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Abstract Historic districts play an important role in urban planning and protection. While previous research on soundscapes has focused on acoustic comfort or preferences in these districts, the aspect of authenticity has been somewhat overlooked. Therefore, this study proposes a methodology for constructing soundscapes that enhance the authenticity of such districts. Using the grounded theory approach, we identified four key components for enhancing authenticity via soundscapes: the aim of soundscape design, physical and cultural characteristics of soundscapes, the effects of soundscapes, and the influence of spatial characteristics on soundscapes. A theoretical framework was developed to illustrate the enhancement of authenticity in historic districts via soundscapes. To verify the applicability and advancement of the proposed framework, it was compared with methodologies and steps obtained from previous soundscape research in historic districts. This study underscores the significance of soundscape design in creating authenticity in historic districts, thereby contributing to the development of soundscape design in historic districts and offering sustainable solutions for the protection and renewal of urban cultural heritage.

Historic districts play an important role in urban planning and protection. While previous research on soundscapes has focused on acoustic comfort or preferences in these districts, the aspect of authenticity has been somewhat overlooked. Therefore, this study proposes a methodology for constructing soundscapes that enhance the authenticity of such districts. Using the grounded theory approach, we identified four key components for enhancing authenticity via soundscapes: the aim of soundscape design, physical and cultural characteristics of soundscapes, the effects of soundscapes, and the influence of spatial characteristics on soundscapes. A theoretical framework was developed to illustrate the enhancement of authenticity in historic districts via soundscapes. To verify the applicability and advancement of the proposed framework, it was compared with methodologies and steps obtained from previous soundscape research in historic districts. This study underscores the significance of soundscape design in creating authenticity in historic districts, thereby contributing to the development of soundscape design in historic districts and offering sustainable solutions for the protection and renewal of urban cultural heritage. [ABSTRACT FROM AUTHOR]

The concept of a soundmark refers to a distinctive sound source that identifies a particular area based on its environmental acoustic characteristics. This study investigated the factors and processes of soundmark identification in urban parks. After interviewing participants in 14 different urban parks in China, six categories that affect soundmark identification were identified, "sound source", "context", "sound perception", "individual features", "response" and "comprehension". First, the core category is context. As for context, in amusement parks, activity parks, and nature parks, respectively, the theme, function, and scene affect the soundmark identification. For sound perception, soundmark identification is affected by the occurrence of birdsongs and the duration of water sounds in nature parks. Soundmark identification is affected by contrast, duration, and audio-visuals in amusement parks and activity parks. Furthermore, a soundmark identification model specifically for urban parks has been established. The model contains two identified processes: responsive soundmarks and comprehensive soundmarks. For responsive soundmark identification processes, sound source, context, sound perception, and response are essential factors. For comprehensive soundmark identification processes, sound source, context, individual features, and comprehension are essential factors. The soundmarks cannot be identified if the response or comprehension is missed during the process. Ultimately, the park's cultural features promote the identification of comprehensive soundmarks. In addition, soundmarks can be effectively transformed by changing the context of urban parks or the characteristics of sound perception. [ABSTRACT FROM AUTHOR]

The health of the urban public can be promoted by shaping ecological landscapes and reducing noise. Visual landscapes and soundscape, considered as important components of sustainable urban development, are becoming increasingly concerned. In this study, Hefei Feicui Lake scenic spot in China was regarded as an example. By using questionnaire survey, soundwalks and acoustic monitoring methods, which aimed to understand people's sense of identification with musical theme landscape and soundscape in the area, and further explored the effects of the interaction between musical theme landscape and soundscape on the perceived soundscape restoration of visitors. The results showed that musical theme landscape and soundscape could affect people's emotions on the individual level and their behaviours, such as staying (viewing the scenery or rest) on the social level. On this basis, a strategy for creating urban public space inspired by the art of music was proposed as the topic of this study. [ABSTRACT FROM AUTHOR]

