This document provides a summary of sound measurements taken in the upper ground floor of an office extension building. Sound levels were too high, ranging from 60-78dB where 35-50dB is recommended. Potential causes of excessive noise were identified as the high inclined ceiling, lightweight plasterboard ceiling material, and insufficient acoustic materials. Calculations of room volume, absorption coefficients, and Sabine's formula were used to determine the current reverberation times were 6.02s at 500Hz and 4.56s at 1000Hz, above the recommended 0.5-1.2s for open plan offices. Solutions to reduce reverberation times and noise levels are needed.
This document provides an analysis of the acoustic design of the ASWARA experimental theater in Malaysia. It discusses various aspects of the theater's design including the materials used for walls, floors, ceilings, seating, doors, and speakers. For walls, it describes the use of fabric acoustic panels, MDF acoustic panels, and pyramid acoustic foam panels to absorb sound. The floor uses various materials like parquet, carpet, concrete and PVC to balance sound reflection and absorption. Ceiling design aims to control sound through materials like acoustic tiles and gypsum board. Seating and platforms are arranged to maximize sound absorption. Speakers are strategically placed to ensure quality sound distribution throughout the space.
This document provides details on designing an audio studio, including isolation, room treatment, and achieving target reverberation times (RT60). Key points:
- Three rooms will be designed - a control room, live room, and vocal booth. Standard room ratios will be used to minimize room modes.
- Isolation involves building rooms-within-rooms with mass, airtight construction, and decoupled structures. Brick walls, floating floors, sealed windows and doors will be used.
- Initial RT60 calculations show values much higher than desired 0.2s, 0.5s and 0.7s. Additional absorption materials like fiberglass and ceramic blankets will be added to walls, ceilings
This document discusses acoustics and sound insulation in buildings. It defines acoustics as the science of sound, including how sound is generated, propagated, and perceived. Sound insulation aims to prevent the transmission of noise between spaces. Key techniques for sound insulation discussed include using absorbing materials, double wall constructions with cavities or insulation, floating floors with resilient materials or air gaps, and suspended ceilings with air spaces above the floor. Proper insulation of walls, floors, ceilings, doors, and windows is necessary to control noise transmission in residential buildings.
THE ACOUSTIC DESIGN OF CONNEXION@NEXUSYen Min Khor
油
The document provides a case study analysis of the acoustic design of the Connexion@Nexus auditorium located in Bangsar South City, Kuala Lumpur, Malaysia. It begins with an introduction that outlines the aims, objectives, and background of the auditorium. The document then discusses acoustic phenomena such as sound intensity levels, reverberation, attenuation, and echoes. It also analyzes the acoustic design considerations for an auditorium. The methodology section describes the equipment used to collect acoustic data. Finally, the acoustic analysis section evaluates the auditorium design and materials based on measurements and observations taken at the site.
This document discusses sound insulation and soundproofing. It defines key terms like sound, decibel, and reverberation. Sound insulation refers to reducing sound transmission through building elements like walls and floors. Different materials have varying abilities to absorb or block sound transmission. Common sound insulating materials include glass/rock wool, foamed plastics, quiet batts, and studio foam. Proper room arrangement, solid walls, planning for single-story structures, balcony placement, and courtyards can help reduce unwanted noise in buildings. Mass and rigidity help materials resist sound, while openings decrease sound blocking ability.
This document provides an introduction and overview of acoustics and noise control for mechanical systems. It defines basic acoustical terms like amplitude, frequency, and quality of sound. It discusses indoor noise criteria curves and recommendations for limiting noise from air handling systems, roof-top units, terminal boxes, chillers, and pumps through strategies like isolation, attenuation, duct lining, and space planning.
The document discusses the acoustics design considerations for recording studios. It explains that recording studios aim to have very short reverberation times, unlike auditoriums which enhance reverberation. This requires the enclosure to be very absorbent of sound and isolated from external noise. Common techniques used include double wall construction, soundproofing, bass traps, diffusers, absorbers and decoupling floors. The document provides examples of materials used like fiberglass, sheetrock and rubber for insulation and isolation.
The document discusses factors that affect acoustics in buildings and acoustic design considerations for different types of buildings. It covers topics like reverberation time, loudness, focusing, echoes, resonance, and noise criteria. For different building types like lecture halls, classrooms, open offices, and concert halls, it provides recommendations for acoustic design including optimal reverberation times, sound absorption placement, limiting echoes and dead spots, and ensuring speech intelligibility. The document provides guidance on achieving good acoustics for various functions through room shape, materials used, and mechanical system design.
The document provides an analysis of the acoustic design of an auditorium (PJCC auditorium). It begins with an introduction to the site and technical drawings. It then reviews relevant acoustic concepts such as sound pressure level, sound reduction index, and reverberation time. It identifies existing sound sources in the auditorium like external noise, internal noise, and the sound reinforcement system. It discusses sound path principles and how they are applied in the auditorium design through elements like the balcony, walls, and raked floor. It also covers acoustic materials and calculations of absorption coefficients and reverberation time. The document aims to understand and explore the acoustic characteristics of the auditorium in order to analyze and suggest improvements to the acoustic qualities.
Sound insulation of buildings(10 10-'15)Ankita Sikder
油
This document discusses sound insulation in buildings. It defines noise and describes how noise is transmitted through air, building structures, and structural members. It differentiates between sound insulation and sound absorption. Acceptable noise levels are outlined for different building types like hospitals, classrooms, and residences. Construction methods for sound insulation are described, including walls, floors, windows, doors, and machine mounting. Walls can be made of rigid, porous, or double materials. Floors can use resilient surfaces or floating constructions. Windows and doors work best when air tight. Proper placement of buildings and isolation of noise sources are also important for sound insulation.
