3. 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.
5. 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.”
6.
7. 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.
10. Design Capacity
The 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.
11. "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."
15. 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.
20. 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
21. 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.
22. Acoustical Data
o 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 provided
to the orchestra and audience by ten large
suspended panels hung above the stage.
o The upper block seating receive additional
early reflections from the convex,
tent shaped ceiling.
“Angle of incidence same as angel of reflection”
23. Acoustical Data
o 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”
24. …
“… 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 Hall
Los Angeles
25. 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.
26. 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.
