Buenos Aires – 5 to 9 September, 2016

st
Acoustics for the 21 Century…

PROCEEDINGS of the 22nd International Congress on Acoustics

Concert Hall Acoustics: Paper ICA2016-32

Sound is a wave.
A new concept of Huygens acoustics diffuser
Higini Arau-Puchades(a)
(a)
Arau Acústica, Spain, [email protected]

Abstract

We know that the reference rooms have diffraction to some extent which has always believed to
be good, because the diffuse energy delivered is weaker than a mirror sound energy produced
above a smooth wall. So in our case we will explain the importance of the diffraction effects to
produce more and better diffusion of sound. Here we will formulate the existing essential
difference between the diffraction effect of Huygens and scattering effect of Schroeder. We will
distinguish between Huygens diffraction plates versus scattering plates defined by M.R.
Schroeder. In our defense of Huygens diffraction we have many cases where we have put to an
experimental test, the principle of Christian Huygens. Based on these experiences we can
conclude: Sound is a wave and is not a sound ray, and this has become clear in our various
acoustic experiments conducted by us. We have proved that the solution of the acoustics of
many halls analyzed by us had been treated thinking that the sound are waves, but not rays.
Therefore, our opinion is that in future must be required to solve many acoustic problems in
halls using mathematical and geometrical methods treating with sound waves. Because it, with
the raytracing method is not possible to solve these problems; nor with using the scattering
factors, due to this system only is valid in a limited frequency range.

Keywords: acoustic diffuser

 22nd International Congress on Acoustics, ICA 2016
Buenos Aires – 5 to 9 September, 2016

Acoustics for the 21st Century…

Sound is a wave.
A new concept of Huygens acoustics diffuser

1 Introduction
Diffraction is when waves radiating from a source meet an obstacle; then the wave pattern
becomes modified. Normally the approximation of diffraction theory is very complex. It has only
been possible to solve some theoretical problems with the theory of Helmholtz’s equation [1].
There are only two types of diffraction which are: 1. The cases derived from Huygens’ principle,
[2]; 2. The cases defined by the laws of scattering discovered by M.R. Schroeder and others,
[3].
The main purpose of the diffusing elements is certainly to reduce the speculary reflected energy
in amount required. However, nobody knows how much energy must be reducing to obtain a
good audition in a Concert Hall.

2 The Huygens’ principle behavior

The Huygens’ Principle says, [2]: Every point on a wave front acts as a point source; the new
wave front is developed tangent to all the wavelets. Diffraction can be understood to
phenomenological level using Huygens ’ Principle, whereby a wave front can be visualized as a
series of point sources, which refer to waves oscillating in response to it and thus contribute to
its spread. Although each individual oscillator generates a spherical wave, the interference of all
results in a wave travelling in the same direction as the initial wave. This is the true
representation of sound, born from the propagation of vibration of particles in the air.

Figure 1: Representative models of Huygens Principle

The Huygens diffusers continuously appear in our daily life. These are planes that are part of
our everyday life and appear in the same nature in architecture and also in images represented
in sculpturing and painting. We can say that there are so many of these diffusers, Huygens
type, that we have not seen because there are many in ordinary life.
The technical implementation of the diffusers in the field of acoustics, with the desire and the
need to experience the consequences of Huygens’ Principle, was initiated by us in various
concert halls which this paper shows.

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Ever in our job, we have chosen the frequency range where sound must be diffracted. Recall
that frequency and wavelength are related through the speed of sound .
Case 1 derived from Huygens’ Principle: If the sound wavelength λ is very small compared to
the smallest dimension Lx,y, of the obstacle and/or air holes w among plate/s, it produces a
shadow, and the intensity of radiation at any point is determined by geometrical acoustics. Here
it may be useful to work with the system of ray tracing simulation rooms where the laws of
reflection obey the laws of mirrors. The dimension of plate, or holes between plates, must be at
least:

(1)

Case 2 derived from Huygens’ Principle: In this case the wavelength λ of sound is
approximately equal to the dimension of the obstacle plate (width and long Lx, Ly) or holes size
w between plates:

(2)

There are two types of diffusers: surface, volume. Each one has different acoustic properties.
a)

Auditorium Barcelona [5] Pilharmonic Szczecin [6]

b)

Tonhalle St. Gallen [3][11][12][13] Rehearsal Orchestra room

Great Theatre Liceu, Barcelona [4]
Figure 2: Representative types of Huygens diffusers. a) Surface. b) Volume

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Cases 1 and 2 have another big problem which is that they are difficult to design because a lot
of imagination is required. And the last problem is that the modern software for room simulation
is unable to analyze them. A very important advantage with this diffraction method is that we
can play with the sound diffusion, getting almost a perfect sound diffusion in 3D direction.

