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Alastair Swayn Alastair Swayn InternshipInternship
Canberra’s Urban Canberra’s Urban SoundscapeSoundscape
Identifying and reviewing the regulatory environment and mapping the existing Identifying and reviewing the regulatory environment and mapping the existing Canberran urban soundscape to create visualisation tools to define acoustic uses Canberran urban soundscape to create visualisation tools to define acoustic uses and planning for the futureand planning for the future
By Daniel SchornBy Daniel Schorn
The Alastair Swayn Internship 2019: The Alastair Swayn Internship Program is a joint initiative between the Alastair Swayn Foundation, the ACT Government and the University of Canberra
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Corresponding author: Daniel Schorn Competing interests: No competing interests were disclosed. Grant information: This research was supported by the Alastair Swayn Foundation, the ACT Government and the University of Canberra through the Alastair Swayn Internship Program. The funders had no role in study design, data collection and analysis or preparation of the manuscript. Copyright: ©2020 Schorn. This is an open access article distributed under the terms of the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited. How to cite: Schorn, D., ‘Canberra’s Urban Soundscape: Identifying and reviewing the regulatory
environment and mapping the existing Canberran urban soundscape to create visualisation
tools to define acoustic uses and planning for the future’, Swayn Open Research, 2020 First
published: 15 May 2020
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Table of Contents
Introduction 2
Urban Noise 3
The Soundscape 3
Impacts 3
Legislation 5
Example 6
Case Study 7
Method 9
Assumptions 10
Results 10
Improvements 12
Summary 12
Acknowledgements 14
Literature List 15
End Notes 16
Bibliography 17
Appendices 19
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“Identifying and reviewing the regulatory environment and mapping the existing Canberran urban
soundscape to create visualisation tools to define acoustic uses and planning for the future.”
The unique environment that encompasses Canberra holds a distinct place for those who immerse
themselves in the urban fabric of the city. Surrounded by an intermeshed landscape thoughtfully
planned by the Griffins, a journey through Canberra can reveal dense bushland to the west and a
growing Civic centre to the east, with moments of immersion in-between. The variance of scale
between the urban and suburban provides a dynamic backdrop to the future densification of the city.
As mixed-use areas become more prevalent within city planning, the urban soundscape becomes a
key driver in identifying environmental noise and unearthing Canberra’s dissident sense of agency.
“The soundscape is our sonic environment, the ever-present array of noises with which we all live”
– R. Murray Schafer1
A cities soundscape gives the user a subjective experience of the quality of place, influencing health,
satisfaction and other cognitive functions. For these reasons the acceptable levels of noise within a
city must be regulated by Government, however, must be carefully balanced to still hold the auditory
identity of the city.
The ACT controls these values by outlining limits of noise through the decibel system, allowing for a
variety of levels between certain days and certain hours, depending on specific zoning. Whilst these
laws may seem clear, as the name of mixed-use suggests, affected people may have different
perceptions and experiences of noise, especially within dense urban environments.
This research paper looks at the engagement of the urban soundscape to be a visualisation tool to
further understand the characteristics of the noise experience. Understanding the balance of noise
impacts through the consideration of the properties of acoustic materials, screening, masking,
architectural conditions and programmatic layering will give Canberrans a better insight into the
future implementation and densification of the regulatory environment.
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Urban Noise
The Soundscape
The soundscape was a term used by R. Murray Schafer to describe “an environment of sound with
emphasis on the way it is perceived and understood by the individual, or by a society.”2 He popularised
the term in 1993 whilst challenging the new sonic environment that was quickly becoming radically
different from that of the past. Noise pollution was rising as new technologies began to redefine
intensities and durations of sound. The soundscape consists of objects heard, rather than objects
seen.3 Unlike an architect’s drawings, soundscapes capture the sound of a landscape, a means of
description that will never be understood in the same way by two people. Schafer framed the
soundscape as something that needed to be protected from the invading new-age of unwanted
noises.
Urban noise has come to the forefront of city planning as Canberra looks to further densify urban
centres through programmatic mixed-use.4 With the integration of mixed residences and businesses
comes the realities of a varying level of noise acceptance.
