Svana Gisla, Ludvig Andersson and Baillie Walsh received the Innovation Award at the AM_Awards
photo: Svana Gisla
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published Nov 19th, 2022 Svana Gisla
published Nov 18th, 2022 - ABBA Voyage
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jueves, 17 de noviembre de 2022
Nace el Abba Arena, el estadio desmontable más grande del mundo
Nace el Abba Arena, el estadio desmontable más grande del mundo
Los edificios desmontables existen desde hace lustros, pero cada vez los hacemos más grandes, más confortables, más digitalizados y, obvio, mejores.
Juan José Perez Monzón. 17/11/2022
Las personas recurrimos al encuentro social como medio de distracción, pero también como medio de crecimiento personal. Así que no es de extrañar que siempre falten, incluso en las ciudades más prósperas, espacios de interacción cultural. Si a esto unimos que los entes urbanos por excelencia también requieren de espacios abiertos, podemos encontrarnos con un problema no menor. Menos mal que el ingenio humano puede con (casi) todo.
Hace unos meses finalizó la construcción de un espacio arquitectónico para el disfrute musical. Un estadio o Arena o recinto de grandes dimensiones con más de una particularidad reseñable que trataremos de discernir en unos cuantos párrafos. De hecho, la primera particularidad a destacar es su nombre: ABBA Arena, en reconocimiento al mérito de este singular grupo musical.
El Abba Arena tiene una capacidad de 3.000 personas
La segunda la sabes: se trata de un recinto desmontable. Según sus diseñadores o los promotores (no nos queda claro quién lo ha dicho) es el recinto desmontable más grande del mundo. A voz de pronto me suena que el estadio que un estudio español diseñó para el mundial de Qatar es más grande, aunque no es totalmente cubierto… Pero bueno, una cosa no quita la otra, sea el primero o el tercero, sí que es un gran edificio móvil.
Su ubicación actual en la ciudad de Londres es en el 1 de Pudding Mill, a dos minutos en coche y a ocho caminando del estadio olímpico, puede ser cambiado por otro cuando así se requiera. Además, el Abba Arena, cuya actuación actual es el Abba Voyage, posee una capacidad de 3.000 personas de las que 1.650 pueden disponer de asiento y el resto, disfrutar del espectáculo de pie.
La cúpula superior protege todo el interior del recinto
Los diseñadores de la construcción, el estudio británico Stufish, idearon un espacio hexagonal con 25,5 metros de altura y 70 metros de diámetro. Con la cara exterior facetada en ángulo abierto y compuesta por láminas en sentido vertical, dejando traspasar la luz y pudiendo visualizar parte de la estructura, de acero y madera. La cubierta está compuesta por una cúpula que protege todo el interior.
La forma en planta del edificio permite un uso completamente circular, de 360 grados, aumentando la versatilidad del espacio y permitiendo distintas actuaciones durante su tiempo de vida útil. De hecho, la idea original (si no se cambia) es que la estructura permanezca en este lugar durante cinco años, tiempo suficiente para buscarle un nuevo espacio o para buscarle un nuevo uso a los elementos que componen el edificio.
Es una instalación fácil de montar y desmontar
Pero, por muy desmontable que sea, una estructura de estas dimensiones pesa. En concreto, este edificio alcanza las 744 toneladas, así que se requirieron de plataformas de hormigón (un elemento por lo general no desmontable y reutilizable). La empresa que ejecutó la construcción, ES Global, nos indica que la cubierta se mantiene sobre 18 puntos de apoyo y que además es accesible, por lo que se facilitan los trabajos de mantenimiento, montaje y desmontaje.
Obviamente, el interior se verá inmerso en altos niveles de sonoridad cuando el espectáculo dé comienzo (incluso durante los ensayos). Así que una cuestión muy importante fue el aislamiento acústico, resuelto en este caso con la disposición de dos paneles aislantes independientes, dando una mayor versatilidad y eficacia a cada uno de ellos. Por supuesto, importante también la iluminación, empezando por la integración del logotipo ABBA en dos fachadas con tiras LED (siempre led´s) orientadas según los listones de madera.
La madera es el principal material usado en el Abba Arena
La “excusa” para la creación de este singular inmueble fue el regreso de Abba a un escenario después de 40 años. La forma exterior, brusca o rotunda, según se mire, cuenta con la calidez innata de la madera, en este caso, madera de alerce, muy duradera y de buena trabajabilidad, lo que permite su uso en el interior y el exterior.