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• Schools are dynamic and chaotic, challenging the expectation of calmness. • Positive correlation between wellbeing and perceived quality of the school soundscape. • Soundscapes differ across school areas, affecting engagement, comfort, and privacy. • Qualitative analysis shows sound's significant role in educational settings. This study explores variations in teachers' perception of indoor and outdoor soundscapes across different spaces within schools. A quantitative research design involved 452 teachers in the United Kingdom who participated in an online questionnaire. The questionnaire was distributed to UK teachers via random sampling on the Prolific platform, utilizing its customizable demographics for participant recruitment. A multi-method approach, combining closed- and open-ended questions, captured the multifaceted nature of soundscape perception. Participants reported on perceptions and experiences of school soundscapes in general areas, classrooms, hallways, dinner halls, playgrounds, and gyms. Findings reveal that schools are perceived as dynamic environments, characterized by a blend of chaos, engagement, and excitement, contradicting expectations of a calm atmosphere. Correlation analysis demonstrated weak associations between age and perceptions of the acoustic environment (r s ([452])=[0.116]), as well as gender (r s ([450])=[0.060]), teaching experience (r s ([450])=[0.117]), school type (r s ([450])=[− 0.109]), school location (r s ([450])=[0.098]), time spent in outdoor places (r s ([450])=[0.09]). A significant positive correlations were observed between wellbeing and the overall school soundscape (r s ([450])=[0.286]), indicating that as self-reported wellbeing increases, the perceived quality of the school soundscape tends to increase. Differences were seen in the soundscapes of playgrounds, dinner halls, gyms, hallways, and classrooms compared to the overall school soundscape. These distinctions highlight varying levels of engagement, comfort, intrusiveness, and privacy across different areas, emphasizing the multifaceted nature of sound perception within schools. The study shows teachers use sound in education for different reasons and methods, with perceived impacts on student learning and wellbeing. It suggests the possibility of enhancing the educational experience through tailored interventions targeting specific areas in schools based on their unique soundscapes. [ABSTRACT FROM AUTHOR]

In recent decades, there has been a growing interest in urban soundscapes and a shift towards a user-focused approach in urban sound environments. Despite this interest, there is no comprehensive taxonomy for soundscape design available. The Catalogue of Soundscape Interventions (CSI) project aims to fill this gap by creating a tool to collect and share data on real soundscape practices, with the goal of developing a design toolkit and brief to facilitate communication between local authorities, consultants, and researchers. An online platform has been launched to gather instances of soundscape interventions. This paper proposes eight dimensions of soundscape interventions and presents a taxonomy that categorizes these interventions based on recurring strategies and goals observed in 43 practice cases collected. These dimensions include stages, contributors, scale, period of time, intervention types, public involvement, aims and purposes, and approaches. As soundscape practices increase in complexity and variety, the taxonomy can be revised and expanded. Nevertheless, the provided taxonomy serves as an orientation aid for understanding, analyzing, and designing soundscapes, leading to the development of more harmonious and contextually appropriate acoustic environments.

Introduction: Previous soundscape studies focused on sound perception and acoustic comfort in sampled sites and ignored the characteristics of the experiential process along the paths. Therefore, the effects of soundwalk paths on soundscape assessment should be explored. Methods: In this study, a typical urban park was selected as a case study. The differences, characteristics, and effects of soundwalk paths on the soundscapes were explored, based on a soundwalk survey and laboratory study. Results: The results are as follows: first, in the soundwalk, different soundwalk paths in the urban park had significant effects on the perceived extent of individual sound and soundscape assessment. Second, the soundscape assessment was consistent with the peak-end rule. In the laboratory experiments, the peak assessment of soundscape appeared at the end location of the soundwalk paths, it was critical to the overall soundscape assessment. Furthermore, in the soundwalk, the overall perceived extent of individual sound was strongly affected by the perceived extent of dominant sounds at the end location of the soundwalk paths. Third, in the soundwalk, the sound loudness contrast path (noise-quiet/ quiet-noise) and sound source contrast path (natural-artificial sound/artificialnatural sound) were compared. In the noise-quiet path, the assessment of acoustic comfort was higher than that in the quiet-noise path, and the assessment of subjective loudness was lower than that in the quiet-noise path (p < 0.01). The subjective loudness of the artificial-natural sound path was lower than that in the natural-artificial sound path (p < 0.05). Discussion: Thus, the design of the soundwalk paths was expected to enhance visitors’ soundscape assessment of urban parks. [ABSTRACT FROM AUTHOR]

