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CONCERT HALL PERFORMANCE EQUIPMENT SYSTEMS BUILDING ACCOMMODATIONS AND LOADS TO STRUCTURE

PRELIMINARY

East Harbour ProjectConcert Hall and Congress CenterReykjavik, Iceland

20 April 2006

Artec Report No. 7728Artec Project No. 3760

EAST HARBOUR PROJECT CCC CONCERT HALL PERFORMANCE EQUIPMENT REYKJAVIK, ICELAND ACCOMMODATIONS & LOADS TO STRUCTURE

CONTENTS

1. INTRODUCTION......................................................................................................................... 1

2. NOTES AND DEFINITIONS.......................................................................................................2

2.1. Additional reference:.............................................................................................................. 22.2. Loading information:............................................................................................................. 22.3. Rigging applications:............................................................................................................. 22.4. Torsional loading:.................................................................................................................. 22.5. Impulse loading:.................................................................................................................... 22.6. Equipment safety factors:.......................................................................................................22.7. ARCHITECTS AND ENGINEERS: "Clear Zone".................................................................32.8. Abbreviation definitions:........................................................................................................ 32.9. Additional Information on Structure and Loads within the Concert Hall.................................3

2.9.1. Diversity in Loads from Performance Equipment...............................................................32.9.2. Inertial Impulse Loads from Motorized Equipment.............................................................42.9.3. Installation of Motorized Equipment..................................................................................42.9.4. Load Limit Signage............................................................................................................ 4

3. PERFORMANCE EQUIPMENT WHICH IMPOSE LOADS ON THE BUILDING STRUCTURE OF THE AUDIENCE CHAMBER AND CONCERT PLATFORM............................5

3.1. Notes on Performance Equipment and Load Applications......................................................53.1.1. Staging Conditions and Accommodations..........................................................................53.1.2. Note to Structural Engineer...............................................................................................5

3.2. Acoustic Canopies.................................................................................................................. 63.2.1. Reference Drawings:......................................................................................................... 63.2.2. Function:........................................................................................................................... 63.2.3. Configuration:................................................................................................................... 63.2.4. Construction:..................................................................................................................... 63.2.5. Canopy frames and suspension points:...............................................................................73.2.6. Technical features and live loads:......................................................................................73.2.7. Structural Accommodation and Loads:..............................................................................8

3.3. Personnel Lift – Canopy Access.............................................................................................83.3.1. Reference Drawings:......................................................................................................... 83.3.2. Function and configuration:..............................................................................................83.3.3. Accommodation:................................................................................................................ 93.3.4. Structural Accommodation and Loads:..............................................................................9

3.4. Central Loudspeaker Cluster................................................................................................103.4.1. Reference Drawings:.......................................................................................................10

3.4.2. Function and configuration:............................................................................................103.4.3. Construction:................................................................................................................... 103.4.4. Accommodation and Mounting Steel for Array Rigging:..................................................113.4.5. Central Array loads:........................................................................................................11

3.5. Side Loudspeaker Array.......................................................................................................113.5.1. Reference Drawings:.......................................................................................................113.5.2. Function and configuration:............................................................................................113.5.3. Construction:................................................................................................................... 123.5.4. Accommodation and Mounting Steel for Array Rigging:..................................................123.5.5. Side Loudspeaker Array loads:........................................................................................12

3.6. Cyclorama Truss.................................................................................................................. 133.6.1. Reference Drawings:.......................................................................................................13

REPORT NO. 7728 ARTEC CONSULTANTS INC PAGE I

DISTRIBUTION: POSTED TO EHP CCC PROJECTWEB FOR DESIGN TEAM REFERENCE.


3.6.2. Function and configuration:............................................................................................133.6.3. Accommodation and Mounting Steel for Cyc Truss Rigging:............................................133.6.4. Cyc Truss Loads:.............................................................................................................14

3.7. Temporary Point Hoist Rigging............................................................................................153.7.1. Reference Drawings:.......................................................................................................153.7.2. Function and Configuration:...........................................................................................153.7.3. Accommodation and Mounting Steel for Point Hoist Rigging:..........................................153.7.4. Point Hoist Loads and Temporary Rigging Operations:...................................................153.7.5. Additional Accommodation Requirements:.......................................................................163.7.6. Alternative Rigging Methods:..........................................................................................17

3.8. Piano Lift, House Mix Position Lift (Concert Hall only) and Concert Platform Extension Lift (both Concert Hall and Music Theatre)..............................................................................................17

3.8.1. Reference Drawings:.......................................................................................................173.8.2. Function and configuration:............................................................................................173.8.3. Method of operation:.......................................................................................................183.8.4. Structural loading conditions:..........................................................................................19

3.9. Reverberation Chamber Doors (Concert Hall Only)..............................................................203.9.1. Reference Drawings:.......................................................................................................203.9.2. Function and configuration:............................................................................................203.9.3. Structural loading conditions:..........................................................................................20

3.10. Organ Doors......................................................................................................................... 213.10.1. Reference Drawings:...................................................................................................213.10.2. Function and configuration:........................................................................................213.10.3. Structural loading conditions:.....................................................................................21

3.11. Acoustic Control Banners.....................................................................................................223.11.1. Reference Drawings:...................................................................................................223.11.2. Function and configuration:........................................................................................223.11.3. Banner winches:.......................................................................................................... 223.11.4. Architectural and structural accommodation:..............................................................23

3.12. Acoustic Control Curtains....................................................................................................243.12.1. Reference Drawings:...................................................................................................243.12.2. Function and configuration:........................................................................................243.12.3. Curtain operation:......................................................................................................243.12.4. Architectural and structural accommodation:..............................................................24

REPORT NO. 7728 ARTEC CONSULTANTS INC PAGE II


INDEX OF DRAWINGS AND DIAGRAMS

Section A - Key Diagrams A-01: Performance Equipment Systems - Key Pit Level Plan A-02: Performance Equipment Systems - Key Orchestra Level Plan A-03: Performance Equipment Systems - Key Attic Level Plan A-04: Performance Equipment Systems - Key Long Section A-05: Performance Equipment Systems - Key Transverse Section

Section B - Details B-06: Attic/Acoustic Canopy Plan: Rigging Diagrams

Drawing not included in this report* B-07: Acoustic Canopy Rigging Section: Schematic Layout B-08: Acoustic Canopy – Lift Line Typical Elevation B-09: Acoustic Canopies - Personnel Lift Section Detail B-10: Center Loudspeaker Array Rigging Diagram B-11: Side Loudspeaker Arrays Rigging Diagram B-12: Cyclorama Pipe Zones Layout Plan

Drawing not included in this report* B-13: Cyclorama Pipe Rigging Section Diagram B-14: Cyclorama Pipe Rigging Elevation Diagram B-15: Elevation: Temporary Point Hoist Rigging Single Line B-16: Elevation: Temporary Point Hoist Rigging: Truss Application B-17: Stage Extension Lift and Piano Lift: Loading Information B-18: House Mix Lift: Loading Information B-19: Acoustic Curtain: Plan of Pocket and Travel B-20: Acoustic Curtain: Section of Soffit B-21: Acoustic Banner: Sections B-22: Reverberation Chamber Doors: Details and Loading

*Drawings will be issued as the design of the Acoustic Canopy system is developed.

