In this diploma thesis were created voice activity detectors according to the standard ITU-T G.729 and G.723.1. The voice activity detectors were implements in the digital signal processor TMS320C6416 made by Texas Instruments. At the same time detectors were designed using by MATLAB programming language. The diploma thesis can be divided into two parts. In the theoretical section provides information on how to report detectors in the standard ITU-T G.729 and G.723.1. In the implementation part is described steps in the implementation of the detector in signal processor TMS320C6416 and there are discussed various differences compared to the documentation.

This thesis deals with description of human hearing, audio and speech codecs, description of objective measure of quality and practical comparison of codecs. Chapter about audio codecs consists of description of lossless codec FLAC and lossy codecs MP3 and Ogg Vorbis. In chapter about speech codecs is description of linear predictive coding and G.729 and OPUS codecs. Evaluation of quality consists of description of segmental signal-to- noise ratio and perceptual evaluation of quality – WSS and PESQ. Last chapter deals with description od practical part of this thesis, that is comparison of memory and time consumption of audio codecs and perceptual evaluation of speech codecs quality.

Considérant qu'un bâtiment « clos et couvert » ne représente encore qu'un « potentiel d'habitation », en quoi la qualification de l'intérieur a-t-elle affaire à l'architecture ? Appartient-elle ou non, in fine, au projet architectural ? Il s'agit, pour commencer, de fonder une histoire qui n'existe pas, au croisement de l'architecture, de la décoration et du design, de définir les termes en jeu dans l'« habiter», ses métiers, la notion d' « architecture intérieure », une typologie de relations entre l'architecture et ses espaces intérieurs. L'intégration de l'habiter au projet architectural, considérée comme légitime et revendiquée par la majorité des architectes contemporains, est en réalité le fruit d'un lent processus historique, qui s'étend de l'invention de l'architecture comme art libéral à partir du XVe siècle jusqu'à la « synthèse des arts » Moderne, qui, après les premières Gesamtkunstwerk de la fin du XIXe, en représente l'aboutissement idéologique au début du XXe. La période 1949-1972 correspond à un retournement de cette situation, processus inverse de « décrochement des murs », rupture historique en même temps que retour cyclique aux origines d'une architecture-abri dont l'habitabilité est fondée par l'objet. Au milieu du XXe siècle, l'autonomie originelle de l'intérieur, n'allant plus de soi, doit être redécouverte et, désormais, conceptuellement fondée. La thèse met en évidence les mécanismes qui aboutissent finalement, à la fin des années 1960, à réinventer théoriquement cette indépendance de l'intérieur vis-à-vis du bâti. / Considering that an “enclosed and covered" building represents only the ''potential of inhabiting," what does the concept of the interior have to do with architecture? Does it or does it not belong, in the end, to the architectural project? It is a matter, to start, to construct an historical narrative that doesn't exist, one that is at the crossroads of architecture, decoration and design, to define the terms at play in the word "inhabit": its arts and trades, the notion of "interior architecture," a typology of relationships between architecture and its interior spaces. The integration of inhabited space into the architectural project, considered legitimate and acknowledged by most contemporary architects, is in reality the fruit of a slow historical process that stretches from the invention of architecture as a liberal art in the 15th century up to the Modern "synthesis of the arts" that, following the first Gesamtkunstwerks of the late 19th century, represents that process's ideological completion in the early 20th. The period from 1949 to 1972 corresponds to a reversal of this synthesis, an inverse process of dissociating from walls. It is an historic rupture at the same time as a cyclic return to the origins of a shelter-architecture for which habitability is based on the object. In the mid-20th century, the original autonomy of the interior, no longer self-evident, must be rediscovered and, henceforth, established conceptually. The thesis reveals the mechanisms that culminate, in the late 1960s, in the theoretical reinvention of the independence of the interior relative to the structure.