Después de introducirnos bajo un hermoso dosel híbrido, de madera y vigas laminadas, lo que se está llamando acero glulam (por aquello de llamar la atención). Este dosel, que sirve como inicio de vestíbulo, fue construido por la empresa Stage One y aloja algunos módulos de madera contralaminada CLT, como espacios minoristas, salón VIP o guardarropas.
Destacar también el buen desempeño de la empresa Atelier One, estudio de ingeniería que se encargó del diseño de las estructuras de acero, y de su implantación en obra. La ejecución de estos edificios nos brinda espacios adecuados para disfrutar de nuestros momentos de ocio, con la mínima molestia posible, y la máxima eficacia gracias a la arquitectura, la ingeniería y, por supuesto, a los artistas que nos deleitan con sus trabajos.
https://theluxonomist.es/lifestyle/arquitectura/nace-abba-arena-estadio-desmontable-mas-grande
martes, 15 de noviembre de 2022
2023 GRAMMY Nominations: ABBA...
2023 GRAMMY Nominations: ABBA...
The 2023 GRAMMYs, officially known as the 65th GRAMMY Awards, will air live on Sunday, Feb. 5, from Los Angeles' Crypto.com Arena, and it will broadcast live on the CBS Television Network and stream live and on-demand on Paramount+ at 8-11:30 p.m. ET / 5-8:30 p.m. PT+.
Grammy Nominations:
Record of the Year
“Easy on Me,” Adele
“Break My Soul,” Beyoncé
“Good Morning Gorgeous,” Mary J. Blige
“You and Me on the Rock,” Brandi Carlile featuring Lucius
“Woman,” Doja Cat
“Bad Habit,” Steve Lacy
“The Heart Part 5,” Kendrick Lamar
“About Damn Time,” Lizzo
“As It Was,” Harry Styles
Album of the Year
“Voyage,” Abba
“30,” Adele
“Un Verano Sin Ti,” Bad Bunny
“Renaissance,” Beyoncé
“Good Morning Gorgeous (Deluxe),” Mary J. Blige
“In These Silent Days,” Brandi Carlile
“Music of the Spheres,” Coldplay
“Mr. Morale & the Big Steppers,” Kendrick Lamar
“Special,” Lizzo
“Harry’s House,” Harry Styles
Best Pop Duo/Group Performance
“Don’t Shut Me Down,” Abba
“Bam Bam,” Camila Cabello featuring Ed Sheeran
“My Universe,” Coldplay and BTS
“I Like You (A Happier Song),” Post Malone and Doja Cat
“Unholy,” Sam Smith and Kim Petras
Best Pop Vocal Album
“Voyage,” Abba
“30,” Adele
“Music of the Spheres,” Coldplay
“Special,” Lizzo
“Harry’s House,” Harry Styles
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sábado, 12 de noviembre de 2022
'Can we do this?'
We took a chance, and could have lost a pile of... money, money, money! ABBA's Bjorn Ulvaeus reveals how the £140m gamble the band took to create their breathtaking avatar concert almost backfired spectacularly
ABBA have sold more than 150m records since they won the 1974 Eurovision
They made a stunning comeback last year with their number one album Voyage
Band will never sing together again, but perform as digital 3D avatars in London
By COLE MORETON FOR WEEKEND MAGAZINE
PUBLISHED: 22:31 GMT, 11 November 2022 | UPDATED: 22:31 GMT, 11 November 2022
'This is it,' says Bjorn Ulvaeus from ABBA with a sigh, admitting there'll never be any more new music from the greatest pop band of all time.
'We did an album – and we never thought we would achieve that – but that's it. We're not going to do anything more.'
ABBA have sold more than 150 million records since they won the Eurovision Song Contest in 1974 with Waterloo, and they made a stunning comeback last year with the album Voyage, which went to No 1 nearly three decades after they last topped the charts.
But while Bjorn is adamant that he, Benny Andersson, Anni-Frid Lyngstad and Agnetha Faltskog will never sing together in a studio or live on stage again, they came up with an extraordinary, groundbreaking way to put on a show to accompany the album: digital 3D avatars of themselves – known as 'Abbatars' – performing in a purpose-built arena in the former Olympic Park in London.
'We took such a risk doing this,' says Bjorn with a half-smile. 'It could have been that people felt they were watching a video. That would have been terrible.'
