Culture Center Student Opera Celebrating campus culture The square features natural stone, amplifying spaciousness and reverberance. The quiet lobby-to-auditorium pathway employs textiles and subdued lighting to amplify intimacy. Flowing wooden panels diffuse sound evenly, mirroring live performances’ dynamic nature. Visual & acoustic synergy An outdoor cinema, a flexible lobby and a café turning into a bar all aims at capitalizing on the campus proximity and utilization from morning to evening. Blending the lobby with the plaza, activity flows in all parts of the site during all times during the day for a more vivid musical campus. The lobby is strategically positioned as a buffer zone for the auditorium and rehearsal hall to mitigate disturbances from the urban environment. The decision to adorn the exterior of the auditorium with thick turned wood panels serves to absorb unwanted noise, ensuring optimal sound quality within. Managing the city noise This campus opera explores acoustic and architectural contrasts in symbiosis through a ”Sequence of Sounds”, using architecture to create distinct audial perceptions throughout the site. The square resonates with vastness, while the lobby hums with activity. Visitors transition into the utterly silent auditorium-walkway, getting hushed by the acoustics before the performance inside. Delve into an acoustical experience in every part of the site. The rugged exterior in granite juxstaposes the smooth undulating wooden core. Culture Center Student Opera Celebrating campus culture The square features natural stone, amplifying spaciousness and reverberance. The quiet lobby-to-auditorium pathway employs textiles and subdued lighting to amplify intimacy. Flowing wooden panels diffuse sound evenly, mirroring live performances’ dynamic nature. Visual & acoustic synergy An outdoor cinema, a flexible lobby and a café turning into a bar all aims at capitalizing on the campus proximity and utilization from morning to evening. Blending the lobby with the plaza, activity flows in all parts of the site during all times during the day for a more vivid musical campus. The lobby is strategically positioned as a buffer zone for the auditorium and rehearsal hall to mitigate disturbances from the urban environment. The decision to adorn the exterior of the auditorium with thick turned wood panels serves to absorb unwanted noise, ensuring optimal sound quality within. Managing the city noise This campus opera explores acoustic and architectural contrasts in symbiosis through a ”Sequence of Sounds”, using architecture to create distinct audial perceptions throughout the site. The square resonates with vastness, while the lobby hums with activity. Visitors transition into the utterly silent auditorium-walkway, getting hushed by the acoustics before the performance inside. Delve into an acoustical experience in every part of the site. The rugged exterior in granite juxstaposes the smooth undulating wooden core. 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 20. 18. 19. 21. 22. 25. 23. 24. 11. 15. 26. 27. 28. 29. 30. Second floor Third and fourth floor Behind the scenes-magic To further enhance the campus cultural experience, the hall is multifunctional and may be utilized for smaller performances like student concerts or engaging panel talks. With this in mind, the rehearsal hall acoustics deliver values of T60 = 1.0 s, C80 = 3.5 dB and G60 = 8.0 dB. More than a rehearsal hall 1. Campus plaza 2. Outdoor cinema 3. Reception & cloakroom 4. Lobby / hangout spot 5. Student café / bar 6. Auditorium, 819 seats 7. Audio mix position 9. Followspot booth 22 m2 10. Stage 562 m2 11. Orchestra pits 120 m2 12. Rehearsal hall 286 m2 13. Restrooms 14. Greenroom 54 m2 15. Chorus dressingrooms 16. Solo dressingrooms 17. Prop storage 270 m2 18. Loading dock 19. Steel assembly 20. Wooden assembly 21. Fabrics assembly 22. Finishes 23. Control room for RH 26. Tech offices, tot 11 m2 27. MER offices, tot 9 m2 28. Balconies, 499 seats 29. MEPFIT-rooms NC-40 NC-35 NC-30 NC-20 24. Accessible crossover The flow between loading dock, scene shops, and stage is carefully planned with accessability in focus. For a feasible solution, MEPFIT-functions are enclosed twice within an outer shell of high sound insulation with good absorbtion properties. A floating floor construction lowers noise transmission to the rehearsal hall. Further, the loading dock is also