THE USE OF MATERIALS AND THEIR INFLUENCE ON A SPACE - A precedent study on the Elbphilharmonie

ABSTRACT

THE USE OF MATERIALS AND THEIR INFLUENCE ON A SPACE A precedent study on the Elbphilharmonie

Imagine a blank surface, a white plaster wall if you want. Imagine what it feels like to touch it, how the light reflects on its surface in a perfect gradient and how your voice bounces perfectly back at you when you talk. Now imagine carving patterns into that wall, it does not matter whether they are geometric or random.

The whole character of the wall is now changed. It instantly feels different, either smoother or rougher, but definitely different. Its surface casts shadows in some and maybe even collects light in other places and your echo becomes dull if not fully absorbed. Your interest is peaked because the blank wall is just not what the human mind desires. There is no exploration, no excitement. So why is it, that ornaments in architecture are described as a crime?

The contemporary architect prefers smooth looking, easy to understand definitions for the space he creates, but is it not so much more intriguing to step into a room without immediately knowing where the wall ends and the ceiling starts?

But how is the transfer between the physical building - its location, construction and materials - and metaphysical - those very specific personal experiences and associations - created? And how are artists responsible for it?

In this essay, the relationship between those dimensions will be explored and explained why architecture and art, although being categorically different, need to synthesize in order to create a metaphysical realm that is tangible for the masses.

Frederike Marx

Humanities – AR30006

Contents Contents ....................................................................................................................................................................................................................... 1 Introduction ................................................................................................................................................................................................................. 1 The Perception of Space .............................................................................................................................................................................................. 2 Building Analysis .......................................................................................................................................................................................................... 6 Conclusion .................................................................................................................................................................................................................. 13 References ................................................................................................................................................................................................................. 14 Bibliography ............................................................................................................................................................................................................... 16 List of Figures ............................................................................................................................................................................................................. 19

1

Introduction Ornament is a gateway to the human perception of a space. And so are the materials. Saying that

details like that and it will ultimately influence how we perceive the building and shape our immaterial response.

ornament is a crime is outdated and boring because

Immateriality is an emotional or spiritual response to

it denies us the reality of our history, whether it be

an environment, and it is therefore difficult to

the immediate past or centuries ago. Evidently,

predict how visitors are going to react to a building.

ornament has been used almost consistently until

Certain factors increase the probability of evoking a

the timeless style emerged during the modernist era.

response, mainly the ones that appeal to other

But there is a reason we now look back at the

senses

modernist buildings with aversion, whilst ancient

architecture are for example the smell of wood

architecture such as the Greek temples still

which can remind someone of a childhood home or

fascinates us. This is evidence for the fact that

the use of echoes to make you feel uneasy.

ornamented objects are more engaging than the

This sensual experience is explored throughout the

ones that seem to stay in fashion forever.

than

the

visual. Successful

uses

in

composition of the Elbphilharmonie in Hamburg. The

The other important factor playing a role in creating

architects, Herzog and DeMeuron, have worked

a certain atmosphere is the use of materials. As

closely with artists and audio engineers to create an

materials age they change in appearance which

intimate experience in such a public building. They

should always be considered by the designer in order

also stimulate the senses such as smelling, hearing

to achieve a successful project that lasts for more

and the haptic throughout the building with the use

than a couple of years. Human interaction also

of different materials, ranging from tempered glass

changes the materials as they might be damaged or

to untreated wood and marble.

manipulated by us. This again plays on the character of a building as the human mind picks up on subtle 1

The Perception of Space With regards to ornamentation Ornamentation is a part of human nature. It gives the craftsman a purpose and joy for their work, but other than that, does it have a function? Adolf Loos states that cultural progress is achieved by removing ornamentation from everyday items. It is no longer needed, and neither is it a representation of the modernist culture. In addition to that it is seen as a waste of time and money that puts a temporal restriction on the aesthetics. An ornamented table will run out of style eventually whereas one that has no ornamentation and just the bare minimum structure will be timelessly enjoyed. This strict rationalisation of style is what lead to the modernist movement1.

