Posted: September 26th, 2022

Analyzing the building acoustics of Opera Bastille

Engineering and Construction
Topic:
analyzing the building acoustics of Opera Bastille
ASSIGNMENT 2 –– “Soundscape Notebook”
This assignment will provide an introduction to the engineering and physics of sound, focusing on the production of sound within enclosed space and in free field, addressing questions of sound control in buildings, the property of materials in relationship to sound absorption / reflection, and noise control.
In order to enhance a fully embodied experience of architecture beyond the mere visual dimension of architectural design one has to be concerned with the true ‘presence’ of architecture, i.e. the complex wired experience of visual, tactile, olfactory and aural stimuli.
Students will explore the full potential to engage our senses synesthetically, being concerned with the ‘sensuous presence’ of human inhabitation.
Synesthesia is a neurological phenomenon in which stimulation of one sensory or cognitive pathway leads to automatic, involuntary experiences in a second sensory or cognitive pathway.

Makeup of a ‘Soundscape notebook’
The students are asked to document throughout the semester their research on Theaters and Concert or Opera Halls. They will look up information in books or websites and elaborate drawings and schemes to convey their knowledge about the building. The building date of completion should be after 1980. The capacity (number of seats) should be above 1800 people.
THE ASSIGNMENT SUBMISSION REQUIREMENTS
Each student should submit a pdf file containing the items written above. The documents should include:
* • Project location, date of completion, Architect, Acoustic engineer (if necessary).
* • Analyze the concert hall by answering the following questions:
Number of seats.
Volume.
Distance between the stage and seating areas (in plan, section and real measurement).
Internal areas (floor, ceiling and walls).
Materials and construction details used in walls and ceilings.
Visual relationship between the seating area and the stage (are there dead angles?).

* • If the sound pressure level (SPL) is 70dB in the nearest sit to the stage, calculate the SPL in 3 different places of the Hall, including the furthest seat (assume free field).
* • Identify walls or slabs separating the Hall from lobbies and corridors.

