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Berlin Philharmonicby erik van der putten . fall 2012intro to design theory . part 2 of 2
Building Case Study
form
&sp
ace
2 . building case study . design theory . part 2 of 2
Berlin PhilharmonicAlso Known As: Berliner PhilharmonieBuilding Type: Concert HallBuilding Location: Berlin, GermanyArchitect: Hans Scharoun 1893 -1972Constructed: 1960 - 1963Project Year: 1956 - 1963
ground level 2 level 3 level 4
erik van der putten . berlin philharmonic . fall 2012 . 3
List of Diagrams
8.9.
10.11.12.13.
Deterioration of Internal HierarchiesEquality & Connectivity VariantsCohesive & Incohesive Focal Areas & CentroidsPlanar Orientation & AlterationRefraction, Alteration & ContainmentDiffering Intensities
Contents
1.2.3.4.5.
IntroductionWith a Focus on TechniqueWith a Focus on SpaceConclusionBibliography
section 1 section 2
auditorium boundary
central spatial distances
planar overlap
orientation of �ows
minor boundaries
access - origin / destination
major boundaries
origin marker
origin destination
auditorium stage
auditorium boundary
central spatial distances
planar overlap
orientation of �ows
minor boundaries
access - origin / destination
major boundaries
origin marker
origin destination
auditorium stage
auditorium boundary
central spatial distances
planar overlap
orientation of �ows
minor boundaries
access - origin / destination
major boundaries
origin marker
origin destination
auditorium stage
4 . building case study . design theory . part 2 of 2
Diagram 8: Deterioration of Internal Hierarchies
building extents
sectional flows, planes, radiance
traditional auditorium arrangement philharmonic spatial arrangement
section 1 section 2
erik van der putten . berlin philharmonic . fall 2012 . 5
IntroductionOne cannot ignore the socio-political climate that the Berlin Philharmonic was created in and the significant ways in which it influenced the underlying ideals that Hans Scharoun would choose to base his design upon. From the earlier discoveries within the form and body explorations and the broader architectural themes of acoustic functionality (where Scharoun alters the formal logic to create a space that is an optimal acoustic environment by distorting traditionally co-planar elements) and social equality (where Scharoun orients the space around the orchestra instead), a deeper understanding of how Scharoun changed the typical typology of a concert hall and reduced and reformulated it to create a new archetype can be uncovered. As a result, the Berlin Philharmonic creates a more socially equitable space that performs acoustically exceptionally. By focusing on the specificity and formal logic of the concert hall space, larger theories of architecture will be uncovered and analyzed in their spatiality and physicality.
spatial radiance
planar overlap
orientation of flows
auditorium partition
major spatial partition
minor spatial partition
auditorium stage
access
origin marker
origin destination
auditorium boundary
central spatial distances
planar overlap
orientation of �ows
minor boundaries
access - origin / destination
major boundaries
origin marker
origin destination
auditorium stage
long section volumetric comarpison long section volumetric comarpison
auditorium boundary
spatial �ow connectivity
hierarchial �ows & distance of spatial equality
percieved centre
stage interaction
Deterioration of Sectional Hierarchies
stage
traditional.a
impacted.b
wrapped equally.c
wrapped biased.d
c+a
c+b
a+b+c+d
c+d
b+d
a+b
c dissolved
a+d
6 . building case study . design theory . part 2 of 2
Diagram 9: Equality & Connectivity Variants
long section volumetric comarpison long section volumetric comarpison
auditorium boundary
spatial �ow connectivity
hierarchial �ows & distance of spatial equality
percieved centre
stage interaction
Deterioration of Sectional Hierarchies
stage
erik van der putten . berlin philharmonic . fall 2012 . 7
