Echo Equilibrium in (Church) Architecture

Illustration: Una Ulrikke Lund Hanssen

While performing sounds in a building, the echo can simultaneously be invisible and very present. Its intangibility can be found in the way we define it: “The reflection of sound waves off of surfaces in a built environment”. Throughout the duality of sounds, both embracing and frightening, I want to find an equilibrium in the echo. How do we encounter an echo while entering a well-designed architectural space, especially in a church? Large churches have controlled the use of echoes, creating an acoustic grandeur. This is a central element in the repurposing process of churches, where Kulturkirken Jakob in Oslo can be considered a good example. 

The Duality of Sounds

Architects have an important role in constructing spaces that create good auditory experiences. How soundwaves appear in architectural constructions varies from location to location and is tied to the materials used. Irregular surfaces, like diffuser panels or acoustic clouds, can scatter sound waves in various directions, and create a sense of immersion for the audience.[1] The echo, however, is much more than architectural design. I argue that hearing the repeating sounds evokes a multitude of feelings. This encounter can therefore be either embracing or frightening. If the echo is created to contribute to the aesthetics and atmosphere of a space, the embracing feeling can become equal to a warm hug. On the other hand, uncontrolled echoes can be encountered as disruptive and unpleasant, which can easily give us a frightened feeling, like a shiver down our spine. 

This duality, shaped by the architecture of a building, is what fascinates me the most about echoes. When entering a new building, I am immediately conscious of whether I feel connected or alienated in the space. This balanced act of sensing if a building speaks to you can be explained through the presence of an equilibrium, which entails that the opposing forces are stabilized. I want to call this feeling ‘an echo equilibrium’, whereby it can be understood as ‘a calm state of mind’ that occurs when the space you encounter is well-designed, resulting in the acoustics being perfectly in place. 

The Acoustic Intention

The embracing side of the duality is especially tangible in church buildings, where the high ceilings refine most of the acoustic sounds. This brings me to my fascination for churches, which started from a young age. I remember strolling on a hot summer’s day, at a busy square in the middle of a medieval town, where the opportunity to enter a cold, calm and quiet church was such a relief. Since then, I have noticed that an immediate calmness is a recurring experience I have while entering churches. How can I understand my feelings tied to architecture by applying theories about acoustic sounds and echoes, especially in churches?  

In a well-designed space, such as a church building, appropriate sound absorption reduces noise levels and therefore creates a sense of comfort. Alaa Algargoosh, a postdoctoral fellow at Massachusetts Institute of Technology (MIT), researched the acoustic environment’s effect on human experiences and emotions, and she argued that audiovisual congruency strengthens the intensity of the emotional impact.[2] However, this can vary depending on the acoustic intentions of a building. 

The design process of a space is mostly focused on creating perfect sound quality, clarity and control reverberation. Certain elements are used to minimize sound reflections and dampen echoes. Sound-absorbing materials like ceiling tiles, carpets, curtains, and wall panels must be persistent elements in the design process  as most architects aim to avoid creating echoes in buildings unintentionally.[3] According to Ermann, the reflected sounds are generally considered undesirable in most spaces given that the focus is often on achieving a balanced acoustic environment that at the same time minimizes disruptive noises in that space.[4]

Joseph Clarke explains in his book Echo’s Chambers: Architecture and the Idea of Acoustic Space, that the shaping of sounds is one of the primary means of architecture.[5] While he communicates that many methods quantify how sound can behave and be manipulated, he also stresses that most sounds are noticeably incorrect in buildings. Although architects never manage to manipulate the echo vibrations completely, they find acoustics to be a powerful provocation to the disciplinary imagination.[6] If echoes are controlled through the architecture, they can serve as an extension to the already existing sounds. This is especially notable in the case of churches. Therefore, in my opinion, we must not neglect the echo, but find ways to celebrate it. 

Photo: Johannes Andersen

Churches’ Repurposing Process

We can differentiate two types of echoes; slap and flutter echoes. The former is perceived as a single sound return, whereas the latter is a rapid series of decaying echoes. Slap echoes can be generated in churches by a concave or large and flat, reflective surface at some distance from the site of the echo. But hard parallel surfaces cause flutter echoes. These echoes are rarely generated in most church architecture, both traditional or contemporary.[7] However, they are more desirable in larger churches, where longer reverberation times enhance the grandeur of the music. Throughout the ages, these church buildings have been specifically built to provide magnificent acoustic experiences. The presence of certain architectural features, like arches, columns, galleries, and vaulted ceilings, and even the arrangement of seating, are all elements used for influencing sound reflections. Therefore, in a repurposing process, large churches can be argued to become good concert venues. 

A good example of a locally repurposed church is Kulturkirken Jakob. The church was built in 1880 next to the Akerselva river in Oslo. When the church was left empty in 1985, it was saved to become a unique symbolic building that could host events and concerts. Until 2000, this outstanding church was visited by uninvited guests who used the building for accommodation and unregulated rave parties. These activities have now been legalized in the church, albeit in a different form, as the space has turned into a professional cultural arena.[8] In other words, legal raves are still going on, usually in the church’s basement, and are worth a visit! The church also offers a wide variety of concerts, art exhibitions and performances. The possibilities of the space are endless and exciting. 

Considering that churches such as Jakob Kirke have some of the best acoustics in architecture, there is great cultural importance in repurposing abandoned churches. Kulturkirken Jakob is Oslo’s finest example of how sounds in a building influence our encounter, and how this impacts how we experience a concert there. Therefore, we must keep a repurposing process in mind for churches to become vibrating concert venues, which could echo the sounds back to you in a pleasant and harmonious way.

Literature

[1] Fidanci, E. A., “Acoustic in Architecture.” A-articles. 31.03.2023. https://illustrarch.com/articles/15118-acoustic-in-architecture.html#:~:text=Sound%20Diffusion%3A%20Architects%20use%20materials,enhancing%20the%20overall%20listening%20experience.

[2] Algargoosh A., Soleimani B., O’Modhrain S and Navvab M. “The impact of the acoustic environment on human emotion and experience: A case study of worship spaces”. Building Acoustics 29, no. 1 (January 2022): (85-106) 88. DOI: https://journals.sagepub.com/doi/10.1177/1351010X211068850.

[3] Fidanci, E. A., “Acoustic in Architecture.” A-articles. 31.01.2023. https://illustrarch.com/articles/15118-acoustic-in-architecture.html#:~:text=Sound%20Diffusion%3A%20Architects%20use%20materials,enhancing%20the%20overall%20listening%20experience.  

[4] Ermann, M., Architectural Acoustics Illustrated (New Jersey: John Wiley & Sons, Inc. Hoboken, 2014), 66.

[5] Paletta, A., “Echo’s Chambers Investigates Architecture’s Aural Dimension”. Metropolis. 23.07.2021. https://metropolismag.com/viewpoints/echos-chambers-book/.

[6] Paletta, A., “Echo’s Chambers Investigates Architecture’s Aural Dimension.” Metropolis. 23.07.2021. https://metropolismag.com/viewpoints/echos-chambers-book/.

[7] Borgerson, B., “Church Acoustics: Four Must-Know Basic Concepts.” Church Production. 09.10.2021. https://www.churchproduction.com/education/church-acoustics-four-must-know-basic-concepts/.

[8] Jakob, “Kulturkirken Jakob – et historisk riss.” https://www.jakob.no/om-jakob/historie.