Spatial design outcomes of indoor soundscaping course as part of inte- rior architecture education Papatya Nur Dökmeci Yörükoğlu 1 Department of Interior Architecture, Çankaya University, Ankara, Turkey

ABSTRACT Indoor soundscaping is a multi-disciplinary field that integrates, sound, user experience, and archi- tecture. At its core, it has the potential to redefine any enclosed acoustic environment. Listening to spaces should be an active act of an interior architect; an awareness that should be gained during the early years of interior architecture undergraduate education. The elective course with the same name, ‘Listening to Spaces’ has been offered to interior architecture students since 2015 at Çankaya University, Ankara, Turkey under the Department of Interior Architecture, with the aim of implementing an important additional topic specific course to the present education curriculum of the Department as the course combines architectural, spatial and functional analysis methods from an acoustical perspective, in order to raise awareness on conscious listening of spaces with differ- ent functions. The course is conducted through interactive learning bases and the orientation is more research-based than teaching-based, although basic acoustical and soundscape theoretical knowledge is given. Students are expected to accomplish 6 tasks progressively following the cogni- tive process dimensions parallel to Bloom’s taxonomy. The outcomes of the tasks and the final spa- tial design proposals has been evaluated and discussed as part of this study to highlight the im- portance of topic specific course integration to architectural design education.

1. INTRODUCTION

International Federation of Interior Architects/Designers (IFI) states the responsibilities of an Inte- rior Architect/Designer who has been qualified by education, experience and applied skills as; (1) identify, research and creatively solve problems pertaining to the function and quality of the interior environment, (2) perform services relating to interior spaces including programming, design analy- sis, space planning, aesthetics and inspection of work on site, using specialized knowledge of inte- rior construction, building systems and components, building regulations, equipment, materials and furnishings, (3) prepare schematics, drawings and documents relating to the design of interior space in order to enhance the quality of life and protect the health, safety, welfare and environment of the public [1].

As clearly stated in the above definition, interior architecture education should combine knowledge on building information, materials, equipment, ergonomics, aesthetics, colour, lighting, acoustics, air conditioning, architectural history, sustainability, computer aided design, three- dimensional modelling, parametric design, universal design principles, cultural values, conservation and restoration under one umbrella and try to provide the students the ability to design and imple- ment interior spaces with a focus on user comfort [2].

Through this perspective, Çankaya University, Department of Interior Architecture follows a re- vised curriculum with courses that are grouped under sub-disciplines on; design, construction, building physics, graphical communication techniques, history, theory and criticism, and internship 1 papatya@cankaya.edu.tr

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[3]. Elective courses are offered to students from second to forth year each term on related sub- disciplines. Architectural acoustics must course is offered in the third year and several other elective courses on acoustics, soundscape and sound design are offered to provide detailed information to raise awareness for the future interior architects to approach sound as a design element when han- dling projects during their professional life. There are numerous related studies that concentrate on the importance of acoustics education as part of interior architecture and architecture undergraduate and graduate level education, which has been designed with varied methods and approaches [4-17].

Within the scope of must and elective courses on sound and acoustics, the field of soundscape and indoor soundscape [18-20], their factors and related standards [21-23] are covered to emphasize its philosophy that soundscape nor solely considers the theories and methods of architectural acous- tics or depends only on noise management techniques, yet primarily focus on user, perception, ex- pectation, and experience [24]. Through this perspective, listening to spaces should become an ac- tive act of any interior architect while experiencing and designing spaces. This type of awareness should be gained during the early years of interior architecture education. ‘Listening to spaces’ elec- tive course has been designed with this aim by following the Taxonomy Table matrix method that was presented by Krathwohl [25]. The Taxonomy Table includes the list of Bloom’s cognitive pro- cess dimensions and the knowledge dimensions in a matrix form. These two dimensions are first listed in Table 1, with indicating the specific dimensions, their explanations and examples. Table 1. Knowledge and cognitive processing dimensions [25, 26].

Dimension

Specific Dimensions Explanation Examples

Type

The basic elements that students must know to be acquainted with a disci- pline or solve problems in it.

Knowledge of terminology, Knowledge of specific details and elements.

