Journal articles: 'Architecture Architectural acoustics'

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Schmidt, Anne Marie Due, and Poul Henning Kirkegaard. "From Architectural Acoustics to Acoustical Architecture Using Computer Simulation." Building Acoustics 12, no. 2 (June 2005): 85–98. http://dx.doi.org/10.1260/1351010054037965.

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Architectural acoustics design has in the past been based on simple design rules. However, with a growing complexity in architectural acoustics and the emergence of room acoustic simulation programmes with considerable potential, it is now possible to subjectively analyse and evaluate acoustic properties prior to the actual construction of a building. With the right tools applied, acoustic design can become an integral part of the architectural design process. The aim of this paper is to investigate the field of application that an acoustic simulation programme can have during an architectural acoustic design process and to set up a strategy to develop future programmes. The emphasis is put on the first three out of four phases in the working process of the architect and a case study is carried out in which each phase is represented by typical results – as exemplified with reference to the design of Bagsvaerd Church by Jørn Utzon. The paper discusses the advantages and disadvantages of the programme in each phase compared to the works of architects not using acoustic simulation programmes. The conclusion of the paper points towards the need to apply the acoustic simulation programmes to the first phases in the architectural process and set out a reverse strategy for simulation programmes to do so – from developing acoustics from given spaces to developing spaces from given acoustics.

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Coffeen, Robert C. "Teaching architectural acoustics to architecture, architectural engineering, and music students." Journal of the Acoustical Society of America 130, no. 4 (October 2011): 2465. http://dx.doi.org/10.1121/1.3654897.

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Nathaniel, Steve. "Virginia Woolf, Anechoic Architecture, and the Acoustic Hermeneutic." Novel 54, no. 1 (May 1, 2021): 1–18. http://dx.doi.org/10.1215/00295132-8868743.

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Abstract This article describes Virginia Woolf's preoccupation with acoustics and its relationship both to her writing process and to the development of sensibility that she narrativizes in The Waves. It situates Woolf's theoretical and fictional models of listening with respect to the rising science of architectural acoustics and to the social imperative to control sound in urban spaces. It argues that Woolf responds to the psychological and social exigencies of modern sound by integrating textual and architectural listening modes in an acoustic hermeneutic: a listening practice common to the objects of architecture and text, one that accommodates both scientific and aesthetic ends. The acoustic hermeneutic marks the convergence of oft-estranged listening practices—one that apprehends the silent materiality of the text as if it were an audible room and, conversely, one that apprehends architecture with the auditory imagination traditionally exerted toward literature. While the article explores Woolf's particular invocations of auditory science in her formal innovation, it also aims toward a widely applicable critical approach to the inaudibilities of the novel.

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Wang, Lily M. "Ideas for effectively teaching architectural acoustics to students of architecture." Journal of the Acoustical Society of America 128, no. 4 (October 2010): 2342. http://dx.doi.org/10.1121/1.3508294.

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Wang, Lily M. "Teaching architectural acoustics to students of engineering versus students of architecture." Journal of the Acoustical Society of America 113, no. 4 (April 2003): 2304. http://dx.doi.org/10.1121/1.4780690.

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Cressmann, Darryl. "Acoustic architecture before science. The case of Amsterdam's Concertgebouw." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 5, no. 1 (March 9, 2016): 10–23. http://dx.doi.org/10.7146/se.v5i1.23304.

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Concert halls are designed for attentively listening to music. To guarantee that the listening experience mediated by these buildings is acoustically correct, architects rely upon math- ematical formulas to measure and predict how a building will sound. Armed with these formulas, they are able to experiment with unconventional concert hall designs without compromising the acoustics. The achievements of modern architectural acoustics are a valorisa- tion of the mathematical formulas used to predict acoustics. Indeed, the development of a predictive theory of architectural acoustics by Wallace Sabine in 1900 has been celebrated as the beginning of a new era of understanding sound and acoustic design. However, overlooked in this scientific triumphalism are the aesthetic standards that shape the acoustic design of buildings for music. Sabine’s formula transformed our understanding of how music behaves in an enclosed space, but it did not change our understanding of how music should sound in these spaces. In this paper I explore these points through a history of the acoustic design of Amsterdam’s Concertgebouw, which opened in 1888. Through an examination of the history of the acoustic design of the Concertgebouw, I describe the process of acoustic design prior to Sabine as a process of aural imitation. With this concept I reconceptualise the history of acoustic architecture to better recognise, first, how Sabine’s theory is simply a more effective form of aural imitation, and second, how the quantification of sound has led to a subjective idea of good sound becoming fixed as an objective measure of what good sound should be.

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Coffeen, Robert C. "The University of Kansas architecture and architectural engineering programs offer focused coursework in architectural acoustics, electro-acoustics, and noise control." Journal of the Acoustical Society of America 126, no. 4 (2009): 2227. http://dx.doi.org/10.1121/1.3248965.

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Xiang, Ning, and Christopher Jaffe. "Graduate Program in Architectural Acoustics at the School of Architecture, Rensselaer Polytechnic Institute." Journal of the Acoustical Society of America 126, no. 4 (2009): 2228. http://dx.doi.org/10.1121/1.3248979.

