作品集
Concert Hall Acoustic Consultant Indonesia: RuBIK Theater and Concert Hall Jakarta Case Study
Creating a world-class theater or concert hall requires more than exceptional room acoustics. At RuBIK Theater and Concert Hall Jakarta, ALTA Integra worked alongside Shimizu Corporation and Nagata Acoustics Japan to review building acoustic performance, sound isolation, HVAC noise control, and environmental noise mitigation.
本案例研究探讨了在满足NC-20至NC-25性能标准、控制发电机和机械系统噪声，以及营造能够支持现场演出、录音和广播级制作声学环境方面所面临的挑战。
印尼的新文化地标
当人们走进音乐厅或剧院时，通常会注意到建筑结构、舞台、表演者以及空间的氛围。很少有人会想到隐藏在墙体内部的隔音措施、地板下方的振动控制，或是为防止机械噪音干扰演出而采取的声学工程措施。
然而，这些看不见的因素往往决定了演出场地的成败。
In 2024, ALTA Integra had the opportunity to contribute to one of Indonesia's most ambitious performing arts developments: RuBIK (Rumah Budaya Indonesia Kaya), a new theater and concert hall complex located in Permata Hijau, Jakarta.
Designed by SHAU Architects, interior design by Domisilium, structural engineering by Davy Sukamta & Partners, and MEP engineering by Meinhardt, with acoustic design by Nagata Acoustics Japan and ALTA Integra the project is envisioned as a major destination for Indonesia's growing performing arts community.
该项目包括：
一座拥有1,200个座位的主剧场兼音乐厅
一座拥有300个座位的黑匣子剧场
排练和教育场所
展览设施
支持文化和社区活动
Currently under construction, RuBIK represents a significant investment in Indonesia's cultural future and demonstrates the increasing demand for world-class performance venues throughout the region.
For ALTA Integra, our role focused on reviewing critical building acoustic and environmental noise aspects to support an exceptional audience experience and achieve stringent NC-20 to NC-25 background noise criteria.
我们的工作范围包括：
所有空间背景噪声标准审查
环境噪声评估
建筑声学性能评估：STC与OITC评估
暖通空调噪声控制：机械噪声与电气噪声的减缓措施
建筑物产生的噪音对邻近社区的影响
这些话题听起来可能非常技术性，但归根结底，它们只有一个简单目的：
为了确保观众能听到演出——而不会听到其他任何声音。
AI Generated Architectural Rendering of RuBIK Concert Hall and Theater Jakarta
为什么声学设计在表演艺术场馆中至关重要
音乐厅和剧院是世界上对声学要求最高的建筑类型之一。
与办公室、酒店、零售中心或商业建筑不同，演出场馆的设计旨在满足对声学要求极高的场合。
即使是以低语形式说出的台词，观众也必须能听清。
小提琴独奏的音色必须细腻而清澈。
合唱团的演唱必须让人能够全神贯注地聆听。
戏剧性的停顿应该让人感觉完全寂静。
在许多情况下，在公司办公室里可以接受的背景噪音水平，在音乐厅里却变得无法接受。
要打造这些环境，需要建筑师、声学顾问、结构工程师、机电工程师、室内设计师以及建筑物理专家从设计初期就开始密切合作。
在雅加达这样的高密度城市环境中，这一挑战变得更加严峻，因为这里的交通、交通系统、商业活动和建筑设施会不断产生噪音。
在喧嚣的城市中营造宁静绝非易事。正因如此，音乐厅声学顾问才发挥着至关重要的作用。
在施工阶段，赫温·古纳万对隔音包层的技术图纸和样机安装进行了评估，以确认规定的隔音处理措施已正确实施。
印度尼西亚的音乐厅声学顾问具体负责什么工作？
许多人都熟悉建筑师和工程师，但了解音乐厅声学顾问这一角色的人却不多。
音乐厅声学顾问协助设计能够让表演者、导演、作曲家和观众如实体验声音的空间。
这通常包括：
房间声学设计
隔音设计
建筑声学评审
暖通空调噪声控制
振动控制
环境噪声评估
声传导分析
绩效标准制定
声学仿真与建模
在印度尼西亚，这些挑战往往因密集的城市环境、热带气候条件以及需要全年运行的大型机械制冷系统而进一步加剧。
因此，印度尼西亚音乐厅的声学设计需要同时兼顾建筑理念、观众舒适度、环境责任以及卓越的声学效果。
在城市环境中建造文化地标所面临的声学挑战
Located in the vibrant urban district of Permata Hijau, Jakarta, RuBIK Theater and Concert Hall is surrounded by residential neighborhoods, commercial developments, transportation networks, and the constant activity of a modern city. While this location offers excellent accessibility and cultural visibility, it also presents one of the most demanding acoustic challenges in performing arts design.
实现NC-20至NC-25级：静音设计
One of the most demanding acoustic performance requirements for RuBIK was achieving an exceptionally low indoor background noise level of NC-25 within the main theater and concert hall, with certain operational scenarios aspiring toward NC-20 performance conditions.
对于不熟悉声学的人来说，NC（噪声标准）是一种国际公认的评级体系，用于评估由空调系统、通风设备、水泵及其他机械系统等建筑设备产生的室内背景噪声。NC值越低，环境越安静，通常仅适用于需要进行关键聆听的空间。
在表演艺术场馆中，实现较低的NC值不仅对观众的舒适度和音乐欣赏体验至关重要，对于支持专业音频录制、直播、电视制作以及数字内容创作也变得日益必要。现代音乐厅和剧院不仅需要服务现场观众，还需通过电视转播、在线流媒体平台、存档录音以及混合型活动等方式，为远程观众提供服务。
在录音或现场直播过程中，即使是暖通空调系统发出的细微背景噪音，也可能被灵敏的麦克风捕捉到，从而降低音频清晰度，并增加后期制作的难度。正因如此，许多世界级的演出场馆都将环境噪音控制标准设定在NC-20至NC-25之间，以确保现场观众和远程听众都能体验到最佳的音质。
At RuBIK, maintaining stringent background noise criteria was therefore critical not only for theatrical and musical performances, but also for supporting future recording, broadcasting, and digital media applications that are increasingly becoming part of contemporary performing arts venues.
NC-25 实际听起来是什么样的？
NC-25 代表了一种极其安静的室内环境，这通常是高性能表演艺术场馆所必需的，因为在这些场馆中，哪怕是微小的背景噪音都可能影响观众的体验。
供参考：
典型办公环境：NC-35 至 NC-45
酒店客房：NC-30 至 NC-35
高性能剧院或音乐厅：NC-20 至 NC-25
在NC-25，机械系统几乎完全隐于无形。空间变得异常安静，观众得以细细品味演出中的最细微之处——从小提琴琴弦的细腻共鸣、钢琴音符的自然衰减，到舞台上最轻柔的戏剧对白。
虽然NC-25在技术规格表上看起来可能只是一个数字，但要达到这一标准绝非易事。这需要在整个设计过程中，声学顾问、建筑师和机电工程师之间进行密切合作。必须对每条风管、每个风口、每台空气处理机组、每台风机以及每个机房进行仔细评估，以确保建筑本身不会对声学性能造成干扰。
让城市留在外面，别进音乐厅
音乐厅应该让观众仿佛置身于另一个世界。然而，在雅加达这样的密集城市环境中，城市本身不断产生着各种声音。
交通流动、摩托车、公交车、配送车辆、商业活动以及一般的城市生活，共同构成了周围的声音环境。如果没有适当的隔音措施，这些外部噪音就会渗入演出空间，甚至会破坏精心设计的声学环境。
For RuBIK, particular attention was given to the building envelope and sound isolation strategy to ensure that external noise remains outside where it belongs. During a quiet orchestral passage or a dramatic theatrical pause, audiences should hear only the performance—not the city beyond the walls.
