巴黎圣母院重新开放,大教堂内的声学效果有无改变？

巴黎圣母院回来了。它的音响效果也回来了。

火灾发生之前，巴黎圣母院的回声很强烈，这意味着噪声会在空中停留数秒，然后消失，这是因为声波会在巨大空间内的墙壁、地板和其他表面反弹。火灾消除了这种回声，拱形天花板上出现了洞，地板上散落着碎片和灰烬。现在，在修复结构并清理火灾释放的有毒铅和其他灰尘后，大教堂更接近以前的状态。但即使是对空间进行看似微小的改变，比如墙壁挂饰、地毯或家具，也会改变其声学效果。

《科学新闻》 采访了法国国家科学研究院、巴黎索邦大学的Katz，询问他的工作以及他对这座焕然一新的大教堂的期望。本采访经过编辑，使内容更加简洁。

SN：What are the acoustics of Notre Dame like now?

[SN：巴黎圣母院现在的音响效果怎么样？]

Katz：We were there at the end of September to do some progress measurements. There was a lot of construction work still going on. Especially seeing how much it’s been cleaned up since then, we’re very much hoping to get in there in the next couple weeks to do some current state-of-the-situation measurements. 

The feedback from the few people who have been in there [more recently] is, “Wow, it’s pretty reverberant in there.” I think we all expect it to be more reverberant [compared to before the fire] because it’s clean and refinished. Every surface was sprayed with latex [that was later peeled off] which sucked out and absorbed the lead from the pores in the stone. Well, it also sucked out all the other dust and everything, so it’s exceptionally clean. All that residual absorption that comes from dust and dirt over the years is gone, so it should be a very vibrant sounding place.

[Katz：今年9 月底我们去那里做了一些进度测量。当时还有很多施工工作在进行。特别是考虑到从那时起已经清理了这么多地方，我们非常希望在接下来的几周内去那里做一些针对当前状况的测量。 

SN: What are the criteria for good acoustics in a space like Notre Dame?

[SN： 像巴黎圣母院这样的场所，良好的音响效果的标准是什么？]

Katz: Regarding sermons, they have a whole new sound system that’s been modernized. And the sound system is really designed to minimize the amount of sound energy that’s sent into the reverberant space and really focus on the audience. So that should really help intelligibility even in a reverberant space. 

SN: How were the acoustics considered during the renovation?

Katz: The moment that the decision was made to restore the cathedral as it was before the fire, you didn’t have to decide, “What’s the impact [on the acoustics] if we put a limestone arch here?” because there was one there before. Before that decision was made, there was the question, “What if we make that limestone arch out of glass?” or “What if we really change things?” 

So already that removes a lot of the guesswork, and now it’s more the impact of the smaller things like the carpet and the tapestries. Once it gets handed back to the cathedral and starts actually being used, then it’s more fine-tuning, rather than great panics of “Oh my God, what are you doing?”

[Katz： 在决定将大教堂恢复到火灾前的原貌时，你不必考虑“如果我们在这里建一座石灰石拱门，会对声学产生什么影响？”因为以前那里就有一座。在做出决定之前，你会考虑“如果我们用玻璃做那个石灰石拱门会怎么样？”或者“如果我们真的改变一些东西会怎么样？” 

[SN： 巴黎圣母院最终重新开放，您感觉如何？]

Katz: It really makes me remember the very first time we went in, which was I think two months after the fire, so really quite soon, just when they had started securing the netting and really [doing] some cleaning. And I think we were all of 10 people in Notre Dame at that time, and the solitude and the quietness and the darkness and the smell of the fire was still really omnipresent.

And now to see the pictures of the inside where everything is bright and clean and intact and all of the detail that they’ve added, it’s really amazing, I’m really looking forward to being able to go in.

[Katz： 这让我想起了我们第一次进去的情景，我想那是火灾发生两个月后，所以时间非常短，当时他们刚刚开始固定防盗网并进行清理。我想当时圣母院里只有我们十个人，孤独、安静、黑暗，火的气味仍然无处不在。

现在看到里面的照片，一切都明亮、干净、完好无损，还有他们添加的所有细节，真是太神奇了，我真的很期待能够进去。]