Статті в журналах: "Architecture and Sound"

1

Tamariska ; Roni Sugiarto, Livie. "THE DYNAMICS OF SOUNDSCAPE CONNECTION WITH ARCHITECTURAL ELEMENTS ON TERAS CIKAPUNDUNG BANDUNG." Riset Arsitektur (RISA) 2, no. 03 (July 5, 2018): 249–63. http://dx.doi.org/10.26593/risa.v2i03.2945.249-263.

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Abstract- In architecture of public space, the experience of place plays an important role in the making of the good quality of public spaces. The experience of the space is multi-sensory, so architecture should emphasize its attention also on the architectural space approach through auditory experience. The study was conducted to determine the dynamics connection of soundscape experience and Terrace Cikapundung architecture.The research method is qualitative and descriptive analysis. Quantitative measurements are made to complement the qualitative data. The analysis is done through questionnaire distribution, field observation, analysis, and by relating it with the study of theories about public space architecture, soundscape, sacred sounds, sense of place, intention of architecture, and perception theory.In Terrace Cikapundung are found quite a lot of natural sounds, which are considered as sounds that improve the quality of the people spatial experience. The natural sounds that are found there are the sound of birds, wind, and water flow. While the dominant voice heard is the sound of motor vehicle, which is considered as disturbing sound for the audiences in particular “man-made zone” (zone that borders the highway). This indicates that there are some architectural elements that have not been able to work optimally, especially the design of bordering element between the site with the main sound source (Jalan Siliwangi). Furthermore, the concave physical topology and the zonation of “man-made zone” and “natural zone” is well designed, based on the variety characterictic of function, location, and order of architectural elements, that will give us the study and example of spatial making and good experience of place.Through design that concern in the multi-sensory aspects of experience, especially in auditory experience, the experience of space can be felt thoroughly and the quality of a public space can be increased. Key Words: soundscape, architectural element, open public space

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2

Tamariska ; Roni Sugiarto, Livie. "THE DYNAMICS OF SOUNDSCAPE CONNECTION WITH ARCHITECTURAL ELEMENTS ON TERAS CIKAPUNDUNG BANDUNG." Riset Arsitektur (RISA) 2, no. 03 (July 5, 2018): 248–63. http://dx.doi.org/10.26593/risa.v2i03.2945.248-263.

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Abstract- In architecture of public space, the experience of place plays an important role in the making of the good quality of public spaces. The experience of the space is multi-sensory, so architecture should emphasize its attention also on the architectural space approach through auditory experience. The study was conducted to determine the dynamics connection of soundscape experience and Terrace Cikapundung architecture.The research method is qualitative and descriptive analysis. Quantitative measurements are made to complement the qualitative data. The analysis is done through questionnaire distribution, field observation, analysis, and by relating it with the study of theories about public space architecture, soundscape, sacred sounds, sense of place, intention of architecture, and perception theory.In Terrace Cikapundung are found quite a lot of natural sounds, which are considered as sounds that improve the quality of the people spatial experience. The natural sounds that are found there are the sound of birds, wind, and water flow. While the dominant voice heard is the sound of motor vehicle, which is considered as disturbing sound for the audiences in particular “man-made zone” (zone that borders the highway). This indicates that there are some architectural elements that have not been able to work optimally, especially the design of bordering element between the site with the main sound source (Jalan Siliwangi). Furthermore, the concave physical topology and the zonation of “man-made zone” and “natural zone” is well designed, based on the variety characterictic of function, location, and order of architectural elements, that will give us the study and example of spatial making and good experience of place. Through design that concern in the multi-sensory aspects of experience, especially in auditory experience, the experience of space can be felt thoroughly and the quality of a public space can be increased. Key Words: soundscape, architectural element, open public space

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3

Maeseneer, Martine De. "Make Architecture Sound." Assemblage, no. 41 (April 2000): 23. http://dx.doi.org/10.2307/3171283.

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4

Wheatley, John. "THE SOUND OF ARCHITECTURE." Tempo 61, no. 242 (October 2007): 11–19. http://dx.doi.org/10.1017/s0040298200000267.

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There is a widespread perception that music and architecture are profoundly dissimilar, far removed from each other in the creative spectrum. While music is regarded as ephemeral, transient, involving vibration, pitch and time – you hear it, you feel it, its beauty is assigned to your memory – the general response to architecture is fundamentally different. Those homogeneous, concrete volumes and solid, three-dimensional forms are thought to occupy a permanent, static and unyielding part of our environment, a constant reminder of its unique presence in time, unrelated to any other art-form. Architecture just does not float away into space like music – as some might fervently wish! But music and architecture cannot possibly exist independently in hermetically sealed compartments – they are inexorably bonded together by their very nature and by the cultural history that surrounds them.

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5

Wheatley, John. "THE SOUND OF ARCHITECTURE." Tempo 61, no. 242 (October 2007): 11–19. http://dx.doi.org/10.1017/s0040298207000265.

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There is a widespread perception that music and architecture are profoundly dissimilar, far removed from each other in the creative spectrum. While music is regarded as ephemeral, transient, involving vibration, pitch and time – you hear it, you feel it, its beauty is assigned to your memory – the general response to architecture is fundamentally different. Those homogeneous, concrete volumes and solid, three-dimensional forms are thought to occupy a permanent, static and unyielding part of our environment, a constant reminder of its unique presence in time, unrelated to any other art-form. Architecture just does not float away into space like music – as some might fervently wish! But music and architecture cannot possibly exist independently in hermetically sealed compartments – they are inexorably bonded together by their very nature and by the cultural history that surrounds them.

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6

Jablonska, Joanna, Elzbieta Trocka-Leszczynska, and Romuald Tarczewski. "Sound and Architecture – Mutual Influence." Energy Procedia 78 (November 2015): 31–36. http://dx.doi.org/10.1016/j.egypro.2015.11.110.