降低暖通空调及建筑产生的噪音
打造一个安静的音乐厅，不仅仅在于阻隔外界噪音进入厅内。同样重要的是控制建筑本身产生的噪音。
在演出场馆中，机械和电气系统往往是产生背景噪音的主要来源之一。如果设计不当，空调设备、通风系统、制冷设施、水泵和应急发电机都可能产生不必要的噪音和振动。
因此，暖通空调（HVAC）降噪成为声学审查流程中的关键环节。面临的挑战在于，在满足大型观众厅所需的空气流通和热舒适度的同时，还要符合严格的NC-25声学标准。
通过精心设计声学方案、选型设备、实施隔振与降噪措施，并与更广泛的设计团队通力协作，该项目力求在运营需求、观众舒适度及社区福祉之间取得平衡。
归根结底，要打造成功的音乐厅声学效果，仅靠出色的空间设计是不够的。这需要采取一种综合性方法，将建筑、声学、机械工程和环境责任有机结合，从而打造出既能激发文化灵感，又具备卓越声学性能的空间。
针对给排水及暖通空调风管的隔音包层样件审查，旨在抑制噪音外泄、减少侧向声传播，并满足剧院和音乐厅的隔音性能要求。
第一部分：音乐厅的隔音与建筑声学性能
One of ALTA Integra's primary tasks was reviewing the building's sound isolation performance. When discussing acoustic quality, people often focus on room acoustics such as reverberation and sound reflections.
然而，要使厅堂声学效果发挥正常作用，必须先解决隔音问题。如果外部噪音渗入厅堂，即便是最理想的厅堂声学设计也无法弥补这一缺陷。同样，如果响亮的演出声音传入相邻空间，很快就会引发运营冲突。
了解 STC
此次审查的一项主要内容是评估隔声等级（STC）的性能。STC用于衡量墙体、隔断、楼板或建筑构件阻隔空气传声的效能。例如：语音、音乐、扩音声音以及人群噪音。
STC值越高，隔音效果越好。对于表演艺术场馆而言，这一点在以下情况之间尤为重要：
剧场及大堂区域
音乐厅及辅助空间
排练室和教室
技术室和观众区
黑匣子剧场及相关功能
本项评估旨在考察建筑构件能否实现必要的声学隔离，以确保多项活动能够同时进行。
超越STC：OITC的重要性
该项目的一个有趣之处在于对“室内外传声等级”（OITC）的评估。虽然“标准传声等级”（STC）在建筑师和工程师中广为人知，但OITC却往往未受到足够重视。
然而，对于城市文化建筑而言，OITC同样至关重要。OITC主要针对低频噪声源，例如：
道路交通
卡车
重型车辆
机械设备
城市环境噪声
这些较低的频率往往比语音频率更难控制。
在STC测试中表现良好的幕墙系统，未必能提供足够的低频隔离效果。这一点在演出场馆中尤为重要，因为在音乐演奏的安静段落中，即使是远处传来的交通轰鸣声也可能变得十分明显。
我们的评估研究了建筑围护结构如何有助于在关键演出空间内维持适宜的声学环境。
第2部分：暖通空调噪音控制——每个顶级演出场馆背后隐藏的声学挑战
当人们想到音乐厅的声学设计时，通常会联想到优美的建筑形态、精心雕琢的墙面、悬挂的声学反射板，或者知名声学专家的专业造诣。
很少有人会想到空调风管。然而，在剧院、礼堂、宗教场所和演出场馆工作多年后，我发现一些最大的声学挑战往往隐藏在天花板上方。
事实上，演出场地无法达到声学目标的最常见原因之一，与房间声学毫无关系。通常是暖通空调系统的问题。
讽刺的是，观众很少会注意到设计精良的暖通空调系统，因为它们本就不该引人注目。最优秀的暖通空调系统实际上是“隐形的”。它们默默地提供舒适的室内温度，却不会引起人们的注意。
遗憾的是，如果暖通空调系统的噪音得不到妥善控制，每个人都会注意到。
一段轻柔的管弦乐段落突然与低频的轰鸣声交织在一起。戏剧演出中一个戏剧性的停顿，被空气扩散器发出的嘶嘶声打断。录音过程中，意外录入了本不该出现在表演中的机械噪音。
就在那一刻，建筑发出了声响。而这正是声学设计师竭力想要避免的。
为什么在表演空间中“沉默”很重要
当人们了解到音乐厅或剧院里应该保持多么安静时，大多数人都会感到惊讶。
对于许多类型的建筑而言，一定程度的背景噪音是可以接受的。办公室可以容忍交谈声、电脑风扇声和空调噪音。购物中心本就应该热闹非凡。交通枢纽自然会比较嘈杂。
音乐厅则不同。
在音乐演出中，观众听到的声音可能极其细腻。小提琴以极弱音演奏的乐声、钢琴音符的自然衰减、合唱团的共鸣，或是戏剧表演中的一句低语，都可能被建筑物本身产生的背景噪音所掩盖。
房间越安静，机械噪音就越明显。这就是为什么高性能影院和音乐厅通常会设定严格的背景噪声标准，例如NC-25甚至NC-20。
要实现这些目标，仅靠选择低噪音设备远远不够。这需要对整个机械系统中声音的产生、传播和感知过程有全面的了解。
暖通空调系统：一个隐形的声源
从声学角度来看，暖通空调系统就像是由相互连接的噪声源组成的复杂网络。每个组件都有可能产生不需要的噪音。
有些声源显而易见，而有些却出人意料地难以识别。难点在于，即使每个单独的声源看似符合要求，其综合效应仍可能超过该空间的声学标准。
因此，了解暖通空调噪音的来源是控制噪音的第一步。
气流噪音
最常见的声学问题之一是，当空气通过风管、风口或出风口时流速过快。随着气流速度的增加，会产生湍流。这种湍流会产生噪音。
大多数人都有过这种体验，却并未意识到。站在普通办公楼的送风口下方，你可能会听到一阵轻柔的呼啸声。在许多商业建筑中，这种情况完全可以接受。
然而，在音乐厅里，同样的噪音却可能会成为问题。
对于演出场地，风管尺寸和送风策略通常必须优先考虑较低的空气流速。较大的风管和经过精心设计的送风系统有助于减少湍流，并将气流产生的噪音降至最低。
面临的挑战在于，较大的风管需要更多空间，这给与建筑设计、结构、照明及其他建筑设施的协调带来了困难。
这就是为什么应在设计过程的早期阶段就将声学考量纳入其中，而不是等到天花板布局已经确定之后再加以处理。
风扇噪音
在暖通空调系统中，风扇通常是主要的噪音源。
无论位于空气处理机组、风机盘管机组、排风系统还是通风设备内部，风机都会产生宽带噪声和调制噪声，这些噪声可通过风管网络传播相当远的距离。
如果不加以适当处理，风扇噪音会直接传入演出空间。理解风扇噪音的一个有效方法是，想象将一个扬声器放置在风管系统内。风管本质上就成了声音从一处传播到另一处的通道。
正因如此，消音器、隔音衬里、设备选型以及合理的系统设计才成为暖通空调声学工程中不可或缺的组成部分。一个安静的音乐厅，往往始于一个安静的机房。
风管共振与低频噪声
低频噪声是建筑设计中最具挑战性的声学难题之一。与高频声音不同，低频能量能够高效地穿过宽阔的空间和建筑结构。
而且，人耳更难忽略这种噪音。在演出场馆中，低频暖通空调噪音通常被描述为：
一阵轰鸣声
一阵嗡嗡声
一架无人机
遥远的震动
困难之处在于，室内人员可能并未有意识地听到这种声音，但他们仍然能感知到它。这会降低声音的清晰度，并随着时间的推移加剧听者的疲劳感。
低频控制通常需要对设备选型、风管设计、隔振措施以及建筑声学处理进行周密的协调。
这也是为什么实现NC-25比许多人最初预期的要困难得多。
终端设备噪声
暖通空调系统的最后阶段是处理过的空气进入使用空间的环节。这通常是通过送风扩散器、风口、缝隙出风口或其他终端设备实现的。
即使中央暖通空调设备运行时非常安静，如果末端设备选型不当，也会成为局部噪声源。由于这些设备直接位于观众席正上方，因此即使是相对较小的噪声也会变得十分明显。
在演出空间中，扩散器的选择往往既涉及声学考量，也涉及机械考量。其目标是在有效分布气流的同时，在声学上保持“隐形”。
当效果理想时，观众会感到舒适，却完全察觉不到气流是从哪里吹来的。
机械振动
并非所有暖通空调噪音都是通过空气传播的。其中一部分是通过建筑结构本身传播的。机械设备产生的振动，如果未得到妥善隔离，就会通过结构构件传播开来。
这种现象被称为结构传声。
在某些情况下，几层楼之外的机房产生的振动，在剧院或音乐厅内可能会被听到。振动源看似遥远，但其影响却出人意料地明显。
为应对这一挑战，工程师们通常会采用以下方法：
弹簧隔振器
橡胶隔振支架
惯性基
柔性风管连接
浮式设备平台
这些系统有助于防止振动传入建筑结构，并避免在关键聆听空间内产生可听见的振动。
第3部分：建筑物产生的噪音对周边社区的影响
本次评估的一个关键目标是评估发电机噪音对周边居民区可能产生的影响。我们不仅关注设备本身，还考虑了声音如何传播到场地边界之外。
这一视角之所以重要，是因为环境噪声性能应从接收者的角度进行评估。归根结底，噪声控制成效的衡量标准不在发电机房，而在于周边社区。
发电机噪音：保护周边社区
环境噪声领域最重要的议题之一涉及应急发电机系统。备用发电机对大型公共设施而言至关重要。然而，它们也是建筑物内噪音最大的设备之一。
在许多项目中，发电机噪音在项目投入使用后往往成为社区投诉的源头。对于位于城市社区内的文化设施而言，这一风险更为突出。发电机噪音之所以难以应对，是因为它会同时产生多种噪音：发动机噪音、冷却风扇噪音、进气噪音、排气噪音以及结构传导振动。
每种噪声源的表现各不相同，需要采取不同的降噪策略。仅安装隔音罩通常远远不够。一套全面的解决方案通常需要协调处理以下方面：声学百叶窗、消音器、排气系统、设备布局、隔振措施和隔音屏障。