The flaw in Loos’ logic was however, that the man

style failed. The separation between the architect and the artist resulted in painfully blank and sterile buildings and after the Second World War, the professions started to reapproach each other. First, machine made ornament was created but it soon became clear that ornament was more than decoration and buildings require a unity between the building programme, construction, and use. The form is as such less of a problem than the meaning and function behind it2.

Herzog and DeMeuron always work in close collaboration with artists for their designs. Just as each atmosphere in a building is aimed to be different, so are the artists helping to achieve this goal. In their opinion, artists have a deeper, more intimate understanding of the process and final product but architects have the means to convey it

who does not enjoy or require any kind of ornament has to be one without (or one detached from) his history and heritage. And this is how the rationalist 1

Loos, A., 1908. Ornament and Crime. In: K. Smith, ed., Introducing

2

Rykwert, J., 1975. Ornament is no Crime. In: K. Smith, ed., Introducing

Architectural Theory - Debating a Discipline, 1st ed. New York:

Architectural Theory - Debating a Discipline, 1st ed. New York:

Routledge, pp.40-42.

Routledge, pp.54-65.

2

to the masses3, which is important because buildings are seen by a large number of people (as opposed to an art piece which is seen by a selected few) and therefore has to be intellectually accessible for anyone.

With the technological progress, it is becoming increasingly important for architects to have an understanding of how to tie ornamentation in with their architectural language. Buildings are becoming more standardised and a large part is dedicated to plant rooms which determines the shape and organisation. This inseparable relationship between ornament and building is how materials convey their effects and evoke invisible forces through the viewers

associations,

emotional

or

spiritual

response, which is commonly referred to as immaterial architecture.

3

Wilfried Wang, and Herzog & De Meuron. 1998. Herzog & de Meuron. Basel ; Boston: Birkhauser.

3

With regards to materials

visual. A fact that seems to have been ignored by the

Construction is the ordered and skilful composition

ancient theories which are so strongly represented

of materials4. In order to achieve an honest construction, the method of composition should be determined by the materials.

The earliest

architecture was significantly more of a haptic experience with its dimensions based on the human body, similar to how a bird’s nest is created by the movement of its body. The ancient Greek then introduced the visual aspect by manipulating buildings in order to make them as pleasurable as possible for the viewer. Born from this were the

in classical and modern architecture. Natural materials have character because they embody exactly that aura. The stains on a marble table from coffee cups that were rested there years ago, or the golden nose of a bronze statue dog which has been repeatedly touched by pedestrians, all tell a story of what is long gone and evoke a feeling, maybe of community? Although the first step to experiencing this is to see it, other senses are reinforced as soon as we know there is something to be aware of7.

architectural theories of the visual, such as proportion and harmony5.

A sense of aura is necessary for a piece of art6, Walter Benjamin states (Benjamin 1986), explaining that the experience of art is far beyond that of the

4

5

Alberti, L. B., 1486. Excerpts from The Art of Building in Ten Books. In: K.

6

Benjamin, W., 1986. Paris Capital of the Nineteenth Century. In: E. Jephcott,

Smith, ed., Introducing Architectural Theory - Debating a Discipline,

ed., Reflections, Essays, Aphorisms, Autobiographical Writings. 1st

1st ed. New York: Routledge, pp.109-125.

ed. New York: Schocken, pp.146-162.

Pallasmaa, J., 1996. Excerpts from The Eyes of the Skin. In: K. Smith,

7

Wang, Herzog & de Meuron

ed., Introducing Architectural Theory - Debating a Discipline, 1st ed.

New York: Routledge, pp.125-132.

4

The material and immaterial is not black and white.

experienced the material, because the mind cannot

The architect creates a material environment,

create from nothing. In relation to architecture, this

perhaps with the intention of the immaterial, but can

means that you have to engage with the materials in

never guarantee it. The immaterial is a strongly

order to create the immaterial experience for the

subjective and associative experience created by the

visitor, but leading concepts are grounded on ideals

composition of the material. It is led by the questions

and intentions based in the immaterial and framed

of what is present or absent, i.e., we have probably

through the built matter9.

all been in a situation where we were sure of something being there but could not quite put our finger on it8. A commonly used example for this is the church, where, although it is physically impossible to know about the presence of god, you still feel something.

