Clay Moulded Musical Theatre

Entering the space from an elevated vantage point, you find yourself looking down into a medium-sized theatre auditorium approximately fifteen meters wide and extending perhaps twenty meters from your position to the stage, the overall impression one of enveloping warmth created by timber surfaces covering every visible element of walls, ceiling, and structural framing. Beginning with spatial orientation, the seating area occupies the foreground and right portion of your position, arranged in gently descending rows that angle downward from your elevated viewpoint toward the stage, each seat upholstered in leather that feels smooth and supple, colored a rich cognac or tan that suggests the warmth of caramel or aged saddle leather. The ceiling above creates the space's most distinctive characteristic, composed of geometric faceted planes that fold and intersect like carefully arranged origami or the interior of a crystal, each surface covered in timber that appears honey-colored to golden amber, reminiscent of maple or oak wood with visible grain patterns flowing in varying directions across different panels, creating subtle visual texture like water-marked silk or the rippled surface of sand. Supporting this crystalline ceiling geometry, diagonal structural beams in slightly darker amber wood descend at pronounced angles from upper right toward lower left, creating strong directional lines that your eye naturally follows, these beams perhaps thirty centimeters deep, their exposed edges revealing the thickness and solidity of the construction. Mounted along these diagonal beams, rows of small directional spotlights create pools of warm illumination that feel like gentle afternoon sunlight, approximately the color temperature of incandescent bulbs, casting soft shadows into the angular recesses between ceiling planes and creating a sense of dimensional depth and sculptural relief. Moving down the walls, the same timber treatment continues in large vertical panels, each showing the natural variation of wood grain in flowing organic patterns that contrast pleasingly with the geometric precision of the panel edges and angular intersections. At the center of the far wall, the stage opening presents as a rectangular void framed by timber surfaces, the proscenium approximately six meters wide and four meters tall, within which hangs a traditional theatre curtain in deep black velvet that appears soft and light-absorbent, its darkness providing complete visual contrast to the warm luminous timber surrounding it, suggesting infinite possibility and transformation. The overall atmosphere feels contemplative, sanctuary-like, acoustically quiet, the geometric precision suggesting human craft and intentionality while the natural timber brings organic warmth, the space seeming to embrace both contemporary architectural innovation and timeless theatrical tradition, creating an environment that feels both intimate in its material warmth and grand in its geometric sophistication.

For the interior decor, the designers chose an archaic material, clay. It is probably the largest interior in the world made of natural clay. The pattern and technology of the hall is unique and continuous throughout the space, created by one artist Mantas Petravicius. All planes are in motion. They open and close, depending on the nature of the concert and the acoustics required; that's what makes this space even more unique.