Highly appreciated concert halls have their own acoustic signature. These signatures may not often be consciously appraised by general audiences, but they have a significant impact on the appreciation of the hall. Previous research indicates that two of the most important defining elements of a hall’s acoustic signature are (i) the reflection sequence and relative reflection levels at the listener position and (ii) the perceptibility of the reflections based on perception thresholds. Early research from Sir Harold Marshall identified the importance of unmasked early reflections to enhance a concert hall’s acoustic signature. The authors see an opportunity to extend the existing research by further examining the sequence of unmasked reflections. By analysing the cross-sections of three concert halls, this manuscript quantifies potential links between a hall’s architectural form, the resultant skeletal reflections, and the properties of its acoustic signature. While doing so, the manuscript identifies potential masking reflections through visual and analytical assessment of a hall’s skeletal reflections. It is hypothesized that the “rhythm” of the reflection sequence could hold key insights into the hall’s “personality” and acoustic signature. If so, this could present new design tools and considerations for new concert halls and the diagnosis of underperformance in existing halls.
Traditional ray tracing software tools (e.g. Odeon, CATT-Acoustic, EASE) enable detailed analysis of stage acoustics; however, they are typically undertaken in later design stages and lack the flexibility required for early design development. This paper, which follows from a poster presentation at ISRA 2019, investigates the use of a three-dimensional modelling platform (Rhinoceros/Grasshopper) to quickly assess the influence of architectural changes on reflections that support orchestral ensemble. This approach enables immediate feedback, a more creative design process and better integration of architecture and acoustics. Early reflections have been found to be vital for effective orchestral ensemble. Therefore, the study focused on the investigation of early energy distribution on stage with ray tracing analysis using a parametric tool. This tool also considers cross-stage shielding effects from the orchestra and the directivity of instruments. The results of the tool have been compared to an existing acoustic modelling software to determine its accuracy and reliability. Additionally, the expansion of the tool with an evolutionary solver has also been explored. The development of a Rhinoceros/Grasshopper design tool has been found to be beneficial in the analysis of stage conditions and enhances the design collaboration during early design phases.
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