TASK This project was made as a part of a student competi- tion held by the American Acoustic Association. The task was to make a proposal for an Opera house for a college in Montreal, Canada. The auditorium should be a multipurpose hall made for 1200 persons. How can the isolation strategy be integrated in the concept of an opera house? The concept for the opera house is a stone that breaks apart to four separated volumes were one carries a hidden treasure, the opera hall. The concept was cho- sen to start out with a hard sound isolating shell and to give each volume a different sound isolation and sort the different functions in the volumes according to their noise criterias Copper wall The walls in the auditorium are covered with copper band of various width to give the auditorium a high reflective and diffusive surface. The bands are made of a thin layer of copper foil attached on an asphalt board to add mass to the foil and the felt layer transforms the energy into heat. Singer on stage, G(mean) = 1.1 Orchestra in pit, G(mean) = -1.7 16 9 13 87 21 18 18 17 6 5 4 20 20 19 Taxi stop Strolling path Singer on stage, G(mean) = 1.1 Orchestra in pit, G(mean) = -1.7 Around the site for the Opera house there are mainly three big sound sources. The max- imum sound pressure levels from the noise sources has been estimated to 80 dBA from the flight-path above, 70 dBA from the railroad and 60 dBA from the interstate highway. 5 6 7 7 7 8 9 Section A.A. 1:2001. Cross over 2. Fly over 3. Feedback reflector 4. Riser under stage 5. Orchestra pit 6. Air supply 7. Bar 8. Box office 9. Manager office 1 4 2 3 Outside The story begins on a empty lot in downtown Montreal. A central site in the south parts of Montreal characterised by a noisy environment. To protect the opera from the noisy surroundings the Opera House starts out as a black box, the stone, with thick isolating concrete walls. The Treasure The outside of the opera building is made of black concrete. Concrete is a high density material which makes it suitable for isolating the opera from low to high frequency noise. Concrete The Treasure is the story about a black stone that breaks apart and reveals a hidden inner secret. It is the story of how a college got an Opera House on a noisy lot in downtown Montreal. The second chapter of the story is about how the stone breaks apart welcoming the city into its warm glowing inside. It is also about how the stone transform into a functional building with separate functions acoustically isolated from each other. In between The hard black stone heavily isolated The stone breaks apart to form a building and welcome people inside +4 Second floor 1:500 +10 Fourth floor 1:500 Lobby The lobby is the centre of public movement located in the volume that is created when the broken stone pieces are pulled apart. The main vertical communications are distributed by a spectacular stair located between two of the building volumes supported by four elevators, one in each volume. The main stair is also an acoustic isolator that prevent the noise from the path between the stage and the scene shop to leak out in the lobby. Green Room The warm inside of the building is made of wooden lattice of Canadian pine, rising from floor to the ceiling to give a strong vertical feeling to the room. The distances between the wooden slits are varied to form natural openings for visual contact between the lobby and its surrounding rooms. Pine The Green Room has a spectacular location at the end of the main stair at the fifth floor, but also close to the dressing rooms and stage. This intimate room is a space where actors can relax before and after events together with specially invited guests. From the Green Room one will have a good view over the city and at the same time watch people move up and down to the different balconies. The green room has easy access for wheelchairs from the nearby elevator outside the auditorium. The end of the story is about the secret of the stone, the sparkling hidden treasure. It is how a pile of circular bands is shaped to form a intimate performance hall with early reflections and a highly diffuse sound field for everyone. Inside The thin