There are many ways to solve the acoustic comfort of the interior spaces we design, using materials and solutions of different prices and appearances. Perforated cardboard gypsum boards are an economical and efficient option to incorporate into projects, absorbing the sound and reducing the noise level generated by the reverberation through different patterns and shapes.
Applied mainly in schools, offices, shopping centers, restaurants, lobbies, and hospitals, gypsum boards are easy to install and can deliver high-quality aesthetic results in ceilings and coatings.
An installation at the Karolinska Institutet in Sweden is made entirely of translucent concrete panels. Composed of concrete and bubble wrap, the site blends both high and low technology processes. This high-tech lecture hall is an amorphous space with unique acoustic qualities.
The panels were created by compressing High-Performance Concrete between two layers of Bubble-Wrap. With 262,500 cavities and 1,000,000 membrane-perforations, the material creates a diffused echo-free ambiance.
Located in a small village in Poland, this proposed music center honors the birthplace of famous Polish composer and pianist, Frédéric Chopin. Designed by ELEMENT as a part of an international competition, the Chopin Music Center captures the picturesque landscape of endless forests through "leisure and relaxation."
The Center integrates with the park through window views of Frédéric Chopin's birth house and the surrounding landscape. The proposed international music center utilizes a combination of natural materials and glazing to create a seamless connection with its site. The existing park can be reached by pathways and bridges near the building, prompting visitors to experience the outdoor area.
With the aim of promoting more efficient ways to isolate and protect building envelopes, the Chilean team Rootman has developed Thermoroot; a biodegradable and 100% natural insulation made from roots without genetic modifications or chemical additives. These roots make up what the company is calling a Radicular Mattress which, in addition to thermally and acoustically insulating the walls, floors, and ceilings of buildings, it is fire resistant.
With Argeo Ascani, Anne Guthrie, Zev Greenfield, Margaret Anne Schedel, Elaine Sisman, Emily Thompson, and Peter Zuspan
Moderated by Willem Boning and Curt Gambetta
Performance by Daniel Neumann
In architecture, spatial thinking is at the core of the design process. In music, however, space is often considered a surface effect, a veneer of “good” or “bad” acoustics that is applied to sound rather than grounding it. But music is inherently spatial. As it travels from a source to our ears, music is transformed by the air, the surrounding architecture, and the shape of our own bodies. A number of musicians from across time
The series acted as a starting point for a conversation between the WAF audience and panelists, moderated by PLANE—SITE’s Andres Ramirez. Panelists included Michel Cova of dUCKS scéno, Tateo Nakajima of Arup, and Jacob Kurek of Henning Larsen.
North America’s largest classical repertory theatre company, the Stratford Festival revealed Hariri Pontarini Architects’ design for their new Tom Patterson Theatre at a town hall meeting last month. According to Antoni Cimolino, the Stratford Festival’s Artistic Director, the company desires a new facility that compares to distinguished theatres worldwide.
Audience sightlines, accessibility and acoustics all make theater seating a hugely precise art. As part of their set of online resources for architects and designers, the team at Theatre Solutions Inc (TSI) have put together a catalog of 21 examples of theater seating layouts. Each layout is well detailed, with information on the number of seats, the floor seating area and row spacing. These layouts fall under three general forms; to supplement this information, alongside TSI's diagrams we've included the pros and cons of each type, as well as examples of projects which use each format. Read on for more.
On November 3, TheatreSquared Executive Director Martin Miller and Artistic Director Robert Ford unveiled the completed plans for the company’s new permanent home, a 50,000 square-foot building in Fayetteville, Arkansas designed by London-based theater planners Charcoalblue and New York–based Marvel Architects. The new building will include two theaters, a rehearsal space, staff offices, design workshops, a community space, a 24-hour cafe/bar, three levels of outdoor public space, and a separate building housing eight guest artist apartments.
"During the Middle Ages, smell was the unspoken plague of cities," writes New York Times architecture critic Michael Kimmelman. "Today it is sound." In his latest article, entitled "Dear Architects: Sound Matters," Kimmelman breaks down an often-overlooked element of architectural design, explaining how space shapes sound, and how sound shapes our experience of a space - and imploring architects to put more thought into the sonic environments created by their designs.
Although office design has dramatically and drastically changed over the course of the 20th century, we aren't finished yet. San Francisco firmO+A is actively searching for today's optimal office design, designing work spaces to encourage both concentration and collaboration by merging elements from the cubicle-style office with those popularized by Steve Jobs. In this article, originally published by Metropolis Magazine as “Noises Off,” Eva Hagberg takes a look at some of their built works.
In the beginning was the cubicle. And the cubicle was almost everywhere, and the cubicle held almost everyone, and it was good. Then there was the backlash, and the cubicle was destroyed, put aside, swept away in favor of the open plan, the endless span of space, floor, and ceiling—punctuated by the occasional column so that the roof wouldn’t collapse onto the floor plate—and everyone talked about collaboration, togetherness, synergy, randomness and happenstance. Renzo Piano designed a New York Times building with open stairways so writers and editors could (would have to) run into one another, and everyone remembered the always-ahead-of-the-curve Steve Jobs who, when he was running Pixar, asked for only two bathrooms in the whole Emeryville building, and insisted they be put on the ground floor lobby so that designers and renderers could (would have to) run into each other, and such was the office culture of the new millennium.
And then there was the backlash to the backlash. Those writers wanted their own offices, and editors wanted privacy, and not everyone wanted to be running into people all the time, because not everyone was actually collaborating, even though their bosses and their bosses’ bosses said that they should, because collaboration, teamwork, and togetherness—these were the new workplace buzzwords. Until they weren’t. Until people realized that they were missing—as architect Ben Jacobson said in a Gensler sponsored panel on the need to create a balance between focus and collaboration—the concept of “parallel play,” i.e. people working next to each other, but not necessarily with each other. Until individuality came back, particularly in San Francisco in the tech scene, and particularly in the iconoclastic start-up tech scene, where people began to want something a little different.
In architecture we talk about space and form. We talk about experience and meaning. All of these qualities are inextricably the sensory experience of light, touch, smell and sound. Sound expert Julian Treasure asks architects to consider designing for our ears, citing that the quality of the acoustics of a space affect us physiologically, socially, psychologically and behaviorally.