Harmony of context and the built environment: soundscapes in museum environments via GT

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buir.contributor.authorYılmazer, Semiha
buir.contributor.authorOrhan, Cemre
buir.contributor.orcidOrhan, Cemre|0000-0003-1603-1111
buir.contributor.orcidYılmazer, Semiha|0000-0001-9522-1102
dc.citation.epage107709-12en_US
dc.citation.spage107709-1en_US
dc.citation.volumeNumber173en_US
dc.contributor.authorOrhan, Cemre
dc.contributor.authorYılmazer, Semiha
dc.date.accessioned2022-01-26T09:38:30Z
dc.date.available2022-01-26T09:38:30Z
dc.date.issued2021-02
dc.departmentDepartment of Architectureen_US
dc.description.abstractThis paper presents an approach to analyze visitors' expectations and perceptions of museums' built and auditory environments. It aims to explore visitors' perception of acoustic and built environments in museums, generate a systematic categorization, and create a conceptual framework using the Grounded Theory (GT) approach. We measured the Equivalent Continuous A-weighted Sound Level (LAeq) and, following the ISO/TS 12913-2/3, conducted semi-structured interviews and questionnaire surveys were conducted to discover the sound environments and capture the subjective responses of visitors in two museums: the Rahmi M. Koç Museum (RMK) and the Erimtan Archaeology and Arts Museum (EAA) (both located in the most historical part of Ankara, Turkey). Although the selected museums offer two different experiences based on themes, exhibitions, and interior designs, we examined whether the museums’ soundscapes, connected contextually to the historical environment, could be perceived different from one another. Results show that Museum RMK, which has historical exhibitions and an historical building type, is more appealing to people's preferences and expectations than Museum EAA, which has historical exhibitions and a modern building type. The findings of the study reveal that peoples' perceptions are mostly dependent on the context in which sound is heard, rather than on sound levels in museums. In some areas, where sound was used as a design element, visitors had a better museum experience because they were able to interact with the exhibited objects on exhibit and feel as if they were living in a specific period.en_US
dc.description.provenanceSubmitted by Samet Emre (samet.emre@bilkent.edu.tr) on 2022-01-26T09:38:30Z No. of bitstreams: 1 Harmony_of_context_and_the_built_environment_soundscapes_in_museum_environments_via_GT.pdf: 2285418 bytes, checksum: 4ae8a51641e9399ca5d5eb5170c5bd42 (MD5)en
dc.description.provenanceMade available in DSpace on 2022-01-26T09:38:30Z (GMT). No. of bitstreams: 1 Harmony_of_context_and_the_built_environment_soundscapes_in_museum_environments_via_GT.pdf: 2285418 bytes, checksum: 4ae8a51641e9399ca5d5eb5170c5bd42 (MD5) Previous issue date: 2021-02en
dc.embargo.release2023-02-28
dc.identifier.doi10.1016/j.apacoust.2020.107709en_US
dc.identifier.eissn0003-682X
dc.identifier.urihttp://hdl.handle.net/11693/76790
dc.language.isoEnglishen_US
dc.publisherElsevier Ltden_US
dc.relation.isversionofhttps://doi.org/10.1016/j.apacoust.2020.107709en_US
dc.source.titleApplied Acousticsen_US
dc.subjectSoundscapeen_US
dc.subjectMuseum environmenten_US
dc.subjectAuditory perceptionen_US
dc.subjectContexten_US
dc.subjectGTen_US
dc.titleHarmony of context and the built environment: soundscapes in museum environments via GTen_US
dc.typeArticleen_US

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