ACOUSTIC SOLUTIONS IN CLASSIC OTTOMAN ARCHITECTURE
Author: Chief Editor: Sub Editor: Production: Release Date: Publication ID: Copyright:
Prof. Dr. Mutbul Kayili Lamaan Ball Rumeana Jahangir Aasiya Alla May FSTC Limited, 2005
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Acoustic Solutions in Classic Ottoman Architecture May 2005
By Prof. Dr. Mutbul Kayili Gazi University, Faculty of Architecture & Engineering, Maltepe 06570 Ankara, Turkey

Introduction

Throughout history, Anatolia became the birthplace and cradle of many great civilizations. Due to a number of factors, the Turks held a significant part in these series of civilizations, beginning with the oldest that our historical knowledge has been able to determine the Hatties (Khatties). The first reason for this is that the preceding civilizations were not demolished by the Turks; on the contrary, they protected them and also carried them forward. Another reason is the monumental buildings they built and the technology they applied to these buildings. Whenever Anatolian Turkish works and their related technology are spoken of, the first name that comes to mind is that of the Turkish Architect Sinan. The construction technology used by Sinan has become legendary. Sinan's renowned success in the acoustic design of mosques has previously been studied in detail.1 The acoustic systems he applied, especially Helmholtz (cavity) resonators technology, are among the most successful applications of acoustic science. But it must be made clear here that cavity resonator technology was not new in Anatolia. The Roman architect-engineer Marcus Vitruvious Pollio, who lived in the first century CE, gives information on the construction technology of his age in his work titled Ten Books on Architecture (De architectura libri decem).2 In the fifth book, the writer takes up the subject of public buildings and gives information concerning their architecture and construction. In the third, sixth, seventh and eighth chapters of this book, acoustic data related to the construction of theatres are explained in detail. The fifth chapter, Sounding Vessels in the Theatre, is completely devoted to cavity resonators. In this chapter he explains that sounding vessels (cavity resonators) made of bronze must be placed in the theatre structure to reinforce the quality and harmonic structure of sound and he explains their resonances, installation location and form in detail. In the last section of the chapter in which theatres sounding vessels can be found is discussed and he gives the theatres in the Greek city states as an example. In addition, he relates that a man named Lucius Mummius, after destroying the theatre in Corinth, took the bronze vessels from there to Rome and sold them. He then made an offering to the Temple of Luna with the money he made from the selling. Later, the chapter relates how a number of experienced architects who built small theatres were forced by economic reasons to use earthenware vessels (in the place of bronze ones) that gave the same resonance and obtained positive results. The vessel described in this document, which gives important data for Anatolian civilizations, is actually one of the first examples of the cavity resonator applications. However, this technology did not end with Ancient 1 The writer has researched the acoustic data of Sinans mosques and the results of the Research have been published. See: Mimar Sinan Camilerinin Akustik Verilerin Degerlendirilmiesi, Mimar-basi Koca Sinan-Yasadigi Cag ve Eserleri, T.C. Basbakanlik Vakiflar Genel Mudurlugu publications, (Istanbul 1988). 2 Vitruvius. The Ten Books on Architecture. Translated by M. H. Morgan, Dover edition, Dover publication, (New York, 1960)

Publication ID: 4087

COPYRIGHT FSTC Limited 2005

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Greece or the Roman Empire; on the contrary, their existence continued and developed. Moreover, new examples based on acoustic knowledge were applied.3 These examples are frequently seen in both Seljuk and Ottoman works. The Gevher Nesibe Sultan Darusshifa (A. C. 1205) in Kayseri from the Seljuk period is one of the best examples of this. In this hospital the music played for therapeutic purposes was heard in the patients' rooms by means of sound channels. These is one of the clearest examples of the continuing development of the applications of acoustic knowledge in Anatolia. The widespread use of cavity resonators is often seen in both Seljuk and Ottoman works. We see that the development of applications and technology covering acoustic knowledge reached its peak with Sinan. The results obtained from the mosques selected for our acoustic research on Sinan's mosques support this view. In the investigation of three large mosques, it is seen that attention was paid to the relation between the sound power capacity of source and the size (volume) and that the goal of obtaining sufficient sound level affected the layout of plans. For this reason, before specifically taking up Sinan's technology, which reached the top level of today's definition on acoustic design and applications, we believe it is useful to investigate the purpose of acoustic science and the applications based on acoustic knowledge.

ACOUSTIC SCIENCE

The exact meaning of the word acoustic is Of or relating to the science of sound. Early works dealing with sound and hearing are seen long before Vitruvius. The numerical observations made by Pythagoras (580500 BC) are accepted as the first works. Later, we encounter Aristotle's (384-322 BC) work titled Sound and
Hearing. Others followed this. In these works, the basic aims are to physically define sound and to
determine the necessary conditions for better hearing. In this period there was no concept of noise, as we understand it today. The existent noise was natural sounds such as thunder and storms and the sound of weapons during wartime. Noise (man-made noise) appeared with the Industrial Revolution. Humanity became aware of noise and took measures against it only after the Second World War. In this way noise control became a branch of acoustic science. Today's architectural acoustics is formed of two branches: 1. Noise control 2. Room acoustic.

3 The Acoustic knowledge term is used instead of acoustics sciencesince acoustics was not a science in those years. Hence works for better intelligibility and better hearing had been applied based on the then knowledge of sound. But, after discussing Sinans technology, it will be seen that applied technology defines acoustics science. The reason of using the acoustic system term for cavity resonators is that, physical definition of such resonators have been done by acoustic science and they work as a system.

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Figure 1. Instantaneous (no reflection) sound energy.
Figure 2. Energy decay of reverberant Sound As there was no noise problem recognised in that period, the scope of acoustic works were limited to "room acoustics" and was aimed at getting better hearing conditions. In order to achieve this aim, it is necessary to realize these two basic conditions: 1. 2. Realizing a homogenous dissipation of sound energy in a room (diffuse field). Realizing the decay of sound energy (reverberation time) at the optimum level.
The first condition, as will be easily understood, that in a room whose basic function is related to sound, the homogeneous distribution of the sound energy in the room must be realized. Sinan's making use of components on the boundaries of a room for this purpose and his realizing distribution of sound in all directions by the activity formed on these surfaces has been described in detail in the writer's previous publications.4 It is necessary to make it clear here that, in spite of all the positive applications, the dome that covers a mosque is one of the most inconvenient forms in acoustics. This subject and the applied solutions will be discussed later.

