Soundscape Research Paper - Alexander Hussey

The Soundscape Remix:

Shaping the acoustic relationship of the urban landscape Design Research Report

Alexander Hussey 13023545 MArch UBLMKS-30-M

Contents Introduction

4.4 Physical Manipulation Examination:

36

1.0 Theoretical Context

4.5 Physical Manipulation Examination:

38

4.6 Physical Manipulation Examination:

39

Shape Testing

Material Absorption/Reflection consideration

1.1 Soundscapes

1

1.2 The Soundwalk

3

1.3 The 7 Elements of Music

5

5.0 Final Outcome, Conclusions & Future Applications

8 9

5.1 Mock Exhibition

2.0 Research Rationale 2.1 Soundscape Composition 2.2 Sound & Environmental Perception 2.3 Question & Research Gap

10

2.4 Aim & Objectives

11

2.5 Methodology

12

2.6 Ethical & Practical Considerations

13

3.0 Precedent Studies

Conceptual Application

5.2 Auricular Design Process 5.3 Final Exhibition 5.4 Conclusion & Future Application

44 45 46 47

6.0 Appendix Exhibition Presentation Board Participant Survey Links

49 50 51 53

Ethical Review Form

3.2 Sound Mirrors - Romney Marsh

15 15

3.3 Facade Shaping & Acoustic Protection

16

7.0 Bibliography & Image References

3.4 Building Facade Study

17

Bibliography

60

Image References

62

3.1 Whisper Dishes - Frost Science, Miami

4.0 Iterative Process Analysis 4.1 Initial Iteration: Soundwalk Study 4.2 Digital Manipulation Examination 4.3 Physical Manipulation Examination: Physical Audio Receptors

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Consent Forms

Introduction The urban soundscape comprises a multitude of tones that lend themselves to the definition of a place. It was defined by theorists Jean-François Augoyard, Henrik Karlsson and Justin Winkler as “the totality of sound phenomena that lead to a perceptual, aesthetic and representational comprehension of the sonic world.” (Augoyard, Karlsson and Winkler, 1998, p.131) As the public are subjected to these sounds, the effect of this audio could be considered a passive experience, therefore subliminal in how it affects both the perceptions of a space and the mental wellbeing of its inhabitants. However, when we listen to music, it is considered an explicit experience resulting from a conscious decision, whether listening to a concert or in their own construct through headphones.

These opposing realities of the same sense start to indicate how an analysis of the everyday soundscape (Fig.1) could reveal the key components that subconsciously affect our interpretation of external spaces. This investigation explores both the digital and physical manipulation of an urban traverse soundscape. This will investigate perception of space and the role of soundwalks in designing sound sensitive spaces.

Fig.1 Site Soundscapes Landscape architecture in the light of sound (Hedfors, 2003)

1.0 Theoretical Context

1.1 Soundscapes The exploration of the audio landscape starts with the foundation of the soundscape concept (Fig.2). Canadian composer Raymond Murray Schafer explored the impact the soundscape has on both perception of space and analytical rationale. Schafer offers an analysis of the meaning of sound that relates to our physical and sub-conscious interaction;

Fig.2 The strategy of urban soundscape planning process (Mohammed Rehan, 2016)

“according to their physical characteristics (acoustics) or the way in which they are perceived (psychoacoustics); according to their function and meaning (semiotics and semantics); or according to their emotional or affective qualities (aesthetics)” (Schafer, 1994, p.133) He dissects the sounds we experience by not only acknowledging the acoustic reception of the audio itself (Fig.3), but also how this affects deeper perceptive qualities of the environment. This relationship is key in understanding the role of sound in physical environments. Due to the lack of physical representation denoted by acoustic environments, it is an element of the design process that has received less attention.

As part of a study into ‘Sonic Urbanism’, urban designer and researcher Dr Sara Adhitya states that if we are to improve environmental perceptions “we must refrain from considering the soundscape as a product and instead consider it as an urban process.” (Kafka, Lovell and Shipwright, 2019, p.17). Sound is often considered a bi-product of design, as opposed to an integral part of architectural development. It was architectural historian Jane Rendell who noted that “If we define a discipline as a system of rules of conduct or as a method of practice, then architecture is not a discipline, since it combines a number of methods of practice” (Rendell, 2004, p.143). It is the assimilation of these elements and methods that Schafer outlined could allow designers to appropriate designs both physically and consciously.

Fig.3 Plane of melodic evolution (Schafer, 1994)

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Schafer was the founder of the discipline of Soundscape Studies in the 1970’s, which introduced the concept that the soundscape, like music, “can offer us the tools and ,techniques to compose it” (Kafka, Lovell and Shipwright, 2019, p.17). As part of his exploration, he started to break down this composition (Fig.4).

Schafer was the founder of the discipline of ‘Soundscape Studies’ in the 1970’s, which introduced the concept that soundscapes “can be composed like a piece of music and, by extension, that music can offer us the tools and techniques to compose it” (Kafka, Lovell and Shipwright, 2019, p.17). He broke down this composition (Fig.4). Studying such elements as time, frequency, grain and volume, turning attention towards notable individual sounds within the environment. The tones of a dog barking and birdsong were compared to differentiate intricacies of sound (Fig.5). He noted that each sound had an ‘attack’ ‘body’ and ‘decay’ pattern that correlated to the time and therefore aesthetic of the sound. However, this study into soundscape properties simply provides a quantitative approach to sound. In order to provide a template for design, it needs to also take into account the receptors of these sounds, the users.

Schafer argued that in order for the acoustic environment to be improved “some kinds of tests will have to be developed for the measurement of aesthetic reactions to sounds” (Schafer, 1994, p.146). This would provide a more qualitative assessment of the reactions to both existing and proposed soundscapes.

Fig.4 Description of sound event (Schafer, 1994)

Fig.5 Description of sound event (Schafer, 1994)

1.2 The Soundwalk The ‘Soundwalk’ could offer the reactionary exploration to which Schafer referred. He and fellow Canadian composer Hildegard Westerkamp developed the concept as part of the World Soundscape Project, as a response to the impact of changes in industrial soundscapes. A soundwalk is “a methodology for engaging city users in research investigating people’s relationship with soundscapes and the built environment” (Adams, 2009, p.6).