3 Scattering by wall irregulareties, Qrd., Quadratic-residue

diffusor
The diffracted waves radiating from an obstacle which size is smaller than the incident
wavelength λ, or w < λ for wells or holes, exhibits wide angular distribution, and the process is
aptly described as scattering, [1].
Case 3 only for Scattering phenomenon:

(3)

Any irregular coffers, bumps, wood ribbons, metal slats separated with air parallel gap or other
designs like a “Periodically uneven surfaces of rectangular profile”, if these are very small
compared to the wavelength λ of sound , they do not disturb the wall‘ mirror reflection. The birth
of modern QRD diffusers was marked by Manfred R. Schroeders' invention of number-
theoretic diffusers in the 1970’s. A main irregular wall was developed by M. Schroeder with a
diffuser called Quadratic-Residue Diffuser. He solved the problem of a highly diffusing ceiling to
reflect most of the sound energy to the side walls so that it would arrive at the listener from a
suitable direction for minimizing the IACC. The theory is based on the pseudo-random
sequences, for example, the quadratic-residue sequences of an elementary number theory
originally investigated by Legendre and Gauss.

Figure 3: A reflection phase grating based in Quadratic-Residue Diffuser 1 period.

The impedance at each well “w” is expressed by , where is the

depth of each well. After algebraic operations we obtain:

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Acoustics for the 21st Century…

(4)

The problem is to design the depth d(x) for high diffusion. A good choice is based on the
quadratic – residue sequence for d(x), but there are other procedures. The design procedure of
the optimum diffuser at =0 is as follows:
1. First we must to decide the diffusing frequency range flow and fhigh, then the minimum
period N is approximately given by fhigh / flow, and also the width w of each well should not
exceed c /2 fhigh. The cross section of this diffuser, with a period N, see figure 3, w (<<λ)
being a width of each “well”. The problem is to determine the depth d n=d(x), defined by
dn= ( λ/2N), where sn = n2 , (n2 is taken as the least nonnegative remainder module N,
and N is an odd prime).
2. From the next equation (4), we calculated the depth of each well d n is given by

(5)

where λd is called the design wavelength: (λd = c / flow). The length of period l = Nw.
The reflection of these diffusers, compared to a reflective surface, which will cause most of the
energy to be reflected off at an angle equal to the angle of incidence.

Figure 4: a) Scattering pattern based on QRD b) Scattering on any irregularity.

A diffuser will cause the sound energy to be radiated in many directions, hence leading to a
more diffusive acoustic space. It is also important that a diffuser spreads reflections in time as
well as spatially. Other types of diffusers of the same family are, MLS and others. Developed by
Peter D’Antonio and T. Cox. diffusers can aid sound diffusion, but this is not why they are used
in many cases; they are more often used to remove coloration and echoes.
Diffusers are usually used to treat sound aberrations in rooms such as echoes. They are an
excellent alternative or complement to sound absorption because they do not remove sound

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Acoustics for the 21st Century…

energy, but can be used to effectively reduce distinct echoes and reflections while still leaving a
live sounding space.
We have observed that this angular dispersion of sound is good in small rooms because the
sound loss in each direction has a similar behavior to absorption. However, in great halls it is
not advisable to use. This phenomenon is known by the manufacturers of software of acoustics
simulation. They are using a new magnitude called scattering to adjust the calculations to a
better result. In concept, the scattering diffuser is very different to Huygens diffuser. Each one of
the two types of diffuser is working in a different manner in relation to the size and the
wavelength of sound. However when reflections type Huygens diffusers are produced, the
scattering concept used in software simulation must not be applied here, because it is not true.
Therefore the scattering diffuser is very different to the Huygens diffuser.
An example of a wrong application of an irregularities wall: In front and rear walls in Auditoria of
“Casa da Musica in Porto”, were projected on both walls respectively, behind the choir balcony
and the wall behind the audience, are corrugated glass that have full-height sinusoidal glass
walls, also are called corrugated glass. This glass wall was tested in laboratories of the
University of Aachen to know the Scattering magnitudes by frequency.

