Soundscape theory is based on the premise that the ambient sound in an area is composed of a series of specific acoustic events that can be measured and modeled. In order to technically execute the process of measuring the specific acoustic events in a soundscape, each event must first be identified in an acoustic taxonomy and then measured in sufficient detail to allow modeling of the perceptually robust aspects of the event, so auralizations or other assessments of existing and future sounds can be made. The evaluation of site planning strategies was based on whether the sound levels at the proposed site would first comply with the noise ordinance, and second, be audible at homes when windows were open late at night at levels that might disturb sleep or be otherwise annoying. Full size simulations of sounds from entertainment establishments played into neighborhoods so people could listen to proposed sounds in their homes and yards as a method to allow citizens to participate in public hearings where acoustic impacts are addressed was also used.

Restaurants are spaces where people gather to eat, talk, share, and spend time. They are also facilities where food is prepared and served to others. Restaurants have garnered much attention over the last several years as having high sound levels with some customers having difficulty in communication among patrons and staff. However, spaces such as cafeterias, dining rooms in country clubs, retirement centers, and hospitals serve similar functions as restaurants and suffer from similar acoustic issues. Acoustic measurements of alpha bar, reverberation time, reflected sound energy, noise reduction, and STI were made in various types of dining spaces that have required acoustic treatment. Data from these types of spaces have been added to the data previously collected at restaurants, to provide general information about the acoustics of dining spaces. The results show that dining spaces can be broken into similar treatment categories, regardless of the specific type of space. The sample of rooms was also analyzed by architectural and interior design style to identify design trends that affect the acoustical metrics in dining spaces.

This paper describes seven elements of soundscape theory that can be applied to the design of architectural spaces including worship spaces, music education spaces, justice facilities, museums, performing arts centers, libraries, restaurants and schools. The paper is focused on the transformative steps that must be taken to translate soundscape data and analysis into the physical form of a building where sound is conceived of as a generator of form and is not necessarily a result of the form. Case studies of recent research and architectural studio classes involved with the design of performing arts facilities will be presented to illustrate how sound can become a part of the conceptual structure of buildings in addition to one of the functions to be accommodated in buildings. The concept of a sonic niche in location, time, level, pitch and form becoming a tangible architectural intervention in a building is explored as one way to translate soundscape theory into architectural space.

Seven types of soundwalks are described with examples of the data obtained and the application of each to a case study project. The first type is one where an observer walks through an environment and just listens to get an introduction to the environment or an inspiration for later work. The second type is one where the observer walks with a group of stakeholders to listen to or elicit observations about the environment. The third type of soundwalk is one in which qualitative data in the form of questionnaire responses or quantitative data in the form of sound level measurements or recordings are made. The fourth type is an undercover soundwalk where observations or data are recorded in a way that the observer is not identified as one is not a normal participant in the soundscape. The fifth type is one where stakeholders experience an existing environment that has elements being considered for use in their project. A sixth type of soundwalk is one that occurs in a computer simulation where one experiences a virtual environment. The seventh type is one that combines two or more of the individual types of soundwalks in a composite soundwalk.

A working 1880’s farm is the focus of an exploration to provide an acoustical record of historical sounds that once comprised the soundscape. Long term acoustical measurements (including overall A-weighted sound levels, minimum and maximum levels taken once per minute, SEL, statistical metrics, and day/night sound levels), short term measurements (including overall A-weighted and 1/3 octave band sound levels of specific acoustic events), WAV recordings, and video footage are used to analyze typical historic sounds of the farm including a blacksmith forging metal, woodworkers using hand tools to carve wood, children playing period games, lumberjacks shaping logs for buildings, and ranchers cracking whips to drive animals. These historic sounds are documented, along with sounds of the 21st century, including automobile traffic from nearby roadways, aircraft overflights, and various modern machines used in the park to provide a detailed analysis of what a typical rural southern farm soundscape may have sounded like over 100 years ago.