**1. Introduction**

The current chapter is based on the answers to two basic questions arising in evaluations of digital cultural resources, and more specifically, sonic cultural heritage: "what" and "how." Firstly, *what* are we evaluating when we refer to digital cultural resources? Is it a tangible issue or an intangible perception? Does it consist of a series of personal impressions or can we establish an objective parameter? The United Nations' Millennium Ecosystem Assessment was carried out from 2003 to 2005, and the subcategory of cultural heritage in Cultural Ecosystem Services (CES) was introduced over a decade later. Yet there is a lack of consensus about what cultural heritage refers to within the Ecosystem Services (ES) context [1]. Secondly, *how* should cultural heritage be evaluated: through abstract concepts or immersive

© 2016 The Author(s). Licensee InTech. This chapter is distributed under the terms of the Creative Commons Attribution License (http://creativecommons.org/licenses/by/3.0), which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited. © 2018 The Author(s). Licensee IntechOpen. This chapter is distributed under the terms of the Creative Commons Attribution License (http://creativecommons.org/licenses/by/3.0), which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited.

experience? It seems practically impossible to imagine an evaluation of cultural resources that is only based on abstract concepts. However, the evaluation also requires a common basis to enable comparisons of the results. This second answer supports the immersive experience as a powerful method for cultural resources evaluation.

to model wave propagation in parallel or intersecting streets, [14–17] or in larger urban areas [18], but often limited to 2D geometries. Others have used a coupled modal-finite elements method to

Evaluation between Virtual Acoustic Model and Real Acoustic Scenarios for Urban Representation

http://dx.doi.org/10.5772/intechopen.78330

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Spatial audio in virtual reality has received increasing attention in recent years, due to its impact on the immersive experience. Spatial audio is the representation of audio features of reality that intentionally exploit sound localization. It has many possible uses in the gaming industry, entertainment or military applications. Most of these uses rely on both acoustic and spatial information about the sound. However, although spatial information is addressed, architectural design representation does not currently pay much attention to spatial audio as

Many other factors that have been considered in architectural design representation are linked to visual features [19, 20]. Natural light modeling and rendering [21, 22], artificial light control [23, 24], texture cognition and representation [25, 26], color discernment [27, 28] or material visualisation [29–34] are some of the countless details that an architect must manage when they represent a building. However, although the effect of sound on spatial cognition is

In 2003, Kang et al. highlighted the introduction of new EU noise policies [36] and noted that noise-mapping software/techniques are being widely used in European cities [37]. Nevertheless, they noted that these techniques can provide an overall picture for macro-scale urban areas, but the study of the micro-scale, for example an urban street or a square, could be more appropriate with the use of detailed acoustic simulation techniques. In addition, applications that predict and measure micro-scale environments [38] are still not sufficiently user-friendly, and the computation time is rather long. Kang et al. presented two computer models based on the radiosity and image source methods in an attempt to present to urban designers an interface that could be useful in the design stage, using simple formulae that can

This paper presents a set of criteria for implementing 3D audio in virtual urban environments. The study is based on the definition of a new virtual audio format, generated from the combination of objects and ambisonic formats. This new audio format was explained in 2017 [4]. Using these criteria, we then describe the preparation of a set of experiments with architecture students. The results of the experiments confirm that the implementation of 3D

Four main performance environments located within the heart of the Ciutat Vella of Barcelona, the area surrounded by the former Roman Walls, were studied: Plaça Sant Felip Neri, the corner between Carrer del Bisbe and Carrer Santa Llúcia, Plaça Sant Iu, and Plaça del Rei.

recognizable [35], it has received little attention in architectural representation.

estimate sound propagation in micro-scale urban areas.

audio enhances the immersive experience in the environments.

**2. The case study environments**

address the problem, while others have introduced the frontier finite elements method.

**1.2. Spatial audio in architectural representation**

a factor in spatial representation.

An explanation is required to understand the methodology used in this paper. In general, people know very little about decibels of sound, and much less about sound roughness, musical clarity or speech intelligibility. Only a small group of scientists understand the operation of acoustic science. Therefore, when urban acoustic heritage is evaluated, why are ordinary people forced to refer to numbers and graphs? Surely the evaluation would be more reasonable if it were made using real sound samples? In this context, Virtual Reality (VR) provides an easy, interactive framework for ordinary people to evaluate urban acoustic heritage.

The interest in conservation of tangible and intangible cultural heritage has been rising notably in recent years. Apart from its own value, cultural heritage fosters economic and social growth. The Heritage Research National Plan, drawn up by the Spanish Cultural Heritage Institute, highlights the importance of cultural heritage as a local development engine and a stimulus for tourism, and its relevance as a generator of culture and knowledge. However, the Plan also stresses the complexity of research in this field, due to a range of characteristics and problems, and because of the high number of factors involved that make it necessary to apply human and experimental sciences in interdisciplinary teams.
