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Acoustic Venues
www.MuellerBBM.com
opera houses · concert halls · event arenas · open-air theatres · plenar halls · assembly rooms
Individual experience – objectifiable values
Irrelevant whether building a new construction or reno-
vating an existing structure: we are always concerned
with that critical area of tension which lies between
individual experience and objectifiable values in our pur-
suit of a specific, customized result. Since 1962 we have
been supporting clients, architects, technical planners
and users with our expertise in room acoustics, structu-
ral and electro-acoustics in addition to sound immission
and vibration control in numerous countries throughout
the world. Thus, we are able to contribute, through
constructive and mutual collaboration, to the overall
success of individual building projects.
Every space has its own unique sound
The starting points from which we address each and
every project are always the individual goals and con-
ditions. We then develop the planning fundamentals
based upon these determining factors. This does not
mean, however, that only the optimization of objective
acoustic criteria, for example ideal reverberation times, is
important. We also consider factors outside our field of
immediate expertise, like the subjective impact of colors
and materials, the value of high-quality rehearsal con-
ditions and much, much more.
Everything for a Superior Tone
The acoustics enhance the interpretation
Acoustic venues deeply influence the cultural life of a city – not only by providing locations for artistic events but as architectural symbols themselves. Theatre, concerts, operas, musicals, lectures and films all demand spaces in which to be effectively presented; spaces which determine not only the visual but also the acoustic quality of such experiences. This is where Müller-BBM focuses its expertise.
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A reliable and competent partner
Nationally and internationally recognized artists should
be welcomed with more than just objectively advan-
tageous conditions; they must also perceive them to be
so. Only then is it possible to achieve the superior per-
formances which delight audiences and critics alike. It is,
of course, the performers who finally make a venue re-
sound. In order to create optimal conditions we carefully
examine both the existing conditions and the individual
objectives of the project, develop a design solution and
supervise its implementation. We are thus able to gua-
rantee that the high acoustic standards demanded for a
project are actually achieved.
We would like to present some chosen examples of our
work; demonstrating just a small selection of the services
we offer. If you are interesting in knowing more about a
particular theme we would be delighted to present our
work in detail to you personally.
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Teatro La Fenice, Venice, Italy [ 2002 ]
1,000 seats
»Com´era e dov´era« – as it was and where it was. The
burnt out Venice Opera House »La Fenice« was to be re-
surrected; the phoenix was to rise again from the ashes,
albeit with modern technical, stage and air-conditioning
services and additional rehearsal rooms, in spite of its
confined location between Venetian canals.
The elaborately decorated tiers of the classical,
horse-shoe shaped »Sala Teatrale« are supported by
hidden, larch-wood scaffolding while a similarly effec-
tive timber frame is concealed behind the acoustically
optimized molded ceiling. As in the original design, the
parquet is carried by an enormous resonating body also
constructed of timber. Excellent conditions, there fore,
for incomparable sound demonstrating even longer
reverberation time than in Verdi’s era – in keeping with
contemporary expectations.
Working in Harmony with the Past
Acoustic measures with consideration for the historical framework
By way of an array of concealed detailing, our acoustic solutions can be carefully coordinated within existing historical built fabrics – irrelevant whether the project is one of renovation, restoration, extension or historical reconstruction.
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Roman Theatre at Orange, France [ 2006 ]
9,000 seats
This construction, dating from the time of Caesar
Augustus, has long been the scene of many magnificent
cultural events. Our task was to protect the more than
100-meter-long and 37-meter-high end wall from clima-
tic influences without impairing the legendary historical
acoustics. Out of respect for the ancient aesthetics of
this protected heritage site, the architects developed a
lightweight, transparent structure. Computer simulation
and laboratory experiments of innovative materials and
highly specialized detailing established the basis for a
transparent, sound-absorbing roof construction which is
simultaneously capable of withdrawing discreetly from
the colossal roman walling.
Vienna Concert House, Austria [ 2000 ]
Great Hall with 1,800 seats
The Vienna Concert House is considered to be one of
the best in the world. In addition to providing additio-
nal technical plant for air-conditioning and illumination,
it was required that the acoustics be further improved
upon while the historical built fabric was not to be in-
jured in any way. These apparently conflicting require-
ments were reconciled by the development of acoustic
wall constructions which did not visually vary from their
historical predecessors.
