Research Report, High-way as urban centre

RESEARCH REPORT

H I G H W A Y A S U R B A N C E N T R E

C E D E R I C K I N G E N - H O U S Z 0 8 - 0 1 - 1 4

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Illustration 1: Video still of the movie metropolis (1927) (Source: Mensink, 2006)

Cover illustration: High way as urban centre. (Source: combination of: own work, 2013. and Mensink, 2006)

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Content

1 Abstract

2 Introduction

3 Framework

4 Fundamental physics of sound.

5 Basic manipulation of sound

6 Architectural interventions

7 Conclusions

8 Literature

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Illustration 2: Image from the A12-zone in Utrecht seen from the only bikebridge in the area (Source: own work, 22-11-13)

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1 Abstract

Today’s Architectonic developments close to high-ways are rightly very much restricted because of environmental issues. High-ways therefore form real barriers between neighborhoods and cities and cause ‘locked in’ area’s that do not contribute to interesting public or private area’s and functions.

In 20 years from now, the scope of my project, I believe a number of these restrictions will be eliminated by the clear and irrevers-ible developments to a much greener society. Electric vehicles and transport systems, shared transport services and transport hubs will eliminate a lot of today’s pollution issues. I cannot however, with any form of certainty, see a solution for high speed transport noise caused by the tire-surface sound that is dominant over say 40 km per hour.

That is why all proven techniques in absorbing, reflecting or dif-fracting of this ‘tire-surface noise’ (sound source) will have to be combined, refined and effectively used in combination with pure architectonic interventions. All these design tools will have to be combined in a such a way that it will enable the ‘safe’ construction of a so called high-way location, that is the subject of my project.

The science of sound is complex but needs to be studied in a lot of detail in order to bring us the theoretical background needed to come to effective solutions in the fight against ‘high speed traffic noise’, most probably the last blocking environmental issue in the near future in the development of so called near high-way projects. I combined the proven solutions that are in use today in a simple and straight forward toolbox of measurements with a link to the acoustic theory they are linked to.

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Illustration 3: Image from Grand Canal in Venice, main attractive ‘highway’ through the city. (Source: www.hdwallpapers.in, 05-01-14)

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2 Introduction

Why sound/noise as a subject of study?

Fascinated by mobility and architecture in our modern society and the distinct relation between both, I instantly realized that the en-vironmental issues around mobility, as we know it today, play an important if not decisive role in the limitations of building close to major highways. Thus leaving us with real physical barriers be-tween area’s that would profit from a closer interaction of their public and private functions and easier ways of cross traffic be-tween the now separated areas. A missed chance and one of the major causes of many uninteresting city areas that are ‘locked up’ by their geographical positions in relation to our major highways and main train connections.

Looking into the near future (say 20 years), taking the present de-velopments into account one can safely assume a much greener society with more focus on electric vehicles and shared transpor-tation systems (green wheels, metro etc) with considerably less ‘chemical’ pollution (exhaust gasses, fine dust) as a result and thus opportunities to move people and functions closer to the high-ways if we only could solve the acoustic problems related to traffic.

To come to possible solutions for this specific issue, that seems to block future developments around such ‘high-way bound’ areas, one should first understand the basics of the acoustic sources re-lated to traffic, the way sound propagates through different media from that source and the risks that humans run when they are ex-posed to different levels and frequencies of ‘noise’. With the sim-plified theoretical related theories in my hand, I should be able to come up with the first answers whether we can manage ‘traffic re-lated’ sound with the knowledge and the developments of today to such an extent that we will be able to overcome the negative influence of traffic related acoustic pollution in our plans to use the highway locations that are presently blocked for development.

Clean air is possible, noise still seems a question.

If the noise issue could be solved one can easily foresee city areas that look like the concepts developed in the early twenties of the last century where cars were introduced as integrated part of mod-ern city life or like Venice and its Grand Canal that serves as the spine of the city’s activities rather than the barriers that modern highways represent.

But first some basics of acoustics and a review of possible measure-ments that one can develop to overcome the negative effects of traffic related noise. I will present a range of practical and proven measurements in the form of a tool box to keep things simple and practicable and to show the relation between the basic solutions and the theory they are based upon.

