Relevant bibliographies by topics / Auditorium Acoustics

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Auditorium Acoustics'

Author: Grafiati
Published: 4 June 2021
Last updated: 20 February 2023

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Journal articles on the topic "Auditorium Acoustics"

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Orlowski, Raf. "Auditorium Acoustics." Acoustics 1, no. 3 (August 28, 2019): 693. http://dx.doi.org/10.3390/acoustics1030040.

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Putra, Alnugraha Rachman, and Ryanty Derwentyana Nazhar. "Peranan Material Interior dalam Pengendalian Akustik Auditorium Bandung Creative Hub." Waca Cipta Ruang 6, no. 2 (November 27, 2020): 71–76. http://dx.doi.org/10.34010/wcr.v6i2.4123.

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Acoustics in an auditorium interior have a vital role in the continuity of activities in it. Activities in the auditorium are closely related to audio and visual, so designing an auditorium requires an acoustic control system, not only visual elements are considered, but also sound or acoustic control requires special attention. This study describes the role of interior materials in acoustic control in a multifunctional auditorium in the Bandung Creative Hub building, West Java. To determine the quality of the room acoustics under study, the research method used is descriptive analysis by processing data in the form of images, field notes, documentation, and supporting theories according to the principles of interior design science. This study concludes that the interior materials in the multifunctional auditorium in the Bandung Creative Hub Building have met the applicable standards in the acoustic control of the auditorium space. The benefit of this research is that it can be used as a benchmark for auditorium design and can be a reference for space design that requires special acoustic treatment in the future.
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Pereira, Andreia, Anna Gaspar, Luís Godinho, Paulo Amado Mendes, Diogo Mateus, Jesus Carbajo, Jaime Ramis, and Pedro Poveda. "On the Use of Perforated Sound Absorption Systems for Variable Acoustics Room Design." Buildings 11, no. 11 (November 15, 2021): 543. http://dx.doi.org/10.3390/buildings11110543.

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An important challenge for acoustic engineers in room acoustics design is related to the acoustic performance of multi-purpose auditoriums, which are typically designed to suit several performance requirements. With this intent, the analysis of several scenarios is usually performed individually, and then an acceptable solution, that may be adapted to several situations, is selected. One way of providing a more appropriate acoustic performance for each function of the auditorium is using variable sound absorption techniques to control reverberation and other relevant acoustic phenomena associated to sound perception. In this paper, the acoustic behavior of a perforated system that may be suitable for achieving a variable acoustic solution for room acoustic design is addressed. In the design of a cost-effective solution, the surface appearance is kept unchanged, while variable acoustic behavior is achieved either by closing the holes in the back face of the perforated panel or by placing a porous material in varying positions inside the backing cavity, thus accomplishing different acoustic requirements within a multipurpose auditorium. An analytical approach, based on the transfer matrix method is employed for preliminary acoustic sound absorption assessment provided by the system and to develop optimized solutions. Diffuse sound absorption is then computed and used to simulate, by the ray-tracing method, the acoustic behavior of a multipurpose auditorium to demonstrate efficient acoustic performance for different types of use.
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Wang, Ji-Qing. "Diffusion and Auditorium Acoustics." Building Acoustics 10, no. 3 (September 2003): 211–19. http://dx.doi.org/10.1260/135101003322662014.

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Kuttruff, H. "On the Acoustics of Auditoria." Building Acoustics 1, no. 1 (March 1994): 27–48. http://dx.doi.org/10.1177/1351010x9400100103.

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The paper presents a short introduction into auditorium acoustics and reports on a few new developments in this field, which are believed to be of great benefit both for the acoustical design of auditoria and for research in practical room acoustics. The first part describes in a rather elementary way the basic facts of sound propagation in enclosures, including the effects of reflections and the role of reverberation. Furthermore, some of the numerous objective parameters are discussed which have been introduced in order to characterize particular aspects of sound fields. In the second part, recently developed methods of sound field simulation are described by which such parameters can be predicted. Methods of “auralization” are briefly discussed by which aural impressions from non-existing halls can be created on the basis of digital sound field simulation.
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Templeton, Duncan. "Auditorium acoustics and architectural design." Applied Acoustics 49, no. 3 (November 1996): 283–85. http://dx.doi.org/10.1016/s0003-682x(97)88032-2.

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Borish, Jeffrey Glenn. "Electronic simulation of auditorium acoustics." Journal of the Acoustical Society of America 77, no. 2 (February 1985): 764. http://dx.doi.org/10.1121/1.392353.