Herzog and DeMeuron also add another layer to the relationship between material and immaterial by explaining their co-dependency. Much like shadows cannot exist without light, the material could not be perceived was it not for the ideals and ideas which are shaped in our (immaterial) mind. But the immaterial also could not be shaped without having 8

Hill, J., 2006. Excerpts from Immaterial Architecture. In: K. Smith,

9

Wang, Herzog & de Meuron

ed., Introducing Architectural Theory - Debating a Discipline, 1st ed.

New York: Routledge, pp.132-138.

5

grand hall, chamber hall, restaurants, bars, and a

Building Analysis

panoramic terrace. Built in apartments and a hotel

The Brief Hamburg needed a unique concert hall that represents its rich culture and musical history whilst showcasing the city’s wealth and international standing. The building was supposed to be a landmark that attracts national and international

were integrated to help recover the construction cost10.

The plan was to create a “genuinely public”11 (Herzog & DeMeuron 2016) building, which provides mixed urban uses and is a centre for the social, cultural, and

tourists.

daily life of everyone around it. It would vitalise the

Alexander Gerard, a local city planner and culturalist,

Hamburg.

proposed a philharmonic hall in place of the planned MediaCityPort,

an

office

building

meant

HafenCity and become part of a new district in

to

invigorate the old harbour and serve the changing market in media and communication. He contacted Jacques Herzog about a design who agreed under the condition that the building’s new function would be immediately visible from the outside. The existing building was to receive a crown which contained the main spaces of the philharmonic hall, such as the 10

Mack, Thorsten. 2018. “Die Elbphilharmonie: Hamburgs Neues

11

HERZOG & DE MEURON. 2019. “230 ELBPHILHARMONIE HAMBURG -

Wahrzeichen | HD | ARTE | Doku.” YouTube Video. ARTE.

HERZOG & de MEURON.” Herzogdemeuron.com. 2019.

https://www.youtube.com/watch?v=8lL5P2uU6fk&t=3151s.

https://www.herzogdemeuron.com/index/projects/completeworks/226-250/230-elbphilharmonie-hamburg.html.

6

Fig.2 Hamburg City Centre, Aerial View, showing the Speicherstadt and Old Town in background, (Author’s own)

After three years of persuasion and advertising from

character of the city comes from the river Elbe which

Herzog and DeMeuron, the city of Hamburg agreed

has historically been wide and deep enough to carry

to have the philharmonic hall built with a budget of

ships further inland and enabled Hamburg to

241 million euro. This budget was however far

develop the most influential harbour for the German

exceeded due to legal battles and multiple delays in

economy and therefore to become a trade hub for

construction and eventually cost the city 866 million

the country and an extremely wealthy city.

euro making it one of the most controversial buildings in Hamburg at the time.

The design of the Elbphilharmonie is based on an audio-visual experience that is somewhat supported by other sensory factors such as smell. Furthermore, the surface designs have recurring themes of dots and waves which can be found throughout the building and will be discussed in the Materials and Lighting section below.

It is also home to one of the most important urban redevelopments in Europe, the HafenCity12. Since the Berlin Wall has been demolished, the abandoned warehouses and silos are being repurposed and modernised and the relationship between the city and the harbour is being redefined. The HafenCity will be an extension to the city centre, expanding it by 40% and providing a mix of education, tourism, work, life, and recreation13.

The Site The Elbphilharmonie is located in Hamburg, one of the northernmost cities in Germany, known for its wealth and coastal flair despite being located over 50 miles away from the North Sea. The coastal

12

Datz, Christian. 2005. Hamburg Architecture & Design. Hamburg: Kempen Teneues.

13

Mack, “Die Elbphilharmonie: Hamburgs Neues Wahrzeichen | HD | ARTE |

Doku.”

7

The Materials and Lighting Directly on site, the existing building, the Kaispeicher A, has been retained and an additional structure has been added on top. The Kaispeicher A was a brick warehouse designed by Walter Kallmorgen in the 1960s to store heavy loads of tea, cocoa and tobacco and therefore poses an ideal base for the heavy new structure.

