acoustic venues

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Acoustic Venues www.MuellerBBM.com opera houses · concert halls · event arenas · open-air theatres · plenar halls · assembly rooms

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The acoustics enhance the interpretation Acoustic venues deeply influence the cultural life of a city – not only by providing locations for artistic events but as architectural symbols themselves. Theatre, concerts, operas, musicals, lectures and films all demand spaces in which to be effectively presented; spaces which determine not only the visual but also the acoustic quality of such experiences. This is where Müller-BBM focuses its expertise.

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Page 1: Acoustic Venues

Acoustic Venues

www.MuellerBBM.com

opera houses · concert halls · event arenas · open-air theatres · plenar halls · assembly rooms

Page 2: Acoustic Venues

Individual experience – objectifiable values

Irrelevant whether building a new construction or reno-

vating an existing structure: we are always concerned

with that critical area of tension which lies between

individual experience and objectifiable values in our pur-

suit of a specific, customized result. Since 1962 we have

been supporting clients, architects, technical planners

and users with our expertise in room acoustics, structu-

ral and electro-acoustics in addition to sound immission

and vibration control in numerous countries throughout

the world. Thus, we are able to contribute, through

constructive and mutual collaboration, to the overall

success of individual building projects.

Every space has its own unique sound

The starting points from which we address each and

every project are always the individual goals and con-

ditions. We then develop the planning fundamentals

based upon these determining factors. This does not

mean, however, that only the optimization of objective

acoustic criteria, for example ideal reverberation times, is

important. We also consider factors outside our field of

immediate expertise, like the subjective impact of colors

and materials, the value of high-quality rehearsal con-

ditions and much, much more.

Everything for a Superior Tone

The acoustics enhance the interpretation

Acoustic venues deeply influence the cultural life of a city – not only by providing locations for artistic events but as architectural symbols themselves. Theatre, concerts, operas, musicals, lectures and films all demand spaces in which to be effectively presented; spaces which determine not only the visual but also the acoustic quality of such experiences. This is where Müller-BBM focuses its expertise.

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Page 3: Acoustic Venues

A reliable and competent partner

Nationally and internationally recognized artists should

be welcomed with more than just objectively advan-

tageous conditions; they must also perceive them to be

so. Only then is it possible to achieve the superior per-

formances which delight audiences and critics alike. It is,

of course, the performers who finally make a venue re-

sound. In order to create optimal conditions we carefully

examine both the existing conditions and the individual

objectives of the project, develop a design solution and

supervise its implementation. We are thus able to gua-

rantee that the high acoustic standards demanded for a

project are actually achieved.

We would like to present some chosen examples of our

work; demonstrating just a small selection of the services

we offer. If you are interesting in knowing more about a

particular theme we would be delighted to present our

work in detail to you personally.

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Page 4: Acoustic Venues

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Teatro La Fenice, Venice, Italy [ 2002 ]

1,000 seats

»Com´era e dov´era« – as it was and where it was. The

burnt out Venice Opera House »La Fenice« was to be re-

surrected; the phoenix was to rise again from the ashes,

albeit with modern technical, stage and air-conditioning

services and additional rehearsal rooms, in spite of its

confined location between Venetian canals.

The elaborately decorated tiers of the classical,

horse-shoe shaped »Sala Teatrale« are supported by

hidden, larch-wood scaffolding while a similarly effec-

tive timber frame is concealed behind the acoustically

optimized molded ceiling. As in the original design, the

parquet is carried by an enormous resonating body also

constructed of timber. Excellent conditions, there fore,

for incomparable sound demonstrating even longer

reverberation time than in Verdi’s era – in keeping with

contemporary expectations.

Working in Harmony with the Past

Acoustic measures with consideration for the historical framework

By way of an array of concealed detailing, our acoustic solutions can be carefully coordinated within existing historical built fabrics – irrelevant whether the project is one of renovation, restoration, extension or historical reconstruction.

Page 5: Acoustic Venues

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Roman Theatre at Orange, France [ 2006 ]

9,000 seats

This construction, dating from the time of Caesar

Augustus, has long been the scene of many magnificent

cultural events. Our task was to protect the more than

100-meter-long and 37-meter-high end wall from clima-

tic influences without impairing the legendary historical

acoustics. Out of respect for the ancient aesthetics of

this protected heritage site, the architects developed a

lightweight, transparent structure. Computer simulation

and laboratory experiments of innovative materials and

highly specialized detailing established the basis for a

transparent, sound-absorbing roof construction which is

simultaneously capable of withdrawing discreetly from

the colossal roman walling.

