WALT DISNEY CONCERT HALL

DESIGN

1. BUILDING SERVICES - IV CASE STUDY SINHGAD COLLEGE OF ARCHITECTURE NAME :- ANKIT SHARMA SUB : B.S. IV ROLL NO. :- 04 DIV :- A YEAR :- 3 RD B.ARCH

2. INTRODUCTION ACOUSTICS Acoustics is a term referring to the qualities that determine a room’s ability to reflect sound waves in such a way as to produce distinct hearing. What does acoustics mean in architecture? Architectural acoustics is  the study of sound in homes and other buildings  and the design of those structures for optimal acoustic performance, including control of sound transmission throughout the building, maintaining conditions for good speech intelligibility, and maintaining sound isolation for speech privacy.

3. WALT DISNEY CONCERT HALL Location :-111 south grand avenue Los Angeles, California, U.S. Owner :-Los Angeles Music Center Architect :-Frenk Gehry Built :- 1999-2003 Structural engineer :-Cosentini Associates Seating capacity :-2,265

4. For about thirteen years, Walt Disney Concert hall has been a unique locus for music, arts and architecture. Since it opening in 2003 it has been one of the most recognizable symbols of Los Angeles and also one of the best known concert halls of the world. It has become widely well known for its unique architectural form and its excellent acoustics. Capturing the motion of los Angeles, and representing musical movement, Gehry created an exterior composed of curvilinear forms that seem to dance both on above the site. The design represents the style of their creator, architects frank gehry, could be considered a work of art in itself. The extravagance of its forms seems to defy any rules of harmony and symmetry. INTRODUCTION

5. CONCEPT The building is essentially a shell which consist of a series of interconnected volumes. Some form of orthogonal coated stone and other forms of organic and surfaces covered with a corrugated metal skin of steel. The interior can be seen in the shape of hull of a boat. Capturing the motion of los Angeles, and representing musical movement, Gehry created an exterior composed of curvilinear forms that seem to dance both on above the site. The design represents the style of their creator, architects frank gehry, could be considered a work of art in itself. The extravagance of its forms seems to defy any rules of harmony and symmetry.

6. PLAN

7. ELEVATION South elevation East elevation West elevation North elevation

8. SECTION

9. AUDITORIUM PLAN

10. ACOUSTIC DESIGN ANALYSIS

11. A 1:10 scale model was constructed in order to test and study the acoustics of the auditorium. The frequency of the sounds used for testing was increased in order to reduce wavelengths by a factor of ten. To expel the oxygen and water vapour that absorbs high-frequency sound the model was filled with nitrogen. One of challenges Toyota faced was achieving full sound coverage from an unamplified orchestra that had no volume control. The vineyard design calls for terraced seating to surround the orchestra allowing for more flat surfaces. This would increase the area for sound to be reflected-an important feature for the success of an unamplified orchestra. HALL ACOUSTICS

12. STANDARDS Aisles are required on both side of every row of seats that has more than 10 seats. Steps within aisles must be the full width of the aisle, minimum aisle width 1 metre . It must be uniform in size (both the riser and going). Its Going shall be between 280mm and 355mm. The Risers shall be between 115mm and 190mm. Minimum seating clearance must be 300mm if the distance to an aisle is less than 3.5 metres , i.e. 8 seats or 500mm if the distance to an aisle is more than 3.5 metres . For the rows of seating served by aisles or doorways at both ends there may be no more than 100 seats per row and the minimum width of 12 inches clearance between rows shall be increased by 3 inch for every additional seat beyond 14 in a row, but the minimum clear width need not exceed 22 inches.

13. SUMMARY The beauty of this concert hall is the way Gehry was able to remove himself from the typical form and capture the motion of music, creating an exterior that seems to dance both on and above the site . The interior then becomes very organic as one journeys between and into these sculptural forms. The creation of one large volume auditorium with a center stage and vertical seating allows the patrons to have an intimate relationship with the orchestra. The calibration with Yasuhisa Toyota and many sophisticated acoustic studies produced a space described as having "acoustical clarity". An organ's wooden pipes are often unseen, but these are front and center to connect it with the wood interior of the hall. The pipes on this organ were curved and bent, which had not been done before.

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