pavilion 21 mini opera space

Spengergasse 371050 Vienna, Austria

T +43 (0) 1 546 60- 0F +43 (0) 1 546 60- 600

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Pavilion 21 MINI Opera SpaceMunich, Germany

Pavilion 21ENTWURFSSKIZZE PRIX / CONCEPT SKETCH PRIX

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50m

SITE PLAN

100 20 30 401 | 300075m604530150

225ft150750 3k

COOP HIMMELB(L)AU Wolf D. Prix & Partner ZT GmbH PAVILION 21 MINI OPERA SPACE

Pavilion 21 Mini Opera SpaceMunich, Germany, 2008–10

Program: Performance space

Competition: 2008Start of planning: 2009 Start of construction: 2010Completion: 2010

Costs : 2.1 Mio Eur NET

Gross floor area: 560m²

Client: The Free State of Bavaria represented by The Bavarian State Opera Munich, Germany

Acoustics:ARUP, London, UKGeneral Contractor (Steel Structure):Frener & Reifer Metallbau GmbH, Augsburg, Germany

NON HO TIMOR: VERRÓ!WOLFGANG AMADEUS MOZART, DON GIOVANNI, ATTI II, SZENE 15 / SCENE 15

´SCUSE ME WHILE I KISS THE SKY´JIMI HENDRIX, PURPLE HAZE

SCRIPTING-KONZEPT / SCRIPTING CONCEPT

FREQUENZAUSSCHNITTFREQUENCY SECTION

SONAGRAMMSONAGRAM

FREQUENZAUSSCHNITTFREQUENCY SECTION

SONAGRAMMSONAGRAM

BESTIMMT DIE GRÖSSE DER SPIKESDETERMINES THE SIZE OF THE SPIKES

BESTIMMT DIE RICHTUNG DER SPIKESDETERMINES THE DIRECTION OF THE SPIKES

Pavilion 21SCRIPTING-KONZEPTSCRIPTING CONCEPT


Pavilion 21 Mini Opera Space

The task which Coop Himmelb(l)au had to solve with our design was to create a space with 300 seats (or 700 standing spectators) for experimental perfor-mances of the Bavarian State Opera. The Pavilion should be dismountable, transportable and remount-able 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 disand re-assembled quickly, but which at the same time meets the acoustical re-quirements of a concert hall. The result are 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”.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 sur-face deflects noise, and thirdly, to design the surface of the Pavilion in such a way that it reflects and ab-sorbs sound.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 Gio-vanni” by Mozart were transcribed. Through the analy-sis of frequence sections from these pieces of music and through the combination with the computer gen-erated 3D model, the sequences are translated into pyramidal “spike constructions” by means of para-metric “scripting”.In order to implement the objectives of the interior spatial acoustics, the interior wall and ceiling surfac-es were fitted with a combination of perforated ab-sorbing 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.

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ABSORBIERENDABSORBING

ALFONS-GOPPEL-STRASSE

AKUSTISCH REFLEKTIERENDE FLÄCHENACCOUSTICALLY REFLECTING SURFACES

AKUSTISCH TRANSPARENTE / ABSORBIERENDE FLÄCHENACCOUSTICALLY TRANSPARENT/ ABSORBENT SURFACES

AKUSTISCH ABSORBIERENDES PANELACOUSTICALLY ABSORBING PANEL

AKUSTISCH SEMI-ABSORBIERENDER BODENSEMI-ABSORBING FLOOR

HINTERGRUNDGERÄUSCH (VERKEHRSLÄRM, ARBEITSLÄRM)AMBIENT SOUND (TRAFFIC NOISE, WORK NOISE)

SCHALL WIRD NACH OBEN REFLEKTIERT SOUND REFLECTED UP AND AWAY

KEIN SCHALL WIRD NACH UNTEN REFLEKTIERT NO SOUND IS REFLECTED DOWNWARDS

KONZERTHALLECONCERT HALL

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REFLEKTIERENDREFLECTING

Pavilion 21AKUSTISCHES VERHALTEN / FASSADENSCHNITT

ACOUSTICAL PROPERTIES FAÇADE / FAÇADE VERTICAL SECTION


pavilion 21 mini opera space

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