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7

da Silva, Bruno, Laurent Segers, An Braeken, Kris Steenhaut, and Abdellah Touhafi. "Design Exploration and Performance Strategies towards Power-Efficient FPGA-Based Architectures for Sound Source Localization." Journal of Sensors 2019 (September 15, 2019): 1–27. http://dx.doi.org/10.1155/2019/5761235.

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Many applications rely on MEMS microphone arrays for locating sound sources prior to their execution. Those applications not only are executed under real-time constraints but also are often embedded on low-power devices. These environments become challenging when increasing the number of microphones or requiring dynamic responses. Field-Programmable Gate Arrays (FPGAs) are usually chosen due to their flexibility and computational power. This work intends to guide the design of reconfigurable acoustic beamforming architectures, which are not only able to accurately determine the sound Direction-Of-Arrival (DoA) but also capable to satisfy the most demanding applications in terms of power efficiency. Design considerations of the required operations performing the sound location are discussed and analysed in order to facilitate the elaboration of reconfigurable acoustic beamforming architectures. Performance strategies are proposed and evaluated based on the characteristics of the presented architecture. This power-efficient architecture is compared to a different architecture prioritizing performance in order to reveal the unavoidable design trade-offs.

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8

Kłopotowska, Agnieszka. "Architecture and sounds the interdisciplinary research on the use of audio signals in the cognition and design of architectural space." Budownictwo i Architektura 18, no. 2 (December 27, 2019): 111–19. http://dx.doi.org/10.35784/bud-arch.566.

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In the contemporary world of image, the basic attribute of architecture is its visuality. Architectural spaces are designed primarily to be viewed by the public or the "eyes" of cameras. The design for the sense of sight only impoverishes the quality of human contact with architecture. The art of shaping space should involve all perception channels. One of the most important senses, allowing to feel the created space, to get to know it and live in it, is hearing. The sonic image of architectural space not only accompanies the visual image, but also significantly defines the quality of existential and aesthetic experiences. The architect's task should be to skilfully use acoustic signals as an integral part of the design process. This belief has inspired a multidisciplinary project entitled: "Sounds of architecture", devoted to the study of the phenomenon of sound and its significance in the perception and use of the architectural environment by people. This project was carried out under the guidance of the author in 2014-2015 with the involvement of representatives of various disciplines of science and art. The result of interdisciplinary research was the monograph "Sounds of Architecture", published in 2016.

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9

Rancier, Megan. "Music, Sound, and Architecture in Islam." Ethnomusicology 65, no. 3 (October 1, 2021): 614–17. http://dx.doi.org/10.5406/ethnomusicology.65.3.0614.

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10

Fa, Stefan Williamson. "Music, sound, and architecture in Islam." Ethnomusicology Forum 28, no. 3 (September 2, 2019): 384–87. http://dx.doi.org/10.1080/17411912.2019.1700817.

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11

Barlow, Melinda. "The Architecture of Image and Sound." Art Journal 54, no. 4 (December 1995): 53–57. http://dx.doi.org/10.1080/00043249.1995.10791720.

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12

Marchai, Théo, and Nicolas Rémy. "Esquis’Sons! Sketching architecture by listening." SHS Web of Conferences 64 (2019): 01006. http://dx.doi.org/10.1051/shsconf/20196401006.

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The Esquis’Sons! application can be used to envision sound atmospheres and prior to designing spaces. The Esquis’Sons application is a compiled module written in the MAX/MSP musical and visual programming language which generates stereophonic sound tracks in relation to geometric parameters extracted from the CAD software Rhinoceros 3D and its plugin Grasshopper. Rhinoceros and Esquis’Sons communicate and sound is played in real time depending on the listening point chosen by the designer and on the architectural scene created. This paper compiles several training periods during which Esquis’Sons has been used in workshop exercises. It also offers material for an architectural study in the rehabilitation of a district. The paper shows that the Esquis’Sons app is a pedagogical tool for designers of space and brings to light several dimensions that are hidden most of the time in the architectural design process: the distance of creation is discussed through the sound immersion offered by Esquis’Sons app. Scales of the architectural project are jostled by the fuzzy limits of sound phenomena and time brings layers of complexity and sensibility in global design.

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13

Tappero, Fabrizio, Rosa Alsina-Pagès, Leticia Duboc, and Francesc Alías. "Leveraging Urban Sounds: A Commodity Multi-Microphone Hardware Approach for Sound Recognition." Proceedings 4, no. 1 (March 8, 2019): 55. http://dx.doi.org/10.3390/ecsa-5-05756.

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City noise and sound are measured and processed with the purpose of drawing appropriate government legislation and regulations, ultimately aimed at contributing to a healthier environment for humans. The primary use of urban noise analysis is carried out with the main purpose of reporting or denouncing, to the appropriate authorities, a misconduct or correct a misuse of council resources. We believe that urban sounds carry more information than what it is extracted to date. In this paper we present a cloud-based urban sound analysis system for the capturing, processing and trading of urban sound-based information. By leveraging modern artificial intelligence algorithms running on a FOG computing city infrastructure, we will show how the presented solution can offer a valuable solution for exploiting urban sound information. A specific focus is given to the hardware implementation of the sound sensor and its multimicrophone architecture. We discuss how the presented architecture is designed to allow the trading of sound information between independent parties, transparently, using cloud-based sound processing APIs running on an inexpensive consumer-grade microphone.

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14

Borucka, Justyna. "Sound art and Architecture: New Horizons for Architecture and Urbanism." Procedia - Social and Behavioral Sciences 174 (February 2015): 3903–8. http://dx.doi.org/10.1016/j.sbspro.2015.01.1131.