equipped with noise proof walls. Visitors are to expect a grand and reverberous welcome when arriving at the campus plaza, covered in granite. Stepping into the lobby, the people make up the sound. Hanging reflectors aim at enhancing the rumble of the visitors. The walk of anticipation before the show is enhanced by subdued acoustics from the use of textiles and shallow volumes. NC-15 25. Underground parking Entrance floor (90 x 110 m site) 8. Control room 28 m2 30. MER-room 75 m2 Reverberant Plaza Rumbling Lobby Silence & Anticipation [dB] 8 4 0 -4 [dB] 8 4 0 -4 [dB] 8 4 0 -4 1 2 f [Hz] 100 1000 Orchestra (Occ & Unocc) Opera (Occ & Unocc) Speech (Occ & Unocc) The auditorium’s acoustics are adaptable with retractable perferated absorption wood panels in between reflective wooden panels, tailored for orchestras, operas, or amplified speeches helped by a built in-speaker system. Their irregular shape helps scatter and diffuse, while Helmholtz resonators decreases low frequency reverberation. An adaptable auditorium Reimagined orchestra pit Moving the orchestra setup backward, maximum stage-to-audience distance is shortened to 22 meters for intimacy. It creates space for a podium serving as both conductor’s stand and speaker’s platform, mimicking an amphitheater. The split up orchestra listens to eachother through a whisper chamber behind the proscenium. Speech Opera Orchestra A double-sided wall construction consisting of granite, a cavity, and massive wood with a minimum reduction index of [14, 25, 34, 45, 34, 26, 13] dB in the octave bands 63 Hz to 4 kHz is used to achieve wanted noise criterion levels inside. The walls are decoupled from each other to reduce noise and vibration transmission from the outside. Noise-reducing walls Clarity C80 * Gain G60* * for f between 200 and 1500 Hz Principal ray diagramsMax absorbtion Mid absorbtion Min absorbtion ITDG= 20 msec Tävlingsprogrammet Programmet för årets kandidatarbete, liksom tidigare år på AT, utgår från programmet till tävlingen Acoustical Society of America. Tävlingen är en akustiktävling och därför arbetar vi i grupp med studenter som läser akustikmastern Sound and Vibrations. Årets uppgift var att utforma ett operahus som skulle vara beläget vid ett universitet med ett starkt musikprogram. Tävlingen har stor fokus på att lösa vissa akustiska svårigheter. Med denna uppgift medföljde ett flödesschema där exempelvis MEPFIT skulle vara beläget vägg i vägg med operasalen, rakt ovanför replokalen. MEPFIT är det rum som ger ifrån sig mest buller och både operasalen och repetitionslokalerna är akustiskt känsliga vilket orsakar svårigheter när dessa rummen är precis bredvid varandra. Den andra stora uppgiften var att operasalen och dess akustik skulle vara anpassningsbar. Operasalen skulle akustiskt sett vara anpassat för elektroniskt förstärkt tal samt orkestrar då universitetet skulle kunna utnyttja salen till föreläsningar och studentkonserter. [dB] 8 4 0 -4 [dB] 8 4 0 -4 [dB] 8 4 0 -4 1 2 f [Hz] 100 1000 Orchestra (Occ & Unocc) Opera (Occ & Unocc) Speech (Occ & Unocc) The auditorium’s acoustics are adaptable with retractable perferated absorption wood panels in between reflective wooden panels, tailored for orchestras, operas, or amplified speeches helped by a built in-speaker system. Their irregular shape helps scatter and diffuse, while Helmholtz resonators decreases low frequency reverberation. An adaptable auditorium Reimagined orchestra pit Moving the orchestra setup backward, maximum stage-to-audience distance is shortened to 22 meters for intimacy. It creates space for a podium serving as both conductor’s stand and speaker’s platform, mimicking an amphitheater. The split up orchestra listens to eachother through a whisper chamber behind the proscenium. Speech Opera Orchestra A double-sided wall construction consisting of granite, a cavity, and massive wood with a minimum reduction index of [14, 25, 34, 45, 34, 26, 13] dB in the octave bands 63 Hz to 4 kHz is used to achieve wanted noise criterion levels inside. The walls are decoupled from each other to reduce noise and vibration transmission from the outside. Noise-reducing walls Clarity C80 * Gain G60* * for f between 200 and 1500 Hz Principal ray diagramsMax absorbtion Mid absorbtion Min absorbtion ITDG= 20 msec Culture Center Student Opera Celebrating campus culture The square features natural stone, amplifying spaciousness and reverberance. The quiet