Queen Silvia Concert Hall is the concert hall named after Queen Silvia of Sweden, wife of King Carl XVI Gustaf.

It is a place where spectators float, strolling on suspended balconies, in a space of inspiration and concentration that creates an immediate relationship between architecture, sound and music, musicians and audience.

In 2015 Mark Tatlow, director of the Lille Akademien, the city's historic conservatory founded in 1998, asked architect Palù to conceive the new Concert Hall also as an educational center and natural extension of the O/Modernt, a creative and multifunctional project, combining the different arts, distant historical eras and different peoples' cultural traditions.

Research and experimentation have been the basis and starting point of the architect's work, aware that he is working towards the creation of a "democratic" and fluid educational space, with no physical barriers between artists and audience.

The hall, which is small in size, accommodating 300 seats, but equipped with a very large stage, was created as an experimental space, capable of hosting performances of a variety of musical genres, research works and interpreting the music of the future, imagining, on some occasions, even subverting the canonical order: the audience in the stage, the orchestra on the balconies.

Even the foyer is not, as is traditional, on the ground floor, but high above: spectators are taken by a large elevator to the third floor of the building, from where there is a panoramic view of the entire hall, beginning the musical experience with an unexpected promenade architecturale, from the suspended balconies down to the audiences located below.

Musical fugues and legacies inform the continuous chasing and interweaving of walkways and volumes as if in a great embrace, in a harmony of form and color. A unique, "archi-sculptural" organism that incorporates design and acoustic needs, an aspect meticulously overseen by Japanese acoustic engineer Yasuhisa Toyota/Nagata Acoustics.

Each part of the hall is linked to the other: audience and balconies intertwine and also blend in shades from warm bronze to gold, creating a continuous gradient.  A principle that also applies to the wooden parts: inspiration comes from the colors of Cremonese violin-making instruments, to which gold and bronze airbrush shades have been superimposed, adding a sense of warmth, intimacy, and relaxation.

The two walls at the back, seem almost not to belong to the room, a space 'without walls,' infinite. Crossed by a Nordic, cold light, reminiscent of that of the aurora borealis, the backdrop depicts a view of the Stockholm archipelago from a satellite with the islands made of polished steel mirrored to create a play of reflections and fragmented images that sharpen the idea of an asymmetrical, syncopated space, but strong with an 'absolute harmony in the colors that decline the tones of the orchestra's brass. (ph. Roland Halbe)