# Sound Environments in Large Public Buildings for Crowd Transit: A Systematic Review
## 3 Results
### Museums/Exhibition Spaces
[30] simulated the Archaeological Museum with transparent roof solutions in Lisbon, Portugal. The volumes of the investigated spaces were 19,600 and 38,145 m\({}^{3}\). The numerical software simulation was presented with selected objective parameters: The \(T\) range was between 1.0 and 4.3 s; \(C_{80}\) were between -8.2 and 2.6 dB; the EDT range was between 2.1 and 3.4 s; STI were between 0.25 and 0.41; \(D_{50}\) ranged between 0.04 and 0.18. No subjective surveys were found in this study. [PERSON] et al. [31] investigated ultrasound in selected museums/galleries, shopping centres, and train stations. The difficulties of taking measurements with conventional equipment were highlighted. Tones were identified by SPL in the 20 kHz third-octave band. Five locations were measured in museum/gallery as 34, 43, and 46 dB, of which shopping centre at 1 location was not taken, and 2 locations in a railway station as 49 and 65 dB. The characteristics of the tones were consistent with the source being PA or VA system. Measured results did not exceed existing interim guidelines for public exposure to ultrasound, and existing research suggests that no significant undesirable effects would be anticipated following exposure to ultrasound of this nature for short periods. No subjective surveys were performed to the present. [PERSON] and [PERSON] [32] measured the absorption coefficients of the Barberini tapestries during a temporary exhibition held in the Cathedral of St. John the Divine in New York City, USA. The largest St. James chapel, connected by a large opening of 70 m\({}^{2}\) and a much smaller door, had a floor surface of 245 m\({}^{2}\) and a volume of about 3100 m\({}^{3}\). Another two St. Ambrose and St. Savior chapels have smaller surfaces of 100 and 120 m\({}^{2}\). The entire floor area of the site was 11,200 m\({}^{2}\), spanning a length of 180 m and height of 70 m at the crossing and 37 m at the main wave. \(T_{15}\) was used considering the SNR, and significant differences appeared in the high-frequency range, while at low frequencies \(T_{15}\) values with and without tapestries were more similar and (only at 125 Hz) values measured with tapestries inside were slightly longer than those measured without tapestries. No subjective surveys were reported in this study. [PERSON] et al. [33] presented a six-week multisensory display using mid-air haptic technology integrated with sound for the Full Stop painting by [PERSON] at the Tate Britain art gallery in London, UK. The dimensions of the exhibition unit were set up as 3.45 m in width and 5.1 in length. They used a questionnaire with five-point Likert scales and interviews to collect the individual response on the importance of auditory sense to the display, of which the mean value turned out to be 4.23. In addition, from the feedback of the interview, other perceptual attributes by the visitors were described as \"meaningful\", \"distracting\", \"random\", etc. [PERSON] et al. [34] also targeted the absorption coefficients of the Barberini tapestries and tested in a 17.7 m square gallery with a 5.38 m high ceiling in Meadow Museum in Dallas, USA. Following the guidance of ISO 3382-2 standard, similar results [32] were obtained: Signiant differences appeared at high frequencies, while at low frequencies, \(T_{20}\) values with and without tapestries were more similar. In an empty room, \(T_{20}\) was rather long, and application of the tapestries on the walls caused a dramatic drop in \(T_{20}\) at high frequencies, and determined a more even distribution of sound absorption, and an increased diffusion. No subjective surveys were reported in this study. [PERSON] and [PERSON] [35] installed a listening system at the Kunst Museum in Bonn, Germany, in the context of an exhibition comprising artworks of the painter [PERSON] with user evaluations.