Whilst the soundscape has been used as a tool for condoning unwanted noise, it can also be used as
a way of interrogating and understanding noise. Sight, sound, smell, taste and touch are the five
human senses, working together giving feedback as to how one feels. Much like having a pizza in Italy,
experiencing a soundscape can give an urban user a perceived sense of one’s city’s cultural and artistic
agency – something that should be encouraged and protected.
Impacts
The definition of noise is “unwanted sound,” implying that there is an observer to a level of noise and
that person then makes an adjudication whether it is a good or bad sound.5 More Canberrans are
choosing to live within the urban centres of the city where both businesses and residences coexist.6
The impacts of noise have both positive and negative connotations, impacting lifestyle, health and
general welfare. The challenging element of noise and its impact is that everyone perceives their
2 3 4
S 6
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sound experience slightly differently, hence the difficulty of agreeance in mixed-use conditions. For
some, unwanted noise is an annoyance whilst others find safety in the comfort of atmospheric safety.
Excessive noise is considered as ‘environmental pollution’ due to the adverse health effects it can have
on an affected person.7
Noise is measured by a figure of decibels which relates a sound to a similar weighting to how the
human ear perceives it. The dB(A) is calculated on a logarithmic scale of sound pressure against a
reference pressure, with apparent loudness doubling with every increase of 8-10dB. This
measurement is how the Government can mandate and quantify what may be too loud. Refer to figure
1 for an indicative guide to decibel levels and what action they may correlate to.
Figure 1: Indicative guide to decibel levels8
Bolt and Ingard outlay the basic principles of controlling the effects of noise and vibration, through
the Source, Path and Receiver method.9
• Source – noise power
• Path – direct and indirect noise
• Receiver – affected human
7 8
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All three of these elements can be controlled by legislation, limiting the output of noise (source),
mandating physical barriers (path) and setting an expected restriction of decibels to the affected
person (receiver). Through these measures, the Government can find a balance of acceptable noise
levels to ensure that urban activity can flourish with a positive view of urban sounds.
Legislation
Urban noise in the ACT is controlled by legislation that outlines acceptable limits according to noise
zones (refer figure 2). These noise zones are outlined by the territory plan and regulated by the:
• Environment Protection Act 1997
• Environment Protection Regulation 2005
Figure 2: Noise Zones and Noise Standards10
In the ACT “Noise standards haven’t changed since they were introduced in 1998, but the city has
changed, particularly with population growth, development and changes in land uses in and around
our urban centres.”11
The ACT Government is currently undergoing a review of the noise legislation following the increase
in mixed-use areas (Kingston Foreshore and the upcoming Kingston Arts Precinct) and an agenda to
increase density in places such as around town and group centres and along major transport routes.12
Acknowledging this shift of the programmatic environment, the ACT Government held a Live
Entertainment Roundtable and Workshop on Friday 27th September 2019 which heavily focussed on
10
11 12
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the live entertainment and night-time economy of Canberra. This not only included the City centre
and town centres but also incorporating the urban spread of group centres, local centres and
residential zones as well as reviewing current time limits on noise standards. It was made clear by
stakeholders throughout this meeting that the effect of noise legislation on both the city culture and
the artistic industry was vital to maintain an active expression within Canberra’s sense of agency. The
full results of this workshop were published in the October 2019 Entertainment Action Plan produced
by the Environment, Planning and Sustainable Development Directorate (EPSDD).13 This action plan
outlines directions and resolutions to support a framework for the future of ACT noise legislation.
