Concert Hall Acoustic Consultant Indonesia: RuBIK Theater and Concert Hall Jakarta Case Study

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

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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。

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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。

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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。

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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。

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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。

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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。

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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

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.

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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.

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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.

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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.

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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.

1. Paroki Hati Yesus Yang Mahakudus—Katedral Makassar, “Gedung Gereja”. Parish building history.

2. Keuskupan Agung Makassar, “Gereja Lokal KAMS 75 Tahun” (2012). Historical context for the Catholic community.

3. 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.

4. Irwani Rasyid and Adang Saujana (2019), Dokumentasi Teknik Bangunan Kolonial. Balai Pelestarian Cagar Budaya Sulawesi Selatan; section on Gereja Katedral.

5. Aditya Joseph Mesalayuk (2024), Evaluasi Pengembangan Bangunan Gereja Katedral Kota Makassar Serta Dampaknya Terhadap Nilai Penting Sebagai Cagar Budaya. Undergraduate thesis, Universitas Hasanuddin.

6. Pramesty Inriana Ritto (2025), Strategi Penguatan Informasi Nilai Penting Cagar Budaya Gereja Katedral Makassar dan Artefak Liturgisnya sebagai Upaya Pelestarian. Undergraduate thesis, Universitas Hasanuddin.

7. Katharina Reny Lestari, “Katedral Makassar Berhias Diri Sambut Misa Instalasi Mgr. Fransiskus Nipa”. HIDUPKATOLIK, 16 October 2024; interview with Father Yulius Malli.

8. Ihwan Gunawan S, “Gereja Katedral Makassar Bakal Tampung 1.200 Jemaat Tiap Sesi Misa Natal”. detikSulsel, 24 December 2024.

9. Direktorat Jenderal Bimbingan Masyarakat Katolik, “Menag Hadiri Dedikasi Gereja Katedral Makassar: Simbol Iman, Persaudaraan, dan Keabadian”. Ministry of Religious Affairs, 31 October 2025.

10. “Antisipasi Lonjakan Umat, Misa Malam Natal Katedral Dua Sesi”. Celebesmedia, 24 December 2025; interview with Father Yulius Malli.

11. The Nara Document on Authenticity (1994); The Burra Charter (Australia ICOMOS, 2013); and ChurchCare, “Lighting”. Guidance used to frame heritage assessment and sensitive design.

12. 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.