lobby-to-auditorium pathway employs textiles and subdued lighting to amplify intimacy. Flowing wooden panels diffuse sound evenly, mirroring live performances’ dynamic nature. Visual & acoustic synergy An outdoor cinema, a flexible lobby and a café turning into a bar all aims at capitalizing on the campus proximity and utilization from morning to evening. Blending the lobby with the plaza, activity flows in all parts of the site during all times during the day for a more vivid musical campus. The lobby is strategically positioned as a buffer zone for the auditorium and rehearsal hall to mitigate disturbances from the urban environment. The decision to adorn the exterior of the auditorium with thick turned wood panels serves to absorb unwanted noise, ensuring optimal sound quality within. Managing the city noise This campus opera explores acoustic and architectural contrasts in symbiosis through a ”Sequence of Sounds”, using architecture to create distinct audial perceptions throughout the site. The square resonates with vastness, while the lobby hums with activity. Visitors transition into the utterly silent auditorium-walkway, getting hushed by the acoustics before the performance inside. Delve into an acoustical experience in every part of the site. The rugged exterior in granite juxstaposes the smooth undulating wooden core. Culture Center Student Opera Celebrating campus culture The square features natural stone, amplifying spaciousness and reverberance. The quiet lobby-to-auditorium pathway employs textiles and subdued lighting to amplify intimacy. Flowing wooden panels diffuse sound evenly, mirroring live performances’ dynamic nature. Visual & acoustic synergy An outdoor cinema, a flexible lobby and a café turning into a bar all aims at capitalizing on the campus proximity and utilization from morning to evening. Blending the lobby with the plaza, activity flows in all parts of the site during all times during the day for a more vivid musical campus. The lobby is strategically positioned as a buffer zone for the auditorium and rehearsal hall to mitigate disturbances from the urban environment. The decision to adorn the exterior of the auditorium with thick turned wood panels serves to absorb unwanted noise, ensuring optimal sound quality within. Managing the city noise This campus opera explores acoustic and architectural contrasts in symbiosis through a ”Sequence of Sounds”, using architecture to create distinct audial perceptions throughout the site. The square resonates with vastness, while the lobby hums with activity. Visitors transition into the utterly silent auditorium-walkway, getting hushed by the acoustics before the performance inside. Delve into an acoustical experience in every part of the site. The rugged exterior in granite juxstaposes the smooth undulating wooden core. 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 20. 18. 19. 21. 22. 25. 23. 24. 11. 15. 26. 27. 28. 29. 30. Second floor Third and fourth floor Behind the scenes-magic To further enhance the campus cultural experience, the hall is multifunctional and may be utilized for smaller performances like student concerts or engaging panel talks. With this in mind, the rehearsal hall acoustics deliver values of T60 = 1.0 s, C80 = 3.5 dB and G60 = 8.0 dB. More than a rehearsal hall 1. Campus plaza 2. Outdoor cinema 3. Reception & cloakroom 4. Lobby / hangout spot 5. Student café / bar 6. Auditorium, 819 seats 7. Audio mix position 9. Followspot booth 22 m2 10. Stage 562 m2 11. Orchestra pits 120 m2 12. Rehearsal hall 286 m2 13. Restrooms 14. Greenroom 54 m2 15. Chorus dressingrooms 16. Solo dressingrooms 17. Prop storage 270 m2 18. Loading dock 19. Steel assembly 20. Wooden assembly 21. Fabrics assembly 22. Finishes 23. Control room for RH 26. Tech offices, tot 11 m2 27. MER offices, tot 9 m2 28. Balconies, 499 seats 29. MEPFIT-rooms NC-40 NC-35 NC-30 NC-20 24. Accessible crossover The flow between loading dock, scene shops, and stage is carefully planned with accessability in focus. For a feasible solution, MEPFIT-functions are enclosed twice within an outer shell of high sound insulation with good absorbtion properties. A floating floor construction lowers noise transmission to the rehearsal hall. Further, the loading dock is also equipped with noise proof walls. Visitors are to expect a grand and reverberous welcome when arriving at the campus plaza, covered in granite. Stepping into the lobby, the people make up the sound. Hanging reflectors aim at enhancing the rumble of the visitors. The walk of anticipation before the show is enhanced by subdued acoustics from the use of textiles and shallow volumes. NC-15 25. Underground parking Entrance floor (90 x 110 m site) 8. Control room 28 m2 30. MER-room 75 m2 Reverberant Plaza Rumbling Lobby Silence & Anticipation 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 20. 