The aim of the soundwalk was to provide a locality with response data that correlated to the commonly experienced sounds.

This data can “explore the place-making potential of sound” (Stevenson and Holloway, 2016, p.87) as a tool that provides future planners and designers with user sourced interpretations of spaces. This method can range between notation of a casual walk through space, to a prescribed survey that analyses a given soundscape.

An example of the latter method of analysis was a survey conducted in Seoul and Bundang in South Korea (Fig.6). The participants in the experiment were distributed across 16 sites, 8 residential areas and 8 public spaces (Fig.7), they evaluated dominant noises in the city and subsequent perceptions. They were “asked to concentrate on what they could hear as they walked and observed the urban environment” (Jeon et al., 2010, p.1358) gauging the annoyance of noises and quality of the soundscape. They denoted a series of ratings corresponding to various reactions along the soundwalk.

Fig.6 Seoul Photographs (Young Hong, Jik Lee and Yong Jeon, 2018)

Fig.7 Soundwalk sites (Young Hong, Jik Lee and Yong Jeon, 2018)

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The results of the test were grouped into a series of adjectives that correlated with the consensus (Fig.8). These adjectives were: comfort, quiet, harmonious, soft, weak, light, pleasant, and warm, along with monotonous and unique. Each line corresponds to the average rating of each area within the study. These offer a breakdown of the perceptual qualities of sound, giving an indication of the importance of this sense on the observation of space. Although this practice offers a perspective that approaches sound design in a more personal manner, it does not outline audio specificities.

However, in an age of increased access to media and the ease of virtual involvement, can this method of observation be brought forward to a wider audience? Music producers ‘Audiotopie’ in Montreal, Canada designed a modern interpretation of the soundwalk concept that utilises “headphones and portable players as well as visual indicators spread around a neighbourhood to guide participants virtually.” (Paquette and McCartney, 2012, p.139)(Fig.9).

This gave participants a clear path to follow and a means of focussing their attention on the audio. To further develop this method for analytical application could it be utilised to dissect audio components to understand the variations and their effects on spacial perception?

Fig.8 Semantic Differentials For The Perception Of Urban Soundscape.

(Yong Jeon, Jik Lee, You and Kang, 2010)

Fig.9 Soundwalk (Audiotopie, 2020)

1.3 The 7 Elements of Music Fig.10 Beats per minute (Jacobson, 2006)

In examining the elements of sound, a template must be applied in order to analyse audio configuration. Viewing the soundscape as a composition will help to assess it. Professor of Music ,Daniel Jacobson, outlined what are considered the seven elements of music composition. The following outlines the concepts of these elements;

“Rhythm:

the element of “time” in music (Fig.10)

Dynamics: the relative loudness (or quietness) of music (Fig.11) Fig.11 Dynamic levels (Jacobson, 2006)

Melody: the highness or lowness of a musical sound (Fig.12) Timbre: own characteristic pattern of “overtones” (Fig.13) Harmony: the art of combining pitches into chords (Fig.14) Texture: number of individual musical lines (melodies) and their relationship Form: combination of the musical elements” (Jacobson, 2006)

Fig.12 Low Frequencies vs High Frequencies (SoundFix, 2020)

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Professor of Systematic Musicology Richard Parncutt addressed the emotional connections we associate with tones. He stated that; “If we assume that the auditory system is constantly looking for harmonic patterns among partials, as it does when processing a speech signal in a noisy environment, we can predict where missing fundamentals might be perceived” (Parncutt, 2014, p.328). This suggests that subconsciously we look for consistency within audio environments.

Recognising a soundscape’s affinity with musical notation, Schafer suggested “that the soundscape can be composed like a piece of music” (Kafka, Lovell and Shipwright, 2019, p.17). However, there are discrepancies in comparing the perception of music to the perception of urban soundscapes. For example, it was psychologist Melvin G. Rigg who suggested that “fast tempos are associated with positive emotions and slow tempos with negative emotions” (Rigg, 1940). However, considering the fast paced nature of cityscapes (e.g. traffic and public movement), can juxtaposing and comparing perceptual qualities of sound offer a more satisfactory soundscape?

An alteration of any of these qualities will redefine the sound, thereby affecting audio perception. Utilising these with respect to urban soundscapes and its analysis will start to unravel the alterations that can be made to improve spacial perception.

Fig.13 Complexity - Timbre (Unknown, n.d.)

A

B

C

Fig.14 A - Monophonic B - Homophonic C - Polyphonic (Unknown, n.d.)

2.0 Research Rationale

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2.1 Soundscape Composition Professor of informatics Vincenzo Lombardo devised a graphical outline to start to understand the production, evaluation and generation of soundscapes, which can then be applied to simulated circumstances. He noted that a soundscape “is a temporal and typological organization of sound objects, related to a certain geo-cultural context� (Valle, Lombardo and Schirosa, 2009, p.2). In constructing an optimal soundscape, this

Fig.15 The GeoGraphy model (Adapted from Lombardo, 2010)

approach provides a framework that dissects, appropriates and reapplies a soundscape format into an existing landscape (Fig.15). In doing so, this format can then be further analysed via the use of the seven elements of music to add another layer of interpretation.

2.2 Sound & Environmental Perception Auditory landscapes cannot be purely defined via quantitative measures if place responsive acoustic consideration is to take place. For people to interpret space positively, the reactive and proactive measures of environmental stimuli must be acknowledged. It was psychologist Peter Kuppens who recognized this relationship via ‘core effect’ and the subsequent ‘appraisal’ of environments (Fig.16) “in the study of feelings, but also when appraising visual” (Andringa and Lanser, 2013, p.1447). Applying this to an established form of analysis will endeavour to further personalise the creation of positive acoustic environments (Fig.17).

Fig.16 Core affect and appraisal (Adapted from Andringa & Lanser, 2013)

Fig.17 Proposed interpretation of different positions of the core affect (Adapted from Andringa & Lanser, 2013)

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2.3 Question To what extent can the 7 elements of music that affect the intricacies of musical notation alter our perception of urban journeys and provide a foundation for improving existing soundscapes?

