{"id":4915,"date":"2026-11-12T10:00:40","date_gmt":"2026-11-12T09:00:40","guid":{"rendered":"https:\/\/macustica.com\/?p=4915"},"modified":"2026-11-12T16:48:30","modified_gmt":"2026-11-12T15:48:30","slug":"el-disseny-acustic-de-teatres-i-auditoris-moderns-quan-larquitectura-i-el-so-es-troben","status":"publish","type":"post","link":"https:\/\/macustica.com\/ca\/el-disseny-acustic-de-teatres-i-auditoris-moderns-quan-larquitectura-i-el-so-es-troben\/","title":{"rendered":"El disseny ac\u00fastic de teatres i auditoris moderns: quan l’arquitectura i el so es troben."},"content":{"rendered":"

La qualitat ac\u00fastica \u00e9s un dels elements fonamentals en el disseny de teatres, auditoris i espais destinats a espectacles.<\/strong> M\u00e9s enll\u00e0 de l’est\u00e8tica arquitect\u00f2nica, aquests recintes han d’oferir unes condicions sonores adequades perqu\u00e8 la m\u00fasica, la paraula i qualsevol representaci\u00f3 art\u00edstica arribin al p\u00fablic amb claredat, equilibri i naturalitat.<\/p>\n

Un teatre pot ser visualment espectacular, per\u00f2 si l’ac\u00fastica no est\u00e0 ben resolta, l’experi\u00e8ncia de l’espectador es pot veure compromesa.<\/p>\n

Per aix\u00f2, el disseny ac\u00fastic de teatres i auditoris moderns<\/strong> requereix integrar, des de les primeres fases del projecte, criteris d’ac\u00fastica arquitect\u00f2nica, a\u00efllament ac\u00fastic i control del renou de les instal\u00b7lacions.<\/p>\n

Per qu\u00e8 \u00e9s tan important l’ac\u00fastica en un teatre o auditori?<\/h2>\n

A difer\u00e8ncia d’altres edificis, els teatres i auditoris estan concebuts perqu\u00e8 el so sigui un dels grans protagonistes.<\/p>\n

Cada paraula pronunciada a l’escenari, cada nota musical i cada detall sonor han d’arribar al p\u00fablic en les millors condicions possibles.<\/p>\n

Tanmateix, el so no es comporta igual en tots els espais. La seva propagaci\u00f3 dep\u00e8n de nombrosos factors, com ara:<\/p>\n

    \n
  • La geometria i el volum del recinte.<\/li>\n
  • Els materials utilitzats en parets, sostres i paviments.<\/li>\n
  • La distribuci\u00f3 de les butaques i del p\u00fablic.<\/li>\n
  • La ubicaci\u00f3 de l’escenari i de les fonts sonores.<\/li>\n
  • Les reflexions ac\u00fastiques i la reverberaci\u00f3.<\/li>\n
  • El renou procedent de l’exterior i de les instal\u00b7lacions.<\/li>\n<\/ul>\n

    Un disseny ac\u00fastic adequat permet controlar aquests factors i aconseguir una experi\u00e8ncia auditiva equilibrada a les diferents zones del recinte.<\/p>\n

    Els principals reptes del disseny ac\u00fastic d’auditoris<\/h2>\n

    1. Controlar el temps de reverberaci\u00f3<\/h3>\n

    Un dels par\u00e0metres m\u00e9s importants en el condicionament ac\u00fastic d’un auditori \u00e9s el temps de reverberaci\u00f3<\/strong>.<\/p>\n

    Aquest concepte descriu, de manera simplificada, quant triga el so a disminuir 60 decibels despr\u00e9s que la font sonora deixi d’emetre.<\/p>\n

    Quan la reverberaci\u00f3 \u00e9s excessiva, els sons se superposen i pot resultar dif\u00edcil entendre les paraules. En canvi, una reverberaci\u00f3 massa redu\u00efda pot fer que la m\u00fasica perdi riquesa i sensaci\u00f3 d’amplitud.<\/p>\n