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Duran, Sebastian, Martyn Chambers, and Ioannis Kanellopoulos. "An Archaeoacoustics Analysis of Cistercian Architecture: The Case of the Beaulieu Abbey." Acoustics 3, no. 2 (March 26, 2021): 252–69. http://dx.doi.org/10.3390/acoustics3020018.

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The Cistercian order is of acoustic interest because previous research has hypothesized that Cistercian architectural structures were designed for longer reverberation times in order to reinforce Gregorian chants. The presented study focused on an archaeoacacoustics analysis of the Cistercian Beaulieu Abbey (Hampshire, England, UK), using Geometrical Acoustics (GA) to recreate and investigate the acoustical properties of the original structure. To construct an acoustic model of the Abbey, the building’s dimensions and layout were retrieved from published archaeology research and comparison with equivalent structures. Absorption and scattering coefficients were assigned to emulate the original room surface materials’ acoustics properties. CATT-Acoustics was then used to perform the acoustics analysis of the simplified building structure. Shorter reverberation time (RTs) was generally observed at higher frequencies for all the simulated scenarios. Low speech intelligibility index (STI) and speech clarity (C50) values were observed across Abbey’s nave section. Despite limitations given by the impossibility to calibrate the model according to in situ measurements conducted in the original structure, the simulated acoustics performance suggested how the Abbey could have been designed to promote sacral music and chants, rather than preserve high speech intelligibility.

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Pearson, Christopher. "Le Corbusier and the Acoustical Trope: An Investigation of Its Origins." Journal of the Society of Architectural Historians 56, no. 2 (June 1, 1997): 168–83. http://dx.doi.org/10.2307/991282.

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Le Corbusier's later theory and production were largely informed by two important considerations: his idea of "ineffable space" (l'espace indicible), and his singular conception of "acoustics," which he apparently used as a troping or analogical tool in his design method. Le Corbusier was to describe the chapel at Ronchamp (1950-1954), for example, as a building that employed an "acoustic component in the domain of form," and suggested that the project began by taking into account "the acoustic of the landscape." The sources of this cryptic appeal to "acoustics" can be identified with some precision. Its initial possibilities were discovered during Le Corbusier's youthful visit to the Acropolis. During his Purist period the same conceit, now transmuted into a trope of "radiation," was applied to the way works of art interacted with their architectural surroundings. The acoustical analogy, drawing parallels between the emission of sound, light, and psychic energy, was fully established in his competition entry for the League of Nations Headquarters of 1927, a project examined here in some depth. It was in theorizing the role of sculpture in modern architecture-as well as the role of architecture in its landscape setting-that Le Corbusier first came to his paradigmatic trope, which thus finds its origins much further back than his late "synthetic" projects, where it was ultimately to achieve its most effective manifestations.

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Kaye, Lewis. "The Silenced Listener: Architectural Acoustics, the Concert Hall and the Conditions of Audience." Leonardo Music Journal 22 (December 2012): 63–65. http://dx.doi.org/10.1162/lmj_a_00100.

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The author considers the relationship between architecture, acoustics and audience. The author proposes we think of audience in a more active sense and attend to conditions of audience. This dynamic approach demonstrates how changes in architecture designed for sound both are related to social changes in practices of listening and influence how people come to experience sound. Such an approach reveals contemporary acoustic architecture as biased toward music as spectacle, with conditions of audience that demand a silenced and attentive listener.

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Vorländer, Michael, Dirk Schröder, Sönke Pelzer, and Frank Wefers. "Virtual reality for architectural acoustics." Journal of Building Performance Simulation 8, no. 1 (May 19, 2014): 15–25. http://dx.doi.org/10.1080/19401493.2014.888594.

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SYGULSKA, Anna, Tomasz CZERNIAK, and Adrian CZARNY-KROPIWNICKI. "EXPERIMENTAL INVESTIGATIONS AND COMPUTER SIMULATIONS TO SOLVE ACOUSTIC PROBLEMS IN THE MODERN CHURCH." Engineering Structures and Technologies 10, no. 1 (April 27, 2018): 34–45. http://dx.doi.org/10.3846/2029882x.2018.1445037.

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Architectural acoustics of contemporary sacred buildings is still an under-appreciated issue. Many contemporary churches are not functional enough due to acoustic defects which occur there. The study discusses issues of the modern Catholic church, where acoustic problems surface as high reverberant noise levels. The building under investigation, i.e. the Church of the Visitation of the Blessed Virgin Mary, is the biggest contemporary church in Poznań, Poland, as its internal volume amounts to 16,800 m³. On the basis of in situ investigations, a computer model of the church was built and a series of simulations were carried out to determine correct treatment in order to achieve satisfactory acoustic conditions. The main assumption was to find such a solution as not to affect the modernist architecture of the church.

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Jablonska, Joanna, and Roman Czajka. "CAD Tools and Computing in Architectural and Urban Acoustics." Buildings 11, no. 6 (May 30, 2021): 235. http://dx.doi.org/10.3390/buildings11060235.