Gegenstand dieser Arbeit sind die Möbelherstellung auf dem Gebiet des (Groß-) Herzogtums Mecklenburg-Schwerin und die vom (Groß-) Herzog Friedrich Franz I. in Auftrag gegebenen Neuausstattungen von Appartements in der Zeit vom Ende des 18. bis ins erste Viertel des 19. Jahrhunderts. Sie wurden für zwei Generationen Erbprinzen anlässlich ihrer Hochzeiten vorgenommen. Zum einen wird nach der Qualität der im Land hergestellten Tischlerwaren und nach den stilistischen Impulsen sowie ökonomischen Bedingungen ihres Entwerfens und Anfertigens gefragt. Zum anderen gilt es nachzuvollziehen und zu begründen, wie sich der (Groß-) Herzog bei den Neuausstattungen gegenüber den Tischlern seines Landes verhielt und wie diese Projekte von den bei Hof tätigen Architekten organisiert wurden. Die vorliegende Arbeit in zwei Teile gegliedert: Im ersten Teil werden zunächst die Bedingungen der Tischlerausbildung und Möbelherstellung in den Städten Mecklenburgs und den Städten im westlichen Teil der damaligen preußischen Provinz Pommern (heute Vorpommern) erarbeitet und durch Vergleich mit politisch oder wirtschaftlich verbundenen Regionen bewertet. Man gewinnt ein zwar nicht lückenloses, aber detailreiches Bild von der Situation der Mecklenburger Tischlerämter. Im zweiten Teil der vorliegenden Arbeit werden die höfischen Raumausstattungen sowie die bei ihrer Planung und Ausführung vom Herzogshaus beschrittenen Wege erläutert. Dabei wird ein Wandel in der Repräsentations- und Wohnkultur des Mecklenburger Hofes deutlich. Die (Groß-) Herzöge zwischen circa 1790 und 1840 erteilten keine großen Aufträge, um das (Tischler-) Gewerbe zu fördern, obwohl fortlaufende kriegerische Auseinandersetzungen im 18. verheerende Auswirkungen auf die Bevölkerung hatten. In der Konsequenz entwickelte sich hierzulande keine eigenständige Möbelkunst. Großherzog Friedrich Franz I. nutzte die dynastischen Verbindungen und die Kontakte seiner Architekten zu den großstädtischen Märkten für seine Projekte. / This dissertation deals with the topics of cabinet making in the former (Grand) Dukedom Mecklenburg-Schwerin and the projects for new interior decoration of the appartments for two generations of hereditary princes. The new interiors were ordered by the (Grand) Duke Frederic Franz I. of Mecklenburg-Schwerin between 1799 and 1822 due to the upcoming marriages of the princes. For answering the questions in both the fields I consider on the one hand the quality of the produced furnitures circa 1790 and 1850. On the other hand I investigate whether the (Grand) Duke engaged the cabinetmakers of his own land for his projects or not. The question also is how interior planning and bulding were organized by the architects of the court. To address this it is necessary to study the historical documents. My text is divided into two parts. In part one, I investigate the conditions of the practical and theoretical education of the carpenters in Mecklenburg and the towns of the Western part of the former Prussian province Pomerania. Today it is part of the German federal state Mecklenburg-Vorpommern. I discuss all the still existing furniture and drawings of cabinetmaker’s work for which the regions or cities where they were made are verifiable. In the end it is possible to draw a picture of the possible capability of the carpenters in the (Grand) Dukedom of Mecklenburg-Schwerin. In addition to this I compare the results to the situations in other regions which were connected by trade and the exchange of the knowledge by the craftmen. In the second part of this dissertation, the planning and organization during realisation of the court interiors will be introduced and explained. In the end it is possible to see a change in the culture of representation and court life. The (Grand) Dukes didn’t support the cabinetmaker’s trade by special orders in between 1799 and 1850. As a consequence in this country the art of furniture making could not prosper. Frederic Franz I. relied on dynastic relations and the contact of his architects to the international markets in Hamburg and Berlin.

In a world that faces global warming and other major environmental challenges, it is essential that students learn about the principles of sustainability so that they can apply these principles in their future lives and careers. This is particularly so in fields such as interior architecture and design, which will impact how well humans can move toward a sustainable way of life. The aim of the present study was to evaluate a participatory teaching approach for students of interior design that incorporates ecological thinking. It is particularly intended for use at universities and other places of higher education where such contexts are not currently available and, furthermore, where the teaching has been primarily of a didactic, teacher-centred form. The teaching approach was developed and tested through the involvement of students and staff at a technical institute in Kuwait – a country with severe environmental problems in which teaching at all levels has traditionally been rigidly didactic. A review was carried out of literature on learning theories, design principles, and sustainability paradigms that bore upon the research aim. Following this, a method was chosen, based on action research that involved running different types of workshops, in order to measure the impact of the teaching styles that are ideal to deliver ecological knowledge.

