Pavilion 21 MINI Opera Space

source: coop-himmelblauat

The task which we had to solve with our design was to create a space with 300 seats (or 700 standing spectators) for experimental performances of the Bavarian State Opera. The Pavilion should be dismountable, transportable and re-mountable and make the respective urban space distinctive through its shape.

Mass and therefore weight are the decisive criteria for good acoustics. The conception of the Pavilion 21 MINI Opera Space therefore had to overcome a contradiction: to design a lightweight construction which must allow to be dis- and re-assembled quickly, but which at the same time meets the acoustical requirements of a concert hall.

Hence how do we create the conditions for good acoustics despite a reduction of mass? Already the first considerations fixed in drawings show the basic concept of the Pavilion to introduce elements which are on the one hand the spatial transformation of sound sequences, and which on the other hand develop sound reflecting and absorbing properties through their pyramid-like shape: “Soundscaping”.

The idea to combine architecture with music is not new. Also the term soundscaping is not new. Similar to landscaping it involves “Gestalt”. Soundscaping originates in the 1940’s and designates a method of composing. In architecture, Le Corbusier and Iannis Xenakis together engaged in the topic of music and architecture when they thought about three-dimensional implementation of musical compositions (Le Corbusier’s Philips Pavilion and the partition of the windows in La Tourette).

As a starting point towards the abstraction of music into spatial form, a sequence from the song “Purple Haze” by Jimi Hendrix and a passage from “Don Giovanni” by Mozart were transcribed. Through the analysis of frequency sections from these pieces of music and through the combination with the computer generated 3D model, the sequences are translated into pyramidal “spike constructions” by means of parametric “scripting”.

Our strategy to achieve soundscaping comprises three steps: Firstly, to realize the shielding effect between square and street, secondly, to shape the geometry of the Pavilion in such a way that the surface deflects noise, and thirdly, to design the surface of the Pavilion in such a way that it reflects and absorbs sound.

In order to implement the objectives of the interior spatial acoustics, the interior wall and ceiling surfaces were fitted with a combination of perforated absorbing and smooth reflecting sandwich panels. The flooring of the Pavilion is carried out as a reflecting even “stage floor”. Sound reflecting, parallel wall and ceiling surfaces are avoided and are therefore tilted or skewed.

The development of the acoustical elements was carried out together with the acoustics department of Arup; the applied construction and materials were worked out with Frener & Reifer.
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source: architizer

CONCEPTThe ‘Pavilion 21 MINI Opera Space’ is a temporary mobile performance space for 300 visitors to be located on the Marstallplatz in the City of Munich. It is intended to be used for a wide range of events at the annual Opera Festival 2010 and then to travel to other locations.The design approach studies the impact of physical influences on our hearing perception and how to apply soundscape effects to alter our sensation through transforming and adopting building volumes and their material specifications. Contrary to our built environment sound or music has no present materiality so it is always perceived at the moment of its generation. Because of this immediate perception of sound our sensations could range from supreme beauty to painful intolerability. In architecture and urban planning soundscaping design approaches of exterior spaces are barley recognized and hardly ever applied therefore many public spaces are unattractive in our psychological perception.The design goal for the pavilion is to impact a unique soundscape by helping to reduce the apparent noise and to create a ‘zone of silence’ next to the pavilion. Creating an absolute ‘zone of silence’ is technically not possible, but this term used here is intended to describe an area where you can sense a change in the soundscape that gives the impression of a quieter environment.This strategy for achieving this concept uses three mechanisms, firstly the shielding effect of the plaza to block sound from the road, secondly the shaping of the pavilion surface to collect and deflect sound and thirdly the material characteristic of the Pavilion surface to absorb and reflect sound.The Pavilions spatial structure acts here as a “transformator” that changes our perception and sensation of the soundcape and music on the plaza around the Pavilion and inside the performance space.Parallel to acoustical approaches and simulations, the generation of the form of the Pavilion was driven by the concept of materializing music into architecture. Selected sequences of songs become dynamic forces that transform and create spatial form. Here we transcribed a sequence of Jimi Hendrix’ “Purple Haze” “?’Scuse me while I kiss sky?”. Analyzing the frequencies of the sound file and linking it to the computer generated 3D model, the scripting tool then parametrically transforms the shell into pyramid shapes like spikes. Music is frozen and creates architectural space.To meet internal acoustics design objective, the proposal includes provision for a combination of perforated sound absorbing panels and pyramid-shaped, non-perforated sound diffusing panels on the side walls and ceiling, with a sound reflective floor and stage. Sound-reflective parallel surfaces between the side-walls and between the floor and ceiling are avoided here and are therefore tilted and rotated in relationship to the generated exterior shape.The interior performance space has overall clear dimensions of 21 m length and 17m width and a variable clear height from 6m to 8m. The backstage service area is conceived as a flexible open space for artists changing room and storage.
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source: blogdeldiseno

Pabellón 21 Mini Opera Space es un espacio para 700 espectadores creado con el fin de hacer espectáculos experimentales de la opera del estado alemán Bavaria. La instalación con forma poca común es desmontable y puede ser remontada en cualquier espacio urbano.

La dificultad con la que se encontró Coop Himmelb(l)au durante este proyecto fue la necesidad de crear un pabellón acústico, que a su vez tenía que ser de menor peso para poder ser transportado.

Elementos transforman espacialmente las secuencias del sonido, a la vez que absorben el sonido a través de su forma de pirámide, creando un paisaje sonoro, una técnica que también fue utilizada por Le Corbusier y Iannis Xenakis en el Pabellón Philips y La Tourette.

La geometría del Pabellón tenía que ser creada de tal manera que la superficie desviará el sonido, a su vez que evitará la salida del sonido a la calle. Además el Pabellón necesitaba reflejar y absorber el sonido.

Una secuencia de Purple Haze de Jimi Hendrix y Don Giovanni de Mozart para analizar la frecuencia del sonido en combinación con modelos 3D resultaron en la construcción espiga.

Paneles sándwich reflectores y absorbentes acústicos fueron utilizados para las paredes y el techo interior.