Acoustics – ancient knowledge and new frontiers

Acoustics is often perceived as a "dark art" or a "black box" that only experts can understand. However, while acoustics can seem a complex subject, it is not an esoteric or mystical field. It follows scientific principles that can be understood with a good comprehension of the basics of sound reflection, absorption, and propagation. Factors like frequency, room geometry, materials, and psychoacoustic elements (how humans perceive sound) also play crucial roles.

Recognising these points can demystify acoustics, making it more approachable for architects, designers, and anyone interested in creating spaces with optimal sound quality - a good acoustical engineer will adopt a comprehensive approach considering multiple variables to achieve desired acoustic conditions.

The study of building acoustics, although not as formalised as today, has been a concern for architects and builders for centuries. While there might not have been specific standards or legislation in ancient times, historical records such as ‘De architectura’ by Marcus Vitruvius Pollio (c. 90 – c. 30 B.C.), indicate an awareness of acoustical principles and their applications in architectural design and construction.

In a letter to the Emperor Nero, Seneca the Younger (c. 4 B.C. - A.D. 65) ruminates on soundscapes while living above a public bathhouse;“…every kind of sound that can make one weary of one’s years”, opining on the various invigorating babel of discordant noises.

Seneca identifies that noise itself is not a sole factor in affecting one’s mood, mindful that there are deeper roots to our personal wellbeing. Seneca muses “what is the good of having silence throughout the neighbourhood if one’s emotions are in turmoil?” and that “the only true serenity is the one which represents the free development of a sound mind.”

So, where that does bring us in today’s world? The physics and effects of sound have clearly been known since at least the time of the ancient Greeks and Romans. We also know that quality spaces need to account for multiple aspects of human comfort, health, and wellbeing – with modern technologies we can better quantify and measure these.

But that does not mean we can become complacent.

There are new frontiers for us to account for in the world of acoustics. We need to challenge existing construction techniques and use more bio-based and regenerative materials. Generally, we have designed for those of ‘normal’ hearing sensitivities. But with increasing understanding and appreciation of neurodiversity, and newer research suggesting that many of us have varying degrees of hearing impairment, designing for what might be considered ‘normal’ may now, in fact, be designing for a minority.

This reinforces us to be more inclusive in our designs as to not exclude the experience and skills that come with an inherently diverse society.

Morgan, M.H. and Warren, H.L., 1914. Vitruvius: the ten books on architecture.
Campbell, R., 1969. Seneca: letters from a Stoic. Penguin.