The proposed materials are intended to be light structures, recyclable or degradable and with high noise reduction efficiency, being proper in buildings structures, noise barrier structures and automotive components.
Key words: acoustic, composite, noise control, absorption, Kundts tube, noise barriers
a case study of acoustic design presentationYen Min Khor
油
The document analyzes the acoustic design of the Connexion@Nexus auditorium. It finds that while the auditorium avoids echoes allowing speech to be easily discerned, it has a reverberation time that is too short at 0.26 seconds. The overly absorbent materials used throughout also reduce reflected sound, contributing to the suboptimal reverberation time. Additionally, the auditorium exhibits other acoustic defects like flutter echoes on stage and inefficient ceiling reflectors. Based on this analysis, the objective of determining if Connexion@Nexus is a good design for its intended multi-purpose use is answered with a no.
SEM 5 : PROJECT 1 REPORT BUILDING SCIENCE 2Darshiini Vig
油
The document provides details about DBKL City Theatre in Kuala Lumpur, Malaysia. It includes a historical background of the theatre building constructed in 1896. The document analyzes the acoustic design of the auditorium through technical drawings, identification of materials, sound sources and paths. Key materials like fabric panels and carpets help absorb sound while concave ceilings and wooden railings reflect sound. Speakers and audiences are identified as interior sound sources, while traffic is an exterior source. Sound paths and concentrations are described to understand how sound travels in the space.
Landscapes are composed of objects, units or elements of different nature. Interaction between these elements creates a non- random organization aggregates and patterns. Such patterns emerge at related spatial and temporary scales.
Design Elements create moods or feeling for the Observer.
Wood is an effective acoustic material due to its ability to absorb and dampen sound vibrations through internal friction within its cellular structure. The Sydney Opera House effectively utilizes various types of wood in its construction to enhance acoustic performance, including white birch plywood panels in the concert hall ceiling which help reduce echoes, and brush box timber used for wall panels and floors for its warm color, grain, durability and acoustic insulation. The architect designed the Sydney Opera House interiors primarily with wood to provide acoustic warmth and contrast to the heavy concrete shells.
This document provides recommendations for acoustic treatments in schools to improve classroom acoustics. It suggests controlling background noise, reverberation times, and signal-to-noise ratios. Specific recommendations include using sound absorbing materials on ceilings, walls and floors; installing insulated exterior walls and windows; separating noisy spaces; and reducing mechanical system noise. Proper acoustic treatments can improve speech intelligibility and reduce distractions in classrooms and other educational spaces.
This document discusses noise control in buildings. It defines noise and sound intensity, and explains that the goal of building design is to control unwanted noise while enhancing desired sound. It describes common internal and external noise sources in buildings. It also discusses the Sound Transmission Class rating used to measure noise insulation of building materials. Finally, it provides details on construction techniques for walls, windows, doors, floors and roofs to improve a building's acoustic performance, such as increasing wall thickness, using staggered studs, sealing cracks and adding sound absorbing materials.
This document provides details of a case study on the acoustic design of the Cempaka Sari Auditorium in Putrajaya, Malaysia. It includes an introduction outlining the objectives of studying the auditorium's acoustics. The document then covers acoustic theory relevant to auditorium design. The methodology section describes the equipment and methods used to collect acoustic data from the site, including sound level meters, measuring devices, and sound equipment in the auditorium. Finally, the document presents preliminary acoustic analysis of the auditorium and outlines recommendations and conclusions.
Sound insulation is the process of soundproofing an enclosed space to prevent sound from filtering in or out. Various materials can be used for sound insulation like fiberglass wool, rock wool, glass wool, mass loaded vinyl, cork, green glue and foam panels. These materials work by absorbing, reflecting or damping sound vibrations. Sound insulation is important in environments like recording studios, homes and offices to reduce noise transfer between spaces and for human health and safety.
Construction of the Boom Room Recording StudioSiddhant FNU
油
The document provides details on the design and construction of an audio recording studio. It outlines 21 sections to be covered including layout, floating floor construction using wooden joists and drywall, hanging ceiling, custom windows, acoustic treatment, equipment, and software. Key aspects of construction addressed are using a sound lock between rooms, symmetrical design of control room, taller walls in recording room for reverb, and multi-layer wall construction with insulation to achieve an STC of 59. Electrical and HVAC systems are integrated within the walls and roof.
Acoustics Material Study - Architectural Acoustics - NIT TrichySabarathinam Kuppan
油
This document discusses various materials used for acoustic treatment of noise, including acoustic foams, polyurethane foams, asbestos products, balsa wood, brickwork, clinker block, concrete, lightweight concrete, glass, foamed glass, glass fibre wool, gypsum, mineral wool, lead sheets, lead/foam sandwiches, lead-loaded plastic sheets, and leaded plastics. It provides details on the sound absorbing and insulating properties of these materials.
1. The document analyzes the acoustic design of the Cempaka Sari Auditorium located in Putrajaya, Malaysia, which has a total volume of 19,000m3 and seats 610 people.
2. Key aspects of the acoustic design discussed include the auditorium layout, sound absorption materials used, and analysis of sound propagation and related phenomena such as concentration, reflection, and reverberation time.
3. The analysis finds that while the auditorium has an optimum reverberation time of 1.88 seconds, some improvements could be made to absorption materials and reduce internal noise sources.