In this article we propose the perspective of relationship as a conceptual approach to the discipline of sound design. Based on literature reviews and case studies, we state that making sound design means designing relationships, even before sounds, and we propose to include this expression in the current definitions of the sound design discipline. Moreover, we observe that sound design practices can be inscribed in more than one relational perspective, thus widening the scope of sound design possibilities. This multi-perspective view of sound as the barycentre of a relationship system becomes a useful analysis and design tool: it allows sound designers to investigate the complex problems of contemporary projects, aiming toward fruitful and unexpected design directions. [ABSTRACT FROM AUTHOR]

Copyright of New Architecture is the property of New Architecture Editorial Office and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The sanatorium Morelli was built in Sondalo during the fascist era (1932-1940). The strong visual impact of the structure is counterbalanced by a delicate acoustic approach, made necessary by the need to create silent places for supporting medical treatments. The project of “silence” is not only the result of a punitive stance, which simply intends to reduce sound emissions, but above all the effect of a positive attitude, aiming at selecting specific sounds, in accordance with the social and environmental characteristics of place. This produces the sense of participation and identification of the users, generating collective cares and protection. That of Morelli, indeed, is a relevant lesson for the contemporary reflection, with a view to finding good strategies for soundscape design.

In the context of the development of rural tourism, through the field investigation of several rural tourism destinations in Jiangxi, and from the perspective of tourist perception, this paper discusses the development strategy of soundscape in rural tourism, so as to promote the inheritance and development of rural soundscape design. [ABSTRACT FROM AUTHOR]

This paper reports experiences from three workshops dealing with soundscape as a noise treatment approach in landscape architecture. The workshops were conducted between 2012 and 2016 in different contexts, for different purposes and with different participants. The paper describes the workshop approach employed and analyzes the proposals made by workshop participants to employ “soundscape action” as an operational tool in landscape architecture projects. Through a process of ‘keywording’ and clustering proposals from the workshops, 22 pragmatic soundscape actions emerged and are described on a general level. The paper then discusses the outcomes and experiences from the workshops and relates this to landscape architecture practice.

Does a building contain its own Voice? And if so, can that Voice be discovered, transformed and augmented by soundscape design? Barry Blesser’s writings on acoustic space, discuss reverberation and resonant frequencies as providing architectural spaces with characteristic listening conditions related to the architectural space’s dimensions and materiality. The paper argues that Blesser and Salter expand such discussion into pantheistic speculation when suggesting that humanity contains the imaginative capacity to experience spaces as “living spirits”. This argument is achieved by building on the speculation through the discussion of a soundscape design methodology that considers space as containing pantheistic qualities. Sonic architectures are created with electroacoustic sound installations that recompose existing architectural soundscapes, to create the conditions for the emergence of the Voices of buildings. This paper describes two soundscape designs, Revoicing the Striated Soundscape and Subterranean Voices, which transformed existing architectural soundscapes for the emergence of Voices in a laneway and a building located in the City of Melbourne, Australia.

