its size and central location, it holds special importance for the urban development of Bochum’s city center. After it was deconsecrated in the year 2002, it increasingly showed signs of dilapidation. Many citizens voiced their strong interest in a continued use of the church building and the city of Bochum also made the case for its preservation, even though the responsible diocese had already announced its decision to demolish the structure. Eventually, in 2011, an agreement was reached to construct a new music center on the site for the Bochum Symphony Orchestra and for the municipal school of music. Instead of tearing down the old church, it was integrated into the plans. More than 40 percent of the construction costs – totalling around 38 million euros – were raised through donations, including thousands of small donations from dedicated cizitens.
 
The new Music Forum is composed of three structures: the two side extensions and the converted church that is at the center of the ensemble and now serves as its lobby. To the south, a large concert hall has been added, while to the north, a small auditorium for various purposes adjoins the former church. In its height, the concert hall – reflecting its prominent role – rises above the other new structures, yet without exceeding the eaves of the church roof. In their width, the dimensions of both new halls correspond to the church’s nave. Thus, the three structures merge into a lofty urban complex. Only the church tower and the choir are not in alignment with the ensemble and protrude beyond it. While the church was previously accessed via its tower to the west, the main entrance is now located on the opposite side in the choir which faces the city center.
 
Both in terms of urban development and architectural design, the old church and the add-ons converge in a dynamic interplay. The facades of the new auditoriums refer to the stone structure of the church, but, in contrast to its drak bricks, they boast a light-coloured clinker brick that unites various hues of red. For the most part, the exterior of the church was maintained in its original condition. However, the interior had been badly affected not least by the different interim uses of the building and therefore required more radical alterations. Nevertheless, it still contains traces of the building’s history such as the old church bell – whose ringing nowadays indicates intervals – and two sgraffiti on the shielding walls of the side altars that testify to the sacred art of the post-war era. The choir windows by Heinrich Wilthelm were believed to have gone missing when the church was closed down, but they were rediscovered in a neighbouring house by mere coincidence and have been restored to their former splendor. By contrast, substantial changes were made to the church floor, which together with the new gallery was finished in terrazzo, and to the wood-panelled ceiling from the post-war reconstruction period.
 
The light-reflecting areas of the ceiling are part of the whole lighting concept for the church lobby: the light that is shone upwards from the lamps positioned at the cloumns’ capitals is in turn directly reflecetd back from above into the lobby, creating a festive atmosphere. The resulting rhombus-shaped pattern on the ceiling  as well as the design of the church’s side windows were inspired by the interior of the concert hall. They establish a formal connection between the church lobby and the concert hall, while the access areas create a spatial connection, forming links between the nave of the church and the two adjoining auditoriums. Visitors who arrive in the lobby can spread out into the different access areas leading to the concert hall and the multi-purpose hall. Although these areas serve functional purposes and are of minor architectural importance, the sophisticated interplay between the existing building and the new extensions is a special experience: it is here that supposed opposites such as “inside and outside” or “old and new” pervade each other and thereby give rise to a new architectural quality.

 

Material Used :

1. Jansen – windows – Janisol Arte / Janisol HI

2. neuform – doors and gates – System S and others

3. FSB – fittings – FSB 1045 / 1015

4. Terraplan – floor coverings

5. Deppe– brick façade – 1693w

6. Mosa – tiles in the sanitary rooms – Serie beige & brown, color 264 V

7. Rockwool – roof insulation - Georock

8. Sto - stucco

9. Kvadrat – textile solutions

10. Danzer – wooden flooring

11. Schörghuber – wooden doors for the concert hall

12. Optigrün – green roof structure

Read story in Deutsch

Linear BEGA lighting structures for a unique architectural ensemble

BEGA as Lighting

The Anneliese Brost Musikforum Ruhr in Bochum is a beacon for the arts across the entire region. It is the home of the Bochum Symphony Orchestra, doubles as a music academy and also offers a multi-functional event space.

The greatest planning challenge was the integration of the de-consecrated neo-Gothic St. Mary’s Church. The architects office Bez + Kock, which had won the design bid, had an impressive solution for this task. The nave of the old church is now flanked by two building tracts constructed with whitewashed brickwork and copper-edged window openings. Modern clinker brickwork contrasts with the darker tiles of the former church, whose eaves height served as the measure for the roof edge of the annex that houses the large concert hall with 1,000 seats, which was significantly lowered in contrast to the original plans. The stage and stalls are located in the basement of the new building.

The choir section is located slightly in front of the new ensemble, where the main entrance of the music forum can also be found. The old nave has been re-purposed into the building’s foyer. As a tribute to the sacred structure, the largest of the four former bells of St. Mary’s now sounds for intermissions at the new complex – in a clear “B” for “Bochum.”

The beautiful forecourt, including the unusual entrance area and the architectural features of the new wings, are illuminated with linear lighting solutions at dusk and during the night. BEGA LED in-ground luminaires illuminate the new wings of the music forum. The contrast between the dark brickwork of the church and the white clinker walls is an eye-catching feature at night time. The linear LED in-ground luminaires can be driven over by vehicles with pneumatic tyres. They are made of stainless steel and are mounted in recessed housings on a foundation that absorbs the pressure loads.

Linear lighting structures in the seating areas of the forecourt direct the gaze of the audience towards the choir section to emphasise the main entrance of the forum. LED recessed wall luminaires with asymmetrical light distribution are used for this purpose. The cover frames and glass of these luminaires are positioned flush in one level without offset. They are available in various sizes and provide the most efficient solution for any lighting application. Shallow installation depths and the BEGA mounting system ensure the simple and low-cost installation of these corrosion-proof stainless steel luminaires with high structural rigidity in solid and hollow installation locations.

A wide, light-coloured pavement surrounds the unusual ensemble of the music forum on all sides. Vertical gaps between the individual wings create optical divisions between the functional areas. BEGA light building elements – with optional symmetrical or asymmetrical flat beam light distribution – compliment the architectural structure of the areas in front of the music forum and underline these visually. Our light building elements are luminous design elements that are perfectly suited for these types of public spaces. Their attention-drawing power is considerably greater than that of pole-top luminaires.

The attractively designed area around the stage entrance of the Anneliese Brost Musikforum Ruhr is the perfect stage for this classic element of great lighting and surface design. The Light Brick – Lichtbaustein® has been a BEGA trademark for more than 60 years and features an unmistakeable and highly recognisable design. It goes without saying that it now features the latest LED technology.

Read story in DeutschFrançais and Italiano

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