    El temps de reverberaci\u00f3 desitjable dep\u00e8n principalment del volum del recinte i del tipus d’activitat prevista.<\/p>\n

    Com a orientaci\u00f3 general:<\/p>\n\n\n\n\n\n\n
    Tipus d’espai<\/strong><\/td>\nTemps de reverberaci\u00f3 orientatiu<\/strong><\/td>\n<\/tr>\n
    Auditoris destinats principalment a confer\u00e8ncies<\/td>\n0,6\u20131,2 segons<\/td>\n<\/tr>\n
    Sales per a concerts de m\u00fasica simf\u00f2nica<\/td>\n1,6\u20132,2 segons<\/td>\n<\/tr>\n
    Teatres i auditoris polivalents<\/td>\nVariable segons els usos i les caracter\u00edstiques<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

    Aquests intervals s\u00f3n orientatius, no requisits universals. Els valors de disseny s’han de determinar mitjan\u00e7ant un estudi espec\u00edfic, tenint en compte tamb\u00e9 el seu comportament en diferents bandes de freq\u00fc\u00e8ncia.<\/p>\n

    2. Garantir la intel\u00b7ligibilitat de la parla<\/h3>\n

    En un teatre, entendre correctament els di\u00e0legs \u00e9s essencial.<\/p>\n

    La intel\u00b7ligibilitat dep\u00e8n tant del so directe que arriba des de l’escenari com de les reflexions generades a les superf\u00edcies del recinte i del renou de fons.<\/p>\n

    Les primeres reflexions, quan arriben en condicions adequades, poden refor\u00e7ar la percepci\u00f3 de la veu. Tanmateix, un exc\u00e9s de reflexions tardanes i els ecos poden dificultar-ne la comprensi\u00f3.<\/p>\n

    El disseny ac\u00fastic busca assolir un equilibri entre:<\/p>\n

      \n
    • La claredat de la parla.<\/li>\n
    • La distribuci\u00f3 uniforme del so.<\/li>\n
    • L’abs\u00e8ncia d’ecos molestos.<\/li>\n
    • Un nivell de renou de fons redu\u00eft.<\/li>\n
    • Una reverberaci\u00f3 adequada a l’activitat.<\/li>\n<\/ul>\n

      En aquests espais tamb\u00e9 es poden analitzar par\u00e0metres ac\u00fastics com la definici\u00f3 sonora (D50) o l’\u00edndex de transmissi\u00f3 de la parla (STI).<\/p>\n

      3. Aconseguir una distribuci\u00f3 homog\u00e8nia del so<\/h3>\n

      Un altre dels grans reptes \u00e9s evitar difer\u00e8ncies ac\u00fastiques importants entre unes localitats i unes altres.<\/p>\n

      Un espectador situat a les primeres files no rep exactament el mateix camp sonor que un altre situat al fons de l’auditori o en una llotja lateral.<\/p>\n

      Per millorar la distribuci\u00f3 del so s’estudien la geometria de la sala, els elements reflectors, les superf\u00edcies difusores i la posici\u00f3 de les fonts sonores.<\/p>\n

      Els reflectors ac\u00fastics situats als sostres o a les parets poden contribuir a dirigir part de l’energia sonora cap a determinades zones del p\u00fablic.<\/p>\n

      L’objectiu \u00e9s que l’experi\u00e8ncia ac\u00fastica sigui tan equilibrada com sigui possible<\/strong>, independentment de la ubicaci\u00f3 de l’espectador.<\/p>\n

      El paper dels materials en el condicionament ac\u00fastic<\/h2>\n

      Els materials utilitzats en un teatre no compleixen \u00fanicament una funci\u00f3 est\u00e8tica. Les seves propietats ac\u00fastiques influeixen directament en el comportament del so.<\/p>\n

      En el disseny d’aquests espais es combinen tres estrat\u00e8gies principals:<\/p>\n