Figure 5: Irregularity glass used in Casa da Musica in Porto.

The great undulation of the glass produces a violation on the basic condition of scattering
[1],[16], that is: The diffracted waves radiating from an obstacle which is small compared to
sound incident wavelength λ, for: Lx,y, or w < λ.
Therefore the verification tests of scattering coefficients were useless, because the physical
conditions required were not met. On the other hand, because the great undulations dimension
of glass has produced largest sound focalizations. They had to put curtains on both sides of the
hall, front and rear, and in other parts, it was required because the excess of reverberation time
,RT, of the hall due to excess air volume of Hall V=17500 m3 in relation to the area of hearing
audience (N= 1250 seats).

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4 Examples of Huygens surface diffusers

4.1 Barcelona concert hall: l’Auditori (1999)
Ceiling definition

The goal of our acoustic design in the roof was to make a diffraction increasing effect using
fragmentation of the ceiling by means of great plates near stage to little plates in end of the hall.
We have defined the flat roof with a transverse distribution and longitudinal beams, following a
multiple of Fibonacci sequence that produces a fragmentation of the ceiling in a number of
different sized coffers between beams.

Figure 6: Definition of coffers of ceiling

The acoustical principle behind the ceiling is to provide diffraction, progressively from l0w to
high frequencies, were defined according the rules indicated in (1) and (2). It is difficult to judge
the amount of diffraction we need on site. We believe that everywhere in the hall, we must have
first order mirror reflector where diffraction is only significant in the low frequency bands (63 to
250 Hz). From the middle of the hall to the rear we expect to produce the gradual diffraction
together other reflections of medium and high frequencies. In the case of the Concert Hall
“L'Auditori Barcelona”, the listening experience, or measurements, verifies that none echo and
none coloration is produced by any reflections of hall on the stage.

4.2 Szczecin Philharmonic (2015)

4.2.1 Walls
As can be seen, the walls have large, almost rectangular plates of 3.5m x 3 m, each is divided
into two sub-triangular plates inclined in opposite space and also opposed to the two sub-plates
of adjacent positions. The reflection of sound on each triangular plate is the mirror according to
the laws of Snell-Descartes but in different directions. Due to the different direction of the sub-
triangular plates, and also due to the different direction that produces the different sub-plates of
each rectangle we ensure that the sound is distributed over the concert hall 3D practically in all
directions getting an homogeneous space, almost perfectly diffuse sound distribution. We know

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that if the wave length of sound was smaller than surface dimensions of each plate, then we will
obtain a reflection on each plate. If this were not the case, then diffraction would be significant,
something that is much harder to evaluate, and it can completely alter the scheme of sound
behaviour within a space. For that the diffraction sound are going to produced, at least the
lengths x, y, of the plane reflector must be obey (2).

Figure 7: Ceiling and side walls with diffraction

So, therefore if we’re playing with the size of the each plate, we are controlling wavelength of
sound that produces a mirror reflection, or the effect diffraction of sound. We understand the
diffraction of the sound wave breaking on plate, because the plate has a similar length of the
obstacle on which it is breaking, as it is indicated by the Principle of Christian Huygens [4], [5].
In our case the smooth plates of the walls acts as a mirror but also with some diffraction; while
the ceiling plates, in the central one of the hall among the amphitheatre and the stage, acts as a
mirror sound with certain small diffraction, (as in the plates of the walls of the hall). But there are
two areas of high diffraction like as are the zones of ceiling above stage, as also the ceiling of
the amphitheatre besides both skylights proposed by architects, which is very beautiful.

