简历

　　1981－1989 在德国汉诺威大学建筑系学习，直至完成硕士学业

　　1983－1990 在汉诺威大学建筑物理系从事科研工作

　　1990 　　加入位于德国慕尼黑普列尼格的Mueller-BBM

　　1995　　 成为Mueller-BBM合作者

　　1997　　Mueller-BBM亚洲区经理

　　1998　　兼职德国汉诺威大学建筑设计与施工专业讲师

　　2000至今　　Mueller-BBM国际有限公司总经理

报告简介

Development of Opera Houses and Concert Halls
歌剧院及音乐厅的发展

　　Opera Houses are strongly reflecting the time epochs when they have been created. The political situation in the respective country is one of the main influencing factors for shape and also the size of the Opera Houses. In former times the typical “royal” horse shoe shapes have been built to serve the needs of the political surrounding. One of the earliest samples is the Opera la Fenice in Venice (1637). The typical criteria of these Operas is to care about the visible and audible quality for the “main seats” inside the kings box only. Most of the other seats specially in the side areas of the Opera House were with poor or even without sight lines to the stage.
　　歌剧院的设计建造非常能反映时代特征。其中，各国的政治局势是歌剧院形状、大小的主要因素之一。近代所流行的马蹄型就是为了适应政治氛围的需求。最早的例证就是威尼斯歌剧院（1637年建造）。这些歌剧院的一般标准都是制关注国王包厢的‘主座’位置的视听效果。其他区域的大部分座位，尤其是歌剧厅内的边区，其座位视线要么较差，要么根本没有。

　　With upcoming political changes to democracy the shape and seat arrangements of the Opera Houses started to be modified. One of the earliest examples of the so called “democratic styles” was the Festspielhaus in Bayreuth (1876). In the new designs it was specially taken care to guaranty even acoustic condition for each seat on a high level. Frontal Opera Houses were created and where the curved shape should be kept, the problematic side boxes were transformed into open balconies with positive sight lines and good direct sound distribution.
Nowadays the request for rebuilding the ancient style Opera Houses is very strong and the challenge for architects and acoustician is to combine the old style with the today’s demands.

　　随之政治逐渐向民主过渡，歌剧院的形状和座位布局也开始有了改观。最早被称为具有民主风格的歌剧院是贝若特节日剧院 （德国，建于1876年）。新式设计保证了每个座位的平均高品质声学音效。歌剧厅建为正面，在需要保留曲线的部位，原先有视线问题的包厢被改造为具有良好视线和直声分布的开放式楼座。如今，重建古式歌剧院的需求十分强烈，建筑设计室和声学工程师所面临的挑战是如何将古风和现代需求完美融合。
　　Concert Halls have been typically created as so called shoe box types. Over the time many of this rectangular halls have been built, showing nearly uniform aesthetic and acoustic conditions. Performances in such halls are not giving any surprise concerning the listening experience of the audience. Once you have listened to a performance of an orchestra in one shoebox, you can estimate how they sound in the other rectangular venue even before the performance. Reflection pattern in such halls are not much varying, because of the rectangular shape with similar length’s, width’s and heights.

　　传统音乐厅都采用鞋盒式构造。长期以来，许多音乐厅都被建为鞋盒式，展现了统一的美学和声学状态。此类音乐厅内的表演丝毫无法给予令观众惊喜的听觉体验。只要你去一个鞋盒式音乐厅看过一次某交响乐团的演出，你就可以在下一次类似长方形厅堂内进行的演出作出听觉感受预估。由于长方形造型厅堂的长宽高类似，其声反射模式不会有太大变化。

　　Starting with the famous design of The Berlin Philharmonic Hall from Hans Scharoun (1963) a new age of architectural and acoustic Concert Hall design started. This hall was showing an extraordinary layout giving the necessary early reflections in a large newly designed shape. The architectural and acoustical design is compared with the rectangular hall very complex and sophisticated. The creation of halls with this new listening impression needs a high degree of experience for architect and acoustician. Since that time many famous halls for example the Walt Disney Concert Hall in Los Angeles designed by Frank Gehry (2003) have been built.

　　从建筑大师汉斯·雪龙（1963）的著名设计－柏林爱乐音乐厅开始，建筑与声学音乐厅设计进入了一个新的时代。此厅展示了卓越的布局，在宽阔新型的造型中给予了必要的早期反声。与原先的长方形厅堂相比，该厅的建筑和声学设计显得精密而复杂。创作具有全新声学体验的厅堂需要建筑设计师和声学工程师的丰富经验。此后依次造型建造了许多著名音乐厅，如位于洛杉矶的沃尔特·迪斯尼音乐厅（Frank Gehry 2003年建造）。