Akustyczna przestrzeń dla muzyki. Unikatowe efekty współpracy studia architektonicznego Tomasza Koniora z zespołem Nagata Acoustics

Abstract

Acoustic space for music: the unique effects of the cooperation between the architectural studio of Tomasz Konior and the Nagata acoustics team

Music connoisseurs judge architectural objects intended for music listeners in terms of their acoustic qualities. At the turn of the 19th and 20th centuries three concert halls were particularly appreciated by the public: the Gewandhaus in Leipzig, the Concertgebouw in Amsterdam and the Symphony Hall in Boston. The latter was famous principally because it was the first time Wallace Sabine, a mathematician specializing in acoustics, had been engaged in collaboration with the designers responsible for the architectural form of the building. All three halls are rectangular shoebox spaces. It was only after the Second World War that Hans Scharoun introduced a new type of concert hall in Berlin, with a stage surrounded by rows of seats for the audience. Over time this type came to be referred to as a vineyard. When the Konior Studio architectural office began designing facilities for concert halls in Katowice, the acoustic quality of the halls was considered crucial for the designers. In the Symfonia concert hall in Katowice, Polish acoustic specialists were invited to collaborate with the architects, and while designing the home of the National Polish Radio Orchestra in Katowice and the State Music School Complex in Warsaw, the same architectural studio decided to collaborate with the Japanese company Nagata Acoustics. The author of the article analyzes the effects of this collaboration.

Słowa kluczowe: akustyka; sale koncertowe; architektura; Konior Studio; XXI w.

Key words: acoustucs; concert halls; architecture; Konior Studio; 21st century.