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Illustration 4: Acoustic environment: source, meduim and receiver (Source: own work, 2014 / based on: Grueneisen, 2003)

Illustration 5: The problem; noise map of the A12 area (Bron: www.rijkswater-staat.nl 05-01-14)

Illustration 7: Frequency’s and relative 1/3 octave band decibel levels. (Source: Hayek 1990)

Illustration8: Dominant sound source and speed, of a car. (Source: own work, 2014)

0-40 km-h- engine- exhaust

40-180 km-h- tyre road contact

< 180 km-h- aerodynamics

Illustration 6: Line and point sources with characteristics. (Source: own work, 2014)

POINT SOURCE- emits spherical- model nearby highway

LINE SOURCE- emits cylindrical- equation of points- model for a distant highway

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3 Framework

As stated in my introduction my project is situated close to the A12 highway and therefore is a real ‘high-way’ location. I want to show and probe if future developments mentioned in my introduction will bring construction projects in such locations closer to reality if we could tackle the sound problem caused by traffic at high speeds.

Technical research question:How can we reduce the highway traffic noise by architectural inter-ventions (medium manipulation) to such a degree that allow us to effectively use near high-way locations as illustrated in my project location.

SourceSo first we are going to look at the source of the traffic noise. In the literature they differentiate between two different types of sources, so called line sources or point sources. The point source is used for close range modeling of the effect of a high-way and the line source in modeling situations at greater distances. Because my project is right next to the highway we should use a point source model in the required analysis. [illustration 6]

The sound that the highway produces varies a lot because the sound is produced by of a lot of different vehicles with their own specific variables. The sound sources range from large trucks to small cars at different speeds on tarmac roads in various quantities per unit of time depending on the time of the day.

Traditional highway traffic noise studies show results that you can see on illustration 7. It clearly shows the dominant noise source for different speeds. From 0-40 the electric cars is way more friendly (engine sound dominates) but with increasing speed that advan-tage is lost because the tire/road contact is the most dominant noise source.

You can also see the frequency’s ranges from 0.1 to 10 kHz in differ-ent sound pressures (loudness) (Hayek, 1990. p.79). [illustration 8]

MediumThe medium for traffic noise is predominantly air. But buildings and other constructions do play a secondary role as medium for sound propagation. You can see in illustration [13] that the wind or temperature have their influence in how the noise travels. This is called refraction, and this phenomena is also seen if the medium suddenly changes. For example form air to a sound wall. Air pollu-tion and humidity also have their influence on the sound traveling through air. More particles per cubic meter will slow the sound wave down and make the travel distance shorter. Then we have all kinds of obstacles from the built environment. You can see that on the images that sound has the capacity to move around obstacles, so it is hard to stop.

ReceiverThe receiver in our project is the human being walking around or working in the newly developed area close to the highway. This person should be able to live a normal life without personal protec-tion measurements.

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Illustration 12: Constructive and destructive wave interference. (Source: own work, 2014 / based on: Grueneisen, 2003)

Illustration 9: Longitudinal movement of particles. (Source: own work, 2014 / based on: Grueneisen, 2003)

Illustration 10: Longitudinal movement of a sound wave. (Source: own work, 2014 / based on: Grueneisen, 2003)

Illustration 11: Particle movent translated to a pressure curve. (Source: own work, 2014 / based on: Grueneisen, 2003)

Illustration 13: Environmental effects, wind and temperature (Source: own work, 2014)

Illustration 14: Sound wave and time (Source: own work, 2014 / based on: Grueneisen, 2003)

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Two or more sound waves that meet each other may support or cancel each other out (constructive or destructive interference). But most of the time they will not move exactly parallel and the effect will not be very significant, and the different sounds can still be detected and differentiated from each other (you can recognize a melody of a song through the background noise of a highway for example). [illustration 12]

The speed of these waves depends on the medium they travel through. In air for example the speed depends on several envi-ronmental factors such as humidity and temperature. To give an example; the speed of sound in air of 21oC is 340 m/s and in glass of the same temperature it is 5.000 m/s. (Z.Maekawa, 2011. p.4). How harder/less elastic the material is how faster the sound trav-els. [illustration 13]