The direct proximity to the Speicherstadt warehouse district world heritage site and the Kontorhaus business district adds to the significance of the site in terms of tourism and social life.

The façade

One of the most distinguishing materials of the Elbphilharmonie is the glass façade that is sitting on top of the brickwork of the Kaispeicher A. It is made from

approximately

one

thousand

individual

elements each of which are made up of four layers with different surface treatments. A dark tint serves as the main sunscreen but is supported by basalt dots casting indistinguishable shadows which ultimately darken the interior whilst the outermost layer of chrome dots reflects sunlight and gives the building its elegant mirror-like appearance. In

In addition to that the site is located on the river Elbe

tandem with the extravagant shading solution is the

which makes it an attractive tourist destination

shape of the glass panes. Their wave-like appearance

whilst standing out from the other buildings and

has been created in a strictly secret process that uses

therefore forming a landmark that defines the

gravity and extremely high temperatures to temper

HafenCity.

the glass and shape it, forming curved openings that are either used for ventilation or to create balconies for the apartment and hotel complexes.

Fig. 4 Façade Panel Layers, (Author’s own) 8

Fig. 5 Façade Openings showing positive and negative pressure, (Author’s own)

Fundamentally, the façade is intended to remind the

white with glass dots which are later reminded of

visitor of a choppy body of water through the

when seeing the exterior glazing up close.

dynamic surface which reflects its surroundings and is therefore changing continuously. When asked about the

complex

façade

structure, Ascan

Mergenthaler, one of the assisting architects for the project, explained that they could not have used normal windows as they would not have lived up to the intended aesthetic14.

The Tube

The 80-meter-long entrance to the building, known as “the tube”, leads from the front of the building to a public plaza and cuts directly through the

The

very

clean

and

bright

journey

lasts

approximately 150 seconds, the perfect length to create a pause from the busy city life not just visually but also audibly. The tube is isolated, and the journey forced in one direction so that the visitor is able to completely let go of their thoughts for a brief moment before awaking in a new, yet familiar, world15. This is also emphasised by the forced proximity of people on the escalator which naturally makes them behave more quietly.

Kaispeicher A. It is a straight line that is bent on the y-axis meaning it is impossible to see the whole escalator at once. It is also impossible to see the end of the journey when you first step on it, making the panoramic view at the top more exciting and rewarding. The tube itself is rendered completely in Fig. 6 The Tube, View from Entrance; Architect: Herzog and DeMeuron 14

Mack, “Die Elbphilharmonie: Hamburgs Neues Wahrzeichen | HD | ARTE |

Doku.”

15

Morselli, Elisa. 2019. “Eyes That Hear. The Synesthetic Representation of Soundspace through Architectural Photography.” Ambiances, no. 5 (December). https://doi.org/10.4000/ambiances.2835.

9

Fig. 7 Section Drawing showing the Bend of the Tube from Entrance to Panorama Window, (Author’s own)

The Foyer

The Chamber Hall

The foyer of the chamber hall which can be entered

The warm atmosphere of the foyer is carried into the

via the plaza is characterised by the use of black

chamber hall. Just like the foyer, the main material

marble and French oak, which is a dark wood Herzog

used in the chamber is French oak; however, this

and DeMeuron have also used the in the Tate

time it is milled into waves stretching over the

Modern in London. The materials are untreated to

entirety of the walls. This shape helps to diffuse the

encourage the aging process such as the colour

sound reflect it in a way that makes it pleasing for the

change over time and marks from wear and tear,

listener.

such as ring stains from glasses left on the tables.

Another characteristic pointed out by the visitors is the smell of the wood which is amplified by the use of oil soap for cleaning as it does not destroy the material16. In comparison to the tube entrance, the foyer is charming and vibrant instead of sterile, reflecting the lively conversations that will take place in this space.

16

Elbphilharmonie ZuHausführungen | Die Holzverkleidung im Kleinen Saal.

2020. “Elbphilharmonie ZuHausführungen | Die Holzverkleidung Im

Fig. 8 Wall Detail, Recital Hall, showing the Diffusion and Absorption of Sound, (Author’s own)

Kleinen Saal.” YouTube. April 6, 2020. https://youtu.be/R5fOONlbDOU.

