From the original design it is only the unity of the wooden wall cover that remained unchanged; in reality they are 6-cm-thick panels made of alder wood. The different size pieces that were split into the covering panels have a role in regulating the sounds. This actually is an original Pécs solution; this is the first place it is used. The snail-line or spiral is visible here too. The strip lights that are scattered above and under the geometric panels lead the eyes towards the stage.
The monotony of the wooden cover from the floor to the ceiling is broken by the asymmetric shape of the hall; even the rows of chairs are slanting compared to the longitudinal axis. It turned out that turning away from the common shoe-box structure does not make acoustics worse, but on the contrary it improves sounding. According to the official measures the sound quality of this concert room is better than that of the Béla Bartók National Concert Hall.
The size of the stage can be changed based on the particular needs of the different bands and ensembles that are using it. Accordingly, the hall can be modified to offer 999, 928 or 880 seats and the first rows of seats can be sunk under the stage thus making the hall ready to accommodate exclusive receptions and balls.
Any other programmes than concerts are aided by the gigantic screen weighing more than a tonne, and the sockets that are built-in under each seat.
The two leading designers; Lásznó Rádóczy and István Zsolt Tolnay for the architectural solutions inside the Kodály Centre were awarded the „Inside architecture of the year 2010” prize by the Hungarian Chamber of Architecture.
