Surprising Ways Sound Shapes our Environment

Summary

This video script explores the concept of acoustics in architecture, emphasizing that there's no 'perfect' acoustics, but rather a balance of variables to suit different scenarios. It discusses how buildings act as instruments, with unique acoustical qualities shaping our experience. The script delves into the design of a musical performance space at the University of Illinois at Chicago, highlighting the importance of shape, material, and sound reflection for optimal musical practice. It also touches on the broader impact of sound on our perception of spaces and cities, suggesting that architecture and sound are intrinsically linked.

Takeaways

• 🎼 Acoustics are not about perfection but about balancing variables for a range of scenarios, similar to how there's no perfect song or building design.
• 🏛 Buildings can be thought of as instruments with unique acoustical qualities that contribute to the overall experience of the world.
• 📐 Guidelines for acoustics in spaces are based on trial and error and are meant to be flexible for different scenarios and individuals.
• 🎻 The design of a musical performance space, like the one at the University of Illinois at Chicago, is crucial for the musicians to hear each other and the conductor.
• 🔨 First-order reflections are important in performance spaces as they provide direct sound to performers without causing echoes or distortions.
• 🧱 Architectural features like the shape, volume, and material of a space affect how sound travels and is perceived within it.
• 🎵 Music has always been composed for specific spaces, with compositions tailored to the acoustical properties of the environment.
• 🏙️ The soundscape of a city is shaped by its architecture, influencing how different areas are perceived audibly.
• 🚂 Some architectural designs, like the McCormick Student Center at IIT, intentionally incorporate surrounding sounds into the building's experience.
• 🎼 The idea of architecture as an instrument is not just metaphorical; some buildings are designed to perform and interact with sound in literal ways.
• 👤 Famous figures in music and architecture have often crossed paths, with some musicians being trained as architects and vice versa.

Q & A

What is the main argument against the concept of perfect acoustics in the script?

The script argues that the idea of perfect acoustics is not only unattainable but also unhelpful. It suggests that acoustics should be about balancing variables for a range of scenarios rather than striving for an ideal that doesn't exist.

Why is the notion of perfection in acoustics considered incompatible with human experience?

Perfection in acoustics is incompatible with human experience because, like with songs or books, there is no one-size-fits-all ideal. Instead, it's about creating a balance that can cater to a variety of experiences and scenarios that humans can appreciate.

What are some examples of precisely engineered spaces for specific acoustic purposes mentioned in the script?

The script mentions the theater of Apodaurus, where one can clearly hear someone standing in the middle of the space, and the steps of Chichen Itza, where a clap is reflected as a chirp, as examples of spaces engineered for specific acoustic phenomena.

How does the script redefine the concept of buildings in relation to acoustics?

The script reimagines buildings as instruments with unique acoustical qualities that contribute to the overall experience of the world, rather than just structures with perfect or ideal acoustics.

What is the significance of the shape of the rehearsal space at the University of Illinois at Chicago mentioned in the script?

The shape of the rehearsal space is significant because it is sculpted to allow musicians to hear each other and the conductor. The cone shape of the plan and section helps project sound into the room, ensuring that soloists can be heard and that lower-pitched instruments fill the space with bass sounds.

What is the role of first-order reflections in the rehearsal space described in the script?

First-order reflections are the first sound bounces that reach their target. They are crucial in the rehearsal space because they help musicians hear each other without creating echoes or distorting the sound.

How does the side wall with a checkerboard pattern of blocks contribute to the acoustics of the rehearsal space?

The side wall with a checkerboard pattern of blocks helps to both diffuse and absorb sound. The sound waves get trapped in the recessed spaces, scattering the sound evenly and absorbing a large portion of it, which helps control the reverberation time.

What is the importance of reverberation time in a musical performance space?

Reverberation time is crucial as it affects the clarity and liveliness of the sound within the space. If it's too short, the space sounds dead; if too long, sounds become muddled.

How does the script connect the history of music composition to the spaces in which it was performed?

The script connects music composition to spaces by discussing how music, such as hymnal music for cathedrals or rock music for stadiums, has been written and composed specifically for the acoustics of the spaces where it will be played.