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Contemporary architectural and urban planning aims at optimal development of the environment, including in terms of acoustics. As such, support with computer-aided design (CAD) tools is, nowadays, obligatory. The authors present investigation outcomes of three different CAD and computing methods extracted for the study. The scope covers different scales of considerations from architectural acoustics to the urban level, which relates to the standard architect’s commissions field. The described approaches are applicable for both academics and professionals in the broadly understood building industry There were analysed and synthesized experiences from the use of two-dimensional and three-dimensional simulations, computing based on standardized formulas, and an acoustic meter (here: the SVAN 979 for RT60, LAeq measurement). The article concludes with an assessment, which shows possible uses of methods and confirmations of their usability.

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Jones, Peter Blundell, and Jian Kang. "Acoustic form in the Modern Movement." Architectural Research Quarterly 7, no. 1 (March 2003): 75–85. http://dx.doi.org/10.1017/s1359135503002008.

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The architects of the Modern Movement in the late 1920s found new sources of form through the pursuit of technical and functional issues in design. They sought shaping agents in functional organization, in the admission of light, in efficiency of structure and construction, and many other physical issues of this kind. At the same time, they felt the need to escape from traditional rules of architectural composition involving Classical orders of columns, symmetry and axes. They were ready to discover a new and surprising identity for buildings precisely to defy the historicist conventions that until then dominated architecture as a cultural tradition. Acoustics is an area in which many interesting claims were made, and some famous Modernist designs were supposedly formed, or at very least inspired, by acoustic forces. These historical instances beg the question whether acoustics is really a legitimate and helpful formal determinant of buildings. Perhaps instead, the acoustic arguments put forward by architects to justify their formal choices were just convenient alibis. This is a far more complex issue than at first it seems.

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Smyth, Fiona, and Donal Lennon. "Drawing on the digital: Analysis and modelling in architecture and music." International Journal of Humanities and Arts Computing 4, no. 1-2 (October 2010): 1–16. http://dx.doi.org/10.3366/ijhac.2011.0004.

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The present study deploys acoustic theory and digital analysis to investigate the dynamics of the inter-relationship of architecture and music. It assesses the impact of the built environment on music composition and performance. Drawing upon the science that underpins both architecture and music, it is also informed by the qualitative and artistic attributes of both. Reference to a specific case study, St. Patrick's Cathedral in Dublin, describes the design and implementation of a methodology designed to allow for context and era-specific assessment. The research design is interdisciplinary, bridging theory and practice. The methodology is firmly based on the use of digital technologies, which allow for efficient, accurate and replicable procedure. Data capture, analysis and mapping of the architectural site was supplemented by reference to primary archived material. Digital preservation of primary material was an integral part of the project; the resulting record created a more complete digital repository of the cathedral, combining the information which can be read in the structure itself with documents relating to its history. This article makes use of Victor Hugo's concept of the ‘Book of Stone’ to comment on the information gleaned from paper records and digital analysis of the architecture and acoustics of St Patrick's Cathedral, Dublin.

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Setyowati, Erni, Gagoek Hardiman, and Purwanto. "The Acoustical Properties of the Polyurethane Concrete Made of Oyster Shell Waste Comparing Other Concretes as Architectural Design Components." E3S Web of Conferences 31 (2018): 05001. http://dx.doi.org/10.1051/e3sconf/20183105001.

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This research aims to determine the acoustical properties of concrete material made of polyurethane and oyster shell waste as both fine aggregate and coarse aggregate comparing to other concrete mortar. Architecture needs aesthetics materials, so the innovation in architectural material should be driven through the efforts of research on materials for building designs. The DOE methods was used by mixing cement, oyster shell, sands, and polyurethane by composition of 160 ml:40 ml:100 ml: 120 ml respectively. Refer to the results of previous research, then cement consumption is reduced up to 20% to keep the concept of green material. This study compared three different compositions of mortars, namely portland cement concrete with gravel (PCG), polyurethane concrete of oyster shell (PCO) and concrete with plastics aggregate (PCP). The methods of acoustical tests were conducted refer to the ASTM E413-04 standard. The research results showed that polyurethane concrete with oyster shell waste aggregate has absorption coefficient 0.52 and STL 63 dB and has a more beautiful appearance when it was pressed into moulding. It can be concluded that polyurethane concrete with oyster shell aggregate (PCO) is well implemented in architectural acoustics-components.

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Álvarez-Morales, Lidia, Mariana Lopez, and Ángel Álvarez-Corbacho. "The Acoustic Environment of York Minster’s Chapter House." Acoustics 2, no. 1 (January 30, 2020): 13–36. http://dx.doi.org/10.3390/acoustics2010003.

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York Minster is the largest medieval Gothic cathedral in Northern Europe, renowned for its magnificent architecture and its stained glass windows. Both acoustic measurements and simulation techniques have been used to analyse the acoustic environment of its Chapter House, which dates from the 13th-century and features an octagonal geometry with Gothic Decorated stone walls replete of geometric patterns and enormous stained glass windows, covered by a decorated wooden vault. Measured and simulated room impulse responses served to better understand how their architectural features work together to create its highly reverberant acoustic field. The authors start by analysing its acoustic characteristics in relation to its original purpose as a meeting place of the cathedral’s Chapter, and end by reflecting on its modern use for a variety of cultural events, such as concerts and exhibitions. This work is part of the “Cathedral Acoustics” project, funded by the EC through the Marie-Sklodowska-Curie scheme.