REPORT NO. 7728 ARTEC CONSULTANTS INC PAGE III


1. INTRODUCTION

This report identifies the structural and architectural accommodations required for the Performance Equipment for the East Harbour Project Concert Hall, and the loading conditions imposed on the building structure by these systems. In collaboration with the other members of the Design/Construction Team, these items and details will be refined and modified by Artec Consultants as the systems and building designs are further developed.

The equipment described will be required for the proper technical operation of the Concert Hall. Performance Equipment (also referred to as Theatre Equipment) is defined as specialty theatrical and acoustics devices and systems (other than lighting and sound systems) which support the production of events, and which assist in reconfiguring, physically and acoustically, the performance spaces between events.

Accommodations for the Concert Hall Production Lighting Systems are provided in a companion report, Concert Hall Production Lighting Positions Building Accommodations and Loads to Structure (Artec report 7729), and details for the construction of the Concert Hall platform finished floor are provided in a third report, Concert Hall Platform Finished Flooring System (Artec report 7730).

REPORT NO. 7728 ARTEC CONSULTANTS INC PAGE 1


2. NOTES AND DEFINITIONS

2.1. ADDITIONAL REFERENCE:

This report is only part of a body of information being issued (or that has been issued) on the accommodation of equipment required to support concerts and other events and functions expected within the East Harbour Project Concert Hall. To fully understand the systems described, this report should be read in conjunction with the Artec reports included in the revised PFI Tender Documents, Appendix I: Concert and Conference Facilities Planning document which was issued on 9 December 2005.

2.2. LOADING INFORMATION:

The loading information contained herein is for the purpose of supplying data to the Structural Engineer for design and budgeting of the building structure as it relates to performance systems. In some cases this equipment will be installed for the opening of the facility. In other cases loading accommodation is identified for equipment that will be required, but installed in the future. It is anticipated that the loads indicated herein will not be exceeded in the completed systems design.

2.3. RIGGING APPLICATIONS:

Performance rigging systems are subject to both substantial point loads and uniformly distributed loads. It is important that the Structural Engineer clearly understands the rigging system functions and applications before designing the structural components of the Concert Hall. To that end, notes are provided regarding loading diversities.

2.4. TORSIONAL LOADING:

Moments on structural mounting sections must be calculated with regard to the mounting positions of the various blocks on those structural sections in order to address torsional loading conditions.

2.5. IMPULSE LOADING:

Motorized performance equipment imposes inertial impulse/impact loads to mounting structures during start and stop operations. The sizing and detailing of structural mounting sections must address frequent "jogging" (rapid start and stop) operations associated with positioning equipment loads.

2.6. EQUIPMENT SAFETY FACTORS:

All performance equipment components which have the performance intent designed by Artec (and engineered and installed by a Performance Equipment Contractor and Performance Lighting Contractor) will be fabricated with substantial safety factors. For liftlines, termination hardware, and other equipment directly involved in suspending and moving overhead loads, this safety factor can be as high as 10:1.


EAST HARBOUR PROJECT CCC CONCERT HALL PERFORMANCE EQUIPMENT REYKJAVIK, ICELAND ACCOMMODATIONS & LOADS TO STRUCTURE 2.7. ARCHITECTS AND ENGINEERS: "CLEAR ZONE"

"CLEAR ZONE" (as noted on some drawings in rigging areas) indicates that there are to be no services or obstructions of any kind in these areas. This is a zone in which future equipment may be installed, or that rigging equipment will move through. No HVAC ducts; no plumbing, sprinkler or roof drain pipes; and no electrical conduits of any kind are to be installed in the “Clear Zones”.

2.8. ABBREVIATION DEFINITIONS:

GC = General Contractor EC = Electrical Contractor EE = Electrical Engineer ME = Mechanical Engineer PEC = Performance Equipment Contractor (also referred to as TEC - Theatre

Equipment Contractor) SCC = Sound and Communication Systems Contractor SE = Structural Engineer (also referred to as PE = Professional Engineer) PLM = Production Lighting Manufacturer Lbs = "Pounds" Psf = "Pounds per square foot"

NOTE: All values are provided in Metric and corresponding Imperial equivalents.

2.9. ADDITIONAL INFORMATION ON STRUCTURE AND LOADS WITHIN THE CONCERT HALL

2.9.1. Diversity in Loads from Performance EquipmentMuch of the equipment that will appear in the Concert Hall will be permanently installed. The equipment loads will be of fixed magnitudes and the building structure will be sustaining all of those loads concurrently.

The steel for the Cyclorama Truss system and the Point Hoist Rings will experience changing temporary loads for each presentation. These two systems will almost certainly experience concurrent maximum loading conditions. However, it is unlikely that all of the point hoist rings will experience maximum loading conditions concurrently.

The density of point hoist rings shown on the drawings is intended to provide an economical flexibility so that presentations will not have to compromise their productions due to inadequate rigging accommodation. Thus some diversity can be planned into the structures dedicated for point hoists.

In general, it is reasonable to assume that a maximum of four of the rings in a given line of seven rings supported by the same roof trusses will be used concurrently. However, it is possible that the rings selected under these conditions will all be adjacent and loaded to their maximum.


EAST HARBOUR PROJECT CCC CONCERT HALL PERFORMANCE EQUIPMENT REYKJAVIK, ICELAND ACCOMMODATIONS & LOADS TO STRUCTURE 2.9.2. Inertial Impulse Loads from Motorized EquipmentStructural rigging elements must be sized for the anticipated static weight of the rigged loads plus any inertial impulse or shock load experienced during the motorized movement of that load during start-up or stopping.

With motorized equipment (whether permanently installed or on chain hoists), it is common practice to "jog" or "bump" the load into its proper position. This sometimes involves repeatedly "bumping" the load up or down on the motor by "jogging" (quickly pressing and releasing) the control switch for an instant to attain very limited travel of the item as it approaches its desired position. Such practices obviously add instantaneous additional shock loads to the rigging equipment/machinery and the members supporting them.

Other (lesser) impulse loads may be experienced from live loads imparted by technicians. For instance, it is common practice for technicians to climb onto a rigged lighting truss (in the air) to focus or service lighting fixtures hung from the truss.

2.9.3. Installation of Motorized EquipmentPermanently installed motorized rigging systems typically use a variety of block assemblies including headblocks, loftblocks and mule or diverter blocks provided by a Performance Equipment Contractor. During the installation of this equipment the blocks are mounted to the various structural sections provided by others.

The blocks use specially fabricated mounting clips which clamp to the flanges of beams, or clamp around channel or tube sections, depending upon the individual applications.

After bolting the blocks to the structural sections, and before reeving the wire ropes, the blocks are checked for position alignment within the system and are then welded in place to the structural members. The block clips are usually left in place providing some redundancy in the block mounting.

Winches mount to structural sections or embedments (within concrete) in much the same fashion.

2.9.4. Load Limit SignageTypically, stagehands set up each production within a very limited time period, and usually have limited means to determine if a production's rigging loads are within safe limits for loading the building structure. Therefore, it is recommended that Safe Working Load (SWL) signage be provided at each of the temporary rigging areas in order to plainly represent to the users the design limits within which they may work.

Signage should also be provided on the canopy tops indicating to technicians that temporary rigging should not be attempted from the top of the canopies and that all production rigging should be accomplished using the point hoist steel provided in the roof truss space.