He's not wrong. The ABBA Voyage concept took five years and £140 million to develop, so Bjorn was well aware they were gambling with a fortune. But more than that, their reputation as one of the best-loved bands in the world was also at stake.
'I felt it all in a very personal way,' he admits. 'I would have been so sad if it hadn't worked.
'I felt we were taking the risk that people would say, 'We had an image of them in our hearts, why did they have to ruin it?'
They made a stunning comeback last year with their No 1 album Voyage. While the band will never sing together again they came up the groundbreaking way to put on a show to accompany the album: digital 3D avatars of themselves
Demand for tickets to the opening night in May was huge, with resale sites flogging them for four times the face value at £475, but there were also dangerous early signs of a backlash, with comments on social media like, 'Why are the tickets so expensive? They're not even there!'
The four members of ABBA appeared in public together for the first time in 36 years at the premiere, which attracted the likes of Kylie Minogue and the king and queen of Sweden, but Bjorn confesses to having been very nervous beforehand.
'Would it work? Would the audience connect with what they were seeing? They did – and it was such a relief.'
There were gasps and tears of joy as the stars appeared to rise up into on stage, lifelike and convincing.
'This is not a museumpiece re-creation of ABBA in 1979,' says Ludvig Andersson, Benny's son and one of the technical brains behind the show. 'The moves, costumes and music are as if the younger ABBA were performing now, in the present day.'
People get very emotional when they see the show, there's something so moving about those four figures
They had to build their own 3,000-capacity arena to pull off this overwhelming spectacle. They're not holograms but images projected on a super-high resolution screen and surrounded by a live band, wraparound screens and state-of-the-art synchronised lighting so your senses really do believe it's the real ABBA, here and now.
'Some people get very emotional when they see it, because there's something so moving in those four figures coming up and looking as though they're there,' says Bjorn, 77, with pride. 'I get pulled into that emotion, even I think, 'I'm there!' when clearly I'm not.'
What was it like to see himself for the first time? 'Weird. But if I look at myself as a historical figure from the 70s and I tell his story, it's not so weird.
'So that's how I see my avatar now.' What would he say to his 70s self if he could? 'Don't worry so much. Try to see what's important and don't worry about the less important stuff.'
Do people still stop him in the street? 'You'd be surprised,' says Bjorn, who seems shyer than you might imagine.
'Even Paul McCartney can walk around the streets as people don't expect him to be there, so they just see an old man. It's the same thing with me,' he says. 'I'm an ordinary guy.
'In certain environments there's a certain respect, for which I'm humbled and grateful.'
The night before we meet he was at the O2 Arena to check up on the singalong dining experience Mamma Mia! The Party.
'People have such fun, it's amazing. They only realised near the end that I was sitting there,' he says, smiling at the love they showed him.
'It's a young audience. Two-thirds of them weren't born when we wrote those songs.'
Bjorn himself had two children, Linda and Peter, during his nine-year first marriage to Agnetha, and is now a grandfather. The pain of their divorce in 1980 was documented in several ABBA songs and there were rumours of acrimony between them in the years after the band split in 1982.
So is the reunion evidence that some kind of love endured? 'Absolutely. Benny and I worked on many projects together. Frida lives in Switzerland and New York but when she used to come to Stockholm we'd meet.
'Agnetha? Birthdays, Christmas. We'd meet and so we stayed friends. Our divorce was amicable, if a divorce can ever be amicable.
Two people who decide at the same time, 'Yeah, we should go our separate ways, you're right.' The fact we could work together again after so long was testimony to that.'
Bjorn married music journalist Lena Kallersjo in 1981 and they also have grandchildren together, but separated in February after 41 years. He made his first public appearance with a new partner, record company product manager Christina Sas who's 28 years his junior, just a few months later.
'We met after my wife and I decided to go our separate ways. Very quickly after that. It was unexpected but great, and I'm very happy.'
Bjorn, who's worth £260 million, has a house in Stockholm and another on an island outside the city, but no others. Is that because Sweden is the place that loves ABBA most? 'No, England loves us more than Sweden loves us, more than Germany and Australia and Canada and other places.
'So it's not that, but Stockholm is a very nice city to live in,' he says.
'It's not as big as London. It's not as crowded. There is not such a huge divide between poor and rich. And I was born there. It keeps my feet on the ground.'
Strange as it seems now, there was a time when ABBA were seen as totally uncool. 'I'd anticipated the dark 80s,' he says.
