Acoustical Surfaces: The Latest Architecture and News

In 1952, American composer John Cage presented his groundbreaking piece "4'33''" for the first time. In it, the orchestra produces no intentional sound for four minutes and thirty-three seconds. What can be heard instead are breaths, movements, and subtle noises that would normally go unnoticed, but here become part of the composition itself. With this work, Cage revealed that absolute silence does not exist. There is always sound, even when unplanned.

In the same way, every architectural space has its own soundscape. Sound moves, reflects, reverberates, and dissipates according to the materials, volumes, and surfaces it encounters. Hard walls and high ceilings can amplify echoes, while fabrics and porous panels soften them. Acoustics, therefore, is not merely a technical concern but a form of materialized listening, a science that operates at the boundary between perception and emotion. For this reason, it is also complex. Each typology, whether a museum, temple, studio, or theater, has its own sonic logic, and understanding these nuances is essential to creating spaces that embrace sound, voice, and silence with equal precision.

Throughout history, the undeniable interrelationship between sound and architecture has shaped users' experiences. From auditoriums to offices, cultural centers, and schools, acoustics in architecture can manifest itself in two ways: as a determining element of a structure's shape and as a material. When discussing aesthetics, the latter aspect is particularly relevant, as any material that forms part of a composition aims to have a cohesive design with the rest.

Integrating acoustics through materials presents a significant challenge, as certain attributes such as color, texture, or dimensions may hinder harmonization with the overall design of the space. This can unbalance the experience of the environment, since, although the acoustics are improved, the interior atmosphere is negatively affected. This situation highlights the importance of selecting the right material that can enhance acoustics while maintaining the coherence of the design.

If you find yourself baffled by the confusing world of baffle paneling, don’t be concerned. That’s what they’re there for. The purpose of baffles of any kind – and where they take their name – is to confuse matter. In other industries, baffles are used to direct water flow, to control airflow and heat exchange, and to stop traffic from traveling too quickly.

When used in the scientific world of acoustics, baffles are positioned to disrupt sound waves by projecting out into our busiest environments, to catch, absorb and soften the sound, either in naturally noisy or specifically quiet areas or to selectively filter sounds from making a return journey. That doesn’t mean, however, that the slatted sight of regimental baffles can’t give an aesthetic advantage to interiors, providing often much-needed visual activity to an otherwise bare ceiling.

Hidden in plain sight, ceilings are often the final surface interior designers and architects think about, but the expansive plane of unobstructed plaster or concrete offers mar more creative freedom than we realize. Modern design rules demand that the ceiling is kept clean. Not with a telescopic mop attachment, but by stripping off the popcorn spray, wood-chip wallpaper, or plaster patterning that haunt my own memories of ceilings-past.

While many clients greet this contemporary need for clean lines with acquiescence, choosing smooth, skimmed plaster finishes with unobtrusive yet forgetful recessed spots, other bolder clients recognize the ceiling’s potential for the creative outlet it is.

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The House of Music Hungary is one of the biggest cultural investments in the European Union. Designed by Sou Fujimoto Architects, it is becoming a hub for city dwellers and worldwide visitors wishing to attend concerts, visit the exhibition or record music in the building's open studios.

ArchDaily editors first got in touch with the Liget Budapest Project in the summer of 2021 and were treated to an impressive site visit at the House of Music Hungary. We were among a few select invitees that caught a glimpse of the finishing phases at one of the city's major projects located in its 200-year-old park. Developers and contractors were racing to catch up on the time they’d missed due to the pandemic – a challenge they certainly fulfilled, with the project completed in less than six years and being opened to the public in December 2021.

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Hearing – one of the human body’s five senses – enables our interaction with sound, a crucial factor for daily communication and much more. One commonly hears people say a place is noisy, but what exactly is the definition of noisy? Known as situations with unwanted sounds that interfere with daily activities, noisy places also have the potential to negatively interfere in society’s development.

Sound is measured in decibels (dB), and humans are able to resist a maximum average noise level of 85 dB without risking hearing damage. While a conversation usually ranges between 60 and 70 dB, according to the Federal Occupational Safety and Health Administration, workers at a construction site are exposed to an average of 90 dB during eight-hour periods.

Acoustical Surfaces, a company specializing in noise control, has developed a product guide for minimizing the transmission of sound, thus promoting healthier lifestyles.

"Acoustics" in architecture means improving sound in environments. Although it is a complex science, understanding the basics - and making efficient and effective decisions - is much easier than you might think. The first step is to understand that there are two technical categories used in acoustics: soundproofing and acoustical treatment. Soundproofing means "less noise" and treatment, "better sound".