This thesis explores the relationship between evolving music culture and concert hall design in Amsterdam by comparing two iconic venues: Het Concertgebouw built in 1888 and Het Muziekgebouw aan ’t IJ built in 2005. While both buildings serve as spaces for musical performance, their contrasting designs reflect the cultural, social, and technological values of their respective time periods. By focusing on four specific aspects of design, including historical context and location, typology, acoustics, and programming, this study aims to understand the connection between music culture and architectural expression.

Het Concertgebouw was built as a private initiative to elevate Amsterdam’s classical music scene to the standards of European cultural capitals. Its symmetrical layout, formal hierarchy, and focus on acoustic excellence reflect nineteenth-century ideals of prestige and refinement. Despite limited scientific knowledge of acoustics at the time, the hall’s design achieved world-class sound quality through imitation of other successful venues. Originally focused on symphonic classical music, the Concertgebouw gradually expanded its programming to include a broader range of genres, showing an ongoing adaptation to cultural change.

In contrast, the Muziekgebouw aan ’t IJ was conceived as an inclusive and multifunctional space that reflects diversity of contemporary music culture. Located on the IJ waterfront, its transparent design encourages public interaction and urban integration. Designed by the Danish architecture firm 3XN, the building features innovative acoustic technologies that allow the main hall to be adapted for different musical styles and settings. The Muziekgebouw supports a wide variety of performances and educational initiatives, embracing global influences and technological experimentation.

The study reveals that while both buildings place music at their core, their designs mirror the different values of their time. The Concertgebouw represents formality, tradition, and hierarchy, while the Muziekgebouw embodies flexibility, informality, and inclusivity. Both venues made use of the best available acoustic knowledge of their respective periods and have played key roles in shaping Amsterdam’s musical identity.

The thesis concludes that concert halls are more than acoustic shells: they are cultural statements that reflect society’s relationship with music. As music culture continues to change, driven by globalisation, digital technology, and shifting audience behaviours, architects must anticipate future needs by designing spaces that are flexible, inclusive, and sustainable.