The Salt Silo in Tvøroyri, The Faroe Islands, is set to be turned the largest concert hall in The Faroe Islands. The Salt Silo is a large old silo with wood and concrete walls, and currently acoustics which are not suitable for musical reproduction. The project leaders require the concert hall to be suitable for both classical and rock music, which poses an interesting acoustical challenge. In this paper I will go through which variables should be known and controlled to be able to acoustically analyze and design a concert hall such as The Salt Silo. To not become too large of a project, the paper will focus on the hall's lateral energy fraction and reverberation time. The paper will also look at the Clarity Index parameter (C80) and note how it is affected by the change of reverberation time. The concert hall will be simulated with Odeon auralization software by Brüel & Kjær, and the paper will present the author's suggestion of how the concert hall should be acoustically designed to optimize the values of the reverberation time and lateral energy fraction. The design objective is to create a hall which is suitable for classical music, but where the acoustics can be varied to be able to house modern rock concerts as well. The paper will present a suggestion as to how The Salt Silo should be transformed from an old silo to a modern concert hall which fulfills the criteria which the project leaders have set on reverberation time and lateral energy fraction.

Ostrava as a minig town, Ostrava as a black city. The Moravian Philharmonic Orchestra Ostrava as Black Pearl. Object Philharmonic has a raw lump of coal situated at Black Meadow site, the former heap. The building is a single mass laceration and shaped by the action of time, relative motion and contact materials are to each other and breaking moves. Tectonics of the facade symbolize brutality material, the piece of coal. On its surface has many different faces, edges, ridges and grooves. It is divided into layers of solid material, opaque and transparent gloss of the opening to the surroundings, providing visual contact with the interior and its interaction with the exterior. Inside, as the energy in coal is burning up, tuned in warm orange tones. It has the power to evoke heat of building, especially at night when during concert. Urban solving a broader relationship Philharmonic building is situated in the area of Black Meadow. The site is in close contact with cents and direct linkage to Masaryk Square. Philharmonic with its position linking a group of cultural objects, which are oriented in Theatre Street. The line begins at the Music Gallery Square, Philharmonic continues to object, bandstand, puppet shows to the theater of Antonin Dvorak. The building is oriented with its longitudinal axis in the direction northeast - southwest. The orientation of the main facade of the north side and is oriented to the Music of the square.

The approach, that a I chose to fullfil my idea as well as the diploma project, was bassed on solving problems, which I consider as key in the context of the whole urban setting. The parameters which I collected led me through the designing process. The result of my work followed in the foodsteps of the international competition, which took place in this area. transformation of the nonfunctionl part of town and recreat it towards new cultural cluster, where the first flagship suppouse to be this concert hall. In this case was important, to find and melt together all the possitive influences of this urban area.

Crystal is a heart of the story where the music hall is talking to our greatest city dominant.

abstract: Traditional consensus in duos with grand piano has been that issues of balance between piano and the other instrument can be corrected through lowering the lid on the piano, particularly when the other instrument has been thought of as less forceful. The perceived result of lowering the lid on the piano is to quiet the piano enough so as not to overwhelm the other instrument, though the physics of the piano and acoustics suggest that it is incorrect to expect this result. Due to the physics of the piano and natural laws such as the conservation of energy, as well as the intricacies of sound propagation, the author hypothesizes that lowering the lid on the piano does not have a significant effect on its sound output for the audience of a musical performance. Experimentation to determine empirically whether the lid has any significant effect on the piano's volume and tone for the audience seating area was undertaken, with equipment to objectively measure volume and tone quality produced by a mechanical set of arms that reproduces an F-major chord with consistent power. The chord was produced with a wooden frame that input consistent energy into the piano, with measurements taken from the audience seating area using a sound pressure level meter and recorded with a Zoom H4N digital recorder for analysis. The results suggested that lowering the lid has a small effect on sound pressure level, but not significant enough to overcome issues of overtone balance or individual pianists’ touch. / Dissertation/Thesis / Doctoral Dissertation Music 2017