18. 19. 21. 22. 25. 23. 24. 11. 15. 26. 27. 28. 29. 30. Second floor Third and fourth floor Behind the scenes-magic To further enhance the campus cultural experience, the hall is multifunctional and may be utilized for smaller performances like student concerts or engaging panel talks. With this in mind, the rehearsal hall acoustics deliver values of T60 = 1.0 s, C80 = 3.5 dB and G60 = 8.0 dB. More than a rehearsal hall 1. Campus plaza 2. Outdoor cinema 3. Reception & cloakroom 4. Lobby / hangout spot 5. Student café / bar 6. Auditorium, 819 seats 7. Audio mix position 9. Followspot booth 22 m2 10. Stage 562 m2 11. Orchestra pits 120 m2 12. Rehearsal hall 286 m2 13. Restrooms 14. Greenroom 54 m2 15. Chorus dressingrooms 16. Solo dressingrooms 17. Prop storage 270 m2 18. Loading dock 19. Steel assembly 20. Wooden assembly 21. Fabrics assembly 22. Finishes 23. Control room for RH 26. Tech offices, tot 11 m2 27. MER offices, tot 9 m2 28. Balconies, 499 seats 29. MEPFIT-rooms NC-40 NC-35 NC-30 NC-20 24. Accessible crossover The flow between loading dock, scene shops, and stage is carefully planned with accessability in focus. For a feasible solution, MEPFIT-functions are enclosed twice within an outer shell of high sound insulation with good absorbtion properties. A floating floor construction lowers noise transmission to the rehearsal hall. Further, the loading dock is also equipped with noise proof walls. Visitors are to expect a grand and reverberous welcome when arriving at the campus plaza, covered in granite. Stepping into the lobby, the people make up the sound. Hanging reflectors aim at enhancing the rumble of the visitors. The walk of anticipation before the show is enhanced by subdued acoustics from the use of textiles and shallow volumes. NC-15 25. Underground parking Entrance floor (90 x 110 m site) 8. Control room 28 m2 30. MER-room 75 m2 Reverberant Plaza Rumbling Lobby Silence & Anticipation 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 20. 18. 19. 21. 22. 25. 23. 24. 11. 15. 26. 27. 28. 29. 30. Second floor Third and fourth floor Behind the scenes-magic To further enhance the campus cultural experience, the hall is multifunctional and may be utilized for smaller performances like student concerts or engaging panel talks. With this in mind, the rehearsal hall acoustics deliver values of T60 = 1.0 s, C80 = 3.5 dB and G60 = 8.0 dB. More than a rehearsal hall 1. Campus plaza 2. Outdoor cinema 3. Reception & cloakroom 4. Lobby / hangout spot 5. Student café / bar 6. Auditorium, 819 seats 7. Audio mix position 9. Followspot booth 22 m2 10. Stage 562 m2 11. Orchestra pits 120 m2 12. Rehearsal hall 286 m2 13. Restrooms 14. Greenroom 54 m2 15. Chorus dressingrooms 16. Solo dressingrooms 17. Prop storage 270 m2 18. Loading dock 19. Steel assembly 20. Wooden assembly 21. Fabrics assembly 22. Finishes 23. Control room for RH 26. Tech offices, tot 11 m2 27. MER offices, tot 9 m2 28. Balconies, 499 seats 29. MEPFIT-rooms NC-40 NC-35 NC-30 NC-20 24. Accessible crossover The flow between loading dock, scene shops, and stage is carefully planned with accessability in focus. For a feasible solution, MEPFIT-functions are enclosed twice within an outer shell of high sound insulation with good absorbtion properties. A floating floor construction lowers noise transmission to the rehearsal hall. Further, the loading dock is also equipped with noise proof walls. Visitors are to expect a grand and reverberous welcome when arriving at the campus plaza, covered in granite. Stepping into the lobby, the people make up the sound. Hanging reflectors aim at enhancing the rumble of the visitors. The walk of anticipation before the show is enhanced by subdued acoustics from the use of textiles and shallow volumes. NC-15 25. Underground parking Entrance floor (90 x 110 m site) 8. Control room 28 m2 30. MER-room 75 m2 Reverberant Plaza Rumbling Lobby Silence & Anticipation 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 20. 