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Marstallplatz Süd, Munich

2003
Palos Immobilien- und Projektentwicklungs GmbH & Co. München KG,
Gisbert Dreyer Planungsgesellschaft mbH, Maximilianstraße 15, 80539 München
Dreyer Brettel & Kollegen Management GmbH
approx. 50.000 m2
approx. 55 Mio. €
Oliver Kühn
Markus Funke, Jan Papenhagen, Tilman Richter v. Senfft
Lennaart Sirag, Marlene Schwabe, Michael Leone, Uwe Karl, Peter Sandhaus
Arnd Manzewski, Don Lee, Frank Weber, Ulrike Franke, Barbara Schlungbaum, Christiane Grigo, Oliver Bormann, Vlatka Seremet, Bashaar Wahab, Christian Koch, Jens Plate,Jan Papenhagen, Kristin Neise, Arndt Manzewski, Myoung-Ju Lee
Real Estate Award 2003 - Best Real Estate Property of the Year

In our Munich project located in the heart of the medieval city identity, memory and change fi nd new expression in the complex spatial sequencing of our architecture. The three new buildings together with the new streets and places around them embrace present and future without denying the past. Together they appear to marry the interpretation of an old city with the vision of a new one, to expand the cultural and urban life of the inner city at Marstallplatz and beyond.
The project is subdivided into three separate and individual parts for different uses: the new rehearsal and operations centre for the Bavarian State Opera, the „Maximilianhof“ as a new offi ce building with a green courtyard and the redevelopment of the „Buerkleinbau“ as another new offi ce building with three levels shopping, restaurants and cafés on Maximilianstrasse.
The three new buildings together with the new streets and places around them embrace present and future without denying the past. They appear to marry the interpretation of an old city with the vision of a new. Opening the process of our architectural design to its environment is a new source of inspiration to us. We transformed the non public rehearsal building via media transfer on the prominent facades into a building which communicates all activities from inside towards the outside. The public square turns into the audience of the building.
Our aim is not to eliminate the upcoming noise of processing work but to integrate it as a genuine stimulus and component of our work.