Meran Alwan Voyage Kurs UppgiftKandidatarbete 15Hp Våren 2013 (tredje året) Södra korsningen av Rue Saint-Jacques och Rue Peel, Montreal, Canada Joakim Sätterman Carlos Mora Meran Alwan Morten Lund AutoCAD, Rhinoceros, Vray, Adobe Photoshop, Adobe InDesign, MATLAB, CATT Acoustics Omfattning Period Examinator Område Grupp Hjälpmedel Uppgiften gick ut på att skapa en opera sal för en skola i Montreal med starkt musikprogram. Opera salen skulle även vara en sal för andra typer av föreställningar så som teater och konserter. Salen skulle få plats med ungefär 1200 personer och ungefär 40% av sittplatserna skulle vara ovanför mark- nivån (balkonger). Sen hade vi andra begränsningar inom programmet så som att scenen skulle vara 560m^2, scenöppningen skulle vara 15m bred och 9 m hög. Scen- huset skulle vara ungefär 2.5 till 3 gånger så hög som scenöppningen. Orkesterdiket skulle vara 170m^2 och få plats med ungefär 70 musiker. Det var viktigt att tänka på att salen skulle användas för olika föreställningar och lju- det skulle kunna ändras för olika ändamål. Programmet innehöll många rum och begränsningar för mer detaljerat information se bifogat programbeskrivning. 1 Vi tänkte att det var tre huvudgrupper vi behövde tän- ka på, scenartister & studenter, personal, besökare alla behövde sina egna avdelningar och i vissa fall korsade vissa rum andra så som restaurang där personalen och besökare sammansmälter. Green room är ett rum som korsas mellan scenartister & studenter och besökarna och där alla avdelningar sammansmälter är opera salen. +3.2 +3.2 +3.2 +3.2 0 0 0 +1.1 +1.1 2. 3. 4. 6. 6. 9. 7. 10. 8. 8. 8. 11. 12. 13. 14. 14. 14. 14. 15. 15. 15. 15. 15. 16. 16. 17. 18. 19. 20. 21. 6. 6. 6. 5. 1. Lobby and Backstage Level scale 1:500 Section A-A scale 1:200 29. 30. 7. 7. 7. 8. 8. 8. 41. 26. 23. 24. 18. +3.2 +6.5 +6.5 +9.5 +9.5 22. 23. 24. 27. 37. 37. 38. 38. 39. 39. 40. 28. 29. 30. 30. 32. 32. 35. 34. 34. 34. 33. 36. 31. 31. 24. 24.25. 26. Basement Level scale 1:1000 Entrance and Backstage Level scale 1:1000 Upper Lobby Level scale 1:1000 Basement level -2.8 22. Orchestra Pit 23. Sub-stage area 24. Storage 25. Mechanical Equipment Room 26. Plenum Chamber Entrance level +0 27. Main restaurant kitchen 28. Restaurant area NC40 29. Box offi ce 30. Wardrobes 31. Auditorium Emergency Exit 32. Auditorium Cleaning Storage 33. Maintenance and Managers offi ce 34. Chorus Dressing Room NC35 35. Orchestra Dressing Room NC35 36. Costume and Wig Shop Upper Lobby Level +9.5 37. Mingle area NC40 38. Lobby storage (furniture) 39. Toilets 40. Performance hall balcony NC15 Technical level +20 41. Stage lighting, recording and ventilation exhaust 50 dBA 70 dBA 65 dBA Lobby level +3.2 NC-values 1. Upper restaurant kitchen 2. Restaurant area NC40 3. Lounge area with bar NC40 4. Mingle area NC40 5. Lobby storage (furniture) 6. Toilets 7. Auditorium corridor 8. Noise lock corridor 9. Sound booth 10. Performance hall main fl oor NC 15 11. Green Room NC25 12. Rehearsal Room NC25 13. Storage for Green room, Rehearsal and Lobby 14. Practice Room NC35 15. Solo Dressing Room NC35 16. 4-person Dressing Room NC35 Backstage level +1.1 17. Main stage 18. Backstage storage 19. Garbage disposal room 20. Tractor Trailer Loading Dock 21. Scene Shop Floor plan concept Th e Site Opera is more than just a stage performance. Th e opera experience do not start when the curtain goes up, it starts with entering the site, with all the excitement that rises when you stand in the lobby waiting to get in. Th e experience continues in the lobby between the acts, by the meeting of old friends and new, by that amazing dish in the res- taurant or that post-performance concert in the Rehearsal room or the Green room. Opera is more than just a stage performance, it is a breath taking experience, an amazing voyage. Diff erent people needs diff erent rooms and facilities around the performance hall, they are sum up into three categories: Th e site is located east of downtown Montreal and the most of the visitors will come from northwest. Th e students and performers have their own entrance on the north side and the loading dock is placed on the south side, by the least busy of the three surrounding streets. External noise will