Factual Knowledge

Knowledge of classifications and categories, Knowledge of principles and gen- eralizations, Knowledge of theories, models, and structures.

The interrelationships among the basic elements within a larger struc- ture that enable them to function to- gether.

Conceptual Knowledge

Knowledge of subject-specific skills and algorithms, Knowledge of subject-specific techniques and methods, Knowledge of criteria for deter- mining when to use appropriate procedures.

Knowledge Dimensions

Procedural Knowledge

How to do something; methods of inquiry, and criteria for using skills, algorithms, techniques, and methods.

Strategic knowledge, Knowledge about cognitive tasks, including appropriate contextual and conditional knowledge, Self-knowledge.

Metacognitive Knowledge

Knowledge of cognition in general as well as awareness and knowledge of one’s own cognition.

Remember

Retrieving relevant knowledge from memory.

Recognizing Recalling

Cognitive

Interpreting Exemplifying Classifying Summarizing

Process Dimensions

Determining the meaning of instruc- tional messages, including oral, writ- ten, and graphic communication.

Understand

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Inferring Comparing Explaining Apply

Carrying out or using a procedure in a given situation.

Executing Implementing

Breaking material into its constituent parts and detecting how the parts re- late to one another and to an overall structure or purpose.

Differentiating Organizing Attributing

Analyse

Evaluate

Making judgments based on criteria and standards.

Checking Critiquing

Putting elements together to form a novel, coherent whole or make an original product.

Generating Planning Producing

Create

The aim of this study is to describe in detail the design of the elective acoustics course ‘Listening to Spaces’ as part of an interior architecture undergraduate education. The design method of the course is derived from the Krathwohl’s Taxonomy Table that includes cognitive process and knowledge dimensions [25]. The indoor soundscape related studies and its relation with legislative and practical issue [27-30] and architectural and spatial analysis methods [31-39], presented in the literature act as a backbone for the design of this course. 2. DESIGN OF THE COURSE

The primary aim of this course is to raise awareness on conscious listening of spaces with differ- ent functions. As future interior architects, the student group will come across with the basic con- cepts of sound environment, sound source taxonomy, sound perception, and soundscape. Through the use of bloom’s taxonomy of critical learning, 6-step task oriented learning is structured. In addi- tion, soundscape concept and aspects on space experience is covered in detail. Theoretical infor- mation is given by structured lectures under five main topics; (1) basic principles of acoustics, (2) hearing and perception, (3) sounds of daily life and sound families, (4) contextual experience and questionnaire design, (5) soundscape definition and terms. Furthermore, site visits are carried out for the acoustical perception of different space types such as, acoustic and non-acoustic spaces dur- ing the course.

As part of the objectives of the course, students; (1) learn perception mechanisms and sound- scape concept (2) identification of sound sources in the built environment by attentive listening, (3) construct a sound source taxonomy or classification, (4) organize an indoor soundscape survey ap- plicable in case spaces (5) evaluate physical environment aspects and sound sources in case spaces, and (6) present design proposals of ideal soundscapes for case spaces. All these course objectives have been designed accordingly with knowledge and cognitive process dimensions and presented in Table 2 [25].

Thereby, at the end of the course the students are expected to gain knowledge on; (1) perception mechanisms on vision and acoustics and the concepts on soundscape and indoor soundscaping, (2) sound types in open and enclosed settings used for varied functions, (3) classification methods and taxonomies in the literature on sound sources, (4) space experience concepts and soundscape survey design and terminology, (5) applying and analysing surveys to obtain user feedback, and (6) en- hancing indoor soundscapes by focusing on user perception and experience.

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Reading and research on covered topics are essential throughout the course. Posters and presen- tations including visual and audial media are encouraged. Open discussions play an important part during the course hours that includes peer-assessment and self- evaluations as well. The course is conducted through interactive learning bases and the teaching involves; experiential, case-based, problem-based and project-based methods [40]. Throughout the course, students are expected to accomplish 6 tasks progressively following the cognitive processing dimensions [25].

Table 2. The Taxonomy Table [25] on the course objectives of ‘Listening to Spaces’ elective course for interior architecture undergraduate students.