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15

Mayow, Nicholas. "Architect of light and sound: interview with Juha Leiviskä." Architectural Research Quarterly 12, no. 2 (June 2008): 113–23. http://dx.doi.org/10.1017/s1359135508001000.

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Juha Leiviskä, winner of the 2008 Antonio Feltrinelli International Prize for Architecture and Town planning, is widely recognised as Finland's leading architect. From the beginning of his career, his work has remained outside the mainstream of modern architecture, and it was already apparent in his competition entries in the 1960s that he was creating a characteristic language of form based on his own architectural values and experiences, and operating in a subtle interaction with the surroundings. Simo Paavilainen spoke to Juha Leiviskä at his home in Helsinki in spring 2004, and the interview appears here for the first time in translation.

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16

Yu, Boya, Linjie Wen, Jie Bai, and Yuying Chai. "Effect of Road and Railway Sound on Psychological and Physiological Responses in an Office Environment." Buildings 12, no. 1 (December 22, 2021): 6. http://dx.doi.org/10.3390/buildings12010006.

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The present study aims to explore the psychophysiological impact of different traffic sounds in office spaces. In this experiment, 30 subjects were recruited and exposed to different traffic sounds in a virtual reality (VR) office scene. The road traffic sound and three railway sounds (conventional train, high-speed train, and tram) with three sound levels (45, 55, and 65 dB) were used as the acoustic stimuli. Physiological responses, electrodermal activity (EDA) and heart rate (HR) were monitored throughout the experiment. Psychological evaluations under each acoustic stimulus were also measured using scales within the VR system. The results showed that both the psychological and the physiological responses were significantly affected by the traffic sounds. As for psychological responses, considerable adverse effects of traffic sounds were observed, which constantly increased with the increase in the sound level. The peak sound level was found to have a better performance than the equivalent sound level in the assessment of the psychological impact of traffic sounds. As for the physiological responses, significant effects of both the acoustic factors (sound type and sound level) and the non-acoustic factors (gender and exposure time) were observed. The relationship between sound level and physiological parameters varied among different sound groups. The variation in sound level hardly affected the participants’ HR and EDA when exposed to the conventional train and tram sounds. In contrast, HR and EDA were significantly affected by the levels of road traffic sound and high-speed train sound. Through a correlation analysis, a relatively weak correlation between the psychological evaluations and HR was found.

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17

Barbar, Steve. "Electronic Architecture—Solutions for archetypal coupled spaces." Journal of the Acoustical Society of America 152, no. 4 (October 2022): A149. http://dx.doi.org/10.1121/10.0015850.

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We will discuss solutions for the most common coupled spaces in performing arts facilities—Balconies and Stages. While there are exceptions, seats in balcony and under balcony spaces sometimes have less than ideal listening conditions. For electronic and close miked sources, supplemental sound reinforcement can help to provide expected perception of the direct sound. However, perceived acoustical conditions do not match that of the main volume; the sense of engagement is compromised. Electronic Architecture incorporated in these spaces can dramatically improve listening uniformity. Additionally, the loudspeaker array can be used for supplemental sound reinforcement including film surround sound. Many multi-purpose performing arts venues do not have resources to procure, deploy, strike, or store an architectural stage shell system. A virtual shell is far more cost effective, requires less time and manpower to set up or strike, and requires far less storage space. In addition, it provides far greater acoustic variability—accommodating a wider range of performances.

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18

Yildirim, Yalcin, and Mahyar Arefi. "Sense of Place and Sound: Revisiting from Multidisciplinary Outlook." Sustainability 14, no. 18 (September 14, 2022): 11508. http://dx.doi.org/10.3390/su141811508.

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This study revisits the sense of place and sound nexus in the literature. Along with that, it seeks to explore the approaches that influential urban theorists, landscape architects, and planners have recommended. How these concepts converge within the allied disciplines of urban planning, urban design, geography, and landscape architecture remains at the forefront of this investigation. This research proposes a conceptual framework by identifying sounds in three key categories—auditory experience, sound, and silence—to address the gap between sound and urban studies. The study reveals decisive patterns in urban studies’ interface between the sense of place and the sound context.

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19

Darò, Carlotta. "Sound Conduits: Displaying the Architecture of Telecommunications." gta papers, no. 1 (August 15, 2017): 110–23. http://dx.doi.org/10.54872/gta-4395-10.

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20

Srećković, Biljana. "Architecture and music/sound: Points of meeting, networking, interactions." SAJ - Serbian Architectural Journal 6, no. 1 (2014): 75–88. http://dx.doi.org/10.5937/saj1401075s.

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This paper is devoted to perceiving the relationship between music and architecture, namely, the discourses which interpret, research, value these two practices in the context of their mutual networking. In that respect it is possible to set aside several problem strongholds which will make the focus of this paper, and which concern: the history of forming and evolution of discourse on the inter-relationship of these two practices; modernist, avant-garde and postmodernist problematization of music and architecture; theories of the artists as a field of music and architecture networking; the interaction of music and architecture on the technical and formal level; spatiality of sound, i.e., sound/music propagation in space and the emergence of the new art concepts based on this principle (sound architecture, aural architecture, sound art).

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21

Woolworth, David S. "Small music venues and amplified sound: High‐sound pressure levels and architecture." Journal of the Acoustical Society of America 127, no. 3 (March 2010): 1932. http://dx.doi.org/10.1121/1.3384853.

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22

Cressmann, Darryl. "Acoustic architecture before science. The case of Amsterdam's Concertgebouw." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 5, no. 1 (March 9, 2016): 10–23. http://dx.doi.org/10.7146/se.v5i1.23304.

