The Therese-Giehse-Halle

In 2001, the Therese-Giehse-Halle was completed to fill in the former bomb crater between Neuturmstrasse, Hildegardstrasse and Falckenbergstrasse. This modern building is constructed of concrete and glass and presents an urban and focused appearance within the cityscape. It serves as the second largest venue for the Münchner Kammerspiele and is connected to the Blaues Haus and workshop building via two glass-clad bridges. At the beginning of Barbara Mundel’s directorship in 2020, the hall was named after the Jewish actress and resistance fighter Therese Giehse.

The architectural concept for the building was submitted by the architects Gustav Peichl, Stefan A. Schümer and Walter Achatz as part of an architectural competition. This was followed by a detailed design in 1993. Due to some complications, the foundation stone could not actually be laid until March 1998. The project was completed within three years.

The floor area being restricted to 1000 m2 is explained by the desire for the new building to be close to the rest of the Kammerspiele complex. Workshops, rehearsal stages and performance venues are all within walking distance and facilitate meetings and close collaboration between the various departments. The building was designed to be a rehearsal space and this is reflected in its minimalist, functional design. Simple and focused, the architecture dispenses with a large foyer or spacious representative halls and thus forms a clear counterpoint to the Schauspielhaus with its lavish Art Nouveau style.

The architecture of the Therese-Giehse-Halle focuses on functionality, but at the same time has a striking aesthetic which makes it easy to recognise. Of particular note is the main façade on Hildegardstrasse which impresses with its two-story façade made of greenish-tinted glass. This is illuminated at night and draws passers-by into the foyer. The impression created is of the building being a large, bright and almost white cube – understated and introvert. Compared to previous works by the architect Gustav Peichl, the Therese-Giehse-Halle is of a more sober appearance. The rhythmic, differently sized window openings give the façade a classic and yet modern touch.

The south side of the building is distinguished by its blue glazing which reaches just over half its full height and protrudes beyond its edges.

On the west side, windows of different sizes are embedded in the concrete wall, some of which are vertically and others horizontally aligned.

The visitors’ entrance is situated on the east side of the building and is integrated into the glass-covered façade. Directly beside it, a large steel door serves as a staff and delivery entrance. The adjacent concrete façade is covered with a text about the life and work of Therese Giehse. The connecting structure to the building opposite, the Blaues Haus, is also located here.

The north side of the building offers a glimpse of the stage equipment through a glass frontage that runs diagonally across the building. Stairs on the west and east sides lead down to the basement.

Inside the Therese-Giehse-Halle there are three stages, two of which can be used simultaneously. The basement offers space for an audience of up to 250 people. The large stage with a gallery and under-stage area on the ground floor, which corresponds to the dimensions of the Schauspielhaus stage, can accommodate between 200 and 400 spectators.

The interior design reflects the functional nature of the building with its use of robust and plain materials. The floor is constructed of dark brown Oregon pine boards. A visible steel structure supports the walls which are made of light grey sand-lime brick. The Therese-Giehse-Halle, which is fitted with state-of-the-art technical equipment, does not attempt to hide the light fixtures in the ceiling but instead actively emphasises the building’s technical focus.

The building’s cables are housed in two narrow control rooms on the second floor; the sixth floor boasts a glazed meeting room topped by a light pyramid.

These details reflect the Therese-Giehse-Halle’s function as both a rehearsal stage and a versatile extension of the main theatre.

Vivien Csernecky, Klara Kretzer, Natalie Zohner (Academy of Fine Arts, 2024 Summer Semester, Architecture Seminar by Dr. Ayca Beygo)