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Barron, Michael, and Timothy J. Foulkes. "Auditorium Acoustics and Architectural Design." Journal of the Acoustical Society of America 96, no. 1 (July 1994): 612. http://dx.doi.org/10.1121/1.410457.

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Pinnington, R. J., and C. B. Nathanail. "Modelling auditorium acoustics with light." Applied Acoustics 40, no. 1 (1993): 21–46. http://dx.doi.org/10.1016/0003-682x(93)90019-3.

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Maishan, Kabiru, and Asst Prof Dr Halil Zafer Alibaba. "Auditorium Acoustics From Past to Present." International Journal of Engineering Research and Applications 07, no. 01 (January 2017): 15–23. http://dx.doi.org/10.9790/9622-0701011523.

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Dissertations / Theses on the topic "Auditorium Acoustics"

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Bassett, John. "Assessing the Spatial Diffusivity of Sound Fields in Rooms using Ambisonic Techniques." Thesis, The University of Sydney, 2012. http://hdl.handle.net/2123/8255.

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This thesis explores the means of objectively measuring diffuse sound fields contained within music performance auditoria. Although the diffuse field is considered to be an important component of the reverberant sound field there is currently no widely accepted method for its measurement. A review of methods shows that attempts to characterize the field may be divided into those methods that seek to directly measure the state of the field and those that indirectly indicate the existence of the state. The primary focus of this thesis is the application of Ambisonic techniques to capture the spatial aspects of the sound field. Initial work explores the rotation of a directional microphone in three measurement spaces. The results and modeling in idealised simulated sound fields indicate that the method may have some efficacy. The method is extended through the application of signal processing to the output of an Ambisonic microphone array. The method is tested firstly in a reverberation room that is modified progressively to produce a series of room states with incrementally increasing reverberation time. The extents of the measurement system were tested by measuring the degrees of diffusivity reached in a reverberation room. Diffusing panels were progressively added in the expectation the increases in diffusivity would be detected. The measurement was carried out in conjunction with standard absorption coefficient measurements outlined in Appendix A of ISO 354. Comparison was made between the measured field and the standard method for achieving a diffuse field in a reverberation room test facility. The final stage attempts to find correlation between physical measures of diffuse fields and listener’s subjective assessment of those fields. To that end a paired comparison test was conducted where listeners were presented music samples rendered through simulated halls where the scattering coefficients and consequently the sound field diffusivity was varied. Subjects were asked to choose which pair they preferred.
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Dammerud, Jens Jørgen. "Stage acoustics for symphony orchestras in concert halls." Thesis, University of Bath, 2009. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.518296.

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Legoh, Finarya. "An investigation into auditorium design using 1:50 physical scale modelling and computer modelling." Thesis, University of Salford, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.238916.

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Nguyen, Andy. "Sensing Sound And Space:Auditory And Visual Spatial ImpressionIn Three Auditoria." Thesis, The University of Sydney, 2005. http://hdl.handle.net/2123/697.

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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.
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Yilmaz, Tansu. "Acoustical Analysis Of A Multipurpose Hall By Computer Simulation Method: Metu Northern Cyprus Campus Auditorium (ncca) As A Case Study." Master's thesis, METU, 2005. http://etd.lib.metu.edu.tr/upload/12605957/index.pdf.

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In this study, impulse response of a multipurpose hall, namely METU Northern Cyprus Campus Auditorium (NCCA) is analyzed and the acoustical quality of the auditorium is evaluated. Suggestions to increase the acoustical satisfaction has been made and to overcome the probability of bass-rise caused by the noise of HVAC systems, a proposal has been made to control low frequency sounds by introducing the volume resonators for the specified frequency. For the study, Odeon, which is used effectively in computer based acoustical simulation studies, is used for the analysis part. In the analysis, a 3D drawing of the hall has been produced by the help of the exact dimensions derived from the original submission of the project by the permission of the authorities.
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Nguyen, Andy. "Sensing Sound And Space:Auditory And Visual Spatial ImpressionIn Three Auditoria." University of Sydney. Architecture, Design Science and Planning, 2005. http://hdl.handle.net/2123/697.

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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.
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Zhang, Yan. "A method to predict reverberation time in concert hall preliminary design stage." Diss., Available online, Georgia Institute of Technology, 2005, 2005. http://etd.gatech.edu/theses/available/etd-09262005-085624/.

