The Soundscapes of Antwerp: A Study on the Acoustic Genius Loci

Leus, Maria; Herssens, Jasmien

doi:10.1016/j.egypro.2015.11.109

Cited by 18 publications

(15 citation statements)

References 6 publications

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“…Being an anthropocentric concept, the attractiveness of a soundscape, or parts thereof, is largely determined by the listener's perception of the sound(s) in question, in uenced by prior experience and cultural background of the listener, as well as circumstantial context and volume of the sounds themselves [9][10][11][12][13][14]. Soundscapes have been examined across a multitude of areas of the environment, including indoor urban spaces [15][16][17], outdoor urban spaces [18][19][20], transportation systems [21,22] and in the natural environment [23,24].…”

Section: Introductionmentioning

confidence: 99%

Hitting the ‘pause’ button: What does COVID-19 tell us about the future of heritage sounds?

Spennemann

Parker

2020

Noise Mapping

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Human existence is accompanied by environmental sounds as by-products of people’s activities and sounds that are intentionally generated to allow human society to function. The resulting soundscapes that surround people’s daily existence are subject to technological, as well as behavioural change. Cultural heritage management has begun to address the question of which sounds and soundscapes should be preserved and maintained as part of humanity’s legacy to future generations. A side-effect of the dramatic social and behavioural change caused by governmental responses to COVID-19 has been a dramatic temporary alteration of urban cultural sound-scapes. In this paper we will consider the nature and extent of these and will explore to what extent the COVID-19-induced reality can be employed to project a future of urban cultural soundscapes if no active heritage intervention were to occur.

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Section: Introductionmentioning

confidence: 99%

Hitting the ‘pause’ button: What does COVID-19 tell us about the future of heritage sounds?

Spennemann

Parker

2020

Noise Mapping

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“…In more recent years, a great amount of studies has dealt with the topic of soundscape , as was defined by Murray Schafer, 6 trying to build methodologies to objectively assess the soundscape and ultimately use it as a design driver for outdoor spaces. 7–9 However, while a good amount of research has been developed on the construction of a shared taxonomy of sound sources 10,11 or on the assessment of perceived affective quality of soundscape, 12 the influence that morphology and materials of buildings can have on the auditory perception of outdoor urban spaces is still understudied.…”

Section: Introductionmentioning

confidence: 99%

Evaluation of the influence of building façade design on the acoustic characteristics and auditory perception of urban spaces

et al. 2018

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Auditory perception has been proved to have an influence on how we live and move through places and on the use of public spaces. However, despite the numerous studies that have focused on the theme of soundscape and auditory perception of urban spaces, these aspects have not been studied in connection with the design of the building surrounding such spaces. This study focuses on the influence of façade design on acoustic characteristics of an urban space and on the subjective spatial perception of the users. Simulations and auralizations have been conducted through ODEON software (v.13) on the virtual model of a small square of Turin (Italy). Different absorption and scattering coefficients of façade upholsteries have been applied to the façades of the building surrounding the square, choosing from a pool of typical building façade materials. Results of a listening test have proved that the absorption coefficient of the façades has an influence on the subjective perception of space wideness. Moreover, multiple regression analysis has been conducted in order to find a mathematical relation between space wideness perception and objective acoustic parameters. It was shown that the relation between the perceptual aspects and the objective parameters is strongly dependent on the listening position.

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“…This term was inspired by the concept of ‘character of place’, 61,62 which some scholars had considered connected to the Schaferian concept of soundscape. 63–65…”

Section: Methodsmentioning

confidence: 99%

Reflecting on sonic environments through a structured questionnaire: Grounded theory analysis of situated interviews with musicians

Milo

2020

Building Acoustics

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Eight participants with a musical background were asked to reflect in depth on their experience of sonic environments through a structured questionnaire answered in either oral or written form. Six of these interviews took place at the Zentrum für Kunst und Medien in Karlsruhe, and two in London, to provide contrasting comparison terms. The questionnaire invited the participants to progress in their reasoning from the description of the present sonic environment to the formulation of thoughts on the acoustic design of spaces, the educational potential of soundwalking practices and the elicitation of places with aural character from their memory. The interview transcripts were qualitatively analysed through the grounded theory method with the aim to detail the underlying mechanisms towards the appraisal or criticism for an acoustic environment. Acoustic and psychoacoustic indicators were extracted from the binaural measurements of the interview settings to provide objective grounds for comparison. Five concurrent factors were identified as involved in the quality attribution process: purpose affordance, affective impact, memory, ecological awareness and acoustic design.

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The Soundscapes of Antwerp: A Study on the Acoustic Genius Loci

Cited by 18 publications

References 6 publications

Hitting the ‘pause’ button: What does COVID-19 tell us about the future of heritage sounds?

Hitting the ‘pause’ button: What does COVID-19 tell us about the future of heritage sounds?

Evaluation of the influence of building façade design on the acoustic characteristics and auditory perception of urban spaces

Reflecting on sonic environments through a structured questionnaire: Grounded theory analysis of situated interviews with musicians

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