mainly come from car traffi c from west and north, train traffi c from northeast and airplanes from above. In some cases the three diff erent groups requirements for rooms converge, those rooms become the borderland between diff erent parts of the building. Th is forms the lively building surrounding the performance hall. Performers and student Staff Visitors Costume & Wig Shop Restaurant & Kitchen Green Room and Rehearsal Room A A Site from northwest with maximum external noise values I Tidigt i arbetet började vi göra pappmodeller våra pap- pmodeller består av treanglar är ingen slump. Vi ville ska- pa dramatik med trianglarna genom att ha ena spetsen nedåt mot marken vi gjorde väldigt många modeller och första bilden var den utformningen vi ville fortsätta med. Att bara ha två trianglar som märker ut entrén/framsidan till operan och som man kan se är marken är upphöjt det gjorde vi för att ge besökarna en upplevelse när de går in under det låga taket och ut till lobbyn som är stort och luftigt. Efter långt skissande av förslaget kom vi inget vart. Det var svårt och få ihop trianglarna och bli en del av fasaden samtidigt som man skulle få till en fungerande lobby innanför. Så vi valde att släppa förslaget och bör- ja tänka i nya banor och ta tag i problemet i ett senare skede. Meran Alwan2 Operasal Seating Plan scale 1:500 Th e Seating Th e Multi-purpose Hall Reverberation Time Th e Th ree Modes Th e performance hall is formed so that every seat is should be both acoustically and visually good. Th e criterion that every seat should be facing the stage makes it better to place the balconies in the back instead of in a classical horseshoe-shape. Making the auditorium fan-shaped results in that the auditorium does not have to be that deep and the rear balconies will be closer to the stage. Th e auditorium hall has 1210 seats plus 6 places for wheelchairs (4 in the back of the main fl oor and 2 in the middle of the fi rst bal- cony). 720 seats are on the main fl oor, 270 on the fi rst balcony and 220 on the second. When there is no need for the orchestra pit it can be raised giving space for 130 extra seats plus a larger stage. Th e auditorium is formed to serve diff erent purposes with diff er- ent acoustical requirement. Th e three diff erent modes that main- ly are concerned are, Opera Mode, Concert Mode and Lecture Mode. Th e main diff erences of the three modes are the reverber- ation time which is alternated by changing the volume and partly also the absorption of the room. To change the volume a moveable ceiling is used. Opera Mode Th e orchestra pit is in use, it can be lowered or higher in segments to serve the diff erent needs for diff erent orchestras. Th e per- formers are singing from the stage towards the audience. G (1 kHz) Th e strength is an indica- tor of the loudness in the room. C-80 (1 kHz) Clarity meassures how well individual sounds can be distinguished one after the other. Strong early refl ec- tions are desirable in order to achieve a better clarity. STI Speech Transmission In- dex is a better indicator than C-80 to measure a good speech inteligibility. T-30 Reverberation time gives an impression of the large- ness of the room. High reverberation times are de- sirable for music while for speech reverberation time is prefered to be lower. Concert Mode Th e pit is raised so that half of it is fi lled up with 130 extra seats and the other half becomes stage. Th e orchestra is sitting on the stage which are enclosed by a stage shell Speech Mode Th e pit is raised in the same way as in concert mode but the stage tower is closed with the fi rewall. Th e lowered, more fl at ceiling both reduces the reverberation time and helps sending early re- fl ections to the balconies. Th e Refl ectors To make every seat acoustical excellent the early refl ections are of importance. Th e sides of the auditorium are shaped like fi ve curved refl ector, each distributing early refl ections from stage to the whole auditorium. Th e side wall refl ectors are tilted inwards 3° increasing the early refl ections. Above the orchestra pit are two refl ectors hanging, each sending refl ectors to the whole hall. Th e Wall Material Th e auditorium wall surface is made