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Recent developments in acoustical design process》.pdf
Applied Acoustics 31 {t990) 7-28
Recent Developments in Acoustical Design Process*
A. H a r o l d Marshall
Acoustics Research Centre, University of Auckland.
Private Bag, Auckland, New Zealand
A BS TRA C T
A discussion of the context of concert hall design process, which defines and
limits the role of physical science and related linear activity, isfollowed by a
review of the state of knowledge of audience and performer preference. A
strategy for design is illustrated by the Orange County Performing Arts
Centre which opened in 1986. Alternative strategies are discussed and recent
developments in acoustical modelling as an interactive design aid are
described. Finally, an application of the new techniq,Le in the halls of the Hong
Kong Cultural Centre is reported.
OVERVIEW
To make sense of comment on concert hall acoustics in all its diversity, and
to put the efforts and technique which will be discussed here in perspective,
some general observations may be useful. Concert hall design, the process by
which a concert hall--the most expensive Arts hardware of the twentieth
century at $20 000-60 000 per seat--is decided in all its detail, is, I believe,
unique in its complexity.
That twentieth century communities are prepared to spend such vast sums
loads the project with a significance far beyond that of almost any other
urban structure. Perhaps museums or art galleries are comparable, or
perhaps the accommodation of the National Legislature, but such edifices
are not then subject to critical comment, week in, week out, for years after
their
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