What is the concept of a 'soundscape' as described in the script?

A 'soundscape' is the idea of a landscape for sound, where the environment shapes the auditory experience. It is influenced by the geometry and materiality of the surroundings, affecting how sound is transmitted, absorbed, and reflected.

How does the script illustrate the idea that architecture can be an instrument?

The script uses examples such as the Khao Shang Port Terminal, designed to perform like an intersecting funnel, and the McCormick Student Center at IIT, which captures and carries the sounds of the city into its architecture, demonstrating that buildings can be designed to interact with sound like an instrument.

Outlines

00:00

🎼 The Myth of Perfect Acoustics in Architecture

This paragraph discusses the misconception of perfect acoustics in architectural spaces. The speaker emphasizes that there is no singular ideal for acoustics, as it varies based on the space's purpose and the experience it aims to create. Rather than seeking perfection, the focus should be on balancing variables to suit different scenarios. The paragraph also touches on the unique acoustical qualities of buildings, comparing them to instruments that shape the overall experience of sound. It introduces the idea of acoustics as an experiential design opportunity rather than just an engineering problem, using guidelines developed through trial and error to create spaces that work well for a range of individuals.

05:00

🏛 The Influence of Space on Music and Vice Versa

The second paragraph explores how music has always been composed with the space in which it will be played in mind. It gives examples of how different types of music are adapted to the acoustics of the spaces they are intended for, such as hymnal music in cathedrals with long echoes and resonant frequencies. The speaker also discusses how the architecture of a space can shape the music composed for it, using the example of Saint Mark's Basilica and its use of multiple dispersed choirs to create an immersive sound experience. The paragraph further explains how sound interacts with buildings through transmission, absorption, and reflection, and how these principles guide the sound qualities in our environment, affecting our perception of spaces.

10:01

🎻 Architecture as an Instrument for Sound

In this paragraph, the concept of architecture as an instrument for sound is taken literally. It discusses how buildings can be designed to perform like musical instruments, using the example of the Khao Shang Port Terminal, which is likened to an oboe in its structural logic. The speaker also mentions the educational program at Cooper Union, where students were encouraged to draw musical instruments to understand the architectural implications of their design. The paragraph concludes by emphasizing the deep connection between architecture, sound, and music, suggesting that the idea of perfect acoustics is a distraction from the fact that buildings inherently shape and are shaped by sound.

Keywords

💡Acoustics

Acoustics refers to the properties of sound in an environment, particularly how sound is produced, transmitted, and modified within a space. In the video, it is discussed as an essential but not 'perfect' aspect of architectural design, affecting the experience of spaces and the performance of music. The script mentions that acoustics vary and are shaped by building design, contributing to the overall experience.

💡Perfection

The concept of 'perfection' in the context of the video is challenged as an unrealistic and unhelpful goal in acoustics. It is suggested that instead of striving for an unattainable ideal, it is more practical and beautiful to consider the unique acoustical qualities of each space and how they contribute to human experience. The video emphasizes that perfection is incompatible with the diverse experiences of acoustical qualities in spaces.

💡Balancing Variables

Balancing variables is a key concept in the video, which relates to how different elements of a space are adjusted to create a suitable environment for various scenarios. It is used to illustrate that there is no single ideal acoustical setting but rather a range of conditions that can be optimized for different purposes, such as musical performances or everyday spaces.

💡Rehearsal Space

A rehearsal space is a specific type of acoustical environment designed for musicians to practice before performances. In the script, the University of Illinois at Chicago's music rehearsal space is highlighted as an example of a space where acoustics are carefully considered to ensure that musicians can hear each other and the conductor clearly, which is crucial for effective practice.

💡First Order Reflections

First order reflections are the initial sound reflections that reach a listener after a sound is produced. The video explains that these reflections are important in a rehearsal space because they should reach performers quickly to avoid creating echoes or distorting the sound. The design of the space, including the angles of walls and ceiling, is intended to facilitate these reflections.