Example
Comparative examples provide further context to the issue of urban noise and explore how other
states and territories approach the topic. Fortitude Valley in Brisbane is Australia’s first designated
Special Entertainment Precinct that aims to ensure the long-term future of the music-based
entertainment industry.14 Whilst the urban issue of noise in mixed-use areas of Canberra focusses on
a ‘zoning’ plan, Brisbane and the Queensland Government have governed Fortitude Valley on a
‘precinct’ size scale. The noise legislation of the precinct supports the entertainment and cultural value
of the area, falling under the regulations of:
• Brisbane City Plan 2014 – 7.2.6.4 Fortitude Valley neighbourhood plan code
• Local Government Act 2009
• Amplified Music Venues Local Law 2006
These laws delineate the rules of the precinct, allowing for up to 90dB of amplified music noise (refer
to Appendix 1) in the Precinct Core Area A. Comparatively to the ACT, this is a substantial increase
from the maximum of 60dB(A) in the City centre, taking into consideration the measurement of
decibels on a logarithmic scale.
With the increasing density of architecture focussing on a mixed-use program through the Brisbane's
urban renewal,15 Fortitude Valley also acknowledges the need for correct building attenuation and
13
14
15
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performance values to better block noise aiding potential residential developments.16 This puts the
onus on the building developer to properly recognise and deliver a result that maintains the cultural
value of the precinct. This becomes a ‘buying-in’ strategy for residents to support and partake in the
lifestyle of the area whilst also offering a framework of noise performance to adhere to safe levels of
exposure.
Brisbane sees this special entertainment precinct as a successful way to implement a balanced mixed-
use location catering for residents, backpacker and hotel accommodation, nightclubs, live music
venues, cafes, restaurants and retail businesses.17
Case Study
As Canberra continues to grow and challenge noise awareness, a case study encompassing a variety
of mixed-use functions was chosen to identify and visualise the current urban noise condition. West
and East Row through to Garema Place in the City (refer figure 3) was selected as a suitable site as it
captures not only a variety of programmatic use but also a selection of both new and old building
attenuation as well as indoor and outdoor usage. An image of each of the specific locations can be
found in Appendix 2. This location falls under ‘City centre and town centres’ of the ‘Noise Zones and
Noise Standards’ (refer figure 2) allowing for:
• 60dB(A) Monday – Saturday 7am to 10pm / Sunday and Public Holidays 8am to 10pm
• 50dB(A) Monday – Saturday 10pm to 7am / Sunday and Public Holidays 10pm to 8am
The aim of this study was to compile the data to develop an informed understanding of how noise is
currently perceived in its existing condition. This would identify the noise peaks and troughs
throughout the chosen timeslots to uncover how urban activity operates within the case study
location(s).
16
17
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Figure 3: Canberra City plan locations
1
2
3
4
5
6
7
8
9
10
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Method
Using the West and East Row through to Garema Place case study, noise data has been collected
capturing the urban soundscape, specifically at the dotted locations as shown in figure 3. At these ten
points, the decibel dB(A) meterage has been measured for a sample time of approximately 60 seconds
to record the average ambient noise of the selected location(s). This average figure will then be used
to compile a visual comparison to evaluate sound activity at different times and days against the other
specific locations along the case study route encompassing the variety of noise variables.
This designed method will be conducted at the following times, at the chosen locations on
Wednesday, Friday, Saturday and Sunday at three-hour time periods as outlined in figure 4.
Time Activity
9:00 am Breakfast / Peak hour traffic
12:00 pm (noon) Lunch
3:00 pm Mid-afternoon
6:00 pm Dinner / Peak hour traffic
9:00 pm Late Dinner / Early Nightlife
12:00 am (midnight) Nightlife
Figure 4: Time period schedule
Throughout these timeslots it was expected that several variables were inevitable, however, these
variables also offered a real-life framework to what Canberra’s urban soundscape might entail. These
variables included weather conditions, people speaking, irregular traffic and manufactured noises
such as the beep on a pedestrian crossing or the siren of an emergency vehicle.
The tool used to capture this data was an audio noise spectrum analyser on an iPhone 8, specifically
“Decibel : dB sound level meter Pro” by Vlad Polyanskiy.18 Whilst this may not be the most accurate
measuring tool, it does give a representation of audio noise to indicatively represent the visualisation
of the Canberran soundscape.
The data collected has not been done according to the Environment Protection (Noise Measurement
Manual) Approval 2009 ACT legislation, and uses the method as described above as opposed to the
LA10/LA90 methods mandated by law. This data does not incriminate any premises, instead intending
to focus on the contextual urban soundscape and how this correlates with the active engagement of
the city.