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Parco della Musica, Rome, Italy [ 2002 ]
Sala Santa Cecilia with 2,850 seats
The sheer size of this concert hall, the largest of three
independent halls in the complex, presented a particular
acoustic challenge. Spanning more than 55 meters, the
timber roof structure contains insulation material which
acoustically protects the space from external noise.
Double-curved ceiling elements of various radii be-
neath the roof ensure an even dispersion of sound and
the desired reflections. By completing intensive model
experiments and computer simulations it was possible
to avoid delayed echoes in spite of various acoustically
reflective areas on walls and ceiling.
Hangzhou Grand Theatre, China [ 2004 ]
Opera House with 1,800 seats
Designed by the Uruguay architect Carlos Ott, the Grand
Theatre is a complex comprising three performance
venues which can be used in parallel; the Opera House
with 1,800 seats, the Concert Hall with 800 seats and a
Black Box space with 500 seats for a variety of perfor-
mance alternatives.
The Opera House is designed to host western-style
opera performances and has an integrated orchestra pit.
Due to the optimization of the room acoustics, however,
Chinese operas, where the orchestra is located at the
side of the stage, also benefit from the highest quali-
ty sound production. Chinese operas require different
acoustics in order for the entire spectrum of the high
frequency of Asian musical instruments to be advan-
tageously presented.
Creative Freedom
Individual acoustic solutions for exceptional situations
Our expertise encourages the development of ambitious forms. One of our goals is the optimal integration of acoustic treatment into architectural compositions.
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Auditorio di Tenerife, Santa Cruz, Spain [ 2003 / 2004 ]
Grat Hall with 1,600 seats
Santiago Calatrava’s eye-catching, light-reflecting cres-
cent soars 50 meters into the sky and has become a
highly recognizable symbol. Thanks to the variable
acous tics, the great hall can accommodate not only
operas and concerts, but also pop music and shows. By
way of simu lation and comparative examinations it was
possible to harmonize these novel, innovative spatial
forms with exceptionally high quality acoustics familiar
from many illustrious classical concert halls.
Chiesa di San Pio da Pietrelcina,
San Giovanni Rotondo, Italy [ 2004 ]
Church with 6,500 seats – Piazza for 30,000
The pilgrimage church dedicated to Saint Pio has a spiri-
tual attraction which extends far beyond southern Italy.
The spiral shaped church, designed by Renzo Piano, is
dominated by the structural stone arches and crowned
by the vaulted ceiling above.
The sheer magnitude and unique architecture of the
church demanded an optimization of the acoustic re-
lationships within the space. It was possible, with the
assistance of absorbers and highly-developed electro-
acoustic techniques, to enable both the devoted within
the church and up to 30,000 pilgrims in the forecourt to
be involved in ceremonies transpiring at the altar.
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House for Mozart, Salzburg, Austria [ 2006 ]
1,600 seats
The Salzburg Festival celebrated the Mozart Year 2006,
with a new opera and concert house located on the site
of the former small festival hall. The rounded form with
a curved rear wall is reminiscent of historical examples.
The sloping parquet level and graded first and second
balconies offer not only uninterrupted sightlines, but
also excellent direct sound at all seats. The audience is
enveloped by the sound and acoustically involved with
the performance on the stage. When desired the opera
house transforms into a concert hall by the application
of a specially designed orchestra shell.
Niccolo Paganini Auditorium, Parma, Italy [ 2002 ]
800 seats
The architect Renzo Piano caused a semi-transparent con-
cert hall to be erected where trees once grew between
the decaying walls of a former factory. Although transver-
sely restricted by the existing walls, the glazed front and
rear elevations allow the space to become visually open.
The effect of bright reflections occuring on the glazed
facades is neutralized by meter-high, rotating reflectors
located at the back of the hall behind the audience, and
absorbers mounted to the ceiling limit resonance to the
desired level. The acoustics are controlled and directed
into the space by horizontal, staggered reflectors sus-
pended above the podium and audience.
Symphony of Engineering Skill
Good acoustics – a blend of understanding and inventive planning
As a result of our knowledge and experience in the field of the expansion of music and its effect on the human ear, we are able to technically and abstractly define the relationship between musicians and their audience. Thus, in collaboration with architects, unconventional and often extraordinary design solutions can be created.
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Essen Philharmonic Concert Hall, Germany [ 2004 ]
1,900 seats
This new construction, within the historic walls of the
Essen »Saalbau«, is predominantly used as a concert hall
independent of any form of electro-acoustic techno logy.
