The new four subterranean halls in the Musikverein Building in Vienna

Transcription

1 The 33 rd International Congress and Exposition on Noise Control Engineering The new four subterranean halls in the Musikverein Building in Vienna K.B. Quiring a a Quiring Consultants, Mentlgasse 12 b, A-6020 Innsbruck, Austria a [quiring@aon.at] Abstract [373] The The four halls acoustically designed by the author are an addendum of room, practise and performance space to the Musikverein Building. They have specific requirements, not only satisfying the need for conventional orchestra and ensemble practising space, but also for conventions, modern and ethno music purposes, cinema, and last not least - for small audience concerts. Every hall follows an architecturally specific theme steel, wood, stone, and glass. In this concern and from the acoustical point-of-view with the exemption of the wooden hall, conceptually they certainly have to be seen as acoustical pilot projects. The issues development of the entire project including requirements, the definition tendencies of development of the acoustical taste (especially in context with the main glass hall (the Magna Auditorium)of the musicians practising in the halls the room acoustically practicable measures in the steel and glass hall problems arising are briefly discussed. 1.GENERAL REMARKS Musikverein (Haus der Gesellschaft der Musikfreunde in Wien) - can be considered as a monument of der occidential music culture. As a special condition, performance and teaching facilities - due to many members of the Vienna Philharmonic Orchestra being teachers, are in permanent dialog. Especially the large hall in Vienna has influenced the musical perception of generations. For the acoustical design tasks in the new four halls, this perception had to be considered, but also had to be adapted to the new using conditions Looking at the large hall, the large amount of hard plastered walls can be recognized, and this - together with the frequency characteristics of audience absorption - yields to a certain bass loading. Although used by smaller ensembles and audiences, baroque rooms basically provide similar listening properties. 1/5

2 Therefore - performance styles of baroque and classics have obvioulsy influenced each other. In order to remain conscious of true reproduction of musical sound, we can give three essential conditions low frequencies is the characteristics for warmth of sound middle frequencies represent presence high frequencies influence the perception of brilliance 2.USING CONDITIONS The preliminary design showed only a rehearsal room and a few side rooms. As the very first acoustical requirement, - the podium and organ balcony in the rehearsal roomm had the shape of the large hall. Then, Prof. Holzbauer, - materialising the four halls, created the wood hall, stone hall, steel hall, and as the center the glass hall. 2.1 Using conditions for the Glass Hall 2.1 Using conditions for the Glass Hall Rehearsals Orchestra Choir Chamber ensemble, contemporary music up to 100 Orchestra musicians Chorists together Semi - scenic performances children s concerts small ensembles Jazz, Ethno, Persussion Performances already happened saxophon quartett persussion soloists Film Film + Modern ensemble Film with life piano music Conventions, lectures 2/5

3 2.2 Using conditions for the Steel Hall "Ethno - facilitiy with possibility of recording" 2.3 Using conditions for the Wood Hall Rehearsal space for soloists and small ensembles with a baroque flair! Receptions Presentation of old instruments Gassenmusik mit 4 Philharmonikern Riesenerfolg 2.4 Using conditions for the Stone Hall It was the consultants intention to fulfil the requirements of the above mentioned using conditions, but consciously remembering traditional hearing conditions. 3.ACOUSTICAL CONSULTING TO THE NEW 4 HALLS The main question arising was How can one use stone, steel and glass in acoustically critical spaces? Basically, only uniform use yields to critical, somewhat uniform room acoustical conditions. Looking at the properties on these materials a hard, stonelike plastered room yields to a remarkably high reverberation, where - in occupied condition - the reverberant lower frequency portion remains (this is also correct for the large Golden hall in Musikverein) glass as a wall covering is almost entirely reflecting in the upper frequency regions, but - dependant upon its mass per area - - as more or less thin membrane, therefore a low frequency absorber also a sheet metal plate of sufficient size has - due to its vibration properties - the capability of a low frequency absorbing membrane. In terms of room acoustical use, these materials can principally be used, and there effects can be influenced by the way and amount of using them. 3/5

4 Also, these materials require a certain variety, which has already taken place because of the architectural requirements: 3.1 Design of the Glass Hall At the Glass Hall as the center of the new subterranean building - at first sight one seems to recognize a glass monotony, which is in many ways dissolved glass thicknesses between 8 and 16 mm, also with different cavity spaces were used the ceiling elements are divided by 30 cm wide spaces, also suspended in a wide spheroidal form. The whole ceiling above is covered with ISOVER acoustical boards, covered with black glass fiber fleece. the wall in front of the hydraulically adaptable orchestra podium - (the conducter s wall ) is divided into 48 elements with horizontal and vertical curvature, thus providing diffusion and simulating an open space to the audience The upper four rows of 4 x 8 elements can be turned out, opening the absorption area behind, also consisting of ISOVER acoustical boards, covered with black glass fiber fleece. in addition to this practicable absorption, the areas on both sides of these elements - behind acoustically transparent material - are equipped with operable blinds, thus enlarging the variability 3.2 Design of the Stone Hall Between the stone plates, there are 8 cm wide, high absorptive cracks, also, they are layed in steps in order to avoid plane parrallel surfaces the carpet floor also plane parallel plane surface reflections the ceiling having been finished as a plane, low frequency absorbing membrane provides low speech transmission loss, allowing clear presentations for both speakers and old instruments 4/5

5 3.3 Design of the Wood Hall Practically, the absorptive measures are integrated in the walls the critical surface of the glass element ceiling is equipped with a diffusor, thus avoiding flutter echoes with the heavy double floor construction Due to the glass ceiling, brilliance is emphasized, and the somewhat baroque character support small string ensembles and instrumental soloists 3.4 Design of the Metal Hall Four rows of sheet metal elements with rising amount of perforation together with practicable blinds on 55 % of the entire wall area allow a change from slightly reverberant to studio atmosphere, providing a suitable environment for percussion and ethno ensembles. REFERENCES [1] L. Cremer, L and Helmut A. Müller, Die wissenschaftlichen Grundlagen der Raumakustik, Band 1 und 2. Hirzel Verlag, Stuttgart /5