diagram 9 and how the spatial relationships are altered when programmatic spaces are re-oriented in non-traditional ways. Here, it can be seen that by altering the geometry from one that is polar (setting the stage in front of the audience space in the traditional hierarchical fashion) to one that allows the audience space to envelop the stage, the hierarchical distance is drastically reduced while the area of orchestral-audience interaction (represented by the dotted line) is substantially increased. Scharoun’s insistence and pre-occupation with creating an equitable space further results in the slight manipulation of the formal logic. By analyzing the way in which the orchestra produces effects, Scharoun realizes though the stage is central, acoustics and the orientation of the bulk of performers (except the conductor) is forward. Therefore, the true centre
Based on the information uncovered in the form & body analysis, to understand how Scharoun uses architectural techniques to construct space, Diagram 8 layers sections of information such as the relationship of the body and its orientation towards the stage, the partitioning and segregation of the audience and stage, physical partitions through the articulation of planar elements and the distance in which the stage radiates to the extremities of the space. The result cannot be truly understood until compared with the traditional arrangement of a concert hall space. Where distinct sectional separations are created within a traditional space resulting from the stacking of space to reduce the distance to the stage, Scharoun weaves tiers of seating around the concert hall. This technique of altering geometric relationships to create a more socially equitable space can also be seen in
With a Focus on Technique
spatial flow connectivity
hierarchial flows & distance of spatial equality
percieved centre
auditorium boundry
stage interaction
stage
8 . building case study . design theory . part 2 of 2
Diagram 10: Planar Orientation & Spatial Alteration
consitent and rigid inconsistent and rigid
intersecting planes
path
opportunities for alternates
inconsistent, random, dynamic
densities formed
creating of densities and alternate experience through the manipulation of planar elements and their altered orientation, generating a more connective whole.
Alteration of planes
planar & sequentially spaced planar & differingly spaced non-planar & differingly spaced
erik van der putten . berlin philharmonic . fall 2012 . 9
focusing the sounds from the stage to a single acoustic focus point, while other spaces would be left acoustically vacant. Similar to many contemporary concert halls, Scharoun’s technical solution to overcoming this acoustic challenge was to insert non-coplanar surfaces, resulting in the Philharmonic’s geometrically complex and articulated concert hall form.
Referring to the intersecting planar elements that was discovered in plan (diagram 5), section (diagram 7) and spatially (diagram 8), Scharoun’s technique of manipulating planar elements can be seen manifested throughout various distinct elements such as exterior walls in plan, roof planes in section and partial height walls within the space. The resulting spatial sculpting for the purposes of ‘fixing’ the egg-shaped space creates a highly articulated interior volume.
of the space is actually forward of the center of the stage and in Scharoun’s effort to create a socially equitable space, those seated at the rear of the focal point should be moved slightly closer, while those forward, should be moved slightly further away. The rigor applied by Scharoun’s technique results in an egg-shaped concert hall, one where the audience is spatially compressed creating a highly connected space both to the stage and to the other audience members, resulting in a significant spatial distinction from the traditional rectilinear hierarchical auditory space.
Although the resulting egg-shaped space significantly reduces social hierarchies and creates a broader equality in the space, the form itself is detrimental to creating anything approaching a good acoustic environment. As Scharoun would realize, much like a satellite dish, the concavity of such an egg-shaped space would create acoustic spaces of extreme auditory intensity, by
densities formed
planar elements
travel paths
opportunities for alternatives
consitent and rigid inconsistent and rigid
intersecting planes
path
opportunities for alternates
inconsistent, random, dynamic
densities formed
creating of densities and alternate experience through the manipulation of planar elements and their altered orientation, generating a more connective whole.