<p>Sectra Communications AB has developed a terminal for encrypted communication called the Tiger platform. During voice communication delays have sometimes been experienced resulting in conversational complications.</p><p>A solution to this problem, as was proposed by Sectra, would be to introduce voice activity detection, which means a separation of speech parts and non-speech parts of the input signal, to the Tiger platform. By only transferring the speech parts to the receiver, the bandwidth needed should be dramatically decreased. A lower bandwidth needed implies that the delays slowly should disappear. The problem is then to come up with a method that manages to distinguish the speech parts from the input signal. Fortunately a lot of theory on the subject has been done and numerous voice activity methods exist today.</p><p>In this thesis the theory of voice activity detection has been studied. A review of voice activity detectors that exist on the market today followed by an evaluation of some of these was performed in order to select a suitable candidate for the Tiger platform. This evaluation would later become the foundation for the selection of a voice activity detector for implementation.</p><p>Finally, the implementation of the chosen voice activity detector, including a comfort noise generator, was done on the platform. This implementation was based on the special requirements of the platform. Tests of the implementation in office environments show that possible delays are steadily being reduced during periods of speech inactivity, while the active speech quality is preserved.</p>

Sectra Communications AB has developed a terminal for encrypted communication called the Tiger platform. During voice communication delays have sometimes been experienced resulting in conversational complications. A solution to this problem, as was proposed by Sectra, would be to introduce voice activity detection, which means a separation of speech parts and non-speech parts of the input signal, to the Tiger platform. By only transferring the speech parts to the receiver, the bandwidth needed should be dramatically decreased. A lower bandwidth needed implies that the delays slowly should disappear. The problem is then to come up with a method that manages to distinguish the speech parts from the input signal. Fortunately a lot of theory on the subject has been done and numerous voice activity methods exist today. In this thesis the theory of voice activity detection has been studied. A review of voice activity detectors that exist on the market today followed by an evaluation of some of these was performed in order to select a suitable candidate for the Tiger platform. This evaluation would later become the foundation for the selection of a voice activity detector for implementation. Finally, the implementation of the chosen voice activity detector, including a comfort noise generator, was done on the platform. This implementation was based on the special requirements of the platform. Tests of the implementation in office environments show that possible delays are steadily being reduced during periods of speech inactivity, while the active speech quality is preserved.

Il arrive que l’architecture soit critiquée pour les usages qu’elle a « produits » ou ceux qu’elle a « interdits » (un certain désaveu des grands ensembles en est symptomatique). Parfois, la critique porte justement sur le décalage entre l’intention d’origine et l’effet réellement produit (les grands ensembles étaient à l’époque pétris d’humanisme). Mais la connaissance de cette intention fait défaut, et engage donc à un travail de recherche.Les théories de la conception ont pour objet une certaine intelligibilité de la conception. Mais il semble que l’activité de conception explicitée par ces théories, se concentre essentiellement sur l’artefact architectural pris dans ses dimensions tangibles et matérielles. S’intéressant au contraire à la « réception » imaginée par l’architecte, la question se pose de savoir si nous sommes en mesure de connaître la conception de modes de vie, l’invention d’usages et d’expériences… L’ancrage dans les sciences de la conception nous engage à nous détacher d’approches telles que celle de la sociologie des usages, puisque nous nous intéressons à des récepteurs qui n’existent pas encore et ne sont que représentés ou anticipés. Le concept de « conception de la réception » construit dans ce travail signifie cette appropriation de la réalité de la réception par la cognition des concepteurs. En effet, le phénomène dont l’explicitation est visée est un processus de pensée, une capacité mentale.Ce travail définit deux corpus imbriqués. D’une part l’architecturologie qui constitue un cas de théorie de la conception dont il est possible de faire l’étude épistémologique critique. D’autre part, les projets de Bernard Tschumi et de Rem Koolhaas pour le parc de La Villette en 1982 qui constituent des cas de processus de conception et un terrain d’application pour une étude architecturologique.