We recommend that the permanent load limit and cautionary signage discussed above should be provided by the Performance Equipment Contractor.



3. PERFORMANCE EQUIPMENT WHICH IMPOSE LOADS ON THE BUILDING STRUCTURE OF THE AUDIENCE CHAMBER AND CONCERT PLATFORM

3.1. NOTES ON PERFORMANCE EQUIPMENT AND LOAD APPLICATIONS

3.1.1. Staging Conditions and AccommodationsThe Concert Hall designed to accommodate events for orchestral and ensemble music, opera concert presentations, pop music concerts, congress, convocations, meetings, and a variety of other types of presentations. To meet these programmatic needs, the Concert Hall will have certain features which allow it to be quickly, safely and easily changed from one performance configuration to another with a minimum of staff, and to accommodate additional production equipment brought to the facility by those presenting attractions.

These building features include structural elements, flexible rigging zones and their related access-ways, permanent and flexible lighting positions, and permanent and portable equipment. Most of the performance equipment for the Concert Hall will be permanently installed by specialty equipment contractors, such as the Performance Equipment Contractor (PEC), to structural elements provided under the general contract.

This equipment and the mounting structures will have associated loads of fixed magnitudes that will not change over the life of the system. Although there are dynamic loadings associated with the motorized movement of the performance equipment, the maximum overall loading conditions will remain the same and can be accurately predicted.

In a few cases, structural mounting elements are likely to see temporary and changing loads, or will receive portable equipment which is temporarily attached. Here the rigging (and lighting) applications change due to the specific needs of a particular presentation or because "in-house" operational trends and procedures develop after the building's opening. With the temporary rigging and lighting applications, the equipment and mounting structures will see diverse loading conditions from production elements over the life of the Concert Hall. No two presentations or events are alike and each can have loads that make unusual demands on the mounting structures. Although it is impossible to precisely predict the locations and sizes of these temporary rigging loads for all performance events, the maximum loads may be established. These loads are posted for technical personnel by prominently placed signs through out rigging and lighting zones.

3.1.2. Note to Structural EngineerThis follow sections describe the installed and portable Performance Equipment systems and their usage. In all cases, these items mount to building structural members, which are to be engineered by the Project Structural Engineer.

The Structural Engineer can calculate the resultant loads imposed on building structures from each piece of equipment based on the enclosed loading diagrams, the mounting position of each element shown on the detail drawings, and the notes herein.


EAST HARBOUR PROJECT CCC CONCERT HALL PERFORMANCE EQUIPMENT REYKJAVIK, ICELAND ACCOMMODATIONS & LOADS TO STRUCTURE 3.2. ACOUSTIC CANOPIES

3.2.1. Reference Drawings:A-02 thru A-05, B-06 thru B-09

3.2.2. Function:Acoustic Canopies are large, sound-reflecting ceiling planes rigged to raise and lower over the Concert Platform and over part of the main audience seating area.

The canopies also provide important technical functions for production systems which support the set-up and presentation of the events likely to be produced within the Concert Hall. These technical functions include:

Concert Lighting;

House Lighting;

Performance Lighting for non-concert events;

Work lighting for load-ins and rehearsals;

Sound and Communication Systems microphone and other device placements, and through-canopy accommodation for the Motorized Loudspeaker Arrays, in the form of Motorized Loudspeaker Array Hatches;

Technical personnel access and work areas used during the rigging and set-up of production elements associated with touring events;

Technical personnel access and work areas required for maintenance of performance equipment;

Penetration points for temporary rigging lines from temporary rigging positions in the Attic Technical Level.

3.2.3. Configuration:The Acoustic Canopy system is comprised of multiple canopy units, typically from two (2) to five (5) sections (the number of canopy sections for the EHP Concert Hall has yet to be determined by the Design Team). Each canopy section is physically and structurally separated from the other canopy sections. Each canopy section is intended to operate at different elevations for acoustic and technical production reasons.

3.2.4. Construction:The canopies will be fabricated with a low-profile, structural steel frame at their top side with a "skin" of built-up plywood (or similar) laminations bolted to the framing undersides. This "skin" - typically 75 mm to 100 mm (3 to 4 inches) in thickness - is the acoustic mass of the canopy system. The bottom of the plywood / laminate acoustic mass is the surface upon which the final architectural finish is added - this final finish may be a veneer or paint / stain finish treatment.

The composition of the "skin", or ceiling planes, of the canopies must meet strict acoustic criteria. The thickness and density of material, the method of bonding and joining materials, and the locations of open or void areas for technical functions are all considered when assessing the acoustic criteria.


EAST HARBOUR PROJECT CCC CONCERT HALL PERFORMANCE EQUIPMENT REYKJAVIK, ICELAND ACCOMMODATIONS & LOADS TO STRUCTURE The entire top of the canopy system is a technical work area and its design must anticipate the possibility of mounting of building services and performance equipment including such items as:

Motorized Loudspeaker Array Hatch doors for the center and side Motorized Loudspeaker Array Clusters;

Possible sprinklers and plumbing;

Production Lighting flexible cables, conduit and plugging boxes;

Personnel safety railings, catwalks, kickplates and emergency escape ladders;

Concert Lighting Gimbals and Lighting Fixture assemblies;

Fixed architectural lighting fixtures; and

Mounting pipes for portable stage lighting fixtures.

These (and other loads) are in addition to the live loads of technicians walking and working on all top surfaces of the canopies. The Structural Engineer must calculate the total weight of the canopy including all associated live loads from services and equipment in order to size suspension points and rigging members.

A set of holes is required in the canopies at those locations where the canopies would otherwise interfere with a plumb line from the point hoist rings, or the Cyclorama Rigging. (see below).

3.2.5. Canopy frames and suspension points:The canopy frames must meet technical performance criteria in their geometry so as not to conflict with the locations of lighting, sound system and rigging equipment. The structural frame must not hinder the convenient and safe circulation of technical personnel over the entirety of the top surfaces and access to emergency escape ladders.

The canopy frames will be suspended from the building structure using wire rope sized for the anticipated loads and with appropriate safety factors. Equipment design for rigged equipment of this nature uses a safety factor of 10:1. Performance Equipment Contractors, fabricating canopies as moving equipment, use safety factors for the frame and rigging components which include a "single-point failure" philosophy to ensure against a "cascading catastrophic failure".

The liftlines of canopies typically are joined to their structural frames using a strain adjustment device (e.g. load-rated turnbuckle) to ensure adequate load sharing after equipment live loads are added. These are located at the canopy for convenient adjustment of cable tension during installation testing for individual cable loads.

Load testing and cable strain documentation will be required at the completion of installation using a temporary strain gauge with an adjustable node-length, frequency-dependent testing device.

3.2.6. Technical features and live loads:In addition to observing the construction criteria for acoustics, the detailing of the canopies require careful attention to certain technical features to permit safe and


EAST HARBOUR PROJECT CCC CONCERT HALL PERFORMANCE EQUIPMENT REYKJAVIK, ICELAND ACCOMMODATIONS & LOADS TO STRUCTURE convenient production work in the support of presentations. These technical features must be incorporated and coordinated in the architectural and structural design of the canopy and must be calculated as part of the total canopy weight since they typically add significant live load.

The technical features on these canopies include items such as lighting equipment and associated power distribution; personnel access ways; safety railings; collection "baskets" for equipment power and control cables; and point hoist rigging holes.