Vienna Concert House, Austria [ 2000 ]

Great Hall with 1,800 seats

The Vienna Concert House is considered to be one of

the best in the world. In addition to providing additio-

nal technical plant for air-conditioning and illumination,

it was required that the acoustics be further improved

upon while the historical built fabric was not to be in-

jured in any way. These apparently conflicting require-

ments were reconciled by the development of acoustic

wall constructions which did not visually vary from their

historical predecessors.

Page 6: Acoustic Venues

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Parco della Musica, Rome, Italy [ 2002 ]

Sala Santa Cecilia with 2,850 seats

The sheer size of this concert hall, the largest of three

independent halls in the complex, presented a particular

acoustic challenge. Spanning more than 55 meters, the

timber roof structure contains insulation material which

acoustically protects the space from external noise.

Double-curved ceiling elements of various radii be-

neath the roof ensure an even dispersion of sound and

the desired reflections. By completing intensive model

experiments and computer simulations it was possible

to avoid delayed echoes in spite of various acoustically

reflective areas on walls and ceiling.

Hangzhou Grand Theatre, China [ 2004 ]

Opera House with 1,800 seats

Designed by the Uruguay architect Carlos Ott, the Grand

Theatre is a complex comprising three performance

venues which can be used in parallel; the Opera House

with 1,800 seats, the Concert Hall with 800 seats and a

Black Box space with 500 seats for a variety of perfor-

mance alternatives.

The Opera House is designed to host western-style

opera performances and has an integrated orchestra pit.

Due to the optimization of the room acoustics, however,

Chinese operas, where the orchestra is located at the

side of the stage, also benefit from the highest quali-

ty sound production. Chinese operas require different

acoustics in order for the entire spectrum of the high

frequency of Asian musical instruments to be advan-

tageously presented.

Creative Freedom

Individual acoustic solutions for exceptional situations

Our expertise encourages the development of ambitious forms. One of our goals is the optimal integration of acoustic treatment into architectural compositions.

Page 7: Acoustic Venues

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Auditorio di Tenerife, Santa Cruz, Spain [ 2003 / 2004 ]

Grat Hall with 1,600 seats

Santiago Calatrava’s eye-catching, light-reflecting cres-

cent soars 50 meters into the sky and has become a

highly recognizable symbol. Thanks to the variable

acous tics, the great hall can accommodate not only

operas and concerts, but also pop music and shows. By

way of simu lation and comparative examinations it was

possible to harmonize these novel, innovative spatial

forms with exceptionally high quality acoustics familiar

from many illustrious classical concert halls.

Chiesa di San Pio da Pietrelcina,

San Giovanni Rotondo, Italy [ 2004 ]

Church with 6,500 seats – Piazza for 30,000

The pilgrimage church dedicated to Saint Pio has a spiri-

tual attraction which extends far beyond southern Italy.

The spiral shaped church, designed by Renzo Piano, is

dominated by the structural stone arches and crowned

by the vaulted ceiling above.

The sheer magnitude and unique architecture of the

church demanded an optimization of the acoustic re-

lationships within the space. It was possible, with the

assistance of absorbers and highly-developed electro-

acoustic techniques, to enable both the devoted within

the church and up to 30,000 pilgrims in the forecourt to

be involved in ceremonies transpiring at the altar.

Page 8: Acoustic Venues

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House for Mozart, Salzburg, Austria [ 2006 ]

1,600 seats

The Salzburg Festival celebrated the Mozart Year 2006,

with a new opera and concert house located on the site

of the former small festival hall. The rounded form with

a curved rear wall is reminiscent of historical examples.

The sloping parquet level and graded first and second

balconies offer not only uninterrupted sightlines, but

also excellent direct sound at all seats. The audience is

enveloped by the sound and acoustically involved with

the performance on the stage. When desired the opera

house transforms into a concert hall by the application

of a specially designed orchestra shell.

Niccolo Paganini Auditorium, Parma, Italy [ 2002 ]

800 seats

The architect Renzo Piano caused a semi-transparent con-

cert hall to be erected where trees once grew between

the decaying walls of a former factory. Although transver-

sely restricted by the existing walls, the glazed front and

rear elevations allow the space to become visually open.

The effect of bright reflections occuring on the glazed

facades is neutralized by meter-high, rotating reflectors

located at the back of the hall behind the audience, and

absorbers mounted to the ceiling limit resonance to the

desired level. The acoustics are controlled and directed

into the space by horizontal, staggered reflectors sus-

pended above the podium and audience.

Symphony of Engineering Skill

Good acoustics – a blend of understanding and inventive planning

As a result of our knowledge and experience in the field of the expansion of music and its effect on the human ear, we are able to technically and abstractly define the relationship between musicians and their audience. Thus, in collaboration with architects, unconventional and often extraordinary design solutions can be created.