曼迪里大学礼堂——视听、声学与照明设计一体化

高性能视听系统的无缝集成

适用于高等教育环境的高效学习空间，支持Zoom会议、视频会议、多媒体演示、直播及现场音乐表演

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项目概述

曼迪里大学的礼堂被设计为一个多功能的学术和机构集会场所，旨在在当代高等教育环境中支持讲座、研讨会、会议、报告会、演出以及混合式学习活动。

为了满足这些多样化的功能需求，该项目采用了一种综合性方案，将视听系统、建筑声学和照明设计规划相结合，从而打造出舒适、灵活且技术上具有适应性的礼堂体验。

咨询服务范围侧重于营造一个以性能为导向的环境，在保持建筑风格的统一性和运营灵活性的同时，提升语音清晰度、视觉舒适度、沟通质量以及听众的整体体验。

挑战

人们越来越期望现代大学的礼堂能够在同一空间内满足多种活动类型的需求。

该项目面临着几个关键挑战：

• 在不同人员密度条件下保持语音清晰度

• 同时支持现场和混合形式的演示

• 在声学控制与建筑美学之间取得平衡

• 管理照明条件，以确保观众舒适和摄像机拍摄清晰

• 在不影响室内建筑设计的前提下整合视听基础设施

• 确保教育、仪式及多媒体活动具有灵活性

与传统的演讲厅不同，多功能礼堂需要对声音、灯光、视觉传达和空间感知进行精心协调，从而营造出一种既能有效服务现场观众，又能满足数字受众需求的环境。

该项目还要求在技术性能与长期运营可用性及维护效率之间取得平衡。

我们的方法——定义声学与照明性能

我们的设计思路首先是将礼堂视为一个以人为本的交流环境，而非仅仅是一个技术性的活动场所。

该设计策略整合了：

• 建筑声学分析

• 照明质量评估

• 视听系统协调

• 空间沟通层次结构

• 用户体验方面的考虑因素

该项目并未将声学、照明和视听系统视为相互独立的领域，而是将这些要素视为相互关联的层次，共同影响观众的感知、沟通的清晰度以及空间舒适度。

声学策略的重点在于改进：

• 语音可懂度

• 混响控制

• 听众的聆听舒适度

• 噪声管理

• 空间声音的一致性

该照明方案优先考虑了：

• 视觉层次结构

• 观众的舒适度

• 演示者的可见性

• 适合摄影的照明

• 灵活的场景控制

此外，该视听系统在设计时旨在支持：

• 混合式学习环境

• 数字演示文稿

• 多媒体活动

• 可扩展的通信基础设施

• 综合运营控制

以人为本的绩效策略

该项目采取了以人为本的绩效策略，不仅通过技术规范来衡量环境质量，还通过人的感知和沟通效果来评估。

该设计考虑了人们如何：

• 收听

• 参见

• 焦点

• 沟通

• 在礼堂环境中进行互动

对声学环境进行了校准，以减轻听觉疲劳，并提高观众席各区域的语音清晰度。

照明设计经过精心平衡，旨在支持：

• 舒适的面部视野

• 减少眩光

• 视觉适应

• 观众参与度

• 摄像与转播表现

该视听策略致力于为讲师、演讲者、学生以及混合参会者打造直观且流畅的沟通体验。

通过将环境舒适性与技术功能相结合，该礼堂不再仅仅是一个演讲场所——它已成为一个高性能的教育交流空间。

设计整合

该项目的一个关键方面在于建筑、声学、照明和视听技术之间的跨学科协调。

整合过程包括：

• 声学仿真与材料评估

• 照明场景与亮度层次结构研究

• 视听基础设施规划

• 显示可见性分析

• 与建筑元素的空间协调

• 室内设计中的设备集成

通过精心整合，确保了技术系统在视觉上不显眼，同时又能实现最佳的环境性能。

这种设计方案最大限度地减少了视觉杂乱感，提升了使用便利性，并保留了礼堂内部的建筑特色。

结果

最终的设计打造了一个灵活且注重性能的礼堂环境，能够满足当代学术交流和混合式学习活动的需求。

为优化讲座、会议和混合学习环境中的混响时间及语音清晰度，制定了相应的声学方案。

通过声学、照明及视听方面的综合咨询服务，该礼堂实现了以下目标：

• 语音可懂度的提高

• 提升观众舒适度

• 提高演示文稿的可见性

• 灵活的多媒体功能

• 以人为本的沟通质量

• 无缝的技术整合

该项目展示了跨学科的环境设计如何将教育空间从传统的技术基础设施提升为沉浸式且高效的学习环境。

该礼堂不仅是一个活动场所，更是一个适应性强的交流生态系统，在现代大学环境中支持教育、协作及机构参与。

项目信息

• 项目：曼迪里大学

• 行业：企业高等教育

• 地点：印度尼西亚雅加达

• 服务：视听系统、建筑声学、建筑声学设计、建筑照明

• Consultant: Herwin Gunawan / ALTA Integra

• 年份：2022

视听、灯光、音响设计整合 卡纳瓦尔·塔姆林 社区娱乐

综合用途的生活方式与娱乐目的地

项目概述

卡纳瓦尔·塔姆林（Karnaval Thamrin）作为一座现代生活方式与美食目的地而打造，在雅加达市中心的活力都市环境中，将餐饮、娱乐、社交互动和社区体验融为一体。

该项目从当代城市文化的活力中汲取灵感，将现代建筑氛围与充满活力的接待体验相结合，旨在吸引那些寻求既充满活力又舒适的社交场所的年轻专业人士、社区居民、家庭以及城市游客。

To support the experiential character of the venue, Morin Architect, Herwin Gunawan and ALTA Integra team provided acoustic, lighting, and audiovisual consultancy services aimed at creating a human-centered mixed-entertainment experience where sound, light, and communication systems work cohesively with the architectural atmosphere.

该咨询方法侧重于平衡以下方面：

• 活跃的接待空间中的声学舒适度

• 富有氛围的灯光效果

• 视听通信与娱乐系统

• 访客的福祉与感官舒适度

• 建筑氛围与空间特色

该项目并未将技术单纯视为技术基础设施，而是将视听系统、舞台及建筑娱乐照明以及声学环境整合为体验设计工具，以此塑造整个场馆内的氛围、沟通质量、情感感知及社交互动。

由此打造出一种充满活力、身临其境且富有社交互动感的当代都市生活环境，同时为访客提供了视觉舒适感、声学平衡以及良好的环境品质。

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现代休闲餐饮体验

挑战

由于咖啡馆、餐饮场所、酒吧、娱乐区以及公共社交互动功能被整合到一个碎片化的环境中，当代综合用途生活方式目的地面临着日益复杂的环境挑战。

该项目需要权衡以下方面：

• 活跃社交环境中的声学舒适度

• 跨越多种空间特质的照明氛围

• 针对各类活动和娱乐项目的视听灵活性

• 公共聚集区域内的语音清晰度

• 为访客提供视觉舒适感

• 技术系统在建筑室内空间中的整合

主要挑战之一是在营造充满活力且身临其境的生活方式娱乐氛围的同时，通过控制不必要的声反射、最大限度地减少对附近酒店和住宅区的噪音干扰、降低过强照明带来的视觉刺激，以及确保整个场馆内视听效果的均衡分布，从而维持舒适的环境。

