The Pierre Boulez Saal is the new concert hall in Berlin, founded by Daniel Barenboim and re-designed by Frank Gehry, will open this weekend with an inaugural concert that will be live streamed. Its oval shape and its diverse variability distinguish it from most other chamber music halls.
“We must, after all, extend our horizons to include new and unknown worlds as well as those to which we are accustomed.”
Pierre Boulez

The unusual concert hall, which is more quiet than most of Gehry’s other work, was designed in collaboration with the acoustician Yasuhisa Toyota of Nagata. Gehry donated his services to the project.

The Pierre Boulez Saal is part of the conversion of the former stage depot of the State Opera Unter den Linden, the Magazin, into the Barenboim-Said Akademie. The concert hall will serve as the “public face” of the Barenboim-Said Akademie, which trains young musicians from the Middle East.
The wood-clad hall has flexible seating configurations for up to 700 people over two levels that surround the musicians on all sides. The upper level is a set of two oval shaped, column free, sloping balconies, which are rotated slightly against the axis of the oval stage, enhancing the sight lines.
 
After a four‐year building programme that has gone entirely according to plan, Berlin’s new Pierre Boulez Hall will open with a gala concert under the direction of Daniel Barenboim. As honorary guest, German President Joachim Gauck is going to attend the opening concert on 4 March. The newly formed Boulez Ensemble will present works by Boulez, Schubert, Mozart, Jörg Widmann and Alban Berg.
 
The Barenboim-Said Akademie (BSA) was created in the spirit of the West-Eastern Divan Orchestra, established in 1999 by Daniel Barenboim and the late American-Palestinian literary scholar Edward W. Said.

For more information on the concert hall, the Akademie or to watch the live stream, head over here.
 

Descripción del proyecto 

Overview

The Pierre Boulez Saal is part of the conversion of the former stage depot of the State Opera Unter den Linden, the Magazin, into the Barenboim-­‐Said Akademie. The wood-­‐clad hall has flexible seating configurations for up to 682 people over two levels that surround the musicians on all sides. The upper level is a set of two oval shaped, column free, sloping balconies, which are rotated slightly against the axis of the oval stage, enhancing the sight lines.

The hall is designed for intimacy, with the maximum distance between the conductor and the farthest seat being about 14 meters. The hall readily accommodates performances by soloists, chamber music ensembles and medium-­‐sized orchestras.

Seating Configurations
To achieve immediacy between audience and musicians, the seating is divided into retractable and fixed sections. This flexibility allows the audience to be as close as possible to the musicians.

For solo and small ensemble performances the front row seats are placed directly on the stage. By eliminating the traditional stage edge between musicians and audience, the boundary between performers and listeners is dissolved. For improved sightlines, the seat rows further back are on tiered telescopic seating platforms. The uppermost tier is a row of built-­‐in bench seating, the only fixed seating on the entry level. The balcony seats are also fixed, but leave open areas for off-­‐stage musicians.

Exterior Envelope
To provide the required acoustical volume for the hall, the floor slabs and shear walls of the existing Magazin building were removed and only the façade and roof maintained. On the east and south sides, four bays of three windows each connect the hall visually to the surrounding neighborhood and make the space feel like a room in the city. Because of this, the interior of the hall reflects the ever-­‐changing Berlin sky.

On the west side, another four bays of three openings connect to the four story atrium of the music academy. On the ground floor and first floor, these openings have been converted into sound and light locks, and on the second floor they provide a visual connection between the atrium and the hall.

Balcony
The balcony is designed like a bridge and tied back into two new concrete shear walls concealed in the north and south façades. The balcony structure is a concrete truss with a trapezoid cross section, with an openness factor of over 35% for acoustics. Like a speaker, the open face of the structure is clad with acoustically transparent material that lets the sound pass through and reflect off the main walls of the room.

Materials
The walls and the ceiling are made of vertical grain douglas fir panels. The surfaces requiring air permeability are either left open or clad with speaker fabric. The railings are made of painted steel. The seats and the seat fabric are both custom designed by Gehry Partners, LLP.

The wall and ceiling surfaces are slightly undulated in response to the acoustics, and the windows are built out of three layers of glass to achieve sound separation to the street.