Research Gap Following the initial investigation into the roles of soundscapes and soundwalks, it is clear that these concepts have been explored to understand the relationship between people, place and sound. However, although much comparison has been made to the composition of music, there has been limited dissection into the intricacies of these particular sounds and what specifically instigates subconscious and psychological responses within an urban setting. For designers, addressing audio issues often responds to the immediate situation presented to them, but sustaining and maintaining this consideration is key to continually evolving the perception of sound in design.

The use of compositional elements will give rise to the specificities of unique sounds within a landscape. It will serve to bring to the forefront the way a soundscape may be composed as “soundscapes are inseparable from urban processes themselves, then it suggests that we can also use musical crafts to compose the city� (Kafka, Lovell and Shipwright, 2019, p.17). Building upon soundscape simulation, composition dissection will aim to provide a basis that can be applied to spaces, assessing forms in order to create preferred tailored soundscapes, as opposed to broader solutions that remove the sense of individuality in place.

The research will explore the implication of audio composition and attempt to develop a system from which the analysis of spaces can take place via digital and physical formats. This will immerse in audio landscapes, outlining an adaptive soundscape manipulation template that can benefit perceptions of urban environments.

The seven elments of music

Role of soundscapes in social perception

Fig.18 Research Venn Diagram (Authors own image)

The soundwalk and the built environment

2.4 Aim To assess the composition an optimal audio experience that encourages a more positive reaction to an urban environment through the modulation and concentration of existing soundscapes based on public perceptions of an urban soundwalk.

Objectives 1. To understand the importance of sound in relation to both our phenomenological understanding of place making and its hierarchy in spatial creation.

2. To identify and analyse the unique characteristics of the seven elements of music in order to determine their roles in our perception of the urban landscape.

3. To manipulate an existing soundscape in accordance with people’s response to negative audio spaces in order to create a more positive journey.

4. To explore the acoustic properties of building facade shapes in order to evoke a unique and positive response to a modified soundscape.

5. To examine and evaluate the effect of an altered and focussed soundscape on people’s perception of an urban area based on a soundwalk study.

Fig.19 Soundscape collage (Authors own image)

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2.5 Methodology In order to achieve these objectives, the following methodologies will be executed: 1. Exploration into the documented, current and theoretical applications of soundscapes within phenomenological, spatial and perceptual experiences held by people and understanding of place.

2. Research and investigation into existing methods of focussing sound in order to analyse the elements that define positive and negative instigators.

3. Assess an existing soundscape region via inclusive participation and compositional analysis to explore qualitative response to space.

4. Utilise data and musical composition elements to establish a series of scalable parameters for audio manipulation to occur.

5. To critically analyse the effect of manipulated soundscapes via physical and digital mediums as a template for a framework to be employed in place perception improvement.

Methods The main methods through which these methodologies will be incorporated are: 1. Literature appraisal to establish key research into the identified areas.

2. Analyse acoustic concentration properties and incorporating these methods to dissect sound into their unique qualities.

3. Participate in a number of sound walks engaging users with their audio environment in order to gain a series of responses.

4. Assess acoustically sensitive shapes and their effects on the recorded audio of the studied soundscape, whilst integrating digital software techniques to provide a comparative basis.

5. To combine a series of comparative tests, based on the physical and digital appropriations in order to produce a more optimal audio experience.

Fig.20 Methodology Diagram (Authors own image)

2.6 Ethical Considerations As part of the investigation will involve qualitative data that. Public surveys will be conducted to gauge the perception of soundscapes and observe behavioural and physical responses. In consideration of this, these ethical elements shall be assessed (Please refer to appendix for Ethical Review Form); - Informed consent will be required for data, explaining to participants the use of opinions and photographs within the study.

- Those who are considered more vulnerable (e.g. elderly, children, disabled) will not be involved unless accompanied by a suitable guardian.

- When recording soundscape samples, the public should be made aware that recording is taking place so they have the option to opt out.

Practical Considerations

Fig.21 Participatory Network (Authors own image)

Isolation

Environmental

Representation

Physical

Focal Fig.22 Practical Considerations (Authors own image)

Shaping

During the soundwalk research and iterative design process, a number of practical considerations will be considered. With regards to recording the soundwalk, environmental impacts,wind, rain, movement vibrations, were monitored to ensure clear audio conditions. Due to the coronavirus pandemic, the scale of production and implementation of sound sensitive shapes within an urban environment became very limited. This led to shape sampling and audio reaction simulation via digital programming to obtain an appropriate prediction of sound and applying it conceptually to a real environment. To clarify the before and after of audio manipulation, in light of the digital format of the presentation, it is now key to provide more guidance through audio walkthroughs that dissects the audio landscape.

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3.0 Precedent Studies

Fig.23 Whisper Dishes (Bershatsky, 2019)

3.1 Whisper Dishes - Frost Science, Miami Whisper dishes are parabolic forms that collect, concentrate and amplify wave signals, such as light, radio and sound waves. As the sound hits the centre of the dish, waves reflect off of the dish and travel perpendicular to the direction of the dish. This enables quiet sounds to be strengthened and focussed to a particular point.

The Whisper Dishes exhibited at Frost Science Museum in Miami reflect sound to a receiving dish that focusses the sound on the listener.

However, this form could be utilised to focus sound onto objects and materials in order to test the effect of form on the audio landscape.

Fig.24 Romney Marsh Sound Mirrors (Lee, 2015)

3.2 Sound Mirrors - Romney Marsh Built between 1928 and 1930, the three concrete “listening ears� at Greatstone vary in size between 6 and 60 meters in size. These were designed to receive sound from incoming enemy aircraft. The sound would be collected, reflected to a focal point microphone and then relayed to an operator.

These were constructed out of concrete in order to provide a smooth surface allowing efficient reflection. These early examples of audio centred design techniques show how materials and form can affect contextual audio responses.

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3.3 Façade shaping & Acoustic Protection Lucia Busa, Simone Secchi & Stefano Baldini It was architectural theorists Lucia Busa, Simone Secchi & Stefano Baldini who explored the influence of façade shapes on the sound pressures experienced in the urban environment. Due to the sensitivity of sound and the number of sources that are present within an urban soundscape, they suggest that; “even small modifications of the design façade can give a better acoustic protection without compromising other design requirements which often clash with the acoustic ones” (Busa, Secchi and Baldini, 2010, p.318).