This document discusses various acoustic materials used for sound absorption, diffusion, and noise control. It provides details on stackable foam panels, fabric wrapped panels, ceiling clouds, fiberglass blankets and rolls, pyramidal and quadratic diffusers, and acoustic barriers. The materials discussed are suitable for a variety of spaces including recording studios, theaters, offices, homes and more. They help reduce reverberation, echoes, and noise in an aesthetically pleasing way while also being durable and fire resistant.
This document discusses sound insulation and soundproofing. It defines key terms like sound, decibel, and reverberation. Sound insulation refers to reducing sound transmission through building elements like walls and floors. Different materials have varying abilities to absorb or block sound transmission. Common sound insulating materials include glass/rock wool, foamed plastics, quiet batts, and studio foam. Proper room arrangement, solid walls, planning for single-story structures, balcony placement, and courtyards can help reduce unwanted noise in buildings. Mass and rigidity help materials resist sound, while openings decrease sound blocking ability.
This document provides an introduction and overview of acoustics and noise control for mechanical systems. It defines basic acoustical terms like amplitude, frequency, and quality of sound. It discusses indoor noise criteria curves and recommendations for limiting noise from air handling systems, roof-top units, terminal boxes, chillers, and pumps through strategies like isolation, attenuation, duct lining, and space planning.
The document discusses the acoustics design considerations for recording studios. It explains that recording studios aim to have very short reverberation times, unlike auditoriums which enhance reverberation. This requires the enclosure to be very absorbent of sound and isolated from external noise. Common techniques used include double wall construction, soundproofing, bass traps, diffusers, absorbers and decoupling floors. The document provides examples of materials used like fiberglass, sheetrock and rubber for insulation and isolation.
The document discusses factors that affect acoustics in buildings and acoustic design considerations for different types of buildings. It covers topics like reverberation time, loudness, focusing, echoes, resonance, and noise criteria. For different building types like lecture halls, classrooms, open offices, and concert halls, it provides recommendations for acoustic design including optimal reverberation times, sound absorption placement, limiting echoes and dead spots, and ensuring speech intelligibility. The document provides guidance on achieving good acoustics for various functions through room shape, materials used, and mechanical system design.
The document provides an analysis of the acoustic design of an auditorium (PJCC auditorium). It begins with an introduction to the site and technical drawings. It then reviews relevant acoustic concepts such as sound pressure level, sound reduction index, and reverberation time. It identifies existing sound sources in the auditorium like external noise, internal noise, and the sound reinforcement system. It discusses sound path principles and how they are applied in the auditorium design through elements like the balcony, walls, and raked floor. It also covers acoustic materials and calculations of absorption coefficients and reverberation time. The document aims to understand and explore the acoustic characteristics of the auditorium in order to analyze and suggest improvements to the acoustic qualities.
Sound insulation of buildings(10 10-'15)Ankita Sikder
油
This document discusses sound insulation in buildings. It defines noise and describes how noise is transmitted through air, building structures, and structural members. It differentiates between sound insulation and sound absorption. Acceptable noise levels are outlined for different building types like hospitals, classrooms, and residences. Construction methods for sound insulation are described, including walls, floors, windows, doors, and machine mounting. Walls can be made of rigid, porous, or double materials. Floors can use resilient surfaces or floating constructions. Windows and doors work best when air tight. Proper placement of buildings and isolation of noise sources are also important for sound insulation.
The proposed materials are intended to be light structures, recyclable or degradable and with high noise reduction efficiency, being proper in buildings structures, noise barrier structures and automotive components.
Key words: acoustic, composite, noise control, absorption, Kundts tube, noise barriers
a case study of acoustic design presentationYen Min Khor
油
The document analyzes the acoustic design of the Connexion@Nexus auditorium. It finds that while the auditorium avoids echoes allowing speech to be easily discerned, it has a reverberation time that is too short at 0.26 seconds. The overly absorbent materials used throughout also reduce reflected sound, contributing to the suboptimal reverberation time. Additionally, the auditorium exhibits other acoustic defects like flutter echoes on stage and inefficient ceiling reflectors. Based on this analysis, the objective of determining if Connexion@Nexus is a good design for its intended multi-purpose use is answered with a no.
SEM 5 : PROJECT 1 REPORT BUILDING SCIENCE 2Darshiini Vig
油
The document provides details about DBKL City Theatre in Kuala Lumpur, Malaysia. It includes a historical background of the theatre building constructed in 1896. The document analyzes the acoustic design of the auditorium through technical drawings, identification of materials, sound sources and paths. Key materials like fabric panels and carpets help absorb sound while concave ceilings and wooden railings reflect sound. Speakers and audiences are identified as interior sound sources, while traffic is an exterior source. Sound paths and concentrations are described to understand how sound travels in the space.
Landscapes are composed of objects, units or elements of different nature. Interaction between these elements creates a non- random organization aggregates and patterns. Such patterns emerge at related spatial and temporary scales.
Design Elements create moods or feeling for the Observer.
Wood is an effective acoustic material due to its ability to absorb and dampen sound vibrations through internal friction within its cellular structure. The Sydney Opera House effectively utilizes various types of wood in its construction to enhance acoustic performance, including white birch plywood panels in the concert hall ceiling which help reduce echoes, and brush box timber used for wall panels and floors for its warm color, grain, durability and acoustic insulation. The architect designed the Sydney Opera House interiors primarily with wood to provide acoustic warmth and contrast to the heavy concrete shells.
