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Tuesday Morning, 27 June 2017 Ballroom B, 8:00 Am to 9:00 TUESDAY MORNING, 27 JUNE 2017 BALLROOM B, 8:00 A.M. TO 9:00 A.M. Session 3aIDa Interdisciplinary: Keynote Lecture Keynote Introduction—8:00 Invited Paper 8:05 3aIDa1. Hearing as an extreme sport: Underwater ears, infra to ultrasonic, and surface to the abyss. Darlene R. Ketten (Otology and Laryngology, Harvard Med. School, Boston Univ. and Harvard Med. School, Boston, MA 6845, [email protected]) It has been argued that “hearing” evolved in aquatic animals. Auditory precursors exist in fossil Agnatha and cephalopod statolithic organs, but how/when/why did a dedicated acoustic receptor, the true primordial ear, first appear? Did hearing arise linearly or independ- ently, in parallel, in and out of the water? Modern aquatic species have an extraordinary range of auditory systems, from simple pressure receptors to complex biosonar systems. What drives this breadth of “hearing”? Vertebrate ears reflect selective pressures. While vision, touch, taste, and olfaction are important, only hearing is ubiquitous. Even natural mutes, like goldfish and sea turtles, listen. Ears capture passive and active sound cues. Auditory structures, honed by habit and habitat, delimit species abilities to detect, analyze, and act on sur- vival cues. Cochleae, from shrews to bats to wolves to whales, evolved from the essential papilla of stem reptiles, elongating, coiling, increasing in complexity that enhanced frequency discrimination, but with heads tuned to the physics of sound in their media. Air-water parallels evolved: ultrasonic echolocators and massive infrasonic specialists. The ear then is a window into the evolutionary push-pull driven by three tasks that shaped the several thousand elements packed into every auditory system: feed, breed, and survive another day. TUESDAY MORNING, 27 JUNE 2017 ROOM 206, 9:15 A.M. TO 12:20 P.M. Session 3aAAa Architectural Acoustics: Retrospect on the Works of Bertram Kinzey I Gary W. Siebein, Cochair Siebein Associates, Inc., 625 NW 60th Street, Suite C, Gainesville, FL 32607 David Lubman, Cochair DL Acoustics, 14301 Middletown Ln., Westminster, CA 92683-4514 Chair’s Introduction—9:15 Invited Papers 9:20 3aAAa1. Professor Bertram Y, Kinzey, Jr., mentor, scholar, practitioner, artist, and colleague. Gary W. Siebein (Siebein Assoc., Inc., 625 NW 60th St., Ste. C, Gainesville, FL 32607, [email protected]) Professor Bertram Y. Kinzey, Jr., had significant impacts on the shape of architectural acoustics today through his teaching, profes- sional practice, research, and service. He influenced several generations of students at Virginia Tech and the University of Florida where he developed innovative, laboratory-based courses to teach architects about acoustics and other environmental technology subjects. At Florida, he initiated graduate coursework to allow students to specialize in Environmental Technology and later architectural acoustics 3660 J. Acoust. Soc. Am., Vol. 141, No. 5, Pt. 2, May 2017 Acoustics ’17 Boston 3660 as part of the professional Master of Architecture curriculum, with a thesis in acoustics in addition. His teaching was based on ideas expressed in his landmark textbook, Environmental Technologies in Architecture that was published as a primer in the art and science of sustainable design in 1963, over 50 years ahead of its time. His students entered the profession with ideas of sustainability, integrating serious, graduate level research into their design work, grounded by the experiences that Bert brought to the classroom from his practice where he consulted on most of the major buildings built in Florida from the 1960s until his retirement many years later. The acoustical richness of the buildings that he worked on sounds clearly in all of the cities and towns where he worked! 9:40 3aAAa2. Contrapuntal design: The influence of Bertram Y. Kinzey, Jr., on architectural pedagogy at the University of Florida. Martin A. Gold (Architecture, Univ. of Florida, 231 ARCH, Gainesville, FL 32611-5702, mgold@ufl.edu) Bertram Kinzey introduced modes of analysis, conceptualization, and exploration, as a dedicated and productive researcher, author, teacher, architect, consultant, and musician that were transformative and continue to reverberate internationally through the work of his students. Bert’s insightful theoretical and practical relationships between music, acoustics, and architecture were drawn from his reflec- tive approach to teaching and refined through active practice. Perhaps foundational to his educational contribution, is his interest and tal- ent as an organist and organ builder leading to his use of “contrapuntal” to describe the interaction of music and architecture—new notes overlapping those lingering in the space and time of reverberance. Overlapping, independent, yet harmonizing elements might also describe Bert’s approach to architectural design as a theoretical construct; an integrative process; and as a measure of great architecture. Contrapuntal thinking is well known in literature and music but is just emerging in architecture. Bert introduced this important idea— among many others at the University of Florida—through his writings and tenure as a UF professor. This paper discusses Bert’s ‘contra- puntal thinking’ and the subsequent influence on architectural education through a recent graduate studio project for a new arts park and concert hall for the community of Sarasota, Florida. 