The schedule for this course is variable. Please select this studio carefully. To be able to do the project the students must have some understanding of acoustics. Participating students must have taken GSD 6205 Environmental Technologies for Buildings, Lecture 4 Acoustics presented by Matthias Schuler, or the equivalent.The intention of this course is to confront students with the impact of acoustics on architectural design. Every other week the course starts with a case study in which a recently built project, that the lecturer participated in, will be illustrated. The projects to be treated are, in random order:Casa da Musica, Porto (OMA); De Kunstlinie, Almere (SANAA);CCTV, Beijing (OMA); C PhaseIIT McCormick Campus Centre Building, Chicago (OMA);Wyly Theater, Dallas (RE X); C PhaseMuziekpaleis, Utrecht, (Hertzberger); CD PhaseDe Effenaar, Eindhoven (MVRDV) Palacio del Sur, Cordoba, (OMA) CD PhaseAfter and during the presentation of the projects, students are expected to react and give their opinion of the project approach from an acoustic perspective.The scientific approach of architectural acoustic design started at Harvard more than 100 years ago with the design of Boston Symphony Hall and the work of Wallace Clement Sabine. To better understand the relation between music performance and the venue used for this study of the papers of Sabine are advised. For decades Boston Symphony Hall, together with Amsterdam Concertgebouw and Vienna Musikvereinsaal, have the reputation of the best concert halls in the world. So the challenge for every designer (architect, acoustician) is to meet this reputation.The students work will be to analyse a recently built or recently designed concert hall for symphonic music and to compare the acoustic design with the Boston Symphony Hall as a reference. The analysis, however, must not be limited to the concert hall acoustics but also sound emission and sound isolation and all other related issues must be studied. The impact of specific or supposed design decisions must be elucidated and motivated. The idea is to gather information on performing arts venues from a mutual architectural and acoustical perspective. The first challenge is to search for a format to communicate both to architects and acousticians. In this project the student must try to understand the acoustic interpretation of the architectural design, where in practice the architect expect his consultant to understand the design concept and to anticipate. Maximum participants: 14Relevant literature:-GSD 6205 Environmental Technologies for Buildings, Lecture 4 Acoustics, Mathias Schuler;-Architecture & Music, Renzo Piano Building Workshop, isbn 88-8223-054-6, 2002;-The architecture of sound, designing places of assembly, Peter Lord, Duncan Templeton, The Architectural Press: London, isbn 0-85139-726-3, 1986;-Concert and Opera Halls, How They Sound, Leo Beranek, Acoustical Society of America, isbn 1-56396-530-5, 1996;-Opera Houses, Theatres and Concert Halls for the Twenty-First Century, Michael Hamond, Merrell Publishers Limited, isbn 1-8589-4279-9, 2006-The making of Symphony Hall Boston, Richard Ponte Stebbins, Boston Symphony Orchestra, Boston, isbn 0-9671148-1-0, 2000-Architectural Acoustics. Marschall Long, Elsevier Academic Press, London, isbn-10: 0-12-455551-9, 2006Course Schedule:Thursday, September 20th. 10:00 – 1:00. Friday September 21st. 9:00 – 12:00. Thursday, October 4th. 10:00 – 1:00. Friday, October 5th. 9:00 – 12:00.Thursday, October 18th. 10:00 – 1:00.Friday, October 19th. 9:00 – 12:00.Thursday, November 1st. 10:00 – 1:00.Friday, November 2nd. 9:00 – 12:00.Thursday, November 15th. 10:00 – 1:00.Friday, November 16th. 9:00 – 12:00.Thursday, November 29th