Near the ruins of the Great Wall of China in Jinshanling stands a mysterious building in the shape of a boulder. Designed by Open Architects, the open-air concert hall was conceived in such a way that it doesn't interfere too much with its surroundings, while at the same time offering excellent acoustics with its cave-like interior. Where sound could reflect off the walls and then emerge from openings in the ceiling, capturing sound of rainfall, soft breeze, and insects chirping to create an "ever-changing symphony" of nature.
The Chapel of Sound's construction was a challenging undertaking. 10,000 individual rebars were bent and connected into position to hold the structure as layers upon layers of concrete were poured into prepared moulds composed of thousands of tiny, irregularly shaped pieces of wood plate.
Without disturbing Chapel of Sound's intricate construction, ERCO luminaires were woven into the concrete as it was poured into the mould one layer at a time. Starpoint and Atrium luminaires are installed in a unique housing that makes maintenance possible without requiring extensive reconstruction work. Numerous tests were conducted to make sure that the housing could withstand being placed during construction and that our luminaires could withstand the building's semi-outdoor environment.
The whole process took four years, as the different temperatures in the different seasons meant that the concrete froze in the winter due to the cold and didn't harden in the summer months due to the heat.
ERCO’s previous experience in relighting the Düsseldorf theatre showcased its possibility to integrate itself in concrete structures. Düsseldorf theatre was built in 1970s and underwent a refurbishment that aimed to retain the German post-war modernism design style. The iconic ‘Concrete volcano’ exterior of the previous light fixtures were preserved and fitted with ERCO’s Kona projectors as part of the "ERCO individual" service.
The environmental impact on its surrounding environment was a major concern for OPEN architecture. The construction has been designed to require the least amount of artificial intervention.
The building itself consumes very little energy because it does not use any heating or air conditioning, and the performance hall is well-lit by natural light coming in via the vast roof opening, which reduces the need for artificial lighting during the day. However, at dusk, lighting designers observed the need for artificial lighting despite the initial design’s preference of natural illumination.
To achieve the unique dark tone of its concrete environment, crushed local rocks mixed into the concrete, allowing the building to blend into the site as if it has been there all along.
Beyond being a concert hall, the chapel of sound challenges the architecture of creating impeccable acoustics without the use of sound-absorbing materials. To create a stage without disrupting its environment. And the result is a phenomenal space, lending itself for various performances while offering panoramic views of the Great Wall and the valley it finds itself in.
