088 VENUE
Image by Arno de la Chapelle
companies had a sense of national pride and they didn’t want to get in the way. Ultimately, we didn’t have any cases going to the market court and we got the top quality equipment that the users wanted.” Though the apportioning of contracts averted market court, it presented its own challenges to the systems integration, particularly trying to maintain communication channels between so many parties. Antti continued: “Another big challenge was the system integration with three design companies, three main user organisations, 29 contractors and with a team of very meticulous architects. Email, online project banks and sophisticated design software have all changed things in the design process and sped it up, but there is no substitute for getting together in the same room to discuss and design. “Helsinki Music Centre will be home for three main users and this meant that every decision had to be mutually agreed. This is the reason why we had a lot of meetings with the users, designers and contractors - usually several times per week over a two year period. Meeting face to face was the only way to ensure good communication and make sure that all user needs were transferred to design documents, and finally to actual realisation. It was also important to verify that the connections between different
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contractors were clear so that we would start with a complete system without any dead ends in the signal chain.” One aspect, which the project management team were adamant about, was centralising the network. Each contractor was instructed not to bring any switches onsite, instead they had to communicate their needs to network designer Jukka Haapalahti from Pöyry Telecom. Jukka designed the entertainment technology network and when that was complete, all of the network equipment was acquired from one company. That way, if any network problems do occur, the path to recovery will be much more direct. Helsinki Music Centre houses six performance spaces, from the main auditorium, which holds 1,704 people to five smaller spaces - known as the Sibelius Academy Halls - that accommodate between 100 and 400 people. In addition, there are seven sound recording studios, three lighter edit studios, two studio playing spaces, two picture control rooms and four entry points for OB-vans. When it came to specifying the audio and lighting for the main auditorium and smaller spaces, the competition laws in Finland were instrumental in both the appointment of Akukon as entertainment technology designers, and subsequently, which equipment was chosen. Akukon won the project through a process of competitive
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