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Thesis (Ph. D.)--Architecture, Georgia Institute of Technology, 2006.
Brani Vidakovic, Committee Member ; Larry Kirkegaard, Committee Member ; Yves Berthelot, Committee Member ; Ruchi Choudhary, Committee Member ; Ning Xiang, Committee Member ; Godfried, Augenbroe, Committee Chair. Vita. Includes bibliographical references.
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Wong, Lawdy Siu Shan. "Auditorium acoustic modelling on chaotic realisation." Thesis, Oxford Brookes University, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.394625.

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Davies, W. J. "The effects of seating on the acoustics of auditoria." Thesis, University of Salford, 1992. http://usir.salford.ac.uk/14799/.

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The two main attributes of seating in auditoria have been investigated. Tle first is random incidence absorption. The second is the low-frequency selective attenuation which seating can impart to sound travelling over it at grazing incidence: the so-called "seat dip" effect. It was found that there was a need for a more accurate laboratory measurement method to predict auditorium seat absorption. The traditional method tended to overpredict the absorption of the exposed front and sides of seating blocks. A new method was studied which involves the use of barriers to obtain realistic measurements of front and side absorption. The new method was validated by comparing measurements of seats made in a reverberation chamber with in-situ absorption data for the same seats, calculated from reverberation time measurements in ten auditoria with and without the seats present. The accuracy of the new method was found to be satisfactory in all cases, although a severe lack of diffusion in two of the halls hindered the validation process. The important physical factors affecting seat dip attenuation were investigated by measurements in a concert hall and on scale model seats. A scheme for reducing the attenuation with resonant absorbers was evaluated, and a simple theoretical model developed. 'Ibe subjective significance of the effect was established with a panel of ten subjects and a fully simulated auditorium sound field. The absolute threshold of perception of the seat dip effect was found to be 7.1 ± 0.6 dB attenuation in the 200 Hz octave band of the early field. It was found that seat dip attenuation might be made less audible in a hall by: (i) supplying early energy along paths remote from the seating, (ii) increasing the vertical angle of incidence of the direct sound and (iii) installing resonant absorbers in the floor between seat rows.
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Nguyen, Andy. "Sensing sound and space auditory and visual spatial impression in three auditoria /." Connect to full text, 2005. http://hdl.handle.net/2123/697.

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Thesis (M. Phil. (Arch.))--University of Sydney, 2005.
Title from title screen (viewed 27 May 2008). Submitted in fulfilment of the requirements for the degree of Master of Philosophy (Architecture) to the School of Architecture, Design Science and Planning, Faculty of Architecture. Includes bibliographical references. Also available in print form.
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Books on the topic "Auditorium Acoustics"

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Auditorium acoustics and architectural design. London: E & FN Spon, 1993.

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Auditorium acoustics and architectural design. 2nd ed. London: Taylor & Francis, 2010.

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Fuchs, Guillermo L. El auditorium como instrumento musical integrador. Córdoba, R.A: Facultad de Arquitectura y Urbanismo, Universidad Nacional de Córdoba, 1989.

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Subagio. Acoustic absorption of auditorium seating. Salford: University of Salford, 1986.

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Makrinenko, L. I. Acoustics of auditoriums in public buildings. Woodbury, NY: Published for the Acoustical Society of America through the American Institute of Physics, 1994.

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Wong, Lawdy Siu Shan. Auditorium acoustic modelling based on chaotic realisation. Oxford: Oxford Brookes University, 1999.

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Duncan, Templeton, ed. The architecture of sound: Designing places of assembly. London: Architectural Press, 1986.

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Davies, William Jonathan. The effects of seating on the acoustics of auditoria. Salford: University of Salford, 1992.

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Legoh, Finarya. Acoustic design and scale model testing of a multi-purpose auditorium. Salford: University of Salford, 1988.

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Forsyth, Michael. Auditoria: Designing for the performing arts. New York: Van Nostrand Reinhold, 1987.

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Book chapters on the topic "Auditorium Acoustics"

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Toyota, Yasuhisa, Motoo Komoda, Daniel Beckmann, Marc Quiquerez, and Erik Bergal. "Auditorium Giovanni Arvedi." In Concert Halls by Nagata Acoustics, 141–46. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-42450-3_18.

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Toyota, Yasuhisa, Motoo Komoda, Daniel Beckmann, Marc Quiquerez, and Erik Bergal. "Charles Bronfman Auditorium." In Concert Halls by Nagata Acoustics, 131–40. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-42450-3_17.

