12/17/2014

SoundScape
soundscape
• A generally accepted definition of soundscape 
is 
"an environment of sound with emphasis on 
the way it is perceived and understood by the 
individual, or by a society".

Classification of architecture and 
acoustics  Classification  Research subjects 

R A  The studies on the real sounds that happen in the  Soundscape; 

built environment to reinforce or weaken the  Sonic sculpture 
aesthetic experience of users. 

RP  The studies on the real sounds that need to be  Noise reduction; 

dealt with for practical considerations in the built  Noise control; 
environment  Acoustic insulation; 
Vibration control 

VA  Virtual sound/ music that is used to inspire  Multimedia presentation for 

architectural design or support  architectural design; 
architectural presentation  Inspiration on design process; 
Making background music in 
the built environment 

VP  Virtual sound/ music that has to be dealt with in  Architectural acoustics; 

practical considerations in architectural design  Concert hall designs; 
Audio/visual issues 

soundscape studies Sound Classification 
• middle ground between science, society and the arts
• From acoustics and psychoacoustics we will learn 
about the physical properties of sound and the way 
sound is interpreted by the human brain.
• From society we will learn how man behaves with 
sounds and how sounds affect and change his behavior 
• From the arts, particularly music, we will learn how 
man creates ideal soundscapes for that other life, the 
life of the imagination and psychic reflection.

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rough structure of Schafer’s catalogue of classification of sounds according to 
Basic Physical  Components  Psycho‐acoustic  referential aspects 
Properties  measurements 
Frequency  Frequency  Pitch  Oceans, Seas and
Spectrum  Frequency/Volume  Tone/Timbre  Lakes
Duration  Time  Duration  Rain
Sounds of Water
Envelope  Frequency/Volume/  Envelope  Rivers and Brooks
Steam
Time 
Natural Sounds Ice and Snow
Reverbs/Delays  Frequency/Volume/  Reverberation/Echo 
Sounds of Air Wind...
Time  Sounds of Earth Trees....
Sound Pressure Level  Volume  Volume/Loudness/Intensity  Sounds of Birds Sparrow....
Dynamic  Volume/Time  Dynamic/Expression  Sounds of Insects Flies...
Directivity  Directivity  Directivity/Stereo/Spatial  Sounds of Seasons Spring...
feelings  Sounds of Voices,
Human Sounds Speaking....
Body.....
Fluctuations/Grain  Time/Volume  Texture 
Town, Urban,
Distance  Frequency/Volume  Presence 
Sounds and Societies Factories, Domestic .....
Reverberation Time,  Frequency/Volume  Clarity  Sounds, Parks....
Spectrum  Machine, Aircraft,
Mechanical Sounds .....
Constructions.....
Silence and Quiet - -
Bell, Horns,
Sound as Indicators
Telephones

• Biophony is the collective sound vocal non‐human animals
Edward Brown et al, Soundscape of the modern city, New York Department of 
Health 1930

• Anthrophony [human‐induced noise]

• Geophony [non‐biological natural sound]

Some sound samples with different 
Keynote, signals and sound marks 
classifications of basic properties 
Telephone Bell Car Horn Bird-Song Kettle Boiling Definition Psychological Examples

Intensity 75 dB 90 dB 60 dB 60 dB
Keynote They are not listened to Ground Water,
(SPL)
consciously; They are Wind,
Sound
overheard but cannot be Forest,
Acoustics Distance 3 meters 100 meters 10 meters 1 meters (Background) overlooked. Plains,
Distinguishab-ility Heard distinctly Heard distinctly Heard distinctly Indistinctly Birds…

Ambiance Hi-Fi, human Hi-Fi, technological Hi-Fi, natural Lo-Fi, human

Signals They can be listened to Figure Train Whistles,

Repetition Repeated Isolated Part of extended song Steady-state
consciously. Ship Whistles,
Reverberation No No No No (Foreground)
Bell,
Frequency ≈ 2k Hz ≈500 Hz ≈ 5k Hz Narrow band 8k+ Hz
Semantics Telephone signal “Get out of my Clear day, morning Tea is on.
Horns…
way!” Sound marks They are sounds that is Landmark Ramadan drums
“I’ve just married!”
specially regarded or Gas pumps crushing
(Most
noticed by the people in a
Aesthetics Not very pleasant Annoying, Pleasant, beautiful, festive Pleasing noticeable) certain community.
unpleasant,
Festive, exciting

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Soundscape Perspective can show the volume (by the size of spheres),

Visual representation of  frequency (by the height of spheres on the y‐axis),
distance (by the location of spheres on the z‐axis), 
directivity (by the location of spheres on the x‐axis) and

Sound clarity (by the brightness of spheres) 

Sound Perspective

The plane in the back of the space stands for background sound, or we can call it keynote 
The movement of sound objects could be indicated here by the pairs of spheres with arrows to 
sound, compared with the foreground sound or sound signals (object A and B in the diagram). 
show the direction of the movement.
It is usually a noise wall taking a wide range of frequencies.