过度的混响、失控的噪音传导、过于刺眼的照明，或是支离破碎的视听系统，都会对访客的舒适度、情感体验以及整体空间品质产生负面影响。因此，该项目需要一套周密的跨学科策略，能够同时兼顾性能、氛围、技术与人本体验之间的平衡。

我们的方法

我们的设计思路首先是将卡纳瓦尔·塔姆林（Karnaval Thamrin）不仅视为一个商业空间，更视为一个以人为本的体验式环境——在这里，环境质量直接影响着人们如何与该空间互动、交流以及建立情感联系。

该设计策略整合了：

• 建筑声学评估

• 氛围照明设计

• 视听系统协调

• 人类行为方面的考量

• 空间沟通层次结构

• 环境舒适度分析

声学设计策略的重点在于：

• 控制混响和噪声积累

• 提高语音清晰度

• 提升听觉舒适度

• 提升社交互动质量

• 在充满活力的氛围与声学控制之间取得平衡

该照明方案强调：

• 分层氛围照明

• 视觉层次结构

• 材料增强

• 人眼视觉舒适度

• 灵活的场景适应性

• 从白天到夜晚的氛围过渡

与此同时，该视听咨询公司提供了以下支持：

• 灵活的活动策划能力

• 背景音乐分发

• 数字通信系统

• 公众参与经验

• 可扩展的娱乐基础设施

这一总体方法确保了环境系统既能对运营绩效产生积极影响，又能提升用户的情感体验。

以人为本的绩效策略

该项目采取了以人为本的环境策略，不仅从技术角度评估项目表现，还通过人的感知、舒适度和情感反应进行评估。

该设计仔细考量了访客如何通过感官和社交互动在情感上感知和体验环境，包括他们在空间内如何听、看、闻、尝、导航、交流以及社交。

为减轻过度的噪音疲劳，同时保留场地的活力与社交氛围，制定了一系列声学策略。照明设计通过控制亮度层次、眩光感知、色温、动态色彩氛围以及空间对比度，在视觉刺激与舒适度之间取得了平衡，从而营造出不同的环境氛围。

音视频系统的设计旨在支持现场乐队表演、DJ娱乐以及休闲厅的环境背景音乐，而视觉系统则可呈现动态灯光场景、现场表演视觉效果以及宣传性多媒体内容。这种设计方案不仅营造出更具沉浸感且能引发情感共鸣的接待环境，同时还能支持整个场馆内的娱乐活动及社交互动。

设计整合

该项目的一大优势在于，从设计开发初期开始，就实现了建筑、声学、照明和视听技术之间的有机融合。

该集成过程包括：声学材料协调、灯光场景模拟、视听基础设施规划、设备隐蔽方案、环境舒适度评估，以及建筑、建筑结构和机电（MEP）细部设计的整合。

设计并未让技术系统在视觉上与建筑形成竞争，而是将性能系统巧妙地融入了项目的空间语言之中。这种集成化方法有效提升了：运营效率、空间连贯性、用户体验质量、维护便捷性以及建筑的简洁性。

由此营造出一种环境：技术在提升氛围的同时，却不会在视觉上显得突兀。

结果

最终的设计营造出一个充满活力且舒适的生活环境，在浑然一体的建筑体验中，为社交互动、娱乐、待客及公众参与提供了支持。

通过提供声学、照明及视听方面的综合咨询服务，Karnaval Thamrin 实现了以下目标：提升环境舒适度、增强空间氛围、提高视听与通信质量、实现灵活的场景应用能力、打造以人为本的访客体验，以及实现建筑技术的综合性能。

该项目展示了跨学科的环境设计如何将商业和酒店空间转变为能够引发情感共鸣、注重功能表现的环境，既支持商业目标，又促进人类福祉。

卡纳瓦尔·塔姆林（Karnaval Thamrin）不仅是一个单纯的零售或娱乐场所，更通过声音、灯光与以人为本的建筑体验的精心融合，打造出一个沉浸式的都市社交环境。

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娱乐场景

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项目信息

• 项目名称：卡纳瓦尔·塔姆林

• 地点：印度尼西亚雅加达

• 项目类型：生活方式、酒店及娱乐目的地

• 服务范围：视听系统设计、舞台与建筑照明设计、建筑与建筑声学咨询、娱乐技术集成及环境体验设计

• Consultant: Herwin Gunawan / ALTA Integra

• 年份：2023

Auditorium Theater Design: Audiovisual, Lighting, Acoustic - Santo Ignatius Kanisius Jakarta

ALTA Integra collaborate with Atelier Cosmas Gozali designed audiovisual acoustic lighting Multi-Function Hall, Education Theater and Library at Kolese Kanisius Menteng Ignatius Loyola New Building for Future Education Facility.

