Arup
奥雅纳公司称，在今后的几十年中，中国和东南亚将会跻身该行业增长最快的市场之列。图为奥雅纳公司参与建设的新加坡艺术学校。
奥
雅纳公司(Arup)这个名字或许鲜为人知，但该公司的许多项目却是家喻户晓。作为一家建筑设计和工程公司，奥雅纳的成功案例包括伦敦泰特现代艺术馆(Tate Modern)、悉尼歌剧院(Sydney Opera House)和北京国家游泳中心（水立方）。
Arup
悉尼歌剧院(Sydney Opera House)就是奥雅纳公司的一个成功案例。
但在这一地区建造演艺场馆并不是件容易的事情。他说，“有些地方夏季非常湿热，冬季又会下大雪，这会影响建筑的设计。”
同样，中国乐器与西方乐器的声学需求也不同，尼科尔说，两者之间的差异将成为未来几年内专业人士讨论的主要问题。
目前尼克尔手头的项目包括马来西亚国家广播电视公司(RTM)演播室设计项目、新加坡维多利亚音乐厅(Victoria Concert Hall)翻新项目和香港文化中心(Hong Kong Cultural Center)音乐厅翻修项目。
尼科尔现年45岁，常驻墨尔本。他还是一名小号手。我们请他选出他最希望自己曾参与设计的五大演出场所。
意大利米兰斯卡拉大剧院(La Scala)：“这是大型歌剧院的典范之作，观众席的音响效果与舞台表演的效果一般无二。建造这样一个垂直构造的剧场，同时要让所有座位和所有包厢达到标准音响效果很不简单，这其中的挑战我只能去想象了。剧院的开业之夜肯定棒极了。”
美国洛杉矶华特•迪士尼音乐厅(Walt Disney Concert Hall)：“这是现代建筑令人叹为观止的杰作。由于时间间隔太久，要能让新、旧音乐厅达到同样的音响效果已经不可能，但如果真的做到的话那就太酷了。”
欧洲宫殿早期的演出场所：“宫廷作曲家创作的乐曲是要在室内演奏的。要是能在那个时期参与建筑这类项目──暂且把这些宫殿内的演出场所称为项目，并了解当时的设计和施工决策的话一定很有意思。”
新加坡滨海艺术中心(Esplanade)：“这是过去几十年中修建的最令人赞叹的音乐厅之一，听觉效果和整体感觉都让我激动不已。这正是作曲家希望达到的效果。真正能给听众带来这种感官冲击的音乐厅实在是屈指可数。”
英国埃文河畔斯特拉特福(Stratford-Upon-Avon)的皇家莎士比亚剧院(Royal Shakespeare Theatre)：“我出生在埃文河畔斯特拉特福，在那儿上的学，读过莎士比亚(William Shakespeare)读过的学校。我早年对于艺术的体验有很多是来自于观看皇家莎士比亚剧院的演出，我偶尔也会登台表演。奥雅纳把我从伦敦调到澳大利亚后不久，皇家莎士比亚剧院启动了翻修计划，要是能在故乡参与这样一个重要建筑项目那真是再好不过了。”
Kristiano Ang
（本文版权归道琼斯公司所有，未经许可不得翻译或转载。）
Arup may not be a household name, but many of its projects are.
The design and engineering firm counts the likes of London's Tate Modern, the Sydney Opera House and Beijing's National Aquatics Center in its portfolio.
China and Southeast Asia are among the fastest-growing markets in the industry for the next few decades, says Andrew Nicol, principal of Arup's theater and acoustic practice for Asia.
But building performance venues for the region is no easy task. 'There are some places that have very warm and humid summers and then heavy snowfall in winter,' he says. 'This affects how buildings are designed.'
Similarly, Chinese musical instruments have different acoustic needs from Western ones, and understanding the distinction 'will dominate discussion amongst professionals in the years to come,' Mr. Nicol says.
