Concert Halls Acoustic Design

CONCERT HALLS ACOUSTIC DESIGN

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Definition Concert halls Materials used

CONCERT HALL  

hall is A concert a where concerts of classical music take “Concert hall” can either mean the room where the concerts takes place, whole building.

place place. actual or the

CONCERT HALL  

A concert hall is usually a big hall: big enough for an orchestra to be on the stage. A small concert hall, designed for just a few performers as in chamber music! may be called a “recital hall”.

CONCERT HALLS

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Boston Symphony Hall !S

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Brid"e#ater Hall Manchester !$ 

%rosser Musi&'ereinssaal (ienna Austria

)hilharmonie de )aris *rance

Sala S+o )aulo Bra,il

The Si-elius Hall Lahti *inland

To&yo Opera City Concert Hall .apan

"n some ways, e#en the largest hall is no difference from the smaller rooms, the basic acoustic criteria are the same.  

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Must ha'e a lo# am-ient noise le'el from internal and e/ternal sources )ro'ide a reasona-le le'el of acoustic "ain )ro'ide appropriate re'er-eration time A'oid artefacts such as echoes

ARCH0TECT!RAL CONS0DERAT0ONS $earing conditions in any auditorium are considerably affected by purely architectural considerations like:  

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Shape Dimension (olume Layout of -oundary surfaces Seatin" arran"ements Audience capacity

ROOM SHA)E  

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%he talker&to&audience distance can be minimi'ed by carefully considering the room geometry. A rectangular shoebo(&type hall, with the stage cross one narrow end may be e(cellent for music where an audience can be seated farther away and a greater ratio of re#erberated sound is desirable

MATER0ALS !SED

BARREL SHA)ED D0**!SER 

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Diffusors 1or diffusers2 are used to treat sound a-errations in rooms such as echoes3 They are an e/cellent alternati'e or complement to sound a-sorption -ecause they do not remo'e sound ener"y -ut can -e used to effecti'ely reduce distinct echoes and reflections #hile still lea'in" a li'e soundin" space3

)*+-+A%* /*%A0  

)erforated metal 1also &no#n dependin" on thic&ness as perforated sheet perforated plate stampin" plates or perforated screen2 is made throu"h the metal stampin" and sheet metal manufacturin" process3

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Ceilin" of Culture )alace 1Tel A'i'2 concert hall is co'ered #ith perforated metal panels

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)erforated materials ha#e many ad#antages ranging from weight reduction through acoustic noise reduction to heat dissipation and much much more

5HARD6 ACO!ST0CAL *0N0SHES AND *!RN0T!RES  

)laster 1 plaster is a traditional material for ceilings and walls in concert halls.

 && to enhance re#erberation and gi#e a sense of sound en#elopment, the side walls and sometimes the ceiling are often shaped to scatter sounds. )laster is often used to create these shapes

5HARD6 ACO!ST0CAL *0N0SHES AND *!RN0T!RES  

2ypsum board.

2ypsum board is seldom used un concert hall designs because it has too much low fre3uency absorption.

5HARD6 ACO!ST0CAL *0N0SHES AND *!RN0T!RES  

4ood and wood paneling.

4ood, often used in concert hall design for aesthetic reasons, must be installed with care. %hin wood paneling with air space behind will allow fre3uency absorption through panel #ibration.

5HARD6 ACO!ST0CAL *0N0SHES AND *!RN0T!RES  

2lass

2lass is seldome used in concert halls, since these rooms are usually internal spaces surrounded by public hallways and functional spaces. 2lass might be used for decorati#e design and lighting.

5SO*T6 ACO!ST0CAL *0N0SHES AND *!RN0T!RES  

5eating 5eating absorption should match the absorption of people so that when people ae absent, as in rehearsal and low attendance, there will not be a noticeable change in the re#erberation times of the hall.

5HARD6 ACO!ST0CAL *0N0SHES AND *!RN0T!RES  

Carpets

Carpet is usually limited by acoustics to aisle runners.

5HARD6 ACO!ST0CAL *0N0SHES AND *!RN0T!RES  

4alls and balcony faces. 4here rear walls follow the seating cur#e there is the real possibility of reflections back to the front of the room