10

The White Skin

The grand hall is quite literally the centrepiece of the Elbphilharmonie. Spanning over multiple floors, it is the biggest single space of the building and the one that attracts the most visitors hosting its own orchestra as well as guest musicians.

As opposed to its little sister, the chamber hall, the grand hall is clad in plaster fibreboards made from a gypsum and paper mix. Although being called white

requirement for the grand hall as it is situated in close proximity to living spaces.

Historically, musical halls were immensely decorated which not only expressed wealth and grandeur but also helped with the sound diffusion discussed above. This ornamentation has been replaced in the new hall by the wave like surface, a recurring theme in the building.

skin, Jacques Herzog describes the surface as biomorph and more similar to that of a crustacean or fossilised shell due to white skin having the negative connotation of dead bodies17. The surface texture is engineered to perfectly diffuse the sound and distribute it throughout the space so that every seat has the same audio experience. Yasuhisa Toyota, the project’s lead audio engineer, also specified the material to have the perfect density and hardness to ensure the right amount of sound is absorbed and the nature of the reflected sound is clear and soft.

There are no gaps between the plasterboard panels as to not let any sound escape, which was another 17

Mack, “Die Elbphilharmonie: Hamburgs Neues Wahrzeichen | HD | ARTE | Doku.”

Fig. 9 Wall Detail, Grand Hall, showing the Diffusion and Reflection at different Cladding Depths, (Author’s own) 11

Grand Hall Lighting

The lighting in the grand hall is an ornamental element with the conceptual intent of creating a warm and vibrant atmosphere that matches the space. Each individual fixing appears as a dot or globe hanging from the ceiling, picking up another recurring theme of the building. Handmade by a family-owned business in the Czech Republic, the

Herzog and DeMeuron made the decision to change the light path directly at the fixing and case the LED in a glass globe that changes the velocity of the rays, making the space appear gentler and warmer. Due to the refractive properties of glass, the rays of light are either reflected at the glass surface or transmitted through it at a different angle and speed19. Essentially, the rays are being diffused by

globular lights posed a problem to construct as the

the glass casings and their velocity decreased so that

glass had to be blown in a way that goes against

the lighting is less harsh.

traditional manufacturing

methods18.

In order to

capture the light and guide it the way Herzog and DeMeuron intended, the globes had to be thicker at the bottom and thinner towards the fixing; however, in traditional hand blowing, the part furthest away from the pipe (in this case the bottom of the globe) would be the thinnest. This made the manufacture of the lights intensely time consuming and expensive.

All fixings are lit by LEDs which are more environmentally friendly but also usually appear

Fig. 10 Light Fixtures, Grand Hall; Architect: Herzog and DeMeuron

technical and sterile so in order to change this, 18

Mack, “Die Elbphilharmonie: Hamburgs Neues Wahrzeichen | HD | ARTE | Doku.”

19

Kopp Glass. 2016. THE PROPERTIES of GLASS. Kopp Glass.

12

Fig. 11 Traditional Glass Structure vs. the one used for the Grand Hall, (Author’s own)

Conclusion For the conclusion of this research, it should be noted that judging the immaterial response of any space is nearly impossible without having been there, as is the case with this essay.

ultimately forming a comfortable and intimate space. The chamber hall is clad in the same French oak as the foyer which makes the journey more seamless and also makes the chamber seem more intimate. It is also very haptic, as some of the staff have explained that they enjoy touching the milled

However, to sum up everything that has been stated

wooden surface. The upper floors are reserved for

so far, it is evident that Herzog and DeMeuron have

the grand hall, the main attraction of the building.

successfully created distinctive atmospheres within

Clad in a white skin which is engineered to create the

the spaces of the Elbphilharmonie for the majority of

perfect audio experience, it is not surprising to see

people. Multiple senses are engaged within the

people close their eyes whilst listening to a concert

journey through the building starting with the audio-

to fully absorb the music without the visual clutter of

visual entrance where the visitor is forced to remain

the rather busy surface.