'When we took our pause from ABBA, I thought that was the end. I thought people would play the songs every now and then on the radio and would find reason to refer to us if they told something from the 70s, but we'd be irrelevant and forgotten. That's what happened.'
Then the band Blancmange had a hit with The Day Before You Came in 1984 and people remembered what great songwriters he and Benny were. ABBA also emerged as unlikely gay icons.
'It was very much the gay community who brought us out of the dark 80s. For some reason they found ABBA to be symbols.
'Maybe it was that we're Swedish and the outfits, but most of all it was that the music seems to be very joyous, very uplifting and made for celebration. A song like Knowing Me, Knowing You is desperately sad, but the ladies' voices make it a happy sad.'
Then there was Mamma Mia!, the stage show set on a Greek holiday island and based on their songs that opened in the West End in 1999 and is still going to this day. The movie starring Meryl Streep and Pierce Brosnan was a massive hit in 2008 and Cher stole the screen in the follow-up in 2018.
'Mamma Mia! was an experiment like ABBA Voyage,' says Bjorn. 'It paid off.
'The movie more than anything else has brought in a new generation. Mums play it and let their children watch, and the children get used to it and dance and so it goes on.'
Will there ever be a third Mamma Mia! movie? 'If you ask me, no. There are not enough songs left. We don't want to rehash Dancing Queen again. No!'
He's certainly the man to ask: nothing involving ABBA happens without Bjorn's approval. 'If someone comes up with a brilliant idea that's never happened before, I'm completely open-minded,' he says.
The idea for ABBA Voyage was born when former Spice Girls manager Simon Fuller approached ABBA about putting on a show combining live music with holograms.
'We discovered the technology was not enough for us,' says Bjorn. 'It was old-fashioned, a circus trick. So nothing came of that.'
So instead they turned to Industrial Light & Magic, the geniuses behind Star Wars special effects. 'They are the most forward-looking in that field in the world.'
The four members of ABBA spent five weeks in a studio in Stockholm performing the moves, gestures and comments for the concert, their every motion captured in 3D by specialist cameras.
'Of course we had not performed together like that for 40 years. It was very emotional, but not as emotional as when we went back into the studio to sing.'
That was at Benny's place in Stockholm in 2019. 'That day was so strange and wonderful. We were standing there looking at each other and we were like, 'What the f***?'
'But it all came rushing back. It was like time didn't exist.' Was there a part of him that wondered if Frida and Agnetha could still sing?
'Yes, and I'm sure with them as well there was the thought, 'Can we do this?' But when the moment came, they put on their headphones, stood there face to face and started to sing. And it was ABBA. Maybe a tone lower, but still ABBA.'
With crowds flocking to the show, how long do they intend to keep it going? 'I hope it will become one of the attractions in London for many years,' he says.
'We chose London because there's such a wonderful infrastructure for this kind of thing, the best in the world: talent, technology, everything. And I love working here as well.'
ABBA Voyage is booking until May 2023 at the ABBA Arena, London. Best availability from January 2023, see abbavoyage.com
lunes, 7 de noviembre de 2022
ABBA CELEBRATE 2.5 MILLION COPIES OF VOYAGE WORLDWIDE
Joakim Johansson (VD Universal Music Sweden), Benny Andersson, Görel Hanser (ABBA Manager) och Mia Segolsson (GM Polar Music International AB)
ABBA CELEBRA 2,5 MILLONES DE COPIAS DE VOYAGE VENDIDAS A NIVEL MUNDIAL
Ha pasado un año desde que ABBA lanzó su primer álbum de estudio en casi 40 años: Voyage. Desde entonces, el álbum ha vendido 2,5 millones de copias en todo el mundo y hoy el grupo recibió una placa por este hito, recibida por Benny Andersson.
Cuando se lanzó Voyage el año pasado, el álbum llegó directamente al número 1 en 18 países, incluidos el Reino Unido, Suecia, Francia, Alemania y Australia. ABBA también fue nominado tanto para un GRAMMY estadounidense por Grabación del año ("Todavía tengo fe en ti") como para un premio BRIT por Mejor grupo internacional. La banda también recibió el premio Government's Music Export Award 2021 y un premio Lovie ("2021 Special Lifetime Achievement Award"). Voyage también fue el álbum más vendido tanto en Alemania como en el Reino Unido en 2021.