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Concert halls are designed for attentively listening to music. To guarantee that the listening experience mediated by these buildings is acoustically correct, architects rely upon math- ematical formulas to measure and predict how a building will sound. Armed with these formulas, they are able to experiment with unconventional concert hall designs without compromising the acoustics. The achievements of modern architectural acoustics are a valorisa- tion of the mathematical formulas used to predict acoustics. Indeed, the development of a predictive theory of architectural acoustics by Wallace Sabine in 1900 has been celebrated as the beginning of a new era of understanding sound and acoustic design. However, overlooked in this scientific triumphalism are the aesthetic standards that shape the acoustic design of buildings for music. Sabine’s formula transformed our understanding of how music behaves in an enclosed space, but it did not change our understanding of how music should sound in these spaces. In this paper I explore these points through a history of the acoustic design of Amsterdam’s Concertgebouw, which opened in 1888. Through an examination of the history of the acoustic design of the Concertgebouw, I describe the process of acoustic design prior to Sabine as a process of aural imitation. With this concept I reconceptualise the history of acoustic architecture to better recognise, first, how Sabine’s theory is simply a more effective form of aural imitation, and second, how the quantification of sound has led to a subjective idea of good sound becoming fixed as an objective measure of what good sound should be.

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23

She, Chen-Jun, and Xie-Feng Cheng. "Design framework of hybrid ensemble identification network and its application in heart sound analysis." AIP Advances 12, no. 4 (April 1, 2022): 045117. http://dx.doi.org/10.1063/5.0083764.

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Mixed heart sounds include heart sounds in a state of resting and motion. The analysis of heart sound signals in a state of motion is a difficult problem. (1) First, the mixed heart sound signal was collected by using the shoulder-strap-type heart sound acquisition device designed and made by our research group. The acquisition scheme and data preprocessing method were given, and the characteristics of heart sound signals in a state of motion were analyzed. (2) The design framework of the Hybrid Ensemble Identification Network (HEINet) is proposed, and the design requirements, architecture principles, and detailed design steps are discussed. The design process is simple, fast, and convenient. (3) In this paper, according to the design framework of HEINet, HEINet of the mixed heart sound signal is designed, and the recognition rate of the mixed heart sound signal in biometric authentication has reached 99.1%. Based on this design framework, HEINet of the heart sound signal for the Heart Sounds Catania 2011 heart sound database and HEINet of the electrocardiogram signal for Massachusetts Institute of Technology-Beth Israel Hospital arrhythmia database were designed, and the recognition rates both met the expected requirements. It shows that the design framework of HEINet has obvious universality.

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24

Nathaniel, Steve. "Virginia Woolf, Anechoic Architecture, and the Acoustic Hermeneutic." Novel 54, no. 1 (May 1, 2021): 1–18. http://dx.doi.org/10.1215/00295132-8868743.

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Abstract This article describes Virginia Woolf's preoccupation with acoustics and its relationship both to her writing process and to the development of sensibility that she narrativizes in The Waves. It situates Woolf's theoretical and fictional models of listening with respect to the rising science of architectural acoustics and to the social imperative to control sound in urban spaces. It argues that Woolf responds to the psychological and social exigencies of modern sound by integrating textual and architectural listening modes in an acoustic hermeneutic: a listening practice common to the objects of architecture and text, one that accommodates both scientific and aesthetic ends. The acoustic hermeneutic marks the convergence of oft-estranged listening practices—one that apprehends the silent materiality of the text as if it were an audible room and, conversely, one that apprehends architecture with the auditory imagination traditionally exerted toward literature. While the article explores Woolf's particular invocations of auditory science in her formal innovation, it also aims toward a widely applicable critical approach to the inaudibilities of the novel.

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25

Ismail, Mostafa Refat. "Soniferous Architecture." International Journal of Art, Culture and Design Technologies 4, no. 1 (January 2014): 42–62. http://dx.doi.org/10.4018/ijacdt.2014010104.

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“I call architecture frozen music” a quote by Johan Wolfgan von Goethe. It seems that his description of architecture will not be this much long lasting. Since many architectural structures now are considered soniferous. In an approach to rational the thinking of positive soundscape and move onwards in terms of systematic decision making, and creating tools for more creative planning techniques, this paper utilizes two methodologies in assessing soundscape impacts. One approach usually implemented in quality of manufacturing and product development, namely the Kano Model. The other approach deals with the case in the form of a wider scope which relates the design of the soundscape, and the effect of sound sculptures in objective terms. Due to the complexity of characterizing the soundscape, and its dependence on several of perceptual aspects and interventions, both models are mapped to form an evaluation tool for a specific sonic environment. It can be considered to be a complement along with previous frameworks that shed light on the emission of sound, and others on factors influencing the soundscape perception, or to be used as a tool for understanding and assessing individual responses and evaluation. In this case the importance of having a framework is to help evaluating the common effect of a successful intervention on the positive attributes of the soundscape.

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26

Karabašević, Anđela. "Atmospheric dimensions of architecture." SAJ - Serbian Architectural Journal 8, no. 2 (2016): 179–92. http://dx.doi.org/10.5937/saj1602179k.

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This paper proposes four methodological tools for investigating architectural atmospheres: objective experience, holistic measure, computational simulation and atmospheric visualization. These tools have emerged from a broader PhD research agenda based on the hypothesis that ephemeral effects of light, heat, sound, odor, carried on or in the air, present a scientific basis for precise construction of atmospheres in architecture. By describing my own atmospheric methodology over a series of individual case studies, I will argue that architectural atmospheres can be scientifically investigated and precisely constructed, and that atmospheric approach to architectural research and design offers new invaluable knowledge about the invisible aerial behaviors that determine basic human experience of space.

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27

Maganti, Smitha S., Sahana S, Kriti K, Shravanthi Madhugiri, and Priya S. "Smart Sound System Applied for the Extensive Care of People with Hearing Impairment." International Journal of Ambient Systems and Applications 10, no. 3 (September 30, 2022): 1–13. http://dx.doi.org/10.5121/ijasa.2022.10301.

