Success or failure in acoustic design depends on the human response to the acoustic environment. Most acoustic designers rely on simple mathematical formulae that approximate to human perception, closely in some situations but badly in others. In reality, simple measurements of reverberation time and absorbtion provide an inadequate understanding of sound, its behaviour, and human responses.

Francesco Pellisari’s deeper acoustic insights create opportunities for simpler, more economical, more exciting and more successful architectural-acoustic solutions.

When he is asked to improve the acoustics of an existing space, Francesco takes measurements using the latest electronic computer-enhanced recorders, but in addition his natural ability and the use of a simple whistle and hand-clapping enables him to hear and understand the issues, and devise a unique, site-specific solution – often it is completely opposite to the standard approach, but Francesco says, “I know from experience that it works well. It is much simpler to use and maintain, and quite inexpensive”.

His solutions are fine-tuned by 3D finite element modelling and scale model tests before installation. These methods are even more important in the acoustic design of new spaces.

When he works in collaboration with the architect Laura Montanini, Francesco’s novel acoustic approach forms part of a complete architectural vision encompassing light, colour, materials and space – far more than a problem-solving acoustic ‘add-on’.

To view more of Francesco’s work please visit

"I measured the decibel reduction over the length of the gallery and it was incredibly small, less than 3 decibels, half the normal loss. This means that visitors sitting just a few centimetres beneath the speakers can hear practically the same strength and quality of sound as visitors 6 metres away. Being a modern contemporary design, the Omnis are handmade ceramic sculptures in their own right, blending in unobtrusively with the gallery surroundings."
Chris Williams
Williams Art