So what about these different sound waves, how can ‘this moving of particles’ give this variety of sounds we experience as receivers. There are two main variables that influence the characteristics of the sound at the source. First the amount of waves in a second, called frequency, and secondly the height (amplitude) of the wave, called sound pressure. [illustration 14,15,16]

The frequency of a tone is the number of waves (pressure differ-ences) that occur in 1 second. We measure this in Hertz, 1 com-plete wave in one second is equal to 1 Hz. The complete wave cy-cle consists out of a high- and low pressure curve. The wave cycle combined with a period (time) determines the frequency of that particular sound. The shorter the period the higher the frequency. The human auditory organ has a range of approximately 20Hz to 20KHz. (Z.Maekawa, 2011. p.19).

4 Fundamental physics of sound.

Definition: Sound is a wave motion that is an oscillation of pres-sure transmitted through a elastic medium composed of frequen-cies which are within the range of hearing. (Z.Maekawa, 2011. p.1)

The acoustic environment generally consists out of a source that generates a wave motion/vibration in an elastic medium, the path of this wave motion to its receiver is called the path of transmis-sion. The three elements mentioned: source, medium and receiver all have their effect on the quality of the sound. The source could be anything from an airplane to a music instrument. The sound can be desirable like the music instrument or undesirable like the air-plane. This depends on the human perception, that of course plays a big role in the interpretation of sound. But before the sound can be interpreted or picked up by its receiver it has to travel from the source through a medium. [illustration 4]

Sound travels through a medium in sound waves, or waves of en-ergy. The medium like air, is built up out of a lot of particles. If this medium is elastic the particles can vibrate around their equilibrium (stationary) positions. The particles can receive energy from their neighbor and pass it on to the next particle. In this manner a sound wave can travel through a medium. Of course these energy transi-tions from particle to particle are not without energy losses and thus the sound will eventually die out, depending on the medium it travels through. [illustration 9]

These sound waves are a physical disturbance, (vibration of par-ticles in a medium) and consist out of compression and rarefac-tion that result in pressure differences superimposed on the nor-mal pressure in the medium (Grueneisen, 2003. p.046). The sound wave is a longitudinal motion that moves parallel to its source. [il-lustration 10&11]

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Illustration 16: High and low frequencies. (Source: own work, 2014)

Illustration 17: Doppler effect (Source: own work, 2014)

Illustration 15: Frequencies, 1- and 4 Hz. (Source: own work, 2014 / based on: Grueneisen, 2003)

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This frequency will not change from source to receiver if they stay at a constant distance from each other. But when the source and receiver move relative to each other the picked up frequency at the receivers end will change. This effect known as the Doppler effect explains why an approaching moving sound source like a car has a higher frequency sound than that same sound source (the same car at the same speed) the moment is passes you and moves away from you (Grueneisen, 2003. p.048). [illustration 17]

Sound pressure as I explained before is the height of the wave, or better the changes in pressure between the particles in a medium in one cycle. The sound pressure is a measure of the acoustic force on a given area, (Grueneisen, 2003. p.048) and is for the receiver interpreted as loudness.

The force can be measured in Pascal (Pa), the range of human hear-ing is from 20 mPa to 20 Pa, this is a very big ratio. To simplify that large range scale and make it more useable, they reworked the Pascal’s into a logarithmic scale with a unit of measurement called Decibels(dB). The Decibels are also linked to human sensa-tion, and the range is from 0(dB) to 140(dB), which is the threshold of pain (Grueneisen, 2003. p.050). The logarithmic character of the Decibel scale represents the sensation of sound we experience as human beings much better.

After this short introduction of the basic physics of sound I trust that I can now proceed to the framework of my project. Traffic noise as the key to success in the areas to be developed in my plans can only be effectively reduced to acceptable levels with noise reduc-tion measurements for which we certainly need the basics of the fundamental physics of sound as described in short in this chapter.

Without any theoretical knowledge of this complicated science of sound we would not be able to come to effective measurements.

