Typology Project: Concert Halls

CONCERT HALL TYPE STUDY

Melissa Smith

CONCERT HALL TYPE STUDY

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Objective | The main objective of my research into concert hall typology was to understand how American concert hall design has changed over time. To understand the major shifts in concert hall design, I analyzed a set of case study halls in terms of their form and their design of circulation and public space over time. To further understand the reasons behind shifting concert hall design, I dug deeper and studied the development of the architectural and acoustical professions and their influence on concert hall design. My research concluded with a study of the effects of the sociopolitical and economic climates on concert hall design.

Background | Concert halls emerged as individual entities in the 1700s thanks to a growing middle class with more free time. The original concert hall form was referred to as “shoebox” for its rectilinear form. The shoebox places the talent at one end of a typically rectangular hall and the audience in rows facing the stage. This designed reigned surpreme until quite recently when, in the 1960s, Hans Scharoun designed the Berlin Philharmonie. His design involed a unique surround-style seating arrangement that placed the talent at the center of the audience, all facing inwards. Since then, this design, referred to as “vineyard”, has overtaken the concert hall design world. However, a new change has taken place; a hybrid style that mixes vineyard and shoebox design has appeared. This design seeks to achieve the high-quality acoustics of the shoebox hall with the intimate audience experience provided by the vineyard style.

Case Study Concert Halls

1900 SYMPHONY HALL

2011 NEW WORLD CENTER

2003

2011

WALT DISNEY CONCERT HALL

KAUFFMAN CENTER

1931 SEVERANCE HALL

2016 ECSU FINE ARTS INSTRUCTIONAL CENTER

1989 MEYERSON SYMPHONY CENTER

2001 VERIZON HALL

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The Hall Timeline addition of curvature

SHOEBOX

second axis of symmetry common curvature of stage e

HYBRID

VINEYARD

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1900

1931

1989

2001

SYMPHONY HALL

SEVERANCE HALL

MEYERSON SYMPHONY CENTER

VERIZON HALL

return to curved shoebox

loss of secondary axis of symm m etry

use of square plan rather than rectangular

2003

2011

2011

2016

WALT DISNEY CONCERT HALL

KAUFFMAN CENTER

NEW WORLD CENTER

ECSU FINE ARTS INSTRUCTIONAL CENTER

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decreasing symmetry of form

Examining Circulation + Public Space

FORM A based on a rectilinear hall form, with public spaces towards the front and surrounding the hall, and service spaces surrounding public space and hall

FORM B based on a curved hall form, with all services towards the back and all public space towards the front, and the hall in the center

hall circulation + public space service space

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1900

1931

1989

SYMPHONY HALL

SEVERANCE HALL

MEYERSON SYMPHONY CENTER

addition of secondary halls

no symmetry of form

hall meets exterior wall hall no longer central

2001

2003

2011

2011

VERIZON HALL

WALT DISNEY CONCERT HALL

KAUFFMAN CENTER

NEW WORLD CENTER

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seating spaced at

ceiling sloped inward an optimal 5” apart

to project sound

Reverberation Time:

calculated between 1.9 and 2.1 seconds

(InfrastructureUSA, 2019)

07 | Architectural Discourse Timeline the International Style is developed alongside Expressionism and the Avant Garde

1920s

Walter Gropius founds the Bauhaus

1919

Art Nouveau is popularized, integrating traditional precedents, modern technology, and organic forms, showing a move away from symmetry and the classical

1900

Symphony Hall is completed by McKim, Mead, & White; the acoustics were done by Wallace Sabine

1900

architect Louis Sullivan coins the phrase “Form follows function,” ushering in the modern age

1896

Wallace Sabine first develops building acoustics and uses the practice to improve the Fogg Lecture Hall

1895

École des Beaux-Arts is granted independence from the French government. It teaches the Neoclassical style through an emphasis on symmetry and classical details

1863

the first major symphony orchestras and opera houses emerge

1800s

Revivalism comes to the U.S., further solidifying the Neoclassical as the national style

1800s

Jefferson begins construction of Monticello and Neoclassical emerges as the national and idealistic style in the U.S.

1768

the Neoclassical style first takes root in England and France

1750

concert halls evolve as individual entities

walls, floors, and

1700s

Boston Symphony Hall Acoustics

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Eastern Connecticut State University Fine Arts Instructional Center by S/L/A/M Collaborative and William Rawn Associates is completed

2016

The Journal of the ASA finds Symphony Hall to be one of the highest ranking halls in terms of sound quality (Beranek)

2016

the New World Center by Frank Gehry is completed

2011

the Kauffman Center for the Performing Arts by Moshe Safdie and BNIM

2011

the Walt Disney Concert Hall by Frank Gehry is completed

2003

Verizon Hall by Rafael Viñoly Architects is completed

2001

the Meyerson Symphony Center by I.M. Pei is completed

1989

the Deconstructivist Architecture Exhibition opens at the MoMA, features works by prominent deconstructivist architects