ALTA Integra Acoustic Team with Shimizu Corporation Engineering Team
协作式设计领导力
一个高性能表演艺术场馆的成功，绝不仅仅取决于各专业领域各自为政。音乐厅和剧院属于技术要求最高的建筑类型之一，需要建筑师、声学顾问、结构工程师、室内设计师、机电工程师、承包商和业主从设计的最初阶段就开始通力合作，共同致力于实现一个共同的性能目标。
Under the project leadership of Shimizu Corporation, RuBIK assembled a highly collaborative multidisciplinary team comprising SHAU Architects, Nagata Acoustics Japan, Domisilium, Davy Sukamta & Partners, WSP, and ALTA Integra. This integrated approach created opportunities to identify and resolve acoustic challenges long before they became construction issues.
我们在各项项目中一再得到的一个教训是：声学问题如果发现得晚，处理成本会大幅增加。声学设计绝不应被视为收尾阶段的工作，也不应作为设计基本完成后才添加的一层内容。
最成功的项目都会从最早的规划和设计阶段就将声学考量融入其中。关于建筑体量、房间布局、结构体系、机械设备位置、立面设计以及建筑服务协调等方面的决策，都会对声学性能产生深远的影响。
For RuBIK, early collaboration between the design team enabled proactive discussions on sound isolation, HVAC noise control, vibration mitigation, environmental noise management, and performance venue acoustic criteria. This approach allowed potential challenges to be addressed during design development rather than through costly corrective measures during construction or after occupancy.
归根结底，这种积极主动且注重协作的工作流程，所取得的成果始终优于在安装完成后才试图解决声学问题。对于一个立志成为印尼顶级文化场馆之一的项目而言，早期协调不仅有益，更是必不可少的。
支持印尼表演艺术的未来
印度尼西亚的表演艺术生态系统正在不断演变。随着新文化机构的涌现和观众期望的提高，对高性能剧院和音乐厅声学效果的需求将持续增长。
Projects such as RuBIK demonstrate the importance of integrating architecture, acoustics, engineering, and building physics into a unified design process. Beyond creating a world-class venue, the project also reflects a broader cultural vision: preserving, promoting, and reintroducing Indonesia's rich artistic heritage to future generations.
As part of the Djarum Foundation's commitment to cultural development through Bakti Budaya, RuBIK represents more than a physical building. It is an investment in Indonesia's creative future and a platform for nurturing appreciation of traditional performing arts, opera, orchestral music, theater, dance, and contemporary cultural expression.
This mission is particularly relevant as a new generation of audiences emerges. While Generation Z is often associated with digital media, social platforms, and short-form content, there is also a growing interest among younger Indonesians in authentic cultural experiences, live performances, heritage, and artistic storytelling. Modern performance venues such as RuBIK can play an important role in bridging tradition and innovation—creating opportunities for younger audiences to engage with Indonesian culture, classical music, opera, and performing arts in meaningful and contemporary ways.
For ALTA Integra, participating in this project was an opportunity to contribute to a venue that has the potential to become a significant cultural landmark for Jakarta and Indonesia. By supporting an acoustic environment capable of delivering exceptional listening experiences, the project helps ensure that performers, musicians, educators, and audiences can connect through the power of sound and artistic expression.
尽管观众可能永远无法看到幕后进行的STC计算、OITC评估、暖通空调噪声研究、隔振系统或环境噪声评估，但这些看不见的工程决策却塑造着每一场演出的体验。
当幕布升起，观众全神贯注地沉浸在音乐、戏剧、舞蹈和艺术表达之中，不受任何干扰时，这座建筑便完全实现了其设计初衷。
归根结底，这正是音乐厅声学设计的终极目标：营造一种环境，让建筑融于无形，让技术隐而不显，让文化成为焦点，并让下一代能够以最佳方式体验印尼表演艺术遗产的丰富内涵。
ALTA Integra's Experience as a Concert Hall Acoustic Consultant in Indonesia
ALTA Integra provides acoustic consulting services for concert halls, theaters, auditoriums, performing arts centers, houses of worship, educational facilities, and other acoustically critical environments throughout Jakarta, Surabaya, Bandung, Bali, Yogyakarta, Medan, Makassar, and other cities across Indonesia and Southeast Asia.
As a Concert Hall Acoustic Consultant in Indonesia, ALTA Integra supports architects, developers, cultural institutions, universities, houses of worship, and government organizations in creating high-performance venues for music, theater, speech, recording, and broadcast applications.