Fig.25 Chandigarh Capitol, Le Corbusier (Busa, Secchi and Baldini, 2010)

These examples, Chandigarh Capitol by Le Corbusier (Fig.25), the Soka-bau area by Thomas Herzog (Fig.26) and the Audiovisual library by Buffi Associati (Fig.27), showcase a series of facade treatments and the acoustic protection they provide. The extrusion of facades affects the level of absorption and deflection of sound and therefore how it is received and perceived by users. If facades can be managed in to allow existing buildings to be acoustically adaptable via an externally fixed cladding rail system; changing soundscapes can become more prominent within the design process and the concept of place making.

Fig.26 Soka-bau area (Busa, Secchi and Baldini, 2010)

Fig.27 Audiovisual library in Marengo (Busa, Secchi and Baldini, 2010)

Fig.28 Lines of equal sound pressure level in the case of flat façade (Busa, Secchi and Baldini, 2010)

3.4 Building Façade Study Lucia Busa, Simone Secchi & Stefano Baldini

Fig.29 Lines of equal sound pressure level in the case of4m wide balconies with closed window sill (Busa, Secchi and Baldini, 2010)

As part of their analysis into building facade acoustics, a series of simulated studies were conducted to test the affects of facades on sound pressure within a “typical urban context with buildings five floors in height” (Busa, Secchi and Baldini, 2010). A simulated sound source was placed in the middle of this environment and a response was generated from a variety of facade types. These included a flat facade (Fig.28), a facade with 4m wide balconies with closed window sills (Fig.29) and a staggered balcony facade (Fig.30).

It became evident from the tests that the staggering facades had a significant affect on reducing the sound pressure of low and medium frequencies from the focal sound source. This method was limited in the scope due to the limited range of the source itself.

Fig.30 Lines of equal sound pressure level in the case of staggered 3m wide balconies (Busa, Secchi and Baldini, 2010)

This approach could be applied to a series of facade tests that concentrate a number of compositionally considered urban soundscapes, via the dissection of this soundscape can existing and future soundscapes be improved?

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4.0 Iterative Process Analysis

4.1 Initial Iteration: Soundwalk Study

Start Clifton

To interpret the notation of the audio landscape, a sonic template from which to work must be established.

Tyndalls Park

1.

Lewin’s Mead

Brandon Hill

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3.

Hotwells

Finish

Canon’s Marsh

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Spike Island Fig.31 Soundwalk map (Authors own image)

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A soundwalk route was mapped out (Fig.31) within the city of Bristol. Starting from Victoria Park and through Brandon Hill, Park Street, The Harbourside and along the River Avon, finishing at Queens Square.

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9.

Whapping Wharf

This route was chosen due to the mixture of hard and soft acoustic environments providing means of comparison along the journey. Key nodes have been noted where future analysis will be focussed on.

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To understand the intricacies of the urban soundscape, a soundwalk survey was conducted across the route. The journey was analysed using a prepared questionnaire in order to dissect the urban sounds into the 7 elements of musical composition.

(Review the following page for questionnaire outline).

Taken over a series of days, this survey breaks down the urban landscape into approachable questions serving to address Rhythm, Dynamics, Melody, Harmony, Timbre, Texture and Form (Fig.32). This aimed to interpret the opinions of each element to understand how they affect urban perception.

Rhythm Form

Dynamics

Timbre

Harmony

Melody Fig.32 Elements of music (Authors own image)

Texture

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Dynamics

Texture

Rhythm

Timbre

Melody

Form This questionnaire was derived from the investigations into the seven elements of music, with each question qualitatively assessing each element. Participants were offered the chance to express their own opinions as well as provide ratings based on these elements, to be utilised in the following audio perception graphs.

Harmony Fig.33 Soundwalk Survey Questionnaire (Authors own image)

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Survey Results:

Reflection

From the data collected, these representations show the dissection of sounds experienced within the nodes. The representation was influenced by the Seoul and Bundang analysis referred to previously.

(For survey answers, refer to appendix)

The results from the first two soundwalk observations show a contrast in reception, with participants on feeling more comfortable in Brandon Hill.

This correlates to the lower volume and synchronised audio landscape.

The Triangle exhibits harsh disjointed sounds that are constant and quick.

Node 1: The Triangle

Fig.34

Node 2: Brandon Hill

Fig.35

Reflection

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The response to Park Street/College Green’s audio environment was mixed, with participants making comparisons to the previously studied sites. The results from the City Centre show a strong negative response to the soundscape, with the harsh dissonance of sounds showing a strong correlation to the overall perception.

Node 3: Park Street/College Green

Fig.36

Node 4: Anchor Road (City Centre)

Fig.37

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Reflection Due to the nature of the harbourside being a central feature to Bristol, the day/time of the week was an even more sensitive aspect of this node.

This is evident in the mixed results displayed. Although Canon’s Marsh is located along the harbourside, the space exhibits a distinct synchronised soundscape.

Node 5: Harbourside

Fig.38

Node 6: Canon’s Marsh

Fig.39

Reflection

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Underfall Yard exhibits more contrasts amongst participants, with spikes of activity happening within a relatively quiet atmosphere. This resulted in a mixture of consonance and dissonance, with some feeling more comfortable than others. This was similar for Spike Island, where occasional traffic causes spikes of harsh sounds with limited space for dispersal, forming a mixed response.

Node 7: Underfall Yard

Fig.40

Node 8: Spike Island

Fig.41

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Reflection Near the end of the soundwalk study, there is a contrast between the disjointed sounds within the large open public spaces, to the secluded atmosphere of Queens Square. These two sites provide an area of comparison that can be used to initiate the response to negative/ uncomfortable spaces.

Node 9: Wapping Wharf

Fig.42

Node 10: Queen Square

Fig.43

Soundmapping summary:

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The soundwalk took place over a number days to establish average ratings of spaces throughout the week. Although the soundmapping results are conclusive of the response from those who took part; the results could have been more precise had greater participation been possible.

1.

Following the survey, a soundmap highlighting positive and negative spaces was produced (Fig.44). This response was dictated by both the qualitative and quantitative data “to provide a map that determines the physical locations of the sound sources� (Barakat, 2017, p.1), identifying areas in need of digital and physical appropriation.