This paper reports experiences from three workshops dealing with soundscape as a noise treatment approach in landscape architecture. The workshops were conducted between 2012 and 2016 in different contexts, for different purposes and with different participants. The paper describes the workshop approach employed and analyzes the proposals made by workshop participants to employ “soundscape action” as an operational tool in landscape architecture projects. Through a process of ‘keywording’ and clustering proposals from the workshops, 22 pragmatic soundscape actions emerged and are described on a general level. The paper then discusses the outcomes and experiences from the workshops and relates this to landscape architecture practice. [ABSTRACT FROM AUTHOR]

• Number of sound sources was negatively/positively correlated with the pleasantness/arousal dimension. • Changing trend in the number of sound sources impacted the variation of emotions. • Category of sound sources have a decisive effect on emotions. • Model composed of three aspects of sound sources could explain 33.2%/28.8% for pleasantness/arousal dimension. This study analysed the effect of sound sequence on soundscape emotions with respect to three aspects of sound sources: the number of sound source/s, changing trends in the number of sound source/s (increment/decrement) and category of sound source/s. A laboratory listening test was conducted with 31 participants and data on emotions evoked by the sound source per second, with its different characteristics, were obtained. A linear regression model was established between the three aspects of sound sources mentioned above and emotions. The results reveal the following: first , the number of sound source/s is negatively and positively correlated to the pleasing and arousing dimensions of emotion, respectively; second , changing trends in the number of sound source/s (increment/decrement) has a significant effect on variations in emotions (p < 0.05), but not on emotions itself (p > 0.05); and third, although the category of the sound source/s has a decisive effect on the coordinate range of emotions in a two-dimensional emotion space, the number and changing trends of sound source/s have a limited effect on it. Finally , the linear regression model, composed of the three aspects of sound sources, could explain the values of 33.2% and 28.8% for the pleasantness and arousal dimensions of emotion, respectively. [ABSTRACT FROM AUTHOR]

Soundscape design in city parks is important for a better visiting experience. The aim of this research is to find a more effective way to design soundscapes in city parks, by exploring the relationships between certain physical and psychoacoustic parameters and soundscape composition parameters as proposed in this study, including perceived loudness of individual sound (PLS), perceived occurrences of individual sound (POS), and soundscape diversity index(SDI). The parameters were based on soundscape information gathered with a specifically designed soundwalk method in five city parks in Xiamen, China. The results showed that the soundscape composition parameters play important roles as soundscape parameters. LCeq–LAeq, LA10–LA90 and sharpness showed more explanatory power to the soundscape composition parameters of individual sound categories than other physical and psychoacoustic parameters. PLS of human sounds was the most frequently introduced variable for nearly all the other objective parameters, followed by SDI. Some of the soundscape composition parameters were found to be mutually explainable, including PLS of human sounds with LA10, LCeq–LAeq and sharpness, respectively, POS of traffic sounds with LA10, and PLS of both mechanical and geophysical sounds with sharpness, which supply important information for soundscape design in city parks.

We critically review the literature on the relationship between users of public spaces and their auditory environments, and how this knowledge is integrated in the planning, design, and management of public spaces as well as in technologies for acoustic and spatial data collection, analysis, and communication. To address the gaps identified in the review, we propose an activity-centered framework as a conceptual tool developed to support the integration of different types of knowledge in incorporating sound and the auditory environment in the planning and design of public spaces, by focusing on the activities that users perform in these spaces. [ABSTRACT FROM AUTHOR]

Soundscape design in city parks is important for a better visiting experience. The aim of this research is to find a more effective way to design soundscapes in city parks, by exploring the relationships between certain physical and psychoacoustic parameters and soundscape composition parametersas proposed in this study, including perceived loudness of individual sound (PLS), perceived occurrences of individual sound (POS), and soundscape diversity index (SDI). The parameters were based on soundscape information gathered with a specifically designed soundwalk method in five city parks in Xiamen, China. The results showed that the soundscape composition parameters play important roles as soundscape parameters. LCeq–LAeq, LA10–LA90and sharpness showed more explanatory power to the sound-scape composition parameters of individual sound categories than other physical and psychoacoustic parameters. PLS of human sounds was the most frequently introduced variable for nearly all the other objective parameters, followed by SDI. Some of the soundscape composition parameters were found to be mutually explainable, including PLS of human sounds with LA10, LCeq–LAeqand sharpness, respectively, POS of traffic sounds with LA10, and PLS of both mechanical and geophysical sounds with sharpness, which supply important information for soundscape design in city parks. [ABSTRACT FROM PUBLISHER]