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Małecki, Paweł, Jerzy Wiciak, and Damian Nowak. "Acoustics of Orthodox Churches in Poland." Archives of Acoustics 42, no. 4 (December 20, 2017): 579–90. http://dx.doi.org/10.1515/aoa-2017-0062.

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Abstract An Orthodox church as a building expresses the Eastern Orthodox spirituality - all the details and general aspects have a deep and philosophical meaning. The architecture, being an illustration of the character of the Orthodox Church liturgy, has become a natural component of the cultural landscape of Poland and Eastern Europe. Acoustic research into Orthodox churches has so far been marginalized. Up to now, only a few churches of this type have been studied. The article is a review of the acoustic environment of churches in Poland. Churches, differing in terms of size, architectural style and other quantities, were chosen and acoustic measurements were made. The results of the measurements have been analyzed and collated. In particular, a detailed analysis and comparison was made for reverberation time as a function of frequency, due to the largest differences in this parameter between the rooms.

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Sá, Karina, Raquel Rossatto Rocha, and Bárbara Fengler. "Concert hall: acoustic design comparing analytical results and ray tracing." INTER-NOISE and NOISE-CON Congress and Conference Proceedings 263, no. 3 (August 1, 2021): 3538–44. http://dx.doi.org/10.3397/in-2021-2445.

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With the intention of designing architecture for music and inspired by music, the J.C. Martins Concert Hall was created with 1008 seats and an approximate volume of 49400 ft³. Among all the architectural aspects considered, such as strategic location analyzed from the mass plan, study of volumetries, acoustics is the highlight due to its importance and complexity of the project. The Concert Hall is the object of the present study, the purpose of the article is to compare the simulated results in the EASE software with the analytical results of the reverberation time calculated by the Sabine and Eyering equations for the Concert Hall. Acoustic parameters such as reverberation time, clarity, among others, were simulated to verify the acoustic quality of the room in question. With that, it was possible to analyze and discuss the limitations of the analytical method and the simulations. Even so, the results were satisfactory to reach the adequated indexes of the acoustic parameters.

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Leon, Angel Luis. "Architectural acoustics and the heritage of theater architecture in Andalusia (Acustica arquitectonica y patrimonio teatral en Andalucia)." Journal of the Acoustical Society of America 114, no. 5 (2003): 2526. http://dx.doi.org/10.1121/1.1634050.

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Targowski, Wojciech, and Andrzej Kulowski. "Influence of the Widespread Use of Corten Plate on the Acoustics of the European Solidarity Centre Building in Gdańsk." Buildings 11, no. 3 (March 23, 2021): 133. http://dx.doi.org/10.3390/buildings11030133.

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This paper describes the relationship between a strong architectural vision that is difficult to balance, and user expectations in terms of acoustics. The focus is on the use of corten steel as the dominant finishing material on façades and interiors to achieve an expressive, symbolic message through program-based design. The architectural premises justifying the adopted solutions are presented, especially the universality and homogeneity of the material. Against this background, the influence of corten steel on the acoustics of the two largest rooms of the European Solidarity Center, which are the winter garden and the multi-purpose hall, was discussed. Remedial steps have been taken to reduce the greatest acoustic inconveniences resulting from the widespread use of metal sheet as a finishing material in rooms, i.e., excessive reverberation and a low degree of sound dispersion. A positive result for the acoustic conditions achieved in the winter garden was the presentation of a large body of classical music in the building.

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Barbar, Steve. "Electronic Architecture solves acoustical problems with coupled volumes that cannot be easily remedied using architectural treatments." Journal of the Acoustical Society of America 149, no. 4 (April 2021): A117. http://dx.doi.org/10.1121/10.0004700.

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Siebein, Gary W., Bertram Y. Kinzey, Charles F. Morgan, and Peter Burgess. "Strategies for building the undergraduate course sequence in architectural acoustics at the University of Florida Department of Architecture." Journal of the Acoustical Society of America 79, S1 (May 1986): S88. http://dx.doi.org/10.1121/1.2023441.

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Smyth, Fiona. "‘A Matter of Practical Emergency’: Herbert Baker, Hope Bagenal, and the Acoustic Legacy of the Assembly Chamber in Imperial Delhi." Architectural History 62 (2019): 113–44. http://dx.doi.org/10.1017/arh.2019.5.

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AbstractIn 1923, at the request of the government of India, the Department of Scientific and Industrial Research (DSIR) in Britain authorised a specialist research stream. Its purpose was to investigate problems in architectural acoustics specifically related to the new Assembly Chamber then under construction in Imperial Delhi. The design, by Sir Herbert Baker, was unusual for its era in that it was refined with recourse to measured data and calculations with a basis in modern physics. The acoustician, or ‘consulting architect’, was Hope Bagenal, and his appointment by Baker in 1922 marked the first international commission of a British acoustic consultant. This article examines the acoustic design of the Assembly Chamber in Delhi and identifies the inputs of the various individuals, both architects and scientists, involved. Drawing on the archives of Baker and Bagenal, the records of the DSIR and the Guastavino Company, as well as contemporaneous newspaper coverage, it also demonstrates the longer-term implications of the design and construction process at Delhi, including its role in stimulating subsequent government-funded research in architectural acoustics in Britain.

