Thesis (Ph.D.)--University of Nebraska-Lincoln, 2008. / Title from title screen (site viewed Aug. 14, 2008). PDF text: xii, 159 p. : ill. (some col.) ; 4 Mb. UMI publication number: AAT 3297864. Includes bibliographical references. Also available in microfilm and microfiche formats.

Thesis (M. Phil. (Arch.))--University of Sydney, 2005. / Title from title screen (viewed 27 May 2008). Submitted in fulfilment of the requirements for the degree of Master of Philosophy (Architecture) to the School of Architecture, Design Science and Planning, Faculty of Architecture. Includes bibliographical references. Also available in print form.

Thesis (M.S.)--Brigham Young University. Dept. of Physics and Astronomy, 2005. / Includes bibliographical references (p. 112-117).

Thesis (Ph.D.)--University of Nebraska-Lincoln, 2006. / Title from title screen (site viewed on August 11, 2006). PDF text of dissertation: xiii, 168 p. : ill. ; 3.46Mb. UNI publication number: AAT 3208091. Includes bibliographical references. Also available in microfilm, microfiche and paper format.

Material is a common denominator between acoustics and architecture. The most basic building blocks of material are the elements: Earth, Water, Air (and Fire). Water is explored as an acoustic reflector, air as an escape path for sound, and earth as diffusor/absorber/reflector. This exploration of work dives into how acoustics can inspire architecture from the start. The thesis used two design projects to test the ideas: The San Francisco House of Music and The Boston Elemental Theater. Through this work I found the two interrelated fields can work together, and find a process and direction of design that raises the level of both disciplines. / Master of Architecture

See also: Acoustics in architectural design : an annotated bibliography on architectural acoustics. / When Redpath Hall, originally designed and built as a library reading room, was converted into a multi-purpose auditorium, it soon became evident that the Hall was deficient, in several respects, in its new role. The multipurpose hall is, by design, a compromise, designed to provide reasonable hearing conditions for a multiplicity of instrumental and vocal performances, without favoring or overly impairing any particular type of performance. Redpath Hall possesses a relatively long reverberation time, decidedly beneficial for the appreciation of some musical performances, such as organ recitals, chamber music, choral performances, string quartet, etc., but at the same time, noticeably detrimental for other performances; those instruments that excell with a long reverberation time, tend to mask other instruments, resulting in a definite orchestral imbalance, particularly noticeable in remote seats; quick passages of solo instruments are blurred; the spoken word is not intelligible. [...]

We live in a culture that readily and pervasively privileges the eye over the ear. Architecture is regarded increasingly as picturesque images by spectators at distance and in isolation. Building starts to lose their plasticity and the close connection with the language and wisdom of the body. However, every touching experience of architecture is multi-sensory. Therefore, architecture involves seven realms of sensory experiences which interact and infuse each other in a continuum. The thesis attempts to locate at the aural realm as a theoretical departure point and to explore ways of counterbalancing the unconscious tendency concerning retinal dominance. It is intended to recapture the fading sensuality, tactility and embodied essence of architecture. The study of audible space corresponds to one specific perceptual phenomenon as the starting point. This is not intended slightly to undermine the reality mat in architectural synthesis, different sensory categories overlap. The experiment attempts to explore and reinstate the relationship between architecture and sound. It seeks to trace for the seams which tie together their adjacencies and to overhear the different mutations of visual sound and acoustical space. Concepts and methodologies that signify the role of sound in architectural and environmental design will be investigated. The project, hypothetically the extension of the Orpheum Theater, will serve as the vehicle for the petrifying the theoretical investigation.. The project attempts to discover room and potential for improvements between the conflicting forces. The locale's charm lies in its specificity and complexity as an enduring historical local musical precinct, a neighborhood of depopulated and deteriorating street life. The study at this particular locale also tries to scrutinize the architectural relationship between the old and new and the possible regain of eminent public activities in public spaces resultant from inappropriate urban planning strategy.

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Thesis (Ph. D.)--Virginia Polytechnic Institute and State University, 1991. / Vita. Abstract. Includes bibliographical references (leaves 163-170). Also available via the Internet.

Thesis (Ph. D.)--Architecture, Georgia Institute of Technology, 2006. / Brani Vidakovic, Committee Member ; Larry Kirkegaard, Committee Member ; Yves Berthelot, Committee Member ; Ruchi Choudhary, Committee Member ; Ning Xiang, Committee Member ; Godfried, Augenbroe, Committee Chair. Vita. Includes bibliographical references.