still whilst being carried through a tunnel detached from the city. They are then led onto a panoramic platform that is seemingly without boundaries and exposes the visitor to the elements, such as rain and sunshine or the smell of the sea. The platform also poses a breathing space after the forced and enclosed entrance. Continuing the journey, they are led into the foyer, which is significantly darker than the other rooms so far. Here, you are also met with the smell and familiarity of the hardwood flooring

Looking at the bigger picture, the work of Herzog and DeMeuron

is

important

for

contemporary

architecture because they engage with different disciplines for every project. The artists they consult and work with are usually more qualified to create an intimate response with the viewer than an architect would be and the synthesis of the work between the two professions is something a lot more architects should strive for.

which stands in composition with the black marble 13

References 1. Loos, A., 1908. Ornament and Crime. In: K. Smith, ed., Introducing Architectural Theory - Debating a Discipline, 1st ed. New York: Routledge, pp.40-42.

2. Rykwert, J., 1975. Ornament is no Crime. In: K. Smith, ed., Introducing Architectural Theory - Debating a Discipline, 1st ed. New York: Routledge, pp.54-65.

3. Wilfried Wang, and Herzog & De Meuron. 1998. Herzog & de Meuron. Basel ; Boston: Birkhauser.

4. Alberti, L. B., 1486. Excerpts from The Art of Building in Ten Books. In: K. Smith, ed., Introducing Architectural Theory - Debating a Discipline, 1st ed. New York: Routledge, pp.109-125.

5. Pallasmaa, J., 1996. Excerpts from The Eyes of the Skin. In: K. Smith, ed., Introducing Architectural Theory - Debating a Discipline, 1st ed.

New York: Routledge, pp.125-132.

6. Benjamin, W., 1986. Paris Capital of the Nineteenth Century. In: E. Jephcott, ed., Reflections, Essays, Aphorisms, Autobiographical Writings. 1st ed. New York: Schocken, pp.146-162.

7. Hill, J., 2006. Excerpts from Immaterial Architecture. In: K. Smith, ed., Introducing Architectural Theory - Debating a Discipline, 1st ed.

New York: Routledge, pp.132-138.

8. Mack, Thorsten. 2018. “Die Elbphilharmonie: Hamburgs Neues Wahrzeichen | HD | ARTE | Doku.” YouTube Video. ARTE. https://www.youtube.com/watch?v=8lL5P2uU6fk&t=3151s.

9. HERZOG & DE MEURON. 2019. “230 ELBPHILHARMONIE HAMBURG - HERZOG & de MEURON.” Herzogdemeuron.com. 2019. https://www.herzogdemeuron.com/index/projects/complete-works/226-250/230-elbphilharmonie-hamburg.html.

10. Datz, Christian. 2005. Hamburg Architecture & Design. Hamburg: Kempen Teneues.

11. Morselli, Elisa. 2019. “Eyes That Hear. The Synesthetic Representation of Soundspace through Architectural Photography.” Ambiances, no. 5 (December). https://doi.org/10.4000/ambiances.2835.

14

12. Elbphilharmonie ZuHausführungen | Die Holzverkleidung im Kleinen Saal. 2020. “Elbphilharmonie ZuHausführungen | Die Holzverkleidung Im Kleinen Saal.” YouTube. April 6, 2020. https://youtu.be/R5fOONlbDOU. 13. Kopp Glass. 2016. THE PROPERTIES of GLASS. Kopp Glass.

15

Bibliography Alberti, L. B., 1486. Excerpts from The Art of Building in Ten Books. In: K. Smith, ed., Introducing Architectural Theory - Debating a Discipline, 1st ed. New York: Routledge, pp.109-125.

Baan, Iwan. 2016. “Elbphilharmonie Hamburg - Elbphilharmonie.” Google Arts & Culture. 2016. https://artsandculture.google.com/exhibit/elbphilharmonie-hamburg/CQKCA7G8eV4LJA. Banham, R., 1957. Ornament and Crime: The Decisive Contribution of Adolf Loos. In: K. Smith, ed., Introducing Architectural Theory - Debating a Discipline, 1st ed. New York: Routledge, pp.42-48.

Bauer, Ute Christina. 2008. “Das Verhältnis von Stadt Und Fluss Neu Definieren: Die HafenCity Hamburg.” Standort 32 (2): 40–44. https://doi.org/10.1007/s00548-008-0086-9.

