Simple and robust data analysis methodologies are crucial to learn insights from measured data and reduce the performance gap in building stock. For this reason, continuous performance monitoring should become a more diffuse practice in order to improve our design and operation strategies for the future. The research presented aims to highlight potential links between experimental approaches for test-facilities and methods and tools used for continuous performance monitoring, at the state of the art. In particular, we explore the relation between ISO 9869:2014 method for in-situ measurement of thermal transmittance (U) and regression-based monitoring approaches, such as co-heating test and energy signature, for heat load coefficient (HLC) and solar aperture (gA) estimation. In particular, we highlight the robustness and scalability of these monitoring techniques, considering relevant issues in current integrated engineer design perspective. These issues include, among others, the necessity of limiting the number of a sensors to be installed in buildings, the possibility of employing both experimental and real operation data and, finally, the possibility to automate and perform monitoring at multiple scales, from single components, to individual buildings, to building stock and cities.@en

The design of auditoria and opera houses requires particular care for the stage area, where several different requirements should be achieved for the performers. Among these, the acoustic quality represents a fundamental aspect, and it differs from the listeners' perspective. Moreover, the performing area in concert halls is often an important area for non-acoustic reasons, since lighting, thermal plants, etc. are often placed in this special zone, and should be properly designed in order to guarantee a high level of global comfort. This paper presents some examples of how to design exhibition zones in opera houses and auditoriums that show both acoustic and technical improvements, both in theory and in architecture.@en

The acoustic quality in auditorium and concert halls is normally evaluated by the measurements of Impulse responses (monaural, binaural or even MIMO). The subjective evaluation is often obtained by convolving anechoic music with the measured IRs. The psycho-acoustical experiment is achieved using a virtual sound field representation. At the University of Bologna, the listening room Arlecchino includes Ambisonics and stereo dipole techniques for playback. In this paper, two different Italian opera houses and two Japanese concert halls were analysed. They were the Teatro Nuovo in Spoleto (Italy), the Teatro Alighieri in Ravenna (Italy), the Kirishima International Musical Hall in Kagoshima (Japan), and the Tsuyama Musical Cultural Hall in Okayama (Japan). The similarity between real and virtual sound fields, obtained with stereo dipole technique, was evaluated by comparing different acoustic parameters calculated by real and virtual sound fields, in the four halls in different designed configurations. Finally, the stereo dipole technique was added to the ambisonic methodology to reproduce the sound fields for the psycho-acoustical experiment. The dual stereo-dipole technique using two kinds of cross-talk cancelling filters can be one of the solutions for improving the acoustical quality of home theatre.@en

The acoustic quality of concert halls is extremely relevant for the modeling and simulation of the global music experience and for improving the acoustic design of music spaces. Furthermore, the acoustic characteristics of historical opera houses are considered to be one of the most important intangible elements of the cultural heritage of Italian history. An important Italian opera house is the theatre “Comunale” in Bologna (designed in the 18th Century by Galli Bibiena), and has a particular characteristic: the shape of the balconies and the materials with which they were constructed are different from those of a classical Italian opera house. This special feature of the balconies affects the listening conditions related to the position of sound sources on the stage and in the orchestra pit. This study investigates the acoustic properties of this important theatre in order to reproduce the sound properties by means of a 3D auralization. For describing the spatial sound characteristics of the hall, an experimental campaign was carried out. An omnidirectional, pre-equalized sound source was installed in the orchestra pit and on stage, and a dummy head was put in several listening positions on the balconies and in the stalls, accomplished with a B-format (soundfield) microphone. Moreover, the special features of the ACF (autocorrelation function) and the IACC (InterAural Cross Correlation) and other acoustic parameters were measured experimentally in order to reproduce them in the listening room “Arlecchino” at the laboratory of University of Bologna, by means of the Stereo Dipole and Ambisonics technique. The main results from the experiments are reported in this paper.@en