18. 19. 21. 22. 25. 23. 24. 11. 15. 26. 27. 28. 29. 30. Second floor Third and fourth floor Behind the scenes-magic To further enhance the campus cultural experience, the hall is multifunctional and may be utilized for smaller performances like student concerts or engaging panel talks. With this in mind, the rehearsal hall acoustics deliver values of T60 = 1.0 s, C80 = 3.5 dB and G60 = 8.0 dB. More than a rehearsal hall 1. Campus plaza 2. Outdoor cinema 3. Reception & cloakroom 4. Lobby / hangout spot 5. Student café / bar 6. Auditorium, 819 seats 7. Audio mix position 9. Followspot booth 22 m2 10. Stage 562 m2 11. Orchestra pits 120 m2 12. Rehearsal hall 286 m2 13. Restrooms 14. Greenroom 54 m2 15. Chorus dressingrooms 16. Solo dressingrooms 17. Prop storage 270 m2 18. Loading dock 19. Steel assembly 20. Wooden assembly 21. Fabrics assembly 22. Finishes 23. Control room for RH 26. Tech offices, tot 11 m2 27. MER offices, tot 9 m2 28. Balconies, 499 seats 29. MEPFIT-rooms NC-40 NC-35 NC-30 NC-20 24. Accessible crossover The flow between loading dock, scene shops, and stage is carefully planned with accessability in focus. For a feasible solution, MEPFIT-functions are enclosed twice within an outer shell of high sound insulation with good absorbtion properties. A floating floor construction lowers noise transmission to the rehearsal hall. Further, the loading dock is also equipped with noise proof walls. Visitors are to expect a grand and reverberous welcome when arriving at the campus plaza, covered in granite. Stepping into the lobby, the people make up the sound. Hanging reflectors aim at enhancing the rumble of the visitors. The walk of anticipation before the show is enhanced by subdued acoustics from the use of textiles and shallow volumes. NC-15 25. Underground parking Entrance floor (90 x 110 m site) 8. Control room 28 m2 30. MER-room 75 m2 Reverberant Plaza Rumbling Lobby Silence & Anticipation [dB] 8 4 0 -4 [dB] 8 4 0 -4 [dB] 8 4 0 -4 1 2 f [Hz] 100 1000 Orchestra (Occ & Unocc) Opera (Occ & Unocc) Speech (Occ & Unocc) The auditorium’s acoustics are adaptable with retractable perferated absorption wood panels in between reflective wooden panels, tailored for orchestras, operas, or amplified speeches helped by a built in-speaker system. Their irregular shape helps scatter and diffuse, while Helmholtz resonators decreases low frequency reverberation. An adaptable auditorium Reimagined orchestra pit Moving the orchestra setup backward, maximum stage-to-audience distance is shortened to 22 meters for intimacy. It creates space for a podium serving as both conductor’s stand and speaker’s platform, mimicking an amphitheater. The split up orchestra listens to eachother through a whisper chamber behind the proscenium. Speech Opera Orchestra A double-sided wall construction consisting of granite, a cavity, and massive wood with a minimum reduction index of [14, 25, 34, 45, 34, 26, 13] dB in the octave bands 63 Hz to 4 kHz is used to achieve wanted noise criterion levels inside. The walls are decoupled from each other to reduce noise and vibration transmission from the outside. Noise-reducing walls Clarity C80 * Gain G60* * for f between 200 and 1500 Hz Principal ray diagramsMax absorbtion Mid absorbtion Min absorbtion ITDG= 20 msec [dB] 8 4 0 -4 [dB] 8 4 0 -4 [dB] 8 4 0 -4 1 2 f [Hz] 100 1000 Orchestra (Occ & Unocc) Opera (Occ & Unocc) Speech (Occ & Unocc) The auditorium’s acoustics are adaptable with retractable perferated absorption wood panels in between reflective wooden panels, tailored for orchestras, operas, or amplified speeches helped by a built in-speaker system. Their irregular shape helps scatter and diffuse, while Helmholtz resonators decreases low frequency reverberation. An adaptable auditorium Reimagined orchestra pit Moving the orchestra setup backward, maximum stage-to-audience distance is shortened to 22 meters for intimacy. It creates space for a podium serving as both conductor’s stand and speaker’s platform, mimicking an amphitheater. The split up orchestra listens to eachother through a whisper chamber behind the proscenium. Speech Opera Orchestra A double-sided wall construction consisting of granite, a cavity, and massive wood with a minimum reduction index of [14, 25, 34, 45, 34, 26, 13] dB in the octave bands 63 Hz to 4 kHz is used to achieve wanted noise criterion levels inside. The walls are decoupled from each other to reduce