042 REPORT
Symphony Hall, Boston. Image © Michael J Lutch
Finlandia Hall, Helsinki. Image © Eero Venhola
Carnegie Hall, New York. Image © Jeff Goldberg / Esto
and prediction capabilities have enabled the blending of the ideals which brought about the innovations in concert hall form with proven acoustic objectives. Modi- fied-shoebox halls of the 1980s through to the present day rely on the principals of the beloved classical halls, but respond to the modern influences in an informed and balanced manner. Acoustic quality is achieved without sacrifice of other aspects of auditorium design, such as sightlines, integration of technology, ventilation, lighting, flexibility, accessibility, and safety.
Gasteig Philharmonie, Munich. Image © Gasteig München GmbH/Matthias Schönhofer
Experience and innovations in acoustics brought about the use of the reverberation chamber in concert hall design. Halls in Birmingham (UK) and Dallas introduced this trend. This movement was continued in Lahti (Finland), Lucerne, and Philadel- phia, each with slightly different effect. The construction of supplementary acoustic volumes of up to 50% of the original hall volume has been questioned from an economic perspective, however it provides a useful benchmark in the evolution of the acoustic experience influencing the concert hall form. Technology also enables the live concert hall experience to be experienced in new models, outside the concert hall. The aforementioned New World Symphony facility is enabled for simulcast to the park outside of the hall, complete with large scale video projection of the performance. The Berlin Philharmonic has established its Digital Concert Hall which broadcasts live performances over the internet and to cin- emas. Both of these examples have begun to test the possibilities of a new models for concert experience. In some new models, the electroacoustic enhancement of live acoustics also has advanced beyond the correction or modification of concert hall form to the substitution of concert hall form. Understanding three-dimensional sound allows the recreation of acoustic experience without the concert hall, to a reasonable facsimile. Ambisonic reproduction and wave field synthesis have brought spatial listening to small rooms.
Elbphilharmonie, Hamburg. Image © Mehmet Alatur
There have been varied attempts to bring concert hall reverberance to the outdoor environment. One notable example is the Jay Pritzker Pavilion in Chicago (in which the authors had involvement), where an outdoor overhead array of loudspeakers provides loudness and simulated reflections through two distinct audio systems to an audience of 10,000. Advances in acoustic and electroacoustic understanding have led to concert hall form being primarily influenced by experience: both the knowl- edge gained through more than 150 years of experience in concert hall building, and the listening experience provided to the musicians and concert-goers.
www.mondodr.com
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60 |
Page 61 |
Page 62 |
Page 63 |
Page 64 |
Page 65 |
Page 66 |
Page 67 |
Page 68 |
Page 69 |
Page 70 |
Page 71 |
Page 72 |
Page 73 |
Page 74 |
Page 75 |
Page 76 |
Page 77 |
Page 78 |
Page 79 |
Page 80 |
Page 81 |
Page 82 |
Page 83 |
Page 84 |
Page 85 |
Page 86 |
Page 87 |
Page 88 |
Page 89 |
Page 90 |
Page 91 |
Page 92 |
Page 93 |
Page 94 |
Page 95 |
Page 96 |
Page 97 |
Page 98 |
Page 99 |
Page 100 |
Page 101 |
Page 102 |
Page 103 |
Page 104 |
Page 105 |
Page 106 |
Page 107 |
Page 108 |
Page 109 |
Page 110 |
Page 111 |
Page 112 |
Page 113 |
Page 114 |
Page 115 |
Page 116 |
Page 117 |
Page 118 |
Page 119 |
Page 120 |
Page 121 |
Page 122 |
Page 123 |
Page 124 |
Page 125 |
Page 126 |
Page 127 |
Page 128 |
Page 129 |
Page 130 |
Page 131 |
Page 132 |
Page 133 |
Page 134 |
Page 135 |
Page 136 |
Page 137 |
Page 138 |
Page 139 |
Page 140 |
Page 141 |
Page 142 |
Page 143 |
Page 144 |
Page 145 |
Page 146 |
Page 147 |
Page 148