 

 

Read more
Read less

More information

Label
Architect
Text
Frank Gehry, Founder and Principal, Gehry Partners, LLP
+ + copy Created with Sketch.
- + copy Created with Sketch.
Label
Project Leadership
Text
Daniel Barenboim, Founder, Barenboim-­‐Said Akademie
Michael Naumann, Director, Barenboim Said Academy
Carsten Siebert, Chancellor, Barenboim Said Academy
Tabaré Perlas, CEO, Daniel Barenboim Stiftung
Ole Bækhøj, Director, Pierre Boulez Saal
+ + copy Created with Sketch.
- + copy Created with Sketch.
Label
Team
Text
Architect.- Design Partner – Frank Gehry
Project Designer – Craig Webb
Managing Partner –Laurence Tighe
Project Architect – Gesa Buettner
Chief of Staff – Meaghan Lloyd
Project Team – Christopher Skeens, Alvar Mensana, Fayez Ahdab, Liron Elkan, Andrew Graham, Joseph Justus, Kumiko Koda, Justin Oh, Mok Wai Wan



Acoustician.- Yasuhisa Toyota, Founder and President, Nagata Acoustics America
+ + copy Created with Sketch.
- + copy Created with Sketch.
Label
Collaborators
Text
Acoustician, Nagata Acoustics America, Inc.
Room Acoustics: Los Angeles, California
Acoustical Team: Dr. Yasuhisa Toyota Daniel Beckmann
Architect, HG Merz
Barenboim Said Academy: Berlin, Germany
Executive Architect: RW+ Berlin, Germany
Acoustician, Mueller-­‐BBM
Sound Separation: Berlin, Germany
Structural Engineering: GSE Ingenieur-­‐Gesellschaft mbH Berlin, Germany Building Services: ZWP Ingenieur-­‐AG Berlin, Germany
Theater Consultant: Ingenieurbüro Schaller Karlsruhe, Germany
Lighting Designer: L’Observatoire, Inc. New York, USA
Sound & Projection Sonitus, LLP
Consultants: Los Angeles, USA
Project Manager: teamproject Berlin, Germany
+ + copy Created with Sketch.
- + copy Created with Sketch.
Label
Size
Text
990 square meters (10,660 square feet) Room Dimensions: 23.5m W x 26.5m L x 14m H
+ + copy Created with Sketch.
- + copy Created with Sketch.
Label
Cost
Text
33.7 M Euros for the academy and concert hall
+ + copy Created with Sketch.
- + copy Created with Sketch.
Label
Key Dates
Text
2012: Barenboim-­‐Said Akademie established; start of planning phase
May 6, 2014: Construction of Pierre Boulez Saal begins
June 15, 2015: Topping-­‐off ceremony
October 2015: BSA starts a pilot program for students
October 2016: BSA welcomes first class of students
March 4-­‐5, 2017: Inaugural concerts
+ + copy Created with Sketch.
- + copy Created with Sketch.
Label
Location
Text
Französische Straße, between the Staatsoper Unter den Linden and the Federal Foreign Office Building. The Pierre Boulez Saal has been created in a portion of the Staatsoper’s former storage building (the Magazin), constructed in 1952-­‐55 and designed by Richard Paulick. It stands in the Mitte district, the culturally vibrant and historic center of Berlin, in close proximity to Humboldt University and Museumsinsel (Museum Island).
+ + copy Created with Sketch.
- + copy Created with Sketch.

Frank Owen Gehry, was born in 1929 in Toronto (Canada), but adopted American nationality after moving to Los Angeles in 1947 with his parents. He graduated in Architecture in 1954 from the University of Baja California and began working in the studio of Victor Gruen. After completing his military service, he studied Urban Planning at Harvard and returned to Gruen’s office. He moved to Paris in 1961 with his wife and two daughters, where he worked for a year with André Rémondet. In 1962, he opened his own studio –Frank O. Gehry and Associates– in Los Angeles, from which he has worked on projects in America, Europe and Asia for five decades now.

He rose to prominence in the 70s for his buildings with sculptural forms that combine unusual industrial materials such as titanium and glass. During this same period, he began to develop a role as a designer of furniture with his Easy Edges collection, conceived as a low-cost range comprising fourteen pieces made out of cardboard, subsequently followed by the more artistic range, Experimental Edges. Since the late 80s, the name of Frank Gehry has been associated with the deconstructionist movement, characterized by fragmentation and the rupture of a linear design process, resulting in buildings with a striking visual appearance. The Guggenheim Museum in Bilbao (1997) and the Nationale-Nederlanden building in Prague (1996), known as the Dancing House, may be considered among the most prominent examples of this formal language. Likewise noteworthy among his works are the Aerospace Museum of California (1984), the Vitra Design Museum in Weil am Rhein, Germany (1989), the Frederick Weisman Art Museum in Minneapolis (1993), the DZ Bank building in Berlin (1998), the Gehry Tower in Hannover (2001), the Massachusetts Institute of Technology Stata Center in Cambridge (2003), the Walt Disney Concert Hall (2003) and the Maggie's Centre in Dundee, Scotland (2003). Gehry has also worked on a museum of contemporary art in Paris for the Louis Vuitton Foundation, the design of his first playground in New York, at the southern tip of the island of Manhattan known as The Battery, and the remodelling and recovery of Mayer Park in Lisbon, which included the restoration of the Capitolio Theatre. In Spain, 2006 saw the opening of the Herederos del Marqués de Riscal winery in Elciego (Álava), and he has also designed the Sagrera Tower in Barcelona.