Benjamin, W., 1986. Paris Capital of the Nineteenth Century. In: E. Jephcott, ed., Reflections, Essays, Aphorisms, Autobiographical Writings. 1st ed. New York: Schocken, pp.146-162.

Datz, Christian. 2005. Hamburg Architecture & Design. Hamburg: Kempen Teneues.

Elbphilharmonie ZuHausführungen | Die Fassade. 2020. “Elbphilharmonie ZuHausführungen | Die Fassade.” YouTube. May 13, 2020. https://youtu.be/QnBnhwsTaa8.

Elbphilharmonie ZuHausführungen | Die Fassadenelemente. 2020. “Elbphilharmonie ZuHausführungen | Die Fassadenelemente.” YouTube.

July 18, 2020. https://youtu.be/3_mQO9hpzzM. Elbphilharmonie ZuHausführungen | Die Holzverkleidung im Kleinen Saal. 2020. “Elbphilharmonie ZuHausführungen | Die Holzverkleidung Im Kleinen Saal.” YouTube. April 6, 2020. https://youtu.be/R5fOONlbDOU. Elbphilharmonie ZuHausführungen | Die Kugelleuchten. 2020. “Elbphilharmonie ZuHausführungen | Die Kugelleuchten.” YouTube. April 5, 2020. https://youtu.be/0CX99lOEaPg. 16

Elbphilharmonie ZuHausführungen | Die Weiße Haut. 2020. “Elbphilharmonie ZuHausführungen | Die Weiße Haut.” YouTube. April 7, 2020. https://youtu.be/QMievH8khek.

HERZOG & DE MEURON. 2019. “230 ELBPHILHARMONIE HAMBURG - HERZOG & de MEURON.” Herzogdemeuron.com. 2019. https://www.herzogdemeuron.com/index/projects/complete-works/226-250/230-elbphilharmonie-hamburg.html.

Hill, J., 2006. Excerpts from Immaterial Architecture. In: K. Smith, ed., Introducing Architectural Theory - Debating a Discipline, 1st ed. New York: Routledge, pp.132-138.

Karlson, Chris. 2012. “Case Study / Elbphilharmonie Hamburg — Christopher Karlson.” C KARLSON. April 14, 2012. https://www.chriskarlson.com/blog/2012/4/14/rotch-research-elbe-philharmonic-hall.html.

Kopp Glass. 2016. THE PROPERTIES of GLASS. Kopp Glass.

Loos, A., 1908. Ornament and Crime. In: K. Smith, ed., Introducing Architectural Theory - Debating a Discipline, 1st ed. New York: Routledge, pp.40-42.

Mack, Thorsten. 2018. “Die Elbphilharmonie: Hamburgs Neues Wahrzeichen | HD | ARTE | Doku.” YouTube Video. ARTE. https://www.youtube.com/watch?v=8lL5P2uU6fk&t=3151s.

Morselli, Elisa. 2019. “Eyes That Hear. The Synesthetic Representation of Soundspace through Architectural Photography.” Ambiances, no. 5 (December). https://doi.org/10.4000/ambiances.2835.

Pallasmaa, J., 1996. Excerpts from The Eyes of the Skin. In: K. Smith, ed., Introducing Architectural Theory - Debating a Discipline, 1st ed. New York: Routledge, pp.125-132.

Rykwert, J., 1975. Ornament is no Crime. In: K. Smith, ed., Introducing Architectural Theory - Debating a Discipline, 1st ed. New York: Routledge, pp.54-65.

Smith, Korydon H. 2012. Introducing Architectural Theory : Debating a Discipline. New York: Routledge.

17

Ursprung, Philip, Centre Canadien D'architecture, and Herzog & De Meuron. 2002. Herzog & de Meuron : Natural History. Montréal: Canadian Centre For Architecture.

Wilfried Wang, and Herzog & De Meuron. 1998. Herzog & de Meuron. Basel ; Boston: Birkhauser.

18

List of Figures 1. Cover Page: 

Cooper Copter. 2015. Elbphilharmonie West View (Title Picture). Cooper Copter. https://coopercopter.com/luftbilder/.

