SHUTTER Realising an acoustic concept Our design concept is shutters. With a simple rotation they can either hide or reveal the secrets behind. Using this we have created multipurpose acoustical elements. Simply rotating the shutters will turn a hall suitable for speech into an opera. The shutters allow students to experiment with the acoustics in the room, enabling them to expand their intuitive understanding of how these changes affect their performance. ACEX15 KANDIDATARBETE I ARKITEKTUR OCH TEKNIK Concept Our design concept is shutters. With a simple rotation they can either hide or reveal the secrets behind. Using this we have created multipurpose acoustical elements. Simply rotating the shutters will turn a hall suitable for speech into an opera. The shutters allow students to experiment with the acoustics in the room, enabling them to expand their intuitive understanding of how these changes affect their performance. Context We imagine the opera in a bustling area of a big city, integrated into a university campus. The facade is made up of pillars resembling the acoustical shutters. These may at first appear static, but if you are lucky you will catch them in movement. The shutters create a separation between the interior spaces and the busy street. The building opens up towards the street and invites the students in to study or buy tickets for the evening show. The facade closes and the lights change color when there is an ongoing performance. Early concept model, Plywood Evening, during performanceDaytimeMorning The facade is painted with a white gloss paint to brighten up the streets and reflect light into the building. The rotation of the facade-elements allows for different amounts of light to enter or leave the building. Acoustical shutters, 3D render SSHHUUTTTTEERR Multi-purpose acoustical shutters Rehearsal room The walls of the auditorium are covered with rows of rotating shutters. When in position 1 they act as absorbent surfaces. In position 2 they expose the harder reflecting material behind and add volume to the opera hall, extending the reverberation time. The back of the shutters have reflective and scattering surfaces which contributes to decreased clarity and increased reverberation. When in position 1 or 3 the shutters have a small gap between them enabling them to function as slit absorbers for low frequencies. As the shutters are placed in smaller modules, they can be rotated separately from each other and combined in order to achieve the surface properties needed. In addition, due to the module system, scattering can be achieved in different scales. The shutters are applied in the rehearsal as well. They are supported by Helmholtz absorbers and absorbing panels along the innermost wall and in the ceiling to lower the reverberation time to 1.0 second. This prevents strength from getting too high (~8.5 dB). -1 4 0 3 2 1 1 6 2 5 4 3 [dB][dB] 0 50 10 40 30 20 [ms] StrengthClarity ITDG -1 4 0 3 2 1 1 6 2 5 4 3 [dB][dB] 0 50 10 40 30 20 [ms] StrengthClarity ITDG -1 4 0 3 2 1 1 6 2 5 4 3 [dB][dB] 0 50 10 40 30 20 [ms] StrengthClarity ITDG Loudspeakers are to be used for speech and in musicals that require supporting amplification. These are placed at the top of the proscenium, ensuring that the signal from the loudspeaker is slightly delayed in relation to the sound from the singers or the speaker. The ITDG in the auditorium varies between 8 ms and 42 ms. The positions close to the wall typically have a somewhat low ITDG while in the front row in the centre of the auditorium the values tend to be too high. To tackle this problem a reflector is added above the proscenium. Reverberation time for open and closed shutters in the auditorium. Illustration of Initial time delay gap is based on calculations made for select seats. C80 for open (left) and closed (right) shutters. Calculated by distance from source. Strength for open (left) and closed (right) shutters. Calculated by distance from source. The absorption in the orchestra pit can be controlled by moving panels. The floor can be lifted to extend the scene when the orchestra pit is not used. Speakers Absorbing wall Moving panels 125 250 500 1000 2000 4000 1.0 0.5 1.5 2.0 2.5 [Hz] RT60 Closed Open 1 2 3 Slit absorber Increased volume Scattering surface Illustration of direct sound and first reflections. SSHHUUTTTTEERR The box-in-box construction ensures the required airborne sound insulation for the auditorium and the MEPFIT-room. Floating floor construction in the MEPFIT-room in combination with a box- in-box design provides sufficient airborne sound insulation and prevents transmitting vibration from the machinery to the rehearsal room. In addition, the machinery itself will also stand on elastic foundations. Noise criteria in the rehearsal and in the auditorium is NC-15. Laminated double glass windows with a sufficient air gap, result in a high reduction index, enough to reduce the noise from passing traffic. The outer wall and the separating wall between