18
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Assumptions
Whilst outlining the method of the case study, certain elements were designed to try and gather both
the peaks and troughs of public activity to appropriately glimpse the routine of the city and how its
soundscape may visually shift. Wednesday was chosen to capture the mid-work week, Friday and
Saturday were expected to see peak nightlife activity whilst Sunday was considered a quiet day that
may see a decrease in public activity. These assumptions will be tested against the results.
Each location might also be used as an indicator to see whether certain methods of architectural
attenuation are more effective than others. This doesn’t just include the external or internal
attenuation of a building, but also the difference of programmatic layering which might exhibit the
difference between indoor and outdoor venues. The assumption would be that an indoor venue might
capture noise, minimising leakage, whilst an outdoor venue might be more resonant. This assumption
hopes to clarify whether these architectural elements have a positive or negative impact on the
spillage of noise:
o acoustic materials
o screening and masking
o architectural condition
o programmatic layering
Results
From the collected data (refer Appendix 3), an indicative visualisation has been produced depicting
experienced noise dB(A) levels throughout the outlined times and locations (refer Appendix 4). The
visualisation shows five different coloured and sized bubbles to depict a varying result of dB(A) level.
The size of the bubbles is not an equation of noise dispersion, but merely an indicative size of the noise
level (refer figure 5) to represent quieter and louder dB(A) averages.
Noise dB(A) level: Colour Indicative guide of noise*
40-49 Blue Library
50-59 Green Washing machine
60-69 Yellow Vacuum cleaner
70-79 Orange Lawn mower
80+ Red Food blender – 90 dB(A)
Figure 5: Video Visualisation Key * Refer figure 1
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Considering the entirety of the urban ambient condition, it can be concluded that a sizable amount of
data shows the noise level is above the legal limit of 60dB(A) except for times of minimal human
activity. With a major public transport route passing through the case study, it becomes clear that the
urban soundscape becomes at times consumed by traffic noise. However, this becomes a constant
throughout the study and the clear peak and quiet times are still well represented.
• The variation of intensity at certain points throughout the day(s) show how the activity of the
city fluctuates to accommodate certain peak times such as lunch, dinner and nightlife. The
case study sought to identify these points and understand how these peaks and troughs can
lead to better planning in the future.
• The architectural street condition was able to substantially alter the final noise outcome as
the covered alleyway at location 9 consistently read a higher reading than its counterparts
due to noise reverberation. When compared to location 8 which was situated in a more open
position, this constant becomes clear.
• Outdoor seating also sees an increase in noise reading not due to the venue(s) music or
entertainment directly, but due to the activity of human presence.
• Wherever an external-facing speaker was located, the noise dB(A) spiked heavily. This is
evident in locations 9 and 10 during night hours on a Friday and Saturday.
• Comparatively observing Friday 12:00 pm (noon) against Friday 12:00 am (midnight), the
variation in noise levels almost flip between locations 1 and 10 and this is due to the
availability of nightlife locations that attract human presence.
• Comparing a Sunday night to a Friday/Saturday night sees a noise flip, not due to the presence
of nightlife but instead recognising the night before a workday instead of a weekend.
• The internalisation of program produced a definite quieter noise figure despite a variety of
activity partaking in the indoor environment.
• The city limit of 60dB(A) is consistently being broken, especially throughout busy times.
It becomes a stable reality that noise follows dense activity. Whether it be during peak hour lunch or
bustling nightlife, wherever a strong sense of human interaction was the noise followed.
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Improvements
Throughout this experimental case study, it is without a doubt that further research could be attained
to further exemplify the results from these initial findings. From this, a variety of consequent studies
could take place to garner a wider array of information to better detail the Canberran Urban
Soundscape. This could include:
• Collecting data multiple times on for that day/time slot to conclude a constant level of noise
for that location. This will minimise anomalies.
• Seeking the assumed high and low points of the Canberran event schedule. For example,
taking data whilst the National Multicultural Festival takes place in Garema Place and the City
Walk.
