I have always thought that architecture was a construction carried out in a specific period, under aesthetic guidelines appropriate to its time, containing within it a series of elements and, at the same time, could have several functions, depending on whether it was civil or religious. In this sense, architecture configured an entire load and importance social that appealed to the different needs of society at the moment, but what if I told you that architecture is also sound?
Sound is one of the most necessary elements for oratory performance as well as the representation of a series of theatrical functions along with other pagan rites. In this sense, sound is one of the essential directors for the development of a series of experiences and sensations that connect us closely to our own environment. Imagine Holy Week without music accompanying the entire procession? Or a movie without a soundtrack that makes you want to be part of the cinematic plot? In the same way, architectural constructions are also capable of transmitting a message through sound, understood as the axis conductor for the development of a series of activities carried out within it.
In this article we will address the main characteristics of sound in architecture, as well as the principal analysis of the acoustic behavior in some construction materials and architectural elements. Often these features go unnoticed but they are one of the fundamental factors for the sensory experience of the viewer.
Visual importance has not always prevailed in architecture, as sound was vital during the first stage of history, given that we find ourselves in an oral tradition culture, a practice that had been taking place since classical antiquity.
If we refer to Greek constructions, one that exemplifies the issue of sound is the theater or θέατρον. It was an open-air construction that rose up taking advantage of hills and other natural variations within which a series of narrated, sung and danced performances were carried out. But how does sound work in these types of spaces? (González Cárdenas, 2010, pp.1-8).
To properly use sound in these spaces, it was necessary to have physical training regarding the development of sound attending to the morphology and geography of the place as well as its sound reverberation. Many of the qualities of sound were already known since classical antiquity and were also applied in these stone constructions (León Gómez, 1998, pp. 263-271).
The Greeks already understood the phenomenon of reverberation, that is, the functioning of sound reinforcement, which was mainly generated in a closed space where sound propagated through the air and then bounced off the walls of the space, leading to the reflection and expansion of this within the place, generating thus a sound wave. In other words, it is the time that a sound takes to expand in a specific space: the larger the space, the greater the reverberation time created (Golle, 2014, pp.91-93).
In other words, sound transmission reflects off the walls of the space and these expand towards the receiver of the waves, thus producing the phenomenon of reverberation. But how does this same phenomenon occur in an open space? This is possible thanks to the architectural composition of the theater itself, as one of its essential elements is undoubtedly the stage, whose backdrop is made entirely of stone.
The nature of the material allowed for a more precise reflection of the actors' voices which could be heard from the stands, in addition to the material's own sound absorption capacity, which could be attenuated or transformed depending on climatic factors as well. If the material has high sound absorption capacity, it is due to the existence of a greater number of particles that cluster in the air and make the result of sound absorption greater.
That's why many sculptures adorning the frons scaenae were made of stone. In addition to the nobility of the material, stone allowed for a fracture, thus generating greater sound reinforcement. A clear example of this is the Roman Theater of Mérida, in which some of these decorative representations still remain.
On the other hand, the semicircular shape of the space helped to reflect the sound of voices as the surface generated even greater acoustic reinforcement, as well as the location where it was placed, since these constructions were built outside the civis, reducing background noise and creating a much more serene environment.
If the enclosure has a capacity to reflect more energy than what is absorbed, then its reverberation increases, forming a new sound wave. This caused a great problem in the development of these spaces regarding sound perception and voice transmission during the show. The first ones were built with practical purposes, that is, where sound does not reinforce itself through reflections but rather by direct arrival of sound as there are no obstacles to impede its transmission.
In addition to the semicircular layout of the space, the inclination of the stands reduces the incoming sound receptor, avoiding acoustic shadow effects, that is, preventing another object from refracting sound where some echoes produce a low frequency. This leads to social hierarchy, such that the wealthier could sit closer to the stage while the poorer sat in the highest part of the cavea.
Therefore, all these agents allowed for better distribution of sound and greater capacity. A clear example of this phenomenon occurs when we are in the central area of the theater and crumple a piece of paper; we observe that the sound produced reaches the cavea.
Finally, the use of masks in theatrical performances not only transformed facial expressions but also amplified voices, causing a positive increase in sound for the listener.
Conclusions
From seat arrangement to aisle inclinations and the use of different construction materials, each element analyzed throughout this article has contributed to creating an unparalleled acoustic experience. This not only reflects a remarkable achievement during classical antiquity but also demonstrates the extensive knowledge of sound employed by Greeks in this architectural typology.
Bibliography and Web References
Aislamania. (May 6, 2021). Acoustics in history. Theaters.
https://aislamania.com/la-acustica-en-la-historia-teatros
Goller, B. (2014). Sonic spaces: Intersections between architecture and sound. [Doctoral dissertation]. Universidad Politécnica de Madrid.
González Cárdenas, J. R. (December 23, 2010). Acoustics of Greek theaters. Cienciorama. http://www.cienciorama.unam.mx/#!titulo/241/?la-acustica-de-los-teatros-griegos
González Cárdenas, J. R. (November 1, 2010). The nature of sound. Cienciorama.
http://www.cienciorama.unam.mx/#!titulo/240/?la-naturaleza-del-sonido
León Gómez, Á. (1998). Acoustics of theaters through history. Actas del II Congreso Nacional de Historia de la construcción, 263-271.
(July 19, 2016). Greek Theaters: Why did they sound so good? dBplus.
Borgia, N. (2005). Greek theater designed by its acoustics. [Master's thesis]. Universitat Politècnica de Catalunya.
Barba Sevillano, A., Giménez Pérez, A., Segura García, J., & Montell Serrano, R. (2009). Characterization of acoustic space in Italian theaters based on their geometry. Técniacústica, 1-7.
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