4 See footnote 1.

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We can define the second condition as follows; sound energy is emitted from its source in spherical waves. If, even in the outdoors, the waves do not strike and are not reflected by any surface or component, they will continue their travelling until all the sound energy will be absorbed by air. A listener in the path of the sound wave's emission perceives the coming and passing energy wave during the instant that it contacts his ear (Figure 1.). Regarding the speed of sound, it is understood that this time is extremely short. In enclosed spaces, the sound energy reflected from the boundaries continues its existence while decreasing (Figure 2.). We call this physical event reverberation. The time of reverberation is lengthened or shortened in relation to the sound absorption characteristics of components found in the room and the surfaces at the boundary of the room. The decay time of sound energy is called reverberation time. 5

Figure 3. Effect of sound energy decay on Intelligibility due reverberation time
5 Reverberation time is defined as the time which elapses from the moment the sound source is switched off until the average energy density in the room has fallen by 60 dB of its steady value.

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Figure 4. Recommended reverberation time for mosques The sound field around us is formed from a series of sound energy components that always follow one another. These components, from both the point of view of energy intensity and frequency characteristics, usually differ from each other. This is the nature of sound for human voices, and sounds in nature and in music. The human ear always seeks reverberation and in order not to separate sound components from one another wants to connect each one to the following one with a reverberation (sound energy decay) curve. So, realizing optimum reverberation time gives better hearing conditions. A short reverberation time leads the ear to feel unsatisfied, and a long reverberation causes components to mask the following ones, which results in insufficient intelligibility or even unintelligible hearing (Figure 3). For this reason, the problem in a room is achieving an optimum reverberation time according to the function of sound like speech, music, drama, etc. The sound absorption characteristics of finishing materials of boundaries and all components in the room give this value. The recommended optimum reverberation time curve for mosques is given in Figure 4 as a function of the size of the room and the time. In this description of the reverberation time curve, suggested by the writer, the function of the sounds formed in the mosque was taken as a basic factor and attention was paid to the reflections achieving a divine aesthetic quality to the sound. 6 Therefore, the values determined are longer than the reverberation time necessary for normal conversation.
6 See: "Sinan Eserlerinde Akustik", Turk Vakif medeniyeti Cercevesinde "Mimar Sinan ve Donemi Sempozyumu," Vakiflar Genel Mudurlugu publications, (Istanbul 1989).

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Effect of Cavity Resonators and Domes in Architectural Acoustics
After defining the basic concepts related to acoustic design in rooms, we can investigate the functions of the components in a dome described as bronze vessels by Vitruvius, by the Ottomans as jar and cavity resonators (Helmholtz resonators) in acoustics.
Figure 5. a) Cavity resonator, b) Simple mechanical oscillators, c) LCR electrical circuit
Figure 6. Equivalent absorption cross section areas ratio of cavity resonators Cavity resonators, despite their small dimensions, are effective acoustic systems. Because of their small dimensions the medium (air) movement inside is analogous to those mechanical systems having lumped mechanical elements of mass, stiffness and

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resistance. Cavity resonators, therefore, can be discussed in terms of an analogous simple mechanical oscillators or LCR electrical circuits (Figure 5). Such a system consists of rigid enclosure, a neck that provides a connection to this cavity external medium.7 Without getting into physical equivalents, the air in the systems neck acts as a mass by oscillating with the effect of an incident sound wave. The air in the system's cavity acts as a spring in this oscillation, by compressing and expending, and thus provides the stiffness element. The total resistance of the air mass in the neck and radiation resistance forms acoustic resistance.
Figure 7. Equivalent scattering cross section areas ratio of cavity resonators The system acts as an absorber in a narrow frequency band with a centre frequency in which resonance occurs. By decreasing the system's quality factor Q (by increasing interior resistance), it is possible to widen absorption frequency band to a certain degree. In this situation, a decrease in the absorption is seen. In Figure 6 the ratio of the equivalent absorption cross section area () to the equivalent absorption cross section area at resonance frequency ()o is given as a function of the ratio of frequency to resonance frequency (). One of the other characteristics of the system is, again in a specific frequency band, to reradiate incident sound energy homogeneous in all direction as if it were source itself. In Figure 7 the ratio of the equivalent scattering cross section area (s) to the equivalent scattering cross section area at resonance frequency (s)o is again given as a function of the ratio of frequency to resonance frequency (). As will be seen in the figure, when the system's quality factor Q is reduced enough, the system is able to perform like a sound source system in the frequencies above the resonance frequency. Cavity resonators, particularly because of their effects at low frequencies, are used to prevent the resonance of standing waves inside a room and for the purpose of getting homogeneously distributed sound energy. 7 The writer has investigated Sinans acoustic technology and the results published, in this publication the physical characteristics of cavity resonators are given in detail. See: "Sinan ve Bosluklu Rezonatorler", Gazi Universitesi Muh.-Mim. Fakultesi Dergisi, vol. 3, no. 1-2, (Ankara 988).

