Beirut Philharmonic

Tisseyre + Associés has 40 years of experience in the acoustics of performance halls, its core business originally. 30 years ago, anticipating the digital revolution and 3D visualization, we developed a tool for 3D models of performance halls: Hall Acoustics^®. Instead of using the sound ray shooting technique which does not take into account the architectural details, we use the finite element mesh technique which allows these details to be modeled with finesse in order to fully integrate them into the acoustic performance. of the room from its conception.

Complete room acoustic mission – “all-reflective” solution

Thanks to our 3D modeling tool, Hall Acoustics^®, we can collaborate from the design phase with the architect in order to integrate the acoustic performance of the room into the architecture. Our work therefore does not focus on the dimensioning of a posteriori solutions of acoustic absorbers to attenuate the effects of reverberations. We work with the architect on the choice of shapes and materials used in order to optimize the reverberations so that they contribute to the acoustic performance of the room, which can be summarized as:

• Sound strength, clarity and definition. The sound should be loud, clear and precise.
• The sound envelopment of all spectators. The people in the room feel like they are part of the show: the sound envelops them.

As part of this project, we accompanied the architect in the very design of the hall to make it a high acoustic performance concert hall.

3D modeling of the sound impact of the organ on the audience

3D modeling of the sound impact of an orchestra on the audience

Tailor-made acoustic solutions

The integration of acoustic performance in the performance hall has led us to offer tailor-made solutions. In particular, we drew, jointly with the architect, the details of the design of the reflectors on the ceiling in the orchestral zone. Their shapes and dimensions are calculated so that the reflections of the sound waves are redirected in the precise directions and thus participate in the optimal acoustic response of the room. With the help of Hall Acoustics we worked on the lobes of acoustic reflections, jointly with the architect, by modeling the forms of the wooden wall treatment of the walls of the room, their curvatures, their inclinations on the molding of each wall. In turn, this work leads to mastering the temporal balance of near and late sound reflections: pledge of the Lev acoustic envelopment.