![]() ![]() ![]() In such a chamber the blind wouldn’t be able to navigate. Reverberation time can be zero in chambers called anechoic, where one is challenged to experience a complete silence with the beat of their own heart being the only thing to hear. Reverberation time is the required time for a sound in a room to fade away. The surface reflecting the sound must be approximately three times larger than the sound wavelength. In acoustical terms, there are “live” spaces, possessing high sound-reflective surfaces like marble, mosaic or ceramic tiles, and “dead” spaces with sound-absorbing surfaces (heavy draperies, upholstered furniture, and carpeting).Īs Concert hall designs began to evolve as independent architectural entities in the 18th century, the challenge of how space would be designed to reflect sound in a desirable manner was posed. ![]() We can also say that we “hear” architecture, as people lacking insight could navigate through a building by perceiving the echo bounced off the interior surfaces. When it comes to sound, we land into the territory of architectural acoustics. Equivalent in geometry is the golden section. The nature of numbers has been analyzed centuries ago by Pythagoras, who identified the geometric, arithmetic, and harmonic dimensions of the musical scale, as well as the perfect consonances of music, which are mathematical ratios: the octave (1:2), the perfect fifth (2:3), and the perfect fourth (3:4). Proportion and beauty are manifestations of harmonious mathematical relations and as a closed system, a building should be considered a mathematical entity as well. There is a fundamental numerical kinship that binds the two arts and makes possible intuitively and rationally motivated parallels between them. “I call architecture frozen music,” said Johann Wolfgang von Goethe. ![]()
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