Currently on his slate are the studios for Malaysian state broadcaster RTM, the refurbishment of the Victoria Concert Hall in Singapore and the renovation of the Hong Kong Cultural Center's Concert Hall.
We asked the 45-year-old trumpeter, who is based in Melbourne, to pick five performance spaces he wishes he had worked on.
The La Scala in Milan: 'The epitome of grand-scale opera, where the auditorium is as theatrical as the production on the stage. I can only envisage the challenges in building such a vertically scaled room while achieving representative acoustics in all the seats and all the boxes. The opening night must have been dramatic.'
The Walt Disney Concert Hall in Los Angeles: 'This is a stunning price of modern architecture. It's impossible, given the time gap, to have been able to work on the old and the new halls and achieve the same acoustical outcome, but that would be pretty cool.'
Early performance spaces in European palaces: 'The composers in residence wrote their music [to be played in] the room. It would have been fascinating to have been involved with such projects, if that is the right term for them, in that period, and how design and construction decisions were made.'
The Esplanade in Singapore: 'This is one of the amazing concert halls built in the last few decades. Both the aural and the overall experience make the hair on my neck stand on end. This is exactly what the composers intended. There are only a handful of halls that really stimulate the senses as they should do.'
The Royal Shakespeare Theatre in Stratford-Upon-Avon: 'I was born and educated in Stratford-Upon-Avon and attended William Shakespeare's school. Much of my early arts experience was attending performances at the Royal Shakespeare Theatre and occasionally performing on stage. Shortly after Arup moved me from London to Australia, plans were released to renovate the RST and it would have been brilliant to work on such an important building in my hometown.'
Kristiano Ang
The design and engineering firm counts the likes of London's Tate Modern, the Sydney Opera House and Beijing's National Aquatics Center in its portfolio.
China and Southeast Asia are among the fastest-growing markets in the industry for the next few decades, says Andrew Nicol, principal of Arup's theater and acoustic practice for Asia.
But building performance venues for the region is no easy task. 'There are some places that have very warm and humid summers and then heavy snowfall in winter,' he says. 'This affects how buildings are designed.'
Similarly, Chinese musical instruments have different acoustic needs from Western ones, and understanding the distinction 'will dominate discussion amongst professionals in the years to come,' Mr. Nicol says.
Currently on his slate are the studios for Malaysian state broadcaster RTM, the refurbishment of the Victoria Concert Hall in Singapore and the renovation of the Hong Kong Cultural Center's Concert Hall.
We asked the 45-year-old trumpeter, who is based in Melbourne, to pick five performance spaces he wishes he had worked on.
The La Scala in Milan: 'The epitome of grand-scale opera, where the auditorium is as theatrical as the production on the stage. I can only envisage the challenges in building such a vertically scaled room while achieving representative acoustics in all the seats and all the boxes. The opening night must have been dramatic.'
The Walt Disney Concert Hall in Los Angeles: 'This is a stunning price of modern architecture. It's impossible, given the time gap, to have been able to work on the old and the new halls and achieve the same acoustical outcome, but that would be pretty cool.'
Early performance spaces in European palaces: 'The composers in residence wrote their music [to be played in] the room. It would have been fascinating to have been involved with such projects, if that is the right term for them, in that period, and how design and construction decisions were made.'
The Esplanade in Singapore: 'This is one of the amazing concert halls built in the last few decades. Both the aural and the overall experience make the hair on my neck stand on end. This is exactly what the composers intended. There are only a handful of halls that really stimulate the senses as they should do.'
The Royal Shakespeare Theatre in Stratford-Upon-Avon: 'I was born and educated in Stratford-Upon-Avon and attended William Shakespeare's school. Much of my early arts experience was attending performances at the Royal Shakespeare Theatre and occasionally performing on stage. Shortly after Arup moved me from London to Australia, plans were released to renovate the RST and it would have been brilliant to work on such an important building in my hometown.'
Kristiano Ang
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