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Butko, Daniel. "Over a decade of decibels—Celebrating teaching architectural acoustics within an architecture curriculum to students with various majors and minors." Journal of the Acoustical Society of America 148, no. 4 (October 2020): 2526. http://dx.doi.org/10.1121/1.5147018.

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KHALID QURESHI, AMNA. "UTILIZING SMART TEXTILES IN INTERIOR DESIGN TO REPLACE CONVENTIONAL ARCHITECTURAL FINISHES." TEXTEH Proceedings 2019 (November 5, 2019): 105–9. http://dx.doi.org/10.35530/tt.2019.24.

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Many architects and designers coincide that fabric structures have an imperative role to play in creating an ecofriendly future. In recent years, the use of smart textiles has been particularly popular in the construction practices. These are hailed as environmentally friendly, deliberated as architecturally aesthetic and are usually cost effective. There is a growing demand for hybrid textile materials that combine strength and functionality in a lightweight product at a competitive price. These materials are developed with advanced technical interventions. This paper aims to conceptualize the idea of using smart textiles in the interior architecture to ensure sustainability by replacing the conventional architectural finishes. The use of smart textiles that fetches the possibilities offered by both textile and interior design in the present world has been highlighted with examples. Studies illustrate that the use of smart textile materials have several benefits in the built environment in terms of weight, transparency, adaptability, indoor climate, atmosphere and acoustics. Examples are taken from the superlative case studies from all across the world. The research combines the versatile information and explores the diversity of smart textiles, presenting a framework of future prospects for the utilization of the materials in the modern interior design concepts.

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Szudrowicz, Barbara. "In Memoriam Professor Jerzy Sadowski 1924-2014." Archives of Acoustics 39, no. 3 (March 1, 2015): 299–302. http://dx.doi.org/10.2478/aoa-2014-0034.

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Abstract Professor Jerzy Sadowski – outstanding Polish scientist, a specialist in acoustics – construction, industrial, architectural and environmental – passed away on 28th July 2014. Professor Jerzy Sadowski was born on 18th December 1924 in Augustów, in northeastern Poland. In 1946 he commenced studies at the Gdańsk University of Technology – initially at the Faculty of Architecture, to switch later to the Faculty of Electrical Engineering. The life of Jerzy Sadowski as a student was as complicated as the post-war history of Poland. Due to his involvement in an activity of illegal student organization, he was expelled from the university in 1949, with a ban on any further tertiary education. The ban had been lifted after a certain time which allowed him to recommence further studies, this time at the Warsaw University of Technology the Faculty of Communications, where in 1952 he obtained the diploma and title of Master of Science and Engineer. He received a lot of help from Professor Ignacy Malecki, the nestor of Polish acoustics. This certainly contributed to kindling the young engineer’s interest in acoustics, as a field of both knowledge and very important practical applications.

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Fanina, E. "EFFICIENT ACOUSTIC COMPOSITE PANELS BASED ON GRAPHITE." Bulletin of Belgorod State Technological University named after. V. G. Shukhov 6, no. 4 (May 7, 2021): 82–90. http://dx.doi.org/10.34031/2071-7318-2021-6-4-82-90.

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A set of experimental studies is carried out to determine the acoustic characteristics of three-dimensional panels of fixed thickness made of carbon-based composite material installed in the opening between the reverberation chambers. Sound insulation indices are determined when they are excited by a diffuse sound field in wide frequency ranges. The reverberation time in model chambers with different partition configurations is calculated. The optimal configuration of the partition with pyramidal cells to reduce the reverberation time in the rooms is determined. The use of graphite in the form of thin membrane applied to various surfaces can significantly reduce the sound pressure levels in the room and increase the sound insulation indices of air noise. In addition to thin membrane, graphite can be used as an additive in composite materials for sound insulation purposes. It is shown that the characteristics of such panels are quite universal. The measured acoustic characteristics of composite panels are compared with similar characteristics of traditional materials. It is determined that the composition belongs to the I group of fire-retardant efficiency and can be recommended for use as a fire-retardant material. The developed acoustic material is an effective absorbing agent that solves problems in architectural acoustics, echo cancellation in construction and architecture. Similar to metamaterials, natural and artificial graphites allow to solve these problems with small volumes and masses using simple and inexpensive technologies.

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Berardi, Umberto, Roberto Pietroforte, and Tahar El-Korchi. "Acoustics and Lighting Education in Architectural Engineering: Experience of WPI." Journal of Architectural Engineering 20, no. 2 (June 2014): 05013003. http://dx.doi.org/10.1061/(asce)ae.1943-5568.0000142.

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FUJIMOTO, Kazutoshi, Chiaki HARUTA, Soichiro KUROKI, Takashi YANO, Toru OTSURU, Hiroshi FURUYA, Hidetoshi YAMAGISHI, and Keiji KAWAI. "DEVELOPMENT OF MULTIMEDIA EDUCATIONAL SYSTEM ON ARCHITECTURAL ACOUSTICS BY USING THE INTERNET." AIJ Journal of Technology and Design 5, no. 8 (1999): 159–62. http://dx.doi.org/10.3130/aijt.5.159_1.

