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EN
The church of Santa Cruz de Oleiros, Spain (1967) shows architect Miguel Fisac’s perception of sacred space after the Second Vatican Council. In this place of worship, the architect responded to the new liturgical guidelines combining geometry and architectural forms with the material of the moment, concrete. However, ordinary religious celebrations reveal acoustic deficiencies for the main use of the building. This fact is corroborated by acoustic measurements in situ. With a methodology that uses simulation techniques for the sound field, the analysis of the current acoustic behaviour of the room will serve as the basis for an acoustic rehabilitation proposal aimed at improving the acoustic conditions and so, the functionality of the church.
EN
Listening tests have been carried out to quantify the significance of binaural auralization over monaural auralization in accordance with the acoustic properties of the enclosure. To this end, acoustic rendering of three different rooms were generated based on synthesized monaural (two channels with the same audio material) and binaural room impulse responses. The auralizations were evaluated by means of subjective tests using headphones with non-individualized equalization. Parameters, such as localization, spatial impression and realism, were taken into consideration to determine the relevance of providing binaural information for the auralization of a given room. The analysis of the data has been conducted following a statistical approach based on ANOVA and Pearson correlation. The results indicate that spatial perception is strongly dependent on the acoustic characteristics of the rooms and on the listening condition of the audio material. Furthermore, as expected, advantages of binaural rendering in terms of source localization was also confirmed.
EN
In this work, simulation techniques have been implemented to study the sound fields of a multi- configurable performance enclosure by creating computer acoustic 3D-models for each room configuration. The digital models have been tuned by means of an iterative fitting procedure that uses the reverberation times measured on site for unoccupied conditions with the orchestra shell on the stage. The initial virtual acoustic model is validated by comparing the other monaural and binaural acoustic parameters measured in the room in terms of their perception differential threshold. The procedure is applied to the Maestranza Theatre of Seville, built for the Universal Exhibition in 1992. The spatial distribution of the acoustic parameters in the audience area of the venue by measured parameters and simulation mappings enables the establishment of three zones of acoustic comfort, and are corroborated by the values of the Ando- Beranek function which provide a global quality coefficient of each zone.
EN
The church of Santa Ana in Moratalaz, Madrid, Spain (1965–1971), is an emblematic work of the architect Miguel Fisac. In his long career include interventions in the religious field, constituting one of the most important contributions to Spanish religious architecture of the last century. This church is a singular place of worship and architecturally significant, in which the acoustics played an important role in the configuration of the spatiality of the church. This paper studies the acoustic behaviour of the church and its relationship with its unique structural, spatial and coating material characteristics. The analysis of the current acoustic conditions, with high reverberation times (up to 6 seconds) and poor intelligibility on the audience, serve as the basis for making an acoustic rehabilitation proposal that contributes to improving the sound conditions of the building for the intended use, without distorting the spatial, formal and material aspects with which the architect conceived the project.
PL
W części drugiej zostały przedstawione wyniki z przeprowadzonej akustycznej symulacji komputerowej i porównano je z wynikami z pomiarów rzeczywistych opisanych w części pierwszej – „POMIARY”.
EN
The second part presents results of acoustic computational simulation and comparison with the measurements results described in part one – “MEASURMENTS”.
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