The floor of the parquet level is completely variable in
height thus being easily transformed into a space for
conventions or other large-scale functions. The Essen
Philharmonic Concert Hall is an acoustic space which
enables precise interpretation of not only baroque, clas-
sical and romantic but also modern music.
Auditorium for the Banca Popolare di Lodi, Italy [ 2002 ]
800 seats
This cylindrical construction, symbolically reminiscent of
a repository bursting with money, was initially intended
to function solely as a space for spoken events within
the complex built by the Banca Popolare di Lodi. The
acoustic requirements of the space were extended with
the desire for the room to also function as a concert
hall. Thus the lower wall panels were sloped in order
to prevent the sound from focusing in the center of the
room, and customized tiles with convex surfaces further
enhanced the acoustics. Plaster objects, similar to cham-
pignons, are suspended from the ceiling; they are re-
sponsible for the dispersion and controlled direction of
sound toward the audience.
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Megaro Mousikis, Athens, Greece [ 1992 ]
Friends of Music Hall with 2,000 seats
This structure was completed many years after the death
of the architect, Prof. Heinrich Keilholz. The task was
to fit out the existing concrete structure in such a way
that not only symphony performances would profit from
advantageous acoustics, but also that operas, ballets,
conferences and films would also be benefit.
The key to this is the ability to totally recompose the
concert hall as desired: sliding elements in the area of the
podium enable space to be created for a stage and its
mechanics, an orchestra pit and a proscenium. The meta-
morphosis of the space enables the reverberation time
to be reduced from 1.9 to 1.3 seconds, an ideal acoustic
situation for every alternative performance type.
Festival and Congress House, Bregenz, Austria [ 2006 ]
1,800 seats
The Bregenz Festival House was renovated for the occa-
sion of the 60th anniversary of the festival and was de-
signed to successfully accommodate congresses, operas,
lyric theatre, concerts and much more. It was therefore
necessary for the building to be acoustically equipped to
deal with an extensive range of performances.
Optically speaking, the ceiling is a grid construction;
this is, however, acoustically transparent. By applying
ceiling voids and optimizing materials it was possible to
maximize the volume of the space in order to extend the
reverberation time by half a second.
Adjustable fabric coverings in the ceiling cavity enable
technicians to adapt the acoustic characteristics of the
space to the various functions which are to take place.
It is, therefore, possible to provide acoustic clarity for
spoken events and congresses on the one side, and to
create quite different effects for concerts and orchestral
rehearsals on the other.
Diversity of Functions
Flexible solutions for spaces with a variety of acoustic facets
Modern auditoriums are highly complex spaces which, rather than being designed for a single musical genre, must be capable of supporting a huge variety of performance alternatives. When so desired, we design venues to be acoustically flexible for a wide spectrum of musical uses – by way of electro-acoustic techniques as well as conventional structural measures.
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Jahrhunderthalle, Bochum, Germany [ 2003 ]
Hall 1 with 2,600 seats
This former industrial building, which is larger than a
soccer field, now plays host to a multi-functional space
for theatre, concerts, pop and other shows. It is there-
fore necessary for both stage and seating to remain
exceedingly flexible. Specifically developed simulation
software determines the optimal location of the mobile
sound reflectors which are mounted on ceiling bridges
along with other technical equipment. Absorbers loca-
ted in the roof structure and curtains for subdividing the
hall into various zones contribute to further reduce the
reverberation time from the original ten seconds to two.
Helmut List Hall, Graz, Austria [ 2003 ]
1,300 seats
This concert hall, which is also used for theatre perfor-
mances and exhibitions, is located in a former industrial
hall. The extreme variability of the space could only be
achieved by determination of the acoustic goals early
in the planning process. The result is a space in which
stage, podium and seating area are all flexible. Intricate,
double-layered curtains reduce the reverberation time
and ensure variable acoustics which can be manipulated
and creatively applied. Among the fixed acoustic equip-
ment are triangular, folded timber side walls which are
specifically responsible for the control of flutter echoes.
Acoustically permeable, stainless-steel mesh walls at the
front and back of the hall conceal absorbers – for both
low-frequency and wide-range frequency sounds – from
the audience.