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Illustration 18: Three ways to manipulate sound: reflection, absorbtion and addition. (Source: own work, 2014)

Illustration 19: Angle of incidence = angle of reflection (Source: own work, 2014 / based on: Grueneisen, 2003)

Illustration 20: Different surface shapes and their reflections. (Source: own work)

Illustration 21: Diffusive surface and reflection. (Source: own work, 2014 / based on: Grueneisen, 2003)

Illustration 22: Energy refection on a flat and rough surface. (Source: own work, 2014 / based on: Grueneisen, 2003)

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Sound has the ability to move/bend around obstacles, this is made possible by the physical nature of the sound wave. The sound wave will physically move away from a point source. Therefor edges of obstacles could function as a new but weaker sources. Behind an obstacle like a sound wall, there is a small noiseless shadow just behind it, but further away the noise can be heard once more. Long sound waves equal to low frequencies diffract more easy than high frequencies and therefore travel further before being ‘stopped’ by barriers and can even be heard when the source is not in the line of sight. The sounds of the drums in any street band carry much further than the trumpets in that same band. [illustration 23]

AbsorptionSound absorption is the transformation from sound wave energy into any other form of energy, for example into heat or motion. Sound absorption is highly dependent on the given frequency (Grueneisen, 2003. p.059). Sound absorption, as stated before, is accomplished by energy transformation. This can also be achieved by the use of a porous material that forces the sound wave to re-fract many times. With every refection the sound wave will lose a bit of its energy to the material and eventfully the sound dies out. This kind of absorption technique (glass fiber panels) is most effective with mid and high range frequencies. The porosity of the material has to have similar dimensions as the wave length being absorbed. (high frequency, small porosity) [illustration 24]

That is why this technique is not suitable for low frequency sound. One would need material with a very high degree of porosity ( large dimensions of cavities) resulting in thick and heavy materials to be used in absortion panels. Low frequencies sounds can better be tackled with diaphragmatic absorbers (Grueneisen, 2003. p.060). Panels that are connected with springs on top of other force ab-sorbers that enable the panels to move and absorb the sound en-ergy. The panels have to be adjusted to the typical resonant fre-

5 Basic manipulation of sound

Sound reduction in general would preferably be taken on at the source, if that is not successful or impossible the medium the sounds travels through can be manipulated by ‘obstructing’ meas-urements. The last thing one can do is to use effective protection measurements at the receiver’s end. This last solution is not ac-ceptable for any public function or surrounding and is only found in specific, often maintenance related, work around machines and installations by specialized personnel.

Sound on its way to the receiver can be influenced. There are a number of basic principles of manipulating sound on its path to a receiver. We use the principles of reflection, absorption and addi-tion of sound in order to manipulate the path of the sound from source to receiver. [illustration 18]

ReflectionFlat surfaces with dimensions sufficiently larger than the (sound)wave length will reflect sound waves. The angle of incidence equals = angle of refection. In the illustration [19] you see some typivcal reflection patterns. In the first illustration the sound gets spread around, in the second illustration the sound is concentrated and in the third illustration the sound is reflected back in a parallel direc-tion.

If the reflecting surface has a lot of irregularities at the scale of the wave length sound ‘diffusion’ occurs. The sound energy is re-distributed diffusely back into space helping to reduce peak sound levels. In our situation along the high-way with its great diversity in sound sources it would take a lot of different reflecting surfaces (not practicable) since all frequencies (wave lengths) need their specific sizes of irregularities. It is interesting to note that some ar-chitectural details in historic buildings play that very role of causing sound diffusion (Grueneisen, 2003. p.059)! [illustration 20,21,23]

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Illustration 25: volume resonator (Source: own work, 2014 )

Illustration 23: Refraction over a sound wall. (Source: own work, 2014)

Illustration 24: Porous material and absorption. (Source: own work, 2014)

Illustration 26: Refraction by change of medium. (Source: own work, 2014 / based on: Grueneisen, 2003)

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design right now. Too uncertain I would say, and highway speeds under say 50 km per hour with electric vehicles seems also highly unlikely to be a real scenario for the situation around the A12 in 20 year from now.