This document provides recommendations for acoustic treatments in schools to improve classroom acoustics. It suggests controlling background noise, reverberation times, and signal-to-noise ratios. Specific recommendations include using sound absorbing materials on ceilings, walls and floors; installing insulated exterior walls and windows; separating noisy spaces; and reducing mechanical system noise. Proper acoustic treatments can improve speech intelligibility and reduce distractions in classrooms and other educational spaces.
This document discusses noise control in buildings. It defines noise and sound intensity, and explains that the goal of building design is to control unwanted noise while enhancing desired sound. It describes common internal and external noise sources in buildings. It also discusses the Sound Transmission Class rating used to measure noise insulation of building materials. Finally, it provides details on construction techniques for walls, windows, doors, floors and roofs to improve a building's acoustic performance, such as increasing wall thickness, using staggered studs, sealing cracks and adding sound absorbing materials.
This document provides details of a case study on the acoustic design of the Cempaka Sari Auditorium in Putrajaya, Malaysia. It includes an introduction outlining the objectives of studying the auditorium's acoustics. The document then covers acoustic theory relevant to auditorium design. The methodology section describes the equipment and methods used to collect acoustic data from the site, including sound level meters, measuring devices, and sound equipment in the auditorium. Finally, the document presents preliminary acoustic analysis of the auditorium and outlines recommendations and conclusions.
Sound insulation is the process of soundproofing an enclosed space to prevent sound from filtering in or out. Various materials can be used for sound insulation like fiberglass wool, rock wool, glass wool, mass loaded vinyl, cork, green glue and foam panels. These materials work by absorbing, reflecting or damping sound vibrations. Sound insulation is important in environments like recording studios, homes and offices to reduce noise transfer between spaces and for human health and safety.
Construction of the Boom Room Recording StudioSiddhant FNU
油
The document provides details on the design and construction of an audio recording studio. It outlines 21 sections to be covered including layout, floating floor construction using wooden joists and drywall, hanging ceiling, custom windows, acoustic treatment, equipment, and software. Key aspects of construction addressed are using a sound lock between rooms, symmetrical design of control room, taller walls in recording room for reverb, and multi-layer wall construction with insulation to achieve an STC of 59. Electrical and HVAC systems are integrated within the walls and roof.
Acoustics Material Study - Architectural Acoustics - NIT TrichySabarathinam Kuppan
油
This document discusses various materials used for acoustic treatment of noise, including acoustic foams, polyurethane foams, asbestos products, balsa wood, brickwork, clinker block, concrete, lightweight concrete, glass, foamed glass, glass fibre wool, gypsum, mineral wool, lead sheets, lead/foam sandwiches, lead-loaded plastic sheets, and leaded plastics. It provides details on the sound absorbing and insulating properties of these materials.
1. The document analyzes the acoustic design of the Cempaka Sari Auditorium located in Putrajaya, Malaysia, which has a total volume of 19,000m3 and seats 610 people.
2. Key aspects of the acoustic design discussed include the auditorium layout, sound absorption materials used, and analysis of sound propagation and related phenomena such as concentration, reflection, and reverberation time.
3. The analysis finds that while the auditorium has an optimum reverberation time of 1.88 seconds, some improvements could be made to absorption materials and reduce internal noise sources.
This document discusses various acoustic materials used for sound absorption, diffusion, and noise control. It provides details on stackable foam panels, fabric wrapped panels, ceiling clouds, fiberglass blankets and rolls, pyramidal and quadratic diffusers, and acoustic barriers. The materials discussed are suitable for a variety of spaces including recording studios, theaters, offices, homes and more. They help reduce reverberation, echoes, and noise in an aesthetically pleasing way while also being durable and fire resistant.
Acoustic Analysis on Permata Pintar Auditorium (presentation)Carmen Chan
油
The auditorium was designed to distribute sound evenly throughout the seating areas. Several design elements help achieve this:
1. The fan-shaped layout and minimal 16.5 degree splay angle between rows allows sound to propagate equally without flutter echoes.
2. CMU block walls and a suspended forestage canopy reflect and diffuse sound to reinforce direct sound within 30ms of delay.
3. Measurements found sound intensity levels varied minimally except for areas under the deep gallery, which experience sound shadows due to obstruction of indirect sound waves.
The document discusses the acoustical design and properties of the Petaling Jaya Civic Centre auditorium. It analyzes the existing sound sources, zoning of seating areas, sound reinforcement system, and how sound travels through reflection, diffusion, absorption, and shadowing. It evaluates the materiality used including timber panels and carpet, and determines the auditorium achieves a recommended reverberation time of 1.25 seconds through its design and material choices.
1. The Solaris and Leisure Centre is a new performing arts complex in Tallinn, Estonia that includes a multifunctional auditorium.
2. Key aspects of the auditorium design include its acoustics, which were informed by an acoustical consultant. Materials with high sound absorption values were selected to regulate reverberation time.
3. The primary sound reinforcement system anchors twin arrays of line array loudspeakers to left and right of the stage, with an overhead array to provide clarity for both music and spoken performances.
Sound is a type of energy made by vibrations that cause air particles to bump into each other, creating sound waves. Recording studios are designed with specific acoustics in mind, treating rooms with sound absorbing and diffusing materials and soundproofing walls to isolate rooms. Key aspects of acoustic treatment include absorption to reduce reverberation, diffusion to prevent sound from grouping in one area, bass traps to reduce low frequencies, and isolation between rooms.
This document discusses architectural acoustics and provides information on sound classification, characteristics of musical sound, intensity, absorption coefficient, sound absorbing materials, reverberation, and factors affecting building acoustics such as reverberation time, loudness, focusing, echo, echelon effect, and resonance. It also covers noise control and discusses remedies for improving acoustics issues in buildings.