💡Diffusion

Diffusion in acoustics is the scattering of sound waves to prevent them from reinforcing each other in unwanted ways and to create a more even distribution of sound within a space. The script describes a side wall with a checkerboard pattern that helps to diffuse and absorb sound, controlling the reverberation time and enhancing the overall acoustical experience.

💡Reverberation Time

Reverberation time is the duration it takes for sound to decay or dissipate in a space after the source has stopped. It is a critical factor in the video, as it affects the clarity and liveliness of sound in a space. If the reverb time is too short, the space sounds 'dead,' but if it's too long, sounds become muddled.

💡Sound Absorption

Sound absorption is the process by which materials or structures take in sound energy, reducing the intensity of sound waves. In the video, it is mentioned in relation to the design of the rehearsal space's side wall, which uses a pattern of blocks and soft material to absorb sound and control reverberation.

💡Soundscape

A soundscape refers to the acoustic environment of a place, or the 'landscape for sound,' which shapes the auditory experience of a space. The video discusses how the soundscape is an important component of understanding the space around us, influenced by the geometry and materiality of the environment.

💡Transmission

Transmission in the context of acoustics is the passage of sound through materials, including air and walls. The video explains that the way sound is transmitted through and between materials contributes to the overall sound quality in a space, affecting how it is perceived by individuals.

💡Architectural Instrument

The concept of an 'architectural instrument' is used in the video to describe buildings that are designed to perform and interact with sound in a way similar to a musical instrument. This idea is illustrated through examples such as the Khao Shang Port Terminal, where the building's design channels people and air like an oboe, creating unique acoustical experiences.

Highlights

The concept of perfect acoustics is a myth; it's about balancing variables for different scenarios.

Acoustics are not just engineered but experienced, suggesting a shift from solving an engineering problem to exploring experiential design.

Buildings can be thought of as instruments with unique acoustical qualities that shape the overall experience of the world.

Guidelines for acoustics in spaces are determined through trial, error, and testing over time for a range of individuals.

The architectural design of a musical performance space, like a rehearsal room, is crucial for sound projection and hearing clarity among musicians.

First order reflections are vital in performance spaces for quick sound delivery to avoid echoes and sound distortion.

The design of side walls with a checkerboard pattern helps in sound diffusion and absorption, controlling reverberation time.

Music has always been composed for the specific acoustics of the space in which it will be played, such as hymnal music for cathedrals.

Sound shapes architecture, as seen in the Cloud Gate monument in Chicago, where sound reflections create a unique signature.

The soundscape of a place is influenced by its geometry and materiality, affecting how sound is transmitted, absorbed, and reflected.

Architects can use sound principles to create unique acoustic conditions, like the McCormick Student Center at IIT designed to capture city sounds.

Cooper Union's architectural education program emphasizes the active role of drawing in architecture, likened to musical instruments.

The Khao Shang Port Terminal was designed with an oboe's logic, channeling people and air through intersecting structural shells.

Architecture and music share a deep connection, with many musicians also being trained as architects.

The idea of perfect acoustics distracts from the reality that buildings are instruments for sound, contributing to the experience of the environment.

Transcripts

[Music]

acoustics

[Music]

