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......... p. 34 eiv. …................ p. 36 F. THE ATHENS CONCERT HALL …................ p. 38 fii. …................ p. 39 fiii. …................ p. 40 G. CONCLUSIONS …................ p. 40 gi. …................ p. 40 REFERENCES …................. p. 43 B. ARCHITECTURAL ACOUSTICS bi Acoustics represents the scientific discipline whereby the construction of the building can be influenced in the initial design stages to maximize desired audio qualities, while minimizing unwanted noise. As such various items will be discussed throughout this analysis describing mechanisms for the isolation of sound from where it is not wanted, as well as other strategies to amplify desired sounds within the specified areas of the structure. The characteristics of architectural acoustics is characterized by fundamental rules which have stood the test of time. Design rules in the past were relatively simple, but as the science of acoustics advances a greater complexity is permitted in architectural designs, with the potential of room acoustic simulations and newer analytical tools integrated for the improvement of the old techniques. With the proper understanding acoustic design can meld with standard architecture as an integral component of the overall design process, rather than an intrusive addendum. During the course of this analysis, there are many opportunities where an approach grounded in physics would be possible, but the focus in this instance will represent structural choices more than pure mathematics. Mathematics are included as necessary for comparison purposes, but the number of equations used will be limited. As the physics of architecture has its purpose, but there are a wide range of design choices which might prove equally viable from a purely scientific standpoint, but the architect must render aesthetic and stylistic choices in some cases, as well as a consideration for efficiency. There are many structures possible based upon pure physics, but financial considerations, as well as the preferences of the presumed occupants eliminate certain choices made valid from the perspective of pure science. The architect's role is to bridge the gap between pure aesthetics and hard mathematics. One equation will be included as an example, but there are many avenues the architect may choose from, and this analysis will diminish the role of physics in favor of economic considerations; as well as those concerning appearance. bii. Acoustics are an essential process even for structures not specifically dedicated towards the enhancement or amplification of particular types of sounds. Clearly, optimization of certain sounds are critical for concert halls and opera houses, which require specialized engineering to optimize the abilities of peripatetic performers playing within the structures1, but acoustics are also essential as even for more mundane structures such as office buildings or homes. The principal objectives for these buildings is to permit sound transmission with in the same enclosed area – often from one person to another. Yet at the same time as unwanted noises from outside the building or enclosed room should be impeded as much as possible. This fundamental principle could also extend to opera houses and concert halls, but with more specialized requirements. However, it may not be desirable to completely cancel all external noises from an interior room, for the sake of emergency information. The noise from an alarm or an explosion should be audible within an enclosed room so that
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(“Architectural ACOUSTICS-The Athens Concert Hall Dissertation”, n.d.)
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(Architectural ACOUSTICS-The Athens Concert Hall Dissertation)
“Architectural ACOUSTICS-The Athens Concert Hall Dissertation”, n.d. https://studentshare.org/architecture/1482978-architectural-acoustics-the-athens-concert-hall.
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