B science 2 PROJECT 1 shantanand auditorium(1)

SCHOOL OF ARCHITECTURE, BUILDING AND DESIGN
BACHELOR OF SCIENCE (HONS) IN ARCHITECTURE
Prepared by:
Melvyn Poh Ern Meng 0322653
Brian Koh Jun Yan 0322002
Hong Shi Lik 0322081
Kiu Ngin Pern 0322084
Muhammad A’ameer 0322891
Saw E Sean 0322003
Nhat Dinh 0313309
Chan Jing Jun 0326762
Tutor: Ar. Edwin Chan
Building Science ll [BLD 61303]
Project 1
Case Study on Acoustic Design
1

TABLE OF CONTENT
1 Introduction of Shantanand Auditorium 3
1.1 Aim and Objectives 4
1.2 Site background 4
1.3 Historical Background 5
1.4 Sense of Place 6-7
1.5 Architectural Drawings 8-9
1.6 Auditorium design analysis 10-11
2 Acoustics and Architecture 12
2.1 Literature Review 13-14
2.1.1 Acoustics in Architecture
2.1.2 Sound Intensity Level
2.1.3 Reverberation, Attenuation, Echos and Sound Shadow
2.2 Methodology 15-16
3 Acoustic Design Analysis 17
3.1 Sound reinforcement system 18-24
3.2 Sound propagation and concentration 25-26
3.3 Sound Shadow 27
3.4 Sound reflection and diffusion 28-30
3.5 Flutter echoes and sound delay 31-32
3.6 Noise intrusion (Noise source) 33-45
3.7 Construction of materials 46-52
4 Calculations 53
4.1 Area of floor 54
4.2 Area of wall 55
4.3 Area of other material 56
4.4 Reverberation Time 57
5 Design Solution and Suggestion 58
5.1 Create a buffer zone 59
5.2 Materiality for doors and walls in the buffer zone 60
5.3 Increase the reverberation time in the auditorium 61
5.4 Shaping a concave shape at the balcony parapet 62
5.5 Increase the balcony height and tited ceiling 63
6 Conclusion 64-65
7 Reference Link 66-69
8 Peer Evaluation Form 70-78
2

1. INTRODUCTION OF
SHANTANAND
AUDITORIUM
3

1.1 Aims & Objective
In this projects objectives and aims are :
1. To produce an in-depth acoustic design analysis of our chosen auditorium and the effectiveness that
contribute to the acoustic quality of Shantanand auditorium.
2. To study and analyse the characteristics of acoustic auditorium and suggest ways to improve the
acoustic qualities with the space.
3. To generate documentation report based on the researched datas and on-site analysis is that are able
to show the relationship between acoustical design with space.
1.2 Site Background
Name - Shantanand auditorium
Location - 114-116, Jalan Berhala,
Brickfields, Kuala Lumpur
Type Of Auditorium - Community
Auditorium
Year of Completion - 2011
Total Volume - 4312
Total Seats - 618
Temple of Fine Arts in Kuala Lumpur is famous for being the main centre for learning classical
Indian music in Malaysia. Located at Brickfields also known as “Little India” of Kuala Lumpur. The
building is well known as the cultural performance stage of Shantan auditorium. The auditorium has
fulfilled the needs of acoustical design an treatment without significant live and dead spots. Thus is able
to provide the best sound quality throughout the whole auditorium. The purpose of this auditorium are
for musical production such as, dance drama, musical vocals, acting and etc.. The hall itself has an area
of 8796 sqm. It can accommodate a total of 618 people within the main hall and the first floor balcony.
Figure 1.2.1 Key Plan showing location of Temple of Fine Arts in Brickfields.
The temple of Fine Arts location is surrounded by apartments, religious buildings as well as a
cemetary across the river. This makes the overall noise level of the site very quiet thus the auditorium is
not disturbed by exterior noise pollutions.
4

Figure 1.2.2 : 5-storey building “Temple of Fine Arts” at Jalan Brickfields
1.3 History Background
The founder of the Temple of Arts, Swami Shantanand Sawaswathi, wanted to provide a
centre for the Malaysian Youth to show their love towards cultural, artistic and spiritual wealth. His
hope was to create an avenue possible for cross-cultural interactions for the many races of Malaysia.
The auditorium was named after Swamiji signifying the presence and guidance of his Holiness Swami.
The auditorium also name the “Heartspace for Creating Expression” was to promote the beauty of
Indian arts and performances that allows the younger generation to appreciate. In 2011 the “Temple
Of Fine Arts” finished construction and launched with the Prime Minister on the 4th of July 2011.
Figure 1.3.1 : Shantanand auditorium prime choice venue for performing arts.
5