of bricks. By adding bricks off set relative to each other, scat- tering walls are created on the four back walls. Th e refl ecting walls and refl ectors have bricks stacked without displacement to each other and a small mortar layer. Th e Shell Th e orchestra shell is built up by 1.2 m long curved rigid plywood elements. Th e ceiling of the shell is when not in use hung up in the stage tower while the side elements are stored behind the stage. Th e wall curvature in addition with horizontal ribs makes the shell optimum both for the sound environment for the musicians and for refl ecting the music out to the auditorium. Controlling HVAC and plumbing Th e ventilation system in the auditorium will be used both for cooling and for air quality control. Th e ventilation is handled through a plenum chamber beneath the auditorium. Air will be supplied through vents located below the audience seats. Warm air rises and is being replaced by cool air from below, which means that there is no need for fans transporting air into the auditorium. Th e Air Handling Unit is located in the mechanical room below the scene shop, this will supply air into the chamber below the auditorium. Th e walls in the chamber are built in absorbing material to prevent any noise generation. In order to achieve a good comfort environ- ment, it is needed a ventilation air fl ow of 10 m3/s with full occu- pancy. Air will be supplied at low velocities around 1 m/s. Th e air exhaust devices are located in the technical level and heat recovery will be used. Th e exhausts are supplied with muffl ers preventing external noise to leak in. Th e wall between the auditorium and the restroom provides an STC 75. In order to maintain the noise isolation properties, waste water pipes will not be embedded within this wall, instead the plumbing from the toilets are lead through the fl oor and then out to the outer wall. Th e Orchestra Pit Th e pit is divided into four fl oor segments which can be individu- ally raised to the desired height. Th e back and side walls of the pit are diff using allowing the musicians to properly hear each other improving the unison of sound out to the audience. Th e front wall of the pit is refl ecting, giving refl ections to the stage performers. 1000 Concert Mode Main Floor Sight- lines, including the extra 4 rows Refl ective walls Refl ective brick walls Hanging refl ector each refl ecting sound from the pit to the whole au- ditorium Side refl ector each refl ecting sound from the stage to the whole audi- torium Balcony Sightlines Scattering walls Scattering brick walls Opera Mode Speech Mode Hz100 0.7 1.5 1.7 0.9 1.1 1.9 1.3 2.1 sec C-80 dB C-80 dB STI G dB G dB G dB 10 - 10 - 10 - 2.5 - 2.5 - -5 - -5 - 0.5 - 0.6 - 0.7 - 0 - 0 - 0 - 5 - 5 - 0 - 0 - 5 - 5 - 5 - 0.8 - Th e main fl oor is sloped so that the stage is fully visible above the head of the audience two rows in front of you. Th e seats are later- ally staggered so the heads of the people on the row in front are not disturbing the sight. Th e balconies are sloped so that you see the stage above the row in front of you. HVAC are handled through a plenum chamber beneath the auditorium. Warm air rises and are being replaced by cool air from below. Auditorium Roof - STC 70 Roof construction will isolate from aircraft noise and will provide suffi cient transmission loss to have NC15 within the auditorium. Auditorium wall - STC 75 II roof membrane cement board load bearing isolation vapour barrier concrete slab concrete wall glass fi bre isolation concrete wall brick stone surface 13 mm 300 mm 200 mm 125 mm 90 mm 175 mm Vårt motto för operasalen var att alla sittplatser skulle få full vy över scenen och höra bra och tydligt. Därför val- de vi att jobba med en solfjäderformad sal med tillhugg- na sidor så att platserna längre bak inte skulle bli alldeles för långt bak. För att få en uppfattning av hur stort salen skulle bli pro- grammerade vi en kod som skapade ett antal cirkelseg- ment med ökande radie på en meter eftersom vi tyckte att det var ett bra avstånd att ha mellan stolarna och programmet delade senare upp cirkelsegmeten i 0.8 meters delar och programmet räknade i slutet ut det totala antalet segment. Som var en siffra på