Architectural Acoustics case study
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This document provides details about the Philharmonic Hall project in Szczecin, Poland. It lists the architects, location, project leaders, area, year, structural engineers, installations, acoustics consultants, and general contractor of the project. It describes key aspects of the building including a concrete structure, lightsteel framing, a translucent double skin facade, black acoustic wood cladding, and triangular ceiling and wall cladding. It also describes an experimental acoustic dome suspended from the ceiling that can be adjusted to modify the acoustical behavior of the hall based on the type of event.
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- A brief history of early convention centers dating back to the 15th century.
- Details on the typical spaces found in convention centers like meeting rooms, ballrooms, and exhibit halls.
- Considerations for the design such as zoning, circulation, accessibility, services, and parking.
- Standards for areas per person, hall capacities, and dimensions of spaces.
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Architectural acoustics
Sound is a disturbance that passes through a medium as longitudinal waves, causing the sensation of hearing. The speed of sound differs depending on the molecular composition of the medium. When sound waves encounter barriers in an enclosed space, they can be reflected, absorbed, refracted, diffused, diffracted, or transmitted. Reflection occurs when the wavelength is smaller than the surface, causing the waves to hit the enclosure continuously until the energy reduces to zero. Absorption occurs when some of the wave's energy is lost through transfer to barrier molecules. Refraction is the bending of sound waves when passing between different media. [END SUMMARY]
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The document provides information about St. Andrews Presbyterian College located in Laurinburg, North Carolina. It summarizes that the college has over 800 students from 40 US states and 9 foreign countries, offers bachelor's degrees in various fields, and has athletic programs, internship opportunities, and international study programs. The campus features various academic and residential buildings across 600 acres with athletic and equestrian facilities nearby.
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This document analyzes the acoustical quality of the Haas School of Business at UC Berkeley. It finds that 65% of occupants are dissatisfied with the acoustics, particularly in open offices. Sound level measurements were taken in various room types, with some rooms exceeding noise standards. Recommendations include installing sound masking systems in open offices to mask distracting noises while keeping background noise levels within standards. Office booths are also proposed to provide private spaces for phone calls but may not be practical or affordable. Upgrading to improved acoustic partitions is another option but may not significantly improve satisfaction given the cost.
Open office acoustical design - multi-dimensional case studies - ICA Madrid 2007
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The document discusses the acoustic design challenges of open offices in balancing the contradictory aims of intelligibility and confidentiality. It explores how factors like ambient noise levels, signal levels, reverberation, screens, and the signal-to-noise ratio affect understanding. Computer modeling is used to test design parameters and optimize layouts to achieve good intelligibility for conversations while maintaining privacy. The key acoustic criteria found to be sufficient for open offices is monitoring the signal-to-noise ratio in decibels.La Trobe University East Lecture Theatres
The East Lecture Theatres is one of Sir Roy Grounds lesser known projects, constructed in 1968. The concrete, brick and steel composition, is the only circular building on campus, with a ‘pinwheel’ plan divided into six equal theatres.
Our brief was to imbue the interior space with a renewed sense of light, freshness, and texture, whilst respecting the past. Apart from the seating and carpets the majority of the interior remains intact, with only the existing plywood ceilings being left exposed.
All spaces were uniform in their materiality, colour and texture lacking any sense of individuality and identity. To differentiate the spaces we took inspiration from Johannes Itten’s Bauhaus colour wheel an appropriate reference for the heritage of the building:
• Vibrant colours are used for pathways and lectern areas, with a neutral grey colour for the seating area carpet and majority of the seating upholstery.
• The location of each lecture theatre is expressed using the selected vibrant colour in each lecture theatre.
• Primary and secondary colours are used graphically to reflect their relationship with the adjacent lecture theatre. As one moves clockwise from theatre to theatre the secondary colour becomes the primary colour.
• In keeping with Ground’s aesthetic new plywood details have been added to walls and lecterns. The new details are curved at junctions in response to the buildings overall form.
The look and feel of spaces is just as important as reduction in chemicals used and energy consumption- after all if no one wants to use the space how is it sustainable to build or refurbish these facilities.
• Existing building refurbished.
• Minimal demolition- original finishes retained under new interior.
• Original plywood ceiling retained.
• Only carpets and seats were demolished and removed.
• Low VOC paints and finishes used.
• FSC Certified Ply specified for wall linings.
• GECA Certified Goat hair carpets specified- Chemical free and sustainably sourced.
• Quietspace acoustic panels made from minimum 60% post-consumer recycled material.
• Original lighting upgraded with T5 Fluorescent fitting sensor controlled- for improved energy efficiency and user comfort.
• Ergonomic seating installed to improve student comfort and attention to retain students in class.
The East Lecture Theatres are still undeniably Sir Roy Grounds, and while there are remnants of the past, such as the centrally located projector room, there is also the latest in technology and user comforts for today’s learning environments.
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- 3. • Architects: Estudio Barozzi Veiga • Location: Szczecin, Poland • Architect In Charge: Fabrizio Barozzi , Alberto Veiga • Project Leaders: Pieter Janssens, Agnieszka Samsel • Project Team: Marta Grządziel, Isak Mayor, Petra Jossen, Cristina Lucena, Cristina Porta, Ruben Sousa • Area: 13000.0 Sqm • Project Year: 2014 • Structural Engineers: Boma S.L., FORT POLSKA Sp. Z O.O • Installations: GLA Engineering Sp. Z O.O. ELSECO Sp. Z O.O. ANOCHE Iluminación Arquitectónica • Acoustics: Arau Acustica • General Contractor: Warbud S.A
- 8. CONCRETE
- 14. BLACK
- 29. THE ACOUSTICAL DOME BY LUCA BERNARDI Suspended to the ceiling of an existing space, the Acoustical Dome is an experimental device, which geometry allows for a variation of position in space and an adjustment of form to modify the acoustical behavior of the hall. Here, space is not passive to music; it proceeds on an interactive mode where • type of event, a music concert, a lecture, a song, which inflects the computation, which folds and unfolds the acoustical dome under the vault of this space. • trigger a reconfiguration of the fields of reverberation and reflection of
- 31. END