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How were the auditorium’s acoustic specifications determined?

A flexible auditorium

Designed to handle the various requirements of the symphonic repertoire, this is an extremely flexible performance hall. It is possible, for example, to “erase” the stalls and stage, then transform the rear risers so that the audience is arrayed directly in front of the stage. This innovative process opens the way to a large number of stage layout possibilities, allowing the Philharmonie to showcase a wide range of musical expression. Hall capacity can increase from 2,400 for a symphony concert to 3,650 for amplified music concerts (jazz, world music, etc.), with a partly standing audience. This new, more flexible type of performance hall promotes a musical plurality that appeals to new audiences, and stimulates artists who like to experiment with the spatial dimension of music.

Architecture

Jean Nouvel is surrounded by Brigitte Metra as associated architect for the concert hall and acousticians Marshall Day Acoustics and Nagata Acoustics for the acoustics of the room. The project is part of the architectural space of the Parc de la Villette, designed by architect Bernard Tschumi, including the Cité de la musique, the Grande Halle de la Villette, the Cité des Sciences and Industry and the Geode . The project design takes the form of a hill covered with aluminum blocks stacked horizontally cut a vertical fin to play on the lines of existing perspectives. It stands as a hill offering a panoramic view of Paris and its surroundings, beyond périphérique 5.

The building's interior

In addition to a concert hall seats 2400, the site will include an exhibition area of over 1100 m², educational hub of 1750 m², local residences orchestras, rehearsal rooms, studios and a restaurant. The high visibility allow simplified operation of the lease and a single rate on all seats. This rate will be decreased based on the proposed show. The Philharmonie de Paris will also offer many places at discounted prices.

 

Making acoustic choices for the future symphony hall

Brigitte Métra, associated architect for the Philharmonie de Paris concert hall, comments on the acoustic choices made for Paris’ future symphony hall.

Brigitte Métra, who worked with Jean Nouvel on the Copenhagen concert hall and Lucerne congress centre, is once again collaborating with the Ateliers Jean Nouvel for the Philharmonie de Paris auditorium.

How was the auditorium’s acoustic criteria developed?

Brigitte Métra: There were four essential requirements: high standards of architectural innovation, excellent acoustics, “enveloping” sound, and flexibility, so that we could have diverse programming. But no particular format was specified. However, Jean Nouvel had had experience with two styles: the “shoebox” model - with the orchestra facing the audience – in Lucerne, and the “vineyard” model – with the audience surrounding the orchestra – in Copenhagen. He was able to use this experience to develop something original.



In what way?

B.M.: By developing the concept of envelopment, both by sound and by light. And by viewing the auditorium as an actual instrument, without neglecting to make it a very beautiful space. With this in mind, we tried to keep only surfaces that were useful - useful for sound and useful to the audience. This means the stage that will hold the orchestra, the benches that will support the seats, the walls and ceiling that will reflect sound. The wall behind the audience was designed to function as a sound box that would promote late sound reflection. Early sound reflection will be enhanced by envelopment and by the reflector cloud located above the audience. With this envelopment concept, we’re neither in the narrowness of the “shoebox”, nor in the terraces of the “vineyard” model.

How were the auditorium’s acoustic specifications determined?

B.M.: Something that really contributed to this project’s success was that right from the start, there was a real connection between Nouvel’s vision and the skills of the two superb acousticians he consulted. Nouvel sought advice from Harold Marshall, who conducts very specialised research and is recognised for his expertise on the proportions between volume and dimension. Marshall had also gotten our attention with an auditorium project in Christchurch, New Zealand where he’d attached floating cloud reflectors to the ceiling. This particularly interested us, as we needed to ensure excellent acoustics no matter how the floor was set up, flexibility being key.

He also consulted Yasuhisa Toyota, who had already worked with him as personal acoustic consultant on the Copenhagen project. He directs Nagata Acoustics in Los Angeles, and his auditoriums are highly appreciated by musicians. Nouvel’s team put recommendations from these two experts together to produce the current project.


Date: 2015-12-24; view: 685


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