1988

the movement against Modernism takes hold

1970s

the Berlin Philharmonie by Hans Scharoun becomes the 1st “vineyard style” concert hall

1963

Jane Jacobs publishes The Death and Life of Great American Cities

1961

tthe International Style matures post-WWII and becomes the dominant American Style

1950s

Modern Architecture: International Exhibition opens at the MoMA featuring works from the Bauhaus and prominent modern architects

1932

Severance Hall is completed by Walker & Weeks

1931

the rise of the Nazi Regime and their rejection of the Modern style

1930s

the Acoustical Society of America is founded

1929

Cost vs. Quality $83 $136 $102 $200+ $100 - $200 $0 - $100

$167 $198 $237

$34 - $200+

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1900 | Symphony Hall

1931 | Severance Hall

1989 | Meyerson Symphony

Acoustic Rating (Beranek) 4.4/5 Cost of Build $771,000 Total SF 9,375 sf Main Hall 2,625 seats Number of Halls 1

Acoustic Rating (Beranek) 4.2/5 Cost of Build $7,000,000 Total SF 42,000 sf Main Hall 2,000 seats Number of Halls 2

Acoustic Rating (Beranek) 4.3/5 Cost of Build $106,000,000 Total SF 260,000 sf Main Hall 2,066 seats Number of Halls 1

$100 - $200

$25

$100 - $200

$15 - $50+

$100 - $200

$300 - $400 $100 - $200 $100 - $300

$400 - $500 $100 - $300

$300 - $400 $100 - $200

*special $20 ticket events

$50+

2001 | Kimmel Center

2003 | Walt Disney Hall

2011 | Kauffman Center

2011 | New World Center

Acoustic Rating (Beranek) 2.7/5 Cost of Build $235,000,000 Total SF 450,000 sf Main Hall 2,547 seats Number of Halls 2

Acoustic Rating (Beranek) 3/5 Cost of Build $130,000,000 Total SF 156,000 sf Main Hall 2,265 seats Number of Halls 1

Acoustic Rating N/A Cost of Build $413,000,000 Total SF 570,000 sf Main Hall 1,600 seats Number of Halls 3

Acoustic Rating N/A Cost of Build $160,000,000 Total SF 100,641 sf Main Hall 756 seats Number of Halls 1 | 10

Annotated Bibliography

Barber, Megan. “The 24 Most Spectacular Theaters in the U.S.” Curbed, Vox Media LLC, 25 Jul 2019, from <https://www.curbed.com/2017/3/15/14927584/ best-theater-concert-opera-united-states>.

This article, much like Vaughn’s, is a list with brief descriptions and photos of architecturally impressive concert halls in the U.S. Barber also, like Vaughn, only provides basic information about each building with very little architectural or acoustical analysis. This is not an issue, though, because the article is only relevant to me as a source to get case study samples that I will study in more depth regarding their form and plan as the semester progresses. Barber commonly writes about architectural topics, such as shipping container homes and concert halls, and is the news editor at Curbed, the website on which this article was published. Curbed is an architectural website for the non-architect with the goal of raising awareness among the masses for impressive buildings and neat architectural trends.

Beranek, Leo L. “Concert Hall Acoustics: Recent Findings.” The Journal of the Acoustic Society of America, 139, AIP Publishing LLC, 2016 from <https://asa.scitation. org/doi/full/10.1121/1.4944787?showFTTab=true&containerItemId=content%2Fasa %2Fjournal%2Fjasa&>.

This source is a complete research paper regarding concert hall acoustics and people’s perceptions of the sound quality of the hall. Ultimately, based on both subjective ratings based on perceived quality by concert-goers and quantitative research into reverberation, reflection, upholstery, and other acoustic methods the author makes suggestions for the design of future concert halls based on their shape and capacity. This article is relevant to my study of concert halls through the years because it analyzes case study concert halls that I could then use to develop my typological study. It also identifies several concert hall shapes that fall inbetween or outside of the bounds of shoebox or vineyard that could be useful as I analyze plans and forms of a variety of concert halls. Beranek has published many articles and papers on the subject of acoustics and is known as an expert in the field, having taught at MIT and published a well- known textbook on acoustics. In addition to the author’s own qualifications, the paper was published by the Acoustical Society of America, a prominent group in the U.S., and includes references to other scholarly articles and publications on the subject.

Blair, Christopher. “Orchestral Acoustics 101: Vineyard vs. Shoebox.” Adaptistration, Drew Magnus LLC, 4 Aug 2009, from <https://adaptistration.com/2009/08/04/ orchestral-acoustics-101-vineyard-vs- shoebox/>.

