上海东方艺术中心交响乐厅声学设计

1、第32卷第4期 声 学 技 术 Vol.32, No.4 2013年08月 Technical Acoustics Aug., 2013 Acoustic design of the philharmonic hall in theShanghai Oriental Art CenterWANG Jing-bo, ZHANG Kui-sheng(Shanghai XianDai Architectural Design (Group Co ., Ltd ., Shanghai 200041, China Abstract: The Shanghai Oriental Art Center op

2、ened officially in July 2005 is one of the largest performance art centers in mainland China. It mainly consists of a 2000-seat philharmonic hall, an 1100-seat opera house, a 330-seat chamber music hall and several rehearsal facilities. It has become one of the most important landmark buildings in S

3、hanghai as well as in Pu-Dong new district. In this paper, the features of the architectural acoustics design of the 2000-seat phil-harmonic hall, the largest and specially designed music performance venue, is mainly elucidated, also the objective acoustical measurement results and some subjective a

4、coustics evaluation from all circles after opening are covered. Key words: philharmonic hall; room acoustics criteria; building acoustics index0 INTRODUCTIONThe Shanghai Oriental Art Center opened offi-cially in July 2005 is one of the leading performing arts and cultural facilities in Shanghai and

5、mainland China. It was designed by French architect Paul Andreu and ADPI in close collaboration with the local architects & engineers-ECADI (East China Archi-tectural Design & Research Institute Co., Ltd. The complex includes a 2000-seat philharmonic hall, an 1100-seat opera house, a 330-sea

6、t chamber music hall and several rehearsal facilities. The overall floor area is 39,964 square meters.The building merges architectural artistry with functionality. From Figure 1, it can be seen that the five interconnected hemispherical halls or 'petals' re-semble a butterfly or butterfly o

7、rchid with each 'petal'belonging in turn to the entrance of individual hall.Fig.1 A birds-eye view of OAC (archi. rendition & interior of thePhilharmonic hallAs an acoustical consulting team affiliated to the Shanghai Modern Architectural Design (Group Co.,Ltd, we were commissioned by EC

8、ADI and client respectively as the local acoustical consultant, we were involved in this project as early as the phase ofReceived: Dec. 12, 2012; Revised: March. 9, 2013 preliminary design and mainly focused on some issues related to sound insulation, noise & vibration control of mechanical faci

9、lities, computer simulation of room acoustics for three main halls, acoustical consulting for detailed design in construction phase and final acoustic measurements. In this paper only the topics of room acoustics are focused.Mr. Jean Paul Vian from CSTB France worked as an acoustical expert for arch

10、itect Paul Andreu in sup-porting of architectural competition and preliminary design, he also supervised the overall construction phase, co-organized and participated in the first acoustical measurement for philharmonic hall. The author presents this article not only to retrospect the overall progre

11、ss in building this art center, but also to pay the tribute to Mr.Vian, an unforgettable and re-spectable mentor.1 ACOUSTIC CONSIDERATION FOR PHILHARMONIC HALLThe philharmonic hall is mainly aimed at the symphonic repertoire from classical to contemporary period. The ground plan shape is elliptical

12、shape with a quasi central stage. The maximum length is 53 me-ters, and the maximum width is 42 meters, with the audience seated around the central stage. It is the so called style of vineyard as the classical vine yard con-cert hall, the Berlin Philharmonie Hall. As to a large scale concert hall, t

13、he two concert hall forms consid-ered appropriately for the best acoustic characteristics are the terraced (vineyard and the parallel-sided (shoe box halls. One of the obvious features of vineyard第4期 WANG J ing-bo, et al :Acoustic design of the philharmonic hall in the Shanghai Oriental Art Center 3

14、23 concert hall is that the audience in each terrace can receive the unobstructed direct sound, and the signifi-cant early reflections for musicians and the audiences in stalls are provided by the front side wall of each terrace. The intimacy in view of acoustics and sight-line between musician and

15、audience is developed so naturally that the vineyard layout for audience has become one of the successful styles for large scale concert hall. The plan and longitudinal section of thePhilharmonic hall is showed in Figure 2.Fig.2 Plan and longitudinal section of the Philharmonic hallThe wall of conce

16、rt hall is enclosed by eight fish-shaped reinforced concrete cores in which the mechanical ducts can be installed, and the corridor is also organized within them. The interior reflective ceiling is an inclined plan with diffusing treatment to provide smooth ceiling reflections over the audience; it

17、is higher at the end of the performance area and lower at the rear end of the hall. Most of the audience area receives early lateral reflections from the side walls that surround them, including the walls behind due to their orientation and the diffusive reflectors spread on the lower part of the wa

18、lls. The fronts of the terrace blocks are organized to provide early reflec-tions for both musicians and the audience in the front stage and main seating area.Five blocks of large elliptic stage reflectors, which are fully adjustable for the height and the incli-nation, are hung above the stage arou