Alteration of planes
10 . building case study . design theory . part 2 of 2
Diagram 11: Cohesive & Incohesive Focal Areas & Centroids
highly striated and ridgid striated but focused
centroid
focal area
hierarchy separation
accesss origin / destination
hierarchies
unfocused and smooth
Redevelopment of Space
segmented & focused flux & focused mixed & unfocused
erik van der putten . berlin philharmonic . fall 2012 . 11
with multiple foci. The result creates a space that is traditionally predicated on the striated, to a space (such as the Philharmonic) that is somewhere in flux between striated and smooth, to a space (represented as the mixed & unfocused) that is smooth, where there are multiple pathways to multiple destinations, whereby a simple change or rotation in orientation can create an arrival at a new destination, creating a possibility for a multiplicity of discovery, interconnectivity, interactions and overlapping experiences. The resulting space is exciting, as Deleuze insist “’smooth’ does not mean homogenous, quite the contrary: it is an amorphous, non-formal space prefiguring op art,” where for Deleuze smoothness has created a spatial construct prior to the illusionary tactics of optical art1.
The resulting formal logic, of non-coplanar elements, alters the comprehension of trajectories. Although the altered trajectories creates opportunities for new experiences to be discovered, the action of navigating increases in complexity. Taken to the extreme, if one can imagine moving through a space where the perception
The articulation of planar elements offers other possibilities for connectivity and relationships to be developed. As seen in diagram 4, connectivity between spatially separated spaces (by grey planes) creates a path of connectivity that varies with both its ability to connect to other adjacent segregated spaces and with its ability to offer new methods of connectivity. As an occupant moves through the concert hall of the Philharmonic, Sharoun’s spatially shifted planes create layered densities within the space offering alternate experiences for the occupant. The juxtaposition of non-coplanar elements further allows for a path of travel to be randomized in achieving the destination while also creating an alternate spatial experience. As diagram 11 illustrates, when the Philharmonic is compared with that of a segmented & focused space of a traditional auditory setting, the spatial relationship (as seen in diagram 9) of the Philharmonic creates alternate opportunities to segment the space and access the space differently. Progressing this idea, the central focus of the space can be re-aligned to create a space
With a focus on Space
access
origin
destination
centroid
hierarchy separation
hierachires
focal area
highly striated and ridgid striated but focused
centroid
focal area
hierarchy separation
accesss origin / destination
hierarchies
unfocused and smooth
Redevelopment of Space
12 . building case study . design theory . part 2 of 2
Diagram 12: Refraction, Alteration & Containment
fractal space fractal resultanttrajectories
multiple fractal trajectories
fractal space & multiple fractal trajectories
fractal space refracted resultant trajectories rigid responsive space externally fracture trajectory
angled planar elementsother than 90
altered paths
trajectories
force
spatial boundaries
Refraction & Comprehension
erik van der putten . berlin philharmonic . fall 2012 . 13
trajectories creates a highly articulated space that is further injected with the product of the orchestra, including the sharp movements of the conductor, acoustic percussion waves felt within a body and auditory stimulation of the cochlear. The resulting space is intense or violent, not only because of “the intrusion of one order into another,” which for Tschumi was violent enough with body and space alone, but body, space, time and force combine in an multiplicity of intensities2. These resulting intensities are represented in diagram 14. From a single point of intensity to multiple points, the ability to comprehend diminishes especially with the increased number of objects to focus on and conversely, focusing objects. Oddly, one can draw larger connections in which the multiple stimuli and focusing objects become incomprehensible such as experiences within a setting of war. The stimulation renders a soldier only efficient and therefore capable of a single operational objective
of referential objects changes so dramatically that they are no longer recognizable, in that every experience is new, how does this differ from a placeless space where the incomprehensibility of the space renders it relationship-less? In this way it obliterates relationships of objects so far so that it approaches the idea of an origin of place, where a sense of place is realized only from reference to an understood object (as alluded to in Heidegger’s Building, Dwelling, Thinking) and as there ceases to be referential object, pure space begins to emerge. Diagram 13 attempts to understand the idea of creating altered trajectories, resulting from influencing factors to maintain a level of comprehensibility. However, when the spaces are overlaid and the trajectories become overly disconnected, the ability to understand and flow quickly diminishes and if taken to the extreme becomes incomprehensible and a placeless place.