我们的经验还涵盖为表演艺术中心、歌剧院、独奏音乐厅、交响乐厅、多功能礼堂、文化场馆、音乐教育设施以及符合广播标准的演出空间提供声学咨询服务。服务内容可能包括室内声学分析、混响时间优化、语音可懂度评估、电声系统协调、建筑声学、环境噪声控制、声学调试以及演出场馆声学设计。
我们的专业领域还涵盖声学总体规划、观众厅设计审查、声学性能验证、建筑设备声学、噪声与振动评估、幕墙声学设计、声学测量与测试，以及施工阶段的声学质量保证。这些服务有助于确保演出场馆从概念设计到施工及调试的整个过程中，都能实现预期的声学目标。
这些学科相互配合，共同打造出沉浸式的聆听环境，以满足现场演出、录音、流媒体和广播等应用的需求。
通过整合声学、照明、视听技术、可持续性及以人为本的建筑性能，我们协助项目团队打造不仅在技术上成功，而且对使用者而言富有意义的空间。
常见问题解答
音乐厅声学顾问的工作内容是什么？
音乐厅声学顾问致力于打造能够为音乐、戏剧、演讲、录音和现场直播提供卓越聆听体验的演出场所。其职责通常包括厅堂声学设计、隔音设计、暖通空调噪声控制、振动控制、环境噪声评估、声学模拟以及性能指标制定。
通过与建筑师、结构工程师、室内设计师以及机电顾问的紧密合作，音乐厅声学顾问有助于确保观众能够如预期般聆听演出，不受干扰噪音和其他干扰因素的影响。其目标是打造这样的空间：表演者能够清晰地传达艺术表达，而观众则能全身心沉浸于艺术体验之中。
在音乐厅中，NC-25是什么？
NC-25 指的是噪声标准等级为 25，这表明室内环境异常安静。该标准通常被用作高性能剧院、音乐厅、独奏厅及其他关键聆听空间的设计目标。
在NC-25级别下，空调系统、通风设备、水泵及其他建筑服务设施产生的背景噪声足够低，观众能够欣赏到细腻的音乐细节、自然的混响以及轻声的戏剧对话。许多世界级的表演艺术场馆都将目标标准设定在NC-20至NC-25之间，以同时满足现场演出以及专业录音或转播的需求。
为什么在剧院中控制暖通空调的噪音很重要？
暖通空调系统通常是剧院和音乐厅中最大的背景噪声源。气流湍流、风扇噪声、风管轰鸣声、风口噪声以及机械振动，如果控制不当，都会影响观众的观演体验。
即使是在安静的演出、音乐段落或戏剧性停顿期间，相对较小的暖通空调噪音也可能变得明显。有效的暖通空调噪音控制有助于保持较低的背景噪音水平，提高语音清晰度，保持音乐的清晰度，并保障录音和现场直播的质量。因此，声学顾问通常会与机电工程师密切合作，共同设计既舒适又在声学上不显眼的暖通空调系统。
STC 和 OITC 之间有什么区别？
STC（声传输等级）和OITC（室内外声传输等级）都是用于评估隔音性能的声学指标，但它们侧重于不同类型的噪声。
STC 主要用于衡量建筑构件阻隔空气传声（如说话声、音乐声以及一般的室内活动声）的效能。它通常用于评估墙体、楼板、门以及室内空间之间的隔断。
OITC 主要关注低频环境噪声，例如道路交通、卡车、飞机、铁路和机械设备产生的噪声。这对位于城市环境中的建筑立面和外墙尤为重要。
对于音乐厅和剧院而言，STC和OITC都至关重要。STC有助于控制建筑内部各空间之间的声音传导，而OITC则有助于防止外部环境噪声进入演出空间。
声学顾问应在何时参与项目？
理想情况下，应在项目规划和设计的最早阶段就聘请声学顾问。尽早介入，有助于在重大决策最终确定之前，将声学要求融入建筑布局、建筑体量、结构体系、立面设计以及机电工程方案之中。
在概念设计和方案设计阶段解决声学问题，通常比在施工期间或投入使用后采取补救措施要有效得多，也更具成本效益。尽早开展协作有助于避免耗资巨大的重新设计，提高项目性能，并确保在整个项目生命周期内成功实现声学目标。
对于剧院、音乐厅、礼堂、宗教场所、教育机构及其他对声学要求较高的场所而言，声学咨询在设计决策尚未变得难以更改或更改成本高昂之前就开始进行，其价值最为显著。
Makassar Cathedral: A Preliminary Study of Its Architectural History
Developing a concept design for historical architecture requires a delicate balance between strict preservation and modern performance. This phase is critical: one misstep in building physics can permanently damage a structure's cultural legacy.
This overview explores the preliminary design process for integrating architectural acoustics and lighting into heritage buildings.
Discover how we assess historic baselines, navigate conservation constraints, and develop non-invasive engineering frameworks that elevate both visual beauty and acoustic comfort while protecting the soul of the architecture.
Understanding the cathedral’s architectural evolution and historical significance to inform acoustic and lighting design.
Introduction: Understanding the Building Before Designing
Before considering acoustic and lighting interventions at Makassar Cathedral, I began by studying its architectural history. Every intervention takes place within a building that already has its own character shaped by earlier design decisions, successive transformations, and the people who have worshipped there. Understanding that history provides an essential foundation for deciding how new work can contribute sensitively to the cathedral’s future.
Officially known as the Church of the Sacred Heart of Jesus (Gereja Hati Yesus Yang Mahakudus), Makassar Cathedral is a place of worship whose architecture has evolved alongside its community. Across generations, its spaces have accommodated prayer, liturgical celebrations, and significant moments in the lives of its congregation. Its historical significance therefore extends beyond its façade and architectural style to the continuity of worship and the memories associated with the building.
This preliminary study asks three questions: what has changed, what remains, and what gives the cathedral its identity? Examining its successive architectural forms helps reveal how each generation responded to new needs while maintaining a connection to the church’s past. It also provides a basis for identifying features and spatial relationships that deserve particular consideration in future interventions.
For my subsequent acoustic and lighting work, this historical understanding establishes the context for design. Before determining how the cathedral should sound or be illuminated, I wanted to understand how it became the place it is today and which qualities should continue to shape its experience for generations to come.
Historical Context: The Cathedral and Its Community
Makassar Cathedral, officially known as Gereja Hati Yesus Yang Mahakudus or the Church of the Sacred Heart of Jesus, stands on Jalan Kajaolalido in central Makassar, South Sulawesi. Its significance extends beyond the congregation that worships there regularly. As the cathedral of the Archdiocese of Makassar, it houses the archbishop’s cathedra, or episcopal chair, and serves as a gathering place for major celebrations of the wider Catholic community. This role was evident during preparations for Archbishop Fransiskus Nipa’s installation in October 2024, when representatives from parishes across the archdiocese were expected to gather there.
The community’s history reaches further back than the present building. The archdiocese’s historical account traces Catholic activity in South Sulawesi to the sixteenth century and describes Makassar as a refuge for Catholics arriving from Portuguese Malacca during the seventeenth century. War and the subsequent consolidation of Dutch control disrupted this presence. The circumstances that eventually produced today’s cathedral emerged much later: colonial permission for Catholic missionaries to reside in Makassar was granted in 1891, followed by the arrival of Father A. Asselbergs, SJ, in 1892. His residence established a more regular basis for pastoral care and the gradual growth of the community.
A permanent place of worship became an important next step. In 1895, land and a house were purchased on Komedistraat, now Jalan Kajaolalido, at the location of the present cathedral. Historian Ahmad Yunani’s study records that the acquisition was supported by money borrowed from religious sisters in Semarang. The same study dates the church’s construction to 1898–1900. These beginnings reveal a building made possible through both local initiative and support from a wider Catholic network.
As the congregation expanded, the original building became inadequate. The parish’s published building history gives a particularly useful explanation of the enlargement initiated in 1939: the church had approximately 200 seats, insufficient for the assembled congregation, while its small sacristy and lack of confessionals and side altars also limited liturgical arrangements. The response involved alterations to the side walls, an enlarged sacristy behind the sanctuary, and additional facilities for worship. The expansion therefore addressed both the number of people attending and the practical requirements of parish life.
Adaptation continued in later decades. The parish account records that the balcony was replaced and enlarged in 1984 to accommodate approximately 120 people. This intervention illustrates how the cathedral’s capacity developed through successive adjustments, alongside the more conspicuous changes to its external appearance.
The recent expansion belongs to this longer history of responding to community needs. In 2018, church leadership and the council decided to pursue a further enlargement as the congregation continued to grow. Construction remained underway in October 2024, according to the parish priest’s contemporary account, and the cathedral was formally dedicated and inaugurated on 30 October 2025. By December 2025, the parish priest described the new worship space as accommodating approximately 1,000–1,200 people, with supplementary areas available for larger celebrations.
For my preliminary architectural study, this history suggests that the cathedral’s identity should be understood through the relationship between its building and its community. Successive generations have inherited a place of worship and adapted it to sustain their shared religious life. Understanding those decisions helps explain why the architecture changed—and provides a foundation for considering which qualities should remain meaningful as the cathedral continues to evolve.
The First Architectural Form: Neo-Gothic Origins
The earliest architectural form of Makassar Cathedral established a recognisable Gothic Revival character through its pointed openings, decorated gables, and slender pinnacles. Historical photographs show a relatively compact church whose architectural identity depended on the relationship between a simple main volume and carefully articulated details. These images provide an important starting point for understanding the building before its subsequent enlargements.
Construction and the People Behind the Building
Ahmad Yunani’s historical study places construction between 1898 and 1900, following the acquisition of the site in 1895. This chronology provides a useful working framework, although accounts differ on the precise commencement date. It should therefore be distinguished from a fully verified sequence of groundbreaking, construction, first use, and blessing.
The parish’s published building history attributes the original design to Swartbol, a military engineering officer. According to this account, he departed for Europe after the foundations had been completed. Responsibility then passed to S. Fischer, an irrigation specialist, while Thio A Tek, a Chinese contractor, undertook the construction. The same account records a delay while iron window frames were awaited from the Netherlands. These details reveal a building process involving several contributors and imported components, although their precise appointments and the spelling of their names remain subject to archival confirmation.
