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Theories of Arch. Design - Rasmussen's Experiencing Architecture

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on 11 January 2016

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Transcript of Theories of Arch. Design - Rasmussen's Experiencing Architecture

Can architecture be heard?
a space can be experienced through its acoustical properties.
all the spaces have different acoustical characteristics of their own and it is an important part of the concluding impression we obtain of those spaces.
possible to gain a lot of ideas about the shape, the purpose or the atmosphere of a space just with the help of sound.
differently shaped rooms and different materails reverbrate differently

Music & Architecture
The evolution of music has progressed collaterally with the history of architecture as the acoustical properties of the structures changed with every style.

Thornvaldsen's Museum
ITÜ Faculty of Architecture
2015-16 Fall Term
MIM252E Theories of Architectural Design
Instructor: Elmira Ayşe Gür

Steen Eiler Rasmussen, Experiencing Architecture
Chapter X: Hearing Architecture

Prepared By:
Füsun Cemre Karaoğlan

tunnel-like acoustics inside
barrel vaulted rooms
hard-long reverberating tones
Early Christian Churches with mosaic floors, naked walls and marble columns similar to Thornvaldsen's Museum.
Very high reverberation rate due to materials
Basilica of St Peter, Rome
- The priest had to speak in a
rhythm and without toning his voice
- "sympathetic note"
- The text became a song
Early Christian Churches
Gothic Era
"Walls are powerful instruments which the ancients learned to play on"
Westminister Cathedral
- vaults and especially domed vaults
-polyphonic church music

St. Mark's, Venice
-five domes
- Giovananni Gabrieli, organist
-two orchestras playing at the same time
Baroque Style
St.Thomas Church, Leipzig
-much more fabric, upholstery and detailed woodwork
-resonant wood added to the naked stone
-loges/boxes in the church serving as a part of town council
(similar to rooms in opera houses)
- Bach composed much of his music especially for that church
- the materials made it possible for Bach to write in several keys
- a music that would be lost in a basilica
- a good example standing between Early Christian church and 18th century theatre
18th century Theatre
-low/flat ceiling deflecting sounds towards boxes
-wooden loges/boxes covering the walls
-rich fabric/upholstery/drapes
-very short reverberation where every note can be heard

Rococo period

-everyroom designed for a different type of music
-acoustical effect taken into consideration

Classic, Gothic Revivals, the Eclectic Period

-accurate copying of details
-the experience of acoustical design is forgotten
-indifference to textural effects: indifference to sound absorption
Every room sounds the same.
No interest in producing rooms with differentiated acoustical effects.
However, a regular person enjoys to sing in the bathroom instinctively
In conclusion:

- Materials (floor mattings, hanging fabrics on the walls, upholstery, details of the woodwork, dadoes)
- The shape and size of the room (flat/vaulted/high/low ceiling, tunnel-like structure)
- Number of users, scope of the congregation
- Obtaining an optimum level of reverberation according to the purpose

The acoustical parameters affecting acoustics:
Although acoustics is mostly considered to be a technical detail in a building, it actually has a significant relationship with the way the structures were shaped throughout the history and the evolution of music.

The effect and importance of light and therefore shapes have always been discussed thoroughly when talking about architecture.
Even though sound is not as visible as light, it has an
equally important role in our experience of a space.

So, that is why it is necessary to take acoustics into account
when evaluating and experiencing an architectural output.

What is Rasmussen's point?
Full transcript