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We, as normal people, have access to a potent communication tool, which is sound. Although we can continuously gather, analyse, and interpret sounds thanks to our sense of hearing, it can be challenging for people with hearing impairment to perceive their surroundings through sound. Also known as PWHI (People with Hearing Impairment). Auditory/phonic impairment is one of the most prevailing sensory deficits in humans at present. Fortunately, there is room to apply a solution to this issue, given the development of technology. Our project involves capturing ambient sounds from the user’s surroundings and notifying the user through a mobile application using IoT and Deep Learning. Its architecture offers sound recognition using a tool, such as a microphone, to capture sounds from the user's surroundings. These sounds are identified and categorized as ambient sounds, like a doorbell, baby cry, and dog barking; as well as emergency-related sounds, such as alarms, sirens, etc.

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28

Abul Baqi Mohammed, Ph D. Asmaa. "Sonic Architecture in Holy Quran." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 227, no. 1 (December 1, 2018): 83–202. http://dx.doi.org/10.36473/ujhss.v227i1.691.

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Communication process for human being languages is based on a repository of words that represent a set of meanings, while meanings are either originated from traditions which is the society heritage of practices and experiences or it might be mental meanings resulting from the logic of outcome and cause to convey the message or it might be perceptional meaning which is the fruit of sensation impact and utilizing awareness as the baseline; considering these different meanings a clear distinction between merely Listening process & Listening with awareness and because of this obvious difference I revisited some of the sonic linguistic indications in Holy Quran related to sound intense; where I classified these indications into three levels, first is low degree sounds ( low vocals such as whispered) while the second is the medium degree and third was given to the strong intensive sounds that exceed the human being ability to bear it such as "Sayha" and "Sakhah" – Judgment day Shout- and might cause death; Arabic language successfully proved its consistent structure verified through Holy Quran ability to use it to effectively with the various intellectual requirement for all mental areas and purposes.

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29

Van Truong, Hoang, Nguyen Chi Hieu, Pham Ngoc Giao, and Nguyen Xuan Phong. "Unsupervised Detection of Anomalous Sound for Machine Condition Monitoring using Fully Connected U-Net." Journal of ICT Research and Applications 15, no. 1 (June 29, 2021): 41–55. http://dx.doi.org/10.5614/itbj.ict.res.appl.2021.15.1.3.

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Anomaly detection in the sound from machines is an important task in machine monitoring. An autoencoder architecture based on the reconstruction error using a log-Mel spectrogram feature is a conventional approach for this domain. However, because of the non-stationary nature of some sounds from the target machine, such a conventional approach does not perform well in those circumstances. In this paper, we propose a novel approach regarding the choice of used features and a new auto-encoder architecture. We created the Mixed Feature, which is a mixture of different sound representations, and a new deep learning method called Fully-Connected U-Net, a form of autoencoder architecture. With experiments on the same dataset as the baseline system, using the same architecture for all types of machines, the experimental results showed that our methods outperformed the baseline system in terms of the AUC and pAUC evaluation metrics. The optimized model achieved 83.38% AUC and 64.51% pAUC on average overall machine types on the developed dataset and outperformed the published baseline by 13.43% AUC and 8.13% pAUC.

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30

Safinatunnajah, Fadhilah Gusti, Agi Prasetiadi, and Merlinda Wibowo. "CLASSIFICATION OF CAT SOUNDS USING CONVOLUTIONAL NEURAL NETWORK (CNN) AND LONG SHORT-TERM MEMORY (LSTM) METHODS." Jurnal Teknik Informatika (Jutif) 3, no. 5 (October 24, 2022): 1349–53. http://dx.doi.org/10.20884/1.jutif.2022.3.5.373.

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Cats become pets who are very close to humans, and they convey messages by producing identical sounds. Therefore, analysis of pet voices is important for a better relationship between cats and human. Animal communication through sound, especially in cats, depends on the situation or context in which the sound is made such as in a state of danger. Based on these problems, a classification method is needed to classify the similarity of characteristics in the resulting sound pattern. The classification methods used are Convolutional Neural Network (CNN) and Long Short-Term Memory (LSTM) which can remember information for a long time and are used for a long time period. This study aimed to determine feelings or moods based on the sound produced into 4 categories: The Purr, The Meow, The Mating Call, and The Howl. The result of this study is that the best architectural model is to use 4 CNN convolution layers measuring 8-8-8-8 and 2 LSTM layers measuring 8-8. The precision value in this architecture is 0.68, the recall value is 1.00, the accurary value is 0.5625 and the f1-score value is 0.77. The small value of the confusion matrix is caused by the lack of dataset duration in the training process, resulting in underfitting.

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31

Xiong, Xue Yu, and Zhao Yang Su. "Features and Current Damaged Situation of Hui-Style Architecture." Advanced Materials Research 838-841 (November 2013): 2905–9. http://dx.doi.org/10.4028/www.scientific.net/amr.838-841.2905.

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As the key element of Huizhou culture, Hui-style architecture is one of the masterpieces of Chinese ancient architectures. The Hui-style architecture was highly praised by architecture masters both at home and abroad because of its phenotypic features, such as black tiles, white wall, and horse-like wall; its decoration features, such as tile carving, wood carving, stone carving; and its living features, such as high house, deep well, large lobby. Since most of the Hui-style architectures were built long time ago, had not been repaired for many years, as well as influenced by different kinds of natural hazards, the Hui-style architectures were decayed, eaten by worms, or damaged by fire to different degree. Most of these architectures could not meet the living requirements nowadays with faint light, high humidity, poor sound insulation, badly cracks and corrosion of all kinds of wood components; and needed to be repaired and reinforced badly. Based on this situation, the author believes that the Hui-style architecture would be in its original appearance in front of the word in the near future if the scientific research and proper reinforcement measures were adopted for the reinforcement of the Hui-style architectures.