Voyage fue el primer álbum de estudio de ABBA desde The Visitor, que se lanzó el 30 de noviembre de 1981. Al igual que los álbumes anteriores de ABBA, Benny Andersson y Björn Ulvaeus escribieron y produjeron todas las canciones de Voyage y las voces atemporales pertenecían, por supuesto, a Agnetha Fältskog y Anni- Frid Lyngstad.
En el nuevo álbum, los cuatro miembros de ABBA regresaron al estudio Riksmixningsverket de Benny en Estocolmo. Durante un período de cuatro años, grabaron las diez canciones del álbum. El álbum incluye "I Still Have Faith In You" y "Don't Shut Me Down", las cuales fueron las dos primeras canciones que se grabaron para el álbum. Ambas canciones se pueden experimentar en el concierto ABBA Voyage que se estrenó en el ABBA Arena de Londres en mayo de 2022, junto con los grandes éxitos de la banda.
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PRESSMEDDELANDE - 7 NOVEMBER 2022 15:39
ABBA FIRAR 2,5 MILJONER SÅLDA EXEMPLAR AV VOYAGE GLOBALT
Ett år har gått sedan ABBA släppte sitt första studioalbum på nästan 40 år – Voyage. Albumet har sedan dess sålts i 2,5 miljoner exemplar globalt och idag belönades gruppen med en plaque för denna milstolpe, mottagen av Benny Andersson.
När Voyage släpptes förra året gick albumet direkt in som #1 i 18 länder, inklusive Storbritannien, Sverige, Frankrike, Tyskland och Australien. ABBA nominerades också både till en amerikansk GRAMMY för Record Of The Year ("I Still Have Faith In You") och till en BRIT-Awards för Best International Group. Bandet tilldelades också Regeringens Musikexportpris 2021 och en Lovie Award (“2021 Special Lifetime Achievement Award”). Voyage var också det bäst säljande albumet i både Tyskland och Storbritannien 2021.
Voyage var ABBA’s första studioalbum sedan The Visitors, som släpptes den 30:e November 1981. Precis som tidigare ABBA-album så skrev och producerade Benny Andersson och Björn Ulvaeus alla låtar på Voyage och de tidlösa vokalerna tillhörde såklart Agnetha Fältskog och Anni-Frid Lyngstad.
På det nya albumet gick de fyra medlemmarna i ABBA tillbaka in i Bennys studio Riksmixningsverket i Stockholm. Under en fyraårsperiod spelade de in de tio låtarna på albumet. Albumet innehåller ”I Still Have Faith In You” och ”Don't Shut Me Down”, som bägge var de två första låtarna att spelas in till skivan. Båda låtarna kan upplevas på ABBA Voyage-konserten som hade premiär på ABBA Arena i London i maj 2022, tillsammans med bandets största hits.
ABBA CELEBRATE 2.5 MILLION COPIES OF VOYAGE WORLDWIDE
One year has passed since ABBA released their first studio album in nearly 40 years – Voyage. The album has sold 2.5 million copies worldwide and today ABBA was honoured with a plaque for this milestone, accepted on behalf of ABBA by Benny.
Joakim Johansson (MD Universal Music Sweden), Benny Andersson, Görel Hanser (ABBA Manager) and Mia Segolsson (GM Polar Music International AB)
7 NOVEMBER 2022 (TORONTO, ON) – When Voyage was released last year, it went straight to #1 in 18 countries, including the UK, Sweden, France, Germany and Australia. ABBA also received a U.S. GRAMMY nomination for Record Of The Year (‘I Still Have Faith In You’) and a BRIT Award-nomination for Best International Group. The band were also the winner of Swedish Government’s Music Export Award 2021 and were honored with the Lovie “2021 Special Lifetime Achievement Award”. Voyage was the #1 bestselling album of the year in Germany and biggest selling album in the UK in 2021.
Voyage was ABBA’s first studio album since The Visitors, which was released 30th November 1981. As with all previous ABBA studio albums, Voyage was written and produced by Benny Andersson and Björn Ulvaeus, their arrangements and lyrics complemented through the unmistakable and timeless vocals of Agnetha Fältskog and Anni-Frid Lyngstad.
The new album saw the four members of ABBA head back into Benny’s studio Riksmixningsverket in Stockholm over a four-year period to record the ten songs on the album. The album includes ‘I Still Have Faith In You’, and ‘Don’t Shut Me Down’, the first two songs recorded in these sessions, both featured in the ABBA Voyage concert that opened at the ABBA Arena in May 2022 in London, alongside a set-list of the band’s greatest hits.