noise and vibration transmission from the outside. Noise-reducing walls Clarity C80 * Gain G60* * for f between 200 and 1500 Hz Principal ray diagramsMax absorbtion Mid absorbtion Min absorbtion ITDG= 20 msec [dB] 8 4 0 -4 [dB] 8 4 0 -4 [dB] 8 4 0 -4 1 2 f [Hz] 100 1000 Orchestra (Occ & Unocc) Opera (Occ & Unocc) Speech (Occ & Unocc) The auditorium’s acoustics are adaptable with retractable perferated absorption wood panels in between reflective wooden panels, tailored for orchestras, operas, or amplified speeches helped by a built in-speaker system. Their irregular shape helps scatter and diffuse, while Helmholtz resonators decreases low frequency reverberation. An adaptable auditorium Reimagined orchestra pit Moving the orchestra setup backward, maximum stage-to-audience distance is shortened to 22 meters for intimacy. It creates space for a podium serving as both conductor’s stand and speaker’s platform, mimicking an amphitheater. The split up orchestra listens to eachother through a whisper chamber behind the proscenium. Speech Opera Orchestra A double-sided wall construction consisting of granite, a cavity, and massive wood with a minimum reduction index of [14, 25, 34, 45, 34, 26, 13] dB in the octave bands 63 Hz to 4 kHz is used to achieve wanted noise criterion levels inside. The walls are decoupled from each other to reduce noise and vibration transmission from the outside. Noise-reducing walls Clarity C80 * Gain G60* * for f between 200 and 1500 Hz Principal ray diagramsMax absorbtion Mid absorbtion Min absorbtion ITDG= 20 msec Designprocessen Perioden för kandidatarbetet var indelad i fem iterationer med kontinuerlig handledning och med ett satt mål för varje iteration. Innan hela projektet utfördes en förstudie. Den gick ut på att testa olika miljöers akustiska egenskaper. Det var intressant att faktiskt höra märkbar skillnad på en melodisk ramsa och en text. Andra iterationen Vi inledde hela arbetet med första iterationen där jag och min arbetskamrat Gabriel Weber tog fram tre färdiga och genomtänkta koncept att presentera för akustikerna så att de i sin tur skulle kunna välja vilken grupp de vill samarbeta med. Alla tre koncept skulle vara möjliga kandidater till den slutgiltiga inlämningen. Vi presenterade tre olika volymer och fasader, med tre olika sorters operasalar och akustiska koncept. Katmandu med sin hårda utsida och mjuka kärna, Walk on Water med sitt vattenfyllda torg och Under the Foliage med sin akustiska sekvens. Det var många bra idéer, men bäst idé hade Under the Foliage där vi talade om en ljudsekvens man som gäst upplever när man rör sig utifrån och in till operahallen. Jag och Gabriel hade turen att bli valda av Charlotte Österlund som blev vår akustiker och vi hennes arkitekter. Katmandu Walk on water Under the foliage plaza lobby hall entrance opera! Tredje iterationen Walk on Water uteslöts då vi ansåg att ett vattenfyllt tog inte tog hänsyn till universitetet, samt att vattnet blir ännu en akustisk utmaning. Katmandus uttryck tilltalade oss, men det var inte förrän vi tog det bästa från Under the Foliage, dess sekvens, och applicerade på Katmandu som de första tonerna till Sequence of Sound föddes. Till iteration tre skulle byggnadens volym bestämmas, samt tre akustiska konceptmodeller. Vi insåg tidigt att vår volym var mycket fri och inte begränsad av några raka linjer, vilket gjorde att vi kunde fokusera på att skapa en bra plan, sedan utforma volymen utifrån planen. Eftersom programmet inte heller krävde något exteriört fokuserade vi inte på det. Jag gillar idén att volymen kan se ut hur som helst. Vi kom även fram till fyra akustiska koncept: varierande Helmholtzresonatorer och absorberande paneler, reflekterande ljussystem samt vår akustiska sekvens. Det var under denna iterationen vi insåg hur värdefull sekvensen skulle komma att bli för vårt arbete. 