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Toyota, Yasuhisa, Motoo Komoda, Daniel Beckmann, Marc Quiquerez, and Erik Bergal. "Auditorium, Fondation Louis Vuitton." In Concert Halls by Nagata Acoustics, 167–75. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-42450-3_21.

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Adelman-Larsen, Niels Werner. "Auditorium Acoustics: Terms, Language, and Concepts." In Rock and Pop Venues, 25–34. Berlin, Heidelberg: Springer Berlin Heidelberg, 2014. http://dx.doi.org/10.1007/978-3-642-45236-9_2.

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Adelman-Larsen, Niels Werner. "Auditorium Acoustics: Terms, Language, and Concepts." In Rock and Pop Venues, 27–36. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-62320-3_2.

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Braden, C., B. Hayes, R. Averbach, and V. Ranatunga. "Identification and Enhancement of On-stage Acoustics in a Multipurpose Auditorium." In Experimental and Applied Mechanics, Volume 6, 865–66. New York, NY: Springer New York, 2011. http://dx.doi.org/10.1007/978-1-4419-9792-0_119.

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Braden, C., B. Hayes, R. Averbach, and V. Ranatunga. "Identification and Enhancement of On-stage Acoustics in a Multipurpose Auditorium." In Experimental and Applied Mechanics, Volume 6, 517–27. New York, NY: Springer New York, 2011. http://dx.doi.org/10.1007/978-1-4419-9792-0_77.

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Morris, Gareth, Mark Browne, Kirsti Murahidy, and Mike Jacka. "Christchurch Town Hall Complex: Post-Earthquake Ground Improvement, Structural Repair, and Seismic Retrofit." In Case Studies on Conservation and Seismic Strengthening/Retrofitting of Existing Structures, 145–72. Zurich, Switzerland: International Association for Bridge and Structural Engineering (IABSE), 2020. http://dx.doi.org/10.2749/cs002.145.

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<p>The Christchurch Town Hall (CTH) complex contains six reinforced concrete buildings constructed circa 1970 in Christchurch, New Zealand (NZ). The complex is used for performing arts and entertainment, with an Auditorium that is internationally recognized for its acoustics. It is listed as a Grade-1 heritage building due to its cultural and historical significance. Unfortunately, the CTH foundation system was not originally designed to accommodate liquefaction-induced differential settlement and lateral spreading effects, as highlighted by the 2010–2011 Canterbury earthquake sequence. Although the most extreme ground motions exceeded the NZS 1170.5 code-defined 1/2500 year earthquake loads, the CTH structures performed remarkably well for a design that pre-dated modern seismic codes. Most of the observed structural damage was a result of the differential ground deformations, rather than in response to inertial forces. The post-earthquake observations and signs of distress are presented herein. The primary focus of this paper is to describe two major features of the seismic retrofit project (initiated in 2013) which were required to upgrade the CTH complex to meet 100% of current NZS 1170.5 seismic loadings. Firstly, the upgrade required extensive ground improvement and a new reinforce concrete mat slab to mitigate the impacts future ground deformations. Soil stabilization was provided by a cellular arrangement of jet-grout columns, a relatively new technique to NZ at the time. The new mat slab (typically 600-900 mm) was constructed over the stabilized soils. Secondly, upgrading the superstructure had many constraints that were overcome via a performance-based design approach, using non-linear time-history analysis. Recognizing the heritage significance, the superstructure “resurrection” as a modern building was hidden within the original skin minimized disruption of heritage fabric. Retrofit solutions were targeted, which also minimized the overall works. The 2015–2019 construction phase is briefly discussed within, including jet-grout procedures and sequencing considerations.</p>
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Hayes, B., C. Braden, R. Averbach, and V. Ranatunga. "Objective Determination of Acoustic Quality in a Multipurpose Auditorium." In Experimental and Applied Mechanics, Volume 6, 501–15. New York, NY: Springer New York, 2011. http://dx.doi.org/10.1007/978-1-4419-9792-0_76.

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Dodd, G. "Active or Passive Acoustics for Auditoria? — A Preliminary Survey." In 1989 2nd European Conference on Architecture, 227–29. Dordrecht: Springer Netherlands, 1990. http://dx.doi.org/10.1007/978-94-017-0556-1_67.

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Conference papers on the topic "Auditorium Acoustics"

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Alam, Shah Faaiz, Yasser Rafat, and Husayn Bilgrami. "Acoustical analysis of Aligarh Muslim University’s central auditorium." In 22nd International Congress on Acoustics: Acoustics for the 21st Century. Acoustical Society of America, 2016. http://dx.doi.org/10.1121/2.0000438.