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Phua, Jacky, Julia Dewi, and Andreas Wibisono. "Urban Contemplative Architecture Design through Light and Sound." IOP Conference Series: Earth and Environmental Science 764, no. 1 (May 1, 2021): 012006. http://dx.doi.org/10.1088/1755-1315/764/1/012006.

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33

INOUE, Katsuo. "Evaluation of Sound and Vibration Environment in Architecture." Journal of the Society of Mechanical Engineers 117, no. 1145 (2014): 202–5. http://dx.doi.org/10.1299/jsmemag.117.1145_202.

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34

von Fischer, Sabine, and Olga Touloumi. "Sound modernities: histories of media and modern architecture." Journal of Architecture 23, no. 6 (August 18, 2018): 873–80. http://dx.doi.org/10.1080/13602365.2018.1504810.

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35

Phillips, Dennis P. "A perceptual architecture for sound lateralization in man." Hearing Research 238, no. 1-2 (April 2008): 124–32. http://dx.doi.org/10.1016/j.heares.2007.09.007.

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36

Lin, David H. "Sound processor architecture using single port memory unit." Journal of the Acoustical Society of America 127, no. 3 (2010): 1709. http://dx.doi.org/10.1121/1.3359249.

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37

Camurri, Antonio, Carlo Innocenti, Claudio Massucco, and Renato Zaccaria. "A software architecture for sound and music processing." Microprocessing and Microprogramming 35, no. 1-5 (September 1992): 625–32. http://dx.doi.org/10.1016/0165-6074(92)90378-k.

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38

Schultz, Theodore J. "The architecture of sound: Designing places of assembly." Applied Acoustics 22, no. 2 (1987): 155–59. http://dx.doi.org/10.1016/0003-682x(87)90093-4.

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39

LaBelle, Brandon. "Sharing Architecture: Space, Time and the Aesthetics of Pressure." Journal of Visual Culture 10, no. 2 (August 2011): 177–88. http://dx.doi.org/10.1177/1470412911402889.

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Exploring acoustic space, this article aims to supplement the practice of acoustic design by exposing other perspectives on sound’s relationship to space. Following Paul Carter’s notion of sonic ambiguity, the author contends that the idealized sonic image of acoustics eliminates the potentiality inherent to sound and listening as forces of relational intensity and differentiation. To draw out this tension, the article examines alternative forms of acoustics as appearing within the practice of sound art. Through eccentric and speculative design, sound art comes to demonstrate a vital addition to notions of acoustics; by creating heightened listening experiences that exceed the traditional concepts of fidelity, it cultivates forms of noise by integrating extreme volume and frequency, building fantastical architectures for their diffusion, and incorporating a dynamic understanding of psychoacoustics and perception. Through such elements, sound and space are brought together and deliver other forms of acoustical experience while hinting at potentialities for their application in environments outside the art situation. Works by such artists as Tao G. Vrhovec Sambolec and John Wynne provide a vibrant terrain for registering how sound comes to perform as spatial material.

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Giglio, Andrea, Karsten Neuwerk, Michael Haupt, Giovanni Maria Conti, and Ingrid Paoletti. "Textile-Based Sound Sensors (TSS): New Opportunities for Sound Monitoring in Smart Buildings." Textiles 2, no. 2 (May 19, 2022): 296–306. http://dx.doi.org/10.3390/textiles2020016.

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Persistent poor acoustic conditions can imbalance humans’ psychophysical capabilities. A good acoustic project starts with either correct measurements of the existing acoustic parameters or with the correct hypothesis of new sound conditions. International standards define invasive measurement conditions and procedures that can disturb user activities. For this reason, alternative methodologies have been developed by mounting real-time sound-monitoring devices. Most of the research on these aims to decrease their dimensions in order to be placed in the tight service spaces of modern architecture and to reduce their aesthetic impact on interiors design. In this perspective, this article explores the features and potentialities of textile-based sound sensors (TSS) as they can not only fulfill these needs but can also be used as architectural ornaments by partially wrapping interiors. The ubiquitous of e-textiles for wearable applications has led to increasing the performance of TSS. Therefore, a comparison of the sensitivity values, signal-to-noise ratio and noise floor of sound TSS with sound sensors is presented, which is still missing in the literature. The paper demonstrates how these can be exploited for sound monitoring and can provide valid opportunities for new smart acoustic textiles.

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Zabidi, Muhammad Munim, Kah Liang Wong, Usman Ullah Sheikh, Shahidatul Sadiah Abdul Manan, and Muhammad Afiq Nurudin Hamzah. "Bird Sound Detection with Binarized Neural Networks." ELEKTRIKA- Journal of Electrical Engineering 21, no. 1 (April 20, 2022): 48–53. http://dx.doi.org/10.11113/elektrika.v21n1.349.

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By analysing the behavioural patterns of bird species in a specific region, researchers can predict future changes in the ecosystem. Many birds can be identified by their sounds, and autonomous recording units (ARUs) can capture real-time bird vocalisations. The recordings are analysed to see if there are any bird sounds. The sound of a bird can be used for further analysis, such as determining its species. Bird sound detection using Deep Neural Networks (DNNs) has been shown to outperform traditional methods. DNNs, however, necessitate a lot of storage and processing power. The use of Binarized Neural Networks (BNNs) is one of the most recent approaches to overcoming this limitation. In this paper, a bird sound detection architecture based on the XNOR-Net variant of BNN is used. Performance analysis of XNOR-Net in terms of the number of hidden layers used was performed, and the configuration with the highest accuracy was built. The system was tested using Xeno-Canto and UrbanSound8K datasets to represent bird and non-bird sounds, respectively. We achieved 96.06 per cent training accuracy and 94.08 per cent validation accuracy. We believe that BNNs are an effective method for detecting bird sounds.