welcome to the school of theatre and

music at the university of illinois at

chicago

there is no such thing as perfect

acoustics and while this is true on a

number of different levels what i really

mean is that this idea that there is

some sort of singular ideal of acoustics

it's just not true and it's not even

helpful

the notion of perfection is simply

incompatible with our experience of

acoustical qualities of spaces in the

same way that there's no perfect song

there's no perfect book or perfect

building design instead it's usually

about balancing a number of different

variables to be well suited for a range

of different scenarios and to be able to

produce a set of experiences that we

humans can appreciate that's not to say

that there aren't situations that are

precisely engineered for a certain

purpose i mean just here on youtube you

can learn all about the theater of

apodaurus and how you can so clearly

hear someone standing in the middle of

that huge space or you can learn about

the strange clap that gets reflected as

a chirp on the steps of chichen itza

these are certainly very curious

phenomena that result from the interplay

of geometry and the physics of waves but

even these aren't really about being

perfect whether i think it's more useful

and even more beautiful to think about

buildings as instruments

all buildings have unique acoustical

qualities that contribute to your

overall experience of the world these

qualities are shaped through the design

of buildings and they can be used to

create compositions of sounds that the

buildings help to shape there are

guidelines for certain types of spaces

that help us to understand when ranges

are preferred for various scenarios and

getting spaces to be within those

guidelines is different for every space

and scenario the guidelines themselves

came about through trial and error and

in testing and over time they've been

determined to work for a certain range

of individuals

so shifting our thinking from acoustics

being purely an engineering problem to

solve and more of an experiential design

opportunity explorer i think is pretty

important well i want to start talking

about the space that i'm in which is a

musical performance space in this video

we'll scale out to discuss how acoustics

are an important architectural

consideration even when you don't expect

it how the way that sound travels in and

through and around a building is an

important aspect of its total designed

experience

but the space that i am in is a

rehearsal space for the school of music

at the university of illinois at chicago

it's where bands and orchestras practice

before performing on another stage in

front of an audience

the building and this space was designed

by the architect harry weiss and

associates in 1969

and you might know the work of that

architect from such buildings as the

triangular metropolitan correctional

facility in downtown chicago and that's

where r kelly and jerry from netflix's

show cheer is being held

this more exuberant but also windowless

space has a few features that make it

appropriate for playing music without an

audience

firstly is its shape the volume of the

space is sculpted in such a way so that

the players can hear the conductor and

that the conductor can hear the players

and players can hear each other

typically orchestras are arranged so

that the quieter and higher pitched

instruments are toward the front and

then the louder and lower toned

instruments are toward the back

higher pitch sounds are more directional

while lower ones aren't as much when

you're toward the front of the space the

cone shape of both the plan and the

section project the sound into the rest

of the room so that soloists or violins

or flutes can be heard but instruments

like the timpani drums or double basses

or tubas they're in the back and fill

the space with low end bassy sounds

the angles of the walls and the ceiling

reflect the sound down and directly to

the other performers these reflections

are called first order reflections

because they are the first bounce that

reaches their target

it's important in this application that

those bounces happen quickly otherwise

it will create an echo or distort the

sound in other ways getting to the

players the front wall is also built

with a slight tilt upward to help those

first order reflections reach their

target

another consideration of these spaces is

the design of this side wall which has a

checkerboard pattern of blocks with soft

material indented in between this helps

both to diffuse the sound and absorb it

as the sound waves get trapped inside of

these recessed spaces so here it's less

about targeting specific reflections

rather it's about scattering the sound

evenly and then absorbing a large chunk

of it

this helps to control the reverberation

time which is the amount of time that it

takes for a sound to dissipate within a

space this time is an important part of

the performance for a space like this if

the reverb time is too short it will

sound dead and if it's too long all of

the sounds will get muddled together

the architecturally trained musician and

talking head david byrne he has a great

talk about how music has always been

written and composed specifically for

the space within which it will be played

hymnal music is made to be heard inside

of a cathedral which has long echoes and

resonant frequencies

burn's own music evolved by playing at

small clubs and loud venues and stadium

rock is loud for a reason

today most of us listen to music with

headphones inside of distracting

environments and only certain kinds of

music can cut through all of that

one of the first architectural examples

of a building shaping a particular kind

of music is saint mark's basilica which

is attached to the doge's palace

this basilica isn't built in the

traditional shape of a latin cross

rather takes the form of a greek cross

with four equal arms

each arm of the cross has an upper

gallery of choir loss

and during the 16th century giovanni

gabrielli he developed a technique of

using multiple dispersed choirs and