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Figure 8. Behaviour of sound energy in a dome
Acoustic properties of the Dome
As explained above, the dome form is one of the most inconvenient forms in acoustics. The reason is due to the concave forms of the domes, the incident sound energy does not go out without reflecting several times in the dome. Because of this the reflected sound energy from the dome reaches back to the room with a time delay. So the result is echoes or noise in the room and reduction on the percentage of intelligibility. In Figure 8 the behaviour of sound energy in a dome is shown both in plan and cross section. As can be seen from the figure, the reflected sound energy that is increasingly delayed, especially in large domes, is a cause of echoes. The function of cavity resonators, whose characteristics were briefly given in the previous subsection, begins here. Cavity resonators, placed in a dome, prevent the reflection of sound energy and reradiate it throughout the room. By reradiating the incident energy in all directions, the room becomes a diffused sound field and the danger of echoes due to delayed reflections from dome is eliminated. Besides getting a diffused field, the sound coming from the dome shortly after the direct sound, creates a divine effect in the atmosphere of worship. It is believed that this application became a tradition in Ottoman

dome structure mosque

50 cm 1,5 and 3 cm
Figure 9. Cross section of the resonators found in the dome of the Sultan Ahmet Mosque

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mosques. To investigate the state of resonators, has however not been possible in every mosque dome. Such an opportunity only comes about during restoration work and that opportunity was found in the Sultan Ahmet (Blue) Mosque (See Photo 1 and Figure 9). The continuation of restoration in 1986 gave us a chance of detailed inspection in the main dome and seventy-five resonators were found on three rings at the dome. 8 Unfortunately, all of these resonators had been plastered over later. Some of them had even plugged with various components (See Photo 2). The same problem held true for the Selimiye Mosque in Edirne. According to authorities in charge of the last restoration work, "they found a large number of earthenware jars (resonators) in the dome, but all of them had their openings covered with bricks which had been plastered over. After cleaning the interiors of the resonators the bricks were replaced and plastered over once more. Again, Dr. Beyhan Ercag, who was in charge of restoration, writes in her Ph.D. thesis that during the course of

Photo 1. The opening of a resonator in the dome of the Sultan Ahmet Mosque
Photo 2. One of the plugged resonators in the dome of the Sultan Ahmed Mosque

8 See note 1.

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Figure 10. Plan of the Shehzade Mosque restoration, 144 resonators were found in Shehzade Mehmet Mosque (See Figure 10). 9 On the other hand, during the observation made at Kadrga Sokullu Mehmet Pasha Mosque, traces of holes believed to be the openings of resonators were found. There were thirty-six holes in the main dome and 42 to 45 in each of the quarter domes. Naturally, when the openings of the resonators are completely closed they are unable to function. The result of these causes, particularly in large rooms and at low frequencies, undesirable reverberation curves. As a matter of fact, this expectation was confirmed by measurements of the reverberation time made in the Suleymaniye and Selimiye Mosques (See Photo 3). In both mosques, a long reverberation time was measured, especially in the low frequencies. The irregular and prolonged reverberation times were also recorded for those frequencies
Photo 3. The opening of resonators in the dome of the Suleymaniye Mosque
9 Ercag, Beyhan, Istanbul'daki Bazi Mimar Sinan Camilerinde Ic Bezeme Programinin Gecirdigi Evreler, (Unpublished doctoral thesis), (Istanbul 1996).

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INFLUENCE OF ACOUSTIC DATA IN ARCHITECTURAL DESIGN
The results of our investigation to define acoustic properties of Sinan's mosques proved the abundance of his knowledge and applied technology on acoustics and his ability in utilising them in architectural design. Especially, the obtained data from mosques other than his two large ones supports this view.10 Although the measured reverberation times of Suleymaniye and Selimiye were quite reasonable at middle and high frequencies, there were serious problems at low frequencies. The basic reason for such results is the mistakes that were made during the restoration activities without having sufficient knowledge of the applied technology. On the other hand, because of the size of Sinan's two big mosques, the delayed reflections have negative effect at those frequencies. On the other hand, the existence of muezzin mahfil (a gallery for the cal to prayer) in different locations in all three mosques is considered important; although a small
mahfil was added on to two pillars at the back of the Suleymaniye, it was not desired in the Selimiye. The
data led us to analyze the plan graphics of the three big mosques again; the analysis showed us improvement on Sinans acoustical concept during their design process and also his awareness of the intelligibility problem.11 It has been determined that, with this awareness, Sinan began to search for a solution to get sufficient intelligibility and he combined architectural design with acoustic design. The data given below led us to these result.
Type of sound source Average speaker Experienced speaker Instrumental or vocal soloist Large symphony orchestra Massed choirs

Maximum room volume (m3) 50000
Table 1. Maximum room volume according to type of sound source within First of all, the calculations of the interior volume of all three mosques show us that there is a lack of sound power due to sound sources in the mosques. The maximum volumes of the rooms are given in Table 1. The Shehzade Mehmet Mosque, in spite of being the smallest of the three mosques, has an interior volume of almost 50,000 m3 (See Figure 10). Looking at Table 1, we can see that only massed choirs can produce the sufficient sound power for the room with that size of interior volume. The muezzin's mahfil in this mosque is located next to the northwest pillar. It is evident that although there are cavity resonators in the dome, the sound energy will remain insufficient and the total sound energy of those working at the muezzin's
mahfil will not be the equivalent of large choirs.
10 Because restoration work was being done on the Sehzade Mehmet Mosque during the course of the research no research was conducted there. Acoustic data were taken from the Suleymaniye and Selimiye Mosques. 11 The writer has given the result of analyses of plan graphics in detailed in his paper Use of Cavity Resonators in Anatolia Since Vitruvius. The Seventh International Congress on Sound and Vibration Proceedings. Publications of International Institute of Acoustics and Vibration, V. 3, pp. 1621 1628, Munich, Germany, 2000.