— L’architecturologie est choisie comme cas de théorie de la conception pour les raisons qu’elle prend en compte la spécificité de l’architecture et qu’elle est caractérisée par une construction formelle, un potentiel de généralisation et une forte capacité modélisatrice. Elle constitue ainsi un terrain d’étude privilégié pour étudier la capacité d’une théorie à énoncer quelque chose de la « conception de la réception » architecturale. Toutefois, la méthode, construite d’une manière générique, est à même d’étudier d’autres théories de la conception.— Les parcs de la Villette de Bernard Tschumi et de Rem Koolhaas s’offrent comme une matière pertinente à l’étude, parce qu’ils proposent tout deux des usages particulièrement singuliers et répondent à un programme d’innovation sociétale.Le dispositif expérimental consiste alors à observer la théorie en la mettant en action sur ces cas de conception particuliers. La modélisation résultante permet d’évaluer la capacité de la théorie à décrire la « conception de la réception ». Le résultat de cette mise à l’épreuve ouvre ensuite à un travail de consolidation théorique. / Architecture happens to be criticized for the uses it « produced » or it « forbid » (the general disapproval of the French « Grands ensembles » being one typical case). Sometimes the critic focuses fittingly on the gap between original intentions and the real effect (the « Grands Ensembles » were at their time supported by a humanistic enthusiasm). But the knowledge of such an intention is lacking and compels to lead this research.Design theories aim a certain intelligibility of the design process. However, it appears that the design explained by those theories is the one that designs the architectural artifact in its tangible and material aspects. But, taking interest in the “reception” of that artifact, the question to ask is whether we are able to know the design of ways of life, the inventions of uses and experiences… The frame of design sciences (H. A. Simon) imply to withdraw from approaches like usage studies and sociological points of view, since we focus on users that do not exist yet but are represented or anticipated. The concept of “conception of the reception” elaborated in this work means this uptake of the reality of the reception by designers’ cognition. Indeed, the phenomenon we aim to elucidate is a thinking process, a mind ability.This work defines two nested researches’ bodies: one being the French theory, “architecturology” (Ph. Boudon, Ph. Deshayes, C.Lecourtois), a case of a design theory which will be epistemologically and critically analyzed; the other one, the projects of Bernard Tschumi and Rem Koolhaas at for the La Villette park comptetition in 1982 which are cases of design processes. These design cases are the field where an architecturological study is applied.— The reason why architecturology is chosen, is that it takes the specificity of architecture into account, and that it is characterized by a formal construction, a generalization potential and a strong modelling capacity. Therefor it is taken as an advantageous field to study the capacity of a theory to state something about the architectural “conception of the reception”. Whatever, the methods is built in a generic way and could study other theories.— The park of La Villette projects are relevant to study as they both suggested particularly unexpected usages and met a social innovation program.The experimental device consists then in observing the theory by putting it in action on particular study cases. The modelling result of it allows evaluating the capacity of a theory to describe the “conception of the reception”. The result of this theoretical probation may open afterwards to a theoretical consolidation work. / A volte l'architettura viene criticata per gli usi che ha "prodotto" o per quelli che ha "proibito" (un certo disconoscimento dei "grands ensembles" del dopo guerra francese è sintomatico). La critica riguarda spesso il divario tra l'intenzione originale e l'effetto realmente prodotto (i "grands ensembles" erano considerati all'epoca carichi di valori umanisti). La conoscenza diquesta intenzione è carente e richiede un lavoro di ricerca.Le teorie del design hanno lo scopo di fornire una certa intelligibilità del design stesso. Sembra però che l'attività progettuale spiegata da queste teorie si concentri essenzialmente sul prodotto architettonico nelle sue dimensioni tangibili e materiali. Quando invece ci si interessa alla Ŗricezioneŗ, è legittimo chiedersi se siamo in grado di conoscere la concezione degli stili di vita, l'invenzione degli usi e delle esperienze.... Il radicamento nelle scienze della progettazione (H. A. Simon) ci impone di distaccarci da approcci come la sociologia degli usi, poiché ci interessiamo a dei riceventi (o destinatari) che