Knowledge Dimensions

Cognitive Process Dimensions Remember Understand Apply Analyse Evaluate Create Factual Knowledge Objective 1

Conceptual

Knowledge Objective 3 Objective 4

Procedural Knowledge Objective 2 Objective 5

Metacognitive

Knowledge Objective 6

3. COGNITIVE PROCESS DIMENSION BASED TASKS AND SPATIAL DESIGN OUT- COMES

3.1. Task 1: Identification and recall of information The first task is designed on the cognitive process dimension; remember ; which is mainly on re- trieving relevant knowledge from memory. To fulfil this task, students watch one episode of a doc- umentary series on perception and fill out a true/false survey on the information that has been pro- vided during the 40 minutes of the documentary [41]. All fifteen items are from the documentary episode and they fill it out after they finish watching it. Following the exercise the right answers are given and a detailed discussion is carried out. Thereby, all the students can test whether they can recall the information correctly or not.

This exercise raises awareness on attentive listening abilities of each student during a 40-minute documentary episode on perception mechanism. Students also experience the fact that recalled in- formation may not always be correct. Discussion is finalized by introducing methods that would be useful to consolidate new information.

3.2. Task 2: Organization and selection of facts and ideas The second task is on the cognitive process dimension; understand , which is to determine the mean- ing of instructional messages, including oral, written, and graphic communication. In the second task, students are asked to classify sound sources in an open and an enclosed sound environment. In order to proceed with the task, they need to; (1) choose 1 enclosed space and 1 open space to evalu- ate as case spaces, (2) identify and describe functions, activities, user profile, usage times, and sound sources, (3) visit and listen to the environment carefully without speaking or interacting with other people, (4) concentrate on the sound environment and specific sound sources, (5) note down and list all individual sounds that are audible, and (6) try to group these sound sources according to a certain logic and prepare graphical explanation charts. This task is done in groups of 2 to 4 peo- ple. Each group prepares their work both for the chosen enclosed and open case spaces as separate posters.

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This task concentrates on the ability of organizing and selecting useful information from a spatial design point of view. They are first asked to observe and understand their chosen case space includ- ing the most effectual spatial factors (functions, activities, user profile, usage times) on the genera- tion of sounds in the case space. Furthermore, they select audible data and organize it to form sound groups.

3.3. Task 3: Use of facts, rules and principles As part of the related task on cognitive process dimension; apply, which is to carry out or use a pro- cedure in a given situation, students construct their own sound source taxonomy or classification. In order to start the task they are first asked to choose 1 case space (can be one of the case spaces in Task-2 or a new open, enclosed or semi-enclosed case space). Then they visit and listen to the envi- ronment carefully without speaking or interacting with other people. For this task, they are asked to get recordings from the case space (either as audio/visual or audio only) to support their presenta- tions. The presentations include; (1) detailed description of the case space; functions/activities in the space, user profile, usage, spatial organization and relations, dimensions, geometry, finishing materials (spatial, architectural and design related aspects are also included), (2) listening plan providing information on listening days and times and duration of analysis during listening times, (3) listening notes on the overall sound environment and specific sound sources to link/relate sounds with the activities in the space. As the final product students are asked to present their own sound classification for their chosen case space based on classifications that are presented in the lit- erature. They present their unique sound classifications as a chart based on the charts in the litera- ture [24, 42-44].

In the second part of this task, students revise and prepare their work as posters according to the feedbacks that they receive during presentation session. Peer-review is conducted to evaluate post- ers; every group evaluates each other by following poster evaluation criteria provided by the teach- er. The poster evaluation criteria include;

• Poster dimensions, form, space usage, overall design, • Colour usage and harmony, • Scale, proportions, and readability of the poster, • Quality of visual representations including graphs, picture, tables, schemes etc., • Detailed description of the case space • Information regarding sound sources and analysis Task 3 mainly focuses on the ability to use information provided in the literature and to be able to apply methods, schemes or classifications to their own projects. They apply, spatial, architectural and design related classification or analysis schemes that are provided in the literature to evaluate their chosen case spaces [31-39]. In addition, they use sound classification and taxonomy models in the literature [24, 42-44] as basic frames to form their own sound classifications.