Figure 8: Ceiling and side walls with diffraction Figure 9: Ceiling with diffraction

4.2.2 Ceiling
The ceiling of the hall has been divided into 12 sections of plates among the skylights in the
hall. These zones of the ceiling are more fragmented, have been achieved with a subdivision

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that does not follow any mathematical or geometrical law, only has followed the law mentioned
before, eqs (1) and (2). The aim of these areas fragmented is obtained by diffraction, a loss of
sound energy to give the viewer a feeling of a soft enough sound, but in this case this loss of
energy is small. In the central position of the hall, between the stage and the amphitheater, we
have placed great plates of dimensions 3.08 x 5.56 m and 3.08 m x 3.70 m, divided by
triangular plates, which produce a 3D reflection sound mirror, similar to the plates of the walls.
The maximum height of the gap among plates has a deviation of 300 mm. This is so that all
walls plates and ceiling of the hall. With this geometrical disposition we are sure to get a good
projection of sound from 125 Hz to 4000 Hz frequencies, with mirror reflections and sound
diffraction. Therefore all acoustic problems of a hall are avoided, such echoes, echoes flutter,
resonances, and so on.

4.2.3 The technical opinion of the experts

The technical opinion of the experts and music lovers is very important. They are who have
heard the opening concerts and who have issued their opinion. The press in general says, for
example: The symphonic hall, also known as the Sun Hall, may accommodate nearly 1000
people. The magnificent acoustics of the Sun Hall originates from special geometry of the walls
and ceiling, developed. All parameters of the symphonic hall (strength, uniformity of sound,
delay and lateral energy fractions) produce an effect comparable to the model of such
undertakings–the concert hall Musikverein in Vienna.

5 Examples of Huygens volume diffusers (2010)

This case is very important because possibly it is the birth of a new Acoustic branch of the
acoustics. The Tonhalle St. Gallen always had, since 1909, serious problems with acoustic,
especially on stage. The room was the smallest of the halls of Switzerland, although it was the
same architectural and decorative style. In 2009, there arose a new musical experience that
started an international competition to repair the acoustic problem of Tonhalle St.Gallen. The
Auditorium problem was that its dimensions were small, with relatively low height ceilings,
specially on Stage. There the sound problem was very important. The sound of the music in the
room was quite bad, but the worst was the stage. The musicians were suffering a loud noise
that bothered them deeply. Our team was the winner of this acoustic competition.

Figure 10: Photos of diffuser after the refurbishment (Architect and Acoustic)

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Acoustics for the 21st Century…

We proposed to build a grid of plates that seems a labyrinth for sound, which work by acting
according to the laws of the principle of Christian Huygens. The plates are floating between the
ceiling and the stage, therefore the path process of the wave is:
Diffraction effect of sound in vertical direction, phenomenon that produces in the detail
1. The first trip of the sound, produced by musicians on stage, crashing with the labyrinth grid
diffuser
2. The sound waves continue their journey up, experiencing a series of reflections additional to
those produced by the room.
3. Then, the sound waves travel up to the top of the labyrinth grid, having produced a second
diffraction, when the sound is going up to ceiling.
4. The sound waves recover again to their original state, as predicted by Huygens ‘Principle; up
to the ceiling of the stage. The sound goes up to ceiling where there is produced a collision, and
then the sound returns to the stage, in the opposite direction, producing the same sound effects
produced before.
Overall we have got 4 effects of diffraction and 2 effects of production of reflections, in the grid
plates, that will increase the free path mean of reflections of the room. Our prediction had
thought that each diffraction would produce an energy loss of 1 dB. Therefore we have
experimented 4 diffractions, therefore our prediction we hope 4 dB of energy loss. However our
experiment measurement was strength, G dB, gave us 3 dB of energy loss. It is a very
important reduction. In section 5.2., the experimental measurements are exposed. On the other
hand in the hall, we obtained an increase in reverberation time RT. However the effect of
increasing reverberation time seems logical, but not were expected by us. We now believe that
this was a godsend.

5.1 Summary results

5.1.1 Reverberation Time T30 , and EDT

Audience zone:
a) Reverberation Time T30 mean values all sources in audience
Frequency range
∆T30=T30(s)2010 -T30(s)2009
Mid. 500/1000
COMPARISON ∆T30
0.16
∆T30=T30(s)2010 -T30(s)2009

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b) Reverberation Time with distance in audience

Stage zone
a) Reverberation Time T30 mean values all sources on stage
Frequency range
∆T30=T30(s)2010 -T30(s)2009
Mid. 500/1000
COMPARISON ∆T30
0.19
∆T30=T30(s)2010 -T30(s)2009

b) b) Early decay time EDT mean values all sources on stage

Frequency range
∆ EDT=EDT (s)2010 -EDT(s)2009
Mid. 500/1000
COMPARISON ∆EDT
0.34
∆EDT=EDT(s)2010 -T30(s)2009

