The stage has been fitted with an automated tier system Hayne said these measures were vital due to the venue's tall ceiling height and the fact it is "at least one-third longer than what an ideal concert hall should be", leading to poor acoustics. The petals work in tandem with various other new acoustic detailing, such as a series of operable wall reflectors and carved timber panels that envelop the stage and stalls. Magenta in colour, these also nod to the venue's original seating designed by Hall. To improve the concert hall's acoustics, the team replaced the original hanging reflectors with 18 petal-shaped fibreglass versions that enhance acoustics for both performers and the audience. "We were appointed in mid-2015 and have spent the past seven years carefully working with the SOH and the consultant team to ensure the right design solutions to improve the acoustics, functionality and accessibility were implemented into this iconic building." Its stage was lowered to improve sight lines.
"At nearly 50 years old, the concert hall was faced with end-of-life theatre machinery above the ceiling, a poor reputation for acoustics and mobility issues that plagued the whole of the building with significant spaces only accessible by imposing staircases," Hayne explained. The studio worked alongside Arup, heritage advisors Design 5, theatre consultants Theatreplan and construction firm Taylor on the project, as well as theatre machinery contractor Waagner Biro, building services engineers Steensen Varming, acousticians Müller-BBM and the opera house’s own project team.ĪRM Architecture's proposal for the revamp focused on the concert hall's acoustics and accessibility issues, which principal Hayne said had "plagued" the building.
New reflectors and timber panelling have been introduced Defined by its vaulted tile-clad shells, it is regarded as one of the most iconic buildings of the 20th century.ĪRM Architecture was appointed as an architect and lead consultant for the renewal of its concert hall in 2015.
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