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Theater Class

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Auditorium Hall

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Library

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Bagaimana kami mendesain Noise Barrier Kebisingan Pekerjaan Konstruksi Rumah Sakit PIK

Menjaga ketenangan lingkungan rumah sakit pada saat pekerjaan konstruksi merupakan jaminan pelayanan kesehatan yang perlu diberikan oleh Rumah Sakit yang memberikan kepuasan pasien.

Bagaimana kami mendesain Noise Barrier untuk menjaga ketenangan Rumah Sakit PIK dari kebisingan Pekerjaan Konstruksi Gedung Rumah Sakit Ibu dan Anak RS PIK?

Mengidentifikasi jenis dan tingkat kebisingan yang akan terjadi

Hal pertama yang kami lakukan adalah mengidentifkasi jenis kegiatan konstruksi mulai dari pemotongan struktur beton, jack hammer, mobilisasi material dan sampah dan seterusnya. Kemudian kami melakukan pengukuran untuk setiap kebisingan dilanjutkan dengan membuat mapping kebisingan.

Membuat permodelan kebisingan untuk memprediksi dampak kebisingan yang akan terjadi

Gambar dibawah merupakan hasil permodelan kebisingan dari beberapa pekerjaan konstruksi mulai dari

1. Gambar kiri atas pekerjaan concrete cutting menghasilkan kebisingan 105.7 dBA dengan posisi kebisingan yang berpindah-pindah. Prediksi tingkat kebisingan akan terjadi kebisingan di depan facade gedung digambarkan dengan simbol setengah bola. Terlihat beberapa titik setengah bola berwarna orange yang mewakili tingkat kebisingan 70 dBA sampai dengan waran hijau tua sebesar 60 dBA.

2. Gambar kanan atas menunjukan prediksi tingkat kebisingan pada facade bangunan rumah sakit akibat pekerjaan Jack Hammer.

3. Gambar kiri bawah menunjukan prediksi tingkat kebisingan pada facade bangunan akibat pekerjaan Pile Driver dengan sebaran kebisingan lokasi pekerjaan yang berpindah-pindah.

4. Gambar kanan bawah menunjukan aktifitas pekerjaan umum lainnya dengan kebisingan rata-rata 85 dBA

Membuat beberapa konsep desain Noise Barrier untuk mendapatkan performa akustik yang terbaik

Gambar dibawah merupakan prediksi kebisingan terendah dengan biaya Noise Barrier terendah yang terjadi pada permukaan facade Rumah Sakit

1. Gambar kiri atas menunjukan desain permanen noise barrier dan portable noise barrier untuk pekerjaan jack hammer dan concrete cutting di mana posisi paling dekat dengan rumah sakit. Facade yang terpapar kebisingan 70 dBA merupakan facade dengan ruangan tidak rentan kebisingan seperti area sirkulasi dan gudang barang.

2. Gambar kiri bawah merupakaan simulasi saat posisi kerja terjauh dari bangunan rumah sakit. Kebisingan di permukaan facade sekitar 60 dBA.

3. Gambar kanan atas menunjukan permodelan dan simulasi kebisingan saat pekerjaan pembongkaran lantai basement pada posisi terdekat bangunan.

4. Gambar kanan bawah permodelan dan simulasi kebisingan saat pekerjaan pembongkaran lantai basement pada posisi agak jauh dari bangunan.

Mereview mock up kontraktor Noise Barrier

Setelah ditunjuk kontraktor pemenang pekerjaan pembongkaran fasilitas parkir, maka kontraktor perlu mengajukan mock up material Noise Barrier sesuai dengan gambar yang kami buat.

Proses kegiatan konstruksi

Foto di bawah menunjukan Noise Barrier yang telah terpasang dan pekerjaan konstruksi dapat berjalan tanpa menggangu kegiatan pelayanan kesehatan oleh Rumah Sakit Pantai Indah Kapuk.

Berapa banyak dari kita yang merasakan gangguan kebisingan akibat pekerjaan konstruksi, dan tanggung jawab apa yang sudah dilakukan oleh pemiliki pekerjaan?

Apakah sudah ada regulasi yang mengatur tingkat kebisingan dari pekerjaan konstruksi agar tidak mengganggu aktifitas lain seperti sekolah, kantor, rumah tinggal dan lain-lain.

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Acoustic Design: Global Pharmaceutical Corporate Office

Collaborate with Design Partner Indonesia - ALTA Integra Acoustic Design Team Deliver Speech Intelligibility for Communicating Ideas Online or Offline - Pleasant Sound Environment for Concentration Work

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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.

Video di bawah ini memperlihatkan animasi bola biliar energi suara yang menyebar dari sumber suara dan dipantulkan ke seluruh ruangan serta perkiraan suara yang akan terdengar (auralisasi) yang dibandingkan dengan rekaman video menggunakan smartphone iPhone. Data pengukuran dilakukan menggunakan Acoustics Measurement Microphone Class 1.