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3.

Positive

Negative

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7.

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Fig.44 Positive and negative space soundmap (Authors own image)

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4.2 Digital Manipulation Examination: The Triangle From the initial investigation it was evident that Rhythm, Dynamics, Harmony and Melody were the key factors in perception of space. The following analysis highlights the original and altered sounds and the process of editing them via these elements. Click on the soundwaves to listen to the original and edited audio.(Audio edited using Adobe Audition).

Original Audio

Edited Elements Dynamics

- 5db

General traffic 100 - 1000hz

Rhythm

Human Speech 200 - 400hz

Motorbike 1000 - 2000hz

- 20% speed Harmony

- 50% reverb Melody

-2 Fig.45

semitones

Edited Audio Fig.46

General traffic 100 - 1000hz

Human Speech 100 - 300hz

Motorbike 600 - 1200hz

Digital Manipulation Examination: Comparative Reflection

Original Audio Reaction

Following the editing process, the edited audio was then sent to the previous participants and tested against the same questionnaire used in the soundwalk survey.

Reflection Although the extremities in the original audio, e.g. volume, speed and harshness were altered to level out the musical elements, the feeling of comfort remained similar. There were greater disparities in the perception of the sound. Certain aspects levelled out to less extreme reactions, but the overall perception of the audio landscape was still considered the same.

Edited Audio Reaction

Element links

Timbre

Melody Fig.47

Fig.48

Rhythm Harmony

Dynamics

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Digital Manipulation Examination: Anchor Road (City Centre) Original Audio

Edited Elements Dynamics

- 8db Rhythm

- 20% speed General traffic 200 - 3500hz

Harmony

Music 200 - 2000hz

- 20% reverb Melody

+2 Fig.49

semitones

Edited Audio Fig.50

General traffic 100 - 2000hz

Music 100 - 1800hz

Digital Manipulation Examination: Comparative Reflection

Original Audio Reaction

Reflection Although the volume of this soundscape was the most significantly reduced out of the samples, the overall comfort showed a small amount of improvement. The audio landscape shows evidence of levelling out as a result of this edit, but the number of distinct sounds led to a continued disjointed environment, which suggests that the harmony of an environment is a key factor in comfort.

Element links

Rhythm

Edited Audio Reaction

Timbre

Melody Fig.52

Fig.51

Harmony

Dynamics

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Digital Manipulation Examination: Wapping Wharf

Original Audio

Edited Elements Dynamics

- 3db Rhythm

- 10% speed Harmony

Passing traffic 100 - 3500hz

- 50% reverb

Background chatter 100-800hz

Melody

-2

semitones

Fig.53

Edited Audio Fig.54

Passing traffic 40 - 2000hz

Background chatter 60-700hz

Digital Manipulation Examination: Comparative Reflection

Original Audio Reaction

Reflection The edited soundscape produced a varied response to the perception of volume, tempo and harmony. There was greater agreement as to the distinction of sounds, but differed as to how these sounds synchronised. However, the overall level of comfort shifted towards the positive end of the spectrum, with users preferring the environment to the original. The correlation between volume, pitch, tempo and harmony with comfort remain evident.

Element links Rhythm

Edited Audio Reaction

Timbre

Fig.56 Fig.55

Melody

Harmony

Dynamics

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4.3 Physical Manipulation Examination: Physical Audio Receptors “Buildings do not react to our gaze, but they do return our sound back to our ears” (Juhani Pallasmaa, ‘The Eyes of the Skin’ p.49).

To understand how the physical environment can start to respond to the original audio, external shapes have been considered to allow absorption,

reflection and diffusion to occur. Although the physical presence cannot alter the source of the sound and its composition, it can affect reception and delivery. The following studies will aim to showcase a series of examples to utilise in modular implementations.

Parabolic In the aforementioned applications of parabolic dishes in Romney Marsh (Fig.57), the use of parabolic shapes collect sounds and focusses it into a point where “all rays from the focus of a parabola to its surface will be directed outward as parallel rays” (Nave, 2017). This could be utilised to focus desired sounds as a receptor and to test sounds on other shapes.

GETA

Fig.57 Romney Marsh Sound Mirrors (Lee, 2015)

Fig.58 Parabola (Adapted from Unknown, 2014)

Fig.59 Geta Wall Panel (Mikodam, 2019)

Fig.60 GETA Profile

The GETA wall system by Mikodam (Fig.59) is a triangular series of panels that provide “effective sound dispersion for the frequency range of 250 Hz to 2000 Hz due to the differences in depth and length” (Souza, 2019). An adaptable system of panels can offer varying levels of sound distribution whilst “avoiding acoustic defects that cause disturbances caused by sudden sound reflections, acoustic brightness, and echoes” (Souza, 2019).

Acoustic Wedges

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Typically used in recording studios (Fig.61), acoustic wedges are used absorb sound that “lessen the energy output of mid to highfrequency sound waves” (GBfoamdirect, 2016).

The use of different materials such as foam and harder surfaces will provide different levels of absorption.

Convex

Fig.61 Recording Studio (Ali-express, 2020)

Fig.62 Sound Waves And Surfaces (GBfoamdirect, 2016)

Fig.63 Bing Concert Hall (Archdaily, 2012)

Fig.64 Anti-focusing surfaces (Adapted from Nave, 2017)

Fig.65 Cabot Square, Canary Wharf (Stil Acoustics, 2020)

Fig.66 Acoustic Performance (Adapted from BCL, 2019)

Convex shapes are considered anti-focusing surfaces, which oppose the effect of the parabolic shape by distributing soundwaves across a large area. In auditorium design (Fig.63) this “helps musical sounds blend, and reduces unwanted reflections” (Avant Acoustics, 2020).

This rounded shape could help to emphasise desired sounds in the existing audio environment.

Slatted The use of horizontal battens in wall panels provides an adjustable medium that can allow a varied amount of absorption and diffusion (Fig.65). The method is dependant on an acoustic layer beneath the slats, “the larger the open area, the more sound can be absorbed” (BCL Timber Projects, 2019). As an external feature, this would require an additional layer to be considered within the process.

