After four years of construction, the time has come today: the listed Kulturpalast with a concert hall seating 1,800 opens its doors. The new concert hall, home to the Dresden Philharmonic, forms the heart of the building, which was erected in 1969.
Until its closure, it remained one of Dresden's most important venues. And that despite the nearby Semper Opera House. Now the concert hall has been modernised and renovated. The lighting gives the concert hall a new lease of life and emphasises its special architecture. The good cooperation between the Traunreuter lighting planning office CONCEPTLICHT and the lighting control expert Seebacher from Bad Tölz provides the technology in the background and leaves the musicians in the brilliant spotlight.
All components of the hall lighting are LED technology, whereby only light sources with colour rendering level 1A with warm light colour were used. Only a white light colour was chosen for the presentation of the organ and the wall illumination was carried out with fluorescent lamps. All components were divided into different dimming circuits in order to be able to set different moods. The control gear of the downlights was moved to the top floor for easy maintenance. The choice of LED dimmers was based on colour fidelity, flicker-free operation and uniform dimmability of up to 0%. Therefore dimmers of the company Seebacher were used, which contain likewise safety functions for the BUS failure and the enterprise of the safety lighting. One challenge was not to create any cones of light from the downlights on the white wall sections stepped towards the ceiling, which would then have a negative effect on the entire atmosphere as on the presentation plate. The same applies to the height-adjustable sound sails, which were not allowed to be immersed in the light cones of the downlights.
Already in the concept a visual calm was strived for beside all functional constraints. For the concert hall, the lighting design office developed special luminaires to meet these requirements. It was necessary to avoid the typical images of the light cones of the downlights, as these create an enormous restlessness.