1.4 Sense of Place
Figure 1.4.1 Stage curtains give a sense of mystery and
curiosity to the coming performance for the audience
Figure 1.4.2. Stage in auditorium is made of timber with
rubber finishing giving it an organic feel to it
Figure 1.4.3. Auditorium has a sense of harmony from the
color of walls to seating to the use of lighting
Figure 1.4.4. Shantanand auditorium portrays a sense of
classical elegance through lighting
6

Figure 1.4.5 Behind stage control room Figure 1.4.6 Second Floor balcony seating
Figure 1.4.7 Backstage equipment and storage area. Figure 1.4.8 View from scaffolding seeing seating area of
auditorium
Figure 1.4.9 Lighting scaffolding walkway for maintenance
workers and technicians
Figure 1.4.10 Backstage view out into auditorium during
rehearsal
7

1.5 Architectural Drawing
Figure 1.5.1 Ground Floor Plan Scale 1:200
Figure 1.5.2 First Floor Plan Scale 1:200
A
A’
A
A’
8

A
A’
Figure 1.5.3 Reflected Ceiling Plan Scale 1:200
Figure 1.5.4 Section A - A’ Scale 1:100
9

1.6 Auditorium Design Analysis
Figure 1.6. 2 Figure above shows the efficiency of seats arrangement in aspect dimension and position
Shape and massing
The shape of the auditorium is a mixture of rectangular and shoe-box design whereby the stage
is located at the narrower section of the auditorium. The seats located under the upper balcony
experience sound shadow, an occurrence when sound does not reach as effectively as it should.
Arrangement of seats
Figure 1.6.1 Figure above shows second floor plan which the sound shadow was right under it and the
shape of auditorium.
The arrangement plan of seats in Shantanand was done in a way where sound is transmitted all
throughout the auditorium. The distance between the sound source from the stage and the back seats
are within the scope of 15.2m, an ideal range for the human voice to be heard clearly. Other than that,
the auditorium seats are placed within 140 degree of sound projection. This permits the obervation of
high recurrence sounds. The line of the seats along the edge of the auditorium are oriented towards the
stage to provide proper views as well as acoustical thought as the sound travels in a circular order.
10

Figure 1.6.4 Figure above show the seating area seats arrangement is elevated
Leveling of seats
To ensure that the sound waves are properly distributed throughout the auditorium as well as the
assurance of unobstructed views, the seats were designed to be sloped.
In the case where the seats are arranged in a single level, sound waves travelling to the
furthermost seat would be disrupted as it would have to pass through several absorbers such as
padded seats and individuals.
Figure 1.6.3 Figure above show the seating area seats are arranged in single level
By raising the level of seats, the audience would be able to receive direct sound without obstruction
from absorbers.
11

2. ACOUSTICS AND
ARCHITECTURE
12

2.1 Literature Review
2.1.1 Acoustic In Architecture
Acoustics is defined as the science behind the production,reception and effects of sound.
Sound can be defined as vibrations that travel through mediums such as gas, liquids and solids and
return back to the initial point from deflection.
Sound can be reflected, absorbed, transmitted and diffracted. A sound wave is a longitudinal
wave where particles of the medium are temporarily displaced in a direction parallel to the energy
travelling and returned to its original position. The vibration in a medium produces alternative waves of
relatively dense and sparse particles which are called compression and rarefaction respectively.
Acoustics in the built environment is normally evaluated on noise curve and reverberation time
(RT). By employing sound absorption materials as wall and ceiling cladding, the desired RT’s can be
achieved. The sound absorption materials are rated with sound absorption coefficient. The absorption
and transmission loss are dependent on the fiber or material size, volume of fiber,porosity, airflow
resistance, thickness, density, compressions and position of materials. Fiber or material size, porosity,
thickness and density are the major factors for sound absorption within an interior space. Sound
absorption however are inversely proportional to the diameter or width of the fibre.
2.1.2. Sound Intensity Level (SIL)
Sound energy is conveyed to our ears or instruments by means of a wave motion though some
elastic medium (gas, liquid or solid). At any given point in the medium, the energy content of the wave
disturbance varies as well as the square of the amplitude of the wave motion. That said, if the amplitude
of the oscillation is doubled, the energy of the wave motion is quadrupled.
Sound intensity also known as acoustic intensity is defined as the power carried per unit area.
The SI unit of intensity, which includes sound intensity, is the watt per square meter (W/㎡). One
application is the noise measurement of sound intensity in the air at a listener’s location as a sound
energy quantity.
Normally sound intensity is measured as a relative ratio to some standard intensity. The response
of the human ear to sound waves closely follows a logarithmic function of the form “R = k log l”, where
“R” is the response to a sound that has an intensity of “l”, and “k” is the constant of proportionality.
Thus, we define the relative sound intensity level as
The unit of SL is called a “decibel” (abbreviated as dB). “I” is the intensity of sound expressed in
watts per meter and the “ l0
” Is the reference intensity defined to be 10-12 W/㎡. This value of “l0
” is the
threshold (minimum sound intensity) of hearing at 1kHz, for a young person under the best
circumstances. Note that “I/l0
” is a unitless ratio, the intensities need only to be expressed in the same
units.
13
SL (dB)= 10log l l0