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von Fischer, Sabine. "A Visual Imprint of Moving Air:." Journal of the Society of Architectural Historians 76, no. 3 (September 1, 2017): 326–48. http://dx.doi.org/10.1525/jsah.2017.76.3.326.

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Prompted by an archival finding from the laboratory of Franz Max Osswald, Switzerland's first academic expert in applied acoustics, Sabine von Fischer explores the schlieren technique for photographing sound in sectional models. A Visual Imprint of Moving Air: Methods, Models, and Media in Architectural Sound Photography, ca. 1930 examines how images were used to communicate findings in the emerging discipline of architectural acoustics. In Osswald's persistent experiments in visualizing the invisible phenomena of sound, the social, the technical, and the aesthetic were inseparable. Using photography, Osswald adhered to the paradigm of mechanical objectivity, yet his visual experimenting with phenomena of spatial sound possibly demonstrates an awareness that the senses cannot be excluded from scientific methods. The shadows of moving air in the sound photographs make claims toward their scientific authority, their aesthetic appeal, and their social function as expert tools.

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Tallon, Andrew. "Acoustics at the Intersection of Architecture and Music." Journal of the Society of Architectural Historians 75, no. 3 (September 1, 2016): 263–80. http://dx.doi.org/10.1525/jsah.2016.75.3.263.

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The Cathedral of Noyon houses the most unusual—and largely unknown—installation of acoustic vases in Western Europe, the caveau phonocamptique, a chamber installed beneath the pavement of the crossing. Acoustic vases are simple earthenware pots placed in the walls and vaults of postclassical churches, their installation inspired by Marcus Vitruvius Pollio's De architectura libri decem. In Acoustics at the Intersection of Architecture and Music: The Caveau Phonocamptique of Noyon Cathedral, Andrew Tallon investigates the intended operation of the caveau as a monumental amplifier. According to the principle of conservation of energy, the effect of an acoustic vase can only be one of absorption, but when sung directly into, a vase appears to “sing back.” Tallon asserts that this effect, along with the importance of Vitruvius as the foremost authority on ancient architecture known to European builders and patrons, must ultimately account for this unique array at Noyon.

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Wang, Zhen Jiang, and Feng Hua Lu. "The Acoustical Design of Conference Room Based on Speech Acoustic." Applied Mechanics and Materials 507 (January 2014): 127–30. http://dx.doi.org/10.4028/www.scientific.net/amm.507.127.

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Based on the the requirements of appropriate reverberation time for the speech acoustic-dominated conference room, which are stipulated in Code for architectural acoustical design of theater ,cinema and multi-use auditorium(GB/T 50356-2005), this paper is trying to redesign the conference room on the fifth floor of the college of architecture and civil engineering of Taiyuan University of Technology, on account of the problems found after the experimental measurement. And the author introduces Ecotect to simulate the redesigning plan, in the hope of providing reference to acoustical design for the speech acoustic-dominated conference room.

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Milo, Alessia. "The acoustic designer: Joining soundscape and architectural acoustics in architectural design education." Building Acoustics 27, no. 2 (December 25, 2019): 83–112. http://dx.doi.org/10.1177/1351010x19893593.

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This article discusses the integration of acoustic design approaches into architectural design education settings. Solving architectural acoustic problems has been for centuries one of the primary aims of theories and experiments in acoustics. Recent contributions offered by the soundscape approach have highlighted broader desirable aims which acoustic designers should pursue, fostering ecological reasoning on the acoustic environment and its perception as a whole. Drawing from the available literature, some examples are brought to show the integration of architectural acoustics and soundscape approaches into the realm of architectural design education, highlighting the significance of specific design situations and aural training techniques in learning contexts.

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Cudequest, Brandon. "Operable walls: where the rubber meets the mullion." INTER-NOISE and NOISE-CON Congress and Conference Proceedings 263, no. 1 (August 1, 2021): 5000–5011. http://dx.doi.org/10.3397/in-2021-2917.

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The architecture that surrounds an operable wall often determines its acoustical success. There are standard guides for detailing operable walls; however, these offer a rigid take on design aesthetics. Abstracting these principles into general goals, the designer can accommodate a variety of architectural styles. The surrounding construction should act as a safety net by providing labyrinths when seals fail or by blocking problematic flanking paths. The architecture should also ease system operation allowing users to deploy the operable wall with minimal fail rate. This paper compares several off-the-shelf and custom systems, highlighting the importance of construction details and coordination and their impact on the installed product performance. The architecture can only support these systems to a degree and the designer should select an operable system that works within the given conditions. By comparing design trends in operable walls from an acoustical consultant standpoint, this paper will spotlight architecturally harmonious systems as well as several system features to be aware of when evaluating options.

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LaBelle, Brandon. "Sharing Architecture: Space, Time and the Aesthetics of Pressure." Journal of Visual Culture 10, no. 2 (August 2011): 177–88. http://dx.doi.org/10.1177/1470412911402889.

