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Marco Facondini Senior Acoustic Consultant The Acoustics of the Restored Petruzzelli Theater Daniele Ponteggia Acoustic Consultant AES 128 th Convention May 22-25 London, UK
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Marco FacondiniSenior Acoustic Consultant
The Acoustics of the Restored Petruzzelli Theater
Daniele PonteggiaAcoustic Consultant
AES 128th ConventionMay 22-25
London, UK
"The Acoustics of the Restored Petruzzelli Theater"AES 128th Convention, May 22-25, London 2
Summary Brief historical review Acoustics and renovation of historical theaters Design and verification
Reconstruction of the theater with CAD Materials analysis Mid-stage verification Final verification
Simulation vs real measurements Conclusions
"The Acoustics of the Restored Petruzzelli Theater"AES 128th Convention, May 22-25, London 3
Theater History timeline The Petruzzelli theater in Bari is one of the
largest opera houses in Italy
1903 1991 2009
OPENING FIRE RE-OPENING
"The Acoustics of the Restored Petruzzelli Theater"AES 128th Convention, May 22-25, London 4
Early Days 1896 Shipowners Onofrio and Antonio
Petruzzelli presented to the Bari municipality a theater design by engineer Antonio Messeni
1898 Start of the construction works 1903 Opening of the theater with the play of
the Meyerbeer opera "Les Huguenots"
"The Acoustics of the Restored Petruzzelli Theater"AES 128th Convention, May 22-25, London 5
A century of plays During the whole 20th centrury the theater
hosted many opera, ballets and concerts: Herbert von Karajan, Rudolf Nureyev, Frank
Sinatra, Ray Charles, Liza Minnelli, Juliette Greco, Eduardo De Filippo, Riccardo Muti, Carla Fracci, Luciano Pavarotti, Piero Cappuccilli, ...
The theater has become the cultural heart of the town and the entire region
"The Acoustics of the Restored Petruzzelli Theater"AES 128th Convention, May 22-25, London 6
Arson During the night between 26 and 27 October
1991 the theater was completely destroyed by an arson
"The Acoustics of the Restored Petruzzelli Theater"AES 128th Convention, May 22-25, London 7
Restoration and Re-opening The theater, completely restored using state
funds, has been returned back to the Bari municipality on September 2009, and it officially reopened after 18 years.
"The Acoustics of the Restored Petruzzelli Theater"AES 128th Convention, May 22-25, London 8
Renovation Design The authors were involved as acoustical
consultants by the building contractor A preliminary acoustical design was already
available Our task was to manage the restoration work
and design improvements to the already available acoustical design
"The Acoustics of the Restored Petruzzelli Theater"AES 128th Convention, May 22-25, London 9
Renovation Challenges The restoration has posed a series of
challenges: At the time of the fire acoustical measurements of
the room were not available. The status of the room before the fire was not
optimal, due to previous renovations that changed the "original" room acoustics Carpets Seating disposition
"The Acoustics of the Restored Petruzzelli Theater"AES 128th Convention, May 22-25, London 10
Tradition? Or not? Can we modifiy the acoustics of an hystorical
hall to adapt/change its possibile usage? This has been partly done in the previous
restoration In our opinion any attempt to strongly modify
the acoustics of this hall must be avoided. This theater is born as an opera house and
must remain an opera house.
"The Acoustics of the Restored Petruzzelli Theater"AES 128th Convention, May 22-25, London 11
"Modern" Tradition The theater cannot (and must not be)
reconstructed with the same building materials of a century ago
Modern materials that obey with the recent fire-proofing regulations and actual building standards must be used.
Our approach was very practical, we tried to keep the original acoustics as carefully studied by architect Angelo Messeni, trying at the same time, to reduce artifacts and well known defects.
"The Acoustics of the Restored Petruzzelli Theater"AES 128th Convention, May 22-25, London 12
Petruzzelli "original" Acoustics No measurements available Available literature give us reports of "good
acoustics" with some "redundancy", very audible in the higher part of the theater
During the years various restoration intervention changed the acoustics
Dampening the hall with carpets and curtains (as done in a bunch of Italian theaters) is not a solution
"The Acoustics of the Restored Petruzzelli Theater"AES 128th Convention, May 22-25, London 13
Petruzzelli "original" Acoustics The theater has a volume of about 18000 cubic
meters (with a capacity of slightly less than 1500 spectators) topped by an impressive dome which was originally entirely frescoed.