non esistono ancora e sono solo rappresentati o suggeriti. La nozione di "design della ricezione", elaborata in questo lavoro di ricerca, mette in luce la capacità dei progettisti di pensare la ricezione prima che accade. Il fenomeno che si cerca di spiegare è un processo del pensiero, una capacità mentale.Questo lavoro identifica due corpus intrecciati: da un lato, l' "architetturologia" (cf. Ph. Boudon, Ph. Deshayes, C. Lecourtois), un caso di teoria del design, di cui è possibile condurre uno studio epistemologico critico. Dall'altro, i progetti di Bernard Tschumi e Rem Koolhaas per il parco della Villette del 1982, inquanto esempi del processo di progettazione.Questi due esempi costituiscono un campo di applicazione per un'indagine architetturologica.- La scelta dell'architetturologia come esempio di teoria del design è motivata dal fatto che essa tiene conto delle specificità dell'architettura ed è caratterizzata da una costruzione formale, un potenziale di generalizzazione e una forte capacità di modellizzazione. Per queste caratteristiche essa ci offre la possibilità di studiare come una teoria possa esprimersi inmateria di "concezione architettonica della ricezione". Inoltre il metodo ha valore generale, tanto da permattere di analizzare altre teorie del design.- I parchi de La Villette di Bernard Tschumi e Rem Koolhaas sono rilevanti per lo studio poiché entrambi propongono funzioni singolari e rispondono a un programma di innovazione sociale.Il piano sperimentale consiste quindi nell'osservare la teoria, applicandola a dei casi particolari. Il modello che ne risulta viene utilizzata per valutare la capacità della teoria di descrivere il "design della ricezione". Il risultato di questo test apre quindi la strada a un lavoro di consolidamento teorico. / Manchmal wird die Architektur für die Nutzungen kritisiert, die sie "produziert" oder "verboten" hat (eine gewisse Geringschätzung der "grands ensembles" der französischen Nachkriegszeit ist dafür symptomatisch). Manchmal geht es bei der Kritik gerade um die Kluft zwischen der ursprünglichen Absicht und der tatsächlich erzeugten Wirkung (die"grands ensembles" waren damals vom Humanismus inspiriert). Aber eine tiefere Erkenntnis dieser Zielsetzung fehlt und erfordert daher Forschungsarbeit.Gestaltungstheorien zielen darauf ab, eine gewisse Verständlichkeit des Entwurfprozess zu vermitteln. Aber es scheint, dass sich die durch diese Theorien erklärte Entwurfstätigkeit im Wesentlichen auf das architektonische Objekt in seinen konkreten und materiellen Dimensionen konzentriert. Wenn wir uns dagegen für die "Rezeption" interessieren, stellt sichdie Frage, ob wir den Entwurf von Lebensstilen sowie zukünftige Nutzungs - und Erfahrungsausgestaltungen erkennen können.... Die Verankerung in den Wwissenschaften vom Entwerfen (H. A. Simon) verpflichtet uns, uns von Ansätzen wie der Soziologie der Nutzungen zu lösen, da wir uns für Rezipienten interessieren, die noch nicht existieren und nur vorgestellt oder antizipiert werden. Das in dieser Arbeit entwickelte Konzept des "Entwurfs der Rezeption" bedeutet, dass sich die Architekten kognitiv die Realität der Rezeption zu eigen machen. In der Tat ist das Phänomen, das hier beleuchtet werden soll, ein Denkprozess, eine geistige Fähigkeit.Diese Arbeit definiert daher zwei miteinander verflochtene Korpusse: Einerseits ist die ŖArchitekturologieŗ (Ph. Boudon, Ph. Deshayes, C.Lecourtois) ein Fall der Gestaltungstheorie, die man einer kritischen epistemologischen Studie unterziehen kann. Andererseits sind Bernard Tschumis und Rem Koolhaas' Projekte für den Park von La Villette aus dem Jahr 1982 Beispiele für Entwurfsprozesse. Diese Entwurfsbeispiele sind ein Anwendungsgebiet für eine « Architekturologie-Studie ».- Die « Architekturologie » wird als Fallstudie in der Gestaltungstheorie gewählt, weil sie die Spezifität der Architektur berücksichtigt und sich durch eine formale Konstruktion, ein Verallgemeinerungspotential und eine starke Modellierungsfähigkeit auszeichnet. Sie stellt deshalb einen besonders geeigneten Studiengegenstand dar, um zu untersuchen, inwieweit eine Theorie in der Lage ist, etwas von dem architekturalen "Entwurf der Rezeption" zu vermitteln. Allerdings ist die Methode auf eine so allgemeine Weise konstruiert, dass man auch andere Gestaltungstheorien damit untersuchen kann. - Bernard Tschumis und Rem Koolhaasř Entwürfe für den Park von La Villette sind für die Studie relevant, da sie beide besonders originelle Nutzungsmöglichkeiten bieten und einem gesellschaftlichen Innovationsauftrag Rechnung tragen.Das experimentelle Design besteht dann darin, die Theorie zu beobachten, indem es sie auf bestimmte Entwurfsbeispiele anwendet. Die daraus resultierende Modellierung ermöglicht es zu beurteilen, inwieweit die Theorie den "Entwurf der Rezeption" beschreiben kann. Das Ergebnis dieser Prüfung öffnet dann den Weg zu einer theoretischen Konsolidierungsarbeit.