Does a building contain its own Voice? And if so, can that Voice be discovered, transformed and augmented by soundscape design? Barry Blesser's writings on acoustic space, discuss reverberation and resonant frequencies as providing architectural spaces with characteristic listening conditions related to the architectural space's dimensions and materiality. The paper argues that Blesser and Salter expand such discussion into pantheistic speculation when suggesting that humanity contains the imaginative capacity to experience spaces as "living spirits". This argument is achieved by building on the speculation through the discussion of a soundscape design methodology that considers space as containing pantheistic qualities. Sonic architectures are created with electroacoustic sound installations that recompose existing architectural soundscapes, to create the conditions for the emergence of the Voices of buildings. This paper describes two soundscape designs, Revoicing the Striated Soundscape and Subterranean Voices, which transformed existing architectural soundscapes for the emergence of Voices in a laneway and a building located in the City of Melbourne, Australia. [ABSTRACT FROM AUTHOR]

Landscape architecture and urban design disciplines could benefit from soundscape thinking in order to enhance experiential qualities in their projects, though the available tools are not yet fully developed nor tested. The present research aims to substantiate one of the available tools, Soundscape Actions, and thereby increase the understanding of soundscape design. The study focuses on the Japanese garden tradition, which is known for high preference ratings, tranquil qualities and consideration for sound and other sensory experiences. An autoethnographic approach was used to conduct field studies in 88 gardens in Japan, the majority of which are located in urban areas with potential noise disturbance. The studies are based on observations in situ, supported by video documentation, field recordings and readings of sound pressure levels (SPL). A total of 19 Soundscape Actions are described and discussed in the paper. They are structured around three main categories: localisation of functions, reduction of unwanted sounds and introduction of wanted sounds. The study provides concrete examples of how the tool can be used to enhance tranquil qualities, particularly focusing on small green spaces in dense urban settings, involving the (simultaneous) reduction of unwanted sounds and enhancement of wanted sounds/effects. The autoethnographic approach allowed for the phenomenological perspective to be brought forward, which contributed new insights regarding the design tool. The findings are discussed in relation to health and soundscape research, focusing on multisensory experiences, masking strategies and potentials for implementation and future developments of the design tool.

The notion of quiet areas has received increasing attention within the EU in recent years. The EU Environmental Noise Directive (END) of 2002 stipulates that member states should map existing quiet areas and formulate strategies to keep these quiet. Quiet areas could play an important role in balancing densified urban development by ensuring access to relative quietness and associated health benefits. This paper reports on a recent study investigating how the notion of quiet areas has been implemented in Sweden. The study, initiated by the Sound Environment Center in 2017, was carried out in two phases. In phase one, an overview of the current situation was obtained by scrutinizing regional and municipal mapping initiatives, aided by a short digital questionnaire sent out to all 290 municipalities in Sweden. This provided a general understanding and highlighted initiatives for further study in phase two. The results revealed that 41% ( n = 118) of Sweden's municipalities include quiet areas in their general plans, but that significantly fewer of these have sophisticated strategies for implementation ( n = 16; 6%). Moreover, the interest in quiet areas in municipalities does not seem to be directly related to the END, but is instead inspired by previous regional initiatives in Sweden. The study highlights a number of considerations and examples of how quiet areas are approached in Sweden today. In general, Sweden has come a long way in terms of identifying and mapping quiet areas, but more progress is needed in developing strategies to protect, maintain, and publicize quiet areas.