3.2.7. Structural Accommodation and Loads:The canopies will require specific architectural and structural accommodations to accomplish their successful rigging and maintenance. The size and section properties of the structural elements will depend not only upon the final weights and loads associated of the canopies, as well as depending on technical rigging criteria which includes issues such as PEC manufactures preferred mounting conditions for sheaves versus.

The dead weight of the canopy surface structure and additional elements will be approximately 295 kg/m2 (60 psf). Additional live weight includes four (4) technicians working on the "walkable" surface of the canopy.

The accommodations include:

Loft beams: or similar suspension points, which can easily be used to mount loftblocks and winch motors

Liftline clear zone: down the center of the roof truss space to allow the unobstructed horizontal path of canopy liftlines. The design of roof trusses and routing of building services must observe this clear zone if the rigging is to work.

Muleblock mounting positions: where horizontal diverter blocks redirect the liftlines to their loftblocks after traversing the centre of the truss space.

Winch mounting steel: at the attic level for mounting of separate winch assemblies for each canopy.

Fall Arrest Steel: to allow maintenance personnel to attach safety lines while working on, or accessing the canopies.

3.3. PERSONNEL LIFT – CANOPY ACCESS

3.3.1. Reference Drawings:B-09

3.3.2. Function and configuration:A personnel lift or hoist is required to allow technicians to descend from the Concert Hall's attic technical level / roof truss zone down to the canopy top. The hoist will see frequent use during event load-ins and load-outs, as well as during the course of normal equipment maintenance and related house activities.

The personnel lift should be proprietary basket-type platform which can safely accommodate two (2) people. This device is commercially available from several


EAST HARBOUR PROJECT CCC CONCERT HALL PERFORMANCE EQUIPMENT REYKJAVIK, ICELAND ACCOMMODATIONS & LOADS TO STRUCTURE manufacturers and is commonly used for window washing and similar functions. The lift is comprised of an aluminum platform with a small railing enclosure for passengers and tools. An electric hoist is built into the platform's understructure. A single wire rope runs from the hoist, through the personnel bucket, to the overhead building steel (provided for the suspension of the device).

The hoist is self-climbing and reels the suspension cable onto a drum, thus raising the bucket. Descent is accomplished through a controlled paying out of the suspension line.

Each hoist will require two guide cables which extend from above the hoist at its top position in the roof truss space down to the canopy top. The guide cables prevent the personnel hoist from rotating on its single suspension line.

As the canopies are moveable, the guide lines will run from the canopy top up to sheaves in the truss space, and return to either a separate drum; to a counterweight device; or to a retractable wire reel system. As the canopy changes elevation, the length of the guide cable is automatically adjusted.

3.3.3. Accommodation:The personnel lift requires carefully coordinated architectural, structural, and electrical accommodation in order to work properly and safely.

An adequately sized hole will be required in the ceiling of the auditorium to permit the hoist to pass through the ceiling slab. At the hole an additional guidance system will be required to properly register the platform as it approaches its storage position.

The top position of each of the hoists will require a room which fully encloses the hoist and its related equipment. The hoist room is intended to maintain the integrity of the acoustical isolation provided by the audience ceiling slab against aircraft noise and similar intrusive sound. Consequently, the room, and its access door, must be designed to meet acoustic criteria provided by Artec.

Within the hoist room, a fixed landing platform will be required to enable personnel to safely enter and exit the hoist bucket. The landing platform should include safety railings and steps.

A similar landing platform will be required at the lifts' bottom positions on the canopy tops. Again, the landing allows personnel to enter and exit the bucket easily. At the canopy level, the lift's travel will be stopped by limit switches prior to its touching down on the canopy. This precludes hard landings on the canopy surface and prevents the hoist cable from going slack. Emergency stops and safety interlocks will be required in the lift or hoist control system.

3.3.4. Structural Accommodation and Loads:Each of the personnel hoists will require a suspension point (beam) for the hoist's liftline which is positioned in plan near the center of the ceiling void through which the hoist operates. In elevation, this beam should be positioned above the ceiling to the hoist room. The liftline will terminate at a fitting on the beam and pass through an acoustic cap or sleeve in the ceiling to the hoist below.


EAST HARBOUR PROJECT CCC CONCERT HALL PERFORMANCE EQUIPMENT REYKJAVIK, ICELAND ACCOMMODATIONS & LOADS TO STRUCTURE The beam should be sized to handle the loads indicated on the accompanying drawings, which include loading values for the hoist unit itself plus its rated payload as identified by the hoist manufacturer.

Similar accommodation is required for the hoist guide cables discussed in the paragraphs above. Again, the beam(s) in the truss zone will need to carry rigging blocks to take the guide cables back to the drum or wire reel. Depending on the geometry and final design details of both the personnel hoists and canopy tops, the guide cables may use the same beam as the suspension point, or they may require separate structures to accommodate the guide cables.

Under normal operation the guide cables do not receive any appreciable load. However, it is important to note that the guide cables are likely to serve a secondary safety function.

As in most rigging systems, back-up redundancy is crucial to operational safety. Since the personnel hoists rely on a single suspension cable and motor, failure at one of these points would seriously endanger personnel and equipment. Consequently, the lift system will have a safety brake system which uses speed sensing devices. These devices are attached to two sides of the basket and join the lift to the guide cables.

Under normal operational conditions the devices run along the guides with their brakes off. However, if, due to a failure in the lift system, the safety devices sense an over-speed condition, the brakes are activated to lock onto the guide cables. The lift unit is then held in place to the guides until the passengers can be rescued from the lift. Sizing of the structure to which the guide cables attach must address this application.

3.4. CENTRAL LOUDSPEAKER CLUSTER

3.4.1. Reference Drawings:A-02 thru A-05, B-10

3.4.2. Function and configuration:The Central Loudspeaker Array requires carefully coordinated architectural and structural accommodation in order to work properly and safely. The Central Loudspeaker Array is a cluster of sound system loudspeakers. They may be housed in an architecturally-finished enclosure, all of which is rigged to travel vertically using a deadhaul winch system.

When the array is needed, the unit is lowered to a pre-determined position above the concert platform. When not in use, the array is retracted vertically into a dedicated acoustically sealed enclosure (dog-house) within the attic.

The winch system and its associated rigging elements are mounted to structural steel in the attic truss space. The lift lines pass through small opening in the storage enclosure to the loud speaker array.

3.4.3. Construction:The array consists of a rigging frame and the loudspeaker cabinets. The array frame is a welded steel frame suspended from wire rope liftlines. For architectural aesthetics, the array frame may be provided with removable panels of acoustically transparent/visually


EAST HARBOUR PROJECT CCC CONCERT HALL PERFORMANCE EQUIPMENT REYKJAVIK, ICELAND ACCOMMODATIONS & LOADS TO STRUCTURE opaque material to mask the inner technical elements from the audience. The loudspeaker cabinets are suspended from the rigging frame.

The top of the array frame may contain a signal cable basket which passively pays out and collects the sound system feed signal cables during travel (alternatively, the cables may be managed by a retractable cable reel system). Below the cable basket, the rigging frame provides for the suspension and aiming of the loudspeakers. The array frame and its rigging are provided by the PEC. The loudspeakers, their suspension within the array, and the associated signal cables are provided by the Sound & Communication Contractor (SCC).