      Absorci\u00f3 ac\u00fastica<\/strong><\/p>\n

      Els materials absorbents redueixen part de l’energia sonora reflectida i permeten controlar la reverberaci\u00f3. Es poden utilitzar panells ac\u00fastics, revestiments t\u00e8xtils i altres sistemes dissenyats per actuar sobre determinades freq\u00fc\u00e8ncies.<\/p>\n

      Reflexi\u00f3 ac\u00fastica<\/strong><\/p>\n

      Les superf\u00edcies reflectores permeten redirigir l’energia sonora i refor\u00e7ar-ne l’arribada a determinades posicions. S\u00f3n especialment importants en auditoris destinats a m\u00fasica no amplificada.<\/p>\n

      Difusi\u00f3 ac\u00fastica<\/strong><\/p>\n

      Els elements difusors dispersen el so en diferents direccions, afavoreixen una distribuci\u00f3 espacial m\u00e9s equilibrada i ajuden a evitar reflexions excessivament concentrades.<\/p>\n

      La clau no \u00e9s omplir el recinte de materials absorbents, sin\u00f3 combinar absorci\u00f3, reflexi\u00f3 i difusi\u00f3 de manera controlada<\/strong>.<\/p>\n

      La geometria de l’auditori: molt m\u00e9s que una q\u00fcesti\u00f3 est\u00e8tica<\/h2>\n

      La forma d’una sala influeix notablement en el seu comportament ac\u00fastic.<\/p>\n

      Les dimensions, l’al\u00e7ada del sostre, la disposici\u00f3 de les parets i la relaci\u00f3 entre l’escenari i el p\u00fablic determinen com es propaguen les ones sonores.<\/p>\n

      Per exemple, determinades superf\u00edcies c\u00f2ncaves poden concentrar reflexions en zones concretes, mentre que algunes configuracions de parets paral\u00b7leles poden afavorir l’aparici\u00f3 d’ecos repetitius.<\/p>\n

      Per aquest motiu, els projectes actuals incorporen estudis ac\u00fastics des de les primeres etapes del disseny arquitect\u00f2nic.<\/p>\n

      La col\u00b7laboraci\u00f3 entre arquitectes i enginyers ac\u00fastics permet identificar possibles problemes abans que es materialitzin durant la construcci\u00f3.<\/p>\n

      A\u00efllament ac\u00fastic: protegir l’espectacle del renou exterior<\/h2>\n

      El condicionament ac\u00fastic interior \u00e9s nom\u00e9s una part del disseny.<\/p>\n

      Un auditori tamb\u00e9 necessita un a\u00efllament adequat davant del renou procedent de l’exterior, dels espais adjacents i de les seves pr\u00f2pies instal\u00b7lacions.<\/p>\n

      El tr\u00e0nsit, els equips de climatitzaci\u00f3, els ascensors o l’activitat a les zones auxiliars poden generar mol\u00e8sties durant una representaci\u00f3.<\/p>\n

      Per minimitzar aquestes interfer\u00e8ncies s’estudien aspectes com ara:<\/p>\n

        \n
      • L’a\u00efllament ac\u00fastic de fa\u00e7anes, cobertes i tancaments.<\/li>\n
      • La transmissi\u00f3 de renou entre espais interiors.<\/li>\n
      • L’a\u00efllament de portes i accessos.<\/li>\n
      • El control de les vibracions de maquin\u00e0ria i instal\u00b7lacions.<\/li>\n
      • El disseny ac\u00fastic dels sistemes de ventilaci\u00f3 i climatitzaci\u00f3.<\/li>\n<\/ul>\n

        Una bona ac\u00fastica requereix no nom\u00e9s que el so desitjat arribi correctament al p\u00fablic, sin\u00f3 tamb\u00e9 que els renous no desitjats es mantinguin prou controlats.<\/p>\n

        Simulaci\u00f3 ac\u00fastica: anticipar com sonar\u00e0 un espai abans de construir-lo<\/h2>\n

        Una de les eines m\u00e9s importants de l’enginyeria ac\u00fastica actual \u00e9s la simulaci\u00f3 ac\u00fastica mitjan\u00e7ant models tridimensionals<\/strong>.<\/p>\n

