Orientador: Stelamaris Rolla Bertoli / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Engenharia Civil, Arquitetura e Urbanismo / Made available in DSpace on 2018-08-12T13:24:21Z (GMT). No. of bitstreams: 1 Rodrigues_CarlosEduardo_M.pdf: 10260499 bytes, checksum: ff857253ca6fab4a0f04bf083de17715 (MD5) Previous issue date: 2008 / Resumo: Estímulos sonoros semelhantes podem gerar diferentes percepções sonoras num ambiente. Os estímulos sonoros são avaliados de forma objetiva (medidas acústicas), mas a percepção do som que é bastante subjetiva requer outro tipo de avaliação. Espaços como ginásios de esportes podem proporcionar ao usuário diferentes sensações sonoras dependendo de sua atividade. Urbanisticamente, os ginásios de esportes são edificações muito importantes, destacando-se na maioria das vezes por sua volumetria e por sua estética arquitetônica, sendo uma obra de referência (símbolo urbano). Desde sua origem histórica, estas edificações têm a função de servir principalmente as atividades e eventos esportivos, mas no final do século XX, a concepção funcional dos ginásios foi ampliada. Os ginásios de esportes são utilizados também para assembléias escolares, palestras, exposições, formaturas, shows, eventos, feiras e apresentações musicais e teatrais, sendo considerados como espaços multifuncionais. Esses espaços são ambientes onde a propagação sonora gera inúmeros problemas de ruído. O objetivo desta pesquisa é caracterizar acusticamente alguns ginásios de esportes, quanto à tipologia, volumetria, capacidade de absorção e isolamento, de forma a contribuir com parâmetros a serem utilizados futuramente em projetos de edificação com qualidade acústica. Foram avaliados três ginásios esportivos multifuncionais com tipologias diferentes situados na cidade de Campinas. A caracterização acústica baseou-se nas medidas dos parâmetros tempo de reverberação (TR), tempo de decaimento inicial (EDT), clareza (C80), definição (D50), nível de critério (NC), índice de transmissão da fala (STI) e porcentagem de consoantes (%ALCons). Esses parâmetros acústicos são obtidos por meio da técnica de resposta impulsiva e calculados pelo programa computacional de avaliação acústica de salas, DIRAC da Bruel & Kjaer. Pelas dimensões do espaço, o próprio procedimento de medição é um fator determinante na avaliação. Os resultados da análise da avaliação acústica e a comparação com as informações do projeto arquitetônico permitiram estabelecer fatores favoráveis e desfavoráveis do projeto arquitetônico que influenciaram o desempenho acústico. Identificou-se também a viabilidade de adequação acústica dos espaços estudados. / Abstract: Similar sonorous stimulus may promote different sound perceptions in the environment. Sonorous stimulus may be objectively evaluated by acoustic measurements however, sound perceptions evaluation (subjectively) requires another specific methods. Spaces like sport gymnasiums can promote different sensations for the users depending on their activities. This type of building is very important in the cities, basically to this size and esthetic. Since the ends of 20th century, the function of these buildings has been extended. Nowadays, gymnasiums are used for different types of meetings, like speeches, expositions, fairs and others. Therefore, sport gymnasiums are multifunctional spaces with different levels of requirements concerning acoustic performance. On the other hand, the sound propagation in these buildings can generate many problems of noise, decreasing the acoustic performance. In this context, this work aims to evaluate some sport gymnasiums concerning to the typology, absorption capacity and isolation. These parameters can be used for better acoustic building design. Basically, the acoustic evaluation contemplates the following parameters: reverberation time (TR), early decay time (EDT), clarity (C80), definition (D50) and speech transmission index (STI). These acoustic parameters were obtained through the impulsive technique and calculated by a room acoustics evaluation software DIRAC from Bruel & Kjaer. The acoustic evaluation results and the architecture design information were used to establish good and bad conditions in terms of the acoustic performance. Finally, the viability of adequacy of the buildings evaluated concerning the acoustic performance was made. / Mestrado / Arquitetura e Construção / Mestre em Engenharia Civil