• Taking data throughout different conditional seasons (spring, summer, winter, autumn).
These would all lead to a more defined result that could better identify how activity in this specific
Canberran urban area is used and how the impacts of noise can be facilitated by the built environment
of the city.
Summary
Using the soundscape visualisation as a device for future planning, it is understood that the sonic
intensity of the city is something that comes and goes much like a tide at a beach. The case study was
not set out to test exact methods of noise mitigation of one location against the other, but instead to
further understand how noise currently permeates through the city and how this relates to activity
within the urban realm of Canberra.
Whether an entertainment precinct like Fortitude Valley is a planning recommendation is unclear, as
there is apparent value in more ‘spontaneous’ locations after discussion in the Live Entertainment
Roundtable and Workshop on Friday 27th September 2019. The data shown also might suggest that
the constantly varying density of use may not support a single location of activity.
The correlation between human activity and noise is one that cannot be ignored and pursuing the
correct balance of wanted and unwanted noise is something that needs to be discerned by Canberra
as a city. As the transition of architectural densification in the city grows, the variance of scale between
the urban locations and suburbia pose a dynamic question of how noise is treated over the wider
context of Canberra. This idea of the urban soundscape and how sounds form an auditory identity of
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the city is a quality that cannot be lost. If this sense of agency is gone it will be to the detriment of the
sound-based arts and culture that Canberra so readily celebrates.
In the short-term, the soundscape data suggests that the limit of 60dB(A) is too low when considering
the high amount of human activity within the city. The ACT Government is currently reviewing the
laws to possibly raise this limit to 65dB(A) until midnight on Fridays and Saturdays. This result would
better suit the existing auditory environment,
It becomes clear that the programmatic outlay of the city may have the strongest impact on how noise
is perceived. Having a layered approach of more finite zoning that details noise levels and building
attenuation performance could give the possibility to properly counteract the ebbs and flows of the
current regulatory environment.
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Acknowledgements
I would like to acknowledge the University of Canberra, ACT Government and the Alastair Swayn
Foundation for their collaboration to pursue research that will enhance and add to the body of
knowledge of architecture in the Canberra region.
The support of people within all three organisations and the acoustic consultants has been fantastic
and I thank them for their involvement through the process of this research paper:
Adam Azzopardi
Rebecca Bamford
Steve Basson
Michael Jasper
Zhang Lai
Panama Leaver
Jerremy Lofts
Alisa Moss
Ben Ponton
Cameron Price
Catherine Townsend
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Literature List
Department of the Environment, Climate Change, Energy and Water. 2010. "Noise Environment
Protection Policy". Australian Capital Territory: ACT Government.
Department of Health. 2018. "The Health Effects Of Environmental Noise". Canberra:
Commonwealth of Australia.
Environment and Sustainable Development. 2018. "Commercial Zones Development Code".
Australian Capital Territory: ACT Government.
Environment Protection Act 1997. 1997. Australian Capital Territory: ACT Government.
Environment Protection (Noise Measurement Manual) Approval 2009 (No 1). 2009. Australian Capital
Territory: Department of the Environment, Climate Change, Energy and Water.
Environment Protection Act 1997. 1997. Australian Capital Territory: ACT Government.
Environment, Planning and Sustainable Development Directorate. 2018. "ACT Planning Strategy
2018". Australian Capital Territory: ACT Government.
Environment, Planning and Sustainable Development Directorate. "Licensed Premises". Australian
Capital Territory: ACT Government.
Environment, Planning and Sustainable Development Directorate. "Noise Awareness for Businesses
in Mixed-Use Areas". Australian Capital Territory: ACT Government.
Environment, Planning and Sustainable Development Directorate. "Noise Awareness for Residents in
Mixed-Use Areas". Australian Capital Territory: ACT Government.
Environment, Planning and Sustainable Development Directorate. 2016. "Urban Sounds Discussion
Paper". Australian Capital Territory: ACT Government.
Environment, Planning and Sustainable Development Directorate. 2019. "Urban Sounds Outcomes:
Volume 1". Australian Capital Territory: ACT Government.