        Aquests models permeten estudiar el comportament previst del so en un recinte abans que s’hagi constru\u00eft.<\/p>\n

        A partir de la geometria de l’edifici i de les propietats ac\u00fastiques dels materials, es poden analitzar diferents alternatives de disseny.<\/p>\n

        Entre altres aspectes, les simulacions permeten estudiar:<\/p>\n

          \n
        • La distribuci\u00f3 de l’energia sonora.<\/li>\n
        • Els temps de reverberaci\u00f3 previstos.<\/li>\n
        • L’aparici\u00f3 de reflexions i possibles ecos.<\/li>\n
        • La claredat sonora en diferents posicions.<\/li>\n
        • L’efecte de modificar materials, geometries o elements ac\u00fastics.<\/li>\n<\/ul>\n

          Aquesta metodologia \u00e9s especialment \u00fatil per comparar solucions, optimitzar el disseny i reduir el risc d’haver de fer modificacions costoses un cop finalitzada l’obra.<\/p>\n

          Tanmateix, les simulacions s’han de complementar amb mesuraments ac\u00fastics durant la posada en servei del recinte per comprovar-ne les condicions reals.<\/p>\n

          Auditoris polivalents: espais amb una ac\u00fastica adaptable<\/h2>\n

          Molts auditoris moderns estan concebuts per acollir activitats molt diverses: concerts, representacions teatrals, confer\u00e8ncies, espectacles musicals i esdeveniments corporatius.<\/p>\n

          El principal repte \u00e9s que cada activitat pot requerir condicions ac\u00fastiques diferents.<\/p>\n

          Una confer\u00e8ncia necessita una elevada intel\u00b7ligibilitat de la parla, mentre que un concert de m\u00fasica cl\u00e0ssica es pot beneficiar d’una reverberaci\u00f3 m\u00e9s prolongada.<\/p>\n

          Per donar resposta a aquestes necessitats hi ha sistemes d’ac\u00fastica variable<\/strong>, entre els quals destaquen:<\/p>\n

            \n
          • Cortines i elements absorbents m\u00f2bils.<\/li>\n
          • Panells ac\u00fastics ajustables.<\/li>\n
          • Reflectors m\u00f2bils sobre l’escenari.<\/li>\n
          • Sistemes que permeten modificar el volum ac\u00fastic efectiu del recinte.<\/li>\n
          • Solucions electroac\u00fastiques per millorar o adaptar la resposta sonora.<\/li>\n<\/ul>\n

            Aquestes tecnologies permeten adaptar el comportament ac\u00fastic a diferents usos, sempre que estiguin correctament dissenyades i integrades en el projecte.<\/p>\n

            Com es comprova la qualitat ac\u00fastica d’un teatre?<\/h2>\n

            Un cop executat el projecte, \u00e9s important fer mesuraments que permetin verificar el comportament ac\u00fastic del recinte.<\/p>\n

            La norma UNE-EN ISO 3382-1<\/strong>, relativa al mesurament de par\u00e0metres ac\u00fastics en espais d’espectacles, constitueix una refer\u00e8ncia t\u00e8cnica fonamental per a aquest tipus d’avaluacions.<\/p>\n

            Entre els par\u00e0metres que es poden analitzar destaquen:<\/p>\n

              \n
            • Temps de reverberaci\u00f3 (T20 i T30):<\/strong> caracteritza el deca\u00efment de l’energia sonora.<\/li>\n
            • Temps de deca\u00efment inicial (EDT):<\/strong> relacionat amb la percepci\u00f3 subjectiva de la reverberaci\u00f3.<\/li>\n
            • Claredat musical (C80):<\/strong> permet avaluar la relaci\u00f3 entre energia sonora primerenca i tardana.<\/li>\n
            • Definici\u00f3 (D50):<\/strong> aporta informaci\u00f3 relacionada amb la claredat de la parla.<\/li>\n
            • For\u00e7a sonora (G):<\/strong> caracteritza l’energia sonora rebuda en relaci\u00f3 amb una refer\u00e8ncia.<\/li>\n<\/ul>\n

