An aesthetic approach to the soundscape of urban public open spaces

The main aim of this thesis is to establish a systematic framework for the soundscape \ndesign considerations of urban public open spaces. With an aesthetic approach, the thesis \nfocuses on the essential characteristics of sound in the context of urban public open space, \nas well as its interaction with people - users of public open space, and spaces - containers \nof soundscape. \nThrough reviewing urban aesthetic theory, previous soundscape studies, relevant \nenvironmental psychology theories, typological urban design, and computer simulation in \nacoustics, a systematic methodology is set up for soundscape study in urban public open \nspaces. \nThe core of this thesis is in two parts. Part I, `Soundscape by listening - field survey', \nfocuses on perception and evaluation of soundscape. Based on the field survey data, which \nincludes 9,200 questionnaire interviews, measurements, and observations of 14 case study \nsites across Europe, it is proved that soundscape is an important aspect affecting people's \nevaluation and behaviours in urban public open spaces. Acoustic comfort/pleasant \nevaluation are more complicated than merely sound level evaluation. A lower background \nsound level can lead to a systematic sound level evaluation improvement, whereas the \ninvolvement of favourable sound elements and the feeling of dominance can dramatically \nimprove the acoustic comfort evaluation. Personal differences, especially in cultural \nbackground and age, have significant influences in soundscape evaluation. \nPart II of the thesis, 'Soundscape by design', focuses on the designable part of soundscape, \nspatial forms and sound elements. Through the typological soundscape study, the \nsoundscape characteristics of different shaped, sized and opening conditioned urban \nspaces are identified, from which many typologically classifiable forms can be created. \nAnalyses and suggestions are made for sound element design, including the creation of \nactive soundmarks and the design of passive soundmarks. The former relies upon on \nsuitable spatial forms and physical factors. The latter depends on specifically designed \nlandscape elements, such as fountains. As an example, fountains' spectrum and form are \ndescribed and analysed in depth. \nIt is expected that this thesis will be of practical value and will help to inform the design \nprocess.