Audio Engineering Society

Convention Paper
Presented at the 134th Convention
2013May 4–7 Rome, Italy

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Engineering Society.

Adaptation of a large exhibition hall as a

concert hall using simulation and
measurement tools
Marco Facondini1, Daniele Ponteggia2
1
TanAcoustics Studio, Pesaro, 61121, ITALY
studio@tanacoustics.com
2
Studio Ing. Ponteggia, Terni, 05100, ITALY
daniele@studioponteggia.it

ABSTRACT

Due to the growing demand of multifunctional performing spaces, there is a strong interest in the adaptation of non-
dedicated spaces to host musical performances. This leads to new challenges for the acousticians, with new design
constraints and very tight time frames. This article show a practical example of the adaptation of the “Saladella
Piazza” of the “Palacongressi” of Rimini. Thanks to the combined use of prediction and measurement tools it has
been possible to design the acoustical treatments with an high degree of accuracy, reaching all targets and at the
same time respecting the tight deadlines.

While the topic is not new, such kind of acoustical

1. INTRODUCTION
The adaptation of exhibition or sports hall to held
classical music concerts is not something new or
unusual. The authors have been involved in several of
similar projects[1][2]. We have seen recently a steady
increasing interest in such kind of adaptation. This
phenomena has been observed in Italy, but we can guess
it is not limited to our country. There are several reasons
for this, we should cite between them the building and
managing costs of a proper concert hall, which are
hardly sustainable in the actual economic scenario.
corrections are still very challenging due to tight
deadlines and design constraints. Architectural,
structural and functional needs should be taken into
account. Building materials and geometries are limited
by the already existing architecture. The adaptation can
be permanent or, more often, temporary. The case
where the space must be converted from a given state to
a concert hall and then, after the performance, restored
to its initial conditions introduces a much more complex
scenario, with stiff design constraints and tight
deadlines.
Facondini and Ponteggia
This led the authors to develop a method to help to
speed up the design process while providing accurate
results. The method uses as a main design tool an
acoustical modeling software EASE-AURA. The
proposed design process is based on multiple step
comparison of measured hall acoustics and simulations,
which are carried out before and during the adaptation
process.
The process can be seen as a sort of “feedback loop” in
room acoustic modeling, which reduces the “error” of
the simulations.
Room Acoustical
Measurements Parameters
Ray Tracing Acoustical
Room Model Parameters
Parameters Modeling
Adaptation Error
Figure 1 - Model optimization process
While the process can be formally appear as a model
parameters optimization, we would like to point out that
the model here is not stationary as evolves during the
room adaptation, so the main goal is to reduce modeling
errors under a reasonable threshold.
2. ACOUSTICAL CAD MODELING
There are several sources of errors in acoustical CAD
modeling. We should mention here only the factors that
are under the responsibility of the CAD operator: input
geometry, boundary conditions.
The accuracy of a room acoustic simulation is obviously
dependent on its solving algorithm, but this is outside
the scope of this paper. The examples reported here are
based on EASE-AURA CAD, which uses an hybrid ray
tracing scheme to solve the propagation[3].
When editing a room inside a CAD model for acoustical
modeling purposes, a tradeoff between geometrical
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Adaptation of exhibition hall as concert hall
detail and number of surfaces should be carried out.
Computational time is directly dependent on number of
model faces. Experienced CAD users possess the ability
to discern which are the geometrical details that should
be included into the model, and in this way choose
optimal simulation parameters (such as number of
projected rays in a ray-tracing scheme) in order to obey
time and processing power limits.
The choice of the boundary conditions, i.e. the choice of
the absorption and scattering coefficients for the
boundary surfaces can be more difficult. Materials
absorption databases are available, but data are always
affected by some degree of uncertainty and sometimes
aren't available at all.
3. DESIGN APPROACH
We usually start from fairly big, empty and highly
reverberant halls. We carry out room acoustic
measurements of the empty hall and at the same time we
create an acoustical CAD model of the same room.
Boundary surface materials are first identified by
available building documentation and visual inspection.
Material absorption is guessed from materials database,
where available, and in some cases simulating the
boundary structures using absorption prediction by
means of impedance matrix method[4].
The results of the CAD simulation and the
measurements are matched, and the absorption
coefficients are modified accordingly. The optimization
is carried out manually, because there are too many
variables involved. Closed form solutions for room
acoustical parameters such as Sabine formula should not
be used, as they cannot predict the typical non diffuse
field of empty exhibition or sports hall.
In short after a first simulation we give a brief look at
the average reverberation time of the room, and
according to the matching between measured and
simulated average reverberation we modify the
absorption coefficient of some of the boundary surfaces.
The identification of which surfaces to edit is still a
problem which needs to be properly understood, and
previous experience plays a key role. We found that
often the most difficult absorption surface to guess is
the ceiling. This is due to the fact that commonly in
exhibition halls the floor is made of smooth concrete,
the walls can be in various materials but they are easy to
Facondini and Ponteggia Adaptation of exhibition hall as concert hall