In some contexts, the experience of sound and space are often considered as two unrelated experiences. In an auditorium, the senses of hearing and seeing are not necessary unrelated. This thesis proposes that there is a sensorial relationship between sound and space in the context of symphonic concert halls. Through a study of three auditoria, this thesis explores the relationship, and the degree of correspondence and interaction between auditory and visual spatial impression. It begins by exploring the concepts of auditory and visual spatial impression in relation with auditorium acoustics and architectural design. In auditorium acoustics, a number of terms are used to describe auditory spatial impression, such as �spaciousness,� �envelopment,� and �intimacy.� These terms have connotations beyond the auditory. The thesis suggests that they may also be used to describe visual spatial impression in auditoria. Through textual analyses, the thesis finds that the auditory and visual terms do not always relate to the same physical characteristics of auditoria and can conflict with one another. Hence, it is apparent that further subjective analyses of auditory and spatial impression are needed. Three chapters in this thesis are devoted to auditory and visual subjective experiments. Their purpose is to explore the degree of correspondence or contrast, and interaction between auditory and visual spatial impression. The degree of correspondence and contrast between auditory and visual spatial impression appear to vary between auditoria and within auditoria. The relationship between auditory and visual spatial impression appear to be both necessary and arbitrary, and the degree of interaction between them appear to be strong in some cases and weak in other. From the findings, this thesis suggests that the degree of correspondence or contrast, and interaction between auditory and visual spatial impression could be used to create an audiovisual experience that suit specific musical events. Concert auditoria are culturally and artistically unique spaces. Hence, consideration must be taken to understand the relationships between, and intentions of the acoustical and architectural designs, music and architecture, for a successful and creative collaboration between designers - since the ultimate goal is to create an extraordinary audiovisual experience in a concert hall.

In some contexts, the experience of sound and space are often considered as two unrelated experiences. In an auditorium, the senses of hearing and seeing are not necessary unrelated. This thesis proposes that there is a sensorial relationship between sound and space in the context of symphonic concert halls. Through a study of three auditoria, this thesis explores the relationship, and the degree of correspondence and interaction between auditory and visual spatial impression. It begins by exploring the concepts of auditory and visual spatial impression in relation with auditorium acoustics and architectural design. In auditorium acoustics, a number of terms are used to describe auditory spatial impression, such as �spaciousness,� �envelopment,� and �intimacy.� These terms have connotations beyond the auditory. The thesis suggests that they may also be used to describe visual spatial impression in auditoria. Through textual analyses, the thesis finds that the auditory and visual terms do not always relate to the same physical characteristics of auditoria and can conflict with one another. Hence, it is apparent that further subjective analyses of auditory and spatial impression are needed. Three chapters in this thesis are devoted to auditory and visual subjective experiments. Their purpose is to explore the degree of correspondence or contrast, and interaction between auditory and visual spatial impression. The degree of correspondence and contrast between auditory and visual spatial impression appear to vary between auditoria and within auditoria. The relationship between auditory and visual spatial impression appear to be both necessary and arbitrary, and the degree of interaction between them appear to be strong in some cases and weak in other. From the findings, this thesis suggests that the degree of correspondence or contrast, and interaction between auditory and visual spatial impression could be used to create an audiovisual experience that suit specific musical events. Concert auditoria are culturally and artistically unique spaces. Hence, consideration must be taken to understand the relationships between, and intentions of the acoustical and architectural designs, music and architecture, for a successful and creative collaboration between designers - since the ultimate goal is to create an extraordinary audiovisual experience in a concert hall.

Thesis (M.Arch.) - Carleton University, 2006. / Compact disc. Includes bibliographical references. Also available in electronic format on the Internet.

Thesis (M.Arch.) - Carleton University, 2007. / Includes bibliographical references (p. 106-109). Also available in electronic format on the Internet.