The dome and the high volume created the acoustical "fingerprint" of the hall The hall sounded as being very big Late reflections from the dome corrupted the
revereberation in the high order seats
"The Acoustics of the Restored Petruzzelli Theater"AES 128th Convention, May 22-25, London 14
Petruzzelli room shape The Petruzzelli theater is a mixture of a classic
Italian horseshoe shape that morph into a balcony on the higher orders
"The Acoustics of the Restored Petruzzelli Theater"AES 128th Convention, May 22-25, London 15
Petruzzelli room shape
"The Acoustics of the Restored Petruzzelli Theater"AES 128th Convention, May 22-25, London 16
Petruzzelli room shape
"The Acoustics of the Restored Petruzzelli Theater"AES 128th Convention, May 22-25, London 17
Petruzzelli room shape
"The Acoustics of the Restored Petruzzelli Theater"AES 128th Convention, May 22-25, London 18
Theater CAD model We created an EASE model of the theater
Better understanding of the acoustics of the theater prior the fire
Analysis of possible interventions Testing of acoustic chamber
"The Acoustics of the Restored Petruzzelli Theater"AES 128th Convention, May 22-25, London 19
Theater CAD model
"The Acoustics of the Restored Petruzzelli Theater"AES 128th Convention, May 22-25, London 20
Theater CAD model 890 faces
"The Acoustics of the Restored Petruzzelli Theater"AES 128th Convention, May 22-25, London 21
Theater CAD model Simulations were run using the EASE AURA
module Particle tracing tecnique
Absorption and scattering coefficients Geometrical detail Computational time
"The Acoustics of the Restored Petruzzelli Theater"AES 128th Convention, May 22-25, London 22
Design DOF Limited range of possible interventions:
Architecture must be conserved, no geometrical modifications are possible
Choice of materials is the key to get a consistent acoustics
Fireproof constraint on material and seating disposition
"The Acoustics of the Restored Petruzzelli Theater"AES 128th Convention, May 22-25, London 23
Main interventions Absorptive acoustic plaster on the dome Re-design of the orchestra pit (with lighter walls
and diffusive end wall) Seat disposition and audience floor Reduction of the noise produced by air
treatment, of other noisy devices, and transmitted through walls
"The Acoustics of the Restored Petruzzelli Theater"AES 128th Convention, May 22-25, London 24
Acoustic plaster Dome and rooflight are covered with an
acoustic plaster A layered structure made of an acoustical
plaster sprayed over a metal net, attached over wooden supports and with a backing air cavity.
No absorption data available for such a kind of composite material
"The Acoustics of the Restored Petruzzelli Theater"AES 128th Convention, May 22-25, London 25
Acoustic plaster
"The Acoustics of the Restored Petruzzelli Theater"AES 128th Convention, May 22-25, London 26
Acoustic plaster We tested a 7 m3 of the material using two
techniques: Reflected Impulse response Reverberation room
Tested with Logarithmic Sine Sweeps using this setup Audiomatica CLIO fw measurement system Genelec Monitor Loudspeaker Earthworks Mics SCILAB scripts
"The Acoustics of the Restored Petruzzelli Theater"AES 128th Convention, May 22-25, London 27
Acoustic plaster
"The Acoustics of the Restored Petruzzelli Theater"AES 128th Convention, May 22-25, London 28
Acoustic plaster
100 1000 100000.00
0.10
0.20
0.30
0.40
0.50
0.60
0.70
0.80
0.90
1.00
Absorption Coefficient
frequency (Hz)
alph
a
Reverberant chamber methodNormal incidence corrected
"The Acoustics of the Restored Petruzzelli Theater"AES 128th Convention, May 22-25, London 29
Tuning of the CAD model Reducing the uncertainty in absorption
coefficients "tuning" the model against real measurements
We measured the theater in a rough stage, during the restoration works Fireproof curtain closed
We created a computer model of the same state, and tuned this model using the real measurements
"The Acoustics of the Restored Petruzzelli Theater"AES 128th Convention, May 22-25, London 30
Theater "rough" state
"The Acoustics of the Restored Petruzzelli Theater"AES 128th Convention, May 22-25, London 31
Room impulse response measurements
Using spherical source and sinusoidal Log sine sweep method Audiomatica CLIO fw Outline Globe Source Radiatior with subwoofer Earthworks Mics