The stimulus that results from trying to visually track the complexity of non-coplanar elements and offset
angled planar elements (other than 90°)
altered trajectories
spatial boundaries
trajectories
forces
fractal space refracted resultant trajectories rigid responsive space externally fracture trajectory
angled planar elementsother than 90
altered paths
trajectories
force
spatial boundaries
Refraction & Comprehension
14 . building case study . design theory . part 2 of 2
Diagram 13: Differing Intensities
turning space outwards - intensities focused to bypass the actual focal point
focal point
hierarchy separationdevelopable separation
focus
multiple centers & high intensitydisbursed intensities
reduced intensitiesintensive space
accessibility
Developing Intensitiesturning space outwards - intensities focused to bypass the actual focal point
focal point
hierarchy separationdevelopable separation
focus
multiple centers & high intensitydisbursed intensities
reduced intensitiesintensive space
accessibility
Developing Intensities
intensive space
intensive space
reduced intensities
reduced intensities
reduced & distributed intensities
reduced & distributed intensities
high & distributed intensities
high & distributed intensities
inverted intensities
inverted intensities
intensities & access
intensities & separation
erik van der putten . berlin philharmonic . fall 2012 . 15
The Berlin Philharmonic concert hall is an exceptional piece of architecture that embodies advanced ideas of human equality and technology, which reverberate through the structure and is finally expressed in the exterior form. Much like Banham’s adoration of Buckminster Fuller, Scharoun’s ability of deconstructing technological elements within the archetype of the concert hall and recombining them to produce a new typology created a resulting structure that advanced the ideas of spatial composition and the way in which space can be perceived. The result is an architecture that responds to the cultural spaces during the transition of Germany from Nazi rule, and an architecture that is governed by social spatial ideals realized through the distinct technological understanding of acoustic environments consequently creating an architectural geometry that embodies both. A geometry that was fundamental in the creation of the Berlin Philharmonic building, a space that was placed both physically and metaphorically at the heart of this new archetype.
where each focusing object is assigned a specific focal point in which to engage. The result is a narrow understanding of the broader context of the situation. Further parallels could be drawn historically to Sharoun’s historical setting, where an incomprehensible environment was unfolding and engulfing the Jewish peoples as they were systemically eradicated by the Nazi regime. Interestingly, inverting and manipulating the diagram and projecting a factor of time, the focusing objects could reduce in numbers (say at the end of a performance) and an inversion could occur where the focus points appear as the focusing objects. This implies that the system is in a state of flux, which interestingly mirrors our political systems similar to the way which Nazi war criminals were pursued. Similarities could also be drawn between the way in which Scharoun intended for the size of the stage to be reconciled with that of the audience, creating equality, but also in a state of flux where at partially full venues the viewer-viewed relationship is inverted.
hierarchy separationdevelopable segmentation
focal point
turning space outwards - intensities focused to bypass the actual focal point
focal point
hierarchy separationdevelopable separation
focus
multiple centers & high intensitydisbursed intensities
reduced intensitiesintensive space
accessibility
Developing Intensities
focusing
accessibility
Conclusion
16 . building case study . design theory . part 2 of 2
Images1.2.
plans: Jones, Peter Blundell. Hans Scharoun.(page 180). Phaidon Press Ltd. 1995sections: Jones, Peter Blundell. Hans Scharoun.(page 182 - 183). Phaidon Press Ltd. 1995
References1.
2.3.
Deleuze, Gilles and Felix Guattari. 1140: The Smooth and the Striated. A Thousand Plateaus. University of Minnesota Press. 1987. Tschumi, Bernard. Violence of Architecture. Art Forum Vol XX (1), 1981Banham, Reyner. Functionalism and Technology. Braham, W.W. and Hale, J.A. eds. Rethininking Techonology: A reader in Architectural Theory, Routledge, 2007.
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