Fundação Carlos Chagas Filho de Amparo a Pesquisa do Estado do Rio de Janeiro / O presente trabalho aborda a modelagem numérica da propagação das ondas sonoras em salas, a partir da avaliação do campo de pressão sonora quadrática na sala. Esta pesquisa apresenta um modelo computacional, baseado na abordagem modal de salas com geometria retangular, que melhora o desempenho do programa de simulação numérica de acústica de salas RAIOS 3 para as baixas frequencias. Inicialmente, foi feita uma análise modal teórica e experimental de uma sala retangular de paredes rígidas e não rígidas, onde se calcula pressão sonora de todos os modos como função da posição e do tempo. Para isso, determinam-se os números de onda e frequência de cada modo, ou seja, os autovalores e as autofrequências. O desempenho do modelo é avaliado a partir dos resultados obtidos com uma sala retangular e validado utilizando dados experimentais do PTB (Physikalisch-Technische Bundesanstalt), Alemanha, na intercomparação denominada Round Robin 3, fase 3. Os principais resultados foram obtidos pelo cálculo dos seguintes parâmetros: tempo de reverberação, (T30), fator de clareza (C80), difinição (D50) e o tempo de decaimento inicial, (EDT). / This article discusses the numerical modeling of the propagation of sound waves in rooms, from the assessment of the field of sound pressure quadratic in the room. This research presents a computational model, based on modal approach of rooms with rectangular geometry, which improves the performance of the program for numerical simulation of acoustics of rooms RAIOS 3 for low frequencies. Initially, there was a theoretical and experimental modal analysis of a rectangular room for non-rigid and rigid walls, where an estimated sound pressure of all modes as a function of place and time. For this, is determining of the wavenumbers and frequencies of each mode, namely the eigenvalues and eigenfrequencies. The performance of the model is assessed from results with a rec tangular room and validated using measurement data of the PTB (Physikalisch-Technische Bundesanstalt), Germany, an inter-comparison named Round Robin 3, phase - 3. The main results were obtained by calculating the following parameters: reverberation time, (T30), clarity factor, (C80), difinition, (D50) and early decay time.

Fundação Carlos Chagas Filho de Amparo a Pesquisa do Estado do Rio de Janeiro / O presente trabalho aborda a modelagem numérica da propagação das ondas sonoras em salas, a partir da avaliação do campo de pressão sonora quadrática na sala. Esta pesquisa apresenta um modelo computacional, baseado na abordagem modal de salas com geometria retangular, que melhora o desempenho do programa de simulação numérica de acústica de salas RAIOS 3 para as baixas frequencias. Inicialmente, foi feita uma análise modal teórica e experimental de uma sala retangular de paredes rígidas e não rígidas, onde se calcula pressão sonora de todos os modos como função da posição e do tempo. Para isso, determinam-se os números de onda e frequência de cada modo, ou seja, os autovalores e as autofrequências. O desempenho do modelo é avaliado a partir dos resultados obtidos com uma sala retangular e validado utilizando dados experimentais do PTB (Physikalisch-Technische Bundesanstalt), Alemanha, na intercomparação denominada Round Robin 3, fase 3. Os principais resultados foram obtidos pelo cálculo dos seguintes parâmetros: tempo de reverberação, (T30), fator de clareza (C80), difinição (D50) e o tempo de decaimento inicial, (EDT). / This article discusses the numerical modeling of the propagation of sound waves in rooms, from the assessment of the field of sound pressure quadratic in the room. This research presents a computational model, based on modal approach of rooms with rectangular geometry, which improves the performance of the program for numerical simulation of acoustics of rooms RAIOS 3 for low frequencies. Initially, there was a theoretical and experimental modal analysis of a rectangular room for non-rigid and rigid walls, where an estimated sound pressure of all modes as a function of place and time. For this, is determining of the wavenumbers and frequencies of each mode, namely the eigenvalues and eigenfrequencies. The performance of the model is assessed from results with a rec tangular room and validated using measurement data of the PTB (Physikalisch-Technische Bundesanstalt), Germany, an inter-comparison named Round Robin 3, phase - 3. The main results were obtained by calculating the following parameters: reverberation time, (T30), clarity factor, (C80), difinition, (D50) and early decay time.