The use of auditoria for more than one purpose is far from new but the conscious design to accommodate more than one acoustic type of performance is relatively recent. It has become increasingly ...apparent that for economic reasons auditoria dedicated to just one single use are often unrealistic for big companies and also in large cities where a degree of flexibility in use is now becoming the norm from speech or music to theatre, performances and fashion shows.
The possibility to find architectural solutions to control a variable acoustics within a big range is the main interest in this discussion. Construction details are developed and their possible combinations of different customized elements is reported, related to a specific case study: the Calzedonia Auditorium, a shoebox of 10.200 m3.
In literature there are general traditional guidelines to apply for large multipurpose rooms. Because in this space the seats are totally removable and there are design features unique for it, some of these guidelines are accepted and some are changed in relation with the requests of the client and considering also the possibility of a new approach suitable for both speech and music in some special layouts and configurations.
Predicting situations are explained to create a methodological approach, according to the contemporary multipurpose requests.
Numerous configurations, more than 12, with different combinations of the movable architectural element positions have been recorded in the software depending on the number of seats in the room and activities to be deployed.
Measures confirm the acoustic design, the client satisfaction the integrated Architecture.
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GEOZS, IJS, IMTLJ, KILJ, KISLJ, NLZOH, NUK, OILJ, PNG, SAZU, SBCE, SBJE, UL, UM, UPCLJ, UPUK, ZRSKP
This paper presents a dataset of spatial room impulse responses (SRIRs) and 360° stereoscopic video captures of a variable acoustics laboratory. A total of 34 source positions are measured with 8 ...different acoustic panel configurations, resulting in a total of 272 SRIRs. The source positions are arranged in 30° increments at concentric circles of radius 1.5, 2, and 3 m measured with a directional studio monitor, as well as 4 extra positions at the room corners measured with an omnidirectional source. The receiver is a 7 channel open microphone array optimized for its use with the Spatial Decomposition Method (SDM). The 8 acoustic configurations are achieved by setting a subset of the panels to their absorptive configuration in 5 steps (0%, 25%, 50%, 75%, 100% of the panels), as well as 3 configurations in which entire walls are set to their absorptive configuration (right, right/back, right/back/left). Video captures of the laboratory and a second room are obtained using a 360° stereoscopic camera with a resolution of 4096 × 2160 pixels, covering the same source/receiver combinations. Furthermore, we present an acoustic analysis of both time-energy and spatio-temporal parameters showcasing the differences in the measured configurations. The dataset, together with spatial analysis and rendering scripts, is publicly released in a GitHub repository 1 .
An important challenge for acoustic engineers in room acoustics design is related to the acoustic performance of multi-purpose auditoriums, which are typically designed to suit several performance ...requirements. With this intent, the analysis of several scenarios is usually performed individually, and then an acceptable solution, that may be adapted to several situations, is selected. One way of providing a more appropriate acoustic performance for each function of the auditorium is using variable sound absorption techniques to control reverberation and other relevant acoustic phenomena associated to sound perception. In this paper, the acoustic behavior of a perforated system that may be suitable for achieving a variable acoustic solution for room acoustic design is addressed. In the design of a cost-effective solution, the surface appearance is kept unchanged, while variable acoustic behavior is achieved either by closing the holes in the back face of the perforated panel or by placing a porous material in varying positions inside the backing cavity, thus accomplishing different acoustic requirements within a multipurpose auditorium. An analytical approach, based on the transfer matrix method is employed for preliminary acoustic sound absorption assessment provided by the system and to develop optimized solutions. Diffuse sound absorption is then computed and used to simulate, by the ray-tracing method, the acoustic behavior of a multipurpose auditorium to demonstrate efficient acoustic performance for different types of use.
Satisfactory acoustics is crucial for the ability of spaces such as auditoriums and lecture rooms to perform their primary function. The acoustics of dwellings and offices greatly affects the quality ...of our life, since we are all consciously or subconsciously aware of the sounds to which we are daily subjected. Architectural acoustics, which encompasses room and building acoustics, is the scientific field that deals with these topics and can be defined as the study of generation, propagation, and effects of sound in enclosures. Modeling techniques, as well as related acoustic theories for accurately calculating the sound field, have been the center of many major new developments. In addition, the image conveyed by a purely physical description of sound would be incomplete without regarding human perception; hence, the interrelation between objective stimuli and subjective sensations is a field of important investigations. A holistic approach in terms of research and practice is the optimum way for solving the perplexing problems which arise in the design or refurbishment of spaces, since current trends in contemporary architecture, such as transparency, openness, and preference for bare sound-reflecting surfaces are continuing pushing the very limits of functional acoustics. All the advances in architectural acoustics gathered in this Special Issue, we hope that inspire researchers and acousticians to explore new directions in this age of scientific convergence.