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Monica, Monica, Ika Yuni, and Fivanda Fivanda. "The Implementation of the Indonesian Adiwarna Design Concept Towards the Acoustics of Auditorium Tanah Airku Theater TMII Jakarta." In International Conference on Economics, Business, Social, and Humanities (ICEBSH 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210805.189.

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Van der Harten, Arthur, Timothy Gulsrud, Larry Kirkegaard, and Andy Kiel. "A Multi-faceted Study of Sound Diffusing Elements in an Auditorium." In 161st Meeting Acoustical Society of America. Acoustical Society of America, 2011. http://dx.doi.org/10.1121/1.3633211.

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Cairoli, Maria, and Francesca Merli. "From the architectural acoustic design to measurements: The Auditorium Arvedi case study." In TECHNOLOGIES AND MATERIALS FOR RENEWABLE ENERGY, ENVIRONMENT AND SUSTAINABILITY: TMREES20. AIP Publishing, 2020. http://dx.doi.org/10.1063/5.0032655.

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Filipe Renan Benicio da Silva, Nelson José Moreira Henriques, Gustavo da Silva Vieira de Melo, Wagner de Sousa Santos, Marcell Landry Negrão Gomes, and Ivan Victor Corrêa Picanço. "EVALUATION OF ACOUSTIC PARAMETERS OF INTELLIGIBILITY ON AN UNIVERSITY AUDITORIUM TO IMPROVEMENT." In 23rd ABCM International Congress of Mechanical Engineering. Rio de Janeiro, Brazil: ABCM Brazilian Society of Mechanical Sciences and Engineering, 2015. http://dx.doi.org/10.20906/cps/cob-2015-1731.

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Accolti, Ernesto, Yésica Alamino Naranjo, Alción Alonso Frank, Ernesto Kuchen, and Bruno Arballo. "The acoustics of the concert hall Auditorio Juan Victoria from San Juan, Argentina." In 22nd International Congress on Acoustics: Acoustics for the 21st Century. Acoustical Society of America, 2016. http://dx.doi.org/10.1121/2.0000327.

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Mahalingam, Ganapathy. "Generating the spatial forms of auditoriums based on distributed sentience." In 175th Meeting of the Acoustical Society of America. Acoustical Society of America, 2017. http://dx.doi.org/10.1121/2.0000966.

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Indira, Eddy Supriyatna Marizar, and Maria Florencia. "Implementation of Acoustic Materials in The Auditorium of Daya Indonesia Performing Arts Academy (DIPAA) Music Institute." In The 2nd Tarumanagara International Conference on the Applications of Social Sciences and Humanities (TICASH 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201209.053.

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Del Cerro, Emiliano, and Silvia M. Ortiz. "Study of the acoustic of Jean Nouvel `s Auditorium 400, at the Museum Reina Sofia in Madrid." In ICA 2013 Montreal. ASA, 2013. http://dx.doi.org/10.1121/1.4798971.

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Ziaran, Stanislav, Milos Musil, and Ondrej Chlebo. "Determination of the Bearing Quality by Means of Vibroacoustic Response." In ASME 2015 Noise Control and Acoustics Division Conference at InterNoise 2015. American Society of Mechanical Engineers, 2015. http://dx.doi.org/10.1115/ncad2015-5910.

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A signal of mechanical and acoustical vibration generated during a bearing’s quality testing contains variety of useful information about their operational conditions. At defined testing speeds, the bearings generate a periodical and a non-periodical vibroacoustic signal of different intensities, which are dependent on the quality of bearings and/or their damage type. A dynamical response of the tested bearings recorded in time characterizes also the nature of the unwanted noise of bearings. Therefore the dynamical response of the maximum acceleration recorded in time is one of the major criteria of bearing quality evaluation in terms of noisiness. The second criterion is a determination of statistically significant frequency interval for the equivalent acceleration value expressed in decibels. Consequently, from the effective acceleration value, the bearing quality can be determined in terms of its vibration severity, as well as its noise level. This objective methodology substitutes the evaluation bearing quality by means of measurement of the vibration acceleration on the given test device and simultaneously evaluation of the noise quality and its intensity auditorily. Verifying the proposed methodology 100 % conformity was achieved between the methodology currently used and the new methodology, which eliminates the subjective quality evaluation of bearings auditorily.
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