{"id":2823,"date":"2017-05-18T15:23:55","date_gmt":"2017-05-18T15:23:55","guid":{"rendered":"https:\/\/modelo.io\/blog\/?page_id=2823"},"modified":"2024-04-15T03:36:19","modified_gmt":"2024-04-15T03:36:19","slug":"benjamin-markham-of-acentech","status":"publish","type":"page","link":"\/blog\/index.php\/benjamin-markham-of-acentech\/","title":{"rendered":"Benjamin Markham of Acentech"},"content":{"rendered":"

Benjamin Markham of Acentech<\/h1>\n
\"Benjamin
Benjamin Markham of Acentech (Photograph courtesy of Acentech)<\/figcaption><\/figure>\n

Benjamin Markham brings this passion for acoustics to his role as Principal Consultant and Director of Acentech<\/a>\u2019s Architectural Acoustics group. His projects involve architectural acoustics, mechanical systems noise and vibration control, and environmental acoustics consulting for performance spaces and other commercial, residential, and civic facilities, and he has an avid interest in acoustical models and 3DListening (computer simulations of acoustic environments). He has consulted on projects related to room acoustics, sound isolation, auditorium and concert hall acoustics, music rehearsal spaces, acoustics of worship spaces, classroom and lecture hall acoustics, environmental noise control, condominium sound isolation, and other aspects of acoustical design. A LEED accredited professional, Ben is a member of the Acoustical Society of America and was awarded the Robert B. Newman Medal for Architectural Acoustics in 2002.<\/p>\n

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On becoming involved in architectural acoustics
\n<\/strong>Outside of class I spent most of my time in the theater or music hall. It goes much further back than college though \u2013 as a boy I sang in a children\u2019s choir and later took up the saxophone. A love of music was a big part of my childhood, and it hasn\u2019t gone away. When it came time to choose a course of study I decided that the life of a musician wasn\u2019t for me, and followed what I was best at academically: math and science. And while I enjoyed engineering, I realized relatively early on that I didn\u2019t really want to be a structural engineer. I also took many architecture classes and studios and loved those experiences. Acoustics became this beautiful marriage between my interest in design, my aptitude for engineering, and my love of music. I stumbled upon this field in college and I consider myself incredibly fortunate \u2013 I love what I do.<\/p>\n

On discovering his voice in the field
\n<\/strong>My earliest and strongest influence within the acoustics field is Carl Rosenberg. I took a class with Carl while an undergraduate at Princeton, in the architecture school. I so loved the class that I took him to lunch and asked him if he could give me a job.  He did, and Acentech has been my professional home ever since. And Carl has been a personal and professional mentor ever since, too.<\/p>\n

There are other influences as well of course \u2013 my time away from Acentech earning a Masters in acoustics was mostly influenced by my advisor, Paul Calamia, where I focused particularly on computer modeling and simulation \u2013 a fascination that also continues; I\u2019m proud to say that Acentech is at the forefront of the industry when it comes to the use of acoustics modeling and simulation in design practice.<\/p>\n

Another major influence was Chris Jaffe, a world renowned acoustician with a career in acoustics at the firm he founded. When he retired from that firm he decided he wasn\u2019t finished with acoustics just yet. He joined Acentech, helped us launch our performing arts studio \u2013 Studio A \u2013 and helped shape my thinking and that of my colleagues particularly as it relates to the acoustical design of performing arts venues. Chris remained a part of the Acentech family for several years, up to his death in 2013.<\/p>\n

\"Shapiro
Shapiro Courtyard at the Museum of Fine Arts, Boston, MA (Photograph by Jeff Fullerton, a Principal Consultant in the Architectural Acoustics Group at Acentech)<\/figcaption><\/figure>\n

On joining Acentech
\n<\/strong>In my time at Acentech I have been involved in some capacity with well over 2,000 projects, large and small, and just about every one of them has been a learning experience. It\u2019s a constant evolution \u2013 a bit like learning to dance. When you learn to dance, you might start with some basic steps. But the more you learn, the more you realize how many variations there are \u2013 different styles of dance, different nuances or steps or flourishes that you can contribute.<\/p>\n

As acoustics consultants, Acentech is a bit like the partner in the dance most of the time. We take our lead from the architect, and it is incumbent upon us to make recommendations that are essential to the design and the success of the project and yet also complement the architectural vision for the projects we help to design. In performing arts projects we will sometimes take the lead for a time, but even then it\u2019s a partnership.<\/p>\n

The longer I am here, the more that I have come to learn how best to dance with different partners, achieving excellence in what we do in a way that not only results in a great product but also jives well with our partners\u2019 moves.<\/p>\n

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Shapiro Courtyard at the Museum of Fine Arts, Boston, MA (Photograph by Jeff Fullerton, a Principal Consultant in the Architectural Acoustics Group at Acentech)<\/figcaption><\/figure>\n

On specific principles the firm adheres to
\n<\/strong>Yes, there are several.<\/p>\n

Honesty<\/strong>. Often designing is only part of our role; a big part of our role is also to inform, so that owners and architects and building users can make smart and well-informed decisions about their spaces. We owe it to them and to ourselves to ensure that our guidance is based on real and accurate information, undergirded by our depth of experience and rigorous analysis.<\/p>\n

Clarity<\/strong>. Our best work is of little value unless we can convey our priorities \u2013 their relevance, importance, constructability, integration and coordination, etc. \u2013 in a clear and straightforward manner, understandable not just by people \u201cinterested in sound\u201d but also by our design partners, the building owners, etc.<\/p>\n

Creativity<\/strong>. It is rare that an acoustical challenge only has one possible solution. Challenges are opportunities for design creativity. We need to respond to the constraints of a project \u2013 be they budgetary, spatial, aesthetic, or otherwise \u2013 in a nimble fashion that address challenges effectively but also within the project\u2019s larger context.<\/p>\n

Practicality.<\/strong> Our recommendations must be buildable.<\/p>\n

Forward-thinking.<\/strong> A focus on the practical and realistic does not mean that we cannot \u201cpush the envelope.\u201d In fact, every project is a learning opportunity and also an opportunity for innovation \u2013 big and small \u2013 that collectively keep Acentech at the forefront of the industry.<\/p>\n

On his responsibility as Director of Architectural Acoustics at Acentech
\n<\/strong>I have a few roles \u2013 head cheerleader, mentor, emcee, QC. But my primary focus is on my colleagues and their relationships with our clients. It is my responsibility to see to it that our project work is well distributed \u2013 that the right team is paired up with the right projects. That means that we have the best and most qualified and experienced consultants on every job, that the project work is interesting and also challenges the consultants that do the work, that the work is fairly and appropriately distributed among the staff, and that our clients are well served by our team.<\/p>\n

\"UMass
UMass Boston University Hall (Photograph by Anton Grassl at Esto courtesy of Wilson Architects and Acentech)<\/figcaption><\/figure>\n

On recent projects that represent the firm’s unique approach
\n<\/strong>Our clients have unique approaches to design, and without ducking the question I think it is fair to say that one thing that makes Acentech somewhat unique is our ability to work successfully and collaboratively across a huge range of styles and approaches. The work that we did with Foster & Partners \u2013 and their local partner, CBT \u2013 on the Museum of Fine Arts in Boston perhaps makes this point. A huge glass-enclosed atrium of stone and steel can be a cacophonous disaster if left untreated. Instead, the MFA enjoys a remarkably functional and flexible space that is comfortable to be in \u2013 whether for dining (there is a restaurant that operates in the middle of the courtyard), partying (the museum uses the space for a wide variety of functions), or simply strolling through enjoying the artwork. The room still reads as a glass-enclosed courtyard of stone and steel \u2013 but we worked closely with Foster & Partners to incorporate a range of sound-absorbing materials that fit the vernacular of the room. Some of those materials serve other functions as well \u2013 such as the stretched microperforated membranes at the roof, which reduces solar heat gain in the room. That space was a collaborative effort, to be sure. And it didn\u2019t just happen around a drafting table either \u2013 computer modeling and simulation were a critical part of the design process. Acentech often employs acoustics simulations for spaces that are beyond their traditional function of performing arts spaces. In the case of the MFA, the trustees of the museum as well as the design team sat in the driver\u2019s seat and walked through an immersive, three-dimensional simulation of the room during the design process, comparing the sound of the space under various design schemes. That iterative experience \u2013 we created over dozen acoustical simulations of that room \u2013 ultimately led to the acoustical design that museum patrons enjoy today.<\/p>\n

That deeply collaborative approach is on display in other buildings too \u2013 like the recently completed University Hall building at UMass Boston. The building combines the chemistry department, the visual arts department, music, theater, and dance all under one roof \u2013 and that roof happens to be directly under the flight path to Logan Airport. In the recital hall, we incorporated a range of variable treatments in the room so that the music department can alter the room to suit their needs \u2013 from jazz to sacred choral music to classical recitals. The design of those elements was the result of our discussions with the music department about their wide ranging needs and our collaborations with the architect (Wilson Architects of Boston) and the project\u2019s theater consultant (Theatre Projects Consultants of Norwalk, CT). And the design of the glazing \u2013 yes, there is a huge window in a recital hall in the flightpath of a major international airport \u2013 resulted from measurements we made on site of aircraft noise, rigorous analysis of window sound transmission properties, and careful coordination of the window design in the architectural context with the design team. The result is a double curtainwall system \u2013 an outer curtainwall that follows the contour of the building\u2019s exterior and an inner curtainwall that forms a part of the musician\u2019s platform enclosure \u2013 that are separated by an airspace that varies in depth from 5 to 8 feet. And these are just a few details in an extraordinarily multidisciplinary building that could only have been realized with client engagement and close collaboration among the design team.<\/p>\n