antalet stolar. Vi skrev också ett program som räknade ut hur mycket högre upp personen bakom måste sitta för att kunna se över personen framför. Th e rehearsal room serves for multi-purpose in the same way as the performance hall. Th e use of the rehearsal room diff ers from dance and choir practice to concerts, receptions and lectures. For dance and choir practice a shorter reverberation time is preferred in comparison with concerts and lectures. Th e spacious lobby is subdivided into diff erent levels. Th e higher level slabs are hung from the ceiling. Th e feeling of spaciousness in the lobby is enhanced by the com- parison to the entrance level where visitors are entering through a volume with a low ceiling height. Th e same enhancement of spaciousness works for the perfor- mance hall which is entered through the noise lock corridors. Th e low ceiling in the noise lock corridors also works for absorbing reasons, preventing noise to reach into the hall. Th e auditorium corridors are separated from the rest of the lobby by horizontal wooden planks. When entering the lobby the wood- en panel appears as a solid wall due to the angle. Move vertically up through the lobby the panel turns more translucent. Th e small practice rooms each have two neighbouring walls equipped with the same kind of diff using panel as in the rehearsal room. Th e two remaining walls can be covered by curtains when a short reverberation is desired. Floating fl oor in rehearsal room - STC 90 IIC 80 Due to dancing practice the rehearsal room fl oor should be prop- erly isolated so vibrations will not cause unwanted noise in the dressings rooms below. Th e fl oating fl oor and the suspended ceil- ing together attains an IIC of 80 dB which make the impact noise nearly inaudible. Lightweight wall between dressing rooms - STC 60 Th e wall is design allowing artists to warm up prior to perfor- mance without disturbing their neighbours. Choir Practice Mode RT ~0.6 sec (1 kHz) Risers and diff using panel in use Changing from Choir Practice to Dance Practice 1 Th e diff using panels are folded into the corner. 2 Th e risers are pushed into the wall. On the long side they are hidden in fi xed risers in the corridor, opposite to the practice rooms. On the other side of the short wall the risers are hid- den in the wardrobes of the solo dressing rooms. 3 Th e mirrors are lowered to fl oor level. Helmholz Resonators using wooden boxes Th e ceiling in the rehearsal room is covered with wooden boxes in diff erent sizes. Th e upper parts of the sides are perforated mak- ing the boxes to work as Helmholtz resonators. Th e inside of the holes is covered with gauze adjusting the box for an octave wider esonance. Porous absorption is added to the inside of the boxes further increasing the absorption. Th e boxes are used for reducing the reverberation time for the practice modes. For the high RT mode the boxes are raised so that the perforation is covered. If the boxes are raised just above the holes the ceiling will be scattering, if they are raised all the way the ceiling becomes fl at and refl ecting. Th e scattering ceiling is better for concert and the refl ecting is preferred for speech. Dance Practice Mode RT ~0.6 sec (1 kHz) Risers push into the walls, diff using panel folded Concert & Lecture Mode RT ~1.1 sec (1 kHz) Risers can be used if desired, diff using panel in use. H l h l R t i d b Th e Rehearsal Room Th e Lobby Th e Practice Rooms 1 2 3 Section through the lobby showing low vs high and the gradually translucent wooden panel scale 1:500 Th e center of the main lobby level are visible from all the diff erent levels. In case of a performance the hanging slabs turns into balconies. Detail section through the lobby façade Th e glass are of 6 mm pane, 15 mm argon and 4 mm pane. Th is will achieve a noise reduc- tion of 40 dB. Detail section through the lobby light fi xture Controlling the reverberation time Th e reverberation time in the lobby is 1.1-1.2 sec at mid-frequen- cies depending on the number of people present. Th e reverberation time is reduced by absorption in the ceiling and in the auditorium corridors. Th e auditorium corridors work as absorbing volumes behind the wooden panel. Helmholtz