visually inspect, while the ceiling are often non plain the ceiling structure. This is a typical case where, due to
surfaces and they are difficult also to reach. lack of information and tight project deadlines, the
uncertainty in CAD model input parameters can be
The process is repeated for few times until a reasonable unreasonably high.
agreement between measured and simulated average
reverberation time is reached. This normally requires Using room drawings and available data the room in its
two or three iterations. In our experience once this is initial state has been drawn into the EASE CAD.
done, then all others acoustical parameters are in
agreement. In our opinion this means that most of the
uncertainty in room acoustic simulation resides in just
few boundary conditions and, if properly handled, room
geometry is not a real issue.

Once the model is “calibrated” it is possible to use CAD

simulation as a proper design tool. We will show further
in this article a practical example of a design where
simulation (prediction) and measurements are in fairly
good agreement. Without the model “calibration” there
is no guarantee to reach a good agreement, in authors
experience such “non-critic” usage of acoustical CAD
modeling can lead to gross prediction errors and either
large overestimation (or underestimation) of the room
acoustical parameters. Figure 2 - Exhibition Hall

The described process can be also iterated, for example

by means of the measurements and simulations of a
middle state of the adaptation. This solution has been
adopted by the authors in a previous paper[5].

We would like to point out that computer modeling of

room acoustics cannot replace acoustician knowledge
and skills, nevertheless a reliable CAD model can be
very helpful either as a design and reporting tool.

4. EXHIBITION HALL ANALYSIS (EMPTY)

Figure 3 - CAD model of the Exhibition Hall
We report here our design experience in the adaptation
At the same time a set of impulse response
of the “Saladella Piazza” multipurpose hall of the
measurements has been carried out. At this stage it was
Rimini convention center as a concert hall to held the
not possible to use a proper electro-acoustic
“Sagra Musicale Malatestiana”, one of the oldest Italian
measurement set up, instead a set of 12 gun shots has
musical events.
been recorded using a digital recording device.
Acoustical parameters has been extracted from impulse
The hall in its non-prepared state is a rectangular shaped responses and averaged.
hall of about 30 by 70 meters with an average height of
13 meters. The floor is made of smooth concrete, walls
Using the measured data, in particular the average
are made of wood panels, mostly flat, but there are
reverberation time (estimated using the RT20 acoustical
patches of perforated-slotted panels. Ceiling is more
parameter), some of the model parameters have been
complex, there are square openings with glass to let
adjusted to match the predicted reverberation time with
natural light to enter into the room. These openings are
the measurements.
surrounded by perforated panels. During the design
phase it was not possible to inspect the ceiling, neither
get information from convention center managers about

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Facondini and Ponteggia Adaptation of exhibition hall as concert hall

The parameters which were object of the optimization
are the absorption coefficient of the ceiling and the air
absorption. It must be noted that the ceiling absorption
coefficient has been manually adjusted around an initial
guess value, without resorting to mathematical
optimization, carefully avoiding not reasonable values.
It was also necessary to adjust air absorption rate, by
adjusting air humidity, to match measurements with
predictions.
The results of the optimization are reported in figure 4,
it can be seen that the model is able to fairly predict the
empty hall average reverberation. The overall shape of
the reverberation seems to be in good agreement with
measurements, except for a difference in frequency
maximum value which is lower in the model.
5. CONCERT HALL DESIGN

The reverberation time predicted by the model it is an The design solution involves the creation of a shoe-box
type concert hall into the exhibition hall, which is
elaboration of a set of simulated impulse responses. The
simulation needs to be run each time the boundary already a rectangular room.
conditions or other simulation parameters are changed.
Due to the fairly long computational time, the
optimization process can require a considerable amount
of time.