Through the development of draping and pleating methods of heavy fabric referring indirectly to the stage Curtain, the aim of the project is to study ambiguous coexistence of masking and exposing made by repetitive folds, simultaneously developing technique studies and site analysis and apply them to make a new concert hall for Stockholm.The thesis defines the concert hall a public space, and further develops the concert hall as a public space by exposing the commonly inaccessible backstage area in on the ground floor Visitors and concert-goers have the opportunity to look behind the scenes and reconsider the value of art by seeing how a piece of music has been shaped and rehearsed. There are some performance halls throughout Europe that open their backstage doors to the public in order to see what is going on behind the stage.Ways of disclosing the backstage has been achieved through design technique studies and by considering the history of folded fabric in a design research.The main part of the research is based on the theoretical influence that Semper specified in his book Style, the topic of textiles and their relationship in architecture and it has been completed by developing a terminology and meanings defined by contemporary artist Petra Blaisse in her book Inside outside.Throughout history, many artists have spent time on the study of fabric and folds; an example is the dramatic drapery in Baroque sculptures such as the “Bernini folds,” making a hard material appears soft. I tried to take advantage of all the qualities that heavy fabric can offer for the development of my building and use most of the information that can be derived from fabrics application.An example of applying these qualities is making deep semi masked openings. Making apertures through deep folds to rehearsal rooms, the folds open and close visually as people pass by. By continuing this method and using the qualities of deep surfaces from outside to inside I tried to achieve a backstage that is both open and masked in the same time.The project has been started by focusing on two parallel tracks of site and technique study.The site is located on the Djurgården. Djurgården is home to historical buildings and monuments, museums, galleries. Galärparken is located between three museums that are known for their historical heritage. This site requires very careful design in relation to buildings surrounding it. However; the site provides a good context for a distinctive building that creates identity and contributes to a good overall situation. Parallel to the site analyzes the design technique studies have been developed.The proposal has been developed through analyzing two parallel tracks of pleating and draping.Within the pleating method linear techniques have been investigated to make repetitive folds to define surfaces, and extruding techniques have been investigated to create volumetric depth.Draping methods are: fluttering, masking, fullness and tassel. After defining and refining each of the techniques, they have been applied at a building scale to articulate the material organization of the concert hall.Tassel: Tying fabric from one end and hang it. framing space while having fabric freely.A tuft of loosely hanging fabric, cords, or other material knotted at one end ” ...another of white cashmere, draped in heavy folds, hanging in half moons and caught at every interval with splendid white silk tassels, each draping being trimmed with a narrow silk fringe” Gottfried Semper, StyleFluttering: To make small, gentle movements in the air, to move something in a particular direction by pulling it gently e.g. “A wind machine blew air in to the drape and made it flutter” Inside outside, Petra BlaisseMasking: To cover or hide something so it cannot be clearly seen. A set of curtains or scenic elements used to define the visual limits of a performance area.” Glossary of Theatre termsFullness: The condition of being full with chunky pleats. Fullness is a common term used to describe an aspect of stage curtains; it is directly attributable to the amount of pleating present. For instance, a curtain that has no pleating at all (a flat sheet) has 0% fullness; a curtain that has 100% fullness will start out as fabric that is twice as wide as required.”Glossary of Theatre terms.The project’s program is to make a 1500-seat auditorium.The project is made of two different layers. The first layer shapes the outer envelope and the other layer is happening inside enveloping the auditorium. These two layers are connected by different shaped slabs at different levels. The auditorium drapes loosely between the slabs at different levels. The circulation between floors take places all around the auditorium. Each level has a view to the other floors so the flow of people can be seen from different levels.The first floor is accessible for all people and provides an open plan while exposing backstage and makes transition between Nordiska museum and the waterfront.The fullness quality has been introduced in three parts of the exterior envelope in relation to the site. The first is the part that faces the Nordic museum including one of the entrances between the folds.The next part is the part that faces to Stockholm and again openings are embedded between the folds.The last pleated part is located within the side that faces Vasa museum. The Vasa museum is here in close proximity with the concert hall. In respect to the Vasa museum the concert hall has been pushed in, and deep surfaces can be seen here as well.The inner layer has been shaped also by deep surfaces made by deep folds. At ground floor, where the back stage is located, the deep folds can make semi open apertures and provide a view to rehearsal rooms for visitors. From the other side the semi masked openings of the backstage faces a cafeteria with seats with a view to the training rooms.On the other floors, folds create openings to the auditorium from different sides.The concert hall has been shaped with respect to site and adjacent buildings. The implementation and coexistence of masking and revealing strategies have been developed through design techniques studies and subsequently influenced the design.

