Acoustical Design of the Blue Whale Auditorium in Buenos Aires
- Autores
- Basso, Gustavo Jorge
- Año de publicación
- 2019
- Idioma
- inglés
- Tipo de recurso
- documento de conferencia
- Estado
- versión publicada
- Descripción
- The "Blue Whale" Auditorium in Buenos Aires opened in 2015. Designed to be the headquarters of the National Symphony Orchestra of Argentina, its goal was to become the city's main space for symphonic music. The architectural program posed several challenges from an acoustic point of view, as 2,000 people had to be accommodated in a square space into which none of the usual architectural typologies fit properly. It was decided, therefore, to place in this space an "ad-hoc" hall, whose shape is far from traditional. The design centred around three main premises: to achieve an enveloping acoustic field, by generating a large number of lateral reflections within the Haas limit; to establish an adequate triple-slope reverberation decay; and to combine reflective and diffusing surfaces to attain a similar acoustic field through the entire audience area. This work details the design process of the Auditorium, during which the final shape was deduced from the established acoustic premises.
Facultad de Bellas Artes - Materia
-
Música
Symphonic Auditorium
Acoustical Design
Early Reflections - Nivel de accesibilidad
- acceso abierto
- Condiciones de uso
- http://creativecommons.org/licenses/by-nd/4.0/
- Repositorio
- Institución
- Universidad Nacional de La Plata
- OAI Identificador
- oai:sedici.unlp.edu.ar:10915/89222
Ver los metadatos del registro completo
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Acoustical Design of the Blue Whale Auditorium in Buenos AiresBasso, Gustavo JorgeMúsicaSymphonic AuditoriumAcoustical DesignEarly ReflectionsThe "Blue Whale" Auditorium in Buenos Aires opened in 2015. Designed to be the headquarters of the National Symphony Orchestra of Argentina, its goal was to become the city's main space for symphonic music. The architectural program posed several challenges from an acoustic point of view, as 2,000 people had to be accommodated in a square space into which none of the usual architectural typologies fit properly. It was decided, therefore, to place in this space an "ad-hoc" hall, whose shape is far from traditional. The design centred around three main premises: to achieve an enveloping acoustic field, by generating a large number of lateral reflections within the Haas limit; to establish an adequate triple-slope reverberation decay; and to combine reflective and diffusing surfaces to attain a similar acoustic field through the entire audience area. This work details the design process of the Auditorium, during which the final shape was deduced from the established acoustic premises.Facultad de Bellas Artes2019-09-17info:eu-repo/semantics/conferenceObjectinfo:eu-repo/semantics/publishedVersionObjeto de conferenciahttp://purl.org/coar/resource_type/c_5794info:ar-repo/semantics/documentoDeConferenciaapplication/pdf201-208http://sedici.unlp.edu.ar/handle/10915/89222enginfo:eu-repo/semantics/openAccesshttp://creativecommons.org/licenses/by-nd/4.0/Creative Commons Attribution-NoDerivatives 4.0 International (CC BY-ND 4.0)reponame:SEDICI (UNLP)instname:Universidad Nacional de La Platainstacron:UNLP2025-09-29T11:18:18Zoai:sedici.unlp.edu.ar:10915/89222Institucionalhttp://sedici.unlp.edu.ar/Universidad públicaNo correspondehttp://sedici.unlp.edu.ar/oai/snrdalira@sedici.unlp.edu.arArgentinaNo correspondeNo correspondeNo correspondeopendoar:13292025-09-29 11:18:19.113SEDICI (UNLP) - Universidad Nacional de La Platafalse |
dc.title.none.fl_str_mv |
Acoustical Design of the Blue Whale Auditorium in Buenos Aires |
title |
Acoustical Design of the Blue Whale Auditorium in Buenos Aires |
spellingShingle |
Acoustical Design of the Blue Whale Auditorium in Buenos Aires Basso, Gustavo Jorge Música Symphonic Auditorium Acoustical Design Early Reflections |
title_short |
Acoustical Design of the Blue Whale Auditorium in Buenos Aires |
title_full |
Acoustical Design of the Blue Whale Auditorium in Buenos Aires |
title_fullStr |
Acoustical Design of the Blue Whale Auditorium in Buenos Aires |
title_full_unstemmed |
Acoustical Design of the Blue Whale Auditorium in Buenos Aires |
title_sort |
Acoustical Design of the Blue Whale Auditorium in Buenos Aires |
dc.creator.none.fl_str_mv |
Basso, Gustavo Jorge |
author |
Basso, Gustavo Jorge |
author_facet |
Basso, Gustavo Jorge |
author_role |
author |
dc.subject.none.fl_str_mv |
Música Symphonic Auditorium Acoustical Design Early Reflections |
topic |
Música Symphonic Auditorium Acoustical Design Early Reflections |
dc.description.none.fl_txt_mv |
The "Blue Whale" Auditorium in Buenos Aires opened in 2015. Designed to be the headquarters of the National Symphony Orchestra of Argentina, its goal was to become the city's main space for symphonic music. The architectural program posed several challenges from an acoustic point of view, as 2,000 people had to be accommodated in a square space into which none of the usual architectural typologies fit properly. It was decided, therefore, to place in this space an "ad-hoc" hall, whose shape is far from traditional. The design centred around three main premises: to achieve an enveloping acoustic field, by generating a large number of lateral reflections within the Haas limit; to establish an adequate triple-slope reverberation decay; and to combine reflective and diffusing surfaces to attain a similar acoustic field through the entire audience area. This work details the design process of the Auditorium, during which the final shape was deduced from the established acoustic premises. Facultad de Bellas Artes |
description |
The "Blue Whale" Auditorium in Buenos Aires opened in 2015. Designed to be the headquarters of the National Symphony Orchestra of Argentina, its goal was to become the city's main space for symphonic music. The architectural program posed several challenges from an acoustic point of view, as 2,000 people had to be accommodated in a square space into which none of the usual architectural typologies fit properly. It was decided, therefore, to place in this space an "ad-hoc" hall, whose shape is far from traditional. The design centred around three main premises: to achieve an enveloping acoustic field, by generating a large number of lateral reflections within the Haas limit; to establish an adequate triple-slope reverberation decay; and to combine reflective and diffusing surfaces to attain a similar acoustic field through the entire audience area. This work details the design process of the Auditorium, during which the final shape was deduced from the established acoustic premises. |
publishDate |
2019 |
dc.date.none.fl_str_mv |
2019-09-17 |
dc.type.none.fl_str_mv |
info:eu-repo/semantics/conferenceObject info:eu-repo/semantics/publishedVersion Objeto de conferencia http://purl.org/coar/resource_type/c_5794 info:ar-repo/semantics/documentoDeConferencia |
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conferenceObject |
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publishedVersion |
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http://sedici.unlp.edu.ar/handle/10915/89222 |
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http://sedici.unlp.edu.ar/handle/10915/89222 |
dc.language.none.fl_str_mv |
eng |
language |
eng |
dc.rights.none.fl_str_mv |
info:eu-repo/semantics/openAccess http://creativecommons.org/licenses/by-nd/4.0/ Creative Commons Attribution-NoDerivatives 4.0 International (CC BY-ND 4.0) |
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openAccess |
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http://creativecommons.org/licenses/by-nd/4.0/ Creative Commons Attribution-NoDerivatives 4.0 International (CC BY-ND 4.0) |
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application/pdf 201-208 |
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