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Exploring acoustic space, this article aims to supplement the practice of acoustic design by exposing other perspectives on sound’s relationship to space. Following Paul Carter’s notion of sonic ambiguity, the author contends that the idealized sonic image of acoustics eliminates the potentiality inherent to sound and listening as forces of relational intensity and differentiation. To draw out this tension, the article examines alternative forms of acoustics as appearing within the practice of sound art. Through eccentric and speculative design, sound art comes to demonstrate a vital addition to notions of acoustics; by creating heightened listening experiences that exceed the traditional concepts of fidelity, it cultivates forms of noise by integrating extreme volume and frequency, building fantastical architectures for their diffusion, and incorporating a dynamic understanding of psychoacoustics and perception. Through such elements, sound and space are brought together and deliver other forms of acoustical experience while hinting at potentialities for their application in environments outside the art situation. Works by such artists as Tao G. Vrhovec Sambolec and John Wynne provide a vibrant terrain for registering how sound comes to perform as spatial material.

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Fowler, Michael. "Sounds in space or space in sounds? Architecture as an auditory construct." Architectural Research Quarterly 19, no. 1 (March 2015): 61–72. http://dx.doi.org/10.1017/s1359135515000226.

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The absolute consideration of the acoustic environment within architectural design praxis has traditionally been reserved only for those specialised listening facilities such as concert halls or recording studios. This is in spite of numerous recent calls from architects and theorists such as Juhani Pallasmaa, Ted Sheriden, Karen Van Lengen, and Björn Hellström that architectural praxis must seek to move beyond what Jeremy Till describes as the vanity of form, and what Rafael Pizarro acknowledges as the seductive immediacy of pure visual articulations of space. That architectural design has traditionally been in a more than willing position to seek out myriad influences, theories, and extra-architectural knowledge has even led Jean-Claude Guédon and Botond Bognar to argue that architecture has ceased to occupy a finite domain – its boundaries have dissipated as the definition of what architecture is continues to evolve and expand.

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Walden, Daniel K. S. "Frozen Music: Music and Architecture in Vitruvius’ De Architectura." Greek and Roman Musical Studies 2, no. 1 (January 28, 2014): 124–45. http://dx.doi.org/10.1163/22129758-12341255.

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AbstractThis paper explores the convergence of musical and architectural theory in Vitruvius’De Architectura.Section 1 describes Vitruvius’ architectural lexicon, borrowed from Aristoxenus (I.2), and explores his description of the laws of harmony, modeled onElementa Harmonica(V.4). Section 2 explores how Vitruvius proposes using music theory in practical architectural design, including construction of columns using architectural orders analogous to Aristoxeniangenera(I.2.6; IV.1); acoustical designs for theatres (V.5); and the development of machines, including siege engines ‘tuned’ like musical instruments (X.12) and water-organs [hydrauli] constructed to execute all the different varieties of tuning (X.8). Section 3 reflects on Vitruvius’ use of analogies with a musical instrument, thesambuca, to explain his understanding of cosmic harmony and architectural form, and his possible sources (VI.1). Finally, Section 4 discusses Vitruvius’ ideas about the importance of a liberal arts education that includes study of music theory. The best architects, Vitruvius explains, can discover in music the secrets to forms they both encounter in nature and create themselves.

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da Silva, Bruno, Laurent Segers, An Braeken, Kris Steenhaut, and Abdellah Touhafi. "Design Exploration and Performance Strategies towards Power-Efficient FPGA-Based Architectures for Sound Source Localization." Journal of Sensors 2019 (September 15, 2019): 1–27. http://dx.doi.org/10.1155/2019/5761235.

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Many applications rely on MEMS microphone arrays for locating sound sources prior to their execution. Those applications not only are executed under real-time constraints but also are often embedded on low-power devices. These environments become challenging when increasing the number of microphones or requiring dynamic responses. Field-Programmable Gate Arrays (FPGAs) are usually chosen due to their flexibility and computational power. This work intends to guide the design of reconfigurable acoustic beamforming architectures, which are not only able to accurately determine the sound Direction-Of-Arrival (DoA) but also capable to satisfy the most demanding applications in terms of power efficiency. Design considerations of the required operations performing the sound location are discussed and analysed in order to facilitate the elaboration of reconfigurable acoustic beamforming architectures. Performance strategies are proposed and evaluated based on the characteristics of the presented architecture. This power-efficient architecture is compared to a different architecture prioritizing performance in order to reveal the unavoidable design trade-offs.

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Kłopotowska, Agnieszka. "Architecture and sounds the interdisciplinary research on the use of audio signals in the cognition and design of architectural space." Budownictwo i Architektura 18, no. 2 (December 27, 2019): 111–19. http://dx.doi.org/10.35784/bud-arch.566.

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In the contemporary world of image, the basic attribute of architecture is its visuality. Architectural spaces are designed primarily to be viewed by the public or the "eyes" of cameras. The design for the sense of sight only impoverishes the quality of human contact with architecture. The art of shaping space should involve all perception channels. One of the most important senses, allowing to feel the created space, to get to know it and live in it, is hearing. The sonic image of architectural space not only accompanies the visual image, but also significantly defines the quality of existential and aesthetic experiences. The architect's task should be to skilfully use acoustic signals as an integral part of the design process. This belief has inspired a multidisciplinary project entitled: "Sounds of architecture", devoted to the study of the phenomenon of sound and its significance in the perception and use of the architectural environment by people. This project was carried out under the guidance of the author in 2014-2015 with the involvement of representatives of various disciplines of science and art. The result of interdisciplinary research was the monograph "Sounds of Architecture", published in 2016.