10:00 3aAAa3. A living example—An attitude towards sustainable living. Weihwa Chiang (Vice President Office, National Taiwan Univ. of Sci. and Technol., 43 Keelung Rd. Section 4, Taipei 106, Taiwan, [email protected]) A sustainable built environment aims for minimizing environmental impact while maintaining healthy living. The Acoustics and Environmental Technology programs started by Professor Bertram Y. Kinzey, Jr., at the University of Florida were established with architecture design integration in mind. The programs and Professor Kinzey’s influence were not limited to the books and theories but also to the lives of his students. His remarkable work, Bailey Hall at Broward Community College, the University Auditorium renova- tion at UF and classroom are valuable memories to students who sat in them daily for decades. His passive design signature house in Gainesville is another unforgettable inspiration for students. It was where he successfully applied sustainable design concepts and theo- ries in reality in the early 1960s. These are evidence of how he inspires students by his life as a solid practitioner as well as a modern “Renaissance man.” Despite his retirement from UF, his influence has been passing on and spread around the world continually. His pass-through guidance has been followed in teaching, research, design and planning projects with a holistic approach. It not only peruses technical excellence with thoughtful social-economic concerns but heavily relies on “Kinzeian” humanity and attitude for sustainable 3a TUE. AM living and architecture. 10:20 3aAAa4. The shape of sound. Hyun Paek and Gary W. Siebein (Siebein Assoc., Inc., 625 NW 60th St., Ste. C, Gainesville, FL 32607, [email protected]) The work of Bertram Y. Kinzey, Jr., has influenced generations of architecture students and acousticians to visualize the sounds that become the acoustic signature of a performance or rehearsal space. His research and practice has shaped spaces we hear and listen in. Through the shaping of space, music and speech are enhanced and optimized by the addition of each curve, angle, planes, that become the unique character of the space. The sounds created on stages of theaters, concert halls, worship platforms, or lecterns are reflected, directed, and propagated to enhance the experience of the listener. Striving to achieve the perfect impulse response, we have learned from Bertram Kinzey that the acoustician’s work is not unlike the work of a sculptor, an interior designer, or an architect. Each surface and each texture on the surface has a purpose and a meaning to its existence. 10:40–11:00 Break 11:00 3aAAa5. Bert Kinzey, teacher, and collaborator in design. William W. Brame (606 NE First St., Gainesville, FL 32601, b.brame@ brameheck.com) As both his student and his client, I have known Bert Kinzey since 1971. In 1973 I started my career in Gainesville, and recently retired as the senior partner of the 106 year old firm known as Brame Heck Architects, Inc. From my earliest days up until 2004 when Bert moved away to Virginia, I had the pleasure of retaining Bert to serve as our architectural acoustics consultant on a wide variety of projects. These projects included music rooms for educational facilities, conference centers, worship centers, and multi-purpose facilities that required excellent acous- tics regardless of what was taking place in the space. Ever the teacher, he would explain his recommendations and solutions to each situation in such a way that I (and our clients) understood both the acoustical theory and the resulting physical manifestations that were being incorpo- rated into the facility. We would routinely seek Bert’s expertise for assuring that our new facilities were properly designed to isolate mechani- cal or environmental sounds. And, if a client had an existing facility that needed to remedy such noises, he would perform field testing and explore various options to solve those problems. Bert is a true gentleman and master of his profession. 3661 J. Acoust. Soc. Am., Vol. 141, No. 5, Pt. 2, May 2017 Acoustics ’17 Boston 3661 11:20 3aAAa6. Studying with Professor Bertram
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