5.1.2 G : Strenght
Audience zone: Strength G average values all sources in audience
Frequency range
∆G= G2010 -G2009
Mid. 500/1000
COMPARISON ∆G
1.15
∆G=G2010 -G2009

Stage zone: Strength G dB mean values all sources on stage

Frequency range
∆G= G2010 -G2009
Mid. 500/1000
COMPARISON ∆G dB
-2.8 ≈3
∆G=G2010 -G2009

5.2 Sumary issues

a) The reality was something different, but it was an excellent result of Strength G loss ≈ -3
dB at mid-frequencies. The important thing about this design is that the musicians were
satisfied and felt, as if the roof had been elevating to much higher altitudes. “Now, a flute

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Acoustics for the 21st Century…

sounds like a flute”, but before refurbishment it was not happening.

b) Other very important issues are: The sound now is distributed evenly, in 3D, in all areas of
the audience and stage. The people of City St. Gallen consider it to be a brilliant and very
beautiful solution. Part of the diffracted sound is scattered more or less in all directions.
c) Another phenomenon that happens when we perform acoustic measurements was: The
mean value of Reverberation Time T30 and EDT in mid frequencies had increased over
the stage, and also in the Auditorium Hall. We thought that it is a logical item, because we
know that the Reverberation Time is proportional to the mean free path of the reflections
due to the room and the other due to the diffracting labyrinth. Consequently, we believe
that we are now closer to creating small spaces of musical audition but large acoustic
spaces size.
d) Another example important: When the sound waves are hitting obliquely to the diffuser
labyrinth, then the sound the labyrinth see it like a flat surface, so that the sound is
reflected to audience zone producing an increase of pressure sound level at 1 dB mid
freq.

6 Conclusions
We have tested the Huygens principle applying the knowledge of the nature of sound. We have
been very pleased to have solved different cases in which we have had need to think like
Christian Huygens did in the past. The mathematics of waves is very complex and has not had
enough power to demonstrate the cases exposed. Our imagination has penetrated much
deeper into each problem applying the Huygens’ Principle.
I'm happy to have opened, to Christian Huygens, the door of old closet of science by acoustic
reasons. He has been for me one of the best scientists of all times.

Acknowledgments
The author is indebted to Prof. Tom Paffett of Oxford House Academy who helped to
edit/translate this paper.

References
[1] Balddock, G.; Bridgeman, T. The mathematical Theory of wave Motion, Ellis Horwood ,1980.
[2] Huygens, C. Traitė de la Lumiere. Limited- John Wiley & Sons, 1690.
[3] Schroeder, M. JASA Acoust Vol 65, 1979, pp 958-963.
[4] A Symphony hall: L’Auditori Barcelona, Building Acoustics, Vol 19, Number 4, 2012, pp 249- 266.
[5] Arau-Puchades, H. A new M. Karlowicz Philhamonic Orchestra in Szczecin Poland, IOA, Paris
(France), 2015.
[6] Yoichi, A.; Schroeder, M. Concert Hall Acoustic..Springer-Verlag 1985.

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Acoustics for the 21st Century…

[7] Strube, H. More on the diffraction theory of Schroeder diffusers. JASA Vol 70, 633, 1981.
[8] Cox, T.; D'Antonio, P. Acoustic Absorbers and Diffusors - Theory, Design and Application. Spon
press
[9] de Bruijin, A. The sound Absorption Periodically Uneven Surface of Rectangular Profile. .Acústica
Vol 18 (3),1967.
[10] Arau-Puchades, H. (2011) An acoustics miracle of “Tonhalle St. Gallen” has been produced. But the
criterion of Gade on stage has failed before and after the refurbishment of the hall. IOA, Vol 33, pp.2,
2011.
[11] Increasing the Acoustic Volume of Performance Spaces without Altering the Internal Dimensions.
Acta Acustica United Acustica, Vol 98, pp 309-316, 2012.
[12] The Refurbishment of Tonhalle St.Gallen. Journal Building Acoustics, Vol 19, number 3, 2012.
[13] Der gute ton St.Gallen. Aldo Rota Werkstoffingenieur ETH/SIA, https://www.espazium.ch/der-gute-
ton-in-st-gallen
[14] Cremer, L.; Muller, H.; Schultz, T. Principle and Application. Volume 2, section IV.13.3, page 383.
Publishers’Londom & New York

