The Culture and convention centre Lucerne (KKL Luzern)

Built between 1995 and 2000, the KKL Luzern is a unique civic amenity designed by the renowned French architect Jean Nouvel and the American acoustician Russell Johnson (1923-2007). The KKL concert hall was officially opened in 1998 with the inauguration of the former International Music Festival (today the Lucerne Festival). The entire KKL Luzern was inaugurated in 2000.

The building is divided into three parts comprising the Concert Hall, the multifunctional Lucerne Hall and the Convention Centre (the latter includes the Museum of Art). The KKL Luzern enjoys international acclaim thanks to its exceptional architecture and world-class concert hall. A wide range of events can take place under the sweeping roof – not only alongside each other while remaining entirely separate, but also interacting with each other if needs be. These events encompass culture, congresses and gastronomy.

The KKL Luzern is characterised by another spectacular and unique feature: the architect Jean Nouvel let water flow into the building from Europaplatz, the public space between the three parts of the structure, which line up like vessels in a shipyard under the huge 113 x 107 metre roof. This cantilevered roof features a 45-metre projection (diagonally measured) which is completely unsupported. The underside consists of 2,000 aluminium panels that reflect the surface and waves of the lake. The roof is 12,000 m

The concert hall and the Seebar are on the east side, with the Lucerne Hall in the middle. On the station side is the Congress Centre with the Small Hall and its club rooms. It also houses the Le Piaf café-bar, the Michelin Star restaurant Lucide and the Café in the Art Museum. The Art Museum and the offices of the operating company are also located on the station side. At the rear is the service building, from which each unit is accessed.

The 1,898-seater Concert Hall has exceptional acoustics and is primarily designed for the classical repertoire. The canopy above the stage, revolving echo chamber doors, white plaster reliefs and materials used all conspire to create an incomparable acoustic environment. With special sound-absorbing doorways and an inaudible ventilation system, Russell Johnson also created the perfect conditions for complete silence, allowing the sound to fulfil its dynamic potential.