研究生: |
葉奕德 I-Te Yeh |
---|---|
論文名稱: |
中型梯田式音樂廳設計之個案討論 A Case Study on the Medium Size Vineyard Terraced Concert Hall Design |
指導教授: |
江維華
Wei-Hwa Chiang |
口試委員: |
徐茂濱
Mau-Pin Hsu 許晏堃 Yen-Kun Hsu |
學位類別: |
碩士 Master |
系所名稱: |
設計學院 - 建築系 Department of Architecture |
論文出版年: | 2011 |
畢業學年度: | 99 |
語文別: | 中文 |
論文頁數: | 73 |
中文關鍵詞: | 梯田式音樂廳 、第一道反射設計 、聲學設計 、電腦模擬 |
外文關鍵詞: | vineyard terraced concert hall, reflective surface, acoustical design, computer simulation |
相關次數: | 點閱:373 下載:12 |
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自從柏林愛樂音樂廳首度設計為梯田式音樂廳以來,越來越多梯田式音樂廳產生。然而此類型案例大多集中在2000人以上的大型音樂廳,另一方面,中型梯田式音樂廳的設計案例則較為缺乏。以往中型音樂廳採用矩形廳設計為主,但隨著舞台周圍環繞座席佔整體座席的比例逐漸增高,舞台周圍座席較差的音響品質成為無可忽視的問題。
本研究針對座席數為1200人的中型環繞型音樂廳進行設計,採用梯田式音樂廳規劃,探討第一道反射面位置設計、側牆設計與舞台周圍環繞座席聲音品質之間的關係,並以電腦執行模擬及驗證。
研究結果顯示,由於大部分演奏樂器具有指向性,造成舞台周圍座席的相對音壓級較低,側向音能比也較差。為因應此問題,若能妥善設計第一道反射面的位置、高度及角度,將可有效控制初期反射,並提高相對音壓級與側向音能比。
然而,為了改善舞台周圍座席聲音品質而設計反射面後,卻造成音樂廳中後段的聲音能量下降,降低聲音品質。為此,透過高側牆的反射面設計,提供反射能量,以補足降低之能量及品質。
Since Berlin Philarmonie was first designed to be a vineyard terraced concert hall, there were more and more vineyard terraced concert halls built up after it. However most part of these halls were concentrated in large size that contained more than 2000 seats. On the other hand, there are still lack of design case for medium size vineyard terraced concert hall. In the past, medium size halls were mainly designed to be shoebox types, but as the increasing ratio of seats surrounding the stage to the whole seats, the problem of poor sound quality for surrounding seats should be paid more attention.
This research focus on the design of a medium size arena hall with 1200 seats. It was designed to be a vineyard terraced type, which discussed the relation among the position of the first reflective surface, side wall design, and sound quality of the seats surrounding the stage. The simulation progress was performed by computer program to ensure the design strategy.
The obtained result point out that most musical instruments have directivity which causes smaller sound press level and lateral reflective sound energy of the seats surrounding the stage. To deal with this problem, the position, height, and angle of the first reflective surface should be designed properly so that the early reflection can be controlled well to increase the sound pressure level and lateral reflective energy.
However, as the first reflective surface was adopted to improve the sound quality for the seats surrounding the stage this lead to the sound quality and sound pressure level become weaker in the middle and rear part of the hall. In order to make up for the disadvantage of sound quality and sound pressure level, we design a high side wall to produce reflective sound energy.
中文文獻
1﹒期刊、論文
A1﹒陳以侖(2005) 梯田式環繞形音樂廳中幾何特徵對聲學影響之初探。國立台灣科技大學建築研究所碩士論文。
A2﹒許宴堃(1999) 獨奏廳建築環境與舞台音響性能之關係。國立台灣科技大學建築研究所碩士論文。
A3﹒林葳(2008) 具環繞型座席之室內樂廳最佳化設計-以聲源指向性為考量。國立台灣科技大學建築研究所博士論文。
A4﹒黃崑煌(2009) 扇形音樂廳對觀眾席音能量分佈的影響。國立台灣科技大學建築研究所碩士論文。
2﹒書籍
B1﹒車世光、王炳麟、秦佑國著(1991),建築聲環境。台北,淑馨出版社。
B2﹒北京聲學學會編(1989),工程聲學(Ⅰ)。北京,北京大學出版社。
B3﹒賴榮平、林憲德、周家鵬編著(1991),建築物理環境。台北,六合出版社。
外文文獻
1﹒期刊、論文
C1﹒Marshall, A. H. (1967) A Note On The Importance Of Room Cross-Section In Concert Halls,Journal Of Sound And Vibration, Vol.5.
C2﹒Toyota Yasuhisa1, Oguchi Keiji, Motoo Komoda (2007) Acoustical Design of New Concert Hall in Mariinsky Theatre, 19th INTERNATIONAL CONGRESS ON ACOUSTICS, MADRID. No.1.
2﹒書籍
D1﹒Barron, M. (1993) Auditorium Acoustics and Architectural Design, E & FN SPON, London.
D2﹒Leo L. Beranek (1996) Concert and Opera Halls: How They Sound, Acoustical Soc. Of American.