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Djordjevic, Zorana, Kristina Penezic, and Stefan Dimitrijevic. "Acoustic vessels as an expression of medieval music tradition in Serbian sacred architecture." Muzikologija, no. 22 (2017): 105–32. http://dx.doi.org/10.2298/muz1722105d.

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Archaeoacoustics is a multidisciplinary field of research focused on the history of the relatedness of the field of sound and architecture. The architectural history of Europe, from Antiquity to the modern period, is abundant in the findings of vessels, which are considered to have an acoustic purpose. This paper addresses these acoustic vessels embedded in the massive walls of sacred architecture in medieval Serbia (15 churches). We considered the wide context of current archaeoacoustic research, in order to argue that this practice can be regarded as an expression of a certain medieval musical tradition.

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Dessi-Olive, Jonathan, and Timothy Hsu. "A design framework for absorption and diffusion panels with sustainable materials." INTER-NOISE and NOISE-CON Congress and Conference Proceedings 263, no. 4 (August 1, 2021): 2207–18. http://dx.doi.org/10.3397/in-2021-2074.

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Architectural acoustics has not traditionally had unified design methods that specify acoustical performance, visual appearance, and sustainable material selection, leading to underperforming products that contribute to a waste stream of petro-chemical foam and fiberglass materials. The evolution of design, materials, and manufacturing techniques in recent years has created new opportunities to reimagine acoustic diffusers and absorbers. Previous work by the authors have demonstrated a unifying framework for design and collaboration in architectural acoustics. The framework uses visually-driven computational design method inspired by shape grammars that generate a wide range of acoustic phase grating diffuser arrays that display unique visual and performative qualities. Simulation and evaluation metrics to assess the complexity of each design are rated in terms of their diffusion and absorption coefficients and a visual aesthetic coefficient. This paper extends the framework to include digital fabrication protocols and sustainable material specifications - including the use of fungi-based materials. Built prototypes demonstrate an expanded acoustic design space that gives acousticians the potential to create custom diffuser shapes with precise acoustical response. The innovative combination of computational design methods and sustainable fabrication protocols will be discussed, and the acoustic properties of arrays will be evaluated and compared to simulations of corresponding designs.

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McCarthy, Anna. "Review: The Soundscape of Modernity: Architectural Acoustics and the Culture of Listening in America, 1900-1933 by Emily Thompson; Site of Sound: Of Architecture and the Ear by Brandon LaBelle, Steve Roden." Journal of the Society of Architectural Historians 65, no. 1 (March 1, 2006): 121–24. http://dx.doi.org/10.2307/25068244.

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Heo, Woon-Haeng, Hyemi Kim, and Oh-Wook Kwon. "Integrating Dilated Convolution into DenseLSTM for Audio Source Separation." Applied Sciences 11, no. 2 (January 15, 2021): 789. http://dx.doi.org/10.3390/app11020789.

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Herein, we proposed a multi-scale multi-band dilated time-frequency densely connected convolutional network (DenseNet) with long short-term memory (LSTM) for audio source separation. Because the spectrogram of the acoustic signal can be thought of as images as well as time series data, it is suitable for convolutional recurrent neural network (CRNN) architecture. We improved the audio source separation performance by applying the dilated block with a dilated convolution to CRNN architecture. The dilated block has the role of effectively increasing the receptive field in the spectrogram. In addition, it was designed in consideration of the acoustic characteristics that the frequency axis and the time axis in the spectrogram are changed by independent influences such as speech rate and pitch. In speech enhancement experiments, we estimated the speech signal using various deep learning architectures from a signal in which the music, noise, and speech were mixed. We conducted the subjective evaluation on the estimated speech signal. In addition, speech quality, intelligibility, separation, and speech recognition performance were also measured. In music signal separation, we estimated the music signal using several deep learning architectures from the mixture of the music and speech signal. After that, the separation performance and music identification accuracy were measured using the estimated music signal. Overall, the proposed architecture shows the best performance compared to other deep learning architectures not only in speech experiments but also in music experiments.

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Scarbrough, Paul. "Electronic architecture: Historical perspectives, current thinking, and future implications for architectural acoustic design." Journal of the Acoustical Society of America 108, no. 5 (November 2000): 2610. http://dx.doi.org/10.1121/1.4743715.

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Talaske, Richard. "Applying Lindsay’s acoustical wheel to architectural acoustics." Journal of the Acoustical Society of America 126, no. 4 (2009): 2268. http://dx.doi.org/10.1121/1.3249285.

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Freiheit, Ron. "Architectural acoustics." Journal of the Acoustical Society of America 106, no. 3 (1999): 1205. http://dx.doi.org/10.1121/1.428236.

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Siebein, Gary W. "Architectural acoustics." Journal of the Acoustical Society of America 95, no. 5 (May 1994): 2930–31. http://dx.doi.org/10.1121/1.409190.

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Egan, M. David, J. D. Quirt, and M. Z. Rousseau. "Architectural Acoustics." Journal of the Acoustical Society of America 86, no. 2 (August 1989): 852. http://dx.doi.org/10.1121/1.398174.

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Journal articles on the topic 'Architecture Architectural acoustics'

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