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Perception-based soundscapes for open plan offices – the future of design?

Acoustics By Colin O'Connor, Associate, Acoustics – 24 January 2025

Seating area and meeting rooms in Cundall London office

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Colin in a dark t-shirt standing in an open plan office area

Colin O'Connor

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The design of soundscapes (defined as ‘the mixture of different sounds that are heard in a particular place’) in open plan offices is a critical aspect of creating a conducive work environment, where the internal acoustic environment significantly impacts employee wellbeing and productivity. Traditional acoustic design parameters, such as internal ambient noise levels (IANL), reverberation time (RT), and speech intelligibility (STI), have long been used to address the acoustic challenges in these spaces. However, the evolving nature of work demands a more holistic approach that considers the diverse needs of modern office occupants.

The future of work demands flexibility, including options for hybrid work and creating spaces that support neurodiversity and different ways of working in an office. More attention is being given to the non-auditory health effects of noise, alternative noise indices and rating methods, as well as the quantification of quality and tranquillity.

The concept of soundscape, as defined by ISO/TS 12913-2:2018, offers a comprehensive framework for understanding and designing acoustic environments, although the focus of this has been for external and urban locales. Soundscape studies use a variety of data collection methods related to human perception, the acoustic environment and the context, mostly relying on the former and only then considering physical measurement. The wording of the perceptual dimensions is well-researched and based on cultural context; efforts are also underway in the standardisation of translating these into other languages.

The image below shows the eight perceptual attributes (pleasant, vibrant, eventful, chaotic, annoying, monotonous, uneventful, and calm) and how they can form a two-dimensional model to allow for the assessment of soundscape perception.

Graphical representation of the two-dimensional model of soundscape perception presented in ISO/TS 12913-3:2019

Graphical representation of the two-dimensional model of soundscape perception presented in ISO/TS 12913-3:2019

It is important to note that the methodologies from ISO 12913 can only be used for retrospective analysis of external environments at this time. The question at hand is how can we be proactive and use soundscape principles for internal workplace environments to complement existing design standards and metrics, such as those outlined by BCO, CIBSE, and WELL?

Recent research, led by Birmingham City University (BCU), has identified that this same approach is particularly relevant for open plan offices, and has identified key perceptual dimensions of office soundscapes, such as pleasantness, eventfulness, and emptiness. For instance, a vibrant and pleasant soundscape may enhance creativity and collaboration, while a monotonous or annoying environment may lead to stress and decreased productivity.

The image below from the BCU study shows how various descriptions of an office can be attributed to the perceptual attributes of ‘pleasantness’ (component 1) and ‘eventfulness’ (component 2).

Example of principle component analysis for ‘pleasantness’ and ‘eventfulness’ from the BCU study

Example of principle component analysis for ‘pleasantness’ and ‘eventfulness’ from the BCU study

Interestingly, no correlations were found between level-based acoustical indicators (eg LAeq, LA10, LA90 – which an acoustician would measure in decibels) and perceptual scores. This suggests that the physical quantity of sound pressure (within reasonable ranges) is not as important to human perception in workplaces as we may have previously thought, but rather the type and quality of sound that is experienced.

How to design soundscapes for open plan offices?

To effectively design soundscapes for open plan offices, it is essential to engage stakeholders early in the design process. When relocating or refreshing an office, this can involve benchmarking existing acoustic conditions, conducting perceptual assessments, and gathering feedback from occupants. For brand new office spaces, processes can include interviews and workshops with client teams and workplace designers to understand their goals and preferences.

Readily available measures such as water features, speech masking systems, acoustic absorption, space planning, quiet zones, and privacy pods can then be implemented to make environments that are less monotonous and more vibrant, or less chaotic and calmer. By combining these insights with traditional acoustic design parameters, designers can create spaces that align with the desired acoustic environment and cater to the diverse needs of modern workers, including those with neurodiverse conditions.

At Cundall we have been using soundscaping in several of our own offices. We have found that by providing appropriate sounds that are combined with other sensory cues such as sight (eg lighting, internal finishes) and touch (tactile surfaces), a pleasant and mood-enhancing experience can be achieved. This in turn can then provide benefits to wellbeing, mood, comfort, privacy, and communication.

In conclusion, the integration of soundscape principles into the design of open plan offices offers a holistic approach to creating acoustic environments that support the wellbeing and productivity of occupants. By considering human perception and engaging stakeholders early in the design process, it is possible to create flexible and inclusive workspaces that cater to the diverse needs of modern workers.

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