book of ideas

OperaLabIdeaOperaLab is an interdisciplinary project combining featu-res of a gallery and a think-tank, the purpose of which is to create a space for a discourse concerning contem-porary changing image of the city and the role of art, as a discipline of significant creative potential, affecting its current picture.OperaLab is a platform created in order to experiment with form and idea, where art and technology meet, allo-wing a dialogue between different visions of the contem-porary city, built through art and a discussion on modern design, as an effective ideas-carrying instrument. This type of intellectual circulation allows a wider look at the latest artistic phenomena. Asking about the identity of design, we ask about its permanent change and deve-lopment. We want to confront the image of mobility, as one of the most important traits of a modern city, with fixed points, constituting a reference to its identity.The identity of the urban space is built through and thanks to art. Design disciplines have become a totem of sorts and a tool for cultural development. Their city-creating role is increasing. Therefore, asking about the future of cities and their development, we are also asking about the role of art in the process of their building and continuous transformation.Interdisciplinary perception of art allows better under-standing of the changes occurring in the artistic world. It is difficult to analyse significant artistic phenomena through the narrow prism of specific events, without paying attention to their context and a dense network of relations found at the overlap of a number of artistic di-sciplines from design to fine and performance arts. The dialogue of art has become a force and allows obtaining a new, fresh quality. The OperaLab project is intended to

create opportunities for such meetings, providing a new space for artistic events.The pavilion project, constituting the subject matter of the Designing Identity / Identity of Design competition, offers a chance for creating a mobile space used to present art. This is the first activity setting out the direction of deve-lopment of the entire project, combining a number of ac-tivities carried out in the interiors of Teatr Wielki – Opera Narodowa, with mobile activity in the urban space. The urban space, the elements of which include a space ear-marked for artistic activity, situated in the most prominent or intriguing locations, transforms thinking about the city as a structural body into thinking about the city as a con-cept. The far-reaching conventionality in perceiving com-plex urban functions is best seen in buildings used for artistic activity. The shape of the urban structure is deter-mined by specific elements, whose stand-alone action can be intensified through quality, quantity and diversity of these elements, while retaining mutual autonomy. In such situation they are remembered, decoded and beco-me a point of reference for a given structure.

PartnershipTeatr Wielki – Opera Narodowa is a place where the cor-respondence of arts, their intertwining and dialogue is seen perfectly. Its seat is a unique edifice. Over a pe-riod of almost two hundred years outstanding architects have given a form to the idea of building the world of art. The forthcoming 180th anniversary of the opening of the Theatre, first designed by Antonio Corazzi, and then by Bohdan Pniewski, offers an opportunity to present the architectural heritage of this institution.Teatr Wielki – Opera Narodowa is also one of the most

important identity points of the city, which determines urban space by its form. The aim of the project is to es-tablish a dialogue between the architectural and design heritage and new tendencies and directions of develop-ment of these disciplines. It is a type of changes simu-lation.The point of departure in the project is the building of Teatr Wielki – Opera Narodowa – a structure closely con-nected with the identity of the city and strongly accenting its image. In the context of dynamic changes to which a modern metropolis is subjected, being an arena of con-stant cultural activity, it seems interesting to underline fi-xed points, allowing its easy identification. Inviting BMW to co-create the project was a natural choice dictated by the long-standing commitment of the brand to supporting artistic initiatives.The method adopted in creating the development stra-tegy of OperaLab is based on investigating the potential of the relation between two strong brands: Teatr Wiel-ki – Opera Narodowa and BMW. Analysing the direction of development of Teatr Wielki – Opera Narodowa and observing the long-standing commitment of BMW to supporting art, we see an opportunity of implementing a pioneering project in Poland. OperaLab refers to the essence of both brands, building the art-business rela-tionship in a contemporary manner.The involvement of the BMW Group in supporting culture is an important element of the corporate social respon-sibility strategy of the firm, stemming from the belief that the activity of artists is one of the most important areas of social life, and the cultural heritage is an extremely significant value for us as humanity. For the BMW Gro-up taking part in the development of culture is a natural

element of its corporate identity. BMW creates unusu-al cars, boasting ultra-modern technologies as well as exceptional design; giving pure driving pleasure. Thus, the company holds dear the attributes which define real art – creativity, freedom and creation of new qualities.Looking at the OperaLab project through its artistic aspect, it may be understood as a result of art’s fasci-nation with technology and technology’s fascination with art. We see our partnership as an opportunity to create an innovative space for Polish art.