19、nd the height of 12 meters to provide good connection between differ-ent parts of musicians.The distance to the stage for all audience is rea-sonable short, and the average distance to the podium on stage is 17 meters for whole audience, so as to achieve the appreciated intimacy both in view of acou

20、stics and sightline. The ceiling height is 16 meters above the performance stage, and the overall average height is 11meters above the listeners head position.The acoustical effective volume of the room amounts to approx. 24000m 3, the volume falling to each seat amounts to approx. 12m 3/seat. If th

21、e number of musicians & chorus is considered, the volume fall-ing to each seat amounts to approx. 10.6m 3/seat.On the performing stage area, by changing the height of the elevated platform, the stage can offer different settings to satisfy any grand symphony or-chestra and meet the best choruses

22、' performance re-quirements. It boasts one of the largest pipe organs in mainland China, equipped with an 88 diapasons 5-layer hand controlled keyboard pipe organ made by Rieger, Austria.Both the wall and the ceiling is made of massive GRG , all sections are prefabricated in moulds off site and

23、then fixed to the steel frame. Some fine-scale ir-regularities were formed on the GRG panel surface, both for acoustics and aesthetics. The fronts of the terrace blocks are made of wooden style, the plywood glued tightly to the MDF board. The floor is covered with two layers of thick wood fixed on t

24、imber frame which is mounted on the concrete floor slab.In order to allow for variation in reverberation time (RT, 66 blocks of highly absorbing baffles are hidden in the ceiling and randomly spread around the ceiling. All these baffles are motorized for up and down motion, and are prefabricated wit

25、h panels cov-ered by fire-resistance fabric. The overall absorbing area is large enough to correspond to the required ab-sorbing area for the variation of RT from 2.1s to 1.6s theoretically.Each section of the fish-shaped enclosed wall of concert hall has the diffusive property, especially for lower

26、 frequencies, with a few of diffusive reflectors spread on the lower part of these wall. These reflectors are fabricated by thick frosted glass (thick sandblasted sheet glass and designed to be rotated flexibly to tune the orientation of reflections.Originally a large elliptical stage reflector or s

27、tage canopy was designed to be hung above the stage. During the construction phase, this idea was transformed into five blocks of long oval reflectors, and each block was composed of pieces of laminated glass.The chairs are wooden appearance with the sur-faces not covered by a sitting person, such a

28、s the back of the back rest, the lateral surfaces as well as the arm rest, including the back rest which reaches above shoulder height, being sound reflecting. In such a way, the absorption area of the occupied chairs is as close as possible to that of the unoccupied ones. From the acoustic point of

29、 view, too large seat width and row spacing should be avoided. The average row spacing is 0.90m and the seat width is 0.56m.324 声学技术 2013年2 OBJECTIVE ROOM ACOUSTICSCRITERIA AND ROOM ACOUS-TICAL COMPUTER SIMULATIONFor the philharmonic hall, the following criteria which are defined in the standard ISO

30、3382 are adopt-ed.Table 1 Room acoustics criteria for the hallReverberation Time (RT variable 1.62.1s, mid frequency Early Decay Time (EDT 1.41.8s, mid frequency Clarity (C80 31dB, mid frequency Early Lateral Energy Fraction(ELEF设,社区内的文化馆站、图书馆;社区教育;特殊群体的帮助制度。74.社区工作者有哪些岗位特征?地位的合法性、工作的服务性、岗位的职业性、内容的广

31、泛性、行为的衔接性。75.社区工作者要具备哪些基本素质?思想政治素质、社会道德素质、心理素质、专业素质。76.社区工作者思想政治素质的基本要求?坚持四项基本要求;坚持做遵纪守法的模范;坚持贯彻民主求是的作风;坚持用艰苦创业的精神建设社区;坚持用科学人生价值观引导人生。77.社区工作者应具备的一般道德修养?坚持为人民服务的道德核心;贯彻集体主义的道德基本原则;坚持以五爱为内容的道德基本要求;提倡共产主义道德。78.社区工作者的职业道德要求?工作要做到尽职尽责;对人要做到诚实守信;办事要做到公平合理;服务要做到热心助人;利益面前要做到乐于奉献;团队面前要做到精诚合作。79.社区工作者具备的心理素质

32、有哪些内容?ceiling baffles move up, withoutreflector above stageceiling baffles move down, withreflector above stageEDT C80 G ELEF EDT C80 G ELEF EDT C80 G ELEF1 1.73 3.5 2.4 0.049 1.14 4.9 1.6 0.059 0.93 7.0 1.4 0.0512 1.36 3.6 3.2 0.196 1.03 4.9 2.3 0.214 0.80 7.0 2.1 0.1943 1.49 1.7 2.1 0.163 1.27 1.1