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 Audiovisual System Design: Gelora Bung Karno Indoor Multifunction Stadium

We have done Acoustic and Audiovisual Designed followed FIBA Standard

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Meet Required Acoustic Performance Within Budget

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Menjadi Tenaga Ahli Akustik dan Tata Suara pada proyek Kementrian Pekerjaan Umum Perumahan Rakyat Indoor Multi-Function Stadium Gelora Bung Karno bersama dengan Penta Arsitektur - Aboday - Adhi Karya - Nindya Karya

Home Theater Design Integration - Interior Acoustic Lighting Audiovisual - Tulip Sentul

Audiovisual experience is the key to emotionally engaging viewers in a home theater environment, supported by carefully designed acoustics, ambient lighting, and interior design that work together to enhance the overall cinematic experience.

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高性能视听系统的无缝集成

Good Acoustic and Good Lighting

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Desain dan Pengukuran Akustik Indoor Multifunction Stadium Gelora Bung Karno IMS GBK

Pemerintah melalui Kementrian PUPR tengah membangun Indoor Multifunction Stadium (IMS) di kompleks Gelora Bung Karno (GBK) yang dimulai pada Desember 2021. Pembangunan stadion indoor ini dilaksanakan karena Indonesia telah terpilih menjadi co-host FIBA Basketball World Cup tahun 2023 bersama dengan dua negara lain, yaitu Jepang dan Filipina. Dibangun di atas lahan seluas 30.720 meter persegi, stadion ini akan memiliki luas tapak bangunan sebesar 20.852,79 meter persegi. Secara desain konstruksi stadion indoor, Indoor Multifunction Stadium akan terdiri dari 4 lantai tribun yang dilengkapi dengan atap space frame.

Foto kondisi pembangunan pada bulan Januari 2023

GBK IMS Indoor Multifunction Stadium mempunyai fungsi utama sebagai lapangan basket dengan satu buah lapangan basket utama (Field of Play) dan 2 lapangan latihan. Selain untuk olahraga basket, stadion indoor ini juga dapat dimanfaatkan sebagai lapangan voli, badminton, tinju, MMA, tenis, atletik serta fungsi non-olahraga lain, seperti konser, seminar dan pertunjukan khusus lain.

Gambar skema resiko kebisingan yang mengganggu jalannya pertandingan dan acara yang menyebabkan kebisingan

Untuk memastikan secara akustik suara Indoor Stadium dapat difungsikan dengan baik sesuai peruntukannya, ALTA Integra ditunjuk oleh Kementrian PUPR menjadi konsultan ahli untuk mengembangkan Desain Dasar (Basic Design). Kemudian ALTA Integra melanjutkan pengmbangan desain bersama kontraktor utama pemenang tender yaitu Adhi Karya - Nindya Karya - Penta Architecture (KSO).

Beberapa masalah akustik yang menjadi tanggung jawab kami adalah:

1. Kebisingan yang terdengar di area lapangan basket utama saat hujan. Kebisingan yang terdengar harus sesuai standar yang untuk konser musik dan pertandingan olah raga.

2. Kebisingan yang keluar dari gedung olah raga saat berlangsung pertandingan olah raga maupun konser musik.

3. Waktu dengung yang tidak menggangu tingkat kejelasan suara saat berlangsungnya pertandingan olah raga maupun konser musik, maupun saat terjadi evakuasi apabila terjadi kebakaran.

4. Ruang - ruang pendukung yang membutuhkan kualitas akustik yang baik untuk pemberitaan, coaching, meeting dan lain sebagainya.

5. Dan masih banyak lagi.

Selain bertanggung jawab atas performa teknis akustik mulai dari menghitung, mendesain dan mengukur, kami juga perlu berkoordinasi dengan team arsitek dan team konsultan lain agar integrasi desain dari masing-masing disiplin dapat menyatu dengan harmonis. Dan terakhir yang paling penting adalah segala bentuk desain yang kami sarankan dapat tetap sesuai anggaran yang diajukan oleh kontraktor utama saat memasukan penawaran tender.

Besar harapan kami pekerjaan pembangunan Gelora Bung Karno Indoor Multi-function Stadium dapat diselesaikan sesuai dengan perencanaan. Sehingga acara pertandingan basket International FIBA Basketball World Cup dapat diselenggarakan dengan sukses. Sebagai tambahan ke depannya Event Organizer Musik memiliki alternatif mengadakan konser menghadirkan bintang musik international seperti ColdPlay, Maroon 5, Ed Sheeran dengan kapasitas penonton yang memadai agar tiket masuk dapat di jual lebih terjangkau.

Sustainable Retail Fit Out Design: Kiehl’s Central Park Jakarta

Is it the Most Sustainable Retail in South East Asia?