resonators in form of light fi xtures are hung from the ceiling to reduce low-frequency noise. Th ey are in three sizes with resonance frequencies from 63-250 Hz, in addition they are tuneable with respect to center-frequency and Q-value. Th e façade Th e façade of the lobby is composed of a concrete hexagon grid. Th e grid is glazed and partly fi lled with concrete. Th e midpoints of the hexagons are extended either inwards or outwards to prevent direct refl ections and instead working as scattering. Th e Multi-purpose lobby Th e lobby is more than only a waiting room for the auditorium. Th e diff erent slabs create room of diff erent sizes appropriate for events and receptions in diff erent scales. From the mingle area on the main lobby level you get a view over the entire lobby. Th is is ideal for a concert where a smaller stage can be placed on the lobby level and the hanging slabs will work as balconies. Absorbing walls Diff using/refl ecting walls Th e walls of the rehearsal room Th e walls of the rehearsal room are off concern both for isolating to adjacent rooms and for the sound environment in the rehearsal room. Th e walls are the same kind surrounding the auditorium, preventing sound both from reaching into the rehearsal room and to get out. Th e inside of the walls are important to control the reverberation time and sound strength in the room. Th e outer wall and the wall against the green room are primarily absorbing and the other two walls are scattering or refl ection depending on the current use. III spring jack up mounting neopren spring cupcaulking against wall neoprene isolator fi ber glass panel ceiling channel with rubber support vinyl fl oor concrete slab air gap concrete slab glas fi bre isolation 2 gypsum boards 2x 13mm steel stud 90 mm resilient channel 2 gypsum boards 2x 13mm 2.5 mm 100 mm 100 mm 150 mm 90 mm rubber stripe perimeter Lobbyn består av en entréplan på marknivå och flera nivåer ovanför som är upphängt i taket. De upphängda nivåerna är plats för mingel där man kan hänga mellan akterna och samtidigt så kan nivåerna fungera som bal- konger man kan titta ner ifrån mot nedersta mingelvånin- gen där man kan ha föreställningar. Nivåerna blir inte bara en väntplats utan en plats där man kan vandra och uppleva. Fasaden är uppbyggd av hexagoner med en mittpunkt som skjuts in eller ut i vissa delar här hexagonen i betong och andra i glas det skapar en intressant fasad som samti- digt diffuserar ljud så att det inte blir högljudd med lång efterklangstid i lobbyn. Vi har dessutom hängt upp Hel- mortz lampor i lobbyn för att refusera efterklangstiden. Som jag tidigare nämnde så ville vi att man skulle entrén ha låg takhöjd och plötsligt bli stort rum. Rummet up- plevs större än det faktiskt är eftersom väggen till opera- salen lutar inåt mot lobbyn. Väggen består av liggande träreglar med en ökande mellanrum allt högre upp man kommer så att man uppfattar väggen solid från entrén. Men när man kommer längre upp så kommer man kunna se igenom och få kontakt med besökarna där. Lobby 3 Meran Alwan Reflektion När vi började med projektet hittade vi inte ett riktigt koncept fastän vi försökte hitta ett starkt koncept. Det var ett stort problem och gjorde arbetet mycket svårare än vad det hade blivit om vi hade haft ett koncept eftersom vi inte visste vart vi ville landa. När vi stötte på ett problem som vi inte hade lösningen hoppade vi över det och gjorde något annat. Vi han aldrig egentligen hoppa tillbaka och lösa problemen. Vi sa väldigt många gånger att vi skulle sätta upp våra mål och skri- va ner vad vi hade bestämt oss för men det gjorde vi aldrig och det försvårade vårt samarbete eftersom vi inte alltid visste vad vi hade bestämt oss för. Det ledde till långa diskussioner som vi redan hade haft och vi försökte övertyga varandra igen. Hade jag gjort om projektet hade jag börjat i en annan ände. Hittat ett starkt koncept som jag vill följa projektet ut. Skriva ner saker vi bestämt oss för och följa ett schema som vi satt upp med mål. Trotts alla motgångar vi stötte på så tycker jag att vi fick ihop en fin opera som fungerar som en helhet. Det bästa med projektet är lobbyn, jag tycker att det är en intressant miljö och vistas på. 4