On his design toolkit
\n<\/strong>The process starts with engagement with our team and our collective client \u2013 to be sure we understand the needs and goals of the project. We must be \u201cclient first.\u201d Once design begins, we use a fairly wide range of tools \u2013 sophisticated measurement tools for assessing existing or environmental conditions, BIM software, acoustics modeling software for room acoustics design and sound system design, finite element modeling for complex structural dynamics analysis, signal processing and data analysis using Matlab routines as well as computer programs that we have written in-house, acoustical simulations programmed in Max MSP, and good old spreadsheet calculations. 3D modeling certainly plays a critical role \u2013 whether its laying out a sound system in coordination with the rest of the design team, or developing an immersive, three-dimensional sound simulation \u2013 we couldn\u2019t do what we do without thinking three dimensionally.<\/p>\n

On the state of design software today
\n<\/strong>In acoustics particular the state of the art has evolved by leaps and bounds in the last decade, and that evolution continues apace with the advent of readily available VR platforms, increasing computer horsepower, improved understanding of the perceptual impact of three-dimensional acoustical signals, and other advances. Commercially available design software sometimes struggles to keep up, but that\u2019s okay \u2013 it makes it a fun time to be part of a firm at the cutting edge of using these tools to benefit design.<\/p>\n

\"UMass
UMass Boston University Hall Lab (Photograph by Anton Grassl at Esto courtesy of Wilson Architects and Acentech)<\/figcaption><\/figure>\n

On the disruption and innovation needed in architectural acoustics
\n<\/strong>When we started bringing simulations into regular use in our practice, it was a game changer \u2013 it utterly changed the dynamic of how we could interact with clients, colleagues, and collaborators in developing designs. There remains a perception though that such simulation is out of reach for \u201csimple\u201d or \u201cevery day\u201d project work. Either that simulation is too expensive or too cumbersome or insufficiently nimble. But that is changing \u2013 and the broader design community would do well to harness the power of these tools not just for \u201cfancy concert halls\u201d but for any circumstance where sound matters.<\/p>\n

Which brings me to my second point: sound matters. Almost always. It matters in a museum, it matters in a library, it matters in a dorm building, it matters in a research center and in the office and in a hospital and in a pharmaceutical lab. The future of work \u2013 whether collaborative and open or focused and \u201cdeep work\u201d \u2013 depends on an understanding of acoustical design in the office. The future of learning depends on an understanding of acoustics and technology in (and outside) the classroom. The future of healthcare depends in part on knowing that you can\u2019t recuperate well or quickly if you\u2019re constantly awoken by the buzzes and beeps that permeate our hospitals. Sound really matters, and the design community needs to know it.<\/p>\n

On the future of the industry
\n<\/strong>I expect that the pace of design will continue to hasten. I expect that simulation, visualization, and VR will increasingly play a role in conveying design ideas to clients and among design partners. And yet lots of fundamentals will remain unchanged: great buildings require thought, engagement, true collaboration, and excellent design.<\/p>\n

On Acentech’s role in the future<\/strong>
\nWe will remain \u201cenvelope pushers\u201d \u2013 we\u2019ve long been innovators, whether in acoustical simulation, remote monitoring of sound and vibration, sound masking, or other realms of acoustical design \u2013 and we will thrive on the continued evolution of these and other design tools in the years ahead.<\/p>\n

On advice he would give himself
\n<\/strong>Listen more. Talk less. We\u2019re in an industry where listening is central \u2013 we need to listen to rooms incredibly critically and understand the implications of what we hear. We need to listen to architects and engineers and understand their priorities and objectives and constraints. We need to listen to clients and building users about their real and important aural experience. When you\u2019re talking, you might be teaching but you\u2019re not learning. And the younger version of me (and the current version of me!) could do well to listen more and learn from the process.<\/p>\n

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More Manifestos<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Benjamin Markham of Acentech Benjamin Markham brings this passion for acoustics to his role as Principal Consultant and Director of Acentech\u2019s Architectural Acoustics group. His projects involve architectural acoustics, mechanical systems noise and vibration control, and environmental acoustics consulting for performance spaces and other commercial, residential, and civic facilities, and he has an avid interest … <\/p>\n

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