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Buenos Aires – 5 to 9 September, 2016

Acoustics for the 21st Century…
PROCEEDINGS of the 22nd International Congress on
Acoustics

“SOUND IS A WAVE. A NEW CONCEPT OF HUYGENS

ACOUSTIC DIFFUSER”.
Higini Arau-Puchades,
1 Arau Acustica, C/ Travesera de Dalt 118, Barcelona, Spain

Hello, my name is Julián Álvarez, I am a collaborator of Dr. Higini Arau and I am

today substituting him. Dr. Arau wrote the paper that gives name to this
conference, but unfortunately he couldn't come to the ICA. This presentation is
mainly concerned about a set of acoustical devices that he called the Huygens
diffusers, that and their presentation is both an hommage to the XVII century
scientist Christian Huygens, whose principle guided the Physics behind the
acoustical solutions that will be proposed, and a proposal of a possible new
branch of acoustics, focused on a deeper approach into this perspective. This
can open up many new design solutions considering sound as a wave rather
than a ray.
The plan of this conference is, first of all, to introduce this diffusers , to present
some cases of success in which they have been recently applied, with
unprecedented experimental results, and to make a brief relationship with the
common used Quadratic Residue Diffuser. One of the highlights of this talk is
that that many of the successful applications of this principle have been worked
out without straight calculus; rather than that, they have been solved by
physical intuition. It has proved right, as the measurements and the feedback of
both musicians and listeners say so.
 What is a Huygens Diffuser?

What types of Huygens

Diffusers can we build?

What are they introducing in

modern acoustics?

I will start with a very brief introduction into the Huygens diffusers. In this picture
we can see the first one, it is called a Volume diffuser. Huygens diffuser work by
following the principle of Christian Huygens, whose primary application is the
idea that waves can be diffracted or reflected by an object depending on the
relation between their wavelenght and the diffracting object. There will be three
cases that can appear in terms of the relation between the size of the diffuser
and of the incident wavelenght, following the Huygens Principle. It is important
to point out that this kind of diffusers have always been there but they have
been generally ignored as their behaviour is hard to quantify and, therefore,
difficult to manipulate without proper intuition. Once this is settled, I am going to
follow with the two possible cases that have been built: the surface diffuser and
the volume diffuser. Some remarkable achievements of the Huygens diffusers
have been, for example, in the case of the volume diffuser, the ability to
increase the acoustical volume of a space without altering its internal
dimensions, something unprecedented in the acoustics world. At last, a will
make a very concise summary of the ideas that this diffusers provide to the

world of acoustics today..

 Schröder and Huygens Diffusers

Possible cases in terms of the relationship between

wavelenght and dimensions of the plate
Case 1 λ ≤ 1.2 Lx,y Specular Reflection
Huygens Diffuser

Case 2 0.9 Lx,y < λ < 1.1 Lx,y Diffraction

Huygens Diffuser

Case 3 λ> Lx,y Scattering

Schröder Diffuser

We can have three cases in terms of the size of the diffracting object. When the
wavelenght is significantly smaller than the dimensions of the object, the wave
is reflected specularly, so it can be manipulated with Geometrical Acoustics. As
an approximation, we can say that its dimensions should be around 1.2 Lx,y ,or
higher ≥ λ . In case the size of the object is comparable, a second case
appears in which diffraction occurs. We can say that this can happen
approximately in the interval 0.9 Lx,y < λ < 1.1 Lx,y , and this effect has to be
manipulated through the Wave-Theoretical Acoustics. A third case occurs when
the wavelenght is much smaller than the object, we are in front of a
phenomenon known as scattering. Its nature is different than the reflection and
the diffraction, and it is the physical process that has been the base for the
design of the QRDs, also known as Schröder diffusers. In this case, the
knwoledge of this physical phenomenon is combined with number theory in

order to provide the right design of the object.

 Surface Volume
Diffusers Diffusers

As we have previously said, there are two types of Huygens Diffusers : volume
and surface ones. Surface diffusers are located at the walls and ceiling of the
Hall. They are called “surface”, because sound doesn't go through them, which
does happen in the Volume Diffusers. as they are located in a plane between
the ceiling and the stage. The change in the acoustical properties that surface
diffusers provide is also very different from the volume ones. While the
contribution of the first one is not quantified, but it is related to diffraction or
reflection, the effects of the volume diffuser are better quantified, as we will see
later, and can apply to additional parameters, such as reverberation time.