Reading the Original Façade
An early frontal photograph, catalogued by the Tropenmuseum collection as dating from 1900–1920, shows a composition organised around a central entrance. Above the doorway, a pointed decorative gable contains openwork ornament. Higher on the façade, a circular opening sits beneath the apex of the main gable, which is crowned by a cross. Slender pinnacles frame the composition and extend its upward emphasis.
The façade balances a broad, grounded wall surface with a sequence of vertical accents. The doorway establishes the human scale of arrival, while the ornament above it draws attention towards the upper façade. Its sense of height comes partly from this arrangement of openings, pinnacles, and the crowning cross.
Proportions, Openings, and Roofline
An oblique photograph catalogued as 1900–1919 reveals the building’s elongated body beneath a pitched roof. Tall, narrow pointed-arch windows recur along the side elevation, separated by projecting vertical wall elements. Small pinnacles punctuate the upper edges, while a slender open metal turret rises above the roof. Together, these features establish a repeated rhythm along the church’s length.
The parish history describes approximately twenty miniature towers as roof-edge ornament, alongside a small iron tower. This written description broadly corresponds with the repeated pinnacles visible in the early photographs.
Architectural Character and Religious Identity
Taken together, the photographs support describing the early church as Neo-Gothic in its architectural vocabulary. Pointed arches, pinnacles, openwork ornament, and the prominent cross gave the building a recognisable ecclesiastical character. This description concerns the features visible in the historical record.
For my historical study, the significance of this first form lies in how these elements worked together. I read the repeated vertical accents and rising central composition as expressions of aspiration, while the clearly defined entrance connected that symbolic character to the everyday act of entering a place of worship. This is an architectural interpretation of the surviving images, rather than a documented statement of the original designer’s intentions.
Understanding this early composition provides a reference for examining later transformations: which proportions and details survived, which were replaced, and how the cathedral’s religious identity remained legible as its architecture changed.
Makassar’s Roman Catholic church, now Makassar Cathedral, photographed between 1900 and 1919. Photographer unknown. Collectie Wereldmuseum (formerly Tropenmuseum), inventory TM-10016679, via Wikimedia Commons. Licensed CC BY-SA 3.0.
The Second Architectural Form: Expansion and a Changing Architectural Character
By the late 1930s, Makassar’s Catholic congregation had outgrown its original church. The parish’s building history records approximately 200 seats, insufficient to accommodate the community, together with a sacristy that had become too small and a need for confessionals and side altars. The enlargement addressed these practical requirements while substantially changing the building’s architectural composition.
The works are generally associated with the 1939–1941 period, although their precise chronology remains unresolved. Ahmad Yunani’s historical study identifies alterations beginning in 1938–1939 and completion in 1941. The parish account, however, states that Easter was celebrated in the renovated church in 1940. These sources establish the late-1930s transformation, but do not provide a consistent date for its completion.
Expanding the Space for Worship
The parish account describes alterations to both side walls, the removal of four supporting pillars, and an enlarged sacristy behind the sanctuary. Two confessionals were introduced at the rear and two side altars at the front. These interventions responded to the different activities taking place within the church, from collective worship to preparation for Mass and individual confession.
Government heritage documentation provides further insight into the widening of the building. It describes additions along the northern and southern sides of the congregation’s space, incorporating formerly external columns into the interior and relocating pointed coloured-glass windows to the new outer walls. This account suggests that the enlargement reused elements of the earlier architectural arrangement.
From an Ornamental Gable to a Dominant Entrance Tower
The most conspicuous external change was the introduction of a substantial tower connected directly to the entrance. The parish history records the removal of the separate iron bell tower on the southern side and its replacement by this integrated tower.
Comparing the early frontal photograph with C.J. Taillie’s photograph from 1948 reveals a different visual hierarchy. Previously, the central gable, circular opening, and slender pinnacles organised the façade. In the later image, the entrance tower was added to the composition, with broad wall surfaces, vertically arranged openings, and a steep, faceted roof.
The transformation also simplified the silhouette. The numerous small pinnacles prominent in the early views no longer define the visible roofline. Nevertheless, pointed openings and portions of the gabled church body remain evident beside the tower. The resulting architecture combined a more substantial entrance composition with features that continued to recall the earlier church.
Interpreting the Architectural Change
The simplified surfaces and stronger geometric composition may invite comparison with Art Deco-era architecture. For this study, however, that remains a visual interpretation. The available heritage documentation describes the tower as a simplification of Gothic form, while Yunani’s research emphasises the building’s combination of architectural influences. A categorical description of the entire second form as Art Deco would therefore require stronger evidence.
For my preliminary study, the importance of this phase lies in the relationship between architectural change and community use. Enlarging the worship space altered the building’s boundaries, while the new entrance tower changed its public appearance. The cathedral acquired another historical layer through the practical task of accommodating a growing congregation. Understanding that layer helps identify both the continuity of its religious identity and the physical changes through which that continuity was sustained.
Makassar Cathedral in 1948, following the late-1930s enlargement. Photograph by C.J. (Cees) Taillie. Collectie Wereldmuseum (formerly Tropenmuseum), inventory TM-10029315, via Wikimedia Commons.
The Third Architectural Form: Contemporary Expansion
The cathedral’s contemporary expansion began with a familiar challenge: accommodating a growing congregation within a building shaped by earlier generations. According to the project account, church leadership and the council decided in 2018 to pursue an enlargement. The building committee subsequently organised a design-selection exercise, described as a beauty contest, to compare proposals for the cathedral’s future development. Publicly available information does not establish the participating architects, assessment criteria, or winning submission, so the process is best described as a selection of design proposals rather than a verified open architectural competition.
The Relationship Between Historic and New Architecture
The resulting development introduced substantial new construction behind the cathedral’s retained front section. In October 2024, parish priest Father Yulius Malli explained that much of the building was new, while a smaller portion at the front remained because of its heritage status. He also confirmed that construction was still approaching completion as preparations proceeded for Archbishop Fransiskus Nipa’s installation. The cathedral’s appearance in 2024 therefore represents an advanced stage of development, rather than a confirmed completion date.
The accompanying 2024 photograph makes this relationship visible. The familiar central entrance tower remains in the foreground, framed by the broader architecture behind it. Two substantial flanking towers, capped with open metal spires and crosses, establish a wider composition. Pointed arches, paired windows, decorative arcading, and pitched roofs connect the new work visually with the cathedral’s earlier Gothic-inspired vocabulary.
In my reading of this composition, the retained tower acts as a recognisable historical reference within a larger architectural ensemble. Its continuity is particularly evident at the entrance, while the expanded building changes the scale and silhouette of the cathedral beyond it. This visual relationship does not, however, establish how much original material survives elsewhere in the building.
Continuity and Change in Scale and Massing
The second architectural form concentrated attention on a single entrance tower. The contemporary expansion distributes that emphasis across a broader frontage and several vertical elements. The new flanking towers extend the composition laterally, while the larger roof and wall surfaces behind the historic front indicate a substantial increase in building volume.
Although this is a contemporary construction phase, its external language continues to use historical church forms. The pointed openings and spires create a visual connection with the cathedral’s architectural past. Their repetition at a larger scale gives the expanded church a more monumental presence, while allowing the older entrance to remain identifiable.
Worship-Space Organisation and Circulation
The enlarged complex also introduced a more layered arrangement for accommodating worshippers. Reporting from Christmas 2024 described provision for approximately 700 people in the hall and another 500 in the basement, with arrivals directed downstairs when the hall reached capacity. These figures describe the arrangements reported during that construction period; they should not be treated as a verified final seating schedule.
This arrangement suggests that circulation became an important part of how the expanded cathedral operated. Arrival, distribution between worship areas, and movement between levels had to support a congregation extending beyond one room. The frontal photograph shows the retained central doorway and approaches to either side, but it cannot establish the complete internal routes. A detailed assessment of processional movement, accessibility, and connections between old and new spaces would require floor plans and site observation.