3.4.4. Accommodation and Mounting Steel for Array Rigging:Carefully coordinated rigging and mounting steel will be required for the Central Array in the attic/roof truss zone above and to the side of winch units for mounting of headblocks.

The array is suspended from liftlines which originate at helically grooved cable drums at the winch unit. The liftlines travel from the winch to multi-groove sheaves (headblocks) where they are turned and directed to individual sheaves (loftblocks). The loftblocks turn the lift lines downward so that they drop in a plumb path to attach to the top of the array frame. The liftlines traveling from the loftblocks down to the array frames will penetrate the “doghouse” ceiling through an acoustic cap or sleeve detail.

The Central Array winch drive assembly will consist of an electric motor, brake, and gear reducer driving one or more grooved cable drums. The winch will be shop assembled on a base. The location of the winch must be carefully coordinated around neighboring technical features and building structural and mechanical elements. Its mounting position must ensure adequate distance between the winch drum and the headblocks to maintain acceptable liftline fleet angles.

The PEC will provide the rigging elements and winch assembly and will mount them to structural steel provided in the attic/truss space.

3.4.5. Central Array loads:The Central Loudspeaker Array for the Concert Hall will impose a live load which will not exceed 1200 kg (2,500 lbs). This load includes all of the elements associated with the array, including the weight of the frame, enclosure panels, cable basket, loudspeaker components, signal cable, etc.

The Array load values anticipate future modifications that may be made to the speaker components due to changes in speaker technology, equipment maintenance or the personal preferences of house staff. Thus, the worst case maximum load is represented for the weight of the array.

3.5. SIDE LOUDSPEAKER ARRAY

3.5.1. Reference Drawings:A-02 thru A-04, B-11


EAST HARBOUR PROJECT CCC CONCERT HALL PERFORMANCE EQUIPMENT REYKJAVIK, ICELAND ACCOMMODATIONS & LOADS TO STRUCTURE 3.5.2. Function and configuration:The Side Loudspeaker Arrays are two similarly sized and equipped arrays. They are rigged to travel together vertically by sharing a single deadhaul winch system. The arrays are positioned over the concert platform to the left and right sides.

Unlike the Center Loudspeaker Array, the Side Loudspeaker Arrays (SLA) are not stored in the Attic Technical Level when not in use; nor do they penetrate the canopies. Rather, the SLAs are temporarily rigged to the SLA rigging lines only when additional loudspeakers are required, on a production-by-production basis.

When required, the SLA units are wheeled onto the Concert Platform, the SLA rigging lines are lowered, and the demountable fasteners at the ends of the rigging lines are attached to the hoist points on the SLA rigging truss frames. The SLAs are then hoisted into their proper performance position.

3.5.3. Construction:The arrays each consist of a rigging frame and the loudspeaker cabinets on a demountable wheeled travel base. The array frame is a welded steel frame temporarily suspended from wire rope liftlines (with demountable fasteners). The loudspeaker cabinets are suspended from the rigging frame.

The top of the array frame will contain a signal cable basket which passively pays out and collects the sound system feed signal cables during travel (alternatively, the cables may be managed by a retractable cable reel system). Below the cable basket, the rigging frame provides for the suspension and aiming of the loudspeakers. The array frames and their rigging are provided by the PEC. The loudspeakers, their suspension within the array, and the associated signal cables are provided by the Sound & Communication Contractor (SCC).

3.5.4. Accommodation and Mounting Steel for Array Rigging:Carefully coordinated rigging and mounting steel will be required for the Side Loudspeaker Arrays in the attic/roof truss zone above and to the side of winch units for mounting of rigging sheaves.

The array is temporarily suspended from liftlines which originate at helically grooved cable drums at the winch unit. The liftlines travel from the winch to multi-groove sheaves (headblocks) where they are turned and directed to individual sheaves (loftblocks). The loftblocks turn the lift lines downward so that they drop in a plumb path to attach to the top of the array frame. The liftlines traveling from the loftblocks down to the array frames will penetrate the Attic Technical Level / auditorium ceiling slab through an acoustic cap or sleeve detail. The liftlines then penetrate one or more (depending on the final design) of the Acoustic Canopy units through sleeved penetrations that allow the demountable fastener (attached to tapered cylindrical weights - "bullet" or "bottle" weights) to fully pass through. When not in use, the liftlines may be raised to the bottom of the auditorium ceiling

The Side Arrays’ winch drive assembly will consist of an electric motor, brake, and gear reducer driving one or more grooved cable drums. One winch will control both Side Arrays. The winch will be shop assembled on a base. The location of the winch must be


EAST HARBOUR PROJECT CCC CONCERT HALL PERFORMANCE EQUIPMENT REYKJAVIK, ICELAND ACCOMMODATIONS & LOADS TO STRUCTURE carefully coordinated around neighboring technical features, building structural and mechanical elements. Its mounting position must ensure adequate distance between the winch drum and the headblocks to maintain acceptable liftline fleet angles.

The PEC will provide the rigging elements and winch assembly and will mount them to structural steel provided in the attic/truss space.

3.5.5. Side Loudspeaker Array loads:The Side Loudspeaker Arrays for the Concert Hall will impose a live load which will not exceed 680 kg (1500 lbs) for each array (total load: 1760 kg / 3000 lbs). This load includes all of the elements associated with the array, including the weight of the frame, enclosure panels, cable basket, loudspeaker components, signal cable, etc.

The array load values anticipate future modifications that may be made to the speaker components due to changes in speaker technology, equipment maintenance or the personal preferences of house staff. Thus, the worst case maximum load is represented for the weight of the array.

3.6. CYCLORAMA TRUSS

3.6.1. Reference Drawings:A-02 thru A-05, B-13 thru B-14

3.6.2. Function and configuration:The Cyclorama ("Cyc") Truss provides a convenient means to hang stage draperies and drops, portable Concert Platform lighting fixtures, or similar temporary production elements at the rear of the concert platform. The Cyc Truss is a curved ladder-truss batten formed to “mirror” the curves of the Concert Hall's chorus/audience seating balcony.

The Cyc Truss is raised and lowered on wire rope liftlines which are operated by a motorized, deadhaul winch system located in the attic/roof truss space. It is joined in convenient lengths that can be demounted from the liftlines and taken apart. When the Cyc Truss is not required for a presentation, it can be quickly removed from the hall to an offstage storage area; and the lift lines retracted into the Attic Technical Zone.

3.6.3. Accommodation and Mounting Steel for Cyc Truss Rigging:The Cyc Truss is operated by a deadhaul, shaft-driven winch mounted at the upstage end of the Attic Technical Zone / roof truss space. The winch consists of an electric motor, brake, and gear reducer positioned near the centerline of the Attic Technical Zone / roof truss space floor.

The gear reducer has two drive shafts. Each drive shaft operates a set of helically grooved cable drums to wind the various liftlines. The winch (gearmotor, shafts, drums and associated supports) is typically shop assembled and aligned on a double channel winch frame (or similar) provided by the PEC.