In order to show this , various cases in which Arau Acustica has worked will be
shown: the Auditori de Barcelona (1999) and Szczezin Philharmonic Hall
(2015), as examples of use of surface diffusers, and the Tonhalle St.Gallen
(2012), as an example of use of a volume diffuser as a solution to an acoustical
problem.
 Surface Diffusers
L'Auditori de Barcelona (1999)

The Auditori de Barcelona was the first opportunity in which the

Huygens principle guided the acoustical solution of the ceiling of
a concert hall designed by Arau Acustica.
 Surface Diffusers
L'Auditori de Barcelona (1999)

- The diffusers are located at the ceiling

- We want to generate diffraction

progressively

- Diffusers are ordered as a Fibonacci

series

- There is neither eco nor coloration in the

hall

The idea behind this solution was to increase the diffraction effect
by using a fragmentation of the ceiling by means of great plates
near the stage that were progressively getting smaller towards
the end of the hall, following the pattern of the Fibonacci series.
The acoustical principle was, therefore, to provide diffraction that
progressed from low to high frequencies. Unfortunately, it is not
possible to quantifiy this effect, but it was believed that it helped
to avoid echoes and coloration, and it is inserted in an overall
very good hall performance.
 Surface Diffusers
Szcezcin Philharmonic Hall (2015)
●

The Szczecin Philharmonic Hall, that has been awarded the Mies Van der
Rohe Prize on 2015, is the second and most recent case in which
surface diffusers were used. The walls and the ceiling are partly covered
by a series of rectangular plates, divided into two sub-triangles of
adjacent positions. The objective of this plates is double, as they serve to
specularly reflect the sound in all directions, but they can also diffract
wavelenghts of their approximate size.
 Surface Diffusers
Szcezcin Philharmonic Hall (2015)
●

- Diffusers are located at the ceiling and the lateral, front and rear walls
- Rectangular plates, subdivided into triangles, with special orientations.
Their dimensions vary in the ceiling, not in the lateral walls.
- Objective :Combination of diffraction and omnidirectional reflections =
good sound diffusion and less energetic reflection in precise zones.

The side walls have large, almost rectangular plates of 3,5 m x 3 m. The subtriangles are
opposed simmetrically in space and are also opposed to the two sub-plates of
adjacent positions. Their directions were decided by inspection, and they serve mainly
to ensure that sound is distributed over the concert hall practically in all directions,
getting a diffuse sound distribution, in order to get a homogeneous reception of sound.

As the ceiling doesn't have plates of the same size, it behaves differently depending on
the zone. It is divided into 12 sections, with the aim of providing a loss in sound energy
where necessary in order to give the listener an impression of a softer sound.

This occurs in the sections where the plates have smaller dimensions as the stage
zone or the amphiteatre, so they diffract higher frequencies. Its central section has the
biggest plates, that are almost only used to reflect sound omnidirectionally, adding the
effect of the side walls in order to ensure the equal reception of sound elsewhere in
the Hall. With this overall disposition, we ensure to get a good projection of sound
from 125 Hz to 4000 Hz frequencies, using both mirror reflection and sound diffraction.
Now it is the turn of the “volume diffuser”. The first application into a concert
hall was the Tonhalle at St.Gallen, in Switzerland, that has been awarded
the Auszeichngung Gutes Bauen (2005-2010), a price given in
Switzerland for the best achievements in architecture. As this hall had
very bad acoustics, a competition was held in order to solve the
problem.A team that included Arau Acustica as consultants won the
project. Among the problems to solve, there was the fact that their
dimensions were small, with a relatively small ceiling, and consequently
there was a very bad acoustical experience on stage, where musicians
couldn't hear each other properly, and had very strong reflections. The
sound at the hall was badly percieved by the audience too, and
reverberation time was too short for an orchestral use, which was its main
purpose.
 Volume Diffuser
Tonhalle St.Gallen (2010)
●

- First application of a Volume Diffuser in a Concert Hall

● - Problem: Poor reverberation time, musicians heard strong reflections
from themselves.
● - The idea: a grid of rectangular plates hanging from the ceiling over the
stage.