Understanding the Heritage Implications
The transformation also requires a distinction between architectural resemblance and the retention of historic fabric. In his 2024 archaeology thesis at Universitas Hasanuddin, Aditya Joseph Mesalayuk reported the replacement of significant building elements and identified a reduction in heritage value. His abstract also records positive responses among community respondents and notes that some new elements followed the earlier building’s character. These are findings from one academic study, rather than a comprehensive conservation verdict, but they are relevant to understanding the expansion.
For my preliminary historical study, the third form presents both continuity and substantial change. The cathedral maintains a recognisable entrance and familiar religious imagery while accommodating worship within a much larger complex. Understanding this relationship provides the context for subsequent acoustic and lighting design: identifying the spaces now in use, the historic features that remain, and the architectural qualities through which the congregation continues to recognise its cathedral.
Makassar Cathedral during its contemporary expansion, 2024. This panoramic photograph shows the historic central entrance tower against the broader new church composition and its flanking towers. Photo: Herwin Gunawan’s project documentation.
Reading the Three Architectural Layers
Makassar Cathedral’s architectural history can be understood through three principal forms: the early Neo-Gothic church, the enlargement associated with the late 1930s and early 1940s, and the contemporary expansion initiated by the 2018 decision. Each responded to community needs while changing the relationship between the worship space and its public appearance.
These phases provide a useful framework, but they do not represent three buildings that remained unchanged between major transformations. The parish history also records wartime damage in 1943, subsequent glazing repairs, a ceiling replacement in 1978, and a balcony enlargement in 1984. The cathedral’s development therefore includes smaller interventions within the three broader architectural layers.
Scroll horizontally to view all five columns.
| Architectural phase | Community needs | Architectural character | Principal changes | Surviving features and continuity |
|---|---|---|---|---|
| First form: early church, generally dated 1898–1900 | Establishing a permanent place of worship for the developing Catholic community. | Early photographs show pointed openings, an ornamented entrance gable, small pinnacles, and a slender roof turret: a recognisable Neo-Gothic vocabulary. | Construction of the original church following the acquisition of the site. | Gothic-inspired forms recur in later phases. The surviving fabric attributable specifically to 1900 requires an element-by-element survey; resemblance alone cannot establish its age. |
| Second form: late-1930s enlargement, associated with 1939–1941 | Increasing capacity beyond approximately 200 seats and improving liturgical facilities. | A substantial entrance tower became the dominant feature, accompanied by a simpler silhouette and retained Gothic elements. “Art Deco” remains an unverified stylistic interpretation. | Alteration of side walls, enlargement of the sacristy, introduction of confessionals and side altars, and replacement of the separate iron bell tower with an integrated entrance tower. | The recognisable front tower and façade composition remain visible within the contemporary ensemble. This establishes continuity of form, rather than proof that every component is unchanged. |
| Third form: contemporary expansion, documented in 2024 | Accommodating a larger congregation and distributing worshippers across additional spaces. | The 2024 photograph shows a broader composition, prominent flanking towers, metal spires, and repeated pointed arches surrounding the historic frontage. | Substantial new construction behind the retained front section, with expanded worship accommodation and basement use. | The historic frontage remains a reference point. Much of the expanded architecture is new, including elements that echo earlier forms. |
Sources: the early chronology follows Yunani’s study; the first two forms are documented in museum photographs and parish history; the contemporary phase is supported by the project account, the parish priest’s 2024 interview, and the supplied photograph.
Distinguishing Evidence from Interpretation
Historical records and photographs answer different questions. The parish account documents why enlargement was necessary and identifies particular alterations. Dated photographs establish the building’s visible appearance at a given time. Descriptions such as “more monumental,” “stronger vertical emphasis,” or “visual continuity” are architectural interpretations of that evidence.
A similar distinction applies to surviving features. An old window relocated into a new wall, a repaired historic tower, and a newly constructed pointed arch each express a different relationship with the past. Their appearance may be related, but their material histories are not interchangeable. For this study, I therefore distinguish between retained fabric, altered historic elements, and new work that refers to earlier architecture.
This distinction is particularly relevant to the recent expansion. Aditya Joseph Mesalayuk’s 2024 archaeology thesis reports the replacement of significant elements and a resulting reduction in heritage value, while also recording positive community responses. Its findings indicate that continued religious use and visual familiarity can coexist with the loss of historic material.
Where Does the Cathedral’s Identity Reside?
My interpretation is that Makassar Cathedral’s identity emerges from its accumulated history. The first church established its early architectural expression; the second form reshaped the building for an expanding community; and the third introduced a larger setting for contemporary worship. Each contributes to how the cathedral is understood today.
That accumulated identity does not make every alteration equally significant or every loss replaceable. Surviving materials, workmanship, and liturgical objects provide evidence that photographs and stylistic references cannot fully substitute. A separate 2025 study by Pramesty Inriana Ritto identifies historically valuable architectural elements and liturgical artefacts, reinforcing the importance of documenting the cathedral beyond its external appearance.
In this preliminary study, the task is therefore to understand both the continuity of worship and the physical evidence of change. Reading these layers together provides a basis for recognising what remains significant—and for making subsequent acoustic and lighting decisions with a clearer understanding of the building they will serve.
Heritage Significance: What Should Guide Future Intervention?
Understanding Makassar Cathedral’s history establishes a basis for deciding what future interventions should protect. Its significance resides in several connected qualities: surviving architectural fabric, evidence of craftsmanship, the arrangement of spaces for worship, and the congregation’s continuing relationship with the building. The Nara Document on Authenticity offers a useful framework for this assessment, recognising that heritage value can be expressed through materials, design, use, traditions, setting, and the meanings associated with a place.
Architectural Features, Materials, and Craftsmanship
The retained entrance tower and frontage deserve particular attention because they allow the earlier cathedral to remain recognisable within the expanded complex. Their significance includes the relationship between the tower, entrance, adjoining gables, and approach from the forecourt. The parish priest’s 2024 account identifies the front section as the portion retained because of its heritage status.
A more detailed assessment should examine the surviving masonry and finishes, door frames, decorative mouldings, column capitals, glazing, bells, and liturgical objects. Pramesty Inriana Ritto’s 2025 research identifies architectural elements and older religious artefacts as important subjects for documentation. Its publicly accessible contents list includes the entrance doors, bells, capitals, stained glass, early bricks and floor tiles, and a baptismal vessel. These references provide a starting point for an inventory, although they do not establish the present condition or exact provenance of every item.
Material investigation should look beyond surface appearance. Brick dimensions, mortar composition, joinery, tool marks, metal fittings, inscriptions, and traces of earlier finishes may help explain how an element was made and subsequently altered. For design purposes, these details should be recorded before cleaning, repainting, covering, or attaching equipment to potentially significant surfaces.
Distinguishing Early Fabric from Later Layers
The cathedral’s history cautions against treating everything that appears old as part of the original church. The parish account records three donated bells in 1923, the construction of an integrated entrance tower during the late-1930s enlargement, damage to glazing behind the altar in 1943, and subsequent donations of coloured glass for the side windows. It also records a timber ceiling replacement in 1978 and a balcony enlargement in 1984. These later contributions belong to the cathedral’s history, but require their own dates and explanations.
The working record should therefore distinguish:
Early surviving fabric: elements attributable to the first construction through documentary and physical evidence.
Later historic additions or repairs: work associated with subsequent periods, assessed for its own significance.
Relocated or reused elements: historic objects or components retained within a changed setting.
Reconstructed or newly made elements: features recreated from evidence, or new designs drawing on earlier forms.
Elements of uncertain date: items requiring further investigation before attribution.
A new pointed arch may recall the earlier cathedral without being a reconstruction of a particular lost feature. Similarly, an old window installed in a new wall retains material history while its spatial context changes. Recording these distinctions makes the building’s evolution more understandable.
The Congregation’s Memories and Ritual Life
The cathedral is also a setting for lived religious experience. A heritage assessment should ask clergy, long-standing parishioners, musicians, sacristans, and other users which places, objects, and practices they associate most strongly with it. Baptisms, marriages, funerals, processions, communal singing, and private prayer provide useful subjects for these conversations. Their particular meaning at Makassar should be documented through testimony rather than assumed.
Community responses may also differ. Aditya Joseph Mesalayuk’s 2024 study reported positive responses to the expansion among its respondents while identifying losses of heritage significance. This finding suggests that appreciation of improved accommodation can coexist with concern for historic fabric. Neither perspective should be taken as a complete account of the congregation’s attachment to the cathedral.