copper bands that define the auditorium are attached to an asphalt board to prevent them from unwanted vibrations. The copper has a very low absorption coefficient which gives the walls and balcony fronts a desired high reflection. Copper One-row Balconies In the Treasure it is all about intimacy and good acoustics as an opera should be, not only for those on the orchestra floor but for all in the audience. The auditorium therefore has five balconies with only one row of seats per balcony so the audience not have anyone between themselves and the performance giving everyone a personal contact to the actors. One-row balconies enables everybody to get lots of roof reflections which is important for the acoustic experience. The small balcony-openings increases the amount of reflecting planes giving a high reverberation time and strength. All this makes the auditorium a very intimate environment. Truly a treasure for all opera lovers. Balcony fronts: The copper band on the balcony front are tilted downwards close to the scene to get the desired side wall reflections and upwards further back in the auditorium to avoid reflections at the back head. This design resolves the conflict in opera between intimacy and good acoustics. 1 2 4 1 2 3 Section of balcony 1:40 1. Diffusive copper bands 2. Acoustic plaster 3. Wooden parquet floor 4. Lamp The auditorium starts out as a stack of circular bands The band are shaped to form early reflections and narrow plan The Auditorium Volume Number of seats Number of seats on balcony Auditorium area Stage area Average room height Average room width Distance to the most remote listener 15 000 m3 1 212 seats 510 seats 792 m2 563 m2 19 m 21 m 31 m Reverberation time for Concert, Opera and Speech View from inside the lobby 0 0,5 1,0 1,5 2,0 125 250 500 1000 2000 4000 Frequency [Hz] Time [s] Speech Opera Concert Noise sources Main floor 1:1000 1. Auditorium 795 m2 2. Orchestra pit 3. Stage 563 m2 4. In house mix 30 m2 5. Lightning Tech. 30 m2 6. Lobby storage 35 m2 7. Kitchen 93 m2 8. Lobby storage 59 m2 9. Bar 43 m2 10. Box office 82 m2 11. Manager office 20 m2 12. Lobby 485 m2 13. Music storage 85 m2 14. Wardrobe 51 + 48 m2 15. WC Gents 80 m2 16. WC Ladies 81 m2 17.Orchestra dressing room 112 m2 18. Solo dressing room 19 m2 19. Scene shop 563 m2 20. Ventilation channel 21. Loading dock 22. Staff entrance 23. Portable stage 1 The site is characterized by a noisy environment The opera starts out as a closed volume isolated by thick concrete The Rehearsal Room has easy access from the lobby and dressing rooms. The room has no parallel walls and a slightly tilted ceiling to avoid flutter echo. Wood panels of different depth with porous absorption behind small gaps are used as ceiling for good absorption and scattering. Portable stairs works both for chorus practice and as seating for lectures and small performances. Inside the lowest steps, Helmholtz resonators can be opened or closed depending on required absorption for the lower frequencies. Rehearsal Room Rehearsal wall Floating floor At stage and in rehearsal room a wooden floor surface is required. To give the floor the required sound isolation it is supported by a springily fibreglass structure of various density. The floor has an approximate sound isolation at 64 dB for IIC and 62 dB for STC. The floor is suitable for dance performances. Floating floor 1:20 1. Oak 2. Two layers of plywood with staggered joints glued nailed to wood sleepers, 22mm +22mm 3. Wood sleeper 50 mm x 100 mm 4. High-density fibreglass blocks, side 50 mm, cc 300 5. Low density fibreglass blanket 50 mm 6.Structural concrete floor 300mm 7. Caulk 1 2 3 5 4 6 The multifunctional Rehearsal Room has hinged panels on the walls with one hard diffusive wooden side and one absorptive side to change the reverberation time of the room. The slightly curved front wall of laminated double glazed windows is highly reflective. This helps the reverberation time to be around 1.5 seconds. By pulling out a heavy curtain in front of the glass wall the reverberation time will be reduced to around 0.9 seconds. AbsorptiveDiffusive Ventilation The fresh air is taken in from the roof at level of 20 meter and is let out in a big space under the auditorium. It sips in to the concert hall mainly by vents under the chairs at a speed of 1,5 m/s so that no disturbing noise is created. At the outlet there is a muffler preventing sound to get in to the auditorium. 