There are simpler cases where, if the room sound field

can be described as a diffuse field, the optimization can
be done using closed form formulae as the Eyring or
Sabine reverberation equations[6]. But this is not our
case. Empty exhibition halls are large rooms with very
reflective floors, usually with absorptive ceiling and flat
parallel walls, were closed form formulae are not
applicable.

Average Reverberation Time RT20

7
6
5
time (s)

4
3
Figure 5 - Pictures of the concert hall stage as seen from
2 audience area
1
A stage with acoustical shell is created on one of the
0 short sides of the room and an audience area is created
10 100 1000 10000 on the remaining part of the room with partially padded
seats, using the exhibition hall floor and a tier at the
frequency (Hz) opposite side of the stage.
Measured
Simulated (first guess) The stage is composed of 104 modular elements, which
are adjustable in height, for a total surface of about 300
Simulated (optimized) square meters. This structure supports the acoustic shell
which is made of flat and convex elements, freely
Figure 4 - Empty hall reverberation time measured adjustable. In its higher part the stage structure reaches
versus modeled 9 meters in height.

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Facondini and Ponteggia Adaptation of exhibition hall as concert hall

The stage and acoustic shell panels are made with hall is available for orchestra rehearsals within three
layered structure of different materials (hot plated) and days of work.
finished with natural birch essence. A frame in welded
aluminum, gives lightness, good maneuverability and
rigidity to the elements. 6. CONCERT HALL SIMULATIONS

The configuration adopted in our case, uses 13 convex Using the exhibition hall model previously optimized, a
modules, 8 flat modules with stage access and 14 flat model for the concert hall adaptation has been created.
panels for the end wall which are forming an open This helped the authors to verify the design and to
articulating shell. This configuration has been preferred communicate effectively with the client.
to get advantage of acoustical coupling between the hall
and the backstage volume, to get a better low frequency
control and a “mellow” and “open” tone, not focused on
mid-frequencies as happens often on completely closed
acoustic shells. This kind of structure for the stage
construction is very flexible.

Motorized convex panels are placed over the stage, and

flat panels are placed over the first part of the audience
area. The panels over the stage can be tuned to control
first reflections and orchestra/choir balance.

The entire available width of the front stage, about 20 Figure 6 - CAD model of the Concert Hall
meters, is occupied by the modular shell structure which
almost completely envelope the audience. The shell is The simulated impulse response has been sampled in a
characterized by several acoustic solutions adopted to set of points, the same set of 12 points used in the
enhance the quality of the sound perceived by the previous analysis in order to compare them.
performers. It is well known that the presence of first
reflections, an adequate reverberation and diffusion are
key elements for a correct musical performance. In
order to optimize the diffusion and reverberation on
stage, about 20 percent of the shell panels are oriented
towards the musicians. This has also the beneficial side
effect to hide the stage entrances from the audience.

Solution for the sound energy recovery were also

adopted in the room, taking advantage of the resonance
volume between flooring and stage and increasing the
diffusion by means of convex elements placed close to
the proscenium. Figure 7 - Simulated Impulse Response Echogram

The natural “cavea”, made from tiers and stage (the
stage has been deliberately kept low for acousticaland
visual reasons) adds depth to the reflections produced
by the ceiling "stretching" the room acoustically, while
for the audience areait was preferred a comfortable
arrangement of chairs with rows of seatsmore spaced
than usual and wide corridors of service in order to
make the most from the reflections ofthe floor.
The whole adaptation of the hall as a concert hall takes
a total of about 24 hours of work, in practice the concert
The response has been also sampled on a finer 2.5 meter
grid over the whole audience, in order to analyze the
spatial variability of acoustical parameters and check for
possible acoustical defects.
One of the concern of the designers was the interaction
of the two big diffusers at the side of the stage with the
hall walls. Without side stage elements an undesirable
“focus” effect in the first audience area rows could
occur. Despite this kind of effect was not visible using
the aforementioned spatial plots, we simulated a wave
field analysis technique to better visualize wave-fronts.