Spatial relationships deserve similar attention: the sequence from forecourt to entrance, views towards the sanctuary, routes used during liturgy, and the relationship between communal worship and quieter devotional areas. Comparing earlier plans with present use would help establish which relationships survive and which have changed.
Priorities for Sensitive Design
These findings establish a practical sequence: document significance, identify vulnerabilities, and then develop interventions. This approach is consistent with the Burra Charter’s emphasis on understanding a place before changing it and limiting alteration to what is necessary to sustain its significance and use.
The resulting design priorities would be to retain and repair significant fabric where feasible; assess material compatibility before introducing new finishes; and place services where they cause the least disturbance to historic elements and important views. Removable installations should be preferred where practicable, with their actual effect on the substrate checked rather than assuming they are reversible.
For subsequent acoustic and lighting work, this means evaluating mounting locations, cable routes, treatment areas, and maintenance access alongside performance requirements. Mock-ups can help the church and design team assess visual impact before permanent installation. The historical study thus becomes a basis for specific decisions: improving the congregation’s experience while keeping the cathedral’s surviving evidence and accumulated meanings legible.
From Historical Understanding to Acoustic and Lighting Design
The historical study provides a starting point for the next design stage by identifying which architectural qualities require particular care and where further investigation is needed. At Makassar Cathedral, successive changes to the building’s walls, glazing, ceiling, and worship spaces mean that its present environment reflects several periods of construction. The parish record of replacement glazing and later ceiling and balcony alterations reinforces the need to examine each element individually before proposing interventions.
For acoustic design, the next step is to relate this understanding to the cathedral’s existing geometry and materials. Room volume, ceiling height, surface finishes, seating, and connections between spaces should be surveyed and represented in acoustic analysis. Measurements and modelling can then inform the balance between speech intelligibility and the resonance appropriate for singing. Historical photographs help explain earlier configurations, we then make acoustic modeling to understanding reverberation times on first and second architecture.
For interior lighting design, the historical study directs attention to daylight openings, stained glass, architectural proportions, and the relationship between the historic frontage and the expanded worship space. These elements help establish which architectural details and spatial relationships deserve particular care. Daylight should be observed at different times of day and under varying weather conditions to understand how it illuminates the interior, reveals materials, and influences views towards the sanctuary.
This understanding provides a basis for integrating electric lighting around the altar, ambo, crucifix, circulation routes, and the congregation’s reading needs. The lighting composition should support the visual hierarchy of worship while allowing the surrounding architecture to remain legible. Particular attention should be given to glare, the visibility of faces and texts, and transitions between brighter and quieter areas. Lighting scenes can accommodate different liturgical activities, with luminaires, wiring, and maintenance access coordinated to minimise disturbance to significant fabric. ChurchCare’s guidance similarly emphasises natural-light variation, the direction and quality of illumination, and testing within the actual building.
For façade lighting design, the investigation extends beyond the cathedral to the surrounding nighttime environment. Light from neighbouring buildings, streetlights, commercial signs, and passing vehicles should be assessed from the principal approaches and public viewpoints. Their brightness, colour, direction, and operating hours establish the context in which the cathedral is seen and help determine the illumination needed to make its architecture readable.
The historical study can then guide how light reveals the retained entrance tower, adjoining gables, pointed openings, and newer flanking towers. Their relative prominence should be considered carefully so that the historic frontage remains identifiable within the expanded composition. On-site lighting trials can assess the balance of light and shadow, the appearance of materials, and the visibility of fixtures. The aim is a coherent nighttime presence that respects the cathedral’s architectural layers while limiting glare, light spill towards neighbouring properties, and unnecessary upward light.
Equipment integration connects both disciplines to heritage care. Loudspeakers, luminaires, acoustic treatments, wiring, and controls should be coordinated with the significance and condition of their proposed locations. Mounting details require particular attention: an installation may be visually discreet yet still damage an important surface. Existing service routes and suitable newer construction should be assessed as opportunities to reduce disturbance, while maintaining access for inspection and replacement.
For my work, historical understanding therefore helps define the design brief alongside the congregation’s practical and liturgical needs. It guides what to investigate, what to protect, and how proposed changes should be evaluated.
Understanding the cathedral’s architectural evolution provides the foundation for improving its performance while respecting its identity.
References and Image Sources
The references below identify the published sources cited in this account. Repository links provide the accessible abstracts and supporting files for the academic studies.
Paroki Hati Yesus Yang Mahakudus—Katedral Makassar, “Gedung Gereja”. Parish building history.
Keuskupan Agung Makassar, “Gereja Lokal KAMS 75 Tahun” (2012). Historical context for the Catholic community.
Ahmad Yunani (2017), “Gereja Hati Yesus Yang maha Kudus–Katedral (sejarah Gereja Katolik di Sulawesi Selatan dan Tenggara)”. Jurnal Lektur Keagamaan, 15(1), 125–148. DOI: 10.31291/jlk.v15i1.518.
Irwani Rasyid and Adang Saujana (2019), Dokumentasi Teknik Bangunan Kolonial. Balai Pelestarian Cagar Budaya Sulawesi Selatan; section on Gereja Katedral.
Aditya Joseph Mesalayuk (2024), Evaluasi Pengembangan Bangunan Gereja Katedral Kota Makassar Serta Dampaknya Terhadap Nilai Penting Sebagai Cagar Budaya. Undergraduate thesis, Universitas Hasanuddin.
Pramesty Inriana Ritto (2025), Strategi Penguatan Informasi Nilai Penting Cagar Budaya Gereja Katedral Makassar dan Artefak Liturgisnya sebagai Upaya Pelestarian. Undergraduate thesis, Universitas Hasanuddin.
Katharina Reny Lestari, “Katedral Makassar Berhias Diri Sambut Misa Instalasi Mgr. Fransiskus Nipa”. HIDUPKATOLIK, 16 October 2024; interview with Father Yulius Malli.
Ihwan Gunawan S, “Gereja Katedral Makassar Bakal Tampung 1.200 Jemaat Tiap Sesi Misa Natal”. detikSulsel, 24 December 2024.
Direktorat Jenderal Bimbingan Masyarakat Katolik, “Menag Hadiri Dedikasi Gereja Katedral Makassar: Simbol Iman, Persaudaraan, dan Keabadian”. Ministry of Religious Affairs, 31 October 2025.
“Antisipasi Lonjakan Umat, Misa Malam Natal Katedral Dua Sesi”. Celebesmedia, 24 December 2025; interview with Father Yulius Malli.
The Nara Document on Authenticity (1994); The Burra Charter (Australia ICOMOS, 2013); and ChurchCare, “Lighting”. Guidance used to frame heritage assessment and sensitive design.
Historical photographs, Collectie Wereldmuseum (formerly Tropenmuseum), via Wikimedia Commons: frontal view, 1900–1920, TM-60008255; oblique view, 1900–1919, TM-10016679; and C.J. (Cees) Taillie’s 1948 photograph, TM-10029315. All three source records specify CC BY-SA 3.0.
Project context and the 2024 panoramic photograph: Herwin Gunawan’s project account and documentation. Architectural readings of the photographs are the author’s interpretations.
Akurasi Desain Arsitektural Akustik Stadium Indoor Multi-Fungsi Gelora Bung Karno Jakarta
Akurasi performa desain dan performa terbangun adalah nilai tambah yang perlu diberikan oleh konsultan akustik. Video ini memperlihatkan bagaimana team akustik desain ALTA Integra melakukan Permodelan Akustik dan Auralisasi Suara*) pada Stadium Indoor Multifungsi Gelora Bung Karno Jakarta.
*) Auralisasi Suara adalah sebuah fitur piranti lunak Permodelan Akustik untuk memudahkan owner dan user yang kurang memahami parameter teknis akustik yang sulit dibayangkan suaranya. Dengan Auraliasi owner, user dan desainer dapat melakukan penilaian kualitas suara melalui uji dengar langsung atas suara yang akan terdengar apabila dibangun.