2.1.3 REVERBERATION, ATTENUATION, ECHOS AND SOUND SHADOW
Sound reverberation is the persistence of sound reflection after the source of the sound has
ceased. Reverberation of the sound that persists in an enclosed space due to multiple reflections. Even
after the source of the sound has stopped. Reverberation is an important parameter for describing
speech intelligibility and the perception of music and is used to correct or normalise sound insulation
and sound power measurements. For example, specifying highly reflective ceiling panels directly above
the stage area in the auditorium will help direct the sound towards specific seating area, thus enhancing
the room’s acoustical performance. However, the same reflective performance will become a negative
factor, if said highly reflective walls and ceiling materials are installed in the rear auditorium. This is
because the sound of reflections from the rear of the room takes too long to reach the audience,
resulting in a distracting echo effect.
When sound travels through a medium, its intensity diminishes proportionally with the distance
traveled. In idealized materials, sound pressure (signal amplitude) is only reduced by the spreading of
the wave. Natural materials, however, all produce an effect which further weakens the sound. This
further weakens the results from scattering and absorption. Scattering is the reflection of sound is
directions other than its original direction of propagation. Absorption is the conversion of the sound
energy to other forms of energy. The combined effect of scattering and absorption is called attenuation.
An acoustic shadow or sound shadow is an area through which sound waves fail to propagate,
due to topographical obstruction or disruption of the waves via phenomenon such as wind currents,
buildings or sound barriers. A short distance acoustic shadow occurs behind a building or sound
barrier. The sound from a source is shielded by the obstruction. Due to diffraction around the object, it
will not be completely silent in the sound shadow. The amplitude of the sounds can be reduced
considerably however, depending on the additional distance the sound has to travel between the
source and receiver.
Sound reflection occurs when sound waves bounce off smooth, hard wall, ceiling and floor
surfaces. Concave surfaces tend to concentrate or focus reflected sound in one area. Convex surfaces
do just the opposite, they disperse found in multiple directions
14

2.2 Methodology
The sound level meter is used to measure and record noise levels precisely. It calculates the
pressure caused by sound waves travelling through the air from noise sources. The unit of
measurement of sound intensity in decibels (dBA) which reflects the frequency-dependent nature of
human hearing at low sound levels.
Sound (dB) Musical noise
60 dB Regular piano practise
70 dB Fortissimo singer at 3ft. (1m)
75-85 dB Chamber music in small
auditorium
84-103 dB Violin
85-111 dB Flute
106 dB Timpani & bass drum rolls
120-137 dB Symphonic music peak
120 dB Amplified rock music 5ft. (1.5m)
150 dB Rock music peak close to
speakers
Figure 2.2.1 Sound Level Meter
Figure 2.2.2 Loudness of musical noise
15

Measuring Devices
Measuring tapes and laser distance measurer was used to measure and record the reading of the
dimension of our auditorium for drawings and calculation purposes. It was used to measure the distance
of the sound level meter from the sound source when taking the sound levels.
Digital Camera
Digital camera were used to capture photos of the existing context within our auditorium in order
for us to refer back and analyze the noise intrusions, acoustics finishing used to absorb unwanted sound,
reflection sound concentration, sound absorption, sound reverberation time and etc.
Figure 2.2.3 : Digital Camera
Figure 2.2.4 : Measuring Tape
Figure 2.2.5 : Laser Distance Measurer
Bluetooth Speaker
Is used to present the acoustic performance of the auditorium. A constant sound in terms of volume
and frequency at a single point was released as sound energy level and the readings were taken from
various distances.
Figure 2.2.6 : Bluetooth Speaker
Data Collection Method
There was a rehearsal going on during our site visit. Therefore, we analysed the acoustic
performance of the auditorium during this rehearsal. By using the equipment above, we have recorded
every necessarily detail of the auditorium which includes its layout and form, sound sources, types of
furniture, finishings, materials and etc. All the readings were taken for drawing and calculation purposes.
On-site sketches for the floor plans and sections were also taken for further analysis on acoustic
performance of this auditorium. 16