Page 9: Acoustic Venues

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Essen Philharmonic Concert Hall, Germany [ 2004 ]

1,900 seats

This new construction, within the historic walls of the

Essen »Saalbau«, is predominantly used as a concert hall

independent of any form of electro-acoustic techno logy.

The floor of the parquet level is completely variable in

height thus being easily transformed into a space for

conventions or other large-scale functions. The Essen

Philharmonic Concert Hall is an acoustic space which

enables precise interpretation of not only baroque, clas-

sical and romantic but also modern music.

Auditorium for the Banca Popolare di Lodi, Italy [ 2002 ]

800 seats

This cylindrical construction, symbolically reminiscent of

a repository bursting with money, was initially intended

to function solely as a space for spoken events within

the complex built by the Banca Popolare di Lodi. The

acoustic requirements of the space were extended with

the desire for the room to also function as a concert

hall. Thus the lower wall panels were sloped in order

to prevent the sound from focusing in the center of the

room, and customized tiles with convex surfaces further

enhanced the acoustics. Plaster objects, similar to cham-

pignons, are suspended from the ceiling; they are re-

sponsible for the dispersion and controlled direction of

sound toward the audience.

Page 10: Acoustic Venues

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Megaro Mousikis, Athens, Greece [ 1992 ]

Friends of Music Hall with 2,000 seats

This structure was completed many years after the death

of the architect, Prof. Heinrich Keilholz. The task was

to fit out the existing concrete structure in such a way

that not only symphony performances would profit from

advantageous acoustics, but also that operas, ballets,

conferences and films would also be benefit.

The key to this is the ability to totally recompose the

concert hall as desired: sliding elements in the area of the

podium enable space to be created for a stage and its

mechanics, an orchestra pit and a proscenium. The meta-

morphosis of the space enables the reverberation time

to be reduced from 1.9 to 1.3 seconds, an ideal acoustic

situation for every alternative performance type.

Festival and Congress House, Bregenz, Austria [ 2006 ]

1,800 seats

The Bregenz Festival House was renovated for the occa-

sion of the 60th anniversary of the festival and was de-

signed to successfully accommodate congresses, operas,

lyric theatre, concerts and much more. It was therefore

necessary for the building to be acoustically equipped to

deal with an extensive range of performances.

Optically speaking, the ceiling is a grid construction;

this is, however, acoustically transparent. By applying

ceiling voids and optimizing materials it was possible to

maximize the volume of the space in order to extend the

reverberation time by half a second.

Adjustable fabric coverings in the ceiling cavity enable

technicians to adapt the acoustic characteristics of the

space to the various functions which are to take place.

It is, therefore, possible to provide acoustic clarity for

spoken events and congresses on the one side, and to

create quite different effects for concerts and orchestral

rehearsals on the other.

Diversity of Functions

Flexible solutions for spaces with a variety of acoustic facets

Modern auditoriums are highly complex spaces which, rather than being designed for a single musical genre, must be capable of supporting a huge variety of performance alternatives. When so desired, we design venues to be acoustically flexible for a wide spectrum of musical uses – by way of electro-acoustic techniques as well as conventional structural measures.

Page 11: Acoustic Venues

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Jahrhunderthalle, Bochum, Germany [ 2003 ]

Hall 1 with 2,600 seats

This former industrial building, which is larger than a

soccer field, now plays host to a multi-functional space

for theatre, concerts, pop and other shows. It is there-

fore necessary for both stage and seating to remain

exceedingly flexible. Specifically developed simulation

software determines the optimal location of the mobile

sound reflectors which are mounted on ceiling bridges

along with other technical equipment. Absorbers loca-

ted in the roof structure and curtains for subdividing the

hall into various zones contribute to further reduce the

reverberation time from the original ten seconds to two.

Helmut List Hall, Graz, Austria [ 2003 ]

1,300 seats

This concert hall, which is also used for theatre perfor-

mances and exhibitions, is located in a former industrial

hall. The extreme variability of the space could only be

achieved by determination of the acoustic goals early

in the planning process. The result is a space in which

stage, podium and seating area are all flexible. Intricate,

double-layered curtains reduce the reverberation time

and ensure variable acoustics which can be manipulated

and creatively applied. Among the fixed acoustic equip-

ment are triangular, folded timber side walls which are

specifically responsible for the control of flutter echoes.

Acoustically permeable, stainless-steel mesh walls at the

front and back of the hall conceal absorbers – for both

low-frequency and wide-range frequency sounds – from

the audience.