I therefore find it more realistic to revert to more traditional tech-niques for my project. But it shows where our research efforts should go to if noise reduction is our aim for future city develop-ments.

quency of the source to be able to start moving and to absorb or transform the sound energy into energy of motion.

There are more proven ways to absorb sound energy by transfer-ring its energy into motion or heat, the so called volume resonator is one of them. [illustration 25]

The degree of absorption of different materials is measured with the sound absorption coefficient (α) (Sadin). One square foot of perfect (100%) absorption is 1 sadin, while no absorption equals 0 sadin. Materials over 0,5 sadin are considered absorptive below 0.2 sadin are considered reflective (Grueneisen, 2003. p.052).

AdditionsAlso called active acoustics, is a developing field with some promis-ing results. Nowadays we all know the headphones that quite ef-fectively cancel out the background noise. The principle is to pro-duce sound waves of the same characteristics as the background noise, but with half a period difference. The addition of both ‘equal’ sounds with half a period difference leads to a theoretically zero sound pressure!

As can be seen and understood from the basic methods of sound manipulation described in this chapter the ‘sound complexity’ of my high-way location will force me to use and implement differ-ent methods for various specific situations in order to control the sound problem related design details.

It must be noted that in my assumptions for the near future I did not dare to assume that we could effectively reduce the source sound production enough to get away from any other way of sound reduction measurements. In the next 20 years we will definitively see progress in that field by producing better sound characteristics of the tires we will use, better highway surfaces and other tech-niques that will reduce the source sounds but if that will be enough stays an open question and therefore cannot be the basis of my

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TOOLS

Landuse & zonning

Topography

Barriers

Planting

Building orientation and shapes

Building Featurs

New source

Illustration 27: Principle sketches: own work, 05-01-14

Sound Principles: Absorption by mass and reflection due to height differences of the embankment

Sound Principles: Reflection due to height barrier, and possible absorption.

Sound Principles: Reflection (controlled), the buildings will guide noise away from certain places.

Sound Principles: Reflection and absorption, facade elements balconies that will reflect and absorb sound.

Sound Principles: Addition of pleasant and natural sound to overule the noise.

Sound Principles: Absorption and reflection, planting will increase reflections and therefore have absorbing capa-bilities.

Sound Principles: energy loss through air over distance

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6 Architectural interventions

Since I accept that the source sound of high-way traffic cannot be effectively reduced to the required levels with a certain degree of certainty I will have to come up with the existing ideas and tech-niques and bring them in a tool box for ease of use. Looking at the Dutch high-ways of today and the sound reducing techniques solutions being used with the theoretical background of this pa-per in my mind I was able to develop a 7 category toolbox to help me in the possible design options I have in different circumstances. It also couples the categories and their specific solutions to their theoretical principles. The categories will be shown, illustrated and explained by existing projects. [illustration 24]

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zoning of fuctions buildings as forest, gradient of noise reduction and land use

zoning highrise fuctions as screen

Illustration 29: Source: www.amsterdam.nl, 05-01-14 Illustration 30: Source: www.flikcr.nl, 05-01-14 Illustration 31: Source: www.skyscrapercity.com, 05-01-14

Illustration 28: Principle sketches land use and zoning: own work, 05-01-14

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Land use and zoningLand use and zoning is the most common tool used in the Nether-lands to deal with high-way traffic noise. The zone closest to the highway has only functions that are the least sensitive to noise, they act as a buffer for the functions like dwellings that are very sensitive to high-way traffic noise. In this barrier zone you see a lot of sport fields, office buildings and industrial parks. To make these buffer zones extra effective you can introduce high-rise buildings like on the Zuidas in Amsterdam or an extra barrier like the Wall in Utrecht. These constructions then serve as an additional sound reflecting and/or absorbing barrier between source and receiver.

