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There is an article found in ARCHDAILY today that throws out some good ideas that can be applied also to the home. Sorry , I do not know if I am allowed to post it here, but it can be easily found if one is interested
Follow Ups:
Two points:
There are a number of texts which address acoustics from an architectural standpoint. Two which I "cut my teeth on" are Anita Lawrence's "Architectural Acoustics" from 1970, and the landmark "Acoustical Designing in Architecture" by Vern Knudsen and Cyril Harris, 1965 edition. To a lesser extent, because it's geared more specifically to the interior acoustics of concert halls, Leo Beranek's "Music, Acoustics and Architecture".
And, of course, there are the professional journals and periodicals.
As someone previously (in this thread) noted, an understanding of acoustics is part of the architectural degree program. Not being an architect, I don't know what areas or to what level students are taught.
Second point: Client requirements. I think it was "Bare" who wrote that it's up to the client, not the architect, to decide what will or won't be done. Budgets and requirements, that sort of thing. An architect can have all the acoustical expertise needed, but be hamstrung by the client's requirement to stay within a certain budget.
On the other hand, there are incompetent boob architects out there. About ten years ago, I had the opportunity (several times) to hear concerts presented in a newly rennovated high school multi-purpose auditorium. Generally, the room acoustics weren't offensive. But, when the new HVAC system kicked in, forget about "musical nuances" or "delicate soft passages"! But, SHW Architects didn't feel the need to use an outside consultant - so, here we are.
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We are inclusive and diverse. But dissent will not be tolerated.
Hi: I was trained as an architect in the 1960's. Not much attention was ever paid to acoustics; the debacle of LINCOLN CENTER, proved that. Planning and construction agency in NYC was hardly concerned about how the building sounded. If there were clients in the building process, (in effect the Met Opera and NY Phil were absent in the imput process.) So much for clients. Many restorations Town Hall , the old Met were horrors also. Good sound was an accident but the product of developer with real estate interests. That said what is available now is amazing in terms of materials and modelling capabilities. You can actually sound test a space with different materials and different spatial arrangements if the client or institution is willing(which they are not) Not so different in Europe where architects have disowned the buildings they designed for music.
I can imagine actually designing a space , modeling with materials and textures and retrieving simulation of sound
FL Wright did with a slide rule and a basic computer in many buildings.All is possible
Opera House in Hamburg used these methods in part. That gives respect to music where a space is not an add on to college campus or local auditorium. Still. what is being build around the world is often amazing. But the musical spaces attached to museums in NYC are awful. Thanks for recommendations.
Given your apparent interest in concert halls and other music venues, I think you'd like Leo Beranek's "Music, Acoustics & Architecture". It has a chapter titled "The Fifty-Four Halls" which you might enjoy. I have the original 1962 publication.Obviously, it's a bit dated, but still pertinent and relevant.
:)
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We are inclusive and diverse. But dissent will not be tolerated.
Edits: 05/17/21
Thanks for thinking of me..UT
I'm an Architect and I know that most if not All architects are fully aware of Acoustics.
It's a part of the education curriculum.. in the v least.
That Magazine is a trade showcase for advertisers and businesses wanting to advance their products.
Articles are basically filler between adverts.
In real life architects are generally Subservient to their customers' (erm ..Clients reads / sounds more elegant) demands and they Certainly can be demands.
I had an architect friend who, several times designed rooms to the golden ratio without the knowledge of his clients.
He thought it very clever.
I don't know if they sounded better.
Keep Your Hands Clean,
John K
Link below.
I wish architects working today would pay more attention to acoustics. You're lucky if they understand how their design and aesthetic choices affect the usability and comfort level of the spaces they create.
Short reverberation times are a key to making a space feel cozy and tranquil - good for an office, reading nook, library. So those spaces should include sound absorbtion. Diffusion is great way to get rid of hard echoes that make a room feel cold or harm speech intelligibility, while still allowing it to sound open and spacious. Acoustic isolation should be considered in the design too, so that spaces with different purposes can coexist peacefully in the same building. I don't see architects paying attention to any of those things.
For example, before the pandemic, open "agile" work spaces were all the rage. So were shared office spaces for transient use. Rarely do these ever include acoustic barriers or absorption, so it's difficult to concentrate in them. Also, most newer restaurants that have opened around my area in the last 10 years or so are echo chambers. When they fill up, there's a cacophony that makes it difficult to have a conversation without raising your voice, leaning in, asking people to repeat things.
Modern architecture is particularly difficult because of the prevalence of large flat parallel surfaces and the use of acoustically hard materials. Also, you don't want to spoil a clean minimalist look by adding "tack-on" acoustic treatments after the fact. If acoustics were built into the design, you could have that clean modern look without the cold, hard echoes.
My company built some modern workspaces (which I never occupied). It was shared open space with some very small offices with glass walls.
As I worked from the 70s till 2020, here are some of my observations. I think I worked for bean counters. They did not update carpeting often, for instance. I'm sure it wears down and loses much of it's acoustical benefit over time.
The cubicles (before open space) didn't change much, but it was like the airlines, that they started packing us in like sardines with narrow walkways, starting in the 00's.
The shared open workspace, I never got to experience. I think I would be distracted at every young new hire of the opposite sex.
I did like the open kitchen area, though. Who does not like looking at food?
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-Rod
and other distracting and irritating aspects of eating out that too often detract from enjoying a good meal.
This is ESPECIALLY true if there's a full bar within earshot of the dining area, which there frequently is.
"Once this was all Black Plasma and Imagination" -Michael McClure
the place with the best food I've ever had is the noisiest place I've ever been to, hands down. A Tex Mex place called Jose Tejas and I wouldn't change it a bit.
If I don't choose it, it's noise!
Like Bill Evans' "Waltz for Debbie" among many others. I guess the clinking dishes and silver, background chatter, cash register rings, and busboy hitting a bump with the dish cart contribute to the "realistic ambiance" or whatever.
You learn to accept distracting noise in a nightclub as it's part of ... the gig.
ESPECIALLY jazz.
When we saw The Oscar Peterson Trio in 1982, there was NO booze/food SERVICE during the performance
at the wonderful GAMH in SF as per the pianist's request. Everybody seemed to pay closer attention to the music
than at usual shows there. It was grand.
So was the Bosendorfer they supplied for him!
"Once this was all Black Plasma and Imagination" -Michael McClure
Live music in restaurants is, imho, noise.
disturbed by the excessive noise level. I know some restaurant owners think that's a good strategy to keep table turnover up, but it's a "no return" choice, for us.
d
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