              Aquests indicadors ajuden a avaluar objectivament diferents aspectes de la resposta ac\u00fastica d’una sala.<\/p>\n

              La seva interpretaci\u00f3 conjunta, juntament amb les caracter\u00edstiques del recinte i l’\u00fas previst, permet determinar si les condicions ac\u00fastiques s\u00f3n adequades.<\/p>\n

              La import\u00e0ncia d’integrar l’enginyeria ac\u00fastica des de l’inici<\/h2>\n

              Un dels errors habituals en els projectes arquitect\u00f2nics \u00e9s considerar l’ac\u00fastica \u00fanicament durant les fases finals de l’obra.<\/p>\n

              Tanmateix, moltes decisions que afecten el comportament sonor d’un teatre es prenen molt abans: en definir-ne el volum, la geometria, els tancaments o la distribuci\u00f3 dels espais.<\/p>\n

              Incorporar criteris ac\u00fastics des de les fases inicials facilita la coordinaci\u00f3 entre les diferents disciplines i permet desenvolupar solucions t\u00e8cniques compatibles amb el disseny arquitect\u00f2nic.<\/p>\n

              A m\u00e9s, anticipar possibles problemes pot evitar intervencions posteriors que acostumen a ser m\u00e9s complexes i costoses.<\/p>\n

              Espais dissenyats per veure, sentir i escoltar<\/h2>\n

              El disseny ac\u00fastic de teatres i auditoris moderns representa el punt de trobada entre l’arquitectura, l’enginyeria i l’experi\u00e8ncia art\u00edstica.<\/p>\n

              Una bona ac\u00fastica no dep\u00e8n d’un \u00fanic material ni d’una soluci\u00f3 a\u00efllada, sin\u00f3 de l’equilibri entre geometria, reverberaci\u00f3, claredat, a\u00efllament i distribuci\u00f3 sonora.<\/p>\n

              A Mac\u00fastica Ingenier\u00eda<\/strong> treballem en l’\u00e0mbit de l’enginyeria ac\u00fastica, mitjan\u00e7ant estudis, mesuraments i simulacions que permeten analitzar el comportament del so i aportar criteris t\u00e8cnics per al disseny i la millora dels espais.<\/p>\n

              Perqu\u00e8 en un teatre o auditori, l’arquitectura no nom\u00e9s es contempla: tamb\u00e9 s’escolta<\/strong>.<\/p>\n","protected":false},"excerpt":{"rendered":"

              La qualitat ac\u00fastica \u00e9s un dels elements fonamentals en el disseny de teatres, auditoris i espais destinats a espectacles. M\u00e9s enll\u00e0 de l’est\u00e8tica arquitect\u00f2nica, aquests recintes han d’oferir unes condicions sonores adequades perqu\u00e8 la m\u00fasica, la paraula i qualsevol representaci\u00f3 art\u00edstica arribin al p\u00fablic amb claredat, equilibri i naturalitat. Un teatre pot ser visualment espectacular, […]<\/p>\n","protected":false},"author":1,"featured_media":4847,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"default","adv-header-id-meta":"","stick-header-meta":"default","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"set","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"categories":[158],"tags":[],"class_list":["post-4915","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-ambiental-ca"],"yoast_head":"\nEl disseny ac\u00fastic de teatres i auditoris moderns: quan l'arquitectura i el so es troben. - Macustica<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/macustica.com\/ca\/el-disseny-acustic-de-teatres-i-auditoris-moderns-quan-larquitectura-i-el-so-es-troben\/\" \/>\n<meta property=\"og:locale\" content=\"ca_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"El disseny ac\u00fastic de teatres i auditoris moderns: quan l'arquitectura i el so es troben. - Macustica\" \/>\n<meta property=\"og:description\" content=\"La qualitat ac\u00fastica \u00e9s un dels elements fonamentals en el disseny de teatres, auditoris i espais destinats a espectacles. 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