Sound is too often the afterthought of building design, but it is the invisible, omnipresent element that can make people feel inspired and connected to spaces
Think of sound as the emotions of a space. While the visual aesthetics are a feast for the eyes, the space’s sound is the heartbeat of its soul – it pulses with life, sets the mood, and gives depth to each moment spent within.
Sound shapes our world, yet it’s often treated as a secondary concern in building design – an issue to be fixed later, not a key element to be considered from the start. But what if we could design spaces to sound as good as they look?
Increasingly, architects are realising that the experience of a building is as much about what you hear as what you see. This pursuit of sonic excellence took centre stage at a January event hosted by RIBAJ in partnership with sound technology manufacturer L-Acoustics. Leading architects gathered to share innovative approaches to optimising sound, from minimising noise and shaping acoustic characteristics to enhancing overall sound quality. It was a call to action.
How can the architectural profession elevate the importance of acoustics, both in practice and education?
This challenge aligns with the work of sound consultant Julian Treasure, who advocates for ‘conscious listening’ and ‘invisible architecture’. He believes we should be ‘designing not for appearance but experience’, crafting spaces that ‘sound as good as they look, and improve our quality of life, health and wellbeing, social behaviour, and productivity’. This ideal, however, often clashes with reality.
As Helen Taylor, an education design specialist and director at international practice Scott Brownrigg, observes, while there’s growing optimism around acoustics and inclusive design, sound remains ‘literally invisible’ in many architectural conversations. ‘It isn’t well covered in typical architectural education,’ she explains, ‘and not often part of architectural discussions unless it’s in relation to technical standards.’
‘Hearing affects feelings,’ declares Jason Flanagan of London-based Flanagan Lawrence, whose experience spans from the Sage Gateshead to the Royal Welsh College of Music and Drama. He laments that acoustics remains ‘a niche subject in architectural education, compared with light and sight, especially outside the performing arts’.
Imagine: airports, railway stations and foyers designed not just for visual appeal but for acoustic tranquility – spaces where sound enhances, rather than detracts from, the experience.
This wider application of acoustic principles is crucial, according to Tim Boot, director at L-Acoustics. ‘We live in a world of noise,’ he asserts. ‘At a subconscious level, hearing is critical, yet we undervalue it, creating environments that are not only noisy but also fatiguing.’
Boot believes the architectural profession holds the key to changing this. ‘Great architecture is about crafting an experience,’ he explains. ‘It’s about manipulating all of the senses. So why not fully engage sound?’ He emphasises that acoustic considerations can’t be an afterthought.
‘You need to define the intended purpose of a space from the very beginning,’ Boot continues. ‘The sound in a corporate lobby is just as vital as the sound in the boardroom. It’s not about adding sound later; it’s about designing for sound from the outset.’ He challenges the profession: ‘If we fail to attune the acoustics of a space to its function, we diminish productivity and communication and the emotional impact that space can have.’
For Helen Taylor, the importance of sound resonates deeply within the realm of education. ‘After light, sound is critical to educational experience and outcomes,’ she emphasises. ‘Research links acoustics to academic performance, and to physical and mental health – issues especially crucial for children, young people, and those with disabilities.’ Investing in good acoustics early is key: ‘Retrofitting solutions or dealing with the failure of poorly designed environments is far more costly.’
Electronic systems allow us to dynamically shift acoustics – with a click, a room can transform from cinema to concert hall, meeting room to nightclub
Performing arts venues lead the way in acoustic and sound design. ‘You need a blank slate to create different acoustic environments,’ Tim Boot points out. ‘But it’s hard to undo noise.’ These acoustic environments are key, says Jason Flanagan: ‘You need to work with the performance room to create the right space for the music, whether it’s a chamber work needing an intimate interior or a 200-strong choir in a large church. Each venue must be flexible, with a degree of tuneability.’
Natural acoustics often play a key role. Flanagan explains how acoustic absorption can be introduced, noting the growing use of electronic systems, which ‘affect the historic fabric less’. Flanagan Lawrence is currently exploring the use of L-Acoustics’ Ambiance, an electro-acoustic enhancement system, in its transformation of Cardiff’s Grade II*-listed Old Library.
A tour of the East Wing of London’s Alexandra Palace, a heritage project by Feilden Cragg Bradley Studios, showcased the integration of modern services in a Victorian theatre. Project architect Daniel Burt highlighted the importance of the floor and ceiling, explaining how the ceiling void’s ‘drum skin’ quality contributed to the space’s ‘fantastic acoustic character’. Meanwhile L-Acoustics’ loudspeaker systems ensure consistent sound quality, with retractable baffles adding acoustic versatility.
Tim Boot emphasises that optimal sound isn’t just a matter of luck. ‘Electronic systems allow us to dynamically shift acoustics,’ he says. ‘With a single click, a room can transform from a cinema to a concert hall, a meeting room to a nightclub.
'This finally realises the 20th-century dream of the multifunctional room – no longer a “multi-useless” space,' Boot adds. 'By carefully integrating architecture, lighting and acoustics, we can create truly versatile environments, a major advancement for architecture.’