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Berikut adalah permodelan sebelum dan setelah desain optimasi yang dibandingkan dengan pengukuran performa lapangan kondisi stadium kosong. Perbedaan tonality antara auralisasi modeling dan rekaman lapangan disebabkan karena setting EQ pada sound system yang mem-boost high frekuensi.
Permodelan Sebelum Melakukan Desain Akustik memberikan hasil Reverberation Time sebesar
Average Low Frequency: 8,62 detik
Average Mid Frequency: 6,06 detik
Average High Frequency: 3,85 detik
Hasil pengukuran di lapangan memberikan nilai RT 60 yang mendekati hasil permodelan sebesar:
Average Low Frequency: 7,43 detik
Average Mid Frequency: 7,89 detik
Average High Frequency : 5,60 detik
Permodelan Akustik setelah dilakukan instalasi material akustik sesuai desain dengan batasan anggaran yang ada sebesar:
Average Low Frequency: 3,81 detik
Average Mid Frequency: 3,34 detik
Average High Frequency : 2,10 detik
Hasil pengukuran di lapangan memberikan nilai RT 60 yang mendekati hasil permodelan sebesar:
Average Low Frequency: 3,68 detik
Average Mid Frequency: 3,00 detik
Average High Frequency : 2,62 detik
Dari data di atas dapat dilihat bawah perbedaan antara permodelan dan pengukuran lapangan cukup akurat dan konsisten.
ALTA Integra Acoustic Design Team adalah konsultan akustik yang selalu terdepan dalam memberikan nilai tambah desain yang cutting edge dan out of the box di Indonesia sehingga memberikan nilai tambah branding, teknis, finansial dan sosial. ALTA Integra telah dipercaya untuk menangani ratusan proyek akustik di Indonesia maupun Manca Negara.
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Acoustic Consultant: Jakarta International Stadium
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Heritage Conservation Lighting Design: Kolese Kanisius Chapel Jakarta (3)
The restoration of sacred architecture is not only about preserving walls, roofs, or ornaments. It is also about restoring atmosphere, emotion, and spiritual experience. In churches and chapels, light plays a profound role in shaping how people perceive holiness, silence, contemplation, and transcendence.
One remarkable example of this approach can be seen in the restoration of the Canisius College Chapel, a historic colonial-era chapel originally completed in 1931. The project demonstrates how architectural lighting design, building physics, and heritage conservation can work together to recover the spiritual quality of a sacred interior.
The Challenge of Lost Daylight in Historic Sacred Architecture
Like many heritage buildings in rapidly growing cities, the chapel gradually lost its original daylight quality due to surrounding urban development. Buildings constructed around the chapel blocked portions of the natural light that once entered through clerestory and stained-glass windows. Over time, the sacred atmosphere intended by the original architects became diminished.
In an earlier renovation during the late 1980s, attempts were made to improve illumination by lowering the ceiling and introducing fluorescent lighting systems. Although the intervention aimed to increase brightness for worshippers, the result created several unintended consequences:
Uneven visual comfort
Flickering fluorescent light
Darker ceiling perception
Increased glare
Reduced architectural grandeur
Loss of spiritual ambience
Instead of experiencing soft heavenly illumination, visitors encountered a flatter and more artificial visual environment.
This issue is common in many historical worship buildings where lighting retrofits prioritize illumination levels alone without considering architectural psychology, visual hierarchy, circadian comfort, or sacred spatial perception.
Before
Lighting as a Spiritual Architectural Element
In sacred architecture, light is more than a technical requirement. It is a symbolic and emotional medium.
Historically, churches and chapels used natural daylight to create:
A sense of transcendence
Visual connection to heaven
Dramatic spatial hierarchy
Gentle emotional calmness
Sacred focus toward the altar
Architectural lighting in religious buildings often relies on contrast, softness, vertical illumination, and controlled shadow to shape contemplation and reverence.
The restoration strategy for the chapel therefore focused not simply on “making the room brighter,” but on recovering the original spiritual experience of the space.
Integrating Heritage Conservation with Modern Lighting Design
In 2015, due to deterioration in the timber roof structure, renovation planning and supervision were undertaken collaboratively by ALTA Integra and Atelier Cosmas Gozali. The project aimed to:
Replace deteriorated roof structures
Restore the original architectural interior
Improve daylight quality
Introduce modern architectural lighting
Enhance worship ambience without compromising heritage character
Rather than overwhelming the chapel with excessive artificial lighting, the design approach emphasized balance between daylight and warm ambient illumination.
The restored design reintroduced visual openness by recovering ceiling height and allowing architectural forms to breathe again. This strategy significantly improved perceived brightness while maintaining a calm and graceful atmosphere.
After
The Importance of Building Physics in Heritage Renovation
Lighting performance cannot be separated from building physics. The interaction between daylight, material reflectance, thermal comfort, glazing, ceiling geometry, and surface color all influence the quality of interior space.
A successful heritage lighting renovation therefore requires multidisciplinary collaboration involving:
Architectural lighting consultants
Building physics engineers
Heritage architects
Electrical engineers
Conservation specialists
In the chapel project, the restoration strategy balanced historical preservation with contemporary environmental performance, ensuring that the building remained both spiritually meaningful and functionally comfortable.
Preserving Sacred Atmosphere for Future Generations
Historic worship spaces are cultural assets that embody collective memory, spirituality, and architectural identity. Renovation should therefore preserve not only physical structures but also experiential qualities such as silence, reverence, light, and acoustics.
Studies on historical worship spaces emphasize the importance of preserving sensory and atmospheric characteristics during restoration efforts.
The Canisius College Chapel renovation serves as an example of how thoughtful lighting design can revive the emotional and spiritual essence of sacred architecture while adapting heritage buildings to contemporary needs.
结论
The restoration of holy and graceful lighting ambience inside the Canisius College Chapel illustrates how architecture, lighting, and building physics can work together to recover the soul of a historic space.
Rather than relying solely on brighter artificial lighting, the project focused on restoring harmony between daylight, architecture, and worship experience. The result is a chapel interior that feels brighter, calmer, more dignified, and spiritually uplifting.
For heritage buildings, especially sacred architecture, successful renovation is not merely about preservation of form — it is about restoring human experience through light.
#worship #chapel #church #catholic #school #kapel #gerejakatolik #katolikindonesia #lightingdesign #interiordesign #renovation #renovationproject #architecture #arsitekindonesia #architecturallighting
Heritage Conservation Lighting Design: Kolese Kanisius Chapel Jakarta (2)
The Canisius College Chapel was completed in 1931. Due to the growth of surrounding buildings around the chapel, the natural daylight that was originally intended to enter through the windows gradually became reduced.
To improve illumination in the congregation area, the chapel was redesigned in 1988 by lowering the ceiling and installing fluorescent lighting so that the artificial light could better reach the worshippers. Unfortunately, after the renovation, the space did not become significantly brighter and instead created flickering issues caused by the fluorescent lamps. (image below)
Before Renovation
In 2015, due to the deteriorating condition of the timber roof structure, ALTA Integra together with Atelier Cosmas Gozali carried out the planning and supervision for the renovation of the Canisius College Chapel, with several key objectives: replacing the deteriorated roof structure, restoring the original interior design, and introducing a modern touch to the lighting design. (image below)
After Renovation
#worship #chapel #church #catholic #school #kapel #gerejakatolik #katolikindonesia #lightingdesign #interiordesign #renovation #renovationproject #architecture #arsitekindonesia #architecturallighting
Heritage Conservation Lighting Design: Kolese Kanisius Chapel Jakarta (1)
Canisius Collegium Chapel was built in 1931. Along with urban development, the chapel become surrounded by multi-story buildings. This caused the visual perception of not enough light in the chapel. With the thought that the light installed at the high ceiling was not effective to light the congregation area, in 1988 the chapel was renovated by lowering the ceiling and linear neon light along with it.
Before renovation lighting quality is poor we can see glaring from window and some area is underlight.
Unfortunately, the renovation result did not make them happy, in the daytime space became darker because the new ceiling did not allow the light to come in and the neon light is not bright enough. (image above)
In 2015 ALTA Integra lighting designers did research and study to bring back the goodness in natural light, reveal the real architecture beauty of art-deco colonial-era architecture, improve visual acuity and peaceful sacred ambiance. (image below)
After renovation the chapel look holy, grace and beautiful
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