上海東方藝術(shù)中心交響樂廳聲學(xué)設(shè)計(jì)

1、第32卷第4期 聲 學(xué) 技 術(shù) 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 聲學(xué)技術(shù) 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設(shè),社區(qū)內(nèi)的文化館站、圖書館;社區(qū)教育;特殊群體的幫助制度。74.社區(qū)工作者有哪些崗位特征?地位的合法性、工作的服務(wù)性、崗位的職業(yè)性、內(nèi)容的廣

31、泛性、行為的銜接性。75.社區(qū)工作者要具備哪些基本素質(zhì)?思想政治素質(zhì)、社會道德素質(zhì)、心理素質(zhì)、專業(yè)素質(zhì)。76.社區(qū)工作者思想政治素質(zhì)的基本要求?堅(jiān)持四項(xiàng)基本要求;堅(jiān)持做遵紀(jì)守法的模范;堅(jiān)持貫徹民主求是的作風(fēng);堅(jiān)持用艱苦創(chuàng)業(yè)的精神建設(shè)社區(qū);堅(jiān)持用科學(xué)人生價(jià)值觀引導(dǎo)人生。77.社區(qū)工作者應(yīng)具備的一般道德修養(yǎng)?堅(jiān)持為人民服務(wù)的道德核心;貫徹集體主義的道德基本原則;堅(jiān)持以五愛為內(nèi)容的道德基本要求;提倡共產(chǎn)主義道德。78.社區(qū)工作者的職業(yè)道德要求?工作要做到盡職盡責(zé);對人要做到誠實(shí)守信;辦事要做到公平合理;服務(wù)要做到熱心助人;利益面前要做到樂于奉獻(xiàn);團(tuán)隊(duì)面前要做到精誠合作。79.社區(qū)工作者具備的心理素質(zhì)

32、有哪些內(nèi)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并已與原單位解除勞動關(guān)系的;(3從事社區(qū)工作之前,未達(dá)到法定退休年齡且不滿法定最低參保年限的。86.社區(qū)工作者基本養(yǎng)老保險(xiǎn)和基本醫(yī)療保險(xiǎn)的原則是什么?社區(qū)工作者參加基本養(yǎng)老保險(xiǎn)和基本醫(yī)療保險(xiǎn),實(shí)行社會統(tǒng)籌與個人賬戶相結(jié)合的制度,其保險(xiǎn)費(fèi)由政府和個人共同承擔(dān)。政府負(fù)責(zé)繳納的基本養(yǎng)老保險(xiǎn)和基本醫(yī)療保險(xiǎn)的補(bǔ)助費(fèi)用,由市、區(qū)(縣、市兩

35、級財(cái)政列支。保險(xiǎn)費(fèi)由社區(qū)工作者本人繳納,憑保險(xiǎn)公司出具的保險(xiǎn)單據(jù)由區(qū)、縣(市民政局會同本地財(cái)政部門負(fù)責(zé)核銷。87.社區(qū)工作者參加基本養(yǎng)老保險(xiǎn)的待遇有哪些?參加基本養(yǎng)老保險(xiǎn)的社區(qū)工作者按規(guī)定年限繳足保險(xiǎn)費(fèi)用,并達(dá)到法定退休年齡,具備退休條件,由所在區(qū)、縣(市民政部門為其辦理相關(guān)手續(xù),勞動和社會保障部門負(fù)責(zé)審批,從批準(zhǔn)次月起享受退休待遇。88.社區(qū)工作者參加基本醫(yī)療保險(xiǎn)的待遇有哪些?參加基本醫(yī)療保險(xiǎn)的社區(qū)工作者符合退休條件,繳納醫(yī)療保費(fèi)達(dá)到最低繳費(fèi)年限,按照規(guī)定享受退休人員同等的基本醫(yī)療保險(xiǎn)待遇。達(dá)到法定退休年齡時(shí)未達(dá)到最低繳費(fèi)年限的,一次性按上年社平工資的10%補(bǔ)齊到最低繳費(fèi)所需醫(yī)療保險(xiǎn)費(fèi)后,次

36、月開始享受退休人員的醫(yī)療保險(xiǎn)待遇。89.社區(qū)工作者參加保險(xiǎn)的繳費(fèi)比例是如何計(jì)算的?(1基本養(yǎng)老保險(xiǎn)按社會平均工資的20%繳納。其中,由政府按社會平均工資12%予以補(bǔ)助,納入社會統(tǒng)籌調(diào)劑金;個人按社會平均工資8%繳納,全部記入個人賬戶。(2基本醫(yī)療保險(xiǎn)按社會平均工資的10%繳納。其中,由政府按社會平均工資的8%比例補(bǔ)助,個人按社會平均工資的2%比例繳納。(3社區(qū)工作者在參加基本醫(yī)療保險(xiǎn)的同時(shí),必須參加大額醫(yī)療費(fèi)用補(bǔ)助保險(xiǎn),大額補(bǔ)助醫(yī)療保險(xiǎn)繳費(fèi)標(biāo)準(zhǔn)為每人每年96元。其中,政府承擔(dān)48元,個人承擔(dān)48元。90.什么情況下政府不再給予社區(qū)工作者基本養(yǎng)老保險(xiǎn)和基本醫(yī)療保險(xiǎn)補(bǔ)助?(1從事社區(qū)工作為首次就業(yè)

37、并始終從事社區(qū)工作,達(dá)到法定退休年齡并繳足最低繳費(fèi)年限的;(2在原單位已參加城鎮(zhèn)企業(yè)或事業(yè)單位基本養(yǎng)老保險(xiǎn),且繳費(fèi)年限(含視同繳費(fèi)年達(dá)到法定退休年齡并繳足到最低繳費(fèi)年限的;(3已在原單位參加基本養(yǎng)老保險(xiǎn)和基本醫(yī)療保險(xiǎn)且尚未解除勞動關(guān)系的;(4因落選、罷免、解聘等原因離開社區(qū)工作崗位的;(5其他不符合參加基本養(yǎng)老保險(xiǎn)和基本醫(yī)療保險(xiǎn)條件的。326 聲學(xué)技術(shù) 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