HistoryFor nearly two hundred years Teatr Wielki – Opera Naro-dowa has been the main Polish opera and ballet stage. The building, designed by the Italian architect Antonio Corazzi, was erected in the years 1825-1833.Since then it has been reconstructed on several occa-sions. During the siege of Warsaw in 1939 it was bom-bed and almost totally destroyed. Only the original clas-sical facade of the building survived.In the years 1945-1965, the company performed on other stages, while the theatre building was being raised from the rubble and extended on the basis of a design created by Bohdan Pniewski.Teatr Wielki – Opera Narodowa continues its long tra-ditions, staging works by Polish and world composers. Spectacles are presented on the main stage – in the Moniuszko Hall with an auditorium for 1,772 spectators and on the small stage with an auditorium offering 248 seats in the Młynarski Hall. On the first floor, the former Redoubt Rooms contain the only Theatrical Museum in Poland. In 2002, in keeping with the intention of the ar-chitect Antonio Corazzi, the facade of Teatr Wielki was crowned with the Apollo’s Quadriga designed by con-temporary professors of Warsaw’s Academy of Fine Arts: Antoni Myjak and Antoni J. Pastwa.Teatr Wielki – Opera Narodowa prides itself on the most important ballet and opera productions in Poland. Famo-us conductors, well-known directors, great Polish and fo-reign singers, outstanding dancers – these are the stron-gest points of the Theatre and a guarantee of its artistic successes. The international co-operation, developed in each season, puts Teatr Wielki among the most famous Opera Houses and ballet companies in the world. The co-productions realised with the most important stages in Europe: The English National Opera in London, Teatro Real in Madrid, The Bregenz Festival, Théătre Royal de la Monnaie in Brussels, Mariinsky Theatre in Sankt Pe-tersburg, or Grand Theatre del Liceu in Barcelona show that Teatr Wielki – Opera Narodowa is an important Eu-ropean stage, participating in the joint creative and pro-duction endeavours.

History of the formThe classical form of the edifice of Teatr Wielki – Opera Narodowa designed by Antonio Corazzi is a point of re-ference for the later changes made by Bohdan Marconi or Bohdan Pniewski. Designing the original seat of the Theatre, the Italian architect created a complex, piled block, skilfully using the architectural benchmark of the time and composing one of the best classical buildings in Poland. A rich formal palette of the contemporary bu-

ilding contains classical, modernist, eclectic and art-de-co elements. Style layers harmoniously correspond with each other, splendidly communicating the history of the Theatre and giving it a unique expression.The part which binds the pre-war form of the building and its post-war face is the northern facade, which survived the destruction and became a starting point in the design process for Bohdan Pniewski, the author selected as a result of a closed competition. The complete reconstruc-tion and re-opening took place in 1965. The analysis of Corazzi’s architecture, visible in the design, correc-tly read and filtered by Pniewski, allowed the creation of a work utilising the original, classical forms, simulta-neously delivering a second, new face in the building’s history. The ambitious concept of the architect consisting not only in reconstructing, but also in extending the buil-ding, adopted under the conditions prevailing at the time, was considered madness by many.Shortly after building in 1833, Teatr Wielki became one of the symbols of Warsaw. The facade, crowned with the characteristic entrance and majestic colonnade domina-ted over Plac Teatralny from the beginning. The common intention of the architects designing this edifice was to create a landmark, organising and determining the sur-rounding space.

DetailsThe interiors of Teatr Wielki – Opera Narodowa charm with their beautiful and subtle details. Our attention is drawn by interesting chandeliers and lamps designed by Tadeusz Gronowski, an outstanding Polish graphic ar-tist, architect and scenographer. Their beautiful and di-verse form in the art-deco style utilises a whole plethora of historical quotations. Tadeusz Gronowski is also the author of the tapestries found in the lobby, in front of the Government Box, and the glass flower compositions in the lower Foyer.Another element which grabs our attention are the mosa-ic clocks designed by Barbara Pniewska-Krasińska and the ornaments of the balustrades by Zofia Demkowska or the reliefs created by Franciszek Strynkiewicz illustra-ting the Abduction of the Sabine Women.The diversity of the styles of the designs creates the cha-racter of the place and is a result of the work of a large group of designers. The intention of Bohdan Pniewski was to create a total work. Known for his passion for de-tail, he closely monitored each element, making changes while the work was already in progress. This approach resulted in a well thought-out design combining various styles. This rather liberal use of historical references,

Identity of Teatr Wielki – Opera Narodowa

both at the detail and wider scale, could be seen as a sign of mannerism. This conclusion is correct. The diver-se size and height of the premises imbue the interiors with a more expressive and dynamic character. The axis and the main element defining the interior, is the stairca-se, especially its lower part, binding the interior at all its levels. The opulent form of the stairs is a reference to the most successful opera house designs.The decor diversity of the interior is a continuation of this idea. The range of decorative elements becomes wider as we come closer to the most opulent part, i.e. the Main Foyer. Bronze and yellow hues appear in all elements adorning the Foyer. Upon entering the main area the item which makes the greatest impression is the floor mosaic made of fragments of wood coming from many different varieties of trees. Thanks to this its colour sche-me is natural, and not obtained thanks to artificial dyes. In the entire Foyer marble mixes with terrazzo, and the high standard of workmanship fits the rank of the space perfectly.The auditorium, with its astonishing ceiling full of cera-mic elements bringing to mind a constellation of stars, has a completely different, modernistic character. Also in this case the characteristic style and attention to de-tail present in the designs of Bohdan Pniewski becomes apparent.

Teatr Wielki – Opera Narodowa – contextResponding to the dynamically changing image of a cultural institution, Teatr Wielki – Opera Narodowa in Warsaw has decided to implement a project presenting innovative and inspiring manifestations of modern archi-tecture and art, filtered through the context and specific character of the location, which is the most important opera and ballet stage in Poland. OperaLab is evidence of a new look at the role and possibilities put before itself by an institution of a strategic nature for the domestic cul-ture, whose ambition is to combine the best traits of an arts salon with a display of innovative, artistic projects, highlighting different art disciplines. From the point of view of Teatr Wielki – Opera Narodowa it is important to show a connection existing between various art discipli-nes. The origin of the search for links between them can be found in the very structure of the opera, which com-bines various arts. The choice of Teatr Wielki – Opera Narodowa as the point of reference for the entire project is not accidental. Its building is like a mirror reflecting the history of changes taking place in the Polish architecture over the last three hundred years. For the duration of the exhibition, the original classical form of the Theatre,

created by Antonio Corazzi, its current reconstructed and extended version, partly designed anew with considera-ble sensitivity and feeling by Bohdan Pniewski and the eclectic interiors, filled with historical references, will be-come a symbolic bridge between that which is important in the history of the Polish architecture and the young generation of designers who, by dint of the quality of their works, set a new development perspective for the con-temporary design and architecture.

The Designing Identity / Identity of Design Competition

Categorie Architecture

Pavilion – Mobile IdeasThe aim of the competition is the selection and reali-sation of the concept of a mobile pavilion, allowing the OperaLab Project to perform a number of artistic and in-tellectual activities – from exhibition presentations, thro-ugh film screenings, ballet and opera presentations, to concerts and discussion panels. The form of the pavi-lion should communicate the innovative character of the project, amalgamating many artistic disciplines and carry the identity of Teatr Wielki – Opera Narodowa and BMW, creating a dialogue with the urban space. The open cha-racter of the pavilion should encourage performing acti-vities and allow easy interaction.