Environment, Planning and Sustainable Development Directorate. 2019. "Urban Sounds Outcomes:
Volume 2". Australian Capital Territory: ACT Government.
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Endnotes
1. R. Murray Schafer, The Soundscape, (Rochester: Destiny Books, 1994), Preface.
2. R. Murray Schafer, The Soundscape, (Rochester: Destiny Books, 1994), 6.
3. Schafer, The Soundscape, 13.
4. Environment, Planning and Sustainable Development Directorate, ACT Planning Strategy 2018, (Australian
Capital Territory: ACT Government, 2018), 5.
5. Thomas D. Rossing, Springer Handbook Of Acoustics, (New York: Springer, 2014), 962.
6. Environment, Planning and Sustainable Development Directorate, Noise Awareness for Businesses in Mixed-
Use Areas, (Australian Capital Territory: ACT Government), 1.
7. Department of Health, The Health Effects Of Environmental Noise, (Canberra: Commonwealth of Australia,
2018), V.
8. Environment, Planning and Sustainable Development Directorate, Noise Awareness for Businesses in Mixed-
Use Areas, (Australian Capital Territory: ACT Government), 1.
9. R. H. Bolt and K. U. Ingard, System Considerations in Noise Control Problems, “Handbook of Noise Control,”
C. M. Harris, (McGraw-Hill, New York: 1957), Chapter 22.
10. Environment, Planning and Sustainable Development Directorate, Noise Awareness for Businesses in
Mixed-Use Areas, (Australian Capital Territory: ACT Government), 2.
11. ACT Government, “Why are we doing this?”, Your Say, (2019), https://www.yoursay.act.gov.au/urban-
sounds/why-are-we-doing
12. Environment, Planning and Sustainable Development Directorate, ACT Planning Strategy 2018, (Australian
Capital Territory: ACT Government, 2018), 5.
13. Environment, Planning and Sustainable Development Directorate, Entertainment Action Plan, ‘October
2019,’ (Australian Capital Territory: ACT Government, 2019).
14. Brisbane City Council, “About the Valley Special Entertainment Precinct", Brisbane City Council, (2019),
https://www.brisbane.qld.gov.au/planning-and-building/planning-guidelines-and-tools/other-plans-and-
projects/valley-special-entertainment-precinct/about-the-valley-special-entertainment-precinct.
15. Brisbane City Council, “Centre, mixed and specialised centre zones,” Brisbane City Council, (2019),
https://www.brisbane.qld.gov.au/planning-and-building/planning-guidelines-and-tools/brisbane-city-plan-
2014/fact-sheets/centre-mixed-use-and-specialised-centre-zones
16. Brisbane City Council, “About the Valley Special Entertainment Precinct."
17. Brisbane City Council, “Valley Entertainment Precinct Background,” Brisbane City Council, (2019),
https://www.brisbane.qld.gov.au/planning-and-building/planning-guidelines-and-tools/other-plans-and-
projects/valley-special-entertainment-precinct/valley-entertainment-precinct-background
18. Vlad Polyanskiy, Decibel : Db Sound Level Meter Pro, (Version 5.0: 2019), Apple iOS 11.0.
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Bibliography
ACT Government. 2019. "Why Are We Doing This?". Your Say ACT.
https://www.yoursay.act.gov.au/urban-sounds/why-are-we-doing.
Borgeaud, David. 2005. "Noise Mapping an Entertainment Precinct". Busselton.
Brisbane City Council. 2019. "About The Valley Special Entertainment Precinct". Brisbane City
Council. https://www.brisbane.qld.gov.au/planning-and-building/planning-guidelines-and-
tools/other-plans-and-projects/valley-special-entertainment-precinct/about-the-valley-special-
entertainment-precinct.
Brisbane City Council. 2019. "Centre, Mixed-use and specialised centre zones". Brisbane City Council.
https://www.brisbane.qld.gov.au/planning-and-building/planning-guidelines-and-tools/brisbane-
city-plan-2014/fact-sheets/centre-mixed-use-and-specialised-centre-zones.
