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Acoustics Applications in Architecture

This document discusses various architectural designs that incorporate acoustic principles. It provides examples of concert halls, churches, and outdoor structures that are designed to distribute sound in a way that enhances the listening experience. Specific features discussed include sloped ceilings and floors, niched walls, and adjustable risers that allow sound to resonate clearly throughout the space without distortion or echoes. The document suggests that thoughtful acoustic design can improve communication, aid concentration, and maximize enjoyment of music performances.

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Abdullah Tabaza
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67 views12 pages

Acoustics Applications in Architecture

This document discusses various architectural designs that incorporate acoustic principles. It provides examples of concert halls, churches, and outdoor structures that are designed to distribute sound in a way that enhances the listening experience. Specific features discussed include sloped ceilings and floors, niched walls, and adjustable risers that allow sound to resonate clearly throughout the space without distortion or echoes. The document suggests that thoughtful acoustic design can improve communication, aid concentration, and maximize enjoyment of music performances.

Uploaded by

Abdullah Tabaza
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd
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Acoustics Applications

in Architecture

Abdullah Tabaza

Mira Mazen

Jood Al Karaki
What is Acoustics?
The branch of physics that is concerned with
the study of sound is known as acoustics.
The Purpose of Acoustic Design
Decreasing stress and anxiety levels
Preserving hearing
Aiding in concentration
Reducing or minimizing hypertension
Improving speech communication
Maximizing the enjoyment of musical performances
Applications

Elbphilharmonie
Hamburg, Germany
Created by Herzog & de Meuron alongside

Yasuhisa Toyota, and ONE TO ONE studio, the

collaborative project aimed to create a

consistent sonic experience for the 2,150 seated

audience members.

The team used advanced sound algorithms

released by coral reef-like structures of more

than 10,000 acoustic panels lining the ceiling,

walls, and balustrades. The uneven surfaces

either absorb or scatter the sounds across the

auditorium.
Forest Megaphones
Southern Estonia
Architecture can also amplify the natural noises

around us. These wooden ‘Ruup’ megaphones in

Estonia’s Võru County were constructed in

September 2015 to harness the sounds of the

forest. Designed by students and planted

amongst the trees, the ‘bandstands’ vary in size

and form but, at 3m diameter, they are the

perfect size to climb into.


Aali Qapu Palace
Isfahan, Iran
The king would host royal receptions and parties. and this

building is an example of low-tech acoustic genius. All

four sides of the upper half of the Music Hall walls, as well

as within the mini muqarnas ceilings, is a double-walled

design featuring a unique pattern of plaster niches cut out

in the shapes of vases. These not only add visual beauty,

but they absorb echoes and create what was perhaps the

first low-tech quadrophonic sound system, long before the

advent of electric power transmission.

In a room of such size and volume, the wall design

ensured that all the king’s guests would hear the live

musicians with clarity and without distortion or echo.


Boston Symphony Hall
Boston, United States
Each part of the building was designed to

optimize the sound experience for the audience.

The walls, ceilings, and floor all slope towards the

audience, while the seats are an optimal five

inches apart.

All of this allows for an unforgettable sound

experience, no matter where you are

experiencing the show.


Tvísöngur
Seydisfjordur, Iceland
Nestled on a mountainside overlooking a fjord,

the Icelandic ‘Tvísöngur’ is a concrete sculpture

for sound, open for anyone to visit. Five domes

combine to form a network of vaults. Each is

designed to amplify a resonance distinct from

the other, so the overall space echoes the

Icelandic musical tradition of five-tone harmony.


The Pisa Baptistery of St. John
Pisa, Italy
The Baptistery in Pisa is a must-see sight, though a “must-hear”

sight is probably a more accurate description. Under the dome,

a stunning acoustic effect can be heard. Notes sang here last

so long, that it’s possible to accompany yourself: new notes will

harmonize with old ones still reverberating around. A security

guard here sings every half-hour, demonstrating the

baptistery’s perfect acoustics.

The key to the remarkable acoustic is that there’s very little soft

material about to absorb the sound. Consequently, notes rattle

around the space for a long time, some suggestions for over 12

seconds, before the sound dies away and becomes inaudible.


Concertgebouw
Amsterdam, Netherlands
Concertgebouw held the honor at one point as

one of the most respected and most visited

concert halls across the world.

Interestingly, during the time of its construction in

the 1880s, architects still had not mastered the

power of acoustics. During its earlier years, the

concert hall struggled to get acoustics just right

for audience members.

By making adjustments to the steepness of its

risers, the concert hall was able to achieve the

perfect acoustic balance.


Fertőrákos Cave Theatre
Fertőrákos, Hungary
A quarry might seem an unlikely destination for

an opera but people across the world are wising

up to the potential of these vast, cavernous

spaces. The Hungarian Fert őrákos Cave Theatre

recently reopened following renovation work,

while Portugal’s Estremoz marble quarries host

performances on an ad hoc basis. Sound

resonates within their solid walls in an interplay

with light and shadow.


The Philharmonie de Paris
Paris, France
It was designed primarily for orchestral acoustic programs.

The focus of the design was to create a rich and full space that

was not only conducive to delivering the music as truthfully as

possible to the listener’s ear but also created a sense of well-

being in the listener so that they would be more conducive to

receiving the music and absorbing it and to intimate acoustical

experience for musicians and audiences alike.

The design of the hall adopted a surround-type layout, with

audience seating not only in front of the orchestra but also on

the sides and behind, enhancing sound dynamics.

The ceiling too was positioned to enhance the visual appeal

while also optimising acoustics with curves and tent-like angles.

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