TOOLS

Landuse & zonning

Topography

Barriers

Planting


Building Featurs

New source









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high embankment high-way on an embankment high-way in deepened channel

Illustration 33: Source: www.brabandsdagblad.nl, 05-01-14 Illustration 34: Source: own work, 22-11-13

Illustration 32: Principle sketches topography: own work, 05-01-14

Illustration 35: Source: www.flickr.com, 05-01-14

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TopographyBy designing the edges of the highway as an embankment you can quite easily provide a low noise ‘hinterland’. By creating embank-ments you can introduce a lot of sound absorbing mass and height differences to reflect the sound . The newly introduced mass of the embankment has the ability to absorb sound, even the low frequencies as the embankment could be made wide enough. The height creates a shadow zone and could cut sound contact directly in the line of sight. The embankments can be made out of different materials. More porous sandy structures or fully planted types that are able to absorb a lot of sound energy close to the source. These options as alternatives to concrete and reflecting types that could even have the adverse effects.

TOOLS

Landuse & zonning

Topography

Barriers

Planting


Building Featurs

New source









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shallow planting zone wide planting zone ground vegitation

Illustration 36: Principle sketches planting: own work, 05-01-14

Illustration 37: Source: own work, 22-11-13

Illustration 38: Source: own work, 22-11-13 Illustration 39: Source: own work, 22-11-13

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PlantingPlanting along the highways is not as effective as sound walls or embankments. Its useful effect will vary per season and it is a quite open structure. They level of noise reduction depends on both the density of the planting and on how high the planting effectively is. Density is also related to the width of the planted zone and the structure of the ground with low vegetation also plays an impor-tant role in the effectiveness of this sort of sound reducing meas-urements. Planting is often used in mixed solutions. In combination with embankments for example it can be quite effective and good looking! It then also serves as a pleasant change in the structure of high-way experience of the users.

TOOLS

Landuse & zonning

Topography

Barriers

Planting


Building Featurs

New source









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gradient - gradient + heigth surface finisch

curve shape light heavy material

light heavy

shape

material finisch

Illustration 40: Principle sketches barriers: own work, 05-01-14

Illustration 41: Source: www.campen.nl, 05-01-14 FIllustration 42: Source: www.archiefeemland.nl, 05-01-14 Illustration 43: Source: www.wikipedia.org, 05-01-14

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TOOLS

Landuse & zonning

Topography

Barriers

Planting


Building Featurs

New source









BarriersBarriers are a commonly used solution if the highway comes into ‘high density’ area’s. The sound walls as they are being build to-day do not need a lot of room and will effectively block the line of site between the source and the receiver, and therefore reduce the sound pressure considerably (high and middle frequencies). There is still a bit of sound penetration through the wall (dense medium) plus the sound that will diffract over and down the other side of the wall. There are a lot of variables as you can see in the illustration. Sound walls use reflection as the main technique of sound manipulation but they can be designed in such a way that they incorporate an absorption function. By using smart shaping of the design you can direct/reflect sound away from the sound pro-tected area, although there will always be noise left, for sure if your are on a certain distance and the wind is from the wrong direction. Walls cannot be build high enough in an economic way to protect or offer shadow like protection for a large area behind the wall.

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highrise as barrier building shape to contain noise building shape and noise shadow 1 building shape and noise shadow 2

building block as barrier enclosed courtyard building shape and facade sound perssure

building shape to enclose noise

Illustration 44: Principle sketches building shapes and orientation: own work, 05-01-14

Illustration 45: Source: www.plusmood.com, 05-01-14 Illustration 46: Source: www.googlemaps.nl, 05-01-14 Illustration 47: Source: www.mimoa.eu, 05-01-14

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Building shapes and orientationThe building can be designed in such a way that there will be a high and low noise level facades. By using orientation and shape as a tool you can influence the sound pressure on the different facades of a building. For example you could create an enclosed courtyard with low sound pressure while the outside of the building consists of high pressure facades. You could also think of trapped configura-tions or high-rise low rise combinations as is shown in fig….

TOOLS

Landuse & zonning

Topography

Barriers

Planting


Building Featurs

New source









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zoning of functions

second screen as buffer

balony as buffer

Illustration 48: Principle sketches building features: own work, 05-01-14

Illustration 49: Source: www.amsterdam.nl, 05-01-14 Illustration 50: Source: www.flikcr.nl, 05-01-14 Illustration 51: Source: www.archdaily.com, 05-01-14

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Building FeaturesYou can design a building in different ways to make it fit into a noisy location for example by positioning the living quarters on the least noisy facade. Create a second facade around or at one side of the building, add a lot of absorbing greenery to a facade, mount ab-sorbing panels to the facade and so on. All sound absorbing and/or reflecting techniques that aim for sound reduction in those areas of the building you want to be calm and noise free.