3. luminescent reflectors Fjärde iterationen Under iteration fyra skulle vi skapa en mock up till våra planscher där placeholders var förbjudna. Om en rendering inte hanns med att skapa skulle en skiss ta regeringens plats. Jag och Gabriel hade direkt som ambition att skapa så mycket material som möjligt som skulle kunna användas till den slutgiltiga inlämningen, ifall tid inte skulle finnas senare. Att skapa en mall till sin plansch innan vi hade något material över huvud taget kändes till en början omvänt, men nu i efterhand kommer jag förmodligen alltid försöka göra framtida projekt i denna ordning. Det blev otroligt tydligt exakt vad som skulle produceras, i vilket format, hur mycket text, vilket perspektiv. Efter den tredje iterationen blev det tydligt att stjärnan i projektet är vår akustiska sekvens. Vi bestämde oss för att försöka framhäva den så stort och tydligt som möjligt på planschen genom en storyboard från torg, till lobby, till operahall. Vi tog även beslutet att endast fokusera på de absorberande panelerna, samt att flytta upp orkesterdiket. Mer om det under Reflektion. Femte iterationen Under sista iterationen skapade jag och Gabriel allt material som skulle användas på den slutgiltiga planschen. Alla beslut, akustiska om arkitektoniska, var redan fasta och vi tog emot all kritik vi hade fått på mittkritiken. Vi skapade en prioriteringslista och ett schema på vad som skulle göras när. Mycket material från mittkritiken kunde användas så som det var till slutkritiken, men då jag och Gabriel hade mycket tid över i slutändan valde vi ändå att gå igenom allt och småjustera. 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 20. 18. 19. 21. 22. 25. 23. 24. 11. 15. 26. 27. 28. 29. 30. Second floor Third and fourth floor Behind the scenes-magic To further enhance the campus cultural experience, the hall is multifunctional and may be utilized for smaller performances like student concerts or engaging panel talks. With this in mind, the rehearsal hall acoustics deliver values of T60 = 1.0 s, C80 = 3.5 dB and G60 = 8.0 dB. More than a rehearsal hall 1. Campus plaza 2. Outdoor cinema 3. Reception & cloakroom 4. Lobby / hangout spot 5. Student café / bar 6. Auditorium, 819 seats 7. Audio mix position 9. Followspot booth 22 m2 10. Stage 562 m2 11. Orchestra pits 120 m2 12. Rehearsal hall 286 m2 13. Restrooms 14. Greenroom 54 m2 15. Chorus dressingrooms 16. Solo dressingrooms 17. Prop storage 270 m2 18. Loading dock 19. Steel assembly 20. Wooden assembly 21. Fabrics assembly 22. Finishes 23. Control room for RH 26. Tech offices, tot 11 m2 27. MER offices, tot 9 m2 28. Balconies, 499 seats 29. MEPFIT-rooms NC-40 NC-35 NC-30 NC-20 24. Accessible crossover The flow between loading dock, scene shops, and stage is carefully planned with accessability in focus. For a feasible solution, MEPFIT-functions are enclosed twice within an outer shell of high sound insulation with good absorbtion properties. A floating floor construction lowers noise transmission to the rehearsal hall. Further, the loading dock is also equipped with noise proof walls. Visitors are to expect a grand and reverberous welcome when arriving at the campus plaza, covered in granite. Stepping into the lobby, the people make up the sound. Hanging reflectors aim at enhancing the rumble of the visitors. The walk of anticipation before the show is enhanced by subdued acoustics from the use of textiles and shallow volumes. NC-15 25. Underground parking Entrance floor (90 x 110 m site) 8. Control room 28 m2 30. MER-room 75 m2 Reverberant Plaza Rumbling Lobby Silence & Anticipation Reflektion Trots att vi inte gick vidare till den riktiga tävlingen är jag otroligt nöjd över vårt resultat. Vi satsade mycket på vårt koncept och känner att vi kunde förmedla det tydligt på planscherna och i vårt projekt. Vi var relativt tidigt klara med projektet och arbetade inte mycket utöver de schemalagda timmarna. Jag tror det är på grund av vår effektivitet, arbeta i iterationer är något jag ska ta vidare till framtida projekt och jag inser nu att jag arbetar bäst om jag sätter upp fler mindre mål med några veckors mellanrum än ett stort. Arbeta i iterationer Att arbeta i iterationer gick mycket bättre än förväntat. Det kändes mycket enklare att dela upp arbetet när man visste exakt vad som förväntades till varje iteration. Jag var lite skeptisk mot så många iterationer först, men nu i efterhand tycker jag det är enklare att dela upp sin tid när det finns fler delmål än endast en mittkritik och slutkritik. Att vägen hem (och jag förstår delvis varför), men för mig var det en personlig vinst. Vi ville sticka ut, och det gjorde vi, och vi vågade göra något annorlunda. Detta är något jag kommer ta med mig. Arbeta okonventionellt Den största risken vi tog med detta arbete var som sagt att höja operadiket. Detta gjorde vi för att kunna skapa ett talarpodium där dirigenten skulle stå, för att låta publiken se musikerna samt att placera musiken bakom sångarna. Jag är stolt över att jag