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Figure 11. Plan of the Suleymaniye Mosque in Istanbul It is realized that besides enlarging the interior volume of the Suleymaniye Mosque even more, Sinan tried to increase sound power by a number of sources. For this purpose, he placed the muezzin's mahfil near the
mihrab, next to the southwest pillar and in addition, he added small mahfils (balconies) to the two north
pillars (Photo 4.). The data show awareness of the need for extra sound power during the design process of this mosque with interior volume approximately 88,000 m3 and the data also demonstrate the greatness of both the period's and Sinan's acoustic knowledge. It must be noted here, however, that there is also a lack of knowledge in this application. In such a large enclosed volume having more than one source located at different places and with the repetition of the sounds from the first and following sources naturally create duplicate sounds or even multiple sounds resulting in unintelligible sound or noise. In Figure 11 the plan of the Suleymaniye Mosque in Istanbul is given.
Photo 4. One of the small Mahfills in Suleymaniye Mosque

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Photo 5. The Acoustic Space and the muezzin's mahfil in the Selimiye Mosque For the Selimiye Mosque in Edirne, it is evident that Sinan made an effort to achieve a reasonable solution to the acoustic problem. 12 (See Figure 12) For this purpose, he designed a total space for the interior of the mosque, not divided into spaces and reduced to the size of room. The interior volume of the Selimiye Mosque is approximately 75,000 m3 and, naturally, it is evident that the problem of the power of the sound source will arise. To overcome this problem, Sinan placed the muezzin's mahfil exactly in the centre of the total space (see Photo 5). The dome and also cavity resonators are directly above the sound source. The resonator system that will diffuse the sound energy into the room, being close and having no effect of reflected sound, will take the sound energy directly from the source and diffuse it throughout the entire room. Here intelligence shows its creativity, and for the first time in the history of civilization, we encounter an acoustic space. The sound energy coming from above defines a space - an acoustic space. It must be remembered that for Sinans design there is no application without a reason. For many years, historians have sought the answer to the question after creating a total space, why did he put the muezzin's mahfil right in the centre. Now we can easily say; The answer is to create an acoustic space.

12 The writer has given the analyses of total space in detailed in his paper Evolution of Acoustics and Effect of Worship Buildings on it. Proceedings of the Forum Acousticum Sevilla 2002 -16-20 September 2002. Revista de Acoustica, V. XXXIII, ISBN: 84-87985-06-8, Madrid, Spain, 2002.

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Figure 11. Plan of the Selimiye Mosque in Istanbul

CONCLUSION

In this work, we have briefly evaluated applied acoustic systems throughout history, especially in Ottoman period. The high level of development and applied technology that we have determined is surprising. Here it must be made clear that satisfactory researches have not been carried out in all relevant technical sciences, as we have seen in acoustics and many technical data have yet to be evaluated sufficiently. The air circulation in mosques and the soot-cell of the Suleymaniye Mosque are typical examples of not deeply investigated data. During the course of our research we saw a number of clay pipes going into the walls or opening into the mihrab in both mosques that are under the process of restoration and half ruined. These beg questions which must be answered. In addition, in the same mosques we saw a number of different types of plaster. It still is not completely clear whether or not these are a product of the technology which determined their characteristics due to their purpose. These topics, until now, have only interested art historians and architectural historians. These research projects now require the participation of engineers, physicists and other technical specialists. It should not be forgotten that with every restoration, a part of technological products that are not completely understood are completely lost or remain under plaster. It is necessary for this work to be carried out by a team composed of experts from many branches of science.

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The Heradesign customer and partner journal
Issue 5 Spring/Summer 2010
Acoustic solutions hit the right tone
esides the overall positive market development, I am pleased about two other trends. Although the phenomenon of acoustics is still relatively unknown, there is a visible trend that more and more people are becoming aware of the positive influences of good acoustics, namely improved concentration, increased speech intelligibility and the increase in overall well-being. The second trend which confirms the Heradesign product development can be seen in the fact that ceilings are increasingly reverting to their original function again, namely of being a design element. Technical functions of the ceiling, such as enclosing the ventilation system, temperature control and cable ducts, are taken over by the building envelope or are altogether solved differently through technical innovations. Heradesign Ceiling Systems develops towards being a system provider of acoustic solutions. In order to advance this development, which will be consistently continued in the coming years, we have developed a range of new products such as wall and ceiling panels, baffles and a T-track system. The trend on the market is clear: only providers that offer complete system solutions for acoustics will be successful in the end.
Matthias Francke General Manager Heradesign

Page 5

McDonalds Austria with Heradesign Jena Tourist Information
Sophisticated caf atmosphere in cosy lounges Combination of modern style and tradition

6/7 8-11 12-16 15

Klinikum Rostock day care centre for children
Playing and learning where parents work
Erasmus University Rotterdam

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The ceiling as an objet dart
Students hall of residence in the Netherlands
Jan Decker on perfect room acoustics
Pestalozzi School in Leonberg Heradesign innovations Campus in Ferndorf
Property report and interview with SOMAA. Baffles, ceiling panels and acoustics consultants

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Professional acoustics training

Property report

Spring/Summer 2010
Sophisticated caf atmosphere: McDonalds Austria trusts Heradesign
Heradesigns acoustic solutions make a considerable contribution to the atmosphere in the new McDonalds restaurants. Cosy lounges in the restaurant this is what McDonalds Austria call their new McCafs, which are an inherent part of their modernisation campaign. The new appearance of McDonalds Austria is not only limited to high quality coffee specialities and delicious international and typical Austrian cakes. No, its about a lot more than that.
hrough a completely new interior design, McDonalds Austria aims to put the character of the restaurant in the foreground. Top quality materials and special colour schemes in Austrias largest family restaurant encourage guests to stay longer: taking time for a good meal and/or a tasty coffee, this is what is important.
Thanks to the sound-absorbing properties, the wood wool panels provide for good acoustics and thus contribute to a pleasant atmosphere for all guests of this gastronomic market leader. For the new design of feel-good rooms, McDonalds Austria trusts in wood wool acoustic solutions by the Carinthian company, Heradesign, for some of the eight restaurant designs developed by the famous French architect, Philippe Avanzi. The designers have chosen the Heradesign acoustic solutions because of their fine and exceptional wood fibre appearance and the outstanding sound absorption values of the Heradesign panels that consist of wood wool, magnesite and water. Ursula Riegler, press spokeswoman of McDonalds Austria, emphasises the excellent cooperation. We have been cooperating very well with Heradesign throughout Europe for many years. Consistently high and reliable product standards as well as the very strong reliability as regards delivery make Heradesign an important partner for us. Guests at McDonalds Austria can test for themselves at any time how the restaurants and McCafs sound with their new look the acoustic solutions produced by Heradesign in Austria have already been installed in McDonalds restaurants, for example in Innsbruck and Klagenfurt. In this context it is worth mentioning that Heradesign uses exclusively high quality spruce wood from Carinthia so the Austrian countryside contributes to the special atmosphere in the new McDonalds restaurants. We are very pleased and proud that our products are not