3. ACOUSTICS DESIGN
ANALYSIS
17

3.1 Sound reinforcement system
The type of speakers typically used in auditorium can be classify into 3 different categories.
1. Sensor controlled subwoofer
2. Compact 3 way symmetrical line array module speakers
3. Two way compact versatile full range system speaker
Figure 3.1.1 : Sensor controlled subwoofer
Sensor controlled subwoofer is designed to produce low frequency sounds, typically from 40Hz up to 500
Hz. It helps to achieve a better sound quality for low frequency.
Figure 3.1.2 : Compact 3 way symmetrical line array module speakers
It function is to provide additional sound pressure and further dispersion option. It also provides a point
source with a flexible coverage of sound.
Figure 3.1.3 : 2 way compact versatile full range system speaker
Usually located on the central part of the theatre or auditorium. It helps to achieve the balance and quality
of sound throughout the space of the theatre.
18

Sound Reinforcement use in Shantanand Auditorium
- Single speaker cabinet
Figure 3.1.4: Single speaker cabinet
Figure 3.1.5 : Placement of single speaker cabinet below the stage
Single speaker cabinet are used to reproduce tone as sound wave generated from the
performance stage and then transmit it to the audience. 2 speakers are located below the stage.
However, the speakers are sometimes placed on top of the stage platform so that the high
frequencies can be project over to the nearest audience facing the stage. Both speakers are placed
on each side of the stage to distribute wider and equally sound wave in the auditorium.
19

- Stage monitor speaker
Figure 3.1.6 : Stage monitor speaker Figure 3.1.7 : Stage monitor speaker
Figure 3.1.8 : Placement of stage monitor speaker located on the stage facing the performers
Stage monitor speaker are also used commonly on the stage. It is essential for the
performers as it helps to amplify sound when acoustics instruments or vocals are utilised, it
functions as a monitoring device for the performers in order for them to keep track and maintain
their quality of their sound.
20

-Array speakers
Figure 3.1.9 : Array speaker
Figure 3.1.10 :Placement of array speaker on
top of the columns
A line array is a loudspeaker system that is consists of a number of identical loudspeaker
elements mounted in a line and fed in phase, to create a near-line source of sound. The distance
between adjacent drivers is close in between that they constructively interfere with each other to
transmit sound waves farther than traditional horn-loaded loudspeakers, and with a more evenly
distributed sound output pattern. The speakers are placed above on a hanging position. The left
and right placing of the speakers are slanted angled down to provide extra coverage to the nearest
front of the stage, while the top half will be angled upward facing the mezzanine floor of the
auditorium.
21

-Conventional sound reinforcement system
Commonly used sound reinforcement system may include the combination of microphones,
signal processor amplifiers and portable loudspeaker. These conventional system are also used as a
sound and volume enhances to distribute wider coverage to the whole auditorium.
Figure 3.1.11 : The conventional equipment used in the auditorium which consists of the microphone,signal
processor amplifiers and portable loudspeaker
22

Advantages of using sound reinforcement systems
-The use of digital speaker sound system will allow the users to adjust and modify sound
frequencies and sound intensity.
-Speakers are used as sound amplification to reinforce sound levels when sound quality is weak.
-Speaker systems also function to provide artificial reverberation in rooms to produce satisfactory
sounds for listening.
Figure 3.1.12 : Indication of speakers in section
There are approximately 8 permanent speakers used in the auditorium. The type of speaker
system used in the Shantanand Auditorium is mainly on distributed system. A distributed speaker
system is where a number of overhead loudspeakers being installed in the auditorium. Distributed
speaker system is used to overflow sound to the audience in the auditorium. A distributed speaker
system is effective to majority of the audience to gain adequate sound quality.Besides that, there are
some landed speakers on the stage and floor also contributes to the adequate of sound quality.
23

-The placement of the reinforcement systems are mