Zeitschrift
archithese 6.2008
Ton und Raum
Editorial
While the market for audio media has been stagnating for years, the worldwide construction of concert or opera halls has been booming. The spectrum reaches from small projects such as the Celebration Hut in Amriswil to prestigious projects such as the Philharmonic in Paris by Jean Nouvel or the Elb Philharmonie in Hamburg. Variations upon two basic types of halls are employed: the rigidly orthogonal „shoe box“, which has found its classical expression in the Golden Hall of the Vienna Musikverein, the Concertgebouw in Amsterdam and Symphony Hall in Boston; or the „terraced vineyard“ concept based upon Hans Scharoun’s archetype of the Berlin Philharmonic. Its successors are the larger halls such as Frank O. Gehry’s Walt Disney Concert Hall in Los Angeles or Hamburg’s Elb Philharmonic, currently in planning. The construction of these new concert palaces is initially connected to their suitability – like the example of museums before them – as new instruments of city branding. This phenomenon may also point to an increasing interest in music as a live event. That could also explain the rejuvenation of bands on tour that had temporarily disappeared from the contemporary music world.
Although acoustical phenomena – and we are dealing here with language just as much as with sound, noise and music – permeate our lives and we can escape them less easily than visual impressions, the sense of sight has clearly had the higher priority over the sense of hearing since antiquity. In the logocentric tradition of our culture (and religion) sight is linked with the superior realm of reason while hearing, on the other hand, is linked with feeling. Architects are primarily confronted with the theme of acoustics when they deal with buildings for music and, moreover, when a space requires a one-time acoustical optimization. This is timidly solved with commercially available elements that are mounted as invisibly as possible.
In this issue of archithese our goal is to awaken a wider and deeper understanding of the relationship between space and acoustics. Thus, the focus is directed upon general considerations rather than the concert halls themselves. Following an introduction to acoustics as well as a historical overview of the relationship between hearing and sight, we document excerpts of a discussion between the acoustician Jürgen Strauss and students at the ETH in Zurich. It illustrates in a paradigmatic manner the difficulties of adequately verbalizing the phenomena of hearing. Following the contemporary music halls we end with a look at sound installations and the acoustical perception of the city.
The editors
02 Editorial
22 Interaktion von Schall und Raum: Zum raumakustischen Entwurf von Hörräumen | Kurt Heutschi und Hedi Heutschi
28 Architektur und Akustik: Vom historischen Scheitern und Gelingen | Jürgen Strauss
36 Unbestimmtheit als Wirkungsbedingung: Vom Schaum zum Diffusor | Hubertus Adam
38 Sprechen über Raum und Akustik: Jürgen Strauss im Gespräch mit Studierenden der ETH Zürich
44 Zeitgenössische Bauten für Musik: Eine Sammlung
50 Ein Haus für Fritz Hauser Boabaumann: Casa delle Masche | Hubertus Adam
56 Versuche, die Musik der Welt zu erfassen: Klanglandschaftsstudien als Pädagogik, als Kunst und als Forschung | Sabine von Fischer
60 Anderes Hören: Sense of Architecture - Kleine Akademie in Referenz auf Prometeo von Luigi Nono | Charlotte Pöchhacker
64 «Stille als Switch»: Soundscapes/Hörlandschaften in drei Zürcher Schulen | Verena Doerfler
68 Sound Urban Landscapes: Jammen statt Jammern. Zum Beispiel: Untersuchungen von Stadt als Klanglandschaft | Daniel Jauslin, Hans Drexler, Marc Guinand
74 Stadtklang – oder die scheinbar flüchtige Gestaltung von urbanen Hörräumen: Auf dem Weg zu neuem Stadtklang | Andres Bosshard und Trond Maag
80 Auditive Architektur: Erforschung und Gestaltung architektonischer Klangumwelten | Alex Arteaga und Thomas Kusitzky
Architektur Aktuell
82 Tony Fretton Architects: Fuglsang Kunstmuseum | Hubertus Adam
88 Tony Fretton Architects: Haus für Anish Kapoor, Chelsea, London | Hannes Mayer
Rubriken
94 Ausstellung Sense of Architecture, Venedig 2008 | Hubertus Adam
95 fsai
96 Buchrezension Marc Angélil: Indizien. Zur politischen Ökonomie urbaner Territorien | Anke Hagemann
98 Buchrezension Thilo Fuchs, Petra Vondenhof, Kai Vöckler (Hrsg.): «ridin,low». Michael Mussotter – Architektur tieferlegen | Robert Kaltenbrunner
100 Neues aus der Industrie
105 Jahresregister 2008
111 Lieferbare Hefte
112 Vorschau und Impressum
While the market for audio media has been stagnating for years, the worldwide construction of concert or opera halls has been booming. The spectrum reaches from small projects such as the Celebration Hut in Amriswil to prestigious projects such as the Philharmonic in Paris by Jean Nouvel or the Elb Philharmonie in Hamburg. Variations upon two basic types of halls are employed: the rigidly orthogonal „shoe box“, which has found its classical expression in the Golden Hall of the Vienna Musikverein, the Concertgebouw in Amsterdam and Symphony Hall in Boston; or the „terraced vineyard“ concept based upon Hans Scharoun’s archetype of the Berlin Philharmonic. Its successors are the larger halls such as Frank O. Gehry’s Walt Disney Concert Hall in Los Angeles or Hamburg’s Elb Philharmonic, currently in planning. The construction of these new concert palaces is initially connected to their suitability – like the example of museums before them – as new instruments of city branding. This phenomenon may also point to an increasing interest in music as a live event. That could also explain the rejuvenation of bands on tour that had temporarily disappeared from the contemporary music world.