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Facondini and Ponteggia
Figure 8 - Example of predicted Clarity C80 plot over
the audience
Using the impulse response echograms simulated on
one of the first half row of seats of the audience with 0.5
meters resolution, we created a time-space plot of the
wave fronts[7].
Figure 9 – Wave-fronts arriving at an advanced
(half)row of seats
The graphics in figure 9 should be read as follows: x
axis is spatial dimension, y axis is time, z axis (color) is
reflectogram magnitude. This view allowed to confirm
that there were no focusing artifacts.
7. CONCERT HALL MEASUREMENTS
Measurements of the acoustics of the room adapted to a
concert hall have been carried out using anelectro-
acoustic source, microphone and measurement system
with Sinusoidal Sine Sweep (LogChirp) stimulus.
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Adaptation of exhibition hall as concert hall
Following equipment was used:
- CLIO fw-01 and CLIO 10 software
- Outline Globe Source Radiator with subwoofer
and power amplifier
- Earthworks M30 microphone
- Sennheiser MKE 2002 binaural microphones
Same set of 12 measurement points previously used was
sampled, with the source placed at the center of the
stage, as in the simulations.
Figure 10 - Measured impulse response of the concert
hall (mid hall position)
8. COMPARISON BETWEEN SIMULATION
AND MEASUREMENTS
Figure 11 shows the comparison between the measured
and simulated average reverberation time, it can be seen
that the model was able to predict with an high degree
of accuracy from 500 Hz and up.
The differences in results below 500 Hz should be
ascribed to modeling errors: sound source simulation,
boundary conditions and how propagation is modeled. It
must be noted that also measurements are affected by
uncertainty.
Figure 12 report the comparison of the average clarity
index, it can be seen again that there is a good
agreement above 500 Hz, as it should be expected given
the previous result.
Facondini and Ponteggia Adaptation of exhibition hall as concert hall

Similar results are found for the other acoustical

parameters.
Average Reverberation Time RT20
2,5 9. CONCLUSIONS

The adoption of the design procedure described in this

2
article helped the authors to reach the project targets and
deadlines. The reverberation time design objective of 2
1,5 seconds has been reached, as correctly predicted by
time (s)

simulation.
1 Particularly useful it was the availability of simulation
results, even if smart guesses, in a graphical and easy to
0,5 present fashion. A real plus was also the possibility to
render the acoustical adaptation result by means of
auralization of simulated impulse responses.
0
10 100 1000 10000 The use of measurement andsimulation tools has
allowed us to obtain the desired results with a good
frequency (Hz) degree of confidence. It is obvious that the use of these
tools does not replace the sensitivity of the designer, but
Measured Simulated it increases the creative potential and helps to achieve a
more effective communication. These tools should be
Figure 11 - Concert Hall Measured versus Simulated however, especially those of simulation, used with large
Reverberation Time critical thinking, because of their inherent limitations
and pitfalls.
Average Clarity Index C80 The process of matching measurements and simulations
6 described in this article is a first attempt to try to reduce
the simulation uncertainty to an acceptable value.
5
4 More research on sources of uncertainty in acoustical
parameters prediction is needed, there are several
3 variables that should be monitored. Currently the only
clarity (dB)

way to avoid to draw wrong conclusion isthe operator

2 experience, but it must be pointed out that due to long
1 computational times getting a proper experience with
such modeling tools is a very time consuming task.
0
‐1 10. ACKNOWLEDGEMENTS

‐2 We would like to thank AFMG and Audiomatica for

10 100 1000 10000 their support.

frequency (Hz)
11. REFERENCES
Measured Simulated [1] M. Facondini, “Il suono della scena”, 1999, Il Ponte
Vecchio
Figure 12 - Concert Hall Measured versus Simulated
Clarity [2] http://www.tanacoustics.com/wp/?p=98

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Facondini and Ponteggia Adaptation of exhibition hall as concert hall

[3] http://ease.afmg.eu/index.php/AURA.html

[4] T. Cox and P. D’Antonio, “Acoustic Absorbers and

Diffusers, Theory design and Applications”, 2004,
Spoon Press

[5] M. Facondini, D. Ponteggia, “Acoustics of the

Restored Petruzzelli Theater”, presented at the
128th AES Convention, 2010, London

[6] L.Beranek, “Analysis of Sabine and Eyring

equations and their application to concert hall
audience and chair absorption”, J. Acoust. Soc.
Am., Vol. 120, No. 3, September 2006

[7] D. De Vries, “Large Room Acoustics (Master

Class”, Presented at the 124th AES Convention,
http://www.aes.org/tutorials/download/file.cfm?ID
=128

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