the rehearsal room and scene shop must have a high reduction index as well. 1: Reception 2: Offices 3: Café 4: Kitchen 5: Rehearsal room 6: Cloakroom 7: Restrooms 8: Dressing rooms 9: Movable orchestra shell 10: Backstage 11: Scene shop 12: Lobby 13: Follow Spot Both 14: In-house audio mix position 15: Lighting and stage manager control room 16: Storage 17: Study rooms 18: Greenroom 19: MEPFIT room Acoustic laminated glass Rehearsal Auditorium MEPFIT Acoustic sealant Perimeter isolation Acoustic mat Air gap Spring for floor supoprt Spring for ceiling support Evening, during performance SHUTTER 10 9 10 1 2 3 4 5 7 8 11 5 12 15 14 13 18 8 16 17 12 19 7 7 8 9 11 9 6 A college with a very strong music and vocal program in- tends to construct a new 1,200-seat performance hall pri- marily for opera. Their wish is to build an opera that is able to change its acoustic properties to allow for a wide range of performances as well as speeches. In addition, the building needs to accommodate students, performers and visitors alike. Final posters (710x560 mm) CONCEPT 2-3 Intro / Conscept 4-5 Context 6-7 Rotating facade 8-9 Detail / Isometric plan 10-11 Multi-purpose acoustical shutters 12-13 Working with acoustics 14-15 Acoustical values / Lobby view 16-17 The process 18-19 Reflection Physical shutter model, Plywood 22 33Alve Ocklund Context We imagine the opera in a bustling area of a big city, integrated into a university campus. The facade is made up of pillars resembling the acoustical shut- ters. These may at first appear static, but if you are lucky you will catch them in movement. The shutters create a separation between the interior spaces and the busy street. The building opens up towards the street and invites the students in to study or buy tickets for the evening show. 44 55Alve Ocklund DaytimeMorning The facade is painted with a white gloss paint to brighten up the streets and reflect light into the building. The rotation of the facade-elements allows for different amounts of light to enter or leave the building. The facade closes and the lights change color when there is an ongoing performance. Evening, during performance Rotating facade 66 77Alve Ocklund Th e bo x- in -b ox c on st ru ct io n en su re s th e re qu ire d ai rb or ne s ou nd in su la tio n fo r th e au di to riu m an d th e ME PF IT -r oo m. Fl oa tin g fl oo r co ns tr uc tio n in t he M EP FI T- ro om in c om - bi na tio n wi th a b ox -i n- bo x de si gn p ro vi de s su ff ici en t ai rb or ne s ou nd i ns ul at io n an d pr ev en ts t ra ns mi tt in g vi br at io n fr om t he m ac hi ne ry t o th e re he ar sa l ro om . I n ad di tio n, t he m ac hi ne ry it se lf w ill a ls o st an d on e la st ic fo un da tio ns . No is e cr ite ria in t he r eh ea rs al a nd in t he a ud ito riu m is NC -1 5. L am in at ed d ou bl e gl as s wi nd ow s wi th a s uf fic ie nt ai r ga p, r es ul t in a h ig h re du ct io n in de x, e no ug h to r ed u- ce t he n oi se f ro m pa ss in g tr af fic . T he o ut er w al l a nd t he se pa ra tin g wa ll be tw ee n th e re he ar sa l ro om a nd s ce ne sh op m us t ha ve a h ig h re du ct io n in de x as w el l. Ac ou sti c lam ina ted gl as s Re he ar sa l Au dit or ium ME PF IT Ac ou sti c se ala nt Pe rim ete r iso lat ion Ac ou sti c ma t Air ga p Sp rin g f or fl oo r s up op rt Sp rin g f or ce ilin g s up po rt 1: Re ce pti on 2: O ffi ce s 3: Ca fé 4: Ki tch en 5: Re he ar sa l r oo m 6: Cl oa kro om 7: Re str oo ms 8: Dr es sin g r oo ms 9: M ov ab le or ch es tra sh ell 10 : B ac ks tag e 11: Sc en e s ho p 12 : L ob by 13 : F oll ow Sp ot Bo th 14: In -h ou se au dio m ix po sit ion 15 : L igh tin g a nd st ag e m an ag er c on tro l r oo m 16 : S tor ag e 17: St ud y r oo ms 18 : G re en ro om 19 : M EP FIT ro om 10 9 10 1 2 3 4 5 7 8 11 5 12 15 14 13 18 8 16 17 12 19 7 7 8 9 11 9 6 88 99Alve Ocklund Multi-purpose acoustical shutters The walls of the auditorium are co- vered with rows of rotating shutters. When in position 1 they act as absor- bent surfaces. In position 2 they expo- se the harder reflecting material be- hind and add volume to the opera hall, extending the reverberation time. The back of the shutters have reflective and scattering surfaces which contri- butes to decreased clarity and increa- sed reverberation. When in position 1 or 3 the shutters have a small gap between them enabling them to function as slit absorbers for low frequencies. As the shutters are placed in smaller modules, they can be rotated separately from each other and combined in order to achieve the surface properties needed. In addition, due to the module system, scattering can be achieved in different scales. 