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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


planar overlap


minor boundaries


major boundaries

origin marker

origin destination

auditorium stage

auditorium boundary


planar overlap


minor boundaries


major boundaries

origin marker

origin destination

auditorium stage


Diagram 8: Deterioration of Internal Hierarchies

building extents

sectional flows, planes, radiance

traditional auditorium arrangement philharmonic spatial arrangement

section 1 section 2


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


planar overlap


minor boundaries


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


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


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


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


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


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


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


hierachires

focal area

highly striated and ridgid striated but focused

centroid

focal area


accesss origin / destination

hierarchies

unfocused and smooth

Redevelopment of Space


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


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


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


focus



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


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


focus



accessibility

Developing Intensities

focusing

accessibility

Conclusion


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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