The Heradesign acoustic solutions were chosen as the official product for modernising McDonalds restaurants coloured in chocolate brown, they fit extremely well into the concept of fine materials and warm colours. only used in McDonalds restaurants in Germany, Switzerland and Spain, but also provide a pleasant atmosphere here in Austria, says Matthias Francke, General Manager of Heradesign. The new design is paying off; we are recording a clear increase in turnover in these restaurants, and our guests feel good, explains Ursula Riegler. And also Austrias economy profits from this: in every redesign we try to work together with regional and local partners from architects to electricians. This way our investments in Austria also create and protect jobs with our partners and suppliers, stresses Riegler. Not only McDonalds guests love the Heradesign acoustic solutions. Also the installers are enthusiastic about them. I prefer installing Heradesign acoustic solutions a lot more than other materials. It is a clean product that can be installed really easily. You get the feel of it very quickly which makes handling even better. These solutions offer varied design options as well as extremely good looking results, says Michael Hentsch from the company Katholnig. In other words: the feel-good ambience is already created upon installation.
Michael Hentsch from the company Katholnig whilst enjoying a relaxed coffee at the new McCaf in Klagenfurt, Austria. Heradesign is a clean product that can be installed really easily.
How Heradesign superfine combines tradition and modern style
Heradesign Ceiling Systems meets many requirements. Combining old and new this often constitutes a challenge for the client as well as the planner. A sensitive handling of the existing structure of the building and its character is required, and in doing so nevertheless using modern, functional materials in order to satisfy modern day demands.
he realisation of the property Jena Tourist Information proves that this balancing act can work. The ticket and souvenir shop, where a high customer frequency is to be expected, trusts in a Heradesign ceiling system to meet the demands on good acoustics. Here, the wood wool panels blend perfectly with the mix of materials in the exceptional building in the old town of Jena.

The monument as a challenge
A very special building project has been carried out in the centre of Jena which now houses the tourist information centre of the town. The building, which was already constructed in the Middle Ages, is made up of two building parts: the front building, whose front faces towards the market, was built in 1384 and served as a storehouse; the back part of the house is a residential annex dating from 1435. The property, which had been unused for a long time and was already dilapidated, was reverted to its original mediaeval state in 2002 and statically secured before structural alteration work began. In 2006 the town council decided to put the property to a new use by using funds for the promotion of urban development and for the preservation of historic buildings and monuments and with help from the new owner, Kommunale Immobilien Jena (KIJ) [Municipal Real Estate, Jena]. But how could old and new, the existing buildings and todays needs be combined? The concept of the Limmer + Otto architects office focused on contemporary architecture that would accentuate the old house in its full size and historic importance. Glass and reinforced concrete were chosen as the characterising materials. The architectural concept is based on a delicate handling of the late-medieval building fabric and the creation of an unobtrusive, pleasant contrast with the new materials, says architect Frank Otto. The two building parts Thanks to the good acoustic properties of the Heradesign superfine decorative panels used, the ceiling system offers a pleasant atmosphere at the ticket area even with crowds of people. were connected by an atrium of glass and reinforced concrete, thereby creating a high, light-flooded room. A very striking highlight on the outside towards the market is a steel and glass faade with holographic optical elements (HOE), which not only results in a light interior, but also offers views from the outside to the inside. straight edge fits perfectly into the modern impression of the material concept of steel, glass, exposed concrete and plasterboard, which was deliberately kept unobtrusively simple in order to not compete with the monument. In addition, the ceiling panels are an ecological building material because they are exclusively made of wood, water and magnesite. With this, Jena has a very special showpiece not only for tourists.

Function and design

It was particularly the utilisation of the historic building as a place to go for tourists and residents with daily attendance by a considerable number of visitors that made high demands on the design. Jena Tourist Information is the central information and service point for guests and locals and can be visited from the market square or through the ticket and souvenir shop on Oberlauengasse lane. In order to guarantee good acoustics in the sales area, a wood wool ceiling system by Heradesign was installed. With a sound absorption value W of up to 0.95, the ceiling elements stand out with their excellent acoustic properties, and are also impressive with their design and naturalness: the designers intentionally relied on the structured character of wood wool panels on the ceiling since this way they created a beautiful contrast with the smooth frieze. Furthermore, the Heradesign superfine 25 mm with a

PROJECT DATA

Architect: Architekturbro LIMMER + OTTO, Jena Execution of construction work on the hologram faade: Architekturbro robarchitects, Dresden Execution of construction work on the interior design: Architekturbro Kehr, Erfurt Client: Kommunale Immobilien Jena Products: Heradesign superfine
Jena Tourist Information is an outstanding combination of old and new and is, at the same time, an architectural gem in the heart of the old town of Jena.
A spacious move in terms of work-life balance: The Faculty of Medicine at the University of Rostock has been offering its employees an in-house day care centre for children since November 2009 and what a centre it is! Not only are there long opening hours and the possibility to discover a foreign language in a playful way; also the indoor climate has been made perfect with Heradesign.
Klinikum Rostock day care centre for children at the Faculty of Medicine of the University of Rostock, Germany.
he day care centre for children in the immediate vicinity of the Faculty of Medicine offers just over 100 places for three crche groups and three kindergarten
groups and was designed as a new building at the listed front part of a greenhouse constructed in 1936. The greenhouse was pulled down in 1999; only the clinkered entrance structure with architectural design elements in the style of art deco was preserved. The structural requirements were particularly high. For the outside it was necessary to preserve the listed entrance area and to incorporate the original form of the greenhouse. It was the overall goal to find an outer building form that would be distinctive and unmistakable for children. In the buildings interior it was important to the client not to divide the premises into circulation areas and useful areas, but to make all open areas playable and include them in the utilisation for all the children. This was enabled by the installation of two evacuation slides from the upper floor, which to the childrens great delight can not only be used in an emergency, but are toys at the same time. As a consequence, an extremely open room structure could be created which, however, required good soundproofing (at the same time this is a very important requirement of the kindergarten guidelines).
rooms as well as secondary group rooms. The wood wool based products were not only impressive due to their excellent sound absorption values; also the fire protection properties and the fact that the Heradesign products are made up of purely ecological components were convincing aspects. The wood wool appearance played an important role when it came to choosing a product. The wood wool structure fully corresponds to the clients wish that the used materials should not have a bland office character, says architect Hass from the HASS+BRIESE Architekten architects office and stresses the importance of product and colour selection for the ceiling. Small children spend a lot of time lying on the floor and looking upwards therefore we not only implemented the complex colour scheme on the floor, but also on the ceiling and we also suggested floor heating. Carefully chosen lights installed in the suspended ceiling complete the childfriendly appearance. All in all, the suspended ceilings were placed on the solid ceiling like carpets. Of course, in a feel-good day care centre for children it is not only the building that counts. Great importance was also attached to the purchase of modern toys that stimulate childrens creativity as well as sophisticated play equipment for outdoors. The little earthlings can even let off steam in a childrens sauna located in the outside area.

