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Berliner PhilharmonieBy Hans Scharoun
Music in the Center
Location 1 Herbert-von-Karajan-Straße, Berlin, BE 10785, Germany
About• Located in Berlin, Germany.
• The philharmonic building that was previously located in this site was destroyed during World War II.
• Built in 1963 by German architect Hans Scharoun, exponent of expressionist group Die Brücke and organic architecture.
• The Berliner Philharmonie was one of the first concert buildings to be designed with a central stage, surrounded by audience seating on all four sides.
• Is one of the world's major symphony halls.
Berlin Philharmonic
About
The building of the Philharmonic has become one of the most emblematic and characteristic of the city although the reception of Berliners after construction was not exactly enthusiastic due to its eccentric forms and shape. The iconic building is asymmetrical in shape appearing like a golden, draped tent. The concert hall is still highly regarded for its original design and acoustic qualities. It is located in the heart of reunified Berlin and it was opened in 1963 by Herbert von Karajan. Used to be called “Karajan’s Circus.”
Cultural Influence
Is a physical manifestation of the social and cultural context that Scharoun was constrained to during the Nazi regime between 1933 and 1945.
By understanding the political-architectural struggle, through the lens of architectural theory on form and body, the Berlin Philharmonic can not only be appreciated for its amazing acoustic environment, but also for its architectural and social creativity.
Scharoun’s intent for the concert hall was to create a space of economic and social equality. Through the manipulation of the traditional rectilinear or circular-crescent shaped performance spaces of the past, the resulting hybrid concert hall intended to eliminate or reduce, the economic hierarchy that would be expected.
Seating Orientation
Design CapacityThe Philharmonie is composed of two venues with a connecting lobby, including a large auditorium with 2,218 seats + 120 chorus for orchestral concerts and a slightly smaller chamber-music hall, with 1,180 seats.
The smaller venue was added in the 1980's.
"A typical product of the Expressionist movement and of organic architecture, this concert hall in which the audience is seated around the orchestra was worked out in accordance with the
laws of acoustics."
Floor Plans Ground and 2nd level
Floor Plans Levels 3 and 4
Positive and Negative Spaces
Circulation Diagram
Scharoun deliberately chose to offset the entrance from the auditorium’s axis of symmetry so as to enhance the sense of excitement so often associated with a concert visit. The polygonal geometry of both the exterior and the interior gives few clues regarding the direction of movement.
Longitudinal Section
Stage
Suspended Acoustical Panels
Seating Blocks
Exterior Elevation
Architectural and Structural Details
• Ceiling: three layer – roof, intermediate plate and actual ceiling chalk gypsum plaster on expanded metal, suspended by vibration-isolated metal rods from walkways.
• Suspended Stage Panels: 10 trapezoidal polyester panels, each 81ft2 in area.
• 50% open space between – Variable height 32-40 ft above the stage.
• Ceiling Sound absorbing units: 136 pyramidal-shaped, combination sound-diffusing, low frequency Helmholtz resonator type absorbing units are provided.
• Side walls: thin wood over airspace.• Stage side walls: arranged to reflect sound back to the musicians.• Stage height: 30in.• General Dimensions: H=42ft W=140ft L=95ft D=98ft• Orchestra area: 2,200 ft2
Architectural and Structural Details
• Stage Floor: wooden floor on planks over airspace• Audience Floor: oak parquet in asphalt base over precast slabs
which cover the air handling plenum.• Seating: seatback, molded veneered plywood, the upper part bent
vertical so that the maximum sound reflection occurs when occupied.
• Cushions: on front of seatback, does not extend to top.
• Seat-bottom is upholstered on top and the underside is covered with cloth and and it is perforated.
• Armrest are wooden.
Acoustical Datao The Berlin Philharmonic has become one of the most successful
acoustical designs pioneering the concept of the “vineyard” style hall (where the seating surrounds the stage).
o Breaking the audience into blocks allowed for the first row to receive unimpeded direct sound.
o The seats in many of the blocks receive early lateral reflections from the sound walls that surround them.
o The front of the terrace blocks provide early reflections for both the musicians and the audience seating in the middle hall.
o Additional early reflections are providedto the orchestra and audience by ten largesuspended panels hung above the stage.
o The upper block seating receive additionalearly reflections from the convex,tent shaped ceiling.
“Angle of incidence same as angel of reflection”
Acoustical Datao In the front of the orchestra, the audience can perceive a clear, balanced
and beautiful sound that completely surrounds one.o One of the disadvantages is that those seating to the rear of the stage,
hear a different sound.o The mid-frequency reverberating time, fully occupied, is 1.9 sec.o By clothing the and upholstered seats, the lower frequencies were
balanced.o By adjusting the 136 pyramid-shaped low frequency resonators in the
ceiling, the bass is controllable.
“Angle of incidence same as angel of reflection”
…“… The design of the auditorium started out Hans Scharoun's way. Scharoun's Berlin Philharmonic Hall (1963), gave Mr. Gehry and Mr. Salonen the idea of presenting the orchestra in the round. The elimination of the proscenium arch fuses musicians and listeners into a single spatial event.” - The New York Times
Walt Disney Concert HallLos Angeles
The Berliner Philarmonie is one of the most important symphony halls in the world because it introduced a new way of “organizing” the sea<ng arrangements through the concept of social equality. Scharoun had the ability and was able to ar<culate this space based on the no<on of equality and social ideas. It is one of the first in the world to have a central stage, “Music in the center,” therefore crea<ng a series of sea<ng blocks defined by the shape of it. This iconic building is asymmetrical, crea<ng a sense of suspense while walking inside, and although the shape of the structure did not aFract the aFen<on of the community at first, its acous<cs did. Due to its uncommon shape and the loca<on of the stage, several factors were taken into account when dealing with the acous<cs of the building. The sea<ng arrangement and different changes in levels help diffuse the sound. Even though the people sea<ng right in front of the stage do not collect the best sound quality, the fact that you are sea<ng in front of the orchestra, fortunately helps shape the judgment of the acous<cs. Materials also played an important role to balance the frequencies as well as the acous<cal panels located mainly above the stage. The Berliner Philarmonie has now been used as a precedent for other symphony or concert halls. One of them is the Walk Disney Concert Hall, by Frank Gehry. He also wanted to locate the stage at the center as well to provide a more direct and equal experience for everybody.
Bibliography
"Berlin Philharmonic Hall by Hans Scharoun at GreatBuildings."GreatBuildings. N.p., n.d. Web. 12 Feb. 2016.
"Berlin Philarmonic."en.wikiarquitectura. N.p., n.d. Web. <https://en.wikiarquitectura.com/index.php/Berlin_Philharmonic#History>.
"Concert Hall Acoustics: Art and Science." Concert Hall Acoustics Tutorial. N.p., n.d. Web. 12 Feb. 2016. <http://www.acoustics.salford.ac.uk/acoustics_info/concert_hall_acoustics/?content=shape>.
"Berlin Philharmonic Hall." Berlin Philharmonic Hall. N.p., n.d. Web. 12 Feb. 2016. <http://architectuul.com/architecture/berlin-philharmonic-hall>.
Beranek, Leo Leroy. "Germany 40 Berlin Berlin Philarmonie." <i>Concert and Opera Halls: How They Sound</i>. New York: American Institute of Physics, 1996. 245-48. Print.
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