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Audiovisual System Design: Nokia Corporate Office Capital Place

Collaborate with Mmoser Associate Singapore, ALTA Integra succeeded designed Effective Audiovisual Design for Connecting People and Things

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Lobby

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Boardroom

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Meeting Room

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Canteen, Town Hall, Training

Apoteker Perawatan Kulit Kiehls Since 1851 - Sustainable Retail Box pertama di Central Park Jakarta - akankah menjadi toko retail terhijau di Indonesia?

Toko Farmasi tempat John Kiehl memulai karirnya sebagai apoteker perawatan kulit sejak tahun 1851

Kepedulian Kiehls since 1851

Kiehls adalah sebuah perusahaan farmasi kecantikan yang memulai usahanya pada tahun 1851. Pada tahun 1924 Kiehls mempelopori keterbukaan material dengan mencantumkan bahan yang terkandung di dalam produknya. Tahun 2018 Platform Kiehl’s Future Made Better diluncurkan untuk mewujudkan komitmen pembangunan berkelanjutan dalam rangka menjaga keberlangsungan bumi dan kegiatan filantropis lainnya.

Di tahun 2020 Kiehls berhasil meningkatkan persentase kandungan bahan terbarukan pada semua produk perawatan kecantikan sampai dengan 98%. Tahun 2022, Kiehls dibawah manajemen L’oreal menjalankan program Retail Sustainable untuk meningkatkan kenyaman dan kesehatan pekerja dan pelanggan serta membangun dan mengoperasikan toko ramah lingkungan.

Sebagai langkah awal Sustainablity Design team L’oreal International memilih outlet Kiehls di Central Park Jakarta sebagai proyek pertama program Retail Sustainable di Indonesia, dan ALTA Integra terpilih untuk menjadi partner dalam mewujudkan program tersebut.

Sustainable Retail Box

Sustainable Retail Box diadaptasi dari rating US Green Building Council LEED dan International WELL Building Institute rating. Adapun parameter L’oreal Sustaible Retail Box dibagi menjadi 6 kategori sebagai berikut.

1. Construction & Project Management

   Manajemen proyek dan konstruksi melibatkan seluruh stakeholder seperti desainer-kontraktor-landlord dalam proyek sustainable retail, mereview perencanaan kualitas desain dan konstruksi, menjaga kualitas udara saat dan setelah konstruksi, memilah material bongkaran yang dapat digunakan kembali, material bongkaran untuk didaur ulang, sampah berbahaya, dan aspek lainnya.

2. Building Design & Space Layout

   Desain bangunan dan layout ruangan meliputi aksesibilitas difabel, kenyamanan indera penciuman, ergonomic furniture, manajemen sampah operasional toko dan lain-lain.

3. 材料

   Kategori bahan meliputi penggunaan kayu bersertifikat, material eco-label, material dengan kandungan kimia yang terdeklarasi , material dan furniture rendah emisi, dan lain-lain.

4. Heating, Ventilation & Air Conditioning

   Pemanasan, Pendinginan dan Pertukaran Udara meliputi kenyamanan termal sesuai dengan ASHRAE Standard 55-2010, kecepatan sirkulasi udara, tingkat pertukaran udara, sistem filter sirkulasi udara, dan lain-lain.

5. Lighting & Electricity

   Pencahayaan dan Listrik meliputi lighting desain dan automasi hemat energi, penggunaan lampu LED dan perangkat toko hemat energi, perhitungan penggunaan listrik per meter persegi dan pemasangan listrik metering untuk monitor harian, konektifitas internet, pembatasan eksposur elektromagnet dan lain-lain. Selain desain hemat energi, kualitas pencahayaan yang harus dicapai meliputi level pencahayaan di tiap bagian, color temperatur dan color rendering index untuk yang sejalan dengan kualitas produk yang dijual.

6. 水

   Kategori air meliputi ketersediaan air minum untuk pekerja, air yang aman untuk membersihkan uji coba sampel perawatan, strategi desain plumbing agar tercipta penggunaan air yang hemat, pemasangan meter air untuk memonitor penggunaan air harian dan lain-lain.

Pengukuran parameter teknis pencahayaan seperti tingkat pencahayaan (Lux) , correlated color temperature (Kelvin) dan Color Rendering Index sebagai benchmark data untuk penilaian peningkatan performa dan index kepuasan.

ALTA Integra adalah desainer Lingkungan Fisika yang berfokus pada kesehatan manusia dan lingkungan

ALTA Integra dibentuk karena kepercayaan bahwa lingkungan fisika di mana kita hidup, bekerja dan bermain dapat membentuk dan mempengaruhi tubuh, pikiran dan perilaku manusia. Penelitian multi-disiplin yang dilakukan mendukung teori yang menyimpulkan lingkungan fisika dapat meningkatkan kesehatan, kebahagian dan produktifitas. 

Sayangnya banyak bangunan yang dirancang tanpa memperhitungkan aspek lingkungan fisika sehingga setelah terbangun memberikan dampak negatif kepada penghuninya seperti suasana cahaya yang tidak nyaman membuat lekas lelah, gangguan suara yang menyulitkan untuk beristirahat, fokus bekerja dan belajar serta beragam masalah yang dapat merusak bumi dan alam.