Auditorium: A Case Study on Acoustic Design Presentationjisunfoo
油
The Calvary Convention Centre (CCC) in Kuala Lumpur, Malaysia is a 5,000-seat, multi-purpose auditorium designed for both speeches and musical performances. Through the strategic use of materials and acoustic treatments, the CCC achieves a reverberation time of 0.9 seconds, making it suitable for its primary function as a speech-based venue. Absorptive materials like carpeting and upholstered seats help control reverberation, while the concave wall and ceiling shapes aid in concentrating sound toward the audience. The auditorium design and acoustic treatments demonstrate how spaces can be flexibly designed for different event needs through consideration of materials and room geometry.
The document discusses acoustics in buildings and sound insulation. It covers topics such as sound absorption, transmission, reflection, and insulation. Proper acoustical design includes considering site selection, volume, shape, interior surfaces, reverberation, seating, and absorption to achieve optimum sound quality. Sound insulation can be improved through rigid wall and floor constructions, double walls, resilient materials, and isolating noise sources. The acceptable noise levels for different building types are also provided.
Factors affecting acoustics of buildings and their remedies.Burhanuddin Kapadia
油
Acoustics plays an important role in the sound ergonomics
due to which sound can be distributed equally to entire hall.
the following slide gives an overview of the factors of acoustics and its remedies.
This document discusses architectural acoustics and provides information on sound classification, characteristics of musical sound, intensity, absorption coefficient, sound absorbing materials, reverberation, and factors affecting building acoustics such as reverberation time, loudness, focusing, echo, echelon effect, resonance, and noise. It explains how sound is classified into infrasound, audible sound, and ultrasound. Musical sound produces a pleasing effect while noise produces a jarring effect. Absorption coefficient measures the ratio of absorbed to incident sound energy. Various sound absorbing materials and methods to control reverberation time, noise, and other acoustic issues in buildings are also described.
The document discusses acoustics in auditoriums. It defines acoustics and sound, and discusses topics like sound frequency and intensity, reflection of sound, defects due to reflected sound like echoes and reverberation, Sabine's equation for calculating reverberation time, absorbent materials used in auditoriums, acoustic design considerations for auditoriums including volume, shape, seating, and defects that can occur. It also covers noise mapping and sound insulation. The overall goal is to provide guidelines for designing auditoriums with good acoustics.
This document discusses various topics related to sound and architectural acoustics. It defines sound as vibrations that travel through air or another medium and can be heard. It explains that sound travels in wave patterns called sound waves, which move by vibrating surrounding objects. Sound can move through air, water or solids. It also defines key terms like longitudinal waves, transverse waves, sound intensity, frequency, speed of sound, time period, amplitude, density and more. The document discusses factors that influence architectural acoustics like geometry, materials, generation of sound. It also discusses types of materials used like sound absorbers, diffusers, barriers and reflectors.
Building acoustics is the science of controlling sound in buildings by minimizing noise transmission between spaces. Characteristics of sound include reverberation time, echo, resonance, intensity, velocity, wavelength, timbre, amplitude, frequency, pitch, and loudness. Sound behaves differently with materials through absorption, diffusion, reflection, and transmission. Factors affecting building acoustics include geometry, volume, surface absorption/transmission/reflection, internal/external sound generation, and airborne transmission. Good building acoustics benefits health, productivity, privacy, intelligibility, and building value. Acoustic design incorporates absorption, diffusion, ceiling treatments, sound masking, and considers needs of different building types like residences, offices, schools,
The document provides details about the acoustic design of an auditorium for the Sidang Injil Borneo Kuala Lumpur church. It discusses the building and auditorium layout, sound absorption and finishing materials used, the sound system and sources, and how sound propagates through the space. Absorptive materials like carpet, fabric, and timber are used on floors, walls and ceilings to reduce reverberation. The sound system includes various speaker types to distribute sound evenly. Potential noise intrusion areas are also identified.
ARCHITECTURAL SERVICES V (ACOUSTICS) (RAR 806)
MODULE-1 BUILDING ACOUSTICS
(COMMON ACOUSTICAL DEFECTS AND
RECOMMENDED REMEDIES) Presented by Ar. Manish Kumar, Assistant Professor in
Architecture Department at Axis Institute of
Architecture
2. The Extension is too noisy especially the upper ground floor. On our visit to the site, we took along a sound metre to record
accurate sound measurements within the spaces, however before doing so, we started off by questioning those who occupied
that particular space. The general response to this area was that it was too noisy as conversations travelled along the room and
echoed around the space. After this, we then took our recording at the measurements were as follows
Ground Floor 78dB with distinct conversation
Vault 40dB with no conversation and 65dB with disctinct conversation
1st Floor 60dB with distinct conversation.
From the measurements carried out above, it can be seen the the sound quality in the office spaces are quite high. The figures
below show what the sound measurement of a office spaces should be
Cellular offices = 35-40 dB
Open plan offices = 40 - 50dB
A cellular office space is an office whereby a large space is divided into various sections by the use of permanent walls
An Open plan office is a space whereby office activities are spread across a single floor. Unlike cellular office spaces, there are
no wall barriers to demarcate between the various operations within it.
The extension in great James streets utilizes an open plan office space. The initial aim of the architects was to encourage more
relations between the users of the building. However, the sound measurements in the building were up to 78dB. This accord-
ing to the specified requirements sound level for an office space is too high.
