Electrochromic systems for smart windows make it possible to enhance energy efficiency in the construction sector, in both residential and tertiary buildings. The dynamic modulation of the spectral properties of a glazing, within the visible and infrared ranges of wavelengths, allows one to adapt the thermal and optical behavior of a glazing to the everchanging conditions of the environment in which the building is located. This allows appropriate control of the penetration of solar radiation within the building. The consequent advantages are manifold and are still being explored in the scientific literature. On the one hand, the reduction in energy consumption for summer air conditioning (and artificial lighting, too) becomes significant, especially in "cooling dominated" climates, reaching high percentages of saving, compared to common transparent windows; on the other hand, the continuous adaptation of the optical properties of the glass to the changing external conditions makes it possible to set suitable management strategies for the smart window, in order to offer optimal conditions to take advantage of daylight within the confined space. This review aims at a critical review of the relevant literature concerning the benefits obtainable in terms of energy consumption and visual comfort, starting from a survey of the main architectures of the devices available today.

The results of an acoustic survey carried out in a group of Italian churches differing in style, typology, and location were used in order to study how the acoustic energy varies inside this kind of space. The effect of different architectural elements on sound propagation was investigated by means of three-dimensional impulse responses measured using a B-format microphone with sweep signals. Side chapels, columns, and trussed roofs appeared to scatter the reflections, so that the purely diffuse exponential sound decay begins after a time interval which grows with the source-receiver distance and with the complexity of the church. The results of the measurements were then compared with predictions given by existing theoretical models to check their accuracy. In particular a model previously proposed by the authors for a specific type of Romanesque churches was further refined taking into account the new findings and making some simplifications. Its application to the wider sample of churches under analysis showed that strength, clarity, and center time can be predicted with reasonable accuracy.

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Opera houses represent a large group of performance spaces characterized by great complexity and, at the same time, versatility with respect to different usage (from opera to symphonic music and ballet). This kind of building originated in Italy during the 17th century and later spread across the country and then Europe and the rest of the world, slowly evolving into modern theatre shapes. As a consequence of the changes undergone by the interior space, the original acoustic features, which likely influenced many composers, experienced important variations. Thanks to acoustic measurement campaigns inside Italian Historical Opera Houses, promoted by National and Regional Projects, the distinctive features of these spaces were investigated in comparison to modern spaces. In this work, the newly acquired data are merged with data in the literature in order to present and discuss some of the distinctive acoustic features of historical spaces as regards their original function. Moreover, specific issues such as listening in stalls and boxes and the criteria governing the preference judgment of listeners are considered. The concept and the crucial role of the balance between stage and pit sources are also discussed by means of previous literature studies.

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Different models to improve prediction of energy-based acoustic parameters in churches have been proposed by different researchers [E. Cirillo and F. Martellotta, J. Acoust. Soc. Am. 118, 232-248 (2005); T. Zamarreño et al., J. Acoust. Soc. Am. 121, 234-250 (2006)]. They all suggested variations to the "revised" theory proposed by Barron and Lee [J. Acoust. Soc. Am. 84, 618-628 (1988)], starting from experimental observations. The present paper compares these models and attempts to generalize their use taking advantage of the measurements carried out in 24 Italian churches differing in style, typology, and location. The whole sample of churches was divided into two groups. The first was used to fine-tune existing models, with particular reference to the "mu model," which was originally tested only on Mudejar-Gothic churches. Correlations between model parameters and major typological and architectural factors were found, leading to a classification that greatly simplifies parameter choice. Finally, the reliability of each model was verified on the rest of the sample, showing that acoustic parameters can be predicted with reasonable accuracy provided that one of the specifically modified theories is used. The results show that the model requiring more input parameters performs slightly better than the other which, conversely, is simpler to apply.

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Multi-rate decays are sometimes observed in room acoustics, appearing when markedly different volumes are coupled together and resulting in nonlinear decay curves. Such behavior appears in several churches at the very beginning of the decay process, although in conditions which cannot be explicitly referred to as coupling phenomena. Consequently, multi-rate exponential decays may be suitable to model energy distribution in this group of buildings, providing a more elegant and easily applicable set of equations in place of a previously defined "linear" model, used to adapt Barron's revised theory. The paper shows that the multi-rate approach ensures ease of calculation, without significant loss in accuracy in predicting energy-based acoustic parameters.