33、 0.1 0.167 1.00 3.0 0.6 0.1654 1.61 2.2 1.8 0.216 1.19 3.3 0.7 0.244 0.94 4.8 0.3 0.2355 2.04 1.1 1.4 0.179 2.00 0.8 0.9 0.130 1.05 2.5 2.2 0.1166 2.11 1.0 0.3 0.173 1.64 0.9 1.6 0.223 0.96 3.2 2.3 0.1467 1.25 6.7 3.9 0.016 0.65 9.4 3.0 0.005 0.69 9.0 3.1 0.0028 1.72 2.0 1.5 0.101 1.22 4.1 0.2 0.090

34、 0.93 5.3 0.0 0.0889 1.67 3.0 1.2 0.118 1.39 4.5 0.3 0.111 0.97 6.0 0.2 0.12210 1.78 2.5 0.7 0.062 1.41 4.1 0.1 0.052 1.13 5.5 0.8 0.054并已与原单位解除劳动关系的;(3从事社区工作之前,未达到法定退休年龄且不满法定最低参保年限的。86.社区工作者基本养老保险和基本医疗保险的原则是什么?社区工作者参加基本养老保险和基本医疗保险,实行社会统筹与个人账户相结合的制度,其保险费由政府和个人共同承担。政府负责缴纳的基本养老保险和基本医疗保险的补助费用,由市、区(县、市两

35、级财政列支。保险费由社区工作者本人缴纳,凭保险公司出具的保险单据由区、县(市民政局会同本地财政部门负责核销。87.社区工作者参加基本养老保险的待遇有哪些?参加基本养老保险的社区工作者按规定年限缴足保险费用,并达到法定退休年龄,具备退休条件,由所在区、县(市民政部门为其办理相关手续,劳动和社会保障部门负责审批,从批准次月起享受退休待遇。88.社区工作者参加基本医疗保险的待遇有哪些?参加基本医疗保险的社区工作者符合退休条件,缴纳医疗保费达到最低缴费年限,按照规定享受退休人员同等的基本医疗保险待遇。达到法定退休年龄时未达到最低缴费年限的,一次性按上年社平工资的10%补齐到最低缴费所需医疗保险费后,次

36、月开始享受退休人员的医疗保险待遇。89.社区工作者参加保险的缴费比例是如何计算的?(1基本养老保险按社会平均工资的20%缴纳。其中,由政府按社会平均工资12%予以补助,纳入社会统筹调剂金;个人按社会平均工资8%缴纳,全部记入个人账户。(2基本医疗保险按社会平均工资的10%缴纳。其中,由政府按社会平均工资的8%比例补助,个人按社会平均工资的2%比例缴纳。(3社区工作者在参加基本医疗保险的同时,必须参加大额医疗费用补助保险,大额补助医疗保险缴费标准为每人每年96元。其中,政府承担48元,个人承担48元。90.什么情况下政府不再给予社区工作者基本养老保险和基本医疗保险补助?(1从事社区工作为首次就业

37、并始终从事社区工作,达到法定退休年龄并缴足最低缴费年限的;(2在原单位已参加城镇企业或事业单位基本养老保险,且缴费年限(含视同缴费年达到法定退休年龄并缴足到最低缴费年限的;(3已在原单位参加基本养老保险和基本医疗保险且尚未解除劳动关系的;(4因落选、罢免、解聘等原因离开社区工作岗位的;(5其他不符合参加基本养老保险和基本医疗保险条件的。326 声学技术 2013年Table 4 Results of the measurements under different conditionsmeasuring condition mid frequency of octave band notati

38、on125 250 500 1k 2k 4k Reverberation Time (RTunoccupied, baffles upceiling reflecting 2.1 2.0 2.0 1.9 1.8 1.5 F+C* occupied, baffles upceiling reflecting 2.0 1.9 1.9 1.8 1.8 1.5 F+C unoccupied, baffles downceiling absorbing 1.9 1.9 1.8 1.7 1.7 1.4 F+C unoccupied, baffles upceiling reflecting 2.04 1.

39、98 2.0 1.9 1.76 1.25 C* unoccupied, baffles downceiling absorbing, 1.95 1.87 1.85 1.77 1.64 1.24 C Early Decay Time (EDTunoccupied, baffles upceiling reflecting 2.1 1.9 1.9 1.8 1.8 1.4 F+C occupied, baffles upceiling reflecting 1.7 1.7 1.6 1.6 1.6 1.4 F+C unoccupied, baffles downceiling absorbing 2.

40、1 1.7 1.7 1.6 1.6 1.2 F+C unoccupied, baffles upceiling reflecting 1.93 2.05 1.99 1.77 1.63 1.13 C unoccupied, baffles downceiling absorbing, 1.88 1.83 1.7 1.56 1.5 1.12 C Clarity (C80unoccupied, baffles upceiling reflecting 3.0 1.1 1.1 1.4 0.9 1.9 F+C occupied, baffles upceiling reflecting 3.2 0.0 1.6 2.0 2.0 2.4 F+C unoccupied, baffles downce