Aim
The aim of our project is therefore to isolate the problems causing the excess amount of sound travelling across the building
and provide a solution to that particular problem faced within it. As stated earlier, the sound level in 78dB which is too high
for an open plan office space
Problem
Pictures showing the open plan layout of the Upper ground floor
3. Possible Cause of High Sound Level within the space
In order to provide a solution to the problem of noise, we have first isolated the likely causes of noise within it. They are as
follows
1) The High Inclined Ceiling
2) The choice of materials within the space
3) The Choice of Acoustic Material present within the building.
1) The High Inclined Ceiling - The Top floor of the extension has an inclined ceiling due to the triangulated shape of
the roof, with the highest point of the inclination being 3.9m tall. The large volume of space caused by this high inclined
ceiling caused echoing within it. the persistence of a sound in a space after it is produced is known as reverberation. In
rooms, reverberation is created when sound produced in the enclosed space causes a large number of echoes to build up
and then slowly decay as the sound is absorbed by the ceiling, floor, walls, other room surfaces and air. Inclined ceilings
have both a sound spreading and a sound concentrating effect. In most cases, the sound is concentrated because the
sound regulation of the area around the inclined ceiling has not been considered carefully.
2)The Choice of Materials within the Space - Different materials have different sound absorbing qualities. In the exten-
sion, we will be looking at the materials utilised mainly on the ceiling. The ceiling is made out of sheets of plasterboard.
Plasterboard which is an inner layer of gypsum sandwiched between two outer layers of lining paper including various
additives in the gypsum layer and varying the weight and strength of the lining paper. Plasterboard however being quite a
light material vibrates when it comes in contact with sound. This causes sound to spread more across the room, leading to
a rise in the noise level within the spaces. Also due to the fact that the plaster board ceiling is not in a whole sheet across
the ceiling but rather in separate panels, this also cause more vibration within the space. Plaster board at a frequency of
500Hz, 1000Hz and 4000Hz have an absorption co-efficiency of 0.05, 0.04 and 0.1 respectively. These are quite low as the
closer the absorption coefficiency is to 1, the higher its acoustic properties.
3) The Choice of Acoustic Materials present within the Building - Within the ceiling panel and the roof, there are acous-
tic panels presents however these panels are only a single layer. The architects did not take into consideration the shape of
the roof before providing a basic acoustic control within the building. Studies show that the wall area opposite the in-
clined ceiling should also be equipped with sound absorbing materials. As a principal rule, all surfaces above the normal
ceiling height (2.60 m) including the end walls should be equipped with sound absorbers. However acoustic panelings in
the extension are only present between the ceiling and roof.
3D Section of the space above showing the high inclined ceiling.
and the coice of ceiling material.
Section showing the material properties of the ceiling
Bronze copper
Bitumous
layer
Timber Joist
Plasterboard
4. Solution
In order to first provide a solution to the problem of noise within the building, we must first have an understanding of the
following terms. As through the calculating and understanding the building in these aspects, it will enable us to recom-
mend the best possible solution to reduce the noise level in the space. From the research carried out above however, it can
be seen that the problem of the building is not predominantly as a result of the shape of the ceiling, but the architects not
providing adequate acoustic solution to accommodate this shape
1) Reverberation Time
2)Sabines Law/Alpha Sabine
1)Reverberation Time - The reverberation time is perceived as the time for the sound to die away after the sound source
ceases, but that of course depends upon the intensity of the sound. The optimum reverberation time for an auditorium or
room of course depends upon its intended use. Around 2 seconds is desirable for a medium-sized, general purpose audito-
rium that is to be used for both speech and music. A classroom should be much shorter, less than a second. Due to the fact
of out building being an office space, research shows that the recommended reverberation time in an office is 0.50 seconds
with that of an open plan office extended up to 1.2
The reverberation time is strongly influenced by the absorption coefficients of the surface and also the volume of the room
as show in the Sabines formula below.
2) Sound Absorption Coefficient - When a sound wave in a room strikes a surface, a certain fraction of it is absorbed, and
a certain amount is transmitted into the surface. Both of these amounts are lost from the room, and the fractional loss is
characterized by an absorption coefficient a which can take values between 0 and 1, 1 being a perfect absorber.
3)Sabines law -The product of the reverberation time multiplied by the total absorptivity of the room is proportional to the
volume of the room
Diagrammatic representation of how sound bounces off surfaces within the space
5. Calculations
5.3m
1.7m
1.8m
13m
V1
V2
V3
V4
V5
V6
H1 H2 H3 H4 H5 H6 H7 Total
268.71
4.47
44.02
68.95
30.61
8.78
234.26
3.40
33.45
60.11
23.26
7.65
220.48
3.20
29.63
56.57
20.61
7.2
192.92
2.30
22.69
49.50
15.78
6.3
165.36
1.69
16.67
42.43
11.59
5.4
158.47
1.55
15.31
40.66
10.65
5.18
144.69
1.30
12.76
37.13
8.87
4.73
197.84
2.56
24.93
50.76
17.34
6.46
299.89TOTAL
V = LxWxH or V = ((bxBxH)/2) x H
T = (0.163x299.89)/A
In order to calculate the reverberation time, we first have to find the volume of
the space. Because of the varying ceiling heights and also the shape being of an
irregular geometric form with varying lengths of its side.We divided the shape
into various sections that will enable us to find a volume. The various heights
of the ceiling are as follows 3.9m,3.4m.3.2m,2.8m,2.4m,2.3m and 2.1m.
To calulate the total volume we calculated the volume of each individual shape
with the varying heights of the ceiling (3.9m,3.4m.3.2m,2.8m,2.4m,2.3m and
2.1m) and derived an average in order to have an estimated volume.
