Old alarm clock sounds12/11/2023 As the science historian Emily Thompson explains in her book The Soundscape of Modernity, absorptive materials removed reverberation, producing “clear and direct” sound. That approach produced its own idiosyncratic soundscape. Just as automobiles and kitchen appliances were seen as technological solutions to problems of everyday life, so ambient noise shifted from a symbol of progress in the machine age to a problem it produced-one that demanded a solution.Įarly acoustics materials focused on absorbing sound-soaking up sonic energy rather than reflecting it. In the early to mid-20th century, designers were startled to discover that they might have some control over the aural impression of a physical space. Read: The paradox of American restaurantsĪrchitects also had different conceptions of what ideal work and leisure spaces should sound like. Just as stainless-steel tabletops, slate-tile floors, and exposed ductwork seem au courant today, so did wall paneling and drop ceilings with acoustic tiles in the 1950s and ’60s. Surfaces that today’s consumers now consider old-fashioned were still relatively new and exciting in the interwar and postwar periods. But more important, acoustic treatments themselves were a big part of that luxury. From the 1940s through the early 1990s, fine-dining establishments expressed luxury through generous seating, plush interiors, and ornate decor. Luxury didn’t always mean loud, and there are lessons to be learned from the glamorous restaurants of the past, including actual mid-century-modern eateries. But it also degrades the thing that eating out is meant to culture: a shared social experience that rejuvenates, rather than harms, its participants. That’s bad for your health-and worse for the staff who works there. Now that it’s so commonplace, the din of a loud restaurant is unavoidable. The result is a loud space that renders speech unintelligible. No soft goods and tall ceilings mean nothing is absorbing sound energy, and a room full of hard surfaces serves as a big sonic mirror, reflecting sound around the room. These design features are a feast for the eyes, but a nightmare for the ears. That means sparse, modern decor high, exposed ceilings and almost no soft goods, such as curtains, upholstery, or carpets. According to Architectural Digest, mid-century modern and minimalism are both here to stay. Right now, high-end surfaces connote luxury, such as the slate and wood of restaurants including The Osprey in Brooklyn or Atomix in Manhattan. Much of this shift in design boils down to changing conceptions of what makes a space seem upscale or luxurious, as well as evolving trends in food service. Restaurants are so loud because architects don’t design them to be quiet. Others I visited in Baltimore and New York City while researching this story were even louder: 80 decibels in a dimly lit wine bar at dinnertime 86 decibels at a high-end food court during brunch 90 decibels at a brewpub in a rehabbed fire station during Friday happy hour. Other sounds that reach 70 decibels include freeway noise, an alarm clock, and a sewing machine. That’s not dangerous-noise levels become harmful to human hearing above 85 decibels-but it is certainly not quiet. Even at its slowest and most hushed, the average background noise level hovered around 73 decibels (as measured with my calibrated meter). The coffee shop is quiet, probably as quiet as it can be while still being occupied. Occasionally, the espresso machines grind and roar. Fingers clack on keyboards, and glasses clink against wood and stone countertops. The staff make pithy jokes amongst themselves, enjoying the downtime. It’s late morning on a Saturday, between the breakfast and lunch rushes. Let me describe what I hear as I sit in a coffee shop writing this article.
0 Comments
Leave a Reply.AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |