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The subjective success of the isolation of exterior noise depends greatly on the nature of the site noise, the use of the isolated space, and the client’s expectations. The architectural solution must respond to all of these factors, as well as budget and aesthetics. In recent years, Kirkegaard has completed several projects in which glazed walls separate a performance or rehearsal space from an urban or suburban exterior. Solutions have ranged from simple to “heavy-handed,” with a varying degree of subjective success. This paper offers a range of case studies, including situations where a significant retreat from “heavy-handed” solutions was subjectively successful and one situation where a modest retreat from “heavy-handed” solutions was not subjectively successful.

This paper investigates the importance of the walls and ceiling in the “throat” of an opera house—the zone surrounding the proscenium—for encouraging a balance that favors onstage singers over musicians in the orchestra pit. By looking at a variety of opera houses, the author tests the idea that surfaces in this zone that are solid and not strongly angled are especially beneficial for encouraging balance.

The Edythe Bates Old Recital Hall at Rice University’s Shepherd School of Music is a purpose-built organ performance hall, seating approximately 200. It houses a 75-stop French-style organ built by C. B. Fisk from tonal design by Manuel Rosales. The bare room was completed in 1991; a wood floor, loose chairs, and retractable acoustic banner system were added in 1995; the organ itself was installed in 1996; and diffusive elements were added to the rear wall in 1997 as voicing was completed. At each of these intermediate conditions reverberation times were measured and the acoustics of the room subjectively evaluated. The gradual fit-up of the room provides an interesting look at the incremental effect of each modification. The extensive adjustable acoustic banner system also provides a dramatic degree of variability inthe room’s acoustic environment. This paper compares the acousticians’ design intent for the room to the completed room and presents data and observations about the effects on the recital hall of the architectural modifications and acoustic banners.