4.4 Physical Manipulation Examination: Shape Testing and how they can physically manipulate external audio through the seven elements of music. (Click on the Reflect, Absorb, Diffuse diagram to hear the simulated effect on the original audio of Wapping Wharf)

Parabolic

To test the effects of these shapes on audio, a series of panels based on the studied shapes were produced. They were subjected to both the original and edited audio via the use of a parabolic dish that focused the audio onto the facade panels. The following process diagrams analyse the scale of reflection, absorption and diffusion that occur at each test

Fig.67

Horizontal battens

36

Fig.68

GETA

Acoustic Wedges

Convex

37

Fig.69

Fig.70

Fig.71

38

4.5 Physical Manipulation Examination: Material Absorption/Reflection consideration In conjunction with the previously studied shapes, the materiality of these facades must also be considered. The following diagrams (Fig.72) represent the existing fabric’s average absorption coefficient “The ratio of absorbed sound energy (E) to incident sound energy” (Liu and Chen, 2014), which result in much reflection. It also highlights material enhancements which could be combined with selected shapes to improve the soundscape.

Existing

0.03

0.02

0.97

Data courtesy of (Engineering Toolbox, 2003) & (Vorländer, 2007)

0.05

0.96

Rendered brickwork

0.30

Reflected

0.04

0.98

Smooth unpainted concrete

Shape Enhancements

Absorbed

0.95

Limestone walls

0.60

Double glazing (10mm gap)

0.30

0.30 0.70

Hardwood

0.70

Wood wool cement

Microperforated glass sheets

Fig.72

4.6 Physical Manipulation Examination: Conceptual Application - The Triangle

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Fig.73

40

The Centre

Original image courtesy of (Bristol Live, 2020) )

Fig.74

Wapping Wharf

Fig.75

41

Original image courtesy of (Retail Gazette, 2016) Original image courtesy of (Bristol Live, 2020)

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Physical Manipulation Examination: Conceptual Application Reflection The Triangle

Loud

As much of the negative response centered around the high volume, the harsh sound and their disjointed nature, absorption and diffusion techniques were considered in this abstraction. The facade types used were acoustic wedges for street level absorption, GETA for soundwave energy dispersion to reduce frequency and parabolic installations to focus sounds away from busier public areas.

The Centre As the centre of town is an open square enclosed by a road network, the inner section is subject to constant road noise. This was noted throughout the study, with volume and harmony remaining key factors. In response, the abstraction implements parabolic shapes within the central zone, creating an inner audio environment. The use of acoustic wedges would attempt to absorb the surrounding sound.

Wapping Wharf

Harsh

Absorb

Diffuse

Absorb

Diffuse

Focus

Absorb

Diffuse

Focus

Disjointed

Disjointed Fig.76 Negatives and receptor solutions

Loud

Disjointed

Fig.77 Negatives and receptor solutions

Similar

Disjointed

As the initial survey produced a mixture of results, the need for more adaptable facade types is key. As harmony and sound distinction were key factors in this case, the use of horizontal slats and acoustic wedges provide a varied level of absorption and focus points for sound to be dispersed.

Fig.78 Negatives and receptor solutions

5.0 Final Outcome, Conclusions & Future Applications

44

5.1 Mock Exhibition To combine both the elements of digital and physical manipulation of the audio landscape, the initial mock exhibition attempted to provide a focal soundboard for facade types. The exhibition utilised parabolic shapes to focus both the edited and original sounds onto the facade tiles, testing the affects of physical receptors.

Upon reflection, the scale of the tiles needed to be larger in order as the key effects were not immediately obvious when passing standing between the sound source and the facade types. However, to focus back to the extent at which the seven elements of music can be applied, the audio experience should take precedent. The physical component should act as an applicable medium showcasing the facade types in a model that compares the original and edited soundscapes.

Fig.79 Background research

Fig.80 Mock exhibition parabolic test

Fig.81 Acoustic tile samples

5.2 Auricular Design Process

Audio manipulation comparison

Physical receptor identification

Physical expression

To understand the influence of the seven elements of music on forming a physical response, the exhibition will be accompanied by an audio guide. The piece will guide viewers through the stages of the soundscape analysis that was conducted.

As viewers listen, they will notice the changes made by both the digital and simulated physical responses.

Using the acoustically sensitive shapes from the previous studies, the exhibition will highlight the presence of audio receptors as features that can have an effect on the elements of music. This will determine the most appropriate response resulting from the survey data in order to improve the soundscape.

To illustrate the conceptual physical impact of audio dissection, massing models of a chosen site will be presented to show the potential physical changes in line with the audio manipulation. As a result of the surveys, Wapping Wharf was the chosen site. This will show the development of a section of the streetscape, influenced by the work of Busa, Secchi and Baldini on facade impact.

Fig.82

Fig.83

Fig.84

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46

5.3 Final Exhibition: Proposed Process Arrangement Intention The final exhibition aims to demonstrate the physical implementation of the analytical method that utilises the seven elements of music. The two conceptual forms illustrate a comparative model of Wapping Wharf as an example of indicating the potential aesthetic effects of soundscape improvement using soundwalks as a basis for engagement (Refer to the following page for aesthetic changes). As part of the exhibition, it was key to highlight the process of the project in order to provide an indicative template for this to be explored further. It also indicates people’s perception of sound through background research and an audio guide through the headphones provided. Click on the headphones in the view below to hear the audio guide to the presentation. (Refer to appendix for 1:1 presentation board).

Fig.86 Conceptual Wapping Wharf Model

Fig.85 Final exhibition display

Fig.87 Report , surveys & audio guide headphones

5.4 Conclusion As a method of dissecting acoustic properties within an environment, the seven elements of music proved beneficial in understanding the factors that affected people’s perception of space within the initial examinations of this research. It has shown that as a point of reference for acoustic environments, composition of the audio should be considered in equal measure with the aesthetic.

However, due to the restrictions of the coronavirus lockdown, in situ studies on physical forms, materiality studies, and survey size was severely limited.

Therefore the audio effects from the studied shapes were simulated based on previous studies on form.

Fig.88 Conceptual Model showing acoustic wedge facade treatment

It has shown that the soundwalk is an approachable method for public engagement with the environment. However, future studies should include a larger study group, with a greater age range, to greater understand auditory responses across generations. The analysis actively highlights the problems within the audio environment that people tend to passively consider. Although acoustic design has been a significant area of analysis, translating personal acoustic reactions into the physical realm can start to link acoustic properties to place identity and therefore create a more intimate response.