Untuk itu ALTA Integra selalu fokus dalam mendesain lingkungan fisika bangunan yang dapat mempertimbangkan kepekaan dan kecerdasan indera sehingga bangunan tersebut dapat membuat pengguna dan lingkungannya berkembang secara positif. Untuk informasi lebih lanjut bagaimana Konsultasi Multi-Disiplin Fisika Bangunan yang berfokus pada kesehatan manusia dan alam dapat memberikan nilai tambah buat usaha ANDA, klik tombol dibawah ini.

Acoustic Lighting Audiovisual Design: Indonesia Stock Exchange Main Hall

Mid 2020 ALTA Integra was chosen by Indonesia Stock Exchange to be their design consultant partner to elevate IDX Main Hall to World-Class Standard. ALTA was chosen due to its World-Class Reputation in integrating multi-discipline engineering such as Architectural Lighting, Acoustics, and Audio Systems Design with the beauty of architecture seamlessly. By The End of 2021 ALTA Integra Has Succeeded Completed The Commissioning of Audiovisual Lighting and Acoustic Experiences in Indonesia Stock Exchange Main Hall to a Multi-Sensory Experiences Venue

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With Old Carpet

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Lighting Acoustic Design: Global Banking and Financial Corporate

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Reception

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TOWN-HALL 

The town hall designed to have flexibility in space, can be enlarge if the high STC of operable wall of meeting room and music studio space is open. Feature with Cisco Webex Video Conference and distributed to all space with Crestron Audio System and high-definition projector with a motorized lift for internal gathering or global office gathering.

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Boardroom & Meeting Room

together with interior designer we design the integration of CISCO Webex Telepresence for visual aesthetic, ergonomic and comfort, speech clarity with maximum acoustic privacy.   

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Open Plan Office

Together with interior we make acoustic zoning plan in the open plan work space to reduce acoustic distraction and improve acoustic privacy, in a healthy acoustic environment according to Green Mark Certification.

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Interior Lighting Acoustic Karaoke System: Miami Vibe KTV Bar

Seamless Integration Design of Audiovisual Interior Acoustic Design Lighting, Excellent Audiovisual Karaoke Experiences with Excellent Acoustic and Miami Style Lighting Design

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City View Bar

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KTV Room

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Entrance

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Toilet

Interior Acoustic Lighting Design: Sindanglaya Audiophile Music Room

“Design is where science and art break even" 

Mieke Gerritzen

Follow our passion for music and art, painting our room with beautiful sound and light, and a scientific method behind it. Integrating building science and art into project can tell a different story.

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3D Interior Rendering

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Interior Lighting Acoustic Design: Jatinegara Mancave Billiard Karaoke Audio Music Studio

“A man cave is a personal sanctuary where you can indulge your hobbies and guilty pleasures with freedom. It provides personal space for much-needed me-time, boys hang-out, or family gatherings.” 

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Warm and Inviting Interior Design

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Good Acoustic mean Good Music

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Good Lighting for Enjoy the Moment

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Potato Head Studios Bali: Bridging European Acoustic Consulting to Local Construction

Building High-Performance Hospitality Through International Acoustic Collaboration

Potato Head Studios is one of Southeast Asia's most celebrated hospitality developments, making it an excellent example of the technical challenges faced by a Hotel Acoustic Consultant.

Luxury hospitality projects require careful coordination of architectural acoustics, structure-borne vibration control, guest room sound insulation, and mechanical noise mitigation. For every Hospitality Acoustic Consultant, these disciplines are essential to delivering exceptional guest comfort and meeting international hospitality performance standards.

Completed in 2020 as part of Desa Potato Head in Seminyak, Bali, the 168-room hotel was designed by OMA (Office for Metropolitan Architecture) under the leadership of David Gianotten, with Andra Matin serving as the local architect. The multidisciplinary design team also included Royal HaskoningDHV as the Acoustic Consultant, Switch as the Lighting Consultant, Aurecon as the Structural and Building Services Engineer, and Larch Studio as the Landscape Consultant.

During the construction phase, ALTA Integra was recommended by Rick de Vos of Royal HaskoningDHV to support PT Total Bangun Persada Tbk, the project's main contractor, in identifying and evaluating alternative acoustic materials that were locally available in Indonesia while maintaining the acoustic performance objectives established by the project acoustic consultant.

ALTA Integra's Role

While the project's acoustic design had already been developed by Royal HaskoningDHV, construction often presents practical challenges when specified products have limited availability, long procurement lead times, or regional supply constraints.

As an Acoustic Consultant in Indonesia supporting an internationally designed hospitality project, ALTA Integra collaborated with the construction team to help translate the acoustic design intent into practical construction solutions.