1 2 3 Slit absorber Increased volume Scattering surface 1010 1111Alve Ocklund Loudspeakers are to be used for speech and in musicals that requi- re supporting amplification. These are placed at the top of the pro- scenium, ensuring that the signal from the loudspeaker is slightly delayed in relation to the sound from the singers or the speaker. The ITDG in the auditorium varies between 8 ms and 42 ms. The po- sitions close to the wall typically have a somewhat low ITDG while in the front row in the centre of the auditorium the values tend to be too high. To tackle this problem a reflector is added above the pro- scenium. The absorption in the orchestra pit can be controlled by moving panels. The floor can be lifted to extend the scene when the orchestra pit is not used. Speakers Absorbing wall Moving panels Illustration of direct sound and first reflections. Rehearsal room The shutters are applied in the rehearsal as well. They are supported by Helmholtz absorbers and absorbing panels along the innermost wall and in the ceiling to lower the reverberation time to 1.0 second. This prevents strength from getting too high (~8.5 dB). Working with acoustics This project was a group effort composed of 2 architecture and en- gineering students as well as one student from the sound and vibra- tions masters program. This rela- tionship was essential to our suc- cess which made it very important to make everyone feel involved and invested. To achieve this we met up almost every day, and even if we worked on different aspects, with different backgrounds we discus- sed all of the choices, problems and compromises as they revealed themselves. By doing this, everyo- ne was onboard, and we could tack- le difficulties quickly and efficient- ly. This methodology also made us learn from each other, and I per- sonally learnt a few things about acoustics. 1212 1313Alve Ocklund -1 4 0 3 2 1 1 6 2 5 4 3 [dB][dB] 0 50 10 40 30 20 [ms] StrengthClarity ITDG -1 4 0 3 2 1 1 6 2 5 4 3 [dB][dB] 0 50 10 40 30 20 [ms] StrengthClarity ITDG -1 4 0 3 2 1 1 6 2 5 4 3 [dB][dB] 0 50 10 40 30 20 [ms] StrengthClarity ITDG Reverberation time for open and closed panel configurations in the auditorium. Initial time delay gap (ITDG) for the auditorium including the balconies. C80 values for the open (left) and closed (right) postitions. Strength for the open (left) and closed (right) postitions. 125 250 500 1000 2000 4000 1.0 0.5 1.5 2.0 2.5 [Hz] RT60 Closed Open View from lobby 1414 1515Alve Ocklund First drawing of the shutter Underground concept amphitheatre concept The process During the course we were given assignments to help keep us on track, and to lay a natural design path for us to follow. Each assignment had a different theme, but the main focus of them was to explore and expand our knowledge of spatial acoustics and further develop our project. Early assignments made us come up with 3 different concepts and had us choose between them. This allowed us to feel both included and motivated, and taught us to make hard decisions early on in the process. The next assignment was to create 3 different physical acoustics elements from our chosen concept. This challenged our creativity and made us work with our hands, allowing us to approach our concept from a totally different angle. The final 2 assignments had us making a full draft of our final posters and refine them. This way of working feels very refined, and is definitely something I will be using in the future if the opportunity arises. The as- signments made sure we felt on track and the manny smaller presentations held with each of these really helped us to be in- spired by other groups, and to see what we need to make clearer or cut down on. If i had to pick a favorite, i would defini- tely say the 4th one (poster draft). Cre- ating the mock-ups really helped us focus on what we wanted to refine. Personal thoughts First sequence walkthrough based on the chosen concept Model exploring the volume of the opera, Steel on MDF 1616 1717Alve Ocklund Reflection It felt really gratifying to apply what I have learnt from these 3 years of study. Feeling confident 3D modelling, building physical models, sketching new ideas and in myself presenting these made the whole process feel productive and fun. I am very pleased with the outcome of our project. We all took it seriously and supported each other through highs and lows. Our structured way of working combined with passion for our work enabled us to really refine our product to a high level of detail. Even if one is never entirely done with a project, this is the one I feel is the most finished of the projects I have previously been working on. Throughout this project I found myself in a coordinating role. Most of my time I spent producing, expanding and developing our ideas. But I also enjoyed planning what to prioritise, making sure we all worked on stuff we wanted to work on, discussing what material each of us needed from each other to make sure no one got stuck waiting on decisions we needed to make together or for someone to produce something. This made me see clearer what role I would enjoy and want to develop and employ in my future career. Early pegboard model for experimenting with facade configuration, Plywood / MDF Section being drawn form 3D model viewcapture 1818 1919Alve Ocklund