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But today it's about sound and architecture.
The sound of architecture. We all know the feeling of walking into a church, with the acoustics there,
and the visual impressions. Together, they create a feeling of the space, be it a big cathedral or a tiny church.
We feel the room. If you're blind, which Aksel talked about, sound is even more important for the feel of a room.
You'll see a blind person go [click sounds] when they walk in because then they can feel the space with sound.
Sound and life go together. It's always sound. Even silence is sound. And the sound has an enormous influence on our wellbeing
or maybe our non-wellbeing.
When you're sick you're very emotional. And if you're there fighting for your life, and suddenly a hospital bed comes in.
Makes a lot of noise.
Acoustics affects the heartbeat, so you get stressed.
What we say is that it can actually be more difficult for you to get well, if the acoustics in the room are not good.
You can't really sleep well if the acoustics are not good.
You have a more difficult time learning and concentrating if the acoustics are not good.
Several people have said so tonight so it's not a lie I'm telling you here.
That means that us architects who are also visual artists, we create space, create experiences.
We should also use our ears and eyes, and give the ears just as much attention as we give the eyes.
Moving on. I designed a dance and music school, which means you're given a pile of notes on room demands, square meters
and sound demands. So many decibels there, so many there. These people have described everything.
And we got hold of a good acoustic engineer who worked with us on the building. And it became a great building.
In its shape, as you can see, the walls are skewed cause when you play the violin the sound will bounce back and forth.
But if you build them skewed, the sound behave better. There are 15 different kinds of rooms in this building,
to provide for playing the flute in one room and playing the drums in another.
And it was a great building. The people using the rooms were very satisfied.
They could play rock, play flute, violins. They could dance and do everything in this building.
This building was so good, that the conservatory because they have better acoustics than they do.
There's just one problem. When I go to visit, all the doors are open. They made the requirements so strict
that they've forgotten to consider that there's also something called mood. Atmosphere.
When you walk into a music school, you finally get to hear music. You'll also hear a girl abuse a violin completely.
So therefor, they open the doors. I'm saying that there can be no excuse for not creating good class rooms.
If we can send people to the moon, I'd be damned if we couldn't do this as well.
It's just one thing. A lot is happening with schools. There are pedagogical advances,
there are things happening with how we want to teahc and it's not only in the class room, but outside as well.
They use all the rooms in the school. Isn't that the same problem for you? So then we have complex rooms,
where it's difficult to control sound. But there are also exciting rooms. Us architects go on bus rides to look,
we take pictures and we admire. And they are intriguing room shapes. It should also be possible from an acoustic
engineering perspective, to know what you need to do to make the room functional. We really should.
On what I said before, if we have side tracked, then there are also other things that you can't be measured,
You can't measure irritation of not knowing where sound comes from. You can't measure that someone forgot that the place you're in need a mood.
Mood is also in sound. So I would like people to think about the psychology of sound.