• Reviewing the acoustic performance requirements established by Royal HaskoningDHV.

• Identifying locally available acoustic products and construction materials that could serve as technically suitable alternatives.

• Comparing acoustic properties, installation methods, and constructability of substitute materials.

• Providing technical recommendations to assist PT Total Bangun Persada during procurement and construction coordination.

• Supporting communication between the contractor and the acoustic consultant regarding proposed material substitutions.

Because luxury hotels depend on exceptional acoustic comfort for guest satisfaction, any substitution of specified acoustic materials must be carefully evaluated to ensure equivalent acoustic performance, constructability, durability, and compliance with the original design intent. This evaluation formed an important part of ALTA Integra's construction-phase technical support.

Hotel Acoustic Consultant Challenges in Luxury Hospitality Projects

Potato Head Studios represents a unique hospitality environment where guest accommodation exists alongside restaurants, bars, performance spaces, wellness facilities, and the internationally renowned Potato Head Beach Club.

Such mixed-use hospitality developments require careful acoustic coordination to balance vibrant public activities with guest comfort. Typical considerations include:

• Guest room airborne and structure-borne sound insulation

• Façade window acoustic performance against entertainment noise

• Control of structure-borne impact noise from luggage trolley traffic in guest room corridors

• Roof-top bar noise mitigation

• Kitchen equipment noise mitigation

• Mechanical equipment and HVAC noise mitigation

For every Hotel Acoustic Consultant, luxury hospitality developments present a unique combination of acoustic engineering challenges. Guest expectations demand quiet guestrooms despite nearby entertainment venues, restaurants, rooftop bars, mechanical equipment, and busy circulation areas. Achieving these outcomes requires close collaboration between architects, acoustic consultants, contractors, and specialist suppliers throughout design and construction.

Royal HaskoningDHV led the overall acoustic design strategy for the development, while ALTA Integra's construction-phase support focused on facilitating material implementation within the Indonesian supply chain.

Construction Challenge: Achieving Effective Floating Floor Installation

One of the key construction challenges during the project involved the successful installation of the floating floor system for vibration isolation. While specifying the appropriate vibration damping material is essential, the overall performance of a floating floor depends equally on correct installation and strict adherence to acoustic detailing.

ALTA Integra worked closely with Dasdianto Bintang, Project Manager of PT Total Bangun Persada, to explain the engineering principles behind vibration isolation and the importance of maintaining complete structural separation between the floating floor and the structural slab. During construction, a common industry challenge can arise when installers inadvertently create rigid connections between the floating floor and the base slab—such as tying reinforcement, allowing concrete bridges, or permitting perimeter contact with surrounding structural elements. These unintended connections create structure-borne sound bridges, allowing vibration energy to bypass the resilient isolation layer and significantly reducing the effectiveness of the floating floor system.

Our role included reviewing installation details, discussing best construction practices with the project team, and emphasizing that a floating floor must remain fully decoupled from the supporting structure to achieve its intended vibration isolation performance. The construction team was advised to carefully protect the resilient layer throughout installation, prevent rigid contact at floor edges and penetrations, and verify that all detailing complied with the acoustic consultant's design intent.

This collaboration helped reinforce that high-performance acoustic construction depends not only on selecting the correct materials, but also on precise installation, quality control, and a thorough understanding of building physics principles. Even minor deviations during construction can compromise vibration isolation and negatively affect the acoustic comfort expected in a premium hospitality development.

International Collaboration

This project illustrates how an international Hospitality Acoustic Consultant and an Acoustic Consultant in Indonesia can work together to successfully implement complex acoustic solutions.

By combining Royal HaskoningDHV's international hospitality experience with ALTA Integra's local technical knowledge, the project team successfully adapted acoustic specifications to Indonesia's construction market while preserving the original design intent.

For complex hospitality developments, this type of collaboration helps bridge the gap between international specifications and practical construction realities.

ALTA Integra's Contribution

As an Acoustic Consultant in Indonesia serving luxury hospitality developments across Southeast Asia and the broader Asia-Pacific region, ALTA Integra provides and construction-phase technical support for hotel acoustic engineering implementation, acoustic material evaluation, construction quality assurance, and acoustics testing and measurement.

Our experience working alongside internationally recognized acoustic consultants demonstrates how local building physics expertise can successfully deliver global hospitality acoustic standards throughout Indonesia and Asia.

项目信息

Project: Potato Head Studios

Location: Seminyak, Bali, Indonesia

Completion: 2020

Client: Potato Head

Architect: OMA (Office for Metropolitan Architecture)

Local Architect: Andra Matin

Acoustic Consultant: Royal HaskoningDHV

Lighting Consultant: Switch

Structural & Building Services: Aurecon

Landscape Consultant: Larch Studio

Main Contractor: PT Total Bangun Persada Tbk.

Acoustic Implementation Consultant (Indonesia): ALTA Integra