Analysis Of The Acoustic In Roy Thomson Hall
Shimmering, cascading double glazed panels reflecting light, dancing as I traverse around- an optical illusion of sorts. A thick heavy cement base holding the metal frame with a rounded cement top poking out. A concert hall positioned in the entertainment district, in the heart of the concrete jungle that is Toronto. A hidden sanctuary with a uniform square adjacent. Foliage in perfect unity; meticulously placed, and an Eternal Flame emitting a soft red hue symbolic of the challenges of the disabled.
Located in the metropolis that is Toronto, Roy Thomson Hall has galvanized the city’s rise as a burgeoning cultural landscape. Designed by Arthur Erickson, renowned for his keen integration of buildings in existing environments, it served to replace the outdated Massey Hall. Well known for its curvilinear exterior and meticulously designed interior, it helped set a new precedent in concert hall design. The primary concern of a concert hall is the manipulation of sound, that which requires the cooperation of an acoustician and an architect. Using a blend of art and science, acousticians rely on complex mathematical formulas and abstract concepts. Given the necessity of adhering to this functional component, in addition to just elaborating on aesthetic elements; I will also give the reader the necessary scientific context behind the most important elements of the interior and exterior spaces.
“While modern acoustic science can’t guarantee great acoustics every time if technical knowledge is followed it should ensure bad halls are not built”. During the building’s construction, Jack Diamond a prominent architect ardently expressed disapproval of the design citing issues with the concave shape; predicting it would only serve to concentrate the sound, unlike a standard flat surface; reflecting the sound properly. The ensuing result is that “the orchestra can’t hear itself play and the audience can’t hear the orchestra”. This was reflected after construction, with audience members and orchestra ensembles disapproving of the reverberation of sound. Thankfully a modern acoustical renovation in 2002 addressed these issues. Some of the most prominent changes being the reshaping and reducing of the interior volume, the installation of adjustable acoustic canopies, and the acoustical sealing of the auditorium.
The two widely adopted styles for concert halls are the shoe box and vineyard style; the latter being adopted in this case and more common in modern concert hall design due to its acoustical superiority and its provision of a more dynamic atmosphere. Carefully sandblasted walls and a vineyard seating arrangement precisely reflect the sound while Canadian maple bulkheads clustered near the ceiling are rich and warm in tone. Circumventing the auditorium, noticeable is the aesthetic unity between the stairs, floor; entryways, ceiling; all Canadian maple culminating in a visual warmth. Illuminating the seats, lights arranged like holes of a pepper shaker. Hanging above two acoustic canopies, one circular and one crescent; in the center, a cluster of speakers dangle precariously. Jutting near the stage a myriad of different shaped silver tubes. An organ with 15000 pieces, which took an astonishing 20000 working hours to assemble; that which Erickson passionately fought to finance and make the focal point of the auditorium.
Located in the heart of the entertainment district airborne and structure-borne sound become serious concerns. Built with 19, 000 cubic meters of reinforced concrete the building accomplishes this impeccably not only with the material but colloquially as a building inside of a building. The curvilinear exterior, a 3, 700 square meter glass canopy with double glazed glass panels reflecting sound and bringing sunlight into the lobby and office spaces. Out of sight, a few kilometers worth of communications cabling.
The glass canopy is a striking feature, with the light dancing as I explore different vantage points. I tried to find references regarding Erickson’s intentions with this design. Given the emphasis on sound, my interpretation is that it illustrates the similar behavior of light. During the auditorium’s construction lead acoustician, Theodore Schultz, alluded to this relationship believing that “sound traveled like a light”. A more interesting acoustical test in Toronto’s history was the use of a revolver and subsequent measuring of reverberation time, an experiment Erickson and the lead acoustician amusingly did not partake in. Adjacent to the hall is David Pecaut square, what I felt to be the most pristine vantage point and served as the inspiration for my sketch. I attempted to poignantly convey the aforementioned relationship between light and sound, the buildings location, and material. I pose the question to the reader, what will future concert hall design look like? These are exciting new questions to ponder and seriously consider given Toronto’s lead in artificial intelligence research. Could the most optimum concert hall be created? What could that possibly look like? Already scientists are applying these new technologies with an exciting example being the Elbphilharmonie concert hall, constructed with 10, 000 unique acoustic panels that were developed using an algorithm. While Roy Thomson Hall has firmly stood its ground as the next generation this is truly an exciting time for hopeful architects and an opportunity to be a part of the next wave of concert hall innovation.