3.4. Task 4: Separating a whole into component parts Following a detailed theoretical session on soundscape data gathering and analysis methods and discussing examples from the literature, students are asked to organize aspects of a soundscape questionnaire as part of task four for the cognitive process dimension; analyse , which is breaking material into its constituent parts and detecting how the parts relate to one another and to an overall structure or purpose. This task helps students to consider the users perspective and to think about the overall spatial experience as future interior architects who ought to design indoor environments in a unity by not only considering the ambiance but primarily the experience.

For this task students prepare a sample soundscape questionnaire to be used in their case space. They proceed by; (1) choosing the case space type and identify the functions (if different from the

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case spaces studied in the previous tasks), (2) deciding upon the aim of the survey, (3) describing the target participant group and population size, (4) following the steps for designing a survey that is given in the theoretical session. They are asked to include at least 10 questions with different question and answer formats in their sample questionnaires that are designed with a logical flow.

3.5. Task 5: Evaluating – Developing opinions, judgments or decisions Task five follows task four tightly, as for task five they apply the revised surveys that they have created/designed in their case spaces to gather detailed information from the actual users of their chosen case spaces. This task concentrates on the cognitive process dimension; evaluate , which is making judgments based on criteria and standards that is presented in the course related to sound- scape and spatial design. As part of this task they also take their surveys at the case spaces to get into the users’ shoes. With the surveys that they design they rate physical environment aspects and sound sources in their case spaces to develop further opinions from the users’ point of view. In ad- dition, students also evaluate their own surveys in the case spaces. They propose revisions by ask- ing themselves on what to be changed/added/subtracted in their survey? So, they evaluate their sur- veys as well as evaluating their case space.

3.6. Task 6: Creating – Combining ideas to form a new whole As to fulfil the last cognitive process dimension; create , which is described as putting elements to- gether to form a novel, coherent whole or make an original product. Task six is the final step for the students to complete in order to finalize their journey on the Bloom’s Taxonomy of cognitive pro- cessing dimensions. For the final sixth task, students are expected to design their ideal soundscape for their chosen case space. The steps of this task are as follows;

1. Choose an enclosed case space (if different from the case space chosen for previous tasks), 2. Analyse case space and suggest design solutions/alternatives by considering all the below

aspects; a. Space: spatial factors and architectural aspects as presented in the related literature (ex:

dimensions, colour, materials, furniture, style, geometry, openings), b. Functions (functions in the case space, opportunities and limitations given to users, how

this space serves or should serve to public), c. Usage (usage of space by occupants including time dimension), d. Users (who are using this space? User profile and demographics ex: age, gender, educa-

tion level, musical background), e. Psychological aspects (ex: expectation, perception, reaction, experience), f. Environmental factors (ex: lighting, thermal conditions, humidity conditions, air quality,

crowd level), g. Sound sources (ex: sources present in this case space, sources that are missing, sources

that does not belong), 3. Evaluate the chosen case space by applying the questionnaire to the users of the case space

and present findings, and how these findings are analysed and used in the proposal, 4. Provide solution for all identified acoustical and design related problems that are identified

by observations and/or questionnaires to enhance the quality of the case space. Students are encouraged to also prepare audio files to present their soundscape proposals in addi- tion the overall presentations that address all the identified aspects above. The evaluations include peer-assessment and self-evaluations through a structured assessment protocol that includes each item exemplified in the task.

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4. CONCLUSIONS

It has been presented by the current evident literature that, “architects’ grasp of the active architec- tural acoustic environment design and understanding of public preferences and demands” related to sound is insufficient [45]. Therefore, acoustics education should be implemented to the interior ar- chitecture and architecture undergrad education starting from the early years to raise awareness about the issue. Furthermore, it has been stated, “architects cannot design an acoustic environment with clear objectives and lack motivation to engage in an intense acoustic environment design” [45]. This conclusion has been taken as a point of reference to design an indoor soundscaping elec- tive course as part of interior architecture undergraduate education. The objectives of the course are designed in accordance with the Taxonomy Table matrix that includes knowledge and cognitive process dimensions [25] and for each objective a corresponding task has been created. The detailed tasks and the spatial design related outcomes have been explained in detail as part of this study.

5. ACKNOWLEDGEMENTS

The author gratefully acknowledges the students who have attended to the course, their hard work and outputs. 6. REFERENCES

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