Architect: HASS+BRIESE Architekten, Dipl.-Ing. Barbara Hass Execution of construction work: HASS+BRIESE Architekten Client: der Betrieb fr Bau und Liegenschaften Mecklenburg-Vorpommern Products: Heradesign superfine

Quiet with Heradesign

The Heradesign superfine acoustic solutions were used in all circulation areas, group

Hear, hear!

The ceiling as an objet dart: Heradesign enables successful renovation of the ceiling in the auditorium of the Erasmus University Rotterdamm. And the special feature of this achievement: the auditorium is a protected monument. Therefore, strict regulations applied for all the renovation work.
Colouring and design of the ceiling make the auditorium of the Erasmus University Rotterdam a special place.
he auditorium is the showpiece of the Erasmus University. Not only has it witnessed teaching at the highest academic level for about forty years; also well-known Dutch politicians and even members of the royal family have given lectures here. The colour and the special design of the auditorium make the room a unique place. As the auditorium is a listed property, it was a requirement of the renovation work that no changes be made to the original concept. Thus the colouring was one of the defined goals and objectives in the renovation: the new ceiling was to have exactly the same colour as before. Rob Taminiau, Technical Manager of Heradesign Nederland, explains how it was possible to define the colour. We scanned panels of the old ceiling and measured the colour. Only this way could we be sure of using exactly the same colour. As it was no longer possible to order the panels of the original ceiling, the acoustic solution of Heradesign superfine turned out to be the best alternative when it came to choosing the material and won the commission.
With that, the obstacle of visual appearance could be successfully overcome
But each building has its own architectural history, even if it is protected, adds architect Gerard Frishert who was responsible for the renovation work. In an earlier phase of renovation, rows of seats in the auditorium were exchanged, which caused a change in the course of the floor. This and also other changes brought about completely new acoustics that did not meet todays requirements, says Frishert. In particular in an auditorium, speakers and the audience profit from outstanding acoustics as the audibility and concentration are considerably increased here. Architect Gerard Frishert sums it up: It was the special challenge, after all previous renovation work, to get the acoustics under control again. For me, the ceiling now perfectly unites the architectural and acoustic values of the room.

Among students

In the Dutch city of Nijmegen, students have been living in the new students hall of residence De Gouverneur since the end of 2009. The client attached great importance to fresh, modern architecture, which should at the same time convey a feeling of warmth and security. A challenge which the architect Jan Decker solved in a unique way. Perfect room acoustics by means of the character-rich Heradesign natural materials.

Architect: SOMAA. Architekten + Gabi Dongus Planning & design: SOMAA. Tobias Bochmann, Hadi A. Tandawardaja Construction management & coordination: Gabi Dongus Architectural team: Client: Installation : Serpil Erden Stadt Leonberg Fa. Hofstetter, Stuttgart-Botnang
he SOMAA. architects office designed a new building that houses three classrooms and a specialist room and this way put an end to the existing cramped space. The architectural team, Tandawardaja and Bochmann, created a strong pavilion of exposed concrete, which presents itself as powerful and protecting towards the public. It is not reminiscent of a school building and completely opens out towards the existing old building on the side to the valley. The building, which is built into a slope, keeps a respectful distance from the existing old building; on the side of the street it is completely closed and not perceptible as such. The rough exposed concrete shell protects the core and the roof becomes a green space that enables a view of the valley and over the building. When planning these premises, good acoustics that have a positive influence on the concentration and speech intelligibility were essential. Furthermore, it was an important concern to not only design suitable rooms for learning, but
Heradesign this is what acoustics look like!
To achieve an optimum atmosphere for learning, the Heradesign acoustic solutions were used in the classrooms. As an overall appearance that is as homogenous as possible was desired, the panels were installed in staggered layers in a neutral white paint. The rough and natural looking acoustic panels form a contrast to the bright green linoleum floor and the varnished and latex painted smooth and colourful walls. The contrast with the very smooth surfaces emphasises the haptic charm of the wood wool acoustic panels. In addition, the material also relates to the outside of the school building, the rough casing of exposed concrete. The Heradesign acoustic solution not only meets all the
Heradesign products: Typ: Heradesign superfine; colour: white; format: 1200 x 600 x 25 mm; installed in staggered layers (transverse joints staggered); height of suspension: approx. 80-100 mm; installation height: approx. 2.90 m; edges: straight edges, right-angled without bevel on all sides; joints: butt joint without a gap.
I like it that its so quiet here. (Jessica, eight years old) I find the nets on the ceiling funny. (Marvin, seven years old)

Interview

The room as one harmonious entity
Interview with Hadi Tandawardaja and Tobias Bochmann
EXPRESSION: What philosophy do you as
an architect represent regarding design, ecology and materials? Which materials do you like to use and what current trends do you see? Tandawardaja/Bochmann: The concept of design is often understood wrongly and is confused with stylish or trendy. However, we understand design in its original meaning, namely as creation. So every creative decision that we make is design. Design is most beautiful if it is not perceived as such and carries no trademark. Nature is therefore certainly one of the best designers of all. Correspondingly, designing with natural materials is again and again the same challenge as designing with absolutely new
and innovative high-tech materials. Particularly in this respect we also see a big potential for development: using traditional, well-known materials by means of the latest technology in a new way and modifying the materials ourselves to make them more specific, e.g. to use glass so that it can bear loads, or make concrete seem transparent, just to mention a few examples.