87 5 4 63 12 Air handler1:100 1. Air handler 2. Silencer 3. Concrete base 4. Steel bracket 5. Vibrate damping springs 6. Neoprene pads 7. Floating floor 8. Rubber isolation Air handler The air handlers stands on a separated concrete slab, supported by springs in combination with neoprene pads for a broad band isolation. Steel brackets is used to lower the bottom of the slab. Lobby wall - diffuser The lobby is dominated by mid frequency sound made from people talking. To diffuse the sound field the walls in the lobby are covered with a wooden panel of various cross sections. The panel is supported by an absorbing fibreboard to lower the reverberation time. 1. Pine of various cross sections 2. Absorbing panel 1 2 Absorbed Diffused Isolation strategy Instead of each room have a different noise criteria each volume has one. The volumes are acoustically isolated from each other and are standing on separated ground floors to reduce structure borne sound. RC15 RC40/35 RC20 RC40 RC40 Scene shop Auditorium Bar Rehearsal Lobby 80 dB 80 dB 80 dB dubbel concrete envelopment single concrete envelopment glass envelopment wooden lattice wall 1 2 3 1. From scene shop to auditorium To isolate the auditorium from the noisy scene shop two single concrete walls with a STC 45 is used. The critical sound isolation is therefore the sound traveling through the doors. The scene shop is therefore divided into two parts to get an extra protecting door from the noisy parts, each door reduces 25 dB and also the stage tower helps isolating. 2. From outside via lobby to auditorium Outdoor noise has a maximum sound level of 80 dBA which is mainly produced by airplanes. A glass envelopment with STC 45 protects the lobby from the surrounding noise. The lobby has an maximum sound level of 60 dBA. One single concrete wall with air locks prevents the noise to reach the auditorium which has a background noise of RC 15. 3. From outside to auditorium To get the desired background noise level in the auditorium the outside noise is reduced by a double concrete wall with STC 65. Sound isolating envelopments Glass 1:20 1. Laminated glass 10 mm 2. Laminated glass 7 mm 3. Neoprene foam 4. Cloth wrapped fibreglass 5. Wood window frame 6. Mastic sealant To get the glass roof absorptive, a third layer of 0.2 mm plexiglass, with micro perforated holes will be installed at a distance of 600 mm. This will increase the absorption and give a lower reverberation time in the lobby. Single concrete 1:20 1. Concrete 150 2. Gypsum 9 mm 3. Fibreboard 9 mm Double concrete 1:20 1. Concrete 250 mm 2. Low density fibreglass 50 mm 3. Air 50 mm 4. Concrete 100 mm 7 The shell wall with a weight of 20 kg/m2 is built as two separate pieces, which can be adjusted to give variable acoustics. The curved copper bands are placed irregularly to give a reflective and diffusive surface. The shell roof is hanged from the stage tower to be easily removed. Shell Open shell wall Closed shell wall Double concrete STC 65 Single concrete STC 45 Glass STC 45 2 312 3 41 MUFFLER No parallel surfaces to avoid flutter echo RC15 RC40/35 RC20 RC40 RC40 Scene shop Auditorium Bar Rehearsal Lobby 80 dB 80 dB 80 dB dubbel concrete envelopment single concrete envelopment glass envelopment wooden lattice wall 1. Copper foil 0.8 mm 2. Asphalt 10 mm 3. Felt 25 mm 4. MDF - board 18 mm 1 2 3 4 Ceiling height at 22 m above the audience floor. Convex reflectors are installed below the ceiling with adjustable height. Opera pit has adjustable pit ceiling size and floor level for easy balance adjustments between singer on the stage and orchestra in the pit. The mean balance between singers and the orchestra is 3 dB. Reverberation time 1.5 seconds. Opera Speech Clarity, C50, at 1 kHz Concert Clarity, C80, at 1 kHzOpera Clarity, C50, at 1 kHz Opera Strength, G, at 1 kHz Concert Strength, G, at 1 kHz Ceiling and reflectors height kept as in opera mode. The orchestra is placed on the