Although acoustical phenomena – and we are dealing here with language just as much as with sound, noise and music – permeate our lives and we can escape them less easily than visual impressions, the sense of sight has clearly had the higher priority over the sense of hearing since antiquity. In the logocentric tradition of our culture (and religion) sight is linked with the superior realm of reason while hearing, on the other hand, is linked with feeling. Architects are primarily confronted with the theme of acoustics when they deal with buildings for music and, moreover, when a space requires a one-time acoustical optimization. This is timidly solved with commercially available elements that are mounted as invisibly as possible.
In this issue of archithese our goal is to awaken a wider and deeper understanding of the relationship between space and acoustics. Thus, the focus is directed upon general considerations rather than the concert halls themselves. Following an introduction to acoustics as well as a historical overview of the relationship between hearing and sight, we document excerpts of a discussion between the acoustician Jürgen Strauss and students at the ETH in Zurich. It illustrates in a paradigmatic manner the difficulties of adequately verbalizing the phenomena of hearing. Following the contemporary music halls we end with a look at sound installations and the acoustical perception of the city.
The editors
02 Editorial
22 Interaktion von Schall und Raum: Zum raumakustischen Entwurf von Hörräumen | Kurt Heutschi und Hedi Heutschi
28 Architektur und Akustik: Vom historischen Scheitern und Gelingen | Jürgen Strauss
36 Unbestimmtheit als Wirkungsbedingung: Vom Schaum zum Diffusor | Hubertus Adam
38 Sprechen über Raum und Akustik: Jürgen Strauss im Gespräch mit Studierenden der ETH Zürich
44 Zeitgenössische Bauten für Musik: Eine Sammlung
50 Ein Haus für Fritz Hauser Boabaumann: Casa delle Masche | Hubertus Adam
56 Versuche, die Musik der Welt zu erfassen: Klanglandschaftsstudien als Pädagogik, als Kunst und als Forschung | Sabine von Fischer
60 Anderes Hören: Sense of Architecture - Kleine Akademie in Referenz auf Prometeo von Luigi Nono | Charlotte Pöchhacker
64 «Stille als Switch»: Soundscapes/Hörlandschaften in drei Zürcher Schulen | Verena Doerfler
68 Sound Urban Landscapes: Jammen statt Jammern. Zum Beispiel: Untersuchungen von Stadt als Klanglandschaft | Daniel Jauslin, Hans Drexler, Marc Guinand
74 Stadtklang – oder die scheinbar flüchtige Gestaltung von urbanen Hörräumen: Auf dem Weg zu neuem Stadtklang | Andres Bosshard und Trond Maag
80 Auditive Architektur: Erforschung und Gestaltung architektonischer Klangumwelten | Alex Arteaga und Thomas Kusitzky
Architektur Aktuell
82 Tony Fretton Architects: Fuglsang Kunstmuseum | Hubertus Adam
88 Tony Fretton Architects: Haus für Anish Kapoor, Chelsea, London | Hannes Mayer
Rubriken
94 Ausstellung Sense of Architecture, Venedig 2008 | Hubertus Adam
95 fsai
96 Buchrezension Marc Angélil: Indizien. Zur politischen Ökonomie urbaner Territorien | Anke Hagemann
98 Buchrezension Thilo Fuchs, Petra Vondenhof, Kai Vöckler (Hrsg.): «ridin,low». Michael Mussotter – Architektur tieferlegen | Robert Kaltenbrunner
100 Neues aus der Industrie
105 Jahresregister 2008
111 Lieferbare Hefte
112 Vorschau und Impressum
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