The liftlines leave the drums in parallel paths close to the Attic Technical Zone / roof truss zone floor. As they travel, each liftline encounters a mule block which redirects the line in plan to one of the upright loft blocks distributed in a radial pattern (matching the Cyc Truss’s plan) at a low level around the Attic Technical Zone / roof truss space. At


EAST HARBOUR PROJECT CCC CONCERT HALL PERFORMANCE EQUIPMENT REYKJAVIK, ICELAND ACCOMMODATIONS & LOADS TO STRUCTURE the loftblocks the liftlines are turned downward where they pass the loftblock mounting support and enter the sleeved holes in the Attic Technical Zone / roof truss space slab. The loftblocks permit a plumb drop from the top of the Attic Technical Zone / roof truss space slabs to the Cyc Truss below

The slabs and the canopies must be provided with precisely located sleeved holes through which the liftlines travel. The holes will have a minimum clear diameter of 100 mm (4 inches) and lined with steel pipe.

The ends of the liftlines will be provided with tapered cylindrical weights ("bullet" or "bottle" weights) to hold the liftlines taut when the weight of the Cyc Truss is removed from the system. After removal of the Cyc Truss, the liftlines can be retracted out of sight into the sleeved holes. The taper of the weights will assist alignment of the lines within the sleeves.

Typically, the mounting steel for this equipment uses structural members which tie back to, or span between the roof trusses. The top flange or surface of the mounting steel in this system should be kept at a consistent elevation so that components align. The Structural Engineer should determine the type of mounting section and means of attachment for each element of rigging steel. As with all the motorized systems during installation, the rigging elements will be clipped to structural members until the system is properly aligned, after which rigging components are welded to the structural steel.

The PEC responsible for installing this system may provide additional floor-mounted blocks at various locations to accommodate the catenaries (sag) of the liftlines when traveling horizontally. Although rigging mounts which rely on concrete anchors are generally to be avoided, the PEC may mount these anti-sag devices directly to the slab concrete as they carry no appreciable load.

The Cyc Truss system coordinated rigging mounting steel will be required for the following locations:

Winch frame mounting steel : This will be at the Attic Technical Zone / roof truss floor level along a line running perpendicular to the centerline. This steel will receive the steel winch unit frame, and be receiving the full load of the Cyc Truss system.

Muleblock mounting steel: Located at various positions, as shown on the drawings. This steel will receive the diverter sheaves, which change the liftline travel directions in plan.

Loftblock mounting steel: Located at various positions, as shown on the drawings. This steel will receive the upright diverter sheaves, which change the liftline travel directions in section. This steel is adjacent to or straddles each of the sleeved holes in the Attic Technical Zone slab.

3.6.4. Cyc Truss Loads:The loads indicated on the accompanying drawings include the maximum overall design loads imposed to the structure including the weight of the demountable Cyc Truss and the maximum payload. With usual stage practice, the Cyc Truss system will typically see uniform distributed loads from draperies or lighting equipment. However, it is


EAST HARBOUR PROJECT CCC CONCERT HALL PERFORMANCE EQUIPMENT REYKJAVIK, ICELAND ACCOMMODATIONS & LOADS TO STRUCTURE possible that a load equal to the system's full lifting capacity could be positioned between only two or three of the Cyc Truss's liftlines. To address this, Artec will specify (in Tender Documents at the time of Bid) a set of system safeguards to ensure that individual components will not be overloaded inadvertently. These safeguards will include load sensing at each of the loftblocks to detect possible overload or obstruction condition and adequate signage warning users of the load capacities of the system. Since it is difficult to predict what a future system designed by others may contain, the Structural Engineer should consider reasonable point load conditions in the sizing of the systems rigging steel.

The anticipated Uniformly Distributed Load for the Cyclorama Truss system is 2725 kg (6000lbs). Ten (10) liftlines / points are required, as a minimum, evenly distributed along the length f the Cyclorama Truss batten.

3.7. TEMPORARY POINT HOIST RIGGING

3.7.1. Reference Drawings:A-02 thru A-04, B-15 and B-16

3.7.2. Function and Configuration:The performances and events which are likely to be presented in the Concert Hall may require the ability to suspend equipment temporarily overhead. This includes various types of lighting equipment, event sound equipment, and/or other production items which are brought in by traveling presentations and attractions. Typically, the production items are attached to portable trusses, which are then hoisted into place using portable chain hoists; all of which are supplied by the traveling attraction.

The loads and their locations will change from presentation to presentation, and will vary widely depending on each event's requirements. It is not possible to precisely predict the position where all portable equipment will be required, but with a knowledge of standard production practices it is possible to design a grid pattern of structural support which can be made to work for virtually any traveling event likely to play the hall.

3.7.3. Accommodation and Mounting Steel for Point Hoist Rigging:To accommodate these rigging applications, the building’s attic roof truss zone must be provided with structural members for temporary suspension at regular intervals, as shown on the accompanying drawings. These have been proposed as beams which span between the roof trusses. The beams should be fitted with permanent load-rated rigging rings for the attachment of hoisting equipment on an as need basis. The beams and rings should be provided as part of the general contract.

The beams and their rings are positioned in elevation at a clear height which does not interfere with the circulation of technicians, but also allows reaching the rings from the attic truss zone floor without need for a ladder.

Directly beneath the rings, in the attic slab, the floor accommodation must include sleeved holes, which are centered in plan with the rings above. Below the audience ceiling, another set of holes is required in the canopies at those locations where the canopies would otherwise interfere with a plumb line up to the rings.


EAST HARBOUR PROJECT CCC CONCERT HALL PERFORMANCE EQUIPMENT REYKJAVIK, ICELAND ACCOMMODATIONS & LOADS TO STRUCTURE 3.7.4. Point Hoist Loads and Temporary Rigging Operations:The most common production hoist is rated to raise 910 kg (2000 lbs). The values provided on the accompanying drawings identifies a maximum load of 1 metric ton (1000 kg / 2200 lbs) at each point hoist ring. This value includes the dead weight of the suspension chain plus the self-climbing hoist unit, plus the live load (payload) being lifted by the hoist.

When a presentation with traveling production trusses sets up in the hall, technicians would select which holes provide the best positions for their equipment. A rope would then be dropped from the truss space through each corresponding sleeve to pick-up the end of a hoist's chain and hook. The chain would then be manually hauled up to the truss space where it would be hooked to the load rings.

With these tasks accomplished, the trusses would be set up at the floor and attached to self-climbing chain hoists. The trusses would then be raised by an operator at the platform level by driving two or more hoists simultaneously. Shorter length trusses would typically use only two hoists. Trusses of long spans or having heavy loads would typically use three or four hoists. Rarely, if ever, will a single truss be so heavily loaded with equipment that all its hoists will be at maximum capacity.

The hoists may not be 100% synchronized and sometimes travel at slightly different speeds due to variances in the hoists themselves or differences in the loads that the hoists are carrying. Thus, equal load sharing among the hoists and their mounting structures is unpredictable. Such an operation with long trusses relies on the technician's ability to maintain uniform hoist speed by momentarily turning off a faster hoist while its slower neighbors catch up.

Production chain hoists typically climb at relatively low speeds and many (but not all) are fitted with a clutch which prevents an overload on any one hoist. The clutch mechanism will not drop the load, but neither will it raise an item which is significantly heavier than the load-rating of the hoist.

In calculating the loads and beam sizes, there are likely to be impulse loads transferred to the beams from truss suspension activities. These include the "jogging" adjustments made during the leveling of trusses discussed above, with the accompanying momentary transfers of load from one suspension hoist to another as some lift chains tend to go slack during raising and lowering.