THE ARCHITECTS

Hadi A. Tandawardaja, Dipl. Ing. [qualified engineer] architect, studied architecture at the University of Stuttgart and at the EPFL Lausanne in Switzerland. He worked in internationally active offices in Spain and Germany. His works were shown, among others, in the German Architecture Museum in Frankfurt and in the Max Planck Institute in Munich. The buildings for which he was the project manager were nominated for the Design Award of the Federal Republic of Germany and won the DDC Good Design Award. Tobias Bochmann, Dipl. Ing. [qualified engineer], studied architecture at the University of Stuttgart and at the EPFL Lausanne. He won the student award of the Bavarian Architectural Association (ByAK) and the Baden-Wrttemberg Architectural Association and was a scholarship holder of the German National Merit Foundation [Studienstiftung des Deutschen Volkes]. As a project manager he built numerous award-winning single family houses whilst working in previous offices and is an honorary lecturer at the Institute of Housing and Design at the University of Stuttgart. ceiling is too often neglected in the design. An exact analysis of the ceiling mostly happens much too late and merely for technical reasons when planning the installations and the lights. Often the results are merely functional ceilings with an awful ceiling plan, a mess of ventilation slots, lighting and smoke detectors. This topic has certainly changed over the years because of the constructional options available, but also because of the increased technical requirements. When planning a vaulted ceiling, more attention had, of course, to be paid to the ceiling than today when the entire ceiling can actually disappear behind plasterboard. On the other hand, the technical requirements (installation routes, fire protection, etc.) make it considerably more difficult to handle the bare structural ceiling in terms of design. All in all, the ceiling has lost importance on the one hand this is due to the decreasing height of rooms nowadays, which we had to experience during the last century because of economic pressure; on the other hand the ceiling lost its function as a frequently picture covered bearer of meaning; a function which was never acquired to this extent by the floor. Therefore the loss of significance appears even stronger today.

EXPRESSION: Which trends do you notice in the materials for ceilings? Tandawardaja/Bochmann: Basically, we can see two trends. Reduce to the max: The ceiling is as far as possible reduced to its natural, two-dimensional element. It remains visible as a bare ceiling, the structure

SOMAA.

SOMAA. works at the interface between architecture, the culture of communication and urbanism. Headquartered in Stuttgart and with a partner office in Barcelona, the office works interdisciplinarily with qualified architectural planners and an open team consisting of other designers and architects. For further projects, see www.somaa.de. PARTNERS: Architects Dipl. Ing. Hadi A. Tandawardaja, Dipl Ing. Tobias Bochmann

Products

Heradesign Ceiling Systems proves its innovativeness
The product programme of non-combustible acoustic solutions has been extended: the Heradesign superfine is now also available in A2 quality.
our years ago, Heradesign was the worlds first and only supplier to bring a non-combustible wood wool panel Heradesign fine A2 onto the market, which could be classified in the reaction to fire class A2-s1,d0. Now the product which perfectly combines design and function in fire-stressed wall and ceiling areas has been further developed. The non-combustible design of the natural wood wool panel makes it ideal for all fields of application with a particularly high demand for design and acoustic properties and where, at the same time, attention has to be paid to reliable fire protection. Airports, railway stations or large function rooms with a high noise level and strict
fire protection regulations serve as good examples for this. With the previous A2 version of the wood wool panel, planners were strictly bound to defined formats, thicknesses, edge designs and colours, but the new product generation has many more options to choose from. From 2010 on, as well as the Heradesign fine A2 version (25 mm), also the Heradesign superfine with its fine fibrous surface structure is available in A2 quality (25 mm). Furthermore, an extended range for all A2 products is available as regards edge designs and colours also metallic colours will be possible.
Trend Acoustic Plus sound absorption up to class A

The Heradesign Trend Acoustic Plus series is a new product concept with a focus on highly absorbent wood wool acoustic solutions. They are particularly well suited for areas with a very high demand on sound absorption up to sound absorption class A. The products are installed by screw mounting on wooden laths or insertion installation in T-sections (SK 04).
Lots of colour and design versions, even bright pink, are available within the new product range of non-combustible wood wool panels. New: From now on, the wood wool acoustic solutions are also available with the fine fibrous surface structure of the Heradesign superfine. A2 wood wool panels offer safe fire protection and designoriented ceiling structures, such as in the Pestalozzi school in Schwbisch Gmnd, Germany.

Heradesign superfine A2

Heradesign Baffles: Sound absorbers as eye-catchers
Acoustic solutions that create an end-to-end ceiling area are not always possible or required. Baffles vertically suspended acoustic elements provide a solution.
here are rooms that require the acoustics to be optimised, but that are not suitable for mounting suspended ceilings; for example, rooms in which the ceiling houses integrated heat storage systems or where various cables (air conditioning, cable trays) or cable tracks are attached to the ceiling. Or it may be desired for architectural reasons that the original ceiling remains visible. The Heradesign baffles are an ideal compromise in this respect. Baffles have a 25 mm thick mineral wool core that is surrounded by wood wool elements on both sides. The combination of wood wool and mineral wool allows excellent absorption values in a wide frequency range to be achieved. Besides leaving the ceiling visible, the baffles have other advantages as well: in production halls they can be suspended selectively and relatively far down in order to ensure intense sound absorption in foc-
used areas, e.g. directly above loud machines, without impairing the operability of equipment. Another advantage is that the baffles have wood wool panels on both sides. Thanks to their special shape, the baffles offer unique options for design and are therefore very popular among many architects for use as design elements in schools and public buildings. In summary: the Heradesign baffles are sound absorbers with an eye-catching effect. The baffles are available with Heradesign fine and superfine surfaces, with the dimensions 1200 x 300 and 600 x 300 mm (57 mm thickness). They are provided with a galvanised metal frame and can also be used in reaction to fire class A2-s1,d0 (non-combustible).

