Hearing Architecture

Hearing Architecture

 

In the chapter, Hearing Architecture, the question was asked, “Can architecture be heard?” The answer is most definitely, YES. The chapter discussed arched and domed ceilings and the effect of those architectural details on the way in which we experience sound. Also discussed are materials and architectural details that provide sound absorption. The general synopsis of the chapter is that certain materials and architectural details that create poor acoustics in some instances can produce phenomenal acoustics in others. The job of a designer is to understand how materials and architectural details affect the way in which a space is experienced and design for the desired effect.

 

I think I am sensitive to sound and, for me, there is a fine line between sound and noise. I have experienced a variety of occasions in which sound played a significant role in my overall enjoyment of the space or activity.

 

For instance, many years ago I attended an International Festival in one of the permanent buildings at the fairgrounds in Raleigh. I was very excited to go because I was looking forward to sampling food from different countries. The building was long and open, individual spaces were delineated by food stalls; there were no permanent walls in the space. I am unsure of what the building was constructed, but my guess is that it was a pre-fabricated metal building. The floors were commercial tile. Because there were so many people crammed into the space there was a constant din of sound. Because there were few permanent sound absorptive materials, the din grew. The constant hum of people was tolerable for me at first, but the longer I was there, the more intolerable it became. There were not any specific loud noises, just that din. My anxiety level grew so much because of the noise that I had to leave the festival. When I exited the building I felt instant relief in the relative quiet of outside. I was disappointed to leave the festival early but the noise level in the space became intolerable to me.

 

On the other hand, I have experienced music performances that were an acoustical delight. As discussed in the chapter, some sound reverberation is critical to create an acoustic environment in which music sounds are at their richest. When I was young I went to music camp at Lake Junaluska in western North Carolina every summer. Most of the music performances that I attended there were held in an austere, casual (camp-like) auditorium. The auditorium was a huge octagonal building with concrete floors, wooden theater seats, and was surrounded by windows. The sound in that auditorium was great, although the seats were not too comfortable. The materials used in the space and the shape of the building allowed for reverberation that made human voices and instruments sound fantastic.

 

As a designer it is important for us to design for all of the senses, not just the visual. Sound in an interior plays a huge role in the comfort and enjoyment of the people in the space. Most people do not think about how architecture sounds until the sound in a space is uncomfortable/annoying or magnificently beautiful.