There are other production practices which should also be considered in understanding the loads on the structure. For instance, it is quite common after lighting trusses are raised to their operational position to have a technician climb up to the truss to focus the stage lights mounted on it. This is accomplished by the technician "walking the truss" or crawling along from one end to the other.

3.7.5. Additional Accommodation Requirements: Safe Working Load Signage:

Each point hoist rigging position should be provided with clear, permanent signage identifying the maximum allowable working loads, for the individual point, and



groupings of points. This provides rigging technicians with a clear understanding of the loading limits which should not be exceeded.

Infill Plugs for the roof truss space slab point-hoist holes for Acoustic Isolation:

To maintain acoustic isolation and for reasons of safety, the truss space point hoist holes must be outfitted with removable infill plugs which fit securely into the sleeved holes, when the holes are not being used for rigging purposes. These will be constructed to ensure there is no possibility of the infill plugs being dropped through the rigging hole.

The infill plugs will have handles to permit their easy extraction and replacement. The plugs should also have tethers to prevent their removal from the area.

A similar detail should be provided for the point hoist holes in the canopies. Aesthetic criteria will also enter into the design of these.

3.7.6. Alternative Rigging Methods:Winches and Chain Hoists employed for temporary rigging applications are occasionally rigged by hanging the winch / hoist from a Point Hoist Rigging Frame. The Rigging Frame is placed on the floor of the Attic Technical Level, directly over the slab penetration. The winch / hoist is suspended from the frame by means of a wire rope "sundae" or web load sling attached to a rated shackle which, in turn, is attached to a rated load bearing ring on the top member of the frame. The wire rope or chain liftline is lowered through the penetration tot the equipment on the Platform.

The Rigging Frame maximum live load is 1000 kg (2200 lbs).

3.8. PIANO LIFT, HOUSE MIX POSITION LIFT (CONCERT HALL ONLY) AND CONCERT PLATFORM EXTENSION LIFT (BOTH CONCERT HALL AND MUSIC THEATRE)

3.8.1. Reference Drawings:A-01, A-02, A-04, A-05, and B-19 and B-20

3.8.2. Function and configuration:The Piano Lift provides the means to quietly, conveniently, rapidly, and elegantly move a concert piano from a storage zone below the concert platform to the platform level. With this equipment a grand piano can be positioned during an interval in an evenings program without awkwardly having to clear a path through the orchestra's music stands, chairs, and platforms/raisers. The Piano Lift will be located in the downstage center zone of the concert platform. The plan shape will be an ellipse of the minimum size to comfortably accommodate the largest concert grand piano available, plus several stagehands to move it into position.

The Concert Platform Extension Lift provides the means by which to:

Extend the area of the platform by moving chairwagons to storage, and bring the lift to the platform level.

Create an orchestra pit by storing the chairwagons and driving the lift to the pit level.



Maximize the Hall’s seat count by placing the chairwagons on the lift and driving it to the main level seating elevation, and

Transport goods from storage at pit level to the platform, and vice-versa.

The House Mix Position Lift allows an area, ideal for audio mixing control, to be quickly changed from a seating location to a House Mix Position. For typical operation a chairwagon will be mounted on the lift. When the House Mix Position is required, the lift is lowered and the chairwagon removed. A rolling platform containing the House Mix Equipment replaces the chairwagon on the lift and is moved up into place.

All lifts consist of a steel sub-structures; the Piano Lift and Platform Extension Lift each support a plywood sub-floor covered with finished flooring to match the concert platform. The House Mix Lift finished floor will match the finish floor of the Main Orchestra Seating area.

3.8.3. Method of operation:The Lifts will be raised and lowered by “self climbing column device”, such as a Gala Spiralift or Serapid "Linklift" system.

The lifts will be guided at two opposite sides through their full travel with guide arms fixed to the lift platform which follow vertical guide rails at the orchestra pit level. The Piano Lift guide columns are demountable in order for the pit to function as an unobstructed orchestra pit.

The systems will be provided with a variety of safety, back-up redundancy, and operational devices to ensure the safety of personnel and equipment both during lifts operation and when the lifts are "parked" in position. The lifts will be designed to comply with all prevailing code requirements.

The following structural and architectural accommodation should be provided within the General Contract during the building's construction:

Piano Holding below the concert platform: An adequately sized storage/holding space accommodates two concert grand pianos, plus circulation space for stagehands to move the pianos. The piano will be positioned in the holding area before an evening's concert.

Chairwagon Storage below the Concert Platform: Storage is provided at pit level downstage of the orchestra pit for the chairwagons that ride on the concert platform extension lift. Storage is provided for the House Mix Position Lift chairwagon and sound mix wagon adjacent to that lift. The chairwagons are transported between storage and play position via "V-groove" casters which ride on angled track attached to the Pit level floor, and demountable tracks which are attached tot he lift decks as required.

Personnel access: A backstage circulation route to the storage area for daily support activities and for emergency egress.

Lift pit(s): A depressed zone below the pit level is provided to accommodate the lifting devices and the depth of the lift structure plus clearances.



Load sustaining slab and embedments: Structural accommodation to carry the live and dead loads from the lifts.

Lift pit drainage: A sloped floor and drain system is required to prevent the collection of water. (Refer to Artec acoustics documents concerning remoted sump pumps.)

Lift pit maintenance access: Technical access to the zone beneath the lifts in the event of an equipment failure when the lift is in down position.

Perimeter zone "hold-backs": At the concert platform and the piano storage levels the structure must be held back. This allows an adjustable gap infill to control operating clearances between the fixed floors and finished lift platforms during installation.

3.8.4. Structural loading conditions:The loads on the Lifts are ultimately transferred back to the lift pit slab where the lift mechanisms are joined to embedments and/or the lift pit slab.

As indicated on the accompanying drawings, the Lifts will be capable of sustaining a maximum, uniformly distributed live load of 735 kg / m2 (150 psf). The lift pit slab and/or embedments will sustain this plus the dead load of the lift floor and lift structure. The dead load of the structures and flooring will be a maximum of 318 kg / m2 (65 psf).

The lift will each be capable of raising a uniformly distributed live loads of 367 kg / m2 (75 psf). Except for the period of load testing during equipment commissioning, typical loads on the lifts are likely to be neither uniform nor will they approach this magnitude.



3.9. REVERBERATION CHAMBER DOORS (CONCERT HALL ONLY)

3.9.1. Reference Drawings:A-02, A-04, A-05 and B-24

3.9.2. Function and configuration:The Reverberation Chamber Doors allow the control of variability in reverberence in the audience chamber. When fully open they allow the Reverberation Chambers to add the maximum reverberance of the audience chamber. When closed they keep sound energy from entering the chambers and provide reflective wall surfaces in the room.

Each door pivots on a shaft or bearings located at the outer edge of the door (not a center pivot point). They are controlled via motorized actuators connected to the Performance Equipment Control System.

3.9.3. Structural loading conditions:The doors are fabricated of appropriately sized steel framing and 4” thick concrete door leaves. The concrete will be reinforced as required. The architectural finish or decoration will be determined by the architect with input from the acoustic consultant.

The doors impose varying eccentric loads to the structure of the Chambers. These loads will vary as the doors are opened and closed. For acoustic reasons, the concrete must have a minimum density of 1800 kg / m3 (112 lbs / cubic foot). Typically, finished Reverb Chamber Doors weigh from 4535 kg to 6350 kg (10,000 lbs to 14,000 lbs) each.



