Architectural Acoustics Illustrated E-Book

Michael Ermann

• Herausgeber: John Wiley & Sons
• Kategorie: Geisteswissenschaft
• Sprache: Englisch
• Veröffentlichungsjahr: 2015

Seitenzahl: 271

Beschreibung

Unite the science of sound and the principles of design to enhance any space Architectural Acoustics Illustrated translates the quantitative and qualitative content of acoustics into the graphic language of architecture. This highly-visual guide includes over 350 illustrations that outline the physics of sound and the best design practices for limiting or mitigating noise in buildings by using the latest in materials and techniques. Each chapter includes a summary checklist of design guidelines to help prevent mistakes and oversights, and the Instructor's website offers video animations demonstrating acoustical concepts. Designed as a "first look" at the interaction of sound and space, the book explains the principles of architectural acoustics and their practical applications, providing a comprehensive guide for designing with acoustics in mind. Architectural acoustics is more than just concert halls - it may determine building placement, division of interior space, exterior construction, and even siting. When addressed early in the design process, the resulting space can be free of unwanted sound and promote good hearing; if left unaddressed, the problems with the space can lead to lawsuits and costly post-construction remediation. Architectural Acoustics Illustrated helps designers solve most acoustical problems in advance, by enabling readers to: * Understand the physical science underlying the behavior of sound * Consider the interactions of sound and space in the initial design approach * Mitigate building sounds such as those produced by HVAC and plumbing with early design planning * Design spaces for listening, and incorporate acoustics best practices into every plan The highly visual format of the book helps readers grasp complex concepts quickly, and thorough discussion of each concept's real-world application ties the science directly into the design process. All design professionals need to have a fundamental understanding of acoustics, and Architectural Acoustics Illustrated is a comprehensive, practical guide in an easy-to-read format.

Leseprobe

ARCHITECTURAL ACOUSTICS ILLUSTRATED

MICHAEL ERMANN

Associate Professor

Virginia Tech School of Architecture + Design

Cover Design: C. Wallace Cover Photographs: Water Ripples © iStock.com/portishead1; Danish Radio Concert Hall photo by Bjarne Bergius Hermansen

This book is printed on acid-free paper.

Copyright © 2015 by Michael Ermann. All rights reserved.

Published by John Wiley & Sons, Inc., Hoboken, New Jersey.

Published simultaneously in Canada.

No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning, or otherwise, except as permitted under Section 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the Publisher, or authorization through payment of the appropriate per-copy fee to the Copyright Clearance Center, 222 Rosewood Drive, Danvers, MA 01923, [phone], fax [phone], or on the web at www.copyright.com. Requests to the Publisher for permission should be addressed to the Permissions Department, John Wiley & Sons, Inc., 111 River Street, Hoboken, NJ 07030, [phone], fax [phone], or online at www.wiley.com/go/permissions.

Limit of Liability/Disclaimer of Warranty: While the publisher and author have used their best efforts in preparing this book, they make no representations or warranties with the respect to the accuracy or completeness of the contents of this book and specifically disclaim any implied warranties of merchantability or fitness for a particular purpose. No warranty may be created or extended by sales representatives or written sales materials. The advice and strategies contained herein may not be suitable for your situation. You should consult with a professional where appropriate. Neither the publisher nor the author shall be liable for damages arising herefrom.

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Library of Congress Cataloging-in-Publication Data:

Ermann, Michael (Michael A.)  Architectural acoustics illustrated / Michael Ermann, Associate Professor, Virginia Tech School of Architecture + Design.   pages cm  Includes bibliographical references and index.  ISBN 978-1-118-56849-1 (hardback); 978-1-118-98689-9 (ebk); 978-1-118-98690-5 (ebk); 978-1-118-98692-9 (ebk)  1. Architectural acoustics. 2. Architectural acoustics—Pictorial works. I. Title.  NA2800.E76 2015  729′.29—dc23

2014040589

For Lauren, Zachary, and Miles

Contents

Acknowledgments

Introduction

1. BASIC THEORY

Sound Level

Sound Propagation

Sound Frequency

References

2. SOUND ABSORPTION

References

3. ROOM ACOUSTICS

Room Acoustics Qualities

Theater Planning

Acoustic Defects

Performance Venues

Design Checklists

Sound System Design

Reference

4. NOISE CONTROL

Sound Isolation Principles

Measures of Airborne Sound Isolation

Background Noise

Door and Window Sound Isolation

Impact Noise

Community Noise

Mechanical System Noise

References

Index

Supplemental Images

End User License Agreement

Guide

Cover

Table of Contents

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Acknowledgments

Thanks most to Nawazish Nanji, whose pen drew every illustration in this book.

Thanks to M. David Egan, whose text was the inspiration for this one.

Thanks also to the other authors (G. Z. Brown, Mark DeKay, and Francis Ching among them) dedicated to rigorously translating the technology of building into the graphic language of architecture.

Also, thank you to the following for contributing to this effort with your experience, research, work, and generosity.

