![]() Reviews have been positive, if cautious, with most critics describing a new wealth of instrumental intensity, detail, color, and timbre. The stage-and the seating area behind it-can take on numerous configurations to suit various programs.Įarly performances put both the sound and the advanced video and lighting to the test. While the original Philharmonic Hall was conceived as a temple for natural sound, the clients recognized that Geffen had to be far more versatile, so it can support film and amplified performances. The beechwood panels that wrap the room “are a unifying visual element,” says McCluskie, and among several strategies intended to reduce the formality of the Johnson design. Seven rows of seats behind the stage allow those ticket-holders to face the conductor, or they can contain a chorus. These seats offer musical immersion and close views of the players. Now the side seats of two of the hall’s three tiers curve gently inward to frame the stage, forming the “shallow vineyard” that the architect and acoustical consultant envisioned (see “Acoustic Redux,” below). Though it was built within the steel frame and concrete-block perimeter of the 1962 hall, the long-sought intimacy that successfully transforms the experience comes from moving the stage 25 feet into the orchestra-level seating and reducing the overall audience count by 500, to 2,200.Ī low-ceilinged proscenium that trapped sound has been demolished to achieve the sense of a “single room” that performers and concertgoers share, McCluskie says. In this way, says Diamond Schmitt principal in charge Gary McCluskie, “the live event produces engagement that comes to the fore.” The clients and design team united behind a rethink of the auditorium that would connect with audiences through a visceral, immersive sound and architectural experience-one that would appeal to the Philharmonic’s core fans while broadening its reach with performances that shatter the limits of traditional classical-music programming. ![]() (An earlier design, in which Diamond Schmitt had been paired with Thomas Heatherwick, was canceled in 2017 due to a ballooning budget.) The clients teamed Diamond Schmitt, experienced in opera and concert hall design in Montreal Saint Petersburg, Russia and the firm’s hometown, Toronto, with Akustiks, a Norwalk, Connecticut, sound consultant that had worked on halls in Nashville, St. Russell for Architectural Record.Īfter several false starts, a gift in 2015 from the entertainment mogul David Geffen, followed by the arrival of a new leader for the Philharmonic, Deborah Borda-who had brought Frank Gehry’s Walt Disney Hall to fruition-sparked an act of great faith: raising $550 million to attempt another transformative overhaul. *If you are an IOPScience subscriber, you can access the electronic version of the book at IOP Science.Diamond Schmitt's design of David Geffen Hall is featured in an article by James S. If you are a big fan of video analysis and physics, you might want to check out my recent book-* Physics and Video Analysis. This allows the disturbance to propagate faster and makes the speed of sound higher. Since the density of a solid is so much higher than a gas, the distance between particles is much smaller. The same thing happens in a solid, but with one big difference-density. Then these moving particles push other particles, and so on. In air, some particles interact with nearby particles, causing them to move. Sound is a moving disturbance in a medium. Actually, HyperPhysics lists the speed of sound in Pyrex at 5640 m/s.īut why is the speed of sound greater in a solid than in air? Here is my super-short answer. That is faster than the speed of sound in air (340 m/s) but not faster than the speed of sound in glass (4540 m/s). By fitting a linear function to this data, I find that it has a speed of 417 m/s (932 mph). However, if you look only at the straight part of the handle, you realize the crack's position changes uniformly with time. The first part of this data corresponds to the leading edge of the crack moving along the curve of the handle such that the velocity along the y-axis would not be constant.
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