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42

Zabidi, Muhammad Munim, Kah Liang Wong, Usman Ullah Sheikh, Shahidatul Sadiah Abdul Manan, and Muhammad Afiq Nurudin Hamzah. "Bird Sound Detection with Binarized Neural Networks." ELEKTRIKA- Journal of Electrical Engineering 21, no. 1 (April 20, 2022): 48–53. http://dx.doi.org/10.11113/elektrika.v21n1.349.

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By analysing the behavioural patterns of bird species in a specific region, researchers can predict future changes in the ecosystem. Many birds can be identified by their sounds, and autonomous recording units (ARUs) can capture real-time bird vocalisations. The recordings are analysed to see if there are any bird sounds. The sound of a bird can be used for further analysis, such as determining its species. Bird sound detection using Deep Neural Networks (DNNs) has been shown to outperform traditional methods. DNNs, however, necessitate a lot of storage and processing power. The use of Binarized Neural Networks (BNNs) is one of the most recent approaches to overcoming this limitation. In this paper, a bird sound detection architecture based on the XNOR-Net variant of BNN is used. Performance analysis of XNOR-Net in terms of the number of hidden layers used was performed, and the configuration with the highest accuracy was built. The system was tested using Xeno-Canto and UrbanSound8K datasets to represent bird and non-bird sounds, respectively. We achieved 96.06 per cent training accuracy and 94.08 per cent validation accuracy. We believe that BNNs are an effective method for detecting bird sounds.

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43

Andreev, Alexander A., and Marina S. Shapovalova. "SOUND RESEARCH. NOISE REMOVAL." RSUH/RGGU Bulletin. Series Information Science. Information Security. Mathematics, no. 1 (2022): 35–45. http://dx.doi.org/10.28995/2686-679x-2022-1-35-45.

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The article presents algorithms for removing extraneous noise from an audio track. It considers the features of various types of noise that occur during sound recording. The article takes into account the features of the Conv-TasNet architecture, which is based on the imposition of convolutions on a pure signal without frequency separation. There is an analysis of the DEMUC algorithm, which directly generates sources from the original signal, bypassing the intermediate prediction of masks; the architecture for segmentation of images U-Net is partially borrowed. Also the authors consider the HiFi-GA noise reduction algorithm, consisting of three main parts: Wavenet, Postnet and GAN. A clean signal based on a noisy one is created with the WaveNet algorithm that was originally used to translate text information into speech. A feature of different versions of the WaveNet algorithm for noise reduction is that a new signal can be generated both in its entirety and for each time-point. The paper also presents a mathematical apparatus for implementing the ConvTasNet, DEMUC, and HiFi-GA algorithms, analyzes in detail noise reduction when recording sound, explores various noise reduction methods, and formulates the advantages and disadvantages of each of them.

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Zhou, Dongzhan, Xinchi Zhou, Di Hu, Hang Zhou, Lei Bai, Ziwei Liu, and Wanli Ouyang. "SepFusion: Finding Optimal Fusion Structures for Visual Sound Separation." Proceedings of the AAAI Conference on Artificial Intelligence 36, no. 3 (June 28, 2022): 3544–52. http://dx.doi.org/10.1609/aaai.v36i3.20266.

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Multiple modalities can provide rich semantic information; and exploiting such information will normally lead to better performance compared with the single-modality counterpart. However, it is not easy to devise an effective cross-modal fusion structure due to the variations of feature dimensions and semantics, especially when the inputs even come from different sensors, as in the field of audio-visual learning. In this work, we propose SepFusion, a novel framework that can smoothly produce optimal fusion structures for visual-sound separation. The framework is composed of two components, namely the model generator and the evaluator. To construct the generator, we devise a lightweight architecture space that can adapt to different input modalities. In this way, we can easily obtain audio-visual fusion structures according to our demands. For the evaluator, we adopt the idea of neural architecture search to select superior networks effectively. This automatic process can significantly save human efforts while achieving competitive performances. Moreover, since our SepFusion provides a series of strong models, we can utilize the model family for broader applications, such as further promoting performance via model assembly, or providing suitable architectures for the separation of certain instrument classes. These potential applications further enhance the competitiveness of our approach.

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45

Johnson ; Roni Sugiarto, Javier. "DYNAMICS CONNECTION OF SOUNDSCAPE WITH ARCHITECTURAL ELEMENTS CASE STUDY: THE SEVEN SORROWS OF VIRGIN SAINT MARY CHURCH." Riset Arsitektur (RISA) 3, no. 03 (July 5, 2019): 240–57. http://dx.doi.org/10.26593/risa.v3i03.3334.240-257.

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Abstract- Nowadays, spatial experience still plays important role in the making of the good quality of architectural spaces. The experience of the space is a multi-sensory experience, so architecture should emphasize its attention not only to visual experience but also other experience like auditory experience. The study was conducted to determine the dynamics connection of soundscape experience and The Seven Sorrows of Virgin Saint Mary Church, Pandu Street, Bandung.The research method is qualitative and descriptive analysis. The analysis is done through questionnaire distribution, field observation, analysis, and by relating it with the study of theories about church architecture, soundscape, sense of place, intention of architecture, and perception theory.In The Seven Sorrows Of Virgin Saint Mary Church are found quite a lot of source of noise which are considered as sounds that decline the quality of the people spatial experience. The noise sounds that are found there are the sound of airplane, motor vehicle, and many more. Those noises can disturb the praying activity. This indicates that there are some architectural elements that have not been able to work optimally. It can be the material, activity settings, building and site shape or character. Furthermore, relation between activity schedule and noises climax will be analized.Through design that concern in the multi-sensory aspects of experience, especially in auditory experience, the experience of space can be felt thoroughly and the quality of a public space can be increased. Key Words: Soundscape, Architectural Elements, Church, The Seven Sorrows of Virgin Saint Mary Church

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Murugappan, Manickam, John Victor Joshua Thomas, Ugo Fiore, Yesudas Bevish Jinila, and Subhashini Radhakrishnan. "COVIDNet: Implementing Parallel Architecture on Sound and Image for High Efficacy." Future Internet 13, no. 11 (October 26, 2021): 269. http://dx.doi.org/10.3390/fi13110269.