Wolfgang Ahnert, Mohamed Ait Allaoua, Ed Arenius, Vinny Argentina, Michael Asheim, Chris Barnobi, Tobias Behrens, Les Blomberg, Joe Bridger, Todd Brooks, Wilson Byrick, Robert Calvey, Coryn Carson, Ian Clemons, Amparo de Jaramillo, Mark DeKay, Damian Doria, Paul Drougas, Lauren Duda, Curt Eichelberger, Julia Ellrod, David Ermann, Lauren Ermann, Marlene Ermann, Kristin Fields, Emily Garber, Elzo Gernhart, Carl Giegold, Martin Gold, Matt Golden, Jessica Green, Chris Heinbaugh, Ian Hoffman, Kirsten Hull, Chris Jackson, Myung-Jun Kim, Sky Kim, Bert Kinzey, Rob Lilkendey, John LoVerde, Richard Maurer, Rachel Montague, Wilson Murphy, Michael New, Kelsey Oesmann, Tom Ohmsen, Tim Owen, Carl Rosenberg, Ken Roy, Natalie Russell, Doug Salvemini, Ron Sauro, Fred Schafer, Gary Siebein, Stephen Skorski, Kerrie Standlee, Noral Stewart, Aaron Thompson, Nancy Timmerman, Brandon Tinianov, Jonas Vadstrup, Matt Van Wagner, Sami Weller, Jonathan Werstein, David Woolworth, Bill Yoder, Matt Yourshaw, Keith Zawistowski, Marie Zawistowski

Introduction

This book aims to translate the concepts of architectural acoustics into the graphic language of architecture, in the belief that not only architects and architecture students, but also engineers, physicists, musicians, builders, planners, real estate professionals, and interested laypeople will be served by the translation. What you are reading is a comprehensive book for those new or relatively new to acoustics, but those in practice as architectural acousticians will also find it valuable as a reference for its considerable library of data, its review of recent research, and its design checklists.

The study of architectural acoustics is a three-dimensional endeavor. Sound moves in Cartesian space, in real rooms, and through planes that typically don’t precisely align with section and plan cuts. But architectural acoustics also maintains the three dimensions loudness, frequency, and time, which, for reader ownership of subject content, must be evaluated simultaneously. Thus, the study of architectural acoustics is itself an act of architecture—and architectural acoustics, as laid out in the pages that follow, sits under the broader umbrella of design. To that end, the illustrations and animations in this book should be viewed not as supplements to bolster the text, but rather as content on par with the text in importance. Indeed, in portions of the book, the text bolsters and supplements the content covered by illustrations and animations.

Be sure to load up the animations, as they are an important part of the book. To access the animations, please visit: www.wiley.com/go/architecturalacoustics. The AV Content Online icon indicates what material has corresponding animations.

Intuition is a valid expression of design, as is empirical study, but neither is a substitute for a critical view and development through iteration. Empirical study, critical thought, and the iterative process all factor into architectural acoustics, as do the physical properties of energy flows. But in architectural acoustics intuition is less likely to play a role. This topic is rigorous and often quantitative, but in this book it is almost always filtered through the lens of spatial composition, haptic awareness, materiality, and perception. The reader finds the quantitative analysis necessary, but not sufficient: We built the three most admired concert halls in the world—the Vienna Musikvereinssaal, Boston’s Symphony Hall, and the Concertgebouw in Amsterdam—in the late 1800s or early 1900s. What technology or science holds 120-year-old advancements as state-of-the-art? There must be something more than technology at work.

I intend to convey the importance of room shaping over motorized components, material selection over sound system design, noise-space-planning over engineered partitions, site selection over outdoor noise barriers—without omitting the important content of motorized components, sound system design, engineered walls, and outdoor noise barriers. The reader will gain the confidence to design rooms with sound in mind from the earliest stages of design, when decisions have the greatest impact on the quality of the acoustics. The reader will also better recognize where acoustic opportunities and pitfalls lie, address routine matters in architectural acoustics, and judge when outside professional consultation is required.

BASIC THEORY

Sound Level

Sound Level

A sound is made when an oscillating membrane disturbs the molecules in an elastic medium—and that disturbance is heard. While sounds may travel through solids or liquids, in the domain of architectural acoustics, we generally skew our discussion to the elastic medium of air (structureborne sound notwithstanding). A nearby passing bus excites a window pane into vibration, which in turn excites the air molecules near the window, which in turn excite air molecules near the first group of air molecules, and so on, until the band of oscillating molecules reaches the ears of a listener; this creates a sound.

We say “The Wave” circles a full stadium, even if the participants don’t themselves traverse the stadium’s perimeter. Spectators merely stand up, then sit down. As each successive column of fans stands and sits, the wave propagates, though each particle (spectator) in the wave returns to its resting position (seated). Similarly, with propagating sound, each excited molecule returns to its steady state, but only after passing its energy to its neighboring molecules. Other parallel models exist to describe the propagation: the slinky, the water wave, the snapped towel, a crowded mosh pit with fans colliding.