Brisbane City Council. 2019. "Valley Entertainment Precinct Background". Brisbane City Council.
https://www.brisbane.qld.gov.au/planning-and-building/planning-guidelines-and-tools/other-plans-
and-projects/valley-special-entertainment-precinct/valley-entertainment-precinct-background.
Department of Health. 2018. "The Health Effects Of Environmental Noise". Canberra:
Commonwealth of Australia.
Environment Protection Act 1997. 1997. Australian Capital Territory: ACT Government.
Environment Protection (Noise Measurement Manual) Approval 2009 (No 1). 2009. Australian Capital
Territory: Department of the Environment, Climate Change, Energy and Water.
Environment Protection Act 1997. 1997. Australian Capital Territory: ACT Government.
Environment, Planning and Sustainable Development Directorate. 2018. "ACT Planning Strategy
2018". Australian Capital Territory: ACT Government.
Environment, Planning and Sustainable Development Directorate. "Noise Awareness for Businesses
in Mixed-Use Areas". Australian Capital Territory: ACT Government.
Environment, Planning and Sustainable Development Directorate. 2016. "Urban Sounds Discussion
Paper". Australian Capital Territory: ACT Government.
Environment, Planning and Sustainable Development Directorate. 2019. "Urban Sounds Outcomes:
Volume 1". Australian Capital Territory: ACT Government.
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Alastair Swayn Internship | Canberra’s Urban Soundscape
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Environment, Planning and Sustainable Development Directorate. 2019. "Urban Sounds Outcomes:
Volume 2". Australian Capital Territory: ACT Government.
Harris, Cyril M. 1979. Handbook Of Noise Control. New York: McGraw-Hill.
Henry, Frank D., and Ken C. S. Mackenzie. 2004. "Managing Noise Impacts In Brisbane's Fortitude
Valley Entertainment Precinct". Gold Coast.
Polyanskiy, Vlad. 2019. Decibel : Db Sound Level Meter Pro (version 5.0). Apple iOS 11.0.
Rossing, Thomas D. 2014. Springer Handbook Of Acoustics. New York, NY: Springer.
Schafer, Raymond Murray. 1994. The Soundscape. Rochester: Destiny Books.
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Appendices
Appendix 1 – Criteria for external emission of noise from amplified music19
19 Amplified Music Venues Local Law 2006 Page 18
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Appendix 2 – Images of locations of noise data collection
1 2
3 4
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5 6
7 8
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9 10
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Appendix 3 – Noise Data Average (In order of locations 1-10)
Wednesday 9 am Wednesday 12 pm (noon) Wednesday 3 pm
Wednesday 6 pm Wednesday 9 pm Wednesday 12 am (midnight)
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Friday 9 am Friday 12 pm (noon) Friday 3 pm
Friday 6 pm Friday 9 pm Friday 12 am (midnight)
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Saturday 9 am Saturday 12 pm (noon) Saturday 3 pm
Saturday 6 pm Saturday 9 pm Saturday 12 am (midnight)
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Sunday 9 am Sunday 12 pm (noon) Sunday 3 pm
Sunday 6 pm Sunday 9 pm Sunday 12 am (midnight)
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Appendix 4 – Noise Data Visualisations
Wednesday 9:00am
Wednesday 12:00pm (noon)
Wednesday 3:00pm
Wednesday 6:00pm
Wednesday 9:00pm
Wednesday 12:00am (midnight)
Friday 9:00am
Friday 12:00pm (noon)
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Friday 3:00pm
Friday 6:00pm
Friday 9:00pm
Friday 12:00am (midnight)
Saturday 9:00am
Saturday 12:00pm (noon)
Saturday 3:00pm
Saturday 6:00pm
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Alastair Swayn Internship | Canberra’s Urban Soundscape
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Saturday 9:00pm
Saturday 12:00am (midnight)
Sunday 9:00am
Sunday 12:00pm (noon)
Sunday 3:00pm
Sunday 6:00pm
Sunday 9:00pm
Sunday 12:00am (midnight)