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The present work relates to the implementation of core parallel architecture in a deep learning algorithm. At present, deep learning technology forms the main interdisciplinary basis of healthcare, hospital hygiene, biological and medicine. This work establishes a baseline range by training hyperparameter space, which could be support images, and sound with further develop a parallel architectural model using multiple inputs with and without the patient’s involvement. The chest X-ray images input could form the model architecture include variables for the number of nodes in each layer and dropout rate. Fourier transformation Mel-spectrogram images with the correct pixel range use to covert sound acceptance at the convolutional neural network in embarrassingly parallel sequences. COVIDNet the end user tool has to input a chest X-ray image and a cough audio file which could be a natural cough or a forced cough. Three binary classification models (COVID-19 CXR, non-COVID-19 CXR, COVID-19 cough) were trained. The COVID-19 CXR model classifies between healthy lungs and the COVID-19 model meanwhile the non-COVID-19 CXR model classifies between non-COVID-19 pneumonia and healthy lungs. The COVID-19 CXR model has an accuracy of 95% which was trained using 1681 COVID-19 positive images and 10,895 healthy lungs images, meanwhile, the non-COVID-19 CXR model has an accuracy of 91% which was trained using 7478 non-COVID-19 pneumonia positive images and 10,895 healthy lungs. The reason why all the models are binary classification is due to the lack of available data since medical image datasets are usually highly imbalanced and the cost of obtaining them are very pricey and time-consuming. Therefore, data augmentation was performed on the medical images datasets that were used. Effects of parallel architecture and optimization to improve on design were investigated.

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Astrova, Irina, Arne Koschel, Marc Schaaf, Samuel Klassen, and Kerim Jdiya. "Serverless, FaaS and why organizations need them." Intelligent Decision Technologies 15, no. 4 (January 10, 2022): 825–38. http://dx.doi.org/10.3233/idt-210194.

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This paper is aimed at helping organizations to understand what they can expect from a serverless architecture in the future and how they can make sound decisions about the choice between microservice and serverless architectures in the present. A serverless architecture is a new approach to offering services in the cloud. It was invented as a solution to the problem that many organizations are facing today – about 85% of their servers have underutilized capacity, which is proved to be costly and wasteful. By employing the serverless architecture, the organizations get a way to eliminate idle, underutilized servers and thus, to reduce their operational costs. Many cloud providers are now jumping to the serverless world because they know it is going to be the future of software architectures. However, being a new approach, the serverless architecture is still relatively immature – it is in the early stages of its support by cloud service platform providers. This paper provides an in-depth study about the serverless architecture and how to apply FaaS in the real world.

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van de Maele, Jens. "From Bentham to Guadet: ‘Auditory Visibility’ in Nineteenth-Century Theories on Government Offices." International Journal for History, Culture and Modernity 7, no. 1 (November 2, 2019): 673–85. http://dx.doi.org/10.18352/hcm.577.

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Architectural historiography is seldom concerned with the antithetical notions of ‘noise’ and ‘silence’. In this case study, I tentatively explore the theme in the context of nineteenth-century administrative buildings. More particularly, I investigate the normative views of British and French authors concerning acoustic perception in one subtype of ‘bureaucratic’ architecture: the ministerial office building. Drawing examples from the work of, among others, ‘panopticon’ theorist Jeremy Bentham and the architect Julien Guadet, I point at the centrality of ‘sound control’ or ‘sound management’ in architectural discourses on office buildings. In the specific domain of ministerial offices, moreover, these discourses were rife with ideological views on the nature and the functioning of government itself.

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Mahmoud, Heba-Talla Hamdy. "Interior Architectural Elements that Affect Human Psychology and Behavior." Academic Research Community publication 1, no. 1 (September 18, 2017): 10. http://dx.doi.org/10.21625/archive.v1i1.112.

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This research will inspect factors with higher impact that are predicted to be more influential in the relation between architecture, interior architectural design and the psychological status of residents and users. The level of awareness about the importance of this relation is the basic introductory factor. Identity, privacy and safety impacts, health concerns, accessibility degree, open spaces feature, aesthetic sense are the main parts of the research. Most parts consist of two divisions. The first identifies the nature of each factor. The second recognizes the important architectural consideration needed to realize the psychological condition of residents and users. The research aims to increase the concern about the importance of the interaction between interior architectural design and human psychological behavior. An introduction of a group of important consideration can be used to help designers choose and apply a suitable interior architectural design that match psychological needs through sound relations between architecture, interior architecture and the psychological status of residents and users.

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Kaye, Lewis. "The Silenced Listener: Architectural Acoustics, the Concert Hall and the Conditions of Audience." Leonardo Music Journal 22 (December 2012): 63–65. http://dx.doi.org/10.1162/lmj_a_00100.

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The author considers the relationship between architecture, acoustics and audience. The author proposes we think of audience in a more active sense and attend to conditions of audience. This dynamic approach demonstrates how changes in architecture designed for sound both are related to social changes in practices of listening and influence how people come to experience sound. Such an approach reveals contemporary acoustic architecture as biased toward music as spectacle, with conditions of audience that demand a silenced and attentive listener.

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