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Lingotto, Turin, Italy [ 1995 ]
2,000 seats
Where the legendary car test track was once in opera-
tion on the roof of the Fiat factory, an underground hall
has now been constructed in one of the three internal
courtyards. An acoustic separation joint between the
building and nearby hotels, shops, and exhibition and
trade fair areas avoids the transfer of structure-borne
sound. The unique capacity of the Lingotto is the mov-
able roof, which alters position depending upon whether
the space is to be used for a concert or a conference.
While a high ceiling is advantageous for music, lending
a desirable reverberance and resonance, a low ceiling is
preferable for clear speech by ensuring more immediate
sound reflections.
National Convention Center, Hanoi, Vietnam [ 2007 ]
3,700 seats
Although the conference hall in Vietnam’s capital city
is predominantly designed for speech, the application
of electro-acoustic facilities enables it to also be appro-
priate for musical performances, for example pop music.
Then it is necessary to employ loud speakers directed
toward the audience. The huge volume of the space
(53,000 m³) demanded numerous sound absorption
measures which needed to be reconciled with the archi-
tectural concept and could be executed with the locally
avail able building materials. The reverberation time
could be reduced by the development of saw-tooth-
like wall fans. The lightweight metal roof was enhanced
to such an extent by an acoustically effective internal
construction that even monsoon rains cannot be heard
from inside the building.
Clear Communication
Optimal acoustics for dialogue and discussion
The monumental dimensions of contemporary spaces often present specific problems in regard to the acoustics. Particularly important goals are the natural and realistic reproduction of the spoken voice and the spatial localization of speakers. Only then can the audience sit back and concentrate on the content of the address.
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Bavarian State Parliament
in the Maximilianeum, Munich, Germany [ 2005 ]
Plenary Chamber
An illuminated glass ceiling, glass panels in the walls,
the volume of a concert hall – the renovation of the
state parliament included a variety of elaborate goals.
The principal ambition was to create a sufficiently mu-
ted space with good vocal acoustics. Laboratory expe-
riments determined the basis for a range of important
acoustic measures: reflective wall surfaces were deli-
berately directed and resonating panels were installed
in the front wall for the absorption of low frequencies.
Additionally, the members’ desks were enhanced with
sound absorbing front panels. Air permeable carpets laid
on the perforated access floors not only permit ventila-
tion, but also enhance sound absorption.
German National Parliament
in the Reichstag Building, Berlin, Germany [ 1999 ]
Plenary Chamber
The plenary chamber of the German national parliament
has the dimensions of a church and is one-and-a-half
times larger than the Berlin Philharmonic hall. In order
to ensure ideal conditions for vocal acoustics it was
necessary to optimize all acoustically relevant building
elements by conducting laboratory tests, computer
simulation and building demonstration models. Even the
wall supporting the symbolic German eagle functions as
an acoustic body.
The accessible glass dome, one of the most popu-
lar tourist attractions in Berlin, also demanded skilled
acoustic treatment. Visitors can stroll the dome without
disturbing the politicians below in the plenary chamber
or the parliamentary party rooms.
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Müller-BBM is an internationally active consultancy with more than 250 employees to be found at different locations within Germany, and represented by numerous project offices throughout the entire world. Our independent consultants, planners and technical specialists advise our clients and take leading roles in the expert fields of buildings, environment and technology.
Since the establishment of the company in 1962, we have been successful in the planning of cultural and event venues; concert halls, opera houses, theatres, open air stages, congress centers, plenary chambers, conservatories of music and churches. We support clients, architects and users in all phases of planning in the field of acoustics and beyond – individually, competently, interdisciplinary, and with a wealth of experience accumulated from a multitude of projects both nationally and internationally.
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cover photo
Franz Liszt Concert Hall, Raiding, Austria [ 2006 ]
Chamber Music Hall with 600 seats
The birth house of Franz Liszt in the town of Raiding
in Burgenland was converted into a museum and ex-
tended by the addition of a chamber music hall nearby.
Heavy, convex, vaulted softwood panels on the ceilings
and walls in combination with an optimal volume lend
the hall excellent acoustics for piano concerts, chamber
music performances and smaller orchestral pieces.
Photographic credits:© Auditorio de Tenerife/ José Ramón Oller© Vienna Concert House / Herbert Schwingenschlögl© Imagepoint.biz© Müller-BBM Archive
We would like to express our gratitude for permission to publish these photographs.
Müller-BBM GmbH
Robert-Koch-Straße 11
D-82152 Planegg / Munich
Germany
Phone + 49 (89) 85602-0
Fax + 49 (89) 85602-111
www.MuellerBBM.com
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