tog den risken då jag aldrig gjort något okonventionellt i tidigare arbeten. Just idag gick det inte hela tydliga tidsschema, men främst eftersom vi bestämde oss tidigt för ett koncept och gick vidare med det från start till slut. Jag tror att vi ärligt hade tur som valde rätt då jag vet från tidigare projekt att det dels är bra att välja fort, då man kan börja spika planen och inte behöva stå och trampa på samma ställe för man ej bestämt sig. Men jag vet även att det kan dels vara negativt att välja fort ifall man efter en veckas arbete kommer på att det valda konceptet inte alls är så bra som man trott från början. To accommodate various events, the auditorium’s acoustics are adaptable with retractable absorption panels between wooden panels, tailored for concerts, operas, or speeches. The irregular shape of the wooden panels will also contribute to their effectiveness as diffusive surfaces, variable acoustics concertoperaspeech absorbing paneling system speech opera concert rays from stage rays from orchestra By strategically situating the lobby as an antechamber, it creates a buffer zone, mitigating disturbances. Additionally, the decision to adorn the exterior of the auditorium with thick turned wood panels serves to absorb unwanted noise, ensuring optimal sound quality within. managing the city noise 1 2 frequency [Hz] 100 1000 Concert Occ Unocc Opera Occ Unocc Speech Occ Unocc 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 20. 18. 19. 21. 22. 25. 23. 24. 11. 15. 26. 27. 28. 29. 30. Second floor Third and fourth floor Behind the scenes-magic To further enhance the campus cultural experience, the hall is multifunctional and may be utilized for smaller performances like student concerts or engaging panel talks. With this in mind, the rehearsal hall acoustics deliver values of T60 = 1.0 s, C80 = 3.5 dB and G60 = 8.0 dB. More than a rehearsal hall 1. Campus plaza 2. Outdoor cinema 3. Reception & cloakroom 4. Lobby / hangout spot 5. Student café / bar 6. Auditorium, 819 seats 7. Audio mix position 9. Followspot booth 22 m2 10. Stage 562 m2 11. Orchestra pits 120 m2 12. Rehearsal hall 286 m2 13. Restrooms 14. Greenroom 54 m2 15. Chorus dressingrooms 16. Solo dressingrooms 17. Prop storage 270 m2 18. Loading dock 19. Steel assembly 20. Wooden assembly 21. Fabrics assembly 22. Finishes 23. Control room for RH 26. Tech offices, tot 11 m2 27. MER offices, tot 9 m2 28. Balconies, 499 seats 29. MEPFIT-rooms NC-40 NC-35 NC-30 NC-20 24. Accessible crossover The flow between loading dock, scene shops, and stage is carefully planned with accessability in focus. For a feasible solution, MEPFIT-functions are enclosed twice within an outer shell of high sound insulation with good absorbtion properties. A floating floor construction lowers noise transmission to the rehearsal hall. Further, the loading dock is also equipped with noise proof walls. Visitors are to expect a grand and reverberous welcome when arriving at the campus plaza, covered in granite. Stepping into the lobby, the people make up the sound. Hanging reflectors aim at enhancing the rumble of the visitors. The walk of anticipation before the show is enhanced by subdued acoustics from the use of textiles and shallow volumes. NC-15 25. Underground parking Entrance floor (90 x 110 m site) 8. Control room 28 m2 30. MER-room 75 m2 Reverberant Plaza Rumbling Lobby Silence & Anticipation Arbeta med olika medier Jag känner att jag alltid lär mig nya metoder och program under alla mina projekt under kandidaten, men just under kandidatarbetet lärde jag mig mest. Vi använde oss av AutoCad, Rhino, Enscape, Illustrator, InDesign, Photoshop samt Procreate, men vi gjorde även fysiska modeller med bland annat frigolit, spackel, kapa och trä. Vi kombinerade bra. Det är kul att i efterhand kunna säga att vi båda var en del av i princip allt material. Det är svårt att avskilja vem som gjort vad exakt eftersom vi många gånger skickade exempelvis renderingar fram och tillbaka mellan varandra. Arbeta i grupp Jag hoppas att alla mina gruppmedlemmar tyckte samarbetet gick lika bra som jag tyckte. Charlotte kom med mycket bra åsikter och vi lyssnade på varandras expertis. Samarbetet mellan Gabriel och mig uppfyllde mina förväntningar. Vi båda arbetar väldigt likvärdigt och effektivt och jag kände personligen att vi kompletterade varandra alla programmen för att uppnå ett önskat slutresultat och jag lärde mig mycket av Gabriel.