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 (Ph. D.)--University of Chicago. / Includes bibliographical references (p. 498-522).

Why is it that architecture is so capable of triggering emotions in us? How come there are certain buildings, certain urban streetscapes or certain city corners that have the ability to make us feel intrigued, excited, happy, interested, thoughtful or curious? How is it that there are certain places, at the same time, that do not trigger any sorts of emotions in us? Urban places. They all have an immense capacity to influence the way we feel about life. Just like people, just like music. In the months previous to my thesis, I started to pay attention to some past personal experiences when, confronted with the process of discovery of a new urban place, I found myself experiencing strong emotions of happiness and excitement. This led me to start focusing on the elements of sensorial stimulation that I was encountering in those places, with the hope of being able to identify them, and ultimately being able to decode them and translate them into architecture. It became clear to me, soon after I started my travel through this journey of thoughts, that there were two elements that were always present in these experiences, and were therefore possible suspects. One of these elements was the pass of time, and the other was the density and diversity of materiality. Both where materialized in the form of overlapping layers of information that would add extreme complexity to the place. It was this complexity what was triggering all these emotions in me, making me feel like a curious child again. As a consequence of this analysis, my main interrogation became whether it was possible to replicate the feelings that these large-scale urban spaces had produced in me into the realm of an architectural project. Regarding a possible program, A place for speaking different languages or A building for brainstorming and thinking were some of the thesis topics that came to my mind. / Master of Architecture

The purpose of this survey was to make a critical study of (a) educational philosophies, (b) the place of auditorium activities, (c) the purpose of auditorium activities, and (d) the value of auditorium activities in the whole scheme of educational procedures.

A historical review is performed to study the impact of acoustical knowledge on concert hall developments. It shows that although acoustics developed from myth to real science, there is still a gap between its fast growing knowledge and relatively slow applications to improve designs. Architectural acoustics research and education shall help populating the tacit knowledge and experience of acousticians to reduce the gap between design and knowledge. The established paradigm in this field is to identify the performance goals of concert halls, recognize the available design information in different stages, and establish models to link them together. Placed in this general picture, this thesis focuses on providing design support for preliminary stage. It develops a model to link accessible design features with the most important acoustics performance index, reverberation time. A literature review on exiting reverberation time prediction methods shows that they are based on either too demanding or over-simplified for this stage. This study intends to develop a model that makes maximum use of available information and improves prediction accuracy in comparison with existing simplified methods. Through literature survey and data analysis, three factors (geometrical shape, non-uniform material distribution and scattering effect) are recognized as significant for reverberation time prediction. This thesis developed a simplified model taking these factors into consideration and calibrated this model with empirical data through Bayesian statistical method.

The designed building is a proposed Learner's Resource Centre situated in Berea Park. The development will be funded by the European Union and managed by a section 21 company of tertiary institutions and government departments. It creates a community facility that is needed in the Pretoria inner city, addressing lack of study space and urban parks in the CBD. The main building includes a digital library, offices, auditorium, conferencing facilities and a restaurant. This building forms the focus of the investigation, while the rest of the campus development forms part of an Urban Design scheme proposed for the Pretoria inner city. The functions included on the campus are overnight facilities, workshops, classrooms and a multi purpose hall. The thesis is introduced by an investigation into the theory of the meaning in architecture. This includes research in the fields of semiotics and visual culture and the conclusion of that theory into a designed building. / Dissertation (MArch (Prof))--University of Pretoria, 2005. / Architecture / unrestricted

No description available.

This diploma project deals with a proposal for a new movie theater in the city of Hranice. The aim of this project is to explore the possibilities of cinema architecture, emphasizing the variability of the design solution. The cinema is viewed not as an object with one set function, but as a variable cultural space that plays important part in the cultural life of not only smaller towns. Important part of the design is also the scale - scale of the different events, the town itself as well as its society. There has been a broader redefinition of the urban structure and study of the surrounding development that preceded the cinema design itself, with emphasis on the 1. máje street and proposed linear park. New building of the movie theater corresponds with the proposed regulatives of the future development and cooperates with the newly proposed library, with which it creater new culturaly- educational center of the town.