Page 12: Acoustic Venues

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Lingotto, Turin, Italy [ 1995 ]

2,000 seats

Where the legendary car test track was once in opera-

tion on the roof of the Fiat factory, an underground hall

has now been constructed in one of the three internal

courtyards. An acoustic separation joint between the

building and nearby hotels, shops, and exhibition and

trade fair areas avoids the transfer of structure-borne

sound. The unique capacity of the Lingotto is the mov-

able roof, which alters position depending upon whether

the space is to be used for a concert or a conference.

While a high ceiling is advantageous for music, lending

a desirable reverberance and resonance, a low ceiling is

preferable for clear speech by ensuring more immediate

sound reflections.

National Convention Center, Hanoi, Vietnam [ 2007 ]

3,700 seats

Although the conference hall in Vietnam’s capital city

is predominantly designed for speech, the application

of electro-acoustic facilities enables it to also be appro-

priate for musical performances, for example pop music.

Then it is necessary to employ loud speakers directed

toward the audience. The huge volume of the space

(53,000 m³) demanded numerous sound absorption

measures which needed to be reconciled with the archi-

tectural concept and could be executed with the locally

avail able building materials. The reverberation time

could be reduced by the development of saw-tooth-

like wall fans. The lightweight metal roof was enhanced

to such an extent by an acoustically effective internal

construction that even monsoon rains cannot be heard

from inside the building.

Clear Communication

Optimal acoustics for dialogue and discussion

The monumental dimensions of contemporary spaces often present specific problems in regard to the acoustics. Particularly important goals are the natural and realistic reproduction of the spoken voice and the spatial localization of speakers. Only then can the audience sit back and concentrate on the content of the address.

Page 13: Acoustic Venues

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Bavarian State Parliament

in the Maximilianeum, Munich, Germany [ 2005 ]

Plenary Chamber

An illuminated glass ceiling, glass panels in the walls,

the volume of a concert hall – the renovation of the

state parliament included a variety of elaborate goals.

The principal ambition was to create a sufficiently mu-

ted space with good vocal acoustics. Laboratory expe-

riments determined the basis for a range of important

acoustic measures: reflective wall surfaces were deli-

berately directed and resonating panels were installed

in the front wall for the absorption of low frequencies.

Additionally, the members’ desks were enhanced with

sound absorbing front panels. Air permeable carpets laid

on the perforated access floors not only permit ventila-

tion, but also enhance sound absorption.

German National Parliament

in the Reichstag Building, Berlin, Germany [ 1999 ]

Plenary Chamber

The plenary chamber of the German national parliament

has the dimensions of a church and is one-and-a-half

times larger than the Berlin Philharmonic hall. In order

to ensure ideal conditions for vocal acoustics it was

necessary to optimize all acoustically relevant building

elements by conducting laboratory tests, computer

simulation and building demonstration models. Even the

wall supporting the symbolic German eagle functions as

an acoustic body.

The accessible glass dome, one of the most popu-

lar tourist attractions in Berlin, also demanded skilled

acoustic treatment. Visitors can stroll the dome without

disturbing the politicians below in the plenary chamber

or the parliamentary party rooms.

.

Page 14: Acoustic Venues

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Müller-BBM is an internationally active consultancy with more than 250 employees to be found at different locations within Germany, and represented by numerous project offices throughout the entire world. Our independent consultants, planners and technical specialists advise our clients and take leading roles in the expert fields of buildings, environment and technology.

Since the establishment of the company in 1962, we have been successful in the planning of cultural and event venues; concert halls, opera houses, theatres, open air stages, congress centers, plenary chambers, conservatories of music and churches. We support clients, architects and users in all phases of planning in the field of acoustics and beyond – individually, competently, interdisciplinary, and with a wealth of experience accumulated from a multitude of projects both nationally and internationally.

Page 15: Acoustic Venues

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cover photo

Franz Liszt Concert Hall, Raiding, Austria [ 2006 ]

Chamber Music Hall with 600 seats

The birth house of Franz Liszt in the town of Raiding

in Burgenland was converted into a museum and ex-

tended by the addition of a chamber music hall nearby.

Heavy, convex, vaulted softwood panels on the ceilings

and walls in combination with an optimal volume lend

the hall excellent acoustics for piano concerts, chamber

music performances and smaller orchestral pieces.

Photographic credits:© Auditorio de Tenerife/ José Ramón Oller© Vienna Concert House / Herbert Schwingenschlögl© Imagepoint.biz© Müller-BBM Archive

We would like to express our gratitude for permission to publish these photographs.

Page 16: Acoustic Venues

Müller-BBM GmbH

Robert-Koch-Straße 11

D-82152 Planegg / Munich

Germany

Phone + 49 (89) 85602-0

Fax + 49 (89) 85602-111

www.MuellerBBM.com

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