The flattened spheres shown in the diagram (object A and B) here symbolize the sound objects 
Noise wall is used to term the undesirable soundscape that has wide bandwidth of frequencies 
that are more or less transformed due to sound reflection or diffusion. They do not come from 
and produces masking effect which weakens the enclosing Soundscape.
direct sound sources. In recording technology, these objects also represent the sound events 
Some of the examples are construction noises and human noises in crowded streets
that are processed by effects such as Chorus, Reverb or Flanger.

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real walls block a big part of soundscape and create a “blind” area in the acoustic environment 
around visitors walking by. The acoustic space is squeezed but the visual attention can be 
sometimes concentrated on the opposite side against the wall. Legend of soundscape perspective 

Physical Properties Representation Examples in Diagrams

Frequency Height on y-axis A vs. C in Fig
Distance/Presence Location on z-axis A vs. B in Fig
Clarity Brightness of spheres A vs. C in Fig
Pairs of spheres with
Movement arrows to indicate the A and B in Fig
direction
Reverbs/Delays Flattened spheres A and B in Fig
Amplitude/SPL Size of spheres A vs. C in Fig
Background noise Standing planes The plane in Fig
Directivity Location on x-axis A vs. C in Fig

An example of Soundscape Score 

Visual representation of 
A: high frequency, present, low density and temporary sound;
B: Higher density, enduring sound:
C, D: Continuous sound;
E: Temporary, continuous sound, present;

Sound F: Low frequency, continuous background sound

SoundScape Score

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Visual representation of 
Sound

SoundScape Map

An example of Soundscape map  Water Mirror 

Linear elements in a Soundscape map 

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Pebble path and the Soundscape score of it

• 1, the soundscape changes

from the noisy street to a quiet
small entrance yard;
• 2, the soundscape changes
from a quiet room into an
outdoor space;
• 5, visitors can hear the music
from behind the wall;
• 6, here the sound of musical
instrument becomes
remarkable;
• 9, the music sound comes
from beneath the small hill.

Soundscape map of Falling Water
Pictorial Sequence

Sonic Identity Visual Identity

1 Visitors can hear the water See the living room of
sound but can not see it. the house through
windows.
2 Quiet soundscape. Small entrance space
with low lighting.
3 We can hear the water Big living room with
sound but not clearly views to the outdoor
natural scenes.
4 The water sound is under Water is the first vision.
feet with reverbs created Get into the outdoor
by the bottom of the rocks. environment with water
fall under feet.
5 Soundscape of water fall. The well known figure
of Falling

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“I can hear with my knee better  Atelier Leitner ‐ Sound Tube 1971

than with my calves.” This 
statement made by Bernhard 
Leitner, which initially seems 
absurd, can be explained in 
light of an interest that he still 
pursues today with unbroken 
passion and meticulousness: 
the study of the relationship 
between sound, space, and 
body.
Atelier Leitner ‐ Sound Suit 1975

Atelier Leitner ‐ Body Envelope 1970
Atelier 
Leitner ‐
Cylinder 
Space 1974

Atelier Leitner ‐ Sound Columns 1999 Atelier Leitner ‐ Wall Grid 1972

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Atelier Leitner ‐ Sound Cube 1980 Atelier Leitner ‐ Sound Space Tu Berlin 

1984

Vocal Memnon
“Long ago I had a voice that could lament, which wept for Memnon’s sorrows. Now my cries are
inarticulate and unclear.”
—Part of a graffito poem carved into the left leg of the statue, written by 
Cæcilia Trebulla some time around 100AD

Sound sculpture

AD Classics: Le Cylindre Sonore / 
Bernhard Leitner

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architectural and sonorous
• Behind the eight  • From each concrete element, water 
perforated concrete  forms narrow rivulets into the basin 
elements three  which encloses the ground of the 
loudspeakers have been  cylinder space like an island. The 
mounted vertically like a 
column. The circular  hushing sound distracts from the 
space between the two  sounds of the urban environment, 
curved walls is a  neutralizing the space. The rivulets 
functional space for the  acoustically tune the inner space. They 
maintenance of the  are a prerequisite for the acoustic 
loudspeakers. It provides  sensors and cells, ears, skin, the body 
access to the control  and the brain being able to listen in a 
room under the ground.  concentrated way.
The ring is, however, first 
and foremost a 
resonsance chamber, 
which consolidates the 
sound by means of 
weight and tension of the 
curved surfaces.

Singing Ringing Tree Stitch

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Blackpool tide organ
acoustic pavilion’ called Aeolus,

This giant, spiky stargate is really a 
huge musical instrument

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Sea organ Zadar
Wave Organ

Sibelius Monument (Helsinki)
‘Seapeaker’: Finalista YAP Istanbul

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Sound Sculpture created by Michael 
dentsu: paint sound sculptures
Bashaw

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Auditory awareness in landscape 
architecture

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