Assessment CRITERIA
The assignment will be assessed according to the following:
1. 1. Ability to prepare technical written and drawn documents (Format, Presentation and Contents). (15%)
2. 2. Completeness and correctness in explaining the physical mechanisms of the sound that occur in the built environment, in terms of physical mechanisms, equations and quantities. (15%)
3. 3. Adequacy and completeness of graphic and written information for the Building you have chosen (dimensions, volume, areas, materials…). (25%)
4. 4. Amount and quality of information elaborated by the student. (15%)
5. 5. Accuracy of units and measurements for the project. (20%)
6. 6. Citation of references. (10%)
Soundscape Notebook: Analyzing the Building Acoustics of Opera Bastille
Carlos Ott, an Uruguayan architect, designed the Opera Bastille in 1983, which was part of the Grands Projets Initiative in France whose objective was constructing new monuments in Paris (Rethinking the Future). The Opera is located between the historic Place de la Bastille Square and the Viaduc des Arts gardens and is now a landmark within Paris bustling 12th arrondissement. Currently, it offers the ideal starting point for exploring the largest market within Paris, the Marche Bastille, and the state-of-the-art program of the Paris National Opera at the Opera Bastille with a contemporary 2745 seat auditorium. The auditorium displays an eclectic range of Opera, ballet, music, and dance performances. In proximity, the Port de l’Arsenal is home to the city’s picturesque marina filled up with houseboats, rose gardens, and leafy embankments (Sofitel). Palais Garnier was insufficient in meeting the needs of Opera by the public; hence Opera Bastille would be developed to allow these events particularly. Opera Bastille’s concept was to be an architecturally modern space and advanced technologically in sound level, sound lights, and all relevant advances (Bastille opera house, 2020).
The Opera is a place where one can directly experience the power of humanity. The live sensory information that persons on stage physically convey gets perceived physically in the audience; hence one considers it a heart-to-heart communication among its people (Baranek et al., 355). The theater space facilitated the exchange of energy via a multifaceted network of those on stage and the audience. Nonetheless, a potent force does exist that leads to the unconscious bonding between the audience members due to their coexistence within space and time (Baranek et al., 355). It is evident through the Opera Bastille design that the created space could heighten the extensive range of human senses. Therefore, it is evident that sound is a second to none element for its importance in designing the Opera.
At first glance, Opera Bastille does not resemble an Opera house because of the contemporary sensibilities on its display using the griddled walls of glass (Headout Inc). It also has a subdued color pallet for blending purposes with the general landscape of the area. Aside from the main auditorium, the Opera Bastille also holds a 500 seat amphitheater, a 200 seat studio theatre, set and costume workshops, and offices. With its seating capacity of 2745, opera Bastille has its auditorium organized following an arena format with two huge balconies at the back and four galleries on both sides. Its architecture is marked by transparent facades and identical materials internally and externally, specifically the reinforced concrete, glass, granite, aluminum, stone, and marble. The main stage is 45 feet high, 30 meters wide, and 25 meters wide (Opera Bastille). It has nine lifts creating several levels, with the three main lifts bringing the landscape from below the stage. Four storage areas of similar dimensions are present and used for testing, and between racks has a turntable that permits two productions happening concurrently. The amphitheater walls have white breccia marble from Versions to the ceiling heights, but pear woods were also utilized in the latter.
The Opera Bastille has garnered many controversies, with some commentators applauding the modern appearance while others are hating it for being too cold and dark. The latter normally compare it to the elegance and sophistication of the old Opera house, Opera Garnier. Nonetheless, the sleek and imposing appearance of curved Blackstone, concrete, and glass makes it a complete contrast to the Place de la Bastille’s surrounding area. This was designed to be a people’s place, especially for those moving to Paris during modern times.
The great hall of the Opera Bastille was made of concrete for modern reasons. To achieve the best possible acoustic, it has a particular architecture, no parallel surface, and particulate materials were used for alternating in the absorbent and reflective materials, the major challenge faced in this room was the massive volume of more than 20000m3 since the larger the room, the greater reflection for the soundwaves and coming closer to the optimal increased complexities, also, on the reflective surface for proper sound homogeneity the standing waves need to be avoided. Failure to do so, the middle would be saturated with a series of sound wave reflections between two points in two parallel surfaces. The architect avoided using the reflective rectilinear surfaces and used those with a concave shape to this effect. The side walls were on the spectator side.
The great hall is 1200 m2 is 20 meters high, 32 meters deep, 40 meters wide, and has a glass ceiling (Opera Bastille). It is considered a practical building with numerous technological advances that, on the grand scale, it is one of the largest opera houses in the universe. This modern technology was also incorporated into the over 2700 seats within the hall such that each audience member gets a similar acoustic quality and an uninterrupted view of the stage. It is made of French blue granite from the Brittany region of France, Chinese wood, and Italian marble with glass concrete and black stones. The prominence of the grey granite, black or white stone, and black fabric in the structure and decoration in conjunction with the lighting from the large white glass ceilings have been said to give the hall a generally cold color (EUtouring.com). However, the pearwood for the seats and the handrails, and the floor’s oak has given the hall a warmer, light brown touch. The amphitheater walls have white breccia marble from Verona to the ceiling heights, but pear woods were also utilized in the latter. The auditorium’s size has led to many common and unfavorable references as a vessel, especially compared to other state-of-the-art opera houses (EUtouring.com). Others have stated that the acoustics are at times disappointing. Notably, one technical feature improvised to improve the acoustics is the floor of the orchestra pit, being a small elevator that makes it possible to tailor the pit to the performance’s requirements. It gets elevated for a smaller orchestra and lowered for a larger and louder one.
At the free field, the sound pressure level is calculated as the doubling of the distance from the stage reduces the sound pressure level by 6 decibels. The free field will be considered the flat surface without obstructions. Therefore, if the sound pressure level (SPL) is 70dB in the nearest seat to the stage,

Distance (m) Sound Pressure Level
5m 70dB
20m 58dB
40m 52dB

Apart from this main concert hall, Opera Bastille has two additional concert halls with the smallest and most intimate holding 250 seats. It is mainly used for chamber music performances. Opera Bastille’s imposing structure is 80 meters high, which comprises 30m below ground level (Opera Bastille). The materials used internally were also used externally. The glass used in the construction allows spectacular views of the Place de la Bastille and even the Eiffel Tower’s top.

Works Cited
Bastille Opera House. “Bastille Opera House.” WikiArquitectura, 8 Oct. 2020, en.wikiarquitectura.com/building/bastille-opera-house/#. Accessed 9 Mar. 2021.
Beranek, Leo L., Takayuki Hidaka, and Sadahiro Masuda. “Acoustical design of the opera house of the New National Theatre, Tokyo, Japan.” The Journal of the Acoustical Society of America 107.1 (2000): 355-367.
EUtouring.com. “Opera Bastille in Paris, France.” Paris Tourist Attractions and Holiday Travel Guides to France, www.eutouring.com/opera_bastille_in_paris.html.
Headout Inc. “Opera Bastille Seating Chart | Paris Opera Guide | Shows, Tips, & More.” Headout Blog, 19 Nov. 2019, blog.headout.com/opera-bastille-seating-chart/#.
Opera Bastille. “Opera Bastille.” Paris Walking Tours, www.paris-walking-tours.com/operabastille.html.
Rethinking the Future. “Opéra Bastille By Henning Larsen Architects.” RTF | Rethinking The Future, 23 Sept. 2019, www.re-thinkingthefuture.com/sports-recreation/2157-opera-bastille-by-henning-larsen-architects/.
Sofitel. “Bastille & the Opera Bastille.” 2017, sofitel.accor.com/gb/destinations/bastille-and-the-opera-bastille-paris.shtml.

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