TOOLS

Landuse & zonning

Topography

Barriers

Planting


Building Featurs

New source









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change high-way noise convert traffic energy to create a new source

convert free energy to create a new source

Illustration 52: Principle sketches new source: own work, 05-01-14

Illustration 53: Source: www.oddmusic.com, 05-01-14 Illustration 54: Source: www.field-studies.org, 05-01-14 Illustration 55: Source: www.thatlanticcities, 05-01-14

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New sourceIn addition to reflection and absorption you can also tackle noise reduction in a different way. You can add new and more pleasant and natural sounds to distract the receivers from the noise they do not like. Possibly one can use the energy from the noise source to create the more pleasant sounds. Well placed ridges in the high-way surface could produce tune like sounds rather than the mono-tone noise of a modern high-way or free energy from wind could be used to produce organ like music tones.

TOOLS

Landuse & zonning

Topography

Barriers

Planting


Building Featurs

New source









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possible combinations

Illustration 56: Principle sketches combinations: own work, 05-01-14

Illustration 57: Source: www.flickr.com, 05-01-14 Illustration 58: Source: www.burolubbers.nl, 05-01-14 Illustration 59: Source: www.wikipedia.org, 05-01-14

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CombinationsOf course all of these categories and their solutions should be com-bined to get to the best possible results under the given circum-stances. In the illustration you will see some possible combinations.

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VHP Waterwall, Royal HaskoningDHV..Active wall of water, to block noise and add an other sound.

Flutebridge, own work.Cars have influence on the airstream, and music will appear on cycle bridge.

Asphaltophone, Steen Karup Jensen.Sound made by ridges in the road.

Sea organ, Zadar.Makes sound by wave motion.

Organ of Corti, Keith Atttenborough.Changes the highwaysound in organ like music.How does it work? Unknown

Xylofoonroad.Makes mucis out of the movent of bikes/cars.

Windorgan, Barnleys Panopticon Design.Makes music out of wind energy.

Wind triangleMakes music out of wind energy.

Soundhorn,Amplified sound

Illustration 60: Sketches of some solutions of adding a new source (Source: own work, 2014)

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6 Conclusions

The previous chapter illustrates there are a lot of noise reduction solutions available to-day. Although the projected progress in the general environmental conditions around the future locations along high-ways I still believe that noise reduction by architectonic measurements will be necessary the next two decades, the scope of my project.

It is a difficult and complex problem and all the present day tech-niques will be required and possibly refined in combination with a reduction of the source sound (tires and surface) to enable me to design the project so close to the A12 high-way at the location of the project.

The developed toolbox will help me to take the right combinations of techniques in order to limit the sound pressures to acceptable levels all over my project area.

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7 Literature

Books

Kliucininkas, L. (2011), Towards Sustainable Urban Transportation. Frankfurt: Peter Lang. first edition.

Ingard, U. (2010), Noise Reduction Analysis. Sudbury (US): Jones and Bartlett Publischers. first edition.

Mensink, J. van, et al (2006), Machinekamer snelweg. The Hague: Atelier rijksbouwmeester. first edition.

Maekawa, Z. et al (2011), Environmental and architectural acous-tics. New York (US): Spon press. second edition.

Grueneisen, P. et al (2003), Soundspace. Berlin: Birkhäuser. first edition.

Templeton, D. et al (1993), Acoustics in the Built environment. Ox-ford: Butterworth Architecture. first edition.

Articles

Hayek, S.I. (1990), Mathematical modeling of absorbent highway noise barriers, Applied Acoustics 31, 77-100.

Gegevens:

Cederick Ingen-HouszStudent nummer: 1371398

Lange Geer 422611 PV

Delft

[email protected]

08-01-2014

Research Report, High-way as urban centre

Documents

Transcript of Research Report, High-way as urban centre