Carlowitz Congress Centre was built directly next to the Stadthalle.

Sibylle Kasel

The walls of the Stadthalle are home to over four decades of stories, events and emotions. Probably every Chemnitz resident has been a guest here and has their own personal memories. The Stadthalle is therefore not only part of the city of Chemnitz, but also part of Chemnitz life. So it's all the better that part of the venerable ensemble has been converted into a congress centre in recent months.
The Carlowitz Congress Centre Chemnitz was named after Hans Carl von Carlowitz, the founder of the modern concept of sustainability. The business community had long been calling for the construction of a conference centre. We spoke to interior designer Sibylle Kasel, who designed the Congress Centre with her office. First things first: it has become a real jewel box.

Can you briefly describe your design concept? Can the interior design be assigned to a specific style?
Sibylle Kasel: In 2018, we won the competition with the fundamental theme of "sustainability" and were awarded the contract. "Metamorphosis - bringing nature's atmosphere to life in the built space" was our design idea. We were then able to realise this in a modern design language of our time.
In contrast to the strict hexagonal architecture of the listed building complex from the 1970s, we chose free, soft forms. The attention in the rooms should be focussed on the new things and the new use of the rooms. Nevertheless, the effect of the existing structures should not lose its power and expression. Relationships to the existing architecture, to the various necessary functional processes and facilities could thus be established from almost any perspective. This enabled the symbiosis between past and future, between proven tradition and innovative vision, which the Carlowitz Congress Centre Chemnitz wants to promote in the future, to succeed. Visions and new ideas arise in free, relaxed minds, which would not be possible in mathematically, straightforwardly delimited spaces with angular, bizarre shapes. It has long been scientifically recognised that we can learn, live and relax much better and be more creative in nature - which is why natural materials were used wherever possible. "Back to nature - on the way to new visions!" is our intention.

The name Carlowitz epitomises sustainability. How do sustainability and interior design go together?
On the one hand, we primarily used natural materials such as renewable wood from the region, stone and glass. On the other hand, it was also important to use materials that were as durable and reusable as possible. These also had to be easy to disinfect - for "corona times" - without losing their radiance after a short time. The issue of energy efficiency was also included in all considerations.

From 1969 to 1974, everyone was looking at the construction of the Stadthalle. During these five years, the entire city centre resembled a single large construction site. Block 82, the town hall and hotel, cost around 125 million GDR marks at the time. The combination of hotel and town hall has dominated the city centre of Chemnitz for over 40 years now. The multifunctional complex, created under the direction of chief architect Rudolf Weißer, was ahead of its time and set new standards. The aim now is to build on this. Eleven rooms for conferences and meetings for ten to 1000 people are available in the Stadthalle/Carlowitz building complex. These can be extended by additional rooms in the neighbouring hotel. The "Vulcanus" room, for example, with space for 150 people, is located where the Saxon Symphony Orchestra and the Singakademie used to rehearse. The remodelling work cost a total of around 12 million euros.

What emotions are to be aroused in the guests?
As soon as they enter the building, guests will perceive this place as a space for modern, democratic encounters with art, culture and science. They will experience a place with a positive identification, atmosphere and recognisability.
Among other things, the diverse lighting options contribute to this, which can specifically characterise the atmosphere depending on the type of event, time of day and season. However, positive emotions are also supported by the fulfilment of basic needs: good orientation, short distances, clean air, pleasant warmth, good ergonomics, digital networking and areas for relaxation.

Is there a design link with the neighbouring town hall? How were "old" and "new" linked?
That was particularly important to us! The existing architectural ensemble, which has always included the adjoining high-rise hotel building, should of course continue to form a visual and functional unit in the future. The design ideas previously used for the extension to the Carlowitz Congress Centre Chemnitz had already been incorporated into the competition for the adjacent Stadthalle. They could easily be further developed in the hotel complex. We are optimistic that these ideas will be pursued further, so that everything will work together harmoniously and synergistically as a unit.

Are there certain practical aspects of usability, how flexible are the rooms?
In order to be able to use venues like this in a contemporary way, the purpose-orientated requirements had to be met with multifunctional room sizes. This is made possible by mobile, acoustically effective partition walls that are electronically controlled. At the same time, the furnishing, lighting, ventilation and shading options have been designed to be absolutely multifunctional.

The green glass floor in the entrance area of the Congress Centre is a particular eye-catcher. What is the idea behind it?
It is based on the aforementioned concept idea "Metamorphosis - Atmosphere Nature": In the "Vulcanus" conference room, which is located directly next to the entrance foyer, the explosion of thoughts is abstractly depicted by the red carpet as the hot lava escaping. This lava then flows down the walls of the conference room and collects on the floor. It cools down, so to speak, during the relaxation phase, dries visually in the foyer and appears on the floor as grey-black magma with organic white transition lines. Arriving at the staircase and the free-standing glass lift, the new life emerges on a sunken, mossy area of around 65 square metres in a kind of "oasis" under the indirectly illuminated glass floor.

What was the biggest (structural) challenge during the realisation?
An extension or conversion is always much more complicated than a new build. The original building was built around 50 years ago under different conditions, tasks and technical requirements. During this period, the technical requirements have changed significantly in terms of fire protection requirements, air conditioning, heating, electrification, interactivity, electronic networking, new communication and media technologies, accessibility, etc. All of these things require a lot of space. All these things require a lot of space, especially room heights, and are usually designed to disappear visually. In the 1970s, rooms were built very low. With the new extension, we had to take up the specified connection points. Every centimetre had to be thought through very carefully by everyone involved in the planning.

Is there a special lighting concept?
Lighting scenarios can be completely customised. This means that the entire premises can be bathed in white, red, yellow, blue or green light, either completely or room by room, depending on the event. The brightness, colour warmth and colour intensities can be adjusted.

The rooms are named after nature or elements such as Aqua or Vulcanus. How is this reflected in the interior design?
The specific Latin names, which are derived from the main theme of sustainability "Metamorphosis - Nature's Atmosphere", are emphasised in each room by various artistic wall designs, for example: In the "Aqua" (water) room by the artist Rene Seifert from Berlin, in the "Terra" (earth) room by the artist Janina Kracht from Dresden or in the "Radix" (root) room by the Chemnitz artist Peter Kallfels. A total of six artists took part in the design.

Do you think that the design idea from the competition has now been realised?
If we compare the 3D-visualised renderings of the competition with the actual photos, the desired result has been achieved amazingly accurately. These new technological possibilities support our thoughts and imagination. It gives us more time to become even more creative and to intervene in the development process of the design at an early stage. The future is developing at a rapid pace and we enjoy developing further too. 3D printers have already been used in the planning of another project.

What do you think about Chemnitz being European Capital of Culture 2025?
We are very happy about it. This is a really great gift for the city and the region, which is not only important for a positive image change, but will also have a positive impact on all aspects of the economy, culture and leisure. For me as an interior designer, Chemnitz already has an inspiring mixture of special architecture and an excellent cultural landscape, which can and will finally be much better recognised on a larger scale - "European" - for a successful future.

Due to the coronavirus pandemic, it is still uncertain when guests will be able to take a look at the new congress centre for the first time. But there are already high-calibre bookings for the premises. For example, the German Environmental Award 2025 will be presented in Chemnitz. The event is scheduled to take place from 24 to 26 October at the Carlowitz Congress Centre. At 500,000 euros, the award is the most highly endowed environmental prize in Europe. Of course, cultural events will also take place in the Carlowitz Hall.

All information at www.carlowitz-congresscenter.de