musical ensembles in each of the

separate lofts that would perform

simultaneously and create an immersive

wave of sounds coming from all

directions

cathedrals are also like instruments

when they're fitted with organs which

fold the entire building into a building

the sound

the bach church in armstot is named

after the composer bach who famously

wrote specific organ compositions here

the space allowed him to write music

that is slightly more intricate than he

would be writing in say a gothic

cathedral because he could change keys

without creating any dissonances that

would be occurring in the space due to

reflections of sounds and odd ways

but sound shapes architecture in all

sorts of ways even when they're not

making beautiful music together

here in chicago a popular activity is to

stand under the cloud gate monument and

make noise to hear it reflected back in

a particular way the shiny reflective

surface of the beam coupled with the

curved enveloping shape creates a really

unique sound signature

in fact the city is marked by all sorts

of sounds and maybe go in one ear and

out the other but subconsciously is

shaping your understanding of the city

as much as what the city looks like

well this might not seem like the domain

of architecture it is mostly buildings

that figure into how one part of the

city

sounds different from another

it's pretty easy to understand how

acoustics plays a role in performance

spaces even though the physics is

complicated it's obvious to recognize

that acoustics are important

but in everyday contexts it's not quite

as noticeable even though it is an

important component that shapes your

understanding of the space around you

this is called a places soundscape you

can even think of it like a landscape

for sound

the way that an environment shapes sound

is mostly related to geometry and

materiality

sound interacts with buildings and three

primary ways transmission absorption and

reflection

all of these are functions of the

material mass

the surface smoothness

texture

porosity and air tightness and then

stiffness

transmission is the passage of sound

through and between materials including

the air and the walls

attenuation measures its loss as it's

traveled through the material

acoustic absorption refers to the

process by which a material structure or

an object takes in sound energy when

sound waves are encountered as opposed

to reflecting the energy

part of the absorbed energy is

transformed into heat and part is

transmitted through the absorbing body

an acoustic traveling wave can be

reflected by a solid surface as well

while reflections kind of act like a

mirror for sound there is a curious

thing that happens with sound waves as

opposed to light with reflections you

get two waves in the same space

if the waves align you get a type of

sound amplification

and then if the waves misalign they

almost cancel each other out

and this phenomena can lead to strange

or a desirable phenomena depending on

the situation

so these are the three main principles

that are guiding the sound qualities all

around you and some architects use these

to create unique conditions and

experiences very specifically for

example here at the mccormick student

center at iit the architect rem kolhas

placed the building right underneath the

train tracks

and the building is organized around an

intensity of activity by packing in all

sorts of different programs and

circulation paths that slice right

through the middle part of the building

the train above is part of this flurry

of activity

the train is wrapped in a metal sleeve

this helps capture the sound and muffle

it

the tube presses down into the building

below intentionally carrying the sounds

of the train into the rest of the

building

this is a moment where quiet isn't

necessarily the goal rather the building

operates like an instrument capturing

the sounds of the city and altering them

and carrying them through the

architecture so that inside the building

you feel connected to the city around

you

this idea that architecture is an

instrument is also taken quite literally

at moments when sound isn't even a

primary concern

one of the most innovative architectural

educational programs comes from cooper

union where it's then director john

haydick he conceived of a unique

curriculum to train architects in the

design and drawing of buildings

and he believed that the drawing itself

was architecture and could be discussed

as an active architecture one of the

more successful exercises that they

underwent encouraged students to make

technical drawings of musical

instruments

haydock called these drawings pregnant

with architecture

and one of hayduck's students and also

my professor jesse reiser he

internalized these lessons to become

directly part of his firm's thinking

when designing projects like the khao

shang port terminal where they wanted

the building to perform as an instrument

but not necessarily look like one the

building performs like intersecting

funnel that channels people and air

through a taut stretched skin of

structural shells that the architect

likens to the logic of an oboe

the way that site and views work in the

building are also guided by this logic

with channels that crisscross one

another similar to that the way that air

is choreographed within an instrument to

create different experiences by closing

certain paths and then by opening others

there are so many ways that architecture

connects with sound music and acoustics

me and nietzsche called architecture

frozen music and there are a host of

famous musicians who also trained as

architects before getting into music

and there are composer architect

collaborations that create important and

unique buildings and music as well

but either way this idea that acoustics

can be perfect i think is distracting

from the fact that buildings are in fact

instruments for sound

what are some of your favorite

acoustical spaces drop a comment below

and let us know if you enjoyed this

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to the right of me see you over there

[Music]