Sinfonia Varsovia will gain a concert hall worthy of Vienna and Berlin. We talk to the creators of the project from Atelier Thomas Pucher
The new seat of Sinfonia Varsovia, one of the most important symphony orchestras in Poland, designed by Atelier Thomas Pucher from Graz – winners of the 2010 international competition – is gradually taking shape.
The music and recreation complex at ul. Grochowska 272 in Warsaw is being built on the site of the former Veterinary Institute, surrounded by historic buildings and greenery.
This is the first such large-scale cultural undertaking in Warsaw’s Praga district – eagerly awaited not only by the music community, but also by the district’s residents.
In 2023 , the first stage of the investment was launched, which involves the adaptation and renovation of three front buildings from Grochowska Street.
On May 13, 2025, the next phase of implementation began – Sinfonia Varsovia announced a tender for the selection of the general contractor for the new concert hall, which will accommodate 1,877 people and provide world-class acoustic conditions , developed in cooperation with experts from Berlin and Brussels.
The complex will also include educational spaces, rehearsal spaces, a garden, and a café with a music bookstore. The hall is scheduled to open by the end of 2029.
The authors of the project, Thomas Pucher and Crystal O'Brien-Kupfner from Atelier Thomas Pucher, talk to Karolina Magiera-Wróbel about the creative process, challenges and the idea of the "city of music".
The new headquarters of Sinfonia Varsovia in Warsaw's Praga district / materials by Atelier Thomas PucherKarolina Magiera-Wróbel: What inspired you to design the new headquarters of Sinfonia Varsovia?
Thomas Pucher and Crystal O'Brien-Kupfner from Atelier Thomas Pucher: We wanted to create a place that would be both a high-class facility with architecture that stands out against an international background, as well as a simple, friendly space – an urban heart for the residents of the district.
What was the biggest challenge – both in terms of the building’s function and its form? One of the most complex challenges was achieving acoustic perfection in a concert hall with over 1,800 seats, which seems to float in a dark space, completely devoid of gravity. Concert halls require millimetre precision – both in shape and in the selection of materials. Combining acoustics, aesthetics and thousands of technical aspects is one of the greatest difficulties that can be encountered in architecture. It was a big challenge for us, but also extremely satisfying.
The design combines the features of a classic rectangular shoebox with the amphitheatrical vineyard layout. What was the decision behind this solution and how does it affect the audience’s experience? Our hybrid approach combines the acoustic benefits of a shoebox – the warmth and clarity necessary for orchestral music – with the spatial dynamics and social closeness of a vineyard layout. The latter brings the audience closer to the performers, enhancing the sense of intimacy and engagement. The combination of both concepts allows for an immersive, accessible concert experience, where all seats are positioned close to the music.
Architecture in the service of the community
How did you approach the integration of the new concert hall with the historic buildings of the former Veterinary Institute? With great respect. The historic pavilions of the Institute are not just relics for us – they carry memories and a specific atmosphere. The new building does not absorb them timidly – on the contrary, it completely transforms their urban context, giving them new life.
The new headquarters of Sinfonia Varsovia in Warsaw's Praga district / materials by Atelier Thomas PucherHow does the building fit into the character of Grochów? Grochów has a strong identity and a certain raw charm. We did not want to impose a monumental form, but to create a cultural organism that is open and friendly. The new hall was designed with respect for human proportions – with setbacks, green edges and carefully shaped forms. Our goal was to breathe energy into the place without overwhelming it – to create a destination that at the same time becomes a point of reference for the area.
How does the Sinfonia Varsovia project develop the idea of a “city of music”? Can it really shape the cultural identity of the district? Definitely yes. Architecture creates a stage for cultural life. By designing a space where music education, performances and community function side by side, we are strengthening Warsaw’s identity as a city of music. We hope that the hall in Grochów will become not only a concert venue, but also a kind of lighthouse – a place for young people to discover music, a space close to residents, thanks to which culture becomes part of the urban fabric.
How do you assess the cooperation with Polish partners – Grupa 5 Architekci and Sinfonia Varsovia? This is a valuable and necessary cooperation. Grupa 5 brings invaluable knowledge of local regulations, materials and cultural context. We maintain an ongoing dialogue with the Sinfonia Varsovia team – they are not just clients, but co-creators. Their pursuit of excellence and openness to architectural thinking allowed us to raise the project to a higher level.
The new headquarters of Sinfonia Varsovia in Warsaw's Praga district / materials by Atelier Thomas PucherHow should spaces for young artists and music education work? Was their social and experimental potential noticed at the design stage? Definitely yes. We wanted to create a multi-dimensional space – supporting both mastery and exploration. The educational spaces are flexible, informal and acoustically adapted to various forms of work – from solo rehearsals to chamber ensembles. The proximity of these spaces to the professional parts facilitates the interpenetration of worlds and gives young artists a sense of belonging to a larger whole.
The project also includes recreational areas – a café, a passage, a garden. What function should they fulfill in the everyday life of the complex? We consider them absolutely crucial. The concert hall should not be bustling with life only in the evenings. These spaces activate the place throughout the day and at any time of the year. The garden provides a moment of respite, the passage invites contemplation, and the café encourages spontaneous meetings. Together they create a civic space where music intertwines with everyday life.
Are there any features or details that you are particularly proud of – even if they are not immediately apparent to visitors? Yes, many. One is the way the concert hall “floats” acoustically within its structural shell – completely isolated so that even the slightest vibrations cannot reach it. Another is the subtle modelling of daylight throughout the complex, even where it was not required, to create a certain rhythm of light and shade. But perhaps we are most proud of the atmosphere – the sense of quiet dignity that arises where history, music and architecture find balance.
The new headquarters of Sinfonia Varsovia in Warsaw's Praga district / materials by Atelier Thomas Pucher