His work has been the subject of numerous case studies and, in 2006, the film director Sydney Pollack released the documentary Sketches of Frank Gehry, presented at Cannes. In that same year, he presented his project for the new Guggenheim Museum in Abu Dhabi. In 2008, he designed the Serpentine Gallery Pavilion in Hyde Park, London. The first residential building in Asia designed by Gehry, the Opus Hong Kong tower, was opened in 2012. He is currently working on the design of the Eisenhower Memorial to be built in Washington; on the West Campus that Facebook is to build in Menlo Park, California and on the project of a residential tower in Berlin, which will become the tallest skyscraper in the city.

His designs have received over one hundred awards around the world. Noteworthy among the distinctions he has received are more than a dozen honorary degrees, the Arnold W. Brunner Memorial Prize (USA, 1977), the Pritzker Prize (1989), the Wolf Prize in Arts (Israel, 1992), the Praemium Imperiale (Japan, 1992), the Dorothy and Lillian Gish Prize (1994), the Friedrich Kiesler Prize (Austria, 1998), and the Twenty Five Year Award from the American Institute of Architects (2012). He also holds the National Medal of Arts (USA, 1998), the Lotos Medal of Merit (USA, 1999), the Gold Medal of the American Institute of Architects (1999), and the Royal Gold Medal for the promotion of architecture (2000), awarded by the Queen of England. Gehry has been a member of the Pritzker Prize Jury and of institutions such as the American Academy of Arts and Letters, the American Academy of Arts and Sciences, the US National Design Academy and the Royal Academy of Arts.

Read more

Gehry Partners, LLP. The Gehry Partners team on the Battersea project is headed by Craig Webb and Brian Aamoth. Gehry Partners, LLP is a full service architectural firm with extensive international experience in the design and construction of academic, museum, theater, performance, commercial, and master planning projects.

Founded in 1962 and located in Los Angeles, California, Gehry Partners currently has a staff of approximately 125 people. Every project undertaken by Gehry Partners has Frank Gehry personally involved. Frank is supported by the broad resources of the firm and the extensive experience of the firm’s senior partners and staff. On Battersea, the design team will be led by Craig Webb who has collaborated with Frank for over 20 years. Current projects include: Guggenheim Abu Dhabi; LUMA Foundation in Arles, France; Divan Orchestra in Berlin; Eisenhower Memorial in Washington, D.C.; King Street Development in Toronto, Ontario; Philadelphia Museum of Art in Philadelphia; Q-MOCA in Quanzhou, China; and West Campus for Facebook in Menlo Park, California. Projects under construction include the Puente de Vida Museum of Biodiversity in Panama; Foundation Louis Vuitton Museum in Paris, France and the Dr. Chau Chak Wing Building for the University of Technology, Sydney, Australia.

Raised in Toronto, Canada, Frank Gehry moved with his family to Los Angeles in 1947. He received his Bachelor of Architecture degree from USC in 1954, and studied city planning at the Harvard University Graduate School of Design. He founded Gehry Partners, LLP, in Los Angeles in 1962, a full-service architectural firm that developed extensive international experience in the design and construction of academic, museum, theater, performance and commercial projects.

Hallmarks of Mr. Gehry’s work include a concern that people dwell comfortably within the spaces that he creates, and an insistence that his buildings address the context and culture of their sites.

Despite his international stature and renown, he continues to be closely associated with Los Angeles, where his 1978 redesign of his Santa Monica home launched his international career.

“Frank holds a special place in his art for the work of contemporary artists. He was a central figure in the contemporary art world in Los Angeles in the 1960s and 70s, working closely with Billy Al Bengston, Larry Bell, John Altoon, Bob Irwin, Ed Moses, Ed Ruscha and Ken Price. And he continues to work closely with artists, including Claes Oldenburg and Jeff Koons, for whom he has collaborated on deeply sensitive installations of their work,” said Cuno. “Given his contributions to architecture, and the Getty’s extensive research and collections in Los Angeles art and architecture at the mid-century and beyond, and the commitment of the Getty Conservation Institute, the Getty Foundation, and the Getty Research Institute to the conservation and study of modern architecture, it is fitting that we present Frank with our highest honor.”

Read more
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...