Heradesign ceiling panels: The new application for the best room acoustics
Heradesign now also offers its wood wool acoustic solutions in the form of ceiling panels. For pleasant working conditions in large premises whilst being able to concentrate on the essentials (again).
verybody who has ever worked in an open-plan office knows the following scenario: one or even more teams work in one room together. There are phone calls, meetings and arguments at different volumes; doors are opened and closed; people come and go. What was originally aimed to be of benefit to team work and efficiency (short communication channels) has negative effects on peoples concentration and performance. And this phenomenon is not limited to open-plan offices also in larger meeting rooms or at advice and information points in larger halls the concentration rapidly declines due to background noises. The Heradesign ceiling panels have been designed especially for this purpose: an individual optimisation of acoustics by means of which speech intelligibility and concetration improve considerably. However, the ceiling panels are more than just acoustic solutions.
And this phenomenon is not limited to open-plan offices also in larger meeting rooms or at advice and information points in larger halls the concentration rapidly declines due to background noises. The Heradesign ceiling panels have
been designed especially for this purpose: an individual optimisation of acoustics by means of which speech intelligibility and concentration improve considerably. However, the ceiling panels are more than just acoustic solutions.
Everybody who has ever worked in an open-plan office knows the following scenario: one or even more teams work in one room together. There are phone calls, meetings and arguments at different volumes; doors are opened and closed; people come and go. What was originally aimed to be of benefit to team work and efficiency (short communication channels) has negative effects on peoples concentration and performance.
New Heradesign T-Track System
n 2010, Heradesign will extend its product range by system parts which, adapted to the Heradesign acoustic solutions, enable the installers to optimally process the Heradesign products. It is important to us to offer our customers a one-stop shop solution whereby we not only guarantee continuous high quality, but involve our advisory skills even more, too, says Matthias Francke, General Manager of Heradesign.

Acoustics what an effect a room has on the ears
The Heradesign acoustic solutions make an essential contribution to the improvement of the ambience of a room. This is not only ensured by the high quality and warm character of the wood wool structure of the surface, but also the outstanding sound absorption values of the products. The question of why someone feels good in a room often renders answers that have something to do with colours, light or size. However, feeling good is only seldom attributed to acoustics, tells Blmel enthusiastically. Acoustics and their effects are present all the time and everywhere but there is still need of explanation for the fact that good acoustics can have a positive influence on the ambience of a room. Acoustics is a highly complex science. At the Heradesign Campus we therefore aim to make acoustics visible, comprehensible and audible with the help of examples and hands-on training and to make the participants sensitive to the importance of acoustics. Knigs says, We want to eliminate misunderstandings as well as fear as regards acoustics and thereby focus on questions such as: How do acoustics result and how are they measured? From which point are acoustics felt as being good? Afterwards we show how the acoustics in rooms can be optimised with our products. Also in this area we convey basic knowledge and some rules of thumb.
Since April 2010, the training sessions at the Heradesign Campus have been offered in English and German, and are tailored to the needs of the participants. The number of participants is limited to 20 people per training event. More information on the Heradesign Campus is available from: Andreas Blmel, Product and Project Manager of Heradesign Campus Phone: E-mail: andreas.bluemel@heradesign.com The participants of the first training at the Heradesign Campus acoustics and design have to be learnt!
Course on acoustics consultancy
The new course on acoustics consultancy, which the employees of Heradesign and WeGo successfully completed, enables new customer consultations. Heradesign broadens the competence of its own sales representatives and those of WeGo Systembaustoffe GmbH, one of the most important trade partners of Heradesign in Germany, through a unique training campaign.
The participants of the first part of the course on acoustics consultancy: more competent than ever and ready to tackle the job thanks to knowledge of acoustics.
A course on acoustics consultancy the ace up your sleeve in sales
These days, consultations in the field of ceiling systems are totally different to what they were in the past. In addition to design and the green aspect, the topic of acoustics is increasingly becoming the focus of attention. And general knowledge is no longer enough here, explains Achim Nolle, Heradesign Sales Manager for Germany, Austria and Switzerland and founder of the course on acoustics consultancy. The course on acoustics consultancy was conceived together with the acoustics con-

sultancy firm Mller-BBM GmbH from Planegg near Munich. Mller-BBM GmbH is one of the leading engineering companies which gives consultancies, tests (for example sound absorption) and plans in the fields of infrastructural structures, buildings, environment, products, etc. The course on acoustics consultancy consists of five modules. The first four modules are taught on the premises of Mller-BBM; the last module, which is rather practice-oriented, is held at the Campus, the new competence and training centre of Heradesign in Ferndorf (Carinthia, Austria). Dr. Eckard Mommertz from Mller-BBM says, We want to eliminate misunderstandings as well as fear as regards acoustics and
thereby focus on questions such as: How do acoustics result and how are they measured? From which point are acoustics felt as being good? What influences acoustics? Acoustics is a highly complex phenomenon, it is science per se and therefore a topic where there are only a few people who can join in a conversation at a professional level, continues Nolle. It was therefore very important for us to give our sales team a detailed insight into acoustics for them to distinguish themselves from our competitors by competence and expertise for the benefit of our customers, adds Dirk Rombach, Product Manager of Ceiling Systems at WeGo Systembaustoffe GmbH, who considerably contributed to the concept of the course.

IMPRINT

Published by: Heradesign Ceiling Systems A business unit of Knauf Insulation GmbH Ferndorf 29, A 9702 Ferndorf Phone +43/4245-Fax +43/4245-www.heradesign.com office@heradesign.com Edited by: Filip Miermans, Marketing and Communication Photos by: Heradesign, Pestalozzi-School: Patricia Neligan & SOMAA. Architects, 2010, Heradesign Ceiling Systems Design by: Die1ns, Klagenfurt, www.die1ns.com Typesetting and printing errors excepted. Copyright: Heradesign Ceiling Systems All rights reserved.