Future Applications The use of the seven elements of music method to outline facade implementations could be further developed by increasing the presence of inclusive soundwalks within the design process. As well as this, the manufacturing method of the facade panels will need to be automated to ensure accuracy. Using a series of sound sources from studied soundscapes as input to review audio changes during the construction phase. This could involve a digital uploading platform for the public to submit audio clips for initial soundwalk and shape tests to personalise audio response to place

Fig.89 Conceptual Model showing horizontal batten facade treatment

This method could not only produce facade panels but, as previously suggested, could install sonic features based on acoustically sensitive shapes to raise people’s awareness of the complexity of the soundscape.

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6.0 Appendix

Original image courtesy of (Retail Gazette, 2016)

50

Participant Survey Links: The following links will take you to the survey answers as noted and described by those who took part in the soundwalk (Click the ‘Survey Answer’ and ‘Edited Response’ icons to view).

Survey Answers 11/2/20 Walk

Questions composed

Consent forms signed

17/2/20 Walk

Survey Answers

Edited Response

Survey Answers

Edited Response

Survey Answers Initial solo soundwalk conducted

Key nodes chosen

Questions Issued

22/2/20 Walk

Survey Answers Survey Answers

Edited Response Edited Response

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52

53

54

55

56

57

58

Consent Form

The Soundscape Remix: Shaping the acoustic relationship of the urban landscape

This consent form will have been given to you with the Participant Information Sheet. Please ensure that

you have read and understood the information contained in the Participant Information Sheet and asked any questions before you sign this form. If you have any questions please contact a member of the research team, whose details are set out on the Participant Information Sheet.

I am happy to take part in a questionnaire that relates my own response and opinions to a series of city based sounds to be used for research purposes by the University of the West of England (UWE). The aims and methods of the research have been clearly explained to me. I agree that the interview outcomes and photos of the research process, which shall remain anonymous, can be used in UWE and UWE-affiliated online and in-print publications in the format shown to me at the time of taking. If you wish for study photographs of the walk that include you not to be used, tick the relevant box below and your photo shall be anonymised. Only age shall be recorded in the form of qualitative data but no other data shall be published alongside the outcomes.

Please sign and date the form. You will be given a copy to keep for your records.

•

I have read and understood the information in the Participant Information Sheet which I have been given to read before asked to sign this form;

•

I agree that anonymised quotes may be used in the final Report of this study;

•

I understand that my participation is voluntary and that I am free to withdraw at any time up until the 31st of March 2020, without giving a reason;

•

I agree to take part in the research I do not wish for my photo to be used within the research documentation

I understand that I am free to withdraw this consent to the use of any personal data I have contributed at any time up until 11/12/19 (contact someone from the research team below if you wish to do so).

Name

Matt Rogers ………………………………………………………………….

Address

………………………………………………………............

108 Ratcliffe Drive

BS34 8UB

………………………………………………………............ ………………………………………………………............

Email (optional)

………………………………………………………………….

Phone (optional)

………………….………………………………………………

Signed

Matt Rogers .………………………………………………………………..

Date

13/5/20

…………………………………………………………………

Researcher: Alexander Hussey Supervisors: Associate Professor Jonathan Mosley: Jonathan.Mosley@uwe.ac.uk Tel 0117 3283508 Dr Lidia Badarnah: lidia.badarnah@uwe.ac.uk Tel: 0117 3283177 Dr Sophia Banou: Sophia.Banou@uwe.ac.uk Tel: 0117 3286128 Department of Architecture & the Built Environment, University of the West of England

7.0 Bibliography & Image References

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Berlin: Springer, pp.303-317.

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Fig.2 - Mohammed Rehan, R., 2016. The Strategy Of Urban Soundscape Planning Process. [image] Available at: <https://www.sciencedirect. com/science/article/pii/S1687404815000048> [Accessed 13 May 2020].

Fig.3 - Schafer, R. (1994). Our Sonic Environment and The Soundscape: The Tuning of the World. 2nd ed. Rochester, Vt.: Destiny

Books, pp.123-270.

Fig.4 - Schafer, R. (1994). Our Sonic Environment and The Soundscape: The Tuning of the World. 2nd ed. Rochester, Vt.: Destiny Books, pp.123-270.

Fig.5 - Schafer, R. (1994). Our Sonic Environment and The Soundscape: The Tuning of the World. 2nd ed. Rochester, Vt.: Destiny Books, pp.123-270.

Fig.6 -Young Hong, J., Jik Lee, P. and Yong Jeon, J., 2018. Seoul Photographs. [image] Available at: <https://www.igi-global.com/ chapter/assessments-of-urban-soundscapes/198156> [Accessed 13 May 2020].

Fig.7 - Young Hong, J., Jik Lee, P. and Yong Jeon, J., 2018. Soundwalk Sites. [image] Available at: <https://www.igi-global.com/chapter/assessments-of-urban-soundscapes/198156> [Accessed 13 May 2020].

Fig.8 - Yong Jeon, J., Jik Lee, P., You, J. and Kang, J., 2010. Semantic Differentials For The Perception Of Urban Soundscape. [image] Available at: <https://www.researchgate.net/publication/42438312_Perceptual_assessment_of_quality_of_urban_soundscapes_with_combined_noise_ sources_and_water_sounds/figures> [Accessed 13 May 2020].

Fig.9 - Audiotopie, 2020. Soundwalk. [image] Available at: <https://bustler.net/news/3227/audiotopie-awarded-the-phyllis-lambert-design-montr-233-al-grant-2013> [Accessed 13 May 2020].

Fig.10 - Jacobson, D. (2006). Beats per minute. [image] Available at: https://wmich.edu/mus-gened/mus170/170notes/Ch1-elements.pdf [Accessed 24 Nov. 2019].

Fig.11 - Jacobson, D. (2006). Dynamic levels. [image] Available at: https://wmich.edu/mus-gened/mus170/170notes/Ch1-elements.pdf [Accessed 24 Nov. 2019].Fig.12 - SoundFix, 2020. The Science Of Acoustic Foam. [image] Available at: <https://www.soundfix.co.uk/the-scienceof-acoustic-foam/> [Accessed 17 April 2020].

