KKL Luzern Media Documentation - Kultur- und Kongresszentrum ...

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Page 10 In addition, curtains can be drawn to cover the sidewalls of the venue. With the reflection areas evenly covered, the reverberation time is reduced and the acoustics become drier. This characteristic is used for voice-based events such as conferences and amplified music. 4.1.3. Canopy An acoustic canopy hangs above the stage and the front part of the stalls. It consists of a height-adjustable sound reflector designed to allow the musicians to hear themselves without delay. The canopy can also act as an absorbent ceiling: lowering it for chamber music concerts or sparse audiences achieves a more intimate acoustic. The canopy can be raised to ceiling height for large ensembles or organ concerts. 4.1.4. Plaster relief panels A large proportion of the sidewalls and the reverberation chamber’s concrete doors are clad with more than 20,000 20 cm-square plaster relief panels, which had to be handbonded to the substrate. The structured surface of the plaster panels removes any harshness or stridency from the sound. 4.1.5. Stage A computer is used to adjust the height of the stage. A number of parameters can be tailored in a matter of minutes to suit the requirements of the event. 4.1.6. Silence A key aspect of the Concert Hall’s acoustics is its quietness. Both ventilation and lighting are virtually imperceptible in terms of noise, and the hall is accessed via heavy soundproof doors. “The KKL Luzern boasts premises with an architecture of world renown and a concert hall whose acoustics enjoy international acclaim. These qualities set the standard for the use and operation of the KKL Luzern.” (Mission Statement) 4.1.7. Russell Johnson The acoustics are the work of New York architect Russell Johnson and his Artec group. He and Jean Nouvel collaborated on the Concert Hall project to fulfil the twin objectives of creating an architecturally unique venue featuring perfect acoustics. Russell Johnson was widely regarded as one of the world’s leading acoustics engineers. He studied architecture at Carnegie-Mellon and Yale Universities from 1946 to 1951. Between 1954 and 1970 he worked for Bolt, Beranek and Newman (BBN) in Cambridge, Massachusetts – one of the most important acoustics companies of its time – as founder and principal consultant of the Theatre Consulting Division, and as technical coordinator
Page 11 for concert hall and opera house design, including acoustics. 1970 saw him found his own consultancy, Artec (Artec = art and technology) and complete concert hall, opera house and theatre projects all over the world. Russell Johnson spent years identifying the shortcomings of modern concert hall acoustics and analysing numerous venues around the world. He scored notable successes during his decades-long endeavours, one of which is undoubtedly the Concert Hall of the KKL Luzern, whose outstanding acoustics rank it amongst the best in the world. 5. Facts & figures Roof Surface area: 12,000 m3 Concert Hall roof area: 1300 m3 Height: 21 m (to soffit) Max. projection: 45 m Weight: 2500 t Construction: grid of plate girders, thickness 15–90 mm Upper surface: copper sheet Soffit: 2000 15 mm-thick aluminium panels Concert Hall Width: 22 m Height: 22 m Length: 44 m Floor area: 2100 m2 Capacities Concert seating: 1840 Conference seating: 1300 Lucerne Hall (maximum) Floor area: 1440 m2 Capacities Standing room: 1600 Banquet seating: 850 Auditorium Floor area: 200 m2 Capacity: 270
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