stage where the stage shell is installed. By removing the pit railing, extra seats can be added in the orchestra pit for audience. Reverberation time 2.0 seconds. Concert A heavy curtain is pulled out just below the fifth balcony to act as a lower ceiling at a height of 14 meters above the audience floor. The reflector panels closest to the stage are lowered to a position below the new ceiling. The front wall will act as low frequency absorber as in the detail. A metal wall, “fire curtain”, will close the stage and support the speaker to be heard by reflections from behind. Reverberation time 1.0 seconds. SpeechOrchestra pit A movable ceiling section in the orchestra pit creates an adjustable opening, which regardless of performance, give a good balance between the orchestra and the singer on the stage. The movable pit floor will adjust the height of the orchestra and since the different floor sections can be adjusted separately the volume of the pit may be adjusted as well. When the pit is not in use, i.e. concert and speech mode, the railing can easily be removed and three extra rows of seats may be used instead. The walls are diffuse and may be changed into more absorptive by pulling out a heavy curtain in front of the walls. B A Plan 1:200 B A Adjustable floor front Adjustable floor back Adjustable floor left Adjustable floor right Section AA 1:200 Removable railing Adjustable floor front Diffusive roof Absorptive curtain Adjustable floor left Adjustable floor right Section BB 1:100 Adjustable floor front Adjustable opening Adjustable floor back Diffusive back wall Removable railing Extra seating Low frequency absorber To reduce the reverberation time for speech, variable absorbers are installed in the walls close to the stage. The heavy absorbing wall behind the copper bands is pulled away to let the bands work as a membrane absorber for undesired low frequency sound waves around 125 Hz. Absorptive Reflective Singer on stage Orchestra in pitSection of orchestra shell 21 5 43 6 Site Plan 1:1000 N College Strolling path Parking Rue Peel Rue Jean d’Estrées Planetarium de Montreal R ue S ai nt -J ac qu es Downtown R ue N ot re D am e AA B B 2 3 12 10 11 14 1415 Bus stop 22 23 Highway, 60 dBA Railway, 70 dBA Flightpath, 80 dBA G dB 10 0 -5 C-50 dB 5 0 -5 G dB 10 5 0 C-80 dB 5 0 -5 -10 C-50 dB 10 0 -10 5 Niklas Nordström | nniklas@student.chalmers.se | +46739760097 Outside The story begins on an empty lot in downtown Montreal. A central site in southern Montreal characterized by a noisy environment. To protect the opera from the noisy surroundings the Opera House starts out as a black box, the stone, with thick isolating concrete walls. The outside of the opera building is made of black concrete. Concrete is a high density material which makes it suitable for isolating the opera from low to high frequency noise. Concrete The site is characterized by a noisy environment The opera starts out as a closed volume isolated by thick concrete Project Site Course Time Professors Project type Tools Opera House Montreal Canada Bachelor’s degree project 6th semester year 2013 Morten Lund Mendel Kleiner Team of three persons Autocad Rhinoceros 4.0 -Grasshopper InDesign CS5 Photoshop CS5 Lacercutter THE TREASURE The Treasure is a story of a black stone that breaks apart and reveals a hidden inner secret. It is the story of how a college got an Opera House on a noisy lot in downtown Montreal. 6 Niklas Nordström | nniklas@student.chalmers.se | +46739760097 Exterior view from North West, model photo 7 Niklas Nordström | nniklas@student.chalmers.se | +46739760097 The hard black stone heavily isolated The stone breaks apart to form a building and welcome people inside The warm inside of the building is made of wooden lattice from Canadian pine, rising from oor to the ceiling to give a strong vertical feeling to the room. The distances between the wooden slits are varied to form natural openings for visual contact between the lobby and its surrounding rooms. Pine The second chapter of the story is about how the stone breaks apart welcoming the city into its warm glowing inside. It is also about how the stone transform into a functional building with