After finding the volume, the absoption coefficient of each space is then requred to be known in order to calculathe reverberation
time. Absorption surface is the whole surface in the room which can absorb sound waves. This includes walls, floors, windows and
doors, ceilings and furniture. We decided to only take into account
1)the walls,
2)the floor,
3)the ceiling and
4)the doors and windows
As we didnt have the precise measurements of the furniture and we considered that the architects had worked on the acoustic with-
out the furniture to make it more efficient.
Table showing how the volume of the space was calculated.
Diagramtic representation of how the plan was divided
into sections in order to calculate a volume
6. 1) WALLS :
S = H x L with S the surface in m^3 , H the height in m and L the length in m
The total surface is the addition of all the surfaces of the walls.
H = 2.8m
RESULTS :
Knowing that the walls are made out of bricks we found their absorption coefficient at three different frequen-
cies.
When f = 500 Hz, a = 0.03
When f = 1000 Hz, a = 0.04
When f = 5000 Hz, a = 0.07
We can then calculate the absorption surfaces :
When f = 500 Hz : A = S x A = 61.18 x 0.03 = 1.8354
When f = 1000 Hz : A = 61.18 x 0.04 = 2.4472
When f = 5000 Hz : A = 61.18 x 0.03 = 4.2826
2) FLOOR :
To calculate the surface of the floor, we kept the division from the previous calculation.
For rectangles : S = L x W For trapeziums : S = ((b+B)/2) x h
Figure
Length l (m)
Width W (m)
Height h (m)
Big Base B (m)
Small Base b (m)
Surfaces (m^2)
1 2 3 4 5 6
2.81 11.67 3.45 1.5
0.94 2.8 2.1 1.5
2.66 1.5
1.25 1.5
0.47 1.1
2.64 32.70 2.29 7.25 1.95 2.25
TOTAL 49.08
We know the floor is made out of wood and this gives us the three absorption coefficient following :
When f = 500 Hz, a = 0.10
When f = 1000 Hz, a = 0.07
When f = 5000 Hz, a = 0.06
Which can allow us to calculate the absorption surfaces :
When f = 500 Hz : A = S x A = 49.08 x 0.10 = 4.908
When f = 1000 Hz : A = 49.08 x 0.07 = 3.4356
When f = 5000 Hz : A = 49.08 x 0.06 = 2.9448
3) CEILING :
The ceiling is composed of triangles so S = (B x h) / 2
Triangle
Base B (m)
Height (m)
Surfaces (m^2)
1 2 3 4 5 6 7 8 9 10 11 12 13
5.31
2.11
5.60
6.25
2.03
6.34
2.4
6.02
7.22
2.34
6.25
7.31
6.25
1.88
5.88
6.25
3.75
11.72
3.59
1.88
3.37
4.49
1.56
3.66
5.16
4.53
11.69
1.5
4.53
3.40
4.22
4.38
9.24
4.22
5.94
12.58
3.13
3.91
6.12 TOTAL 94.08
As the ceiling is made out of plaster board :
When f = 500 Hz, a = 0.05
When f = 1000 Hz, a = 0.04
When f = 5000 Hz, a = 0.1
So when f = 500 Hz : A = S x A = 94.08 x 0.05 = 4.704
When f = 1000 Hz : A = 94.08 x 0.04 = 3.7632
When f = 5000 Hz : A = 94.08 x 0.1 = 9.408
4) DOORS :
For this calculation we are considering that the doors height is 2.1m.
S = (L x W) x2 with L the length in m and W the width in m
S= (2.1 x 0.94) x 2 = 3.948
As the doors are made out of wood :
When f = 500 Hz, a = 0.17
When f = 1000 Hz, a = 0.09
When f = 5000 Hz, a = 0.10
So when f = 500 Hz : A = S x A = 3.948 x 0.17 = 0.67116
When f = 1000 Hz : A = 3.948 x 0.09 = 0.35532
When f = 5000 Hz : A = 3.948 x 0.10 = 0.3948
Measurements
in m
Surfaces in
m^2
11.80 4.80 0.3(x3) 0.5(x3) 0.7 0.65 1.1 0.4
33.04 13.44 2.52 4.2 1.96 1.82 3.08 1.12
TOTAL
SURFACE
61.18m^2
7. 5) WINDOWS :
The open office space is composed of four windows, two rectangular ones on the walls and two triangular-shaped
on the ceiling.
For the rectangles : S = L x W
For triangles : S = (B x h) / 2
Figure
Length l (m)
Width W (m)
Height h (m)
Base (m)
Surface
1
2.1
4.06
2 3 4
2.1
2.81
8.53 5.90
2.58
2.81
3.6249
3.28
3.44
5.6416
TOTAL 23.6965
As these are double-glazed windows :
When f = 500 Hz, a = 0. 03
When f = 1000 Hz, a = 0.03
When f = 5000 Hz, a = 0.12
So when f = 500 Hz : A = S x A = 23.6965 x 0.03 = 0.7109
When f = 1000 Hz : A = 23.6965 x 0.03 = 0.7109
When f = 5000 Hz : A = 23.6965 x 0.02 = 0.4739
Finally we can then calculate the reverberation time for each frequency :
When f = 500 Hz :
A = 1.8354 + 4.908 + 4.704 + 0.67116 + 0.7109 = 8.1255
TR = (0.163 x 299.89) / 8.1255 = 6.02 s
When f = 1000 Hz :
A = 2.4472 + 3.4356 + 3.7632 + 0.35532 + 0.7109 = 10.7122
TR = (0.163 x 299.89) / 10.7122 = 4.56 s
When f = 4000 Hz :
A= 4.2826 + 2.9448 + 9.408 + 0.3948 + 0.4739 = 17.5041
TR = (0.163 x 299.89) / 17.5041 = 2.79 s
In conclusion, the reverberation time is way too high for each of the frequencies thus showing a flaw in the
acoustic insulation. The reverberation we derived were 6.02seconds , 4.56 seconds and 1.79 seconds.. These
figures show that the time is takes for sound to travel round the space is too long, Thereby, making conversa-
tions spread across the room and leading to a noisy atmosphere unsuitable for a working environment. These
calculations will help us to suggest a suitable design adjustment that will aid in reducing the noise level within
this area.