According to the assumptions of the competition for the design of a mobile exhibition pavilion, constituting the core of the activity of OperaLab the pavilion should be built from renewable materials and its structure should be flexible and easy to assemble and dismantle. An im-portant aspect of the project is a creative reference to the architectural identity of Teatr Wielki – Opera Narodowa and its interpretation using modern forms of expression and the idea of innovative mobility – the identity core of the BMW brand.The mobile pavilion should consist of modules, so that it can be easily adapted both in an open urban space and indoors, with particular emphasis put on the space of Teatr Wielki – Opera Narodowa. The structure of the pa-vilion should be based on easy transformation, allowing a wide range of activities, including exhibitions, organi-sation of meetings, film screenings or the organisation of intimate shows. The production cost should not exceed PLN 200,000.

Functional and ideological assumptionsthe pavilion should be characterised by timeless archi-tecture using modern technological solutions. Due to the strategic role played in the Polish culture by Teatr Wielki

– Opera Narodowa, the pavilion should refer to its iden-tity, seeking a dialogue in timeless solutions and ideas. It should combine in an innovative way the identity of the location with contemporary formal and technological solutions,the pavilion should consist of separate modules, which, when put together, make up a complete structure, still al-lowing variant use (individual elements should have the functionality of internal exhibition modules),the pavilion will be used outdoors during the spring and summer season,the pavilion’s structure should be flexible, easy to adapt to the needs of various cultural activities,the usable floorage has been set at 150 m²,the pavilion should be ecological,the pavilion should be technologically feasible,the costs of erecting the pavilion should not exceed PLN 200,000,the functional arrangement should provide for space that is easy to arrange and have technical and administrative amenities not exceeding 15 m²,the pavilion should allow easy installation of multimedia equipment,one of the walls should have the function of an interacti-ve multimedia booth, with independent access,the pavilion as a concept should come with the interior design and furnishing which could be used in the open space in front of the pavilion,the structure of the pavilion should be designed using renewable materials,the pavilion should have facilities for the disabled.

Design Category

Product for Teatr Wielki – Opera Narodowa

Design play with identityThe idea of creating a dedicated product line stems from the deep grounding in own identity and heritage, typical of Teatr Wielki – Opera Narodowa, and the striving to-wards innovation of the BMW brand. The product should build relations between Teatr Wielki – Opera Narodowa and BMW. The idea is to seek relations between art and individual mobility.It is important to create a whole environment for the de-sign. For this reason comprehensive identification and packaging of the product should be taken into account.

The subject matter of the contest is the design of two products from a product line signed with the OperaLab brand. The designs should refer to the identity of the brands of Teatr Wielki – Opera Narodowa and BMW and be innovatively inspired by their heritage, creating a modern product of high aesthetic and functional va-lues. Elements of the architecture, interior design and history of the building of Teatr Wielki – Opera Narodowa and designs of the BMW Group will provide inspiration and the point of reference in the process of designing the products. Thanks to this a strong identity of the pla-ce and a characteristic, unique and modern product will be created. Apart from purely aesthetic advantages, this correlation is also of considerable educational value.

Functional and ideological assumptionsthe product is addressed to a narrow target gro-up able to understand the aesthetic context and easily decode meanings associated with various disciplines of art, to people of discerning taste,the product should combine an innovative idea with good functionality,the product should come with a designed packa-ging (box + bag) and comprehensive visual iden-tification,the product should be associated with the Opera House,the product should have mobile functionality,the product should be made of high quality mate-rials and be exclusive.

fot. Ewa Karpińska / Teatr Wielki - Opera Narodowa

fot. Stefan Okołowicz / Teatr Wielki - Opera Narodowa

fot. Jarosław Mazurek / Teatr Wielki - Opera Narodowa

fot. Paulina Dadas / Teatr Wielki - Opera Narodowa

www.bmw.com/com/en/insights/bmw_design

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