Fig.13 - Fig.9 - Unknown (n.d.). Complexity - Timbre. [image] Available at: https://quizlet.com/138233992/ch-15-ears-and-hearing-flash-cards/ [Accessed 23 Nov. 2019].

Fig.14 - Jacobson, D. (2006). Monophonic (single note) texture. [image] Available at: https://wmich.edu/mus-gened/mus170/170notes/Ch1-elements.pdf [Accessed 24 Nov. 2019].

Fig.15 - Lombardo, V., 2010. The Geography Model. [image] Available at: <https://soundscapesofbarcelona.wordpress.com/projects/composition-of-realistic-and-interactive-soundscape/> [Accessed 9 May 2020].

Fig.16 - Andringa, T., 2013. Core Affect And Appraisal. [image] Available at: <https://www.researchgate.net/publication/236138799_How_Pleas-

ant_Sounds_Promote_and_Annoying_Sounds_Impede_Health_A_Cognitive_Approach/figures> [Accessed 9 May 2020].

Fig.17 - Andringa, T., 2013. Core Affect And Appraisal. [image] Available at: <https://www.researchgate.net/publication/236138799_How_Pleasant_Sounds_Promote_and_Annoying_Sounds_Impede_Health_A_Cognitive_Approach/figures> [Accessed 9 May 2020].

Fig.18 - Authors own image Fig.19 - Authors own image Fig.20 - Authors own image Fig.21 - Authors own image Fig.22 - Authors own image Fig.23 - Bershatsky (2019). Whisper Dishes. [image] Available at: https://bershatsky.com/2019/01/04/nikon-z-24-70mm-f-4-review-south-beachmiami-day-2/ [Accessed 20 Feb. 2020].

FIg.24 - Lee, T. (2015). Romney Marsh Sound Mirrors. [image] Available at: https://www.flickr.com/photos/68942208@N02/18797460421 [Accessed 30 Jan. 2020].

Fig.25 - Busa, L., Secchi, S. and Baldini, S., 2010. Chandigarh Capitol, Le Corbusier .. [image] Available at: <https://www.researchgate.net/publication/236108052_Effect_of_Facade_Shape_for_the_Acoustic_Protection_of_Buildings/figures> [Accessed 13 May 2020].

Fig.26 - Busa, L., Secchi, S. and Baldini, S., 2010. Soka-bau area, Thomas Herzog. [image] Available at: <https://www.researchgate.net/publication/236108052_Effect_of_Facade_Shape_for_the_Acoustic_Protection_of_Buildings/figures> [Accessed 13 May 2020].

Fig.27 - Busa, L., Secchi, S. and Baldini, S., 2010. Building 37 In Bicocca Area, Boeri Studio, Milano, 2005 5 .. [image] Available at: <https://www. researchgate.net/publication/236108052_Effect_of_Facade_Shape_for_the_Acoustic_Protection_of_Buildings/figures> [Accessed 13 May 2020].` Fig.28 - Busa, L., Secchi, S. and Baldini, S., 2010. Effect of Façade Shape for the Acoustic Protection of Buildings. Building Acoustics,

17(4), pp.317-338.

Fig.29 - Busa, L., Secchi, S. and Baldini, S., 2010. Effect of Façade Shape for the Acoustic Protection of Buildings. Building Acoustics, 17(4), pp.317-338.

Fig.30 - Busa, L., Secchi, S. and Baldini, S., 2010. Effect of Façade Shape for the Acoustic Protection of Buildings. Building Acoustics, 17(4), pp.317-338.

Fig.31 - Authors own image Fig.32 - Authors own image Fig.33 - Authors own image Fig.34 - Authors own image Fig.35 - Authors own image Fig.36 - Authors own image Fig.37 - Authors own image Fig.38 - Authors own image Fig.39 - Authors own image Fig.40 - Authors own image Fig.41 - Authors own image Fig.42 - Authors own image

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Fig.42 - Authors own image Fig.43 - Authors own image Fig.44 - Authors own image Fig.45 - Authors own image Fig.46 - Authors own image Fig.47 - Authors own image Fig.48 - Authors own image Fig.49 - Authors own image Fig.50 - Authors own image Fig.51 - Authors own image Fig.52 - Authors own image Fig.53 - Authors own image Fig.54 - Authors own image Fig.55 - Authors own image Fig.56 - Authors own image Fig.57 - Lee, T. (2015). Romney Marsh Sound Mirrors. [image] Available at: https://www.flickr.com/photos/68942208@N02/18797460421 [Accessed 30 Jan. 2020].

Fig.58 - Unknown (2014). Parabola. [image] Available at: http://hyperphysics.phy-astr.gsu.edu/hbase/Acoustic/imgaco/foc3.gif [Accessed 21 Feb. 2020].

Fig.59 - Mikodam, 2019. Geta Wall Panel. [image] Available at: <https://www.archdaily.com/catalog/us/products/13742/geta-wall-panel-mikodam> [Accessed 12 May 2020] Fig.60 - Authors own image Fig.61 - Ali-express, 2020. Recording Studio. [image] Available at: <https://www.aliexpress.com/item/32851792321.html> [Accessed 12 May 2020].

Fig.62 - GBfoamdirect, 2016. Sound Waves And Surfaces. [image] Available at: <https://www.gbfoamdirect.co.uk/foam-cut-to-size/acousticfoam-sound-proofing/> [Accessed 12 May 2020].

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Fig.67 - Authors own image Fig.68 - Authors own image

Fig.69 - Authors own image Fig.70 - Authors own image Fig.71 - Authors own image Fig.72 - Authors own image Fig.73 - Authors own image Fig.74 - Authors own image Fig.75 - Authors own image Fig.76 - Authors own image Fig.77 - Authors own image Fig.78 - Authors own image Fig.79 - Authors own image Fig.80 - Authors own image Fig.81 - Authors own image Fig.82 - Authors own image Fig.83 - Authors own image Fig.84 - Authors own image Fig.85 - Authors own image Fig.86 - Authors own image Fig.87 - Authors own image Fig.88 - Authors own image Fig.89 - Authors own image

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