Diffusive surfaces are considered as one of the most challenging aspects to deal with in the acoustic design of concert halls. However, the acoustic effects that these surface locations have on the ...objective acoustic parameters and on sound perception have not yet been fully understood. Therefore, the effects of these surfaces on the acoustic design parameters have been investigated in a real shoebox concert hall with variable acoustics (Espace de Projection, IRCAM, Paris, France). Acoustic measurements have been carried out in six hall configurations by varying the location of the diffusive surfaces over the front, mid, and rear part of the lateral walls, while the other surfaces have been maintained absorptive or reflective. Moreover, two reference conditions, that is, fully absorptive and reflective boundaries of the hall have been tested. Measurements have been carried out at different positions in the hall, using an artificial head and an array of omnidirectional microphones. Conventional ISO 3382 objective acoustic parameters have been evaluated in all conditions. The results showed that the values of these parameters do not vary significantly with the diffusive surface location. Moreover, a subjective investigation performed by using the ABX method with auralizations at two listening positions revealed that listeners are not sensitive to the diffusive surface location variations even when front-rear asymmetric conditions are compared. However, some of them reported perceived differences relying on reverberance, coloration, and spaciousness.
Este artículo presenta la primera etapa de la investigación “Prototipo Acústico Adaptable –para espacios multifuncionales–”, desarrollado en la Escuela de Arquitectura de la Universidad de Santiago ...de Chile. El objetivo de ella ha sido diseñar y construir un dispositivo de geometría articulada que permita calibrar la acústica del espacio, en función de las necesidades de recepción de los usuarios. Se revisa la base teórica de la propuesta a partir del concepto de arquitectura líquida, que en su fundamentación pretende incorporar la dimensión dinámica del tiempo en la condición material de los espacios. Asimismo, se examina el término acústica variable, que aborda técnicamente la versatilidad del acontecimiento sonoro en un despliegue de técnicas activas o pasivas. Luego se presenta la metodología a través del diseño, basada en el modelo propuesto por Lucien Blessing, que formula un proceso desde la definición de los criterios, hasta la concreción formal del diseño en la construcción del modelo. Finalmente, se presentan los parámetros de validación del diseño que apuntan a la prosecución de su desarrollo en una segunda etapa. En ella, el objetivo será optimizar el modelo y mejorar las transformaciones del ambiente acústico material, espacial y temporal, como se ha propuesto.
Room for interpretation Jullander, Sverker; Sundkvist, Petter; Berg, Jan ...
Svensk tidskrift för musikforskning,
2018, Volume:
100
Journal Article
Peer reviewed
The artistic research project ‘Room for interpretation’ addresses questions concerning the influence of room acoustics on the performance of Western art music from the performers’ perspective. The ...empirical core of the project is a number of experimental performance sessions carried out in Studio Acusticum, Piteå, a concert hall with mechanically variable acoustics. The authors discuss issues relating to the project’s design and methodology; the focus of the article is thus the research process rather than the results. A presentation of the project, its preconditions, goals, design and methodology is followed by an overview of previous research, mostly in acoustic science, on the same or closely related topics. In the third part of the article, characteristics of the present project are compared to those of the previous studies. In the following part, ’Room for interpretation’ is related to the ongoing discussion on the purposes and means of artistic research. The authors argue that the project, while showing certain similarities to previous studies, differs considerably with respect to aims and important aspects of design, and that its characteristic features agree well with those usually regarded as typical of artistic research. The article concludes with a summary of the most important results concerning: differences between performers’ reactions in the live situation and when listening to their own recordings; differences between chamber ensembles, conducted ensembles and soloists as to the influence of the acoustics on the performance; and the prevalence of sound over other musical parameters in performers’ comments on their recorded performances.
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