Made available in DSpace on 2016-04-26T18:14:46Z (GMT). No. of bitstreams: 1 Julia Lucia de Oliveira Albano da Silva.pdf: 6234512 bytes, checksum: fa61e8c3f10833aadb376a8c410295e6 (MD5) Previous issue date: 2014-12-10 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research investigates the resumption in the last 10 years on radio programs that include the attendees/audience in different auditoriums in the city of São Paulo. Within a different context than that seen in the 1940's and 1950's, known as the Brazilian radio Golden Age, auditorium programs have been established as an important instrument of the emerging entertainment media universe in the first half of the twentieth century. Currently, the scenario marked by digital network and information technologies that emphasize the sense of sight, mobility and distance communication, the resurgence of radio auditorium programs puts us in front of this research problem: to what extent the resumption of this program format by some radio stations meets the need of man to cultivate relationships that go beyond the abstract spaces proposed by contemporary media? The main aim is to investigate how the attendees senses in the auditoriums are recursively drived by the bodies performances and by the constructability in a skilled space, thus, by the multiple sensory environments. The theoretical reference is constituted mainly by contributions from Harry Pross and Norval Baitello Jr. regarding the presence of the body in communication environments; by the works of Murray Schafer and Pierre Schaeffer on the constitution of the soundscape of cities and modes of listening; by concepts of spatiality, city and communicating from Henry Lefebvre, Lucrecia D'Alessio Ferrara and Milton Santos; by the conception of aural architecture (sound) developed by Barry Blesser and Juhani Pallasmaa; by the concepts of performance and coauthorship developed by Paul Zumthor and by the concepts of bond, listening and senses of cultural anthropology from Christoph Wulf, Boris Cyrulnik and Michel Serres. Through the observation of the radio programs with attendees/ audience research corpus - recorded and streamed live from auditoriums located at different addresses from avenida Paulista, the research is directed towards the consolidation of the main hypothesis: that the exploitation of the format of the auditorium programs, besides being a marketing strategy of the current radio stations, is a form of resistance of the concrete body thirsty of linking. During the attendance on the radio programs in the auditoriums, the listener experiences the tension between presential communication and other technical processes communication / Esta pesquisa investiga a retomada, nos últimos 10 anos, dos programas radiofônicos com a presença de plateia em diferentes auditórios, na cidade de São Paulo. Formato presente no período entre 1940 e 1950, conhecido como a Era de Ouro da radiofonia brasileira, os programas de auditório se consolidaram como importante instrumento de entretenimento do universo midiático emergente na primeira metade do século XX. Atualmente, no cenário marcado pelas tecnologias de comunicação e informação digitais em rede que privilegiam o sentido da visão, a mobilidade e a comunicação à distância, o ressurgimento dos programas de auditório nos coloca defronte ao problema de investigação desta pesquisa: em que medida a retomada da dinâmica deste formato de programa por determinadas emissoras radiofônicas vai ao encontro da necessidade do homem de cultivar vínculos que extrapolem os espaços abstratos propostos pela mídia contemporânea? O objetivo central é investigar como os sentidos dos participantes presentes nos auditórios são acionados de forma recursiva pelas performances dos corpos e pela construtibilidade do espaço qualificado, portanto, pelo ambiente polissensível. O referencial teórico é constituído principalmente pelas contribuições de Harry Pross e Norval Baitello Jr. em relação à presença do corpo nos ambientes de comunicação; pelos trabalhos de Murray Schafer e Pierre Schaeffer sobre a constituição da paisagem sonora das cidades e os modos de ouvir; pelos conceitos de espacialidade, cidade e comunicação de Henry Lefebvre, Lucrécia D´Alessio Ferrara e Milton Santos; pela concepção de arquitetura aural (sonora) desenvolvida por Barry Blesser e Juhani Pallasmaa; pelos conceitos de performance e coautoria elaborados por Paul Zumthor e pelos conceitos de vínculo, do ouvir e dos sentidos da antropologia cultural de Christoph Wulf, Bóris Cyrulnik e Michel Serres. Por meio da observação presencial dos programas radiofônicos com plateia - corpus da pesquisa - gravados e transmitidos ao vivo de auditórios localizados em diferentes endereços da Avenida Paulista, a pesquisa se direcionou para a consolidação da hipótese principal: a de que a exploração do formato dos programas de auditório, além de ser uma estratégia de marketing das atuais emissoras de rádio, é uma forma de resistência do corpo concreto e sedento de vinculação. Ao participar presencialmente dos programas radiofônicos com plateia, o ouvinte experimenta a tensão entre a comunicação presencial e os outros processos técnicos de comunicação