Response sampled in 25 points
"The Acoustics of the Restored Petruzzelli Theater"AES 128th Convention, May 22-25, London 32
Room Impulse Response Measurements
"The Acoustics of the Restored Petruzzelli Theater"AES 128th Convention, May 22-25, London 33
Tuning model
100 1000 100000.00
0.50
1.00
1.50
2.00
2.50
3.00
3.50
Reverberation Time
frequency (Hz)
RT2
0 (s
)
MeasuredModeled
"The Acoustics of the Restored Petruzzelli Theater"AES 128th Convention, May 22-25, London 34
"Tuned" model Using the "tuned" model we did simulations on
the final state of the theater Our simulations showed parameters that are in
agreement with expected values This confirmed that the design of the
interventions was correct
"The Acoustics of the Restored Petruzzelli Theater"AES 128th Convention, May 22-25, London 35
Final state
"The Acoustics of the Restored Petruzzelli Theater"AES 128th Convention, May 22-25, London 36
Orchestra Pit
"The Acoustics of the Restored Petruzzelli Theater"AES 128th Convention, May 22-25, London 37
Final state
"The Acoustics of the Restored Petruzzelli Theater"AES 128th Convention, May 22-25, London 38
Final state measurements
100 1000 100000.00
0.50
1.00
1.50
2.00
2.50
Reverberation
frequency (Hz)
time
(s)
EDTRT20RT30
"The Acoustics of the Restored Petruzzelli Theater"AES 128th Convention, May 22-25, London 39
RT compared to other halls
"The Acoustics of the Restored Petruzzelli Theater"AES 128th Convention, May 22-25, London 40
Final state measurements
100 1000 10000-6.00
-4.00
-2.00
0.00
2.00
4.00
6.00
Clarity
frequency (Hz)
clar
ity (d
B)
C50C80
"The Acoustics of the Restored Petruzzelli Theater"AES 128th Convention, May 22-25, London 41
Final state measurements
100 1000 100000.00
10.00
20.00
30.00
40.00
50.00
60.00
70.00
80.00
90.00
100.00
Definition
frequency (Hz)
D50
(%)
"The Acoustics of the Restored Petruzzelli Theater"AES 128th Convention, May 22-25, London 42
Final state measurements
100 1000 100000.00
20.00
40.00
60.00
80.00
100.00
120.00
140.00
160.00
Center Time
frequency (Hz)
ts (m
s)
"The Acoustics of the Restored Petruzzelli Theater"AES 128th Convention, May 22-25, London 43
Simulation vs Measurements
100 1000 100000.00
0.50
1.00
1.50
2.00
2.50
3.00
Reverberation
frequency (Hz)
time
(s)
RT20 MeasuredRT20 ModeledEDT MeasuredEDT Modeled
"The Acoustics of the Restored Petruzzelli Theater"AES 128th Convention, May 22-25, London 44
Simulation vs Measurements
100 1000 10000-1.00
0.00
1.00
2.00
3.00
4.00
5.00
Clarity
frequency (Hz)
clar
ity (d
B)
C80 MeasuredC80 Modeled
"The Acoustics of the Restored Petruzzelli Theater"AES 128th Convention, May 22-25, London 45
Simulation vs Measurements
100 1000 100000.00
10.00
20.00
30.00
40.00
50.00
60.00
70.00
80.00
90.00
100.00
Definition
frequency (Hz)
D50
(%)
D50 MeasuredD50 Modeled
"The Acoustics of the Restored Petruzzelli Theater"AES 128th Convention, May 22-25, London 46
Simulation vs Measurements
100 1000 100000.00
20.00
40.00
60.00
80.00
100.00
120.00
140.00
160.00
Center Time
frequency (Hz)
ts (m
s)
ts Measuredts Modeled
"The Acoustics of the Restored Petruzzelli Theater"AES 128th Convention, May 22-25, London 47
Conclusions The Petruzzelli theater has been restored to its
"original" acoustic fingerprint The acoustics has been enhanced removing
the known shortcomings Measurements and simulations of the materials
and the theater in different steps of the restoration was a key factor
"The Acoustics of the Restored Petruzzelli Theater"AES 128th Convention, May 22-25, London 48
Conclusions Simulations and real measurements are not
perfectly the same There are some uncertainties in the model that
needed to be addressed Absorption at 250 Hz probably due to the seats Simulation parameters
Shape and absolute values of simulation and measurements are in agreement
"The Acoustics of the Restored Petruzzelli Theater"AES 128th Convention, May 22-25, London 49
Conclusions CAD simulations must be seen as one of the
acoustician tools Proper use
How accurate a simulation must be to be an useful tool?
Simulations was a big plus in the communications with the architectural and engineering team Not acoustically trained staff can "see" and "hear"
Thank YouThank You
Questions?Questions?
