Kavvya S

15BAR0002

Critic: Schauspielhaus, Berlin

Modern Architectural thought – DA2

The Schauspielhaus, also known as the Konzerthaus located in Berlin is found in one
of the most prominent squares of the city, the Gendarmenmarkt in Mitte district. The
concert hall was designed and constructed by Karl Friedrich Schinkel who was the pioneer
for many German neoclassical buildings that were found in Berlin. The structure was
constructed between 1818 to 1821 and held many names over time but always represented
on the musical front.

The idea for the Schauspielhaus was initiated after the first concert hall in Berlin
located in Friedrichstadt was destroyed by a fire after its opening. It gave an opportunity for
a new design and also for it to be relocated in the heart of the city. Given its location, it
became a cultural hotspot and also encased the Prussian National Assembly during the 1848
revolution. Several outstanding musical events that took place here include premieres of
ETA Hoffmann's Opera "Undine", in 1816, Weber's "Der Freischütz", and Beethoven's
Symphony No. 9. Wagner conducted his "Fliegender Holländer" (The Flying Dutchman).
Elegant residential buildings were built in its surrounding over time.

One of the key elements integrated into the design of the Schauspielhaus was the
inclusion of the already existing foundation of a simple rectangular building which already
stood on site, with its north entrance and six iconic portico pillars in the centre of the
longest wall. The architect’s idea was to divide the structure into three parts with a higher
and wider central structure. He used the staircase, the portico and the ornamental crowning
of the central building to create a decorative façade. The central section contained the large
theatre hall, the north wing contained the rehearsal halls, wardrobe and storage while the
smaller concert hall was located at the south wing. These are all connected by two
staircases. The connecting passage originally served as a transit for horse carriages.

The Konzerthaus is based on the classic ‘Shoebox’ design, which means its hall is tall,
long and narrow. Over trial and error over many years in the past, this approach seemed to
best suit concert halls due to the ideal early lateral reflections off the side walls of the room.
There are also transparent sound reflectors on either side of the stage to ensure performing
musicians can hear themselves adequately. The science of acoustics enabled the
development of only the desired sounds to be heard by the general audience. In addition, a
steerable column array speaker system is used to produce sound reinforcement when
required. Acoustically, the Great Hall is one of the best symphonic concert halls in the world.

It was important that the entire building was well ventilated given that its capacity at
its peak was almost 1500 at a time. Significant airflow was regulated without introducing
any noisy ventilation systems, as the listening environment was very important – thus a
displacement ventilation system was used. Air is being supplied through vents placed on the
floor of the concert hall and then evacuated at the ceiling level. The vents are maintained as
an aesthetic element along with the flooring.

A notable event that added to the publicity of the Schauspielhaus was the bombing
that took place in the location during World War II when a bomb fell and destroyed the
concert hall, leading to a fire that shattered the remaining structure. The entirety was left in
ruins for several decades till East Germany found it necessary to have a concert hall in 1976
with the already abundant theatres it housed. It was done specifically house the
performances of the Berliner Sinfonie-Orchester.
 After the dilapidated parts and rubble was removed from the building, only the
outer walls, roof and longer walls of the old construction seemed to be withstanding. Steel
frames were being inserted into the old walls for support and to retain the dimension of the
Schinkel façade till now. The roof is made of concrete and the walls and pillars are of stone.
The sculptures are made of plaster or stucco. Basically the outer façade was made to retain
its integrity from the time that it was built while the interior was completely morphed, but
still imitating the designs and nature of Schinkel’s language for the building. Around 90
companies and specialty organisations toiled for roughly three years in order to complete
the interiors of the building. Money played no role in this and fortunately such intricate
craftsmanship managed to provide great detail and sensitivity to the original Schinkel-era
style, reflecting its original character.

On October 1, 1984 the theatre building was reopened and renamed ‘the
Konzerthaus, Berlin’ to reflect its new purpose, also celebrating Berlin’s 750th anniversary.
There were already some note-worthy changes in place apart from the interiors, such as the
addition of new spaces designed by architect Peter Kulka - namely the Werner Otto Saal and
the visitor service centre. The four different halls have been given their own identity, when
it comes to the colour themes, lighting arrangements, sizes and also the spatial
arrangements. The ornamental figures present before 1984 have been retained till date,
such as the statues of many famous composers.

Bringing music close and unconventionally was one of the main motives of the
Konzerthaus Berlin. The audience sit in the middle of the of the Konzerthaus Orchestra
during the series ‘In the Middle’, allowing the format to enable the audience to experience
new pieces. The Public Rehearsals also not only gives a person an impression of the program
but also the history leading up to the played works, conveyed by the conductor. It is
important to understand that the site and the building, continued to grow and find meaning
to itself since its earliest devastated condition. It was renewed and given purpose again and
never wavered in the way it received respect from the vast majority. The integrity from its
time was maintained throughout and continues to house the most important concerts till
date, also with provisions for more modern showcases of plays and music.

References:
https://www.colejarman.com/2015/07/the-konzerthaus-berlin-an-overview/
https://www.berlin.de/en/attractions-and-sights/3560839-3104052-konzerthaus.en.html
http://philharmonie.com/en/venue/konzerthaus-berlin
https://www.berlin-buehnen.de/de/buehnen/konzerthaus-berlin/
https://theculturetrip.com/europe/germany/articles/the-history-of-the-konzerthaus-berlin-
in-1-minute/
https://www.konzerthaus.de/en/konzerthaus-berlin-architecture
https://artsandculture.google.com/exhibit/the-architecture-of-the-konzerthaus-
berlin/CgJCjHHtt0rJJQ