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This thesis is an attempt to establish a practical way for architectural designers to take advantage of the relationship between soundscape and architectural aesthetics. The whole study aides in providing a structural framework by which architectural designers could incorporate acoustic elements into their design, with aesthetic concerns rather than for practical purpose. The discussions of soundscape and architecture forms are organized in the order of point, line, plane and space to present my personal observations on the issue. Three graphic systems are developed based on the previous researches of soundscape to visualize the coexistence of sonic identities and visual identities in built environment and how both of them interact to create a multi-sensory experience for visitors. Among the three systems, the Soundscape Map system is particularly introduced to demonstrate some case studies where soundscape elements are successfully employed to strengthen the construction of architectural spaces and forms. The goal of this research is to open a door for architectural researchers to discover the interconnection between soundscape and architecture, with the hope that the graphic systems introduced could be useful for effective designs with soundscape concerns in built environment.
Get the leading guide to acoustics for architects, engineers, and interior designers. A widely recognized, comprehensive reference to acoustic principles for all concerned with the built environment, Architectural Acoustics, Second Edition provides design professionals with up-to-date information on basic concepts, acoustical materials, and technologies for controlling wanted or unwanted sound within and around buildings. Written by a team of internationally recognized experts and experienced consultants, this Second Edition covers fundamental acoustic principles, design criteria, acoustical materials, control strategies, and methods for a wide variety of building types, including educational, healthcare, recreational, residential, commercial, industrial, and transportation facilities. Particular attention is given to places for listening and performance such as theaters, churches, concert and recital halls, outdoor arenas, classrooms, multiuse auditoria, libraries, music practice and rehearsal rooms, recording and broadcast studios, sports venues, home theaters, and other spaces that people meet to communicate and enjoy performance. Updated throughout, this edition features: New information on acoustical standards and guidelines for sustainable building design. Additional, richly detailed case studies demonstrating real-world applications, including the acclaimed Walt Disney Concert Hall and many other building types. Nearly 200 photos and illustrations that further elucidate specific principles, applications, and techniques. New developments in sound reinforcement and audio visual systems and their integration in room design. Progress in research and future directions in acoustical modeling. With fundamental conceptual understanding of basic acoustical principles provided by Architectural Acoustics, Second Edition, building designers can confidently create aesthetically and aurally pleasing spaces, while avoiding problems that could be very costly, if not impossible, to solve later.
Soundscape Basics and Practical Implications Soundscape research represents a paradigm shift, as it involves human and social sciences and physical measurements to account for the diversity of soundscapes across countries and cultures. Moreover, it treats environmental sounds as a resource rather than a waste. Soundscape and the Built Environment is the first book to systematically discuss soundscape in the built environment. It begins with a presentation of theory and basic background, answering questions such as: what is soundscape, how is it important, and how does it affect people in terms of their health and perception on the acoustic environment. The book then sets out tools for implementing a soundscape approach, with measurement techniques, mapping, and good soundscape practices. It also delivers a series of examples of the application of the soundscape approach in planning, design, and assessment. Discusses soundscape and environmental noise Explores cultural variations and the way they influence soundscape Introduces binaural measurement technology and psychoacoustics Examines the physical, psychological, and physiological restorative mechanism of high-quality acoustic environments Presents soundscape mapping based on human perception of sound sources Includes real-world examples and case studies highlighting the key issues in soundscape intervention Soundscape and the Built Environment is written by a group of leading international figures and derives from a four-year EU COST project on Soundscapes of European Cities and Landscapes. It presents a consensus on the current state of the art and is not merely a collection of different views. It is written for acoustic consultants, urban planners, designers and policy makers, as well as for graduate students and researchers.
Architects are used to designing visually. In order to expand their basic design tools, this book explores the interactions between sound, space, hearing, and architecture. To this end, the author uses contemporary and historic buildings and projects, but also fictional, philosophical, and theoretical approaches – the idea is not only to define sound as a source, but also as an instrument of architectural space. By introducing a metatheory of "critical hearing", designers are able to acoustically test their projects and contribute to their design with auditive input, already at the design stage.
Sound is a vital component to architectural design. It is a significant contributing factor in making spaces come alive. Unfortunately, in modern day architecture sound is often an afterthought in the design process. If it is even considered at all it is only regarded in the sense of how to reduce, isolate, and absorb sound rather than to celebrate it and use it to enhance the user’s experience. Sound gives space quality. While our visual field focuses us in a forward direction, our aural awareness is omnidirectional and opens us to a world beyond while at the same time locating us in space. Sound impacts in meaningful ways that sight cannot. It puts us in the middle of activity and makes us aware of our surroundings. Chicago is a loud city. Curtain walls and canyons created by the tall Chicago buildings impact these already powerful sounds of the cityscape by reflecting and amplifying them. So, what if we could see the sounds within our built environment? Would these forms be desirable and enticing to engage with? Or would we find them frightening and would they make us want to flee from them? What sort of experiential quality could be had by interacting with such forms? It is my belief that by giving form and spatial quality to these sounds will help us to understand how sound impacts our environment and creates the possibility to refine existing urban conditions to create a more enjoyable, melodic, socially interactive, and experiential sonic environment.
