This cross-sectional survey has compared subjective outcomes obtained from workers in shared (2–5 occupants) and open-plan (+5 occupants) offices, related to irrelevant speech, which is the noise that is generated from conversations between colleagues, telephone calls and laughter. Answers from 1078 subjects (55% in shared offices and 45% in open-plan offices) have shown that irrelevant speech increases noise annoyance, decreases work performance, and increases symptoms related to mental health and well-being more in open-plan than in shared offices. Workers often use headphones with music to contrast irrelevant speech in open-plan offices, while they take a break, change their working space, close the door or work from home in shared offices. Being female, when there are more than 20 occupants, and working in southern cities without acoustic treatments in the office, make it more likely for the occupants to be annoyed by irrelevant speech noise in open-plan offices. While, working in southern cities and with acoustic treatments in the office makes it more likely that noise annoyance will be reported in shared offices. Finally, more than 70% of the interviewed in open-plan offices were willing to reduce their voice volumes when advised by a noise monitoring system with a lighting feedback.
Performance spaces are characterized by a complex sound field, due to the presence of absorptive and diffusive surfaces. In situ evaluations of the acoustic effects that these surfaces have on the objective acoustic parameters and on sound perception have not yet been fully understood. To this aim, acoustic measurements have been performed in a variable-acoustic concert hall, the Espace de Projection, at the Institut de Recherche et Coordination Acoustique/Musique. These measurements have allowed the effects of one single wall to be determined. A diffusive and a reflective condition of one of the long lateral walls of the shoebox-like hall have been considered, while the other surfaces have been fixed in absorptive mode. Measurements have been carried out at different distances from the test wall, using an artificial head and an array of omnidirectional microphones. Objective acoustic parameters, such as early decay time, reverberation time (T), clarity (C), definition (D), and interaural cross correlation, have been compared between both conditions. In addition to the objective indexes, a perceptual evaluation has been performed using listening tests that had the purpose of determining the maximum distance from a diffusive surface at which acoustic scattering effects are still audible.
Acoustic scattering audibility thresholds are needed for the efficient design of performance spaces and to increase the accuracy of geometric room acoustic models. This paper focuses on the evaluation of the perceptual thresholds of the scattering coefficient through listening tests in simulated concert halls. It also deals with an investigation on the sensitivity of room acoustic parameters to scattering coefficients. A rectangular concert hall has been simulated with three prediction models, in which scattering coefficients of 0.1, 0.3, 0.5, 0.6, 0.7, and 0.9 were applied to the ceiling and walls in six different configurations. The analysis was performed comparing the results of the three-alternative forced choice listening tests and considering the objective parameters T30, early decay time (EDT), C80, and G. An increase in EDT and a decrease in C80 have been observed for increasing scattering coefficient values for all three types of software, while no similar trend was observed for the other parameters. The perceptual evaluation has shown that differences of ∼0.4, relative to an anchor value of 0.9 of the scattering coefficient, were perceived in the listening test conducted with one of the three kinds of software, while no clear differences in auralizations were perceived with the other two kinds.
Featured Application: The work aims to give more insights into the relation between the sensitivity of the simulated objective parameters and the software input parameters for open-air ancient theatres. It is meant to raise awareness on the use of predictive acoustic software for unconventional outdoor environments in order to validate the possibility of re-using them as performance spaces. Abstract:Nowadays, ancient open-air theatres are often re-adapted as performance spaces for the additional historical value they can offer to the spectators' experience. Therefore, there has been an increasing interest in the modelling and simulation of the acoustics of such spaces. These open-air performance facilities pose several methodological challenges to researchers and practitioners when it comes to precisely measure and predict acoustical parameters. Therefore this work investigates the accuracy of predicted acoustical parameters, that is, the Reverberation Time (T 20 ), Clarity (C 80 ) and Sound Strength (G), taking the ancient Syracusae open-air theatre in Italy as a case study. These parameters were derived from both measured and simulated Impulse Responses (IR). The accuracy of the acoustic parameters predicted with two different types of acoustic software, due to the input variability of the absorption and scattering coefficients, was assessed. All simulated and measured parameters were in good agreement, within the range of one "just noticeable difference" (JND), for the tested coefficient combinations.
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