Blending architecture with acoustic design, and with the Swiss Alps as its backdrop, the Klangwelt Toggenburg cultural centre celebrates sound by capturing textures and rhythms typically found only in nature and offering them as 3D recordings and spatial compositions to immerse listeners in a unique sonic environment.
The venue has its roots in a walking trail featuring 27 art and sound installations from 20 years ago. Evolving into a series of captivating locations, the new Klanghaus and Peter Roth Resonance Centre (Resonanzzentrum) invite visitors to engage with sound in an entirely new way. The Resonance Centre houses the Klangdom, Switzerland’s first sound dome, equipped with Genelec Smart IP loudspeakers delivering a one-of-a-kind auditory journey.
The project was spearheaded by Idee und Klang, a Swiss audio design company with a history of collaboration with Klangwelt. ‘Our existing partnership resulted in us being invited to join the latest project,’ says Ramon De Marco, Sound Sceneographer at Idee und Klang. ‘The concept was extraordinary, but bringing it to life presented a real challenge. ‘There were many discussions about what the project would be.’
The Peter Roth Resonance Centre is an introduction to Klanghaus and the world of sound. On the third floor, the Klangdom overlooks the local landscape and offers an interactive audio experience. ‘The Klangdom was conceived as a dedicated space for listening,’ De Marco states. ‘The aim is to guide visitors into the essence of sound – sometimes contemplative and meditative, sometimes ecological and cultural.
‘We developed the technical concept, alongside Arev Imer, a freelance audio engineer,’ he continues. ‘Due to the architectural and acoustical complexities of the dome, a sound system was needed that could overcome these challenges. We specified Genelec from the beginning. They deliver the perfect combination of studio-quality audio, precise performance, and enduring reliability.’
The dome comprises loudspeakers mounted on three metal rings to create a dynamic listening environment. During the installation, the rings offered limited cable access, causing unexpected complexities.
‘Due to the motion of the rings, careful acoustic planning was essential to achieving the desired result,’ De Marco says. ‘From experience, I know that planning is just as critical as the loudspeakers themselves. In this case, the Smart IP models proved invaluable thanks to their single-cable design.’
Thirty-three 4430 Smart IP loudspeakers are installed in the Klangdom, bringing to life an immersive three-dimensional soundscape. ‘I’ve been familiar with Genelec loudspeakers for a while,’ says Imer. ‘I was excited to work with the 4430 model, particularly due to its Dante and AES67 networking capabilities.’
Eight 4430s are mounted on each of the top and bottom rings, with 16 on a larger ring in the middle. Additionally, a central Voice of God loudspeaker is installed at the top of the dome.
Loudspeakers were grouped into small hubs on the rings, with each hub delivering a distinct layer of audio that can grow into an immersive soundscape within the space. ‘Using Dante Controller and Virtual Soundcard, we identified, named and routed the loudspeakers, and with the help of Smart IP Manager, we achieved a flat frequency response complementing the room’s acoustic treatment,’ Imer says. Idee und Klang mixed all the audio for the Klangdom, using the loudspeaker hub configuration for precise and dynamic distribution, enhancing the immersion and spatiality of the experience.
‘Every hour, a 15-minute introduction is played through the loudspeakers, alternating between two different versions,’ says De Marco. ‘Both begin with a poetic journey – from the origin of sound to the present – combining custom 3D recordings with archival material.’
The first of these draws attention to soundscapes and acoustic ecology, immersing visitors in the sonic environment of Toggenburg. The second emphasises natural music, such as overtone singing. ‘It is planned that the system will be used for spatial compositions, generative Ambisonic textures, and commissioned works that explore the full 33-channel setup of the loudspeakers,’ De Marco adds.
‘At the opening, we were approached by so many visitors about the impressive audio quality. Our clients and other audio professionals in attendance had only positive things to say.’
‘This was an incredible opportunity to work on an immersive, publicly accessible multichannel listening space,’ Imer notes. ‘Unlike conventional environments, this installation invites visitors into a space dedicated entirely to the art of listening.’
‘Free of visual distractions, the dome highlights listening as an embodied, collective act, one where space itself becomes the instrument and sound is a bridge between people, culture and environment,’ De Marco concludes.
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