Quay of Knowledge

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. Based on the observation that the acoustics of a performance hall are structuring for its architecture, we have developed a joint working methodology with the architect.

Complete acoustic mission of the room

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. In order to satisfy the architectural requirements and the multi-purpose function of the room, we have developed tailor-made acoustic solutions:

• Low temperature radiant ceiling system to control the heat and carbon balance.
• Integrated and directed sound system so that the sound and visual images are superimposed.

Room acoustics in exhibition configuration

Room acoustics in presentation configuration with a speaker

Multimedia mission

The exhibition halls receive a certain number of animations (provided by a speaker with a natural voice or by interactive terminals). It is then a question of avoiding the sound superposition of the activities so that no activity disturbs the neighboring activities. Thanks to our 3D Intelligibility model^® sound spaces in operation, we have ensured the consistency of the sound atmospheres with the uses. By working on the sound equipment on the one hand and on the acoustic furniture on the other hand, we were able to control the sound atmospheres of the different animations so that the visitors can move from one animation to another without being embarrassed. by the noise of the other animations.