3.10. ORGAN DOORS

3.10.1. Reference Drawings:None

3.10.2. Function and configuration:The Organ Doors allow the organ to be covered for performances in which it is not used. This allows the normally partially absorptive surface of the organ facade to be covered by a reflective surface.

As the deign of the Organ develops, the need for Organ Doors will be determined.

3.10.3. Structural loading conditions:The doors are fabricated of appropriately sized steel framing and 4” thick concrete door leaves. The concrete will be reinforced as required. The architectural finish or decoration will be determined by the architect with input from the acoustic consultant.

The doors impose varying eccentric loads to the structure of the Chambers. These loads will vary as the doors are opened and closed. For acoustic reasons, the concrete must have a minimum density of 1800 kg / m3



3.11. ACOUSTIC CONTROL BANNERS

3.11.1. Reference Drawings:A-1, A-2, A-3, A-4 and C-3

3.11.2. Function and configuration:The Acoustic Control Banners are devices used to quickly and easily change the acoustical characteristics of the Concert Hall in order to accommodate different types of events. The banners provide a means of introducing sound absorptive materials into the reverberation chambers. Banners are also important for the rehearsal of acoustic music.

The Acoustic Control Banners may be used in conjunction with the Acoustic Control Curtains identified in the section below. Both systems are motorized and can be operated remotely from a control panel on the concert platform, the House Mix position in the audience chamber or the control booth.

When not in use, the Acoustic Control Banners are stored in enclosures, called banner boxes in the attic spaces. The boxes primarily provide an important acoustic function in ensuring that a minimum of absorptive material is exposed to the acoustical space, while simultaneously reducing the banners exposure to housekeeping and technical activities and dust.

When required, the banners are lowered vertically from their storage positions on electric winches to become exposed at predetermined positions within the reverberation chambers.

The banners have architectural-quality finishes which complement the finishes of the Concert Hall. Each banner consists of two layers of heavy-weight velour placed back to back with an air space between. At the bottom of the banner is a batten which provides an architecturally finished bottom edge when the banners are extended into view, while simultaneously weighting the banner to hold it flat.

The battens also provide an important acoustic function in serving as a "closure" to the bottom of the banner box to minimize the surface area of exposed absorptive material when appropriate. In some cases, the battens also provide a technical function in assisting with stacking the banner for storage -- see below.

The bottom battens are made of painted steel; wood is sometimes used to trim the battens.

3.11.3. Banner winches:The winches use an electric motor (and brake) driving a gear reducer rated for a self-sustaining deadhaul application.

Each gearmotor is centrally located within its winch system with drive shafts extending in a straight line to the left and right of the motor. Mounted on each of these two drive shafts are "yo-yo" or "pile-winding" cable drums. As the name implies, yo-yo drums spool up wire rope in a continuous stack between side plates, with one wrap of liftline piled on top of the previous.


EAST HARBOUR PROJECT CCC CONCERT HALL PERFORMANCE EQUIPMENT REYKJAVIK, ICELAND ACCOMMODATIONS & LOADS TO STRUCTURE The liftlines and their collecting drums are spaced at regular intervals along the width of each banner to provide adequate support and, in the case of stacking banners, to ensure uniform gathering and folding of the fabric.

Depending upon installation and hall geometry, each banner or adjacent pair of banners will use a dedicated winch. For reasons of cost, the fewest practical number of motors will be used.

In most instances the shaft driven winches will be positioned directly over the banner storage box. As the liftlines penetrate the top of the banner box, they are guided by a sheave to drop plumb and to compensate for the constantly changing diameter of the yo-yo drum as the winches turn.

3.11.4. Architectural and structural accommodation:The banners will require access from the attic space for maintenance.

Typically, the TEC provides each individual banner system as a self-contained unit where the structural framing of the banner box supports the winch unit, the banner and the storage box cladding. This is accomplished with a welded steel frame, spanning the banner slot and anchored to the floor.



3.12. ACOUSTIC CONTROL CURTAINS

3.12.1. Reference Drawings:A-1, A-2, A-3, A-4, C-1 and C-2

3.12.2. Function and configuration:The Acoustic Control Curtains may be used in conjunction with the Acoustic Control Banners discussed above. Like the banners, the curtains are used to quickly and easily cover specific wall surfaces with sound absorptive material for certain types of events.

The system uses individual lengths of double velour curtain panels which are suspended from dedicated sets of proprietary theatrical curtain tracks. The tracks are mounted to recessed soffits along the audience chamber's side and rear walls at the various audience seating levels.

The curtain panels operate on wheeled carriers which ride on the curtain tracks and permit the curtains to travel horizontally from a retracted storage position to an extended position.

When retracted, the curtains are gathered together and stored in architectural enclosures called "curtain storage pockets". The curtain pockets are designed into the geometry of the audience chamber walls. Like the banner storage boxes, the curtain pockets ensure that a minimum of absorptive material is exposed to the room's acoustical environment for those events requiring sound reflective wall surfaces.

When required to cover wall surfaces, the curtains are extended out of their storage pockets to cover their respective walls.

The curtains are fabricated from two layers of heavy-weight velour hung from the same track carriers. For acoustic and aesthetic reasons, the curtain panels will be sewn with 100% fullness. The fabric will be selected by the Architects, with functional guidance from Artec, to match or complement and other audience chamber finishes.

3.12.3. Curtain operation:The majority of the Acoustic Control Curtains will be motorized, allowing remote selection and actuation of groups of curtains from a control panel on the concert platform. A few curtains (e.g. at the Control Room) will be extended and retracted by manually "walking" the curtains into the desired position; termed "walk-draw" operation.

Each section of motorized curtain will require a small curtain winch inside the curtain pocket, mounted on the floor at the rear of the pocket. The winch has an electric motor and cable drum which carries a continuous loop operating line. The operating line travels upward from the winch to the curtain track where it runs over a small headblock mounted at the end of the curtain track. The headblock turns the line 90o where it runs along the curtain track and joins the curtain carriers which it manipulates.

3.12.4. Architectural and structural accommodation:The curtain track soffits require special preparation for the mounting of the tracks as shown on the accompanying diagrams.


EAST HARBOUR PROJECT CCC CONCERT HALL PERFORMANCE EQUIPMENT REYKJAVIK, ICELAND ACCOMMODATIONS & LOADS TO STRUCTURE The acoustic control curtains vary in size, and therefore in the total load imposed on the ceiling structure. However, none of the panels will exceed the total values given on the above referenced drawings.

Since the curtains travel horizontally, the live loads change as the curtains move. When extended, each curtain imposes a uniformly distributed load over the entire length of the soffit structure. When retracted, the entire load of the curtain is imposed on the small length of track within the storage pocket. An additional live load is also imposed at the end of each curtain track during winch operation.

The attached drawings provide criteria for aspects of the curtain pocket to ensure adequate installation and storage space. The drawings also provide criteria for architectural valances which are recommended to mask the working parts of the track system from audience members.

It is imperative for the proper operation of the Acoustic Control Curtain system that the storage pockets and travel zones are kept clear of building services which could restrict full storage or full travel of the curtains; or which could snag a curtain during the stacking operation within the storage pocket.

END REPORT