Blair begins by describing and examining the shoebox hall and its positive and negative attributes. Interestingly, Blair cites even distribution of sound to all seats as an attribute, which Wagner is her article seems to attribute more to the vineyard-style hall. Blair then describes the history and design of a typical vineyard-style hall. Blair also cites overall good acoustics and clarity as positive attributes to the vineyard style, as well as a closer physical relationship between the audience and the performer(s). He discusses in depth the acoustics of each type of space, ultimately determining that while the vineyard-style has a clearer and louder first order reflection, it has weaker later reflections by comparison. Blair writes the article in relatively simple terms with the goal to make the knowledge accessible to acousticians, architects, and the general public alike. Adaptistration by Drew Magnus seeks to aid orchestras in their management strategies. Blair is a Senior Scientist and Principal Consultant at Adaptistration and is highly trained in acoustics. He is also a part-time conductor and occasional blogger about acoustics.

Consequence of Sound. “The 100 Greatest American Music Venues.” Consequence of Sound, 29 April 2016, from <https://consequenceofsound. net/2016/04/the-100-greatest-american-music-venues/>.

This article is relevant only because it provides me with further options for potential case studies that I will have to research more for this typology study. The website provides the names, locations, and a brief description for these music venues. The descriptions are also less architectural or acoustic and more about how the place may be perceived by a music-goer in terms of cool technology, neat location, or size of the venue. What is also useful about this article is that it provides examples of less well-known or architecturally important music venues, such as smaller concert venues at the edge of cities.

These could be unique examples to study, as they represent more vernacular music venues. No information is provided on the specific author, only that it was written by staff from the website. The website is a review and information site for a variety of entertainment forms including music, film, and TV.

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Karleva, Sabina. “Architecture as Frozen Music: 10 Extraordinary Concert Hall Designs.” Arch2o, 2020 from <https://www.arch2o.com/extraordinaryconcert-hall-designs/>.

Karleva begins by providing a bit of background on concert hall design and acoustics, then delves into her examples. This article will be useful in gathering case study samples of successful concert halls. A potential drawback to this article, though, is that Karleva discusses the architecture mainly from a generalized design standpoint and doesn’t provide much information in the way of acoustic performance or detailed analysis. Despite this, I think this article will be a good source to find case studies that will then need more detailed analysis in regard to plan and form. Karleva has been an author at Arch2o since January 2016. She will be graduating from the Cologne University in Media and Art History with a Master’s. She has commonly reviewed art and design subjects.

Mears, Chuck FAIA. “Shapes and Sounds: Designing Concert Halls with Curves.” The Construction Specifier, CSI, Kenilworth Media Inc., 24 June 2014, from <https:// www.constructionspecifier.com/shapes-and-sounds-designing-concert-halls-with-curves/>.

Mears emphasizes the effect the interior shape of a concert hall and its details can have on the sound experienced within the hall. This article discusses a bit of the history of acoustics and concert hall design. In addition to providing information on the history and acoustics of concert halls, Mears also goes in depth with the success stories of the Kauffman Center and the New World Center that could be useful as I further research typologies and select case studies. The author is trained in acoustics, cold-form steel framing, and 3D modelling and fabrication technology. He is a Fellow of the American Institute of Architects and is the chief design officer and founder of Radius Track Corporation. Because Mears is an educated designer and builder, he is a reliable source of information.

Vaughn, Brooke. “13 U.S. Music Halls that Raise the Bar.” Afar, March/April 2019 Issue, Afar Media, 13 Feb 2019, from <https://www.afar.com/magazine/13-usmusic-halls-that-raise-the-bar>.

Vaughn lists and discusses exceptional 13 American concert halls. She provides only basic information and a photo for each concert hall. She does not analyze the halls architecturally or acoustically. However, despite these lacking items this list will be useful and relevant to me in helping me select the case studies I will research as the semester progresses. She provides examples of concert halls old and new that could be case studies for my typological study of American concert halls through the years. The website is a travel guide site, meaning the article is likely geared towards tourists looking for cool musical experiences while traveling, thus it does not provide advanced analysis of the spaces. There is little information about Brooke Vaughn available other than that she is an author for the Afar website on which this article was published.

Wagner, Kate. “How the Vineyard-Style Concert Hall Took Over the World (and Changed How We Hear Music.” Metropolis, 28 May 2019, from <https://www. metropolismag.com/architecture/concert-hall- acoustics-design/>.

This article discusses how, in a relatively short time, vineyard-style concert halls came to be the most common style of concert hall, thus almost entirely replacing the shoebox-style hall. The goal of the vineyard hall was to make every seat an ideal listening place, but this goal of standardization is at odds with the “starchitecture” nature of famous concert halls. The author discusses various reasons for the proliferation of the vineyard-style hall and shares her opinion on the unfortunate shift from concert hall design focusing on music and shared experiences to the singular focus on profit. This article, published in Metropolis, an online architecture magazine, aims to get the attention of fellow architects and raise awareness for developments and challenges in concert hall design. Kate Wagner is an author at Metropolis, as well as a contributor to Curbed and The Baffler, who has written several articles regarding acoustics. She is known for her knowledge about architectural history and her blog entitled “McMansion Hell” that aims to educate the general public about architecture, urban planning, environmentalism, and history.

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