A vibrant history of acoustical technology and aural culture in early-twentieth-century America. In this history of aural culture in early-twentieth-century America, Emily Thompson charts dramatic transformations in what people heard and how they listened. What they heard was a new kind of sound that was the product of modern technology. They listened as newly critical consumers of aural commodities. By examining the technologies that produced this sound, as well as the culture that enthusiastically consumed it, Thompson recovers a lost dimension of the Machine Age and deepens our understanding of the experience of change that characterized the era. Reverberation equations, sound meters, microphones, and acoustical tiles were deployed in places as varied as Boston's Symphony Hall, New York's office skyscrapers, and the soundstages of Hollywood. The control provided by these technologies, however, was applied in ways that denied the particularity of place, and the diverse spaces of modern America began to sound alike as a universal new sound predominated. Although this sound—clear, direct, efficient, and nonreverberant—had little to say about the physical spaces in which it was produced, it speaks volumes about the culture that created it. By listening to it, Thompson constructs a compelling new account of the experience of modernity in America.
Discussing many important air pollution issues, the included contributions were presented at the 29th annual meeting in a successful series of international conferences dealing with the Modelling, Monitoring and Management of Air Pollution. The scientific knowledge derived from well-designed studies needs to be allied with further technical and economic studies to ensure cost-effective and efficient mitigation. In turn, the science, technology and economic outcomes are necessary but not sufficient. Increasingly, it is being recognised that the outcome of such research needs to be contextualised within well-formulated communication strategies that help policymakers and citizens to understand and appreciate the risks and rewards arising from air pollution management. Consequently, this volume comprises a wide range of high-quality papers that develop the fundamental science of air pollution and that place these new developments within the frame of mitigation and management of air pollution. Air pollution issues remain one of the most challenging problems facing the international community. The varied research published in this book covers topics such as Air pollution modelling; Aerosols and nanoparticles; Emission studies; Indoor air pollution; Monitoring, measuring and air quality data; Air pollution control technologies; Industrial and transport air pollution; Climate change effects; Emerging air pollutants; Air pollution management, policy and legislation; Low carbon strategies; Biogenic emissions; Biomass emissions; Atmospheric modelling; Pollution dynamics; Air quality forecasting using satellite data; Environmental justice; Interdisciplinary studies on air quality; Transboundary air pollution; Anthropogenic pollution.
'Site Soundscapes: Sonotope Design' is based on the assumption that landscape architects work on projects in which the acoustic aspects can be taken into consideration. In such projects activities are seen to be located within the landscape, and specific sounds belong to these activities. This research raised the orchestration of the soundscape as a new area of concern in the field of landscape architecture; new methods of approaching the problem are suggested. The landscape is viewed as a space for sound sources and listeners where the sounds are transferred and coloured, such that each site constitute a 'sonotope.' Professionals can learn to recognise the auditory phenomena which are characteristic of a certain type of land use. Acoustic sources are obvious elements as a starting point in the planning process. Their effects on the soundscape can subsequently be evaluated according to various planning options. A prototype of a computer tool for use in landscape architecture is developed. This is intended to promote listening as well as stimulate an appreciation of the soundscape approach in the processes of planning and design.
Sound and listening are intrinsically linked to how we experience and engage with places and communities. This guide puts forward a new conceptual framework of embodied affectivity that emphasises listening in urban research and design and advances new ways of knowing and making. The guide invites landscape architects and urban designers to become soundscape architects and offers practical advice on sound and listening applicable to each stage of a design project: from reading the environment to intervening on it. Urban Soundscapes foregrounds listening as an affective mediator between subjects and multispecies environments, and a vehicle to think and conceptualise environmental research and design beyond prevailing visual and human-centred modes. The guide expands landscape architects’ and urban designers’ tools and skills to assess existing soundscapes, predict how those soundscapes will be altered through their designs, consider sound as a creative and active part of the design process and envisage how users might perceive and be affected by those soundscapes as they evolve in time. The volume sits in the interface of research and practice and interweaves theoretical, methodological and creative contributions from acoustic ecology, ecoacoustics, bioacoustics and sound art. Each of the design stages is illustrated through project examples that demonstrate the many advantages of incorporating attentive listening and sound into Landscape Architecture and Urban Design Practice. This book shows how incorporating listening and sounding as part of the design process promotes slow and subtle ways of practice, adds social and ecological value through the reduction of noise pollution and by monitoring the health of habitats, and enables the design of soundscapes that complement the character and design intent of a scheme and elicit joy and wonder. The book will be of interest to practitioners and academics in landscape architecture, and other design and spatial fields such as urban design, architecture, geography and engineering, who play a primary role in the composition of the soundscape.
For the past 20 years, Victoria Meyers, a Founding Partner of hanrahanMeyers architects, has crafted an architectural and urban design practice that includes sound as an intimate aspect of the designed environment. Meyers analyses the shape of sound; architecture and sound; form; materiality; windows; the urban soundscape, its politics, aesthetics and social character; reflection; virtuality; sound art; and silence. This sequel to Designing with Light offers new theoretical insights into sound and the spatial experience accompanied by several key case studies. These include Meyers' work with Stephen Vitiello, whose piece A Bell For Every Minute animated the New York High Line project, and her collaborations with composer and sound artist Michael Schumacher. Digital Water i-Pavilion, located opposite Ground Zero in Manhattan, has proved particularly innovative: Schumacher's score, developed especially for the building, has been etched into a glass facade which can be 'played' by the public via an app; onlookers direct their mobile phones at the glass to read and hear the music. Sound is not simply music however, and Meyers reflects upon this in her quest for an understanding of architecture as an auditory environment, through examples of buildings and materials which inspire and possess characteristic sonic properties.