Parco Della Musica Auditorium

Parco Della was designed by Renzo Piano at 1994 ( ninetheen ninety four) in rome. It is a very real city for music, with three halls of differing sizes and acoustic quality, numerous practice rooms and recording studios, conference halls and classrooms. The open-air amphitheatre highlights its commitment as a public space built to host culture and give life back to a great urban void in the Flaminio district.

Parco della  rolling down from Villa Glori, surrounds the Auditorium’s large lutes and two architectural gems such as the Flaminio Stadium and the Palazzetto dello Sport (Sport Palace) and ends up on Viale Tiziano. This gives the City of Rome a large twenty hectare Park inhabited by Music.”

There are three different size concert hall, the biggest one is santa Cecilia hall , second one sinopoli hall and the smallest petrassi hall. The Parco della Musica is not just another new auditorium for Rome, which for decades had been waiting for a permanent concert hall in which to host performances by the Accademia Nazionale di Santa Cecilia and it is situated between  santa Cecilia and sinopoli hall

And ın order to guarantee maximum flexibility of use and the best possible acoustics, piano introduced this new concept to the project. The halls are conceived as giant individual musical instruments, «resonating chambers», sitting in a landscape. The three halls are grouped in a semi-circle, their positions to some extent determined by the discovery,during early excavations, of a roman villa on the site and the wish to incorporate its display within the music centre. This layout results in a fourth space in the centre which became an outdoor amphitheatre known as the “Cavea”, with a capacity of almost 3000, an element which gives particular public and urban dimensions to the site. 

There are three different concert hall plan and 20 hectar park. there is a semi circle  open ampitheater in the middle of three halls and the arkeological remains. Santa Cecilia Hall has 2800 seats. It is reserved for symphonic concerts. Its large size called for a meticulous moulding of the inner space based on sophisticated acoustic studies, simulations and similar tests on large scale models. The stage is practically at the centre, with seating rising to various heights around the orchestra, not dissimilar

to the solution conceived by Hans Scharoum for the Berlin Philharmonic concert hall.

Sinopoli Hall has 1200 seats. While the space has a traditional rectangular auditorium layout, it also has a mobile ceiling and an adjustable stage. This hall is particularly suited to chamber music and dance performances.

Petrassi Hall has 750 seats. It is a workshop dedicated to the study and performance of experimental music, an exceptionally versatile space with a mobile stage, an orchestra pit that can be lowered, and a stage area that can be expanded by eliminating the front four rows of seats. The characteristics of the walls can also be altered in order to obtain the best possible acoustics for each performance.

A limited range of materials were used for the building: travertine for the “Cavea”, the foyer and the entrances; Roman brick for all of the vertical surfaces; pre-oxidised lead for the concert halls’ distinctive roofs. The interior is dominated by wood, carefully chosen for its acoustic qualities, but also for its attractiveness .

Renzo Piano

born in September 1937 in Genoa studied in Florence and in Milan, where he worked in the office of Franco Albini and experienced the first student rebellions of the 1960s. graduated from the Politecnico University in Milan in 1964.  In 1971, he set up the Piano & Rogers office in London with Richard Rogers. In 1981, the Renzo Piano Building Workshop (RPBW) was established

RPBW has designed buildings all around the world.

Renzo’s work is highly regarded as art,each building is innovative, well detailed and each designed with a unique approach. Renzo views light as a “building material” and this is obvious throughout all of his projects.Renzo lists the Renaissance architect, Filippo Brunelleschi among his many inspirations.Depending on your point of view, Piano is either the most corporate avant-garde architect in the world or the most avant-garde corporate one. Increasingly, his firm is the one museums and big companies call on when they want to bridge the gap between iconic, eye-catching architecture and a quieter, more pragmatic and more affordable approach.Piano's current approach couldn't be more different from his early designs. The building that made his reputation the Centre Pompidou in Paris, a modern-art museum also known as Beaubourg is daring, eccentric, and spilling over with energy. Piano designed the Pompidou with the British architect Richard Rogers when both were in their 30s; he's described the building, which opened in 1978, as a "young man's building" and an "act of loutish bravado."