The original idea used in this hall took many months to be born, but it sprang
as follows: if the sound of the orchestra encounters a grid of diffracting
plates over the stage, of a size that would target the middle frequencies,
the wave should break (diffract) and every time this happens it therefore
loses energy. The value of the energy loss of this process was predicted
to be approximately of 1dB. Here is the most important assumption: that
diffraction means a quantifiable loss of energy.

The wave will travel through the grid, generating additional reflections and
absorption, and it will diffract as it leaves the grid, recomposing itself
once out of the labyrinth. As it encounters the ceiling/wall, it is again
reflected, and it passes through the grid again, losing energy due to the
wavefront breaking a third time, and the new reflections within the grid,
diffracting a fourth and last time as it leaves the grid. Considering that
each process of diffraction generates a loss of 1dB, the expected value
was 4 dB of loss. The other consequence, due to the effect of the
labyrinth, is an increase in the mean free path, which is directly related to
reverberation.
 Volume Diffuser
Tonhalle St.Gallen (2010) Results
PARAMETER (always STAGE ZONE AUDIENCE ZONE
measured in MID
Frequencies)

∆T30=T30(s)2010 -T30(s)2009 0.19 0.16

∆ EDT=EDT (s)2010 0.34 0.19

-EDT(s)2009

∆G= G2010 -G2009 -2.8 1.15

– - Reduction of Strength(-3 dB) at Stage: musicians were satisfied.

– - Increase of Strength at the Audience
– - Even distribution of sound
– - More reverberation time

Measuring the reverberation time both in the audience and in the stage zone, the
T30 mean values, the Early Decay Time, the Strenght, and comparing them
with the previous values, we can see that there is an increase in all
magnitudes except the Strenght G at the stage , that was diminished by 3dB at
mid-frequencies, which implies that musicians don't hear anymore their sound
so loud. They also felt somehting that was unexpected: sound was felt as if the
hall was bigger than its actual size. Another effect is that sound is now
distributed evenly in 3D, in all areas of the audience and the stage. This is
because part of the diffracted sound is distributed more or less in all directions.

The increase in the Reverberation time (0,19 seconds at the Stage Zone and 0,16
seconds at the audience) can be explained by the labyrinth, that increases the
mean free path. That is, the grid has an effect of an increase in the “perceived”
volume of the hall, as we hear that the sound travels more space. Also,
another remarkable effect is that sound Strenght is 1dB higher in the Audicence
zone, due to the oblique incident sound of the orchestra at the diffracting grid,
that reflects towards the audience.
 Summary
●

● - Physical intuition following the Huygens principle can lead to a new

designs for solving acoustical problems.
● - Huygen's diffusers can also give solution to new problems. We can
generate a larger acoustical space without changing the dimensions
of the hall.
● - Huygens diffusers are other possible diffusers, different from QRDs,
but their mathematical treatment is complex and they deserve study
and investment.

The Huygens principle has been tested, applying knowledge of the nature of sound, solving
different cases in which it was necessary to think similarly as Christian Huygens did in the
past. The same work he produced to understand light, now it has been used for sound. The
mathematical treatment of waves is very complex and didn't have enough power to
demonstrate the cases exposed. Imagination has penetrated much deeper into each problem
applying the Huygens’ Principle, and leading to different design solutions, that have solved
problems in a new way. The idea of providing a larger acoustical space, without altering the
dimensions one the most remarkable discoveries of the application of this Principle. This
should justify surely that greater efforts into understanding acoustics by focusing on its wave
properties are going to produce major discoveries not just in the understanding of room
acoustics, but in the general study of waves. This could also develop into an alternate way of
designing differently from the common QRD uses.

In Higini's own words “I'm happy to have opened for Christian

Huygens the door of old closet of science, by acoustic reasons.
He is, to me, one of the best scientists of all times.”
 ●

Buenos Aires – 5 to 9 September, 2016

Acoustics for the 21st Century…
PROCEEDINGS of the 22nd International Congress on
Acoustics

“SOUND IS A WAVE. A NEW CONCEPT OF HUYGENS

ACOUSTIC DIFFUSER”.
Higini Arau-Puchades,
1 Arau Acustica, C/ Travesera de Dalt 118, Barcelona, Spain