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BUILDING UTILITIES 3ACOUSTICS

WEEK 1

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INTRODUCTION

WHAT IS ACOUSTICS?

Is defned as the science that deals with the !"

c"nt!"l$ t!ans%issi"n$ !eceti"n$ and e&ects "' s(as defned )* +e!!ia%,We)ste!-

Is the science s"#nd.

SOUNDSINTERESTING!!

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EARL/ RESEARCH IN ACOUSTICS

0H/TAGORAS ARISTOTLE 1ITRU1HARMONIC OVERTONE 2OUND OUT A 1ER/ WROTE A TREATIES ABOUT

SERIES ON STRINGS GOOD E0RESSION ACOUSTIC 0RO0ERTIES O2

O2 THE NATURE O2 THEATERS INCLUDING THE WAVE MOTIONINTERFERENCE,

ECHOES & REVERBERATION THE BEGINNING O2 ARCHITECTU

ACOUSTICS

hist"!*

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BOO4 1 O2DE ARCHITECTURA

hist"!*

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BOO4 1 O2 DE ARCHITECTURA1OICE IS A 2LOWING BREATH O2 AIR$ 0ERCE0TIBLE OT THE HEAR

CONTACT.

It moves in an endless number of circular rounds, like the innumincreasing circular waves which appear when a stone is thrown intowater, and which keep on spreading indenitely from the centre unl

interrupted by narrow limits, or by some obstruction which preventswaves from reaching their end in due formation.

When the* a!e inte!!#ted )* ")st!#cti"ns$ the fwa5es$ 6"win7 )ac8$ )!ea8 # the '"!%ati"n "' th"which '"ll"w.

hist"!*

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BOO4 1 O2 DE ARCHITECTURAIN THE SA+E +ANNER$ THE 1OICE EECUTES ITS +O1E

IN CONCENTRIC CIRCLES.

The voice not only proceeds horizontally, but also ascevertically by regular stages. The rst wave, when there is

obstruction to interrupt it, does not break up the second ofollowing waves, but they all reach the ears of the lowest highest spectators without an echo.

hist"!*

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BOO4 1 O2 DE ARCHITECTURAHence the ancient architects, following in the footsteps

nature, perfected the ascending rows of seats in theatretheir investigations of the ascending voice, and, by meacanonical theory of the mathematicians and that of the

musicians, endeavoured to make every voice uttered onstage come with greater clearness and sweetness to thethe audience.

hist"!*

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BOO4 1 O2 DE ARCHITECTURAAscendin7 seats in ancient theate!s as desi7ned t" !e5edete!i"!ati"n "' s"#nd and als" !ec"%%ended )!"n9e 5esa!"!iate si9es )e laced in theate!s t" !es"nate with thf'th and s" "n$ # t" the d"#)le "cta5e$ in "!de! t" !es"na

the %"!e desi!a)le$ ha!%"ni"#s n"tes.

hist"!*

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hist"!*

THE ODEON THEATER : A RO+AN THEATER IN DOWNTOWN A++AN$ ;ORDAN

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hist"!*

D#!in7 the ei7hteenth cent#!* the i%"!tance "' ac"#stics was '#!the! hei7htened with the in5entin#%)e! "' %#sical inst!#%ents s#ch as the ha!sand '"!teian"$ and the 7!"win7 "#la!it*$ in elitci!cles at least$ "' cha%)e! %#sic.

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hist"!*

It was al!ead* well,#nde!st""d that the si9e "' a !and the !e6ecti5it* "' the walls$ 6""! and ceilin7 athe intelli7i)ilit* "' seech and %#sic$ and that twdi&e!ent e&ects we!e at w"!8.

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hist"!*

One, was the di%inishin7 l"#dness "! intensit* "'s"#nd$ )"th with distance and acc"!din7 t" the a%"' s"#nd a)s"!)ed )* the !""%

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hist"!*

The second, was the inc!easin7 c"n'#si"n "' s"ca#sed )* !e6ecti"ns '!"% the !""%

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hist"!*

THREE DI22ERENT T/0ES O2 SUR2ACE THAT COULUSED$ CAN BE CO+BINED:

STONE OR 0LASTER: CAN ENHANCE THE RE2LECT

WO1EN 2ABRICS= TA0ESTRIES OR CURTAINS:CAN ABSORB SOUND

TI+BER 0ANELING: WAS THE INTER+EDIATE O2 TH

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hist"!*

OTHER DESIGN 2ACTORS: The distance )etween sea8e! "! inst!#%ent$

di!ectness "' the s"#nd ath.

The "the! c"nside!ati"n was the distance )etwthe sta7e and the listene!.

It was 7ene!all* a7!eed that an act"! sea8in7 in a n"!%al 5

)e #nde!st""d clea!l* # t" a distance "' a)"#t > %et!es$ adi@c#lt* # t" a)"#t %et!es.

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TI+ELINEEAR 1"THCENTUR Desi7n !#les '"! theat!e ac"#stic

n"t 5e!* and the!e we!e %an* ac"#stic disaste!s.

SECOND HAF OF 1"THCENTUR saw a )""% in thea

)#ildin7 in the %a"! cities$ and desi7ne!s 7ene!all* lea!the ac"#stic disaste!s "' the ea!l* cent#!*.

ATE 1"THCENTUR it was c"%%"n !actice t" #se the"! s"@t.

hist"!*

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hist"!*

TI+ELINE EAR 1#THCENTUR Desi7n !#les '"! 7""d ac

we!e widel* #sed n"t "nl* in theat!es and a#dit")#t als" in cha%)e!s in which "liticians and le7c"n7!e7ated$

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INTRODUCTION

WHAT IS d" we %ean )*

a!chitect#!al ac"#stics?

The !"e!ties "! #alities "' a !""% "! )#ildin7

dete!%ine h"w s"#nd is t!ans%itted in it.

Can )e a)"#t achie5in7 7""d seech intelli7i)itheat!e$ !esta#!ant "! !ailwa* stati"n$ enhancin7 t#alit* "' %#sic in a c"nce!t hall "! !ec"!din7 st#ds#!essin7 n"ise t" %a8e "@ces and h"%es %"!"d#cti5e and leasant laces t" w"!8 and li5e in

SOUNDS

INTERESTING!!

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hist"!*

W$%%$ce C%een' S$()ne(;#ne >3$ > F;an#a!* >$ >>-

*THE FATHER OF ARCHITECTURAACOUSTICS+

was an A%e!ican h*sicist wh" '"#nded the feld

"' a!chitect#!al ac"#stics.Sa)ine was ac"#stical a!chitect "' Bos'onsS-.hon- H$%%,widel* c"nside!ed "ne "' thetw" "! th!ee )est c"nce!t halls in the w"!ld '"!its ac"#stics.

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hist"!*

)ecf!sdesaccscieac"

Adac"ti%theas s"#c"nthe

BOSTON

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END O2 THE0RESENTATION

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What is a S"#nd? s"%ethin7 we hea! as a !es#lt "' 5i)!ati"n "'

is c!eated )* c"%!essed and eanded ai! !es6#ct#ati"ns.

INTRODUCTION

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S"#nd the"!*

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S"#ndsa!e e5e!*whe!eJ

The!e a!e:

Ai!)"!ne s"#nds: The %edi#% is Ai!

St!#ct#!e,)"!ne s"#nds: The %edi#% is C"nc!steel$ w""d$ 7lass and c"%)inati"ns "' all these

S"#nd the"!*

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