separate functions acoustically isolated from each other. In between 8 Niklas Nordström | nniklas@student.chalmers.se | +46739760097 View from inside the lobby, model photo 9 Niklas Nordström | nniklas@student.chalmers.se | +46739760097 The end of the story is about the secret of the stone, the sparkling treasure, hidden in one of the stone pieces. It is how a pile of circular bands is shaped to form an intimate performance hall with early re ections and a highly diffuse sound eld. Inside The thin copper bands that de ne the auditorium are attached to an asphalt board to prevent them from unwanted vibrations. The copper has a very low absorption coef cient, which creates highly re ective walls and balcony fronts as desired. Copper The auditorium starts out as a stack of circular bands The band are shaped to form early re ections and a narrow plan 10 Niklas Nordström | nniklas@student.chalmers.se | +46739760097 Auditorium from stage, model photo 11 A Niklas Nordström | nniklas@student.chalmers.se | +46739760097 1. Auditorium 795 m2 2. Orchestra pit 3. Stage 563 m2 4. In house mix 30 m2 5. Lightning Tech. 30 m2 6. Lobby storage 35 m2 7. Kitchen 93 m2 8. Lobby storage 59 m2 9. Bar 43 m2 10. Box of ce 82 m2 11. Manager of ce 20 m2 12. Lobby 485 m2 13. Music storage 85 m2 14. Wardrobe 51 + 48 m2 15. WC Gents 80 m2 16. WC Ladies 81 m2 17.Orchestra dressing room 112 m2 18. Solo dressing room 19 m2 19. Scene shop 563 m2 20. Ventilation channel 21. Loading dock 22. Staff entrance 23. Portable stage Second oor, +4 m scale 1:500 ourth oor, +10 m scale 1:500 Sound isolation strategy Instead of each room having different noise criterion each volume has one. The volumes are acoustically isolated from each other and are standing on separated ground oors to reduce structure borne sound. RC15 RC40/35 RC20 RC40 RC40 Scene shop Auditorium Bar Rehearsal Lobby 80 dB 80 dB 80 dB 1 2 3 Sound isolating envelopments 1. Laminated glass 10 mm 2. Laminated glass 7 mm 3. Neoprene foam 4. Cloth wrapped berglass 5. Wood window frame 6. Mastic sealant To get the glass roof absorptive, a third layer of 0.2 mm plexiglass, with micro perforated holes will be installed at a distance of 600 mm. This will increase the absorption and give a lower reverberation time in the lobby. 1. Concrete 150 2. Gypsum 9 mm 3. Fiberboard 9 mm 1. Concrete 250 mm 2. Low density breglass 50 mm 3. Air 50 mm 4. Concrete 100 mm Double concrete STC 65 Single concrete STC 45 Double glass STC 45 2 312 3 41 21 5 43 6 Siteplan dubbel concrete envelopment single concrete envelopment glass envelopment wooden lattice wall Lobby wall - diffuser The lobby is dominated by mid frequency sound made from talking people. To diffuse the sound eld the walls in the lobby are covered with a wooden panel of various cross sections. The panel is supported by an absorbing berboard to lower the reverberation time. 1. Pine of various cross section 2. Absorbing panel 1 2 Absorbed Diffused 16 9 13 87 2118 18 17 6 5 4 20 20 19 Taxi stop Strolling path 1 Site Plan scale 1:2000 N College Strolling path Parking Rue Peel Rue Jean d’Estrées Planetarium de Montreal R ue S ai nt -J ac qu es Downtown R ue N otre D am e A B 2 3 12 10 11 14 15 Bus stop 2223 Highway, 60 dBA Railway, 70 dBA Flightpath, 80 dBA 14 B 12 Floating oor On the stage and in the rehearsal room a wooden oor surface is required. To give the oor the required sound isolation, it is supported by an elastic berglass structure of various density. The oor has an approximate sound isolation of 64 dB for IIC and 62 dB for STC. The oor is also suitable for dance performances. 