České Budějovice is capital city of south Bohemia. It was founded in 1265 on confluence of Vltava and Malše rivers. It has population about 100,000 people. There is a gorhic historical centre with ortogonal net of streets with big main square in České Budějovice. Near to former city walls there is Mariánské Square - this is a place of my design of concert hall.

The aim of this thesis project has been to explore stages for performance that promotes situational displacement and questions cultural containment and inclusion. By implementing stages that merges with and leaks out in to the surrounding urban environment the aspiration has been to manipulate adjacent urban spaces and by doing so offer an alternative spatial imagination that provokes public consciousness and the possiblity of new subjective and collective engagement within our built environment.

From the very beginning of cinema, music always played an important role in the history of filmmaking. Nonetheless, film music is judged by critics as a kind of low-grade art form. However, the majority of film score composers enjoyed a classical education and composed as well for the silver screen as for the concert hall. Film music also has its roots in the musical era of romanticism. Therefore, symphonic film scores can be regarded as program music in a broader sense. These scores were influenced by a motion picture instead of a poem, a landscape, or a painting. It is neither necessary nor supposed that film music must be subordinate to its belonging film. In fact, a well-written film score may enhance the impact of a film by using its own language—the language of music. Film music is still not truly recognized as an own style of music which is to be performed regularly in a concert hall. There are still strong prejudices about film music—too nice, too industrial, full of clichés, and unworthy to be performed live by an orchestra. This book wants to explore the nature of film music and its relation to classical music in this volume. How is film music perceived today? Does film music have its place on its own—uncoupled from its original film—in the concert hall? And how does film music relate to other musical genres in the 19th and 20th century? With contributions by Emilio Audissino, Marco Cosci, Kristjan Järvi, Irena Paulus, Gene Pritsker, Jaume Radigales, Lorenzo Sorbo, Sebastian Stoppe, and Pascal Vandelanoitte.

El proyecto consiste en el diseño de una Academia de Música en la intersección de los distritos Pueblo Libre, Cercado de Lima y San Miguel. El objetivo principal es ofrecer una infraestructura de carácter interdistrital que logre acoger músicos en formación y profesionales para brindarles ambientes donde puedan recibir una formación musical y se desempeñen en su labor como artista. El concepto arquitectónico tiene como énfasis integrar el programa educativo con la exposición de la música a través de espacios intermedios. Además, se propone que este sea un proyecto que pueda despertar sensaciones en el usuario a través del manejo de la luz y el color en los espacios para lograr influenciar positivamente en el aprendizaje y crear ambientes agradables. / This thesis is a design proposal for an academy of music, planned for the intersection of the districts of Pueblo Libre, Cercado de Lima and San Miguel. The aim of the project is to offer an infrasctructure for the three neighbouring districts, which will host future and professional musicians and will bring them closer to a creative environment, where they can get a musical education and therefore be able to carry out their work as artists. The architectural concept emphasizes the integration of the educational program and the exposure to music by using intermediate spaces. Furthermore, the building is designed in order to inspire its users through the use of light and color, so that it might positively influence their learning process and at the same time create a pleasant environment. / Tesis