About ABBA
With nearly 400 million albums sold worldwide, 17 No. 1 hits and over 16 million weekly global streams, ABBA are one of the world’s most successful music acts of all time. Ever since their breakthrough with ‘Waterloo’ back in 1974, ABBA’s music has captured the hearts of people all over the world. Today, the songs they created – written and produced by Benny Andersson and Björn Ulvaeus and interpreted vocally with passion and commitment by Agnetha Fältskog and Anni-Frid “Frida” Lyngstad – are regarded as an important part of the international music canon. In the 21st Century, ABBA are more popular than ever. ABBA Gold, originally released in 1992, recently passed its 1000th week on the UK Album Chart, the first album in history to reach this milestone. Content using the ABBA hashtag on TikTok recently reached over four billion views, with different songs from the immense catalogue trending on the platform. ABBA was inducted into the Rock N’ Roll Hall of Fame in 2010, and ‘Dancing Queen’, one of their most beloved songs, was added to the GRAMMY Hall of Fame in 2015. In 2021 the band made its grand comeback after 40 years with the album Voyage, and in 2022 the ABBA Voyage concert opened in London.
photo. Tover Floss
miércoles, 26 de octubre de 2022
viernes, 14 de octubre de 2022
jueves, 22 de septiembre de 2022
lunes, 22 de agosto de 2022
Abba Arena Auditorium - Xylotek
Abba Arena Auditorium
DEMOUNTABLE CLT THEATRE STRUCTURE
The ABBA Arena Auditorium forms the seating areas for the ABBA Voyage concerts, as well as incorporating entrance and bar areas, vertical circulation, fire escape corridors, and technical zones. It has a footprint of about 80 x 50m, is four storeys tall, and consists of 1650 unique cross laminated panels of dimensions up to 9.9m long. It sits within, and structurally independent of, the steel-framed enveloping walls and roof of the arena.
Xylotek joined the project team during its design development, initially as design consultants, to develop a solution wholly in mass timber (as an alternative to a steel framed approach). Having proven the viability for a cost-effective, demountable, scheme in cross laminated timber, we then were appointed for its full design, fabrication and installation. We worked with CLT supplier Hasslacher who produced and machined each of the unique panels which were delivered, just-in-time, in batches to the Stratford site.
The original scheme had around 144 tonnes of steel + 630m3 of CLT; our scheme has 900m3 of CLT which approximately halves the embodied carbon
The project presented exciting challenges. The non-orthonogal design – derived from the overall hexagonal form of the Arena - added significant geometric complexity compared to more conventional regular orthogonal CLT structure. We therefore established a rigorous process of 3d geometric modelling and data handling, integrating fabrication and install-sequence information into the model from the outset, and working closely with Hasslacher to provide CADCAM ready data. Given the geometric complexity, it was decided that a separate installation drawing was needed every panel. These were produced with programming help from Mule Studio.
Another challenge was to maximise the ease of disassembly of the structure to allow for its future relocation. CLT panels are typically joined together with lots of large screws which are challenging to remove. To address this, we developed – with our subconsultant engineers Corbett & Tasker - a system that mainly uses bolted connections. The use of glulam ‘ledger’ elements and ‘Idefix’ recessed connectors –combined to enable adjoining CLT panels to be structurally joined, even when one face is inaccessible. We believe this approach has broader potential for lifecycle considerations of CLT buildings in making dismantling and reuse of CLT panels possible (and so keep its captured carbon out of the atmosphere for longer).
The 600 tonne auditorium structure has no groundworks! Driven again by the need for demountability, the CLT structure is carried on over 300 JackPad portable foundations which sit directly on the tarmac of the existing car park on the site. Each JackPad wast adjusted vertically to account for variation in the carpark level and keep the CLT structure level. The large number of pads means that bearing pressures are kept low. The auditorium is thus wholly demountable.
The fire protection of the CLT was of critical importance and was achieved through spray-applied spread-of-flame treatments (applied by ATOL Construction). This was applied partly in-situ on the assembled structure, and partly onto panels pre-assembly (in a neighbouring marquee) for panels where accessibility would be difficult when assembled.
The Arena, located in Stratford, London, hosts the virtual ABBA Voyage concerts, and is designed to be demountable for future relocation. Xylotek also carried out the production of the external timber raincreen.
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