1. Oak 2. Two layers of plywood with staggered joints glued and nailed to wood sleepers, 22mm +22mm 3. Wood sleeper 50 mm x 100 mm 4. High-density berglass blocks, side 50 mm, cc 300 5. Low density berglass blanket 50 mm 6.Structural concrete oor 300mm 7. Caulk 8. Perimeter isolation board 1 2 3 5 4 6 78 Orchestra shell Niklas Nordström | nniklas@student.chalmers.se | +46739760097 One-row Balconies In the Treasure it is all about intimacy and good acoustics as an opera should be, not only for those on the orchestra oor but for all in the audience. The auditorium therefore has ve balconies with only one row of seats per balcony, so the audience at the balconies does not have anyone between themselves and the performance, providing everyone a personal contact to the actors. One-row balconies enable everyone to experience lots of roof re ections, which are important for the acoustic experience. The small balcony openings increase the amount of re ecting planes, giving a high reverberation time and strength. All of this makes the auditorium a very intimate environment. Truly a treasure for all opera lovers. Balcony fronts: The copper bands on the balcony fronts are tilted downwards close to the stage to obtain the desired side wall re ections and upwards in the rear of the auditorium to avoid re ections at the back head. 1 2 4 1 2 3 1. Diffusive copper bands 2. Acoustic plaster 3. Wooden parquet oor 4. Lamp Low frequency absorber To reduce the reverberation time for speech, variable absorbers are installed in the walls close to the stage. The heavy absorbing wall behind the copper bands is pulled away to let the bands work as a membrane absorber for undesired low frequency sound waves around 125 Hz. Absorptive Re ective 5 6 7 7 7 8 9 Section A.A. Scale 1:300 1. Cross over 2. Fly over 3. Glass roof over lobby 4. Riser under stage 5. Orchestra pit 6. Air supply 7. Bar 8. Box of ce 9. Manager of ce 1 4 2 3 The shell wall with a weight of 20 kg/m2 is built as two separate pieces, which can be adjusted to give variable acoustics. The curved copper bands are placed irregularly to give a re ective and diffusive surface. The shell roof is hung from the stage tower to be easily removed. Shell 13 STUDIEBESÖK Kandidatprojektet började med studiebesök med guidade turer i Göte- borgsoperan, Konserthuset i Göteborg och i Oslos omtalade operahus. Besöken gav förutom inspiration även en viktig inblick och förståelse för verksamheten samt en känsla för byggnadens storlek och prob- lematik. KONCEPTFAS För att hitta ett koncept gjorde vi ett stort antal modeller i vit kartong. Från modellerna valde vi ut tre modeller som vi studerade vidare. Vi utvecklade de tre modellerna i nya material för att få ett nytt perspektiv på modellerna. Vi fastnade för ett koncept med en delad volym som gav intressanta möjligheter. Konceptet gav en akustiskt fördel genom att kunna skapa olika akustiska klimat i de olika delarna. Samtidigt ska- pades en intressant rumsligt kontrast mellan ute och inne. PROCESS När vi väl bestämt oss för konceptet med en sten som bröts sönder började vi undersöka delarnas storlek och utseende. För att snabbt få upp ett antal alternativ arbetade vi med foam och glödtråd. Vi hade svårt att bestämma oss hur många delar byggnaden skulle vara uppdelad i men efter att ha testat olika varianter fastnade vi tillslut för en byggnad delad i fyra volymer. Genom att erbjuda flera öppningar in till ytan mel- lan volymerna skulle ett mer dynamisk rum skapa där besökaren blev tvungen att ta ställning till riktning. Studiebesök i Oslos nya opera Konceptmodeller i vit kartong Volymstudie av rumssamband Utveckling av konceptmodell, foam, 1:500 Konceptmodell, foam, 1:500 Intriör i Oslos nya opera Handritad sektion över Göteborgsoperan Presentationsmodell, 1:100 Konceptmodell, foam, 1:500 REFLEKTION Kandidatprojektet var ett mycket roligt och lärorikt projekt. Genom att projektet hade stort fokus på akustik öppnades för mig nya dimensioner inom rumsbildning som jag tidigare inte funderat särskilt mycket på. Trots sin storlek känns projektet väl genomarbetat och jag tror att byggnaden skulle fylla sitt syfte mycket väl. Styrkan i projektet ligger i sitt koncept som väl an- passar sig till platsens förutsättningar. Dessutom känns planlös- ningen både rationell och intressant. I projektet valde vi att lägga stort fokus på konsertsal där försla- get delvis har nått hög detaljeringsnivå. Andra delar har på be- kostnad av detta fått stå tillbaka. Exempelvis är utformningen av övningsrummet projektets svaghet som skulle behöva ittereras för att kännas självklar. Avslutningsvis är jag mycket nöjd med beslutet att arbeta till så stor del i modell, ett beslut som också gav oss bra kontroll över tidsplaneringen. Empty Utvärdering1 Utvärdering2 Utvärdering3