2. Hamburg City Centre Aerial View, (Author’s own) 3. Banner (images listed top to bottom), (Edited by author): 

Google Arts and Culture. 2021. Original Brickwork of Kaispeicher A. Artsandculture.google.com. https://artsandculture.google.com/streetview/elbphilharmoniehamburg/bQG8BUfGlhOWSw?sv_lng=9.98308284628907&sv_lat=53.54146703460019&sv_h=87.20525558720684&sv_p=44.714107936692834&sv_pid=R_PZFaZcQQkAAAQvvo_UHQ&sv_z=1.2182001580962856.

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Google Arts and Culture. 2021. Facade Elements (View from Inside). Artsandculture.google.com. https://artsandculture.google.com/streetview/elbphilharmoniehamburg/bQG8BUfGlhOWSw?sv_lng=9.984162181823882&sv_lat=53.54116257538681&sv_h=152.95053195419285&sv_p=2.5853 813335935314&sv_pid=P7D3r1WEEL8AAAQvvpCYYg&sv_z=0.985826084343889.

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Google Arts and Culture. 2021. Glass Circles Embedded in White Render (the Tube). Artsandculture.google.com. https://artsandculture.google.com/streetview/elbphilharmoniehamburg/bQG8BUfGlhOWSw?sv_lng=9.983334288860952&sv_lat=53.54154908382669&sv_h=353.1683755948393&sv_p=1.92188 39639779048&sv_pid=oVKknSEZTxAAAAQvvowNPg&sv_z=0.8927190642271379.

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Google Arts and Culture. 2021. French Oak Flooring. Artsandculture.google.com. https://artsandculture.google.com/streetview/elbphilharmoniehamburg/bQG8BUfGlhOWSw?sv_lng=9.984125316563466&sv_lat=53.54119535779935&sv_h=334.4427272753228&sv_p=47.19176539931848&sv_pid=ZQgNEZld2EgAAAQvvo1IvA&sv_z=0.985826084343889.

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Zapf, Michael. 2016. Recital Hall Cladding. Elbphilharmonie. https://www.elbphilharmonie.de/en/elbphilharmonie-hire.

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Google Arts and Culture. 2021. Shallow Profile of the White Skin (Grand Hall). Artsandculture.google.com. https://artsandculture.google.com/streetview/elbphilharmoniehamburg/bQG8BUfGlhOWSw?sv_lng=9.984112661661499&sv_lat=53.54115704476481&sv_h=186.91485503933785&sv_p=0.1923 7131343743386&sv_pid=dvAJQ92ibPQAAAQvvpAKuA&sv_z=1.2182001580962856.

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Google Arts and Culture. 2021. Deep Profile of the White Skin (Grand Hall). Artsandculture.google.com. https://artsandculture.google.com/streetview/elbphilharmoniehamburg/bQG8BUfGlhOWSw?sv_lng=9.984105088632502&sv_lat=53.54125503884362&sv_h=150.51709097337198&sv_p=15.112 49249592943&sv_pid=XW14PEQW10UAAAQvvo9AuA&sv_z=1.2182001580962856.

4. Façade Panel Layers, (Author’s own) 5. Façade Openings showing positive and negative pressure, (Author’s own) 6. The Tube, View from Entrance; Architect: Herzog and DeMeuron 

Zapf, Michael. 2016. The Tube, View from Entrance. Elbphilharmonie. https://www.elbphilharmonie.de/en/press/elbphilharmonie/entrance.

7. Section Drawing showing the Bend of the Tube from Entrance to Panorama Window, (Author’s own) 8. Wall Detail, Recital Hall, showing the Diffusion and Absorption of Sound, (Author’s own) 9. Wall Detail, Grand Hall, showing the Diffusion and Reflection at different Cladding Depths, (Author’s own) 10. Light Fixtures, Grand Hall; Architect: Herzog and DeMeuron 

Zapf, Michael. 2016. Light Fixtures, Grand Hall . Elbphilharmonie. https://www.elbphilharmonie.de/en/press/elbphilharmonie/concert-halls#grosser-saal.

11. Traditional Glass Structure vs. the one used for the Grand Hall, (Author’s own)

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