8. Design Iteration
As it can be seen from the calculations above the Reverberation time for the space at the following
Frequencies ; 500hz, 1000Hz and 4000Hz are 6.02seconds , 4.56seconds and 2.79seconds. From
studies carried out, the ideal reverberation time for an open plan office space is between 0.50 seconds
and 1.2 seconds. The results we derived from our calculations hoever, show that the time it takes for
sound to travel back to its source is too long.
In order to improve the sound quality of the building, we have to decided to look into the materi-
als utilised in the construction of it. We habe chosen to replace the plasterboard on the ceiling with
acoustic tile panels
The panels are suitable for open plan offices or other premises where strict demands are made on
good acoustics and speech intelligibility, and where demountability is vital. Ecophon Master A has an
exposed grid system which each tile easily demountable.
The system consists of Ecophon Master A tiles and Ecophon Connect grid systems, with an approx-
imate weight of 5 kg/m族. The tiles are manufactured from high density, 3rd generation glass wool.
The visible surface has an Akutex FT coating and the back of the tile is covered with glass tissue. The
edges are primed and the grid is manufactured from galvanized steel.
The tiles withstand a permanent ambient RH up to 95% at 30属C without sagging, warping or delami-
nating. The glass wool core of the tiles is tested and classified as non-combustible
The buildings on the right all utilise this system of tiling on their ceilings These are all office spaces /
Private-public spaces that aimed to reduce the amaount of noise level within them. By incorporating
the tiles on the ceiling, they were able to promote communication, collaboration and creativity.
As stated earlier, the tiles are not ony demoutable, but they are also flexible and can be utilised on
ceilings regardless of its shape and size.
Top Left - Sumitomo Electric Bordnetze GmbH Office
Top Right - Areco Sweden AB - SE
Bottom Left - Ulster Hospital, Innovation and Medical Centre
Bottom Right - Belgorod airport
9. 1. Ecophon Edge A panel
2 Main Runner 3 Cross Tee 4 Cross Tee 5 Connect Adjustable hanger
6 Connect
Hanger clip
7 Connect Direct
Fixing Bracket
8 Connect Angle Trim 9 Connect Shad-
ow-line Trim
The following Diagrams show how the acoustic tiles attach to the ceiling. As stated earlier, the
panels can be cut into any desired shape. After cutting the panels into the shape of the ceil-
ing, The Contact Angle Trim (8) and the connect shadow-line trim are placed directly on the
ceiling. Afterwards the structure is braced with the main runner (1) which is then connected
to the connect hanger clip (6). The Main runner and also Cross tees are fixed to the walls by
the Connect Direct Fixing Bracket (7). Once the structure is secured with the use of screws, an
adjustable hanger is hooked to the hanger clip. This hanger determines the distance between
the acoustic tiles and also the ceiling itself. It enabled there to be a space between these two.
However, our tiles will be placed as close to the ceiling as possible.
Suspension with adjustable hanger and
clip
Suspension with direct bracket
10. Diagramatical representation of the Acoutic Panels in the shape of the ceiling
Conclusion
RESULTS AFTER IMPROVEMENT :
The ceiling is not made with Ecophon Master A tiles which leads to a change in the absorption coef-
ficient
With a frequency of
f = 500 Hz, a = 0.72
f = 1000 Hz, a = 0.92
f = 4000 Hz, a = 0.75
Thereby,
when f = 500 Hz : A = S x a = 94.08 x 0.72 = 67.7376
When f = 1000 Hz : A = 94.08 x 0.92 = 86.5536
When f = 4000 Hz : A= 94.08 x 0.75 = 70.56
Thus the new reverberation time is :
At f = 500 Hz : A = 1.8354 + 4.908 + 67.7376 + 0.67116 + 0.7109 = 75.86306
TR = (0.163 x 299.89) / 75.86306 = 0.64 s
At f = 1000 Hz : A = 2.4472 + 3.4356 + 86.5536 + 0.35532 + 0.7109 = 90.50262
TR = (0.163 x 299.89) / 90.50262 = 0.54 s
At f = 4000 Hz : A= 4.2826 + 2.9448 + 70.56 + 0.3948 + 0.4739 = 78.6561
TR = (0.163 x 299.89) / 78.6561 = 0.62 s
From the results above, it can be seen that by changing the material property of the
ceiling through the addition of acoustic panels, we were able to achieve a reduction in
the reverberation time within the space. As stated earlier, the required reverberation
time for an open plan office space is between 0.50 seconds and 1.2 seconds. In the
results we derived, it can be seen the the reverberation at the following frequencies
500Hz,1000Hz and 4000Hz are 0.64 seconds, 0.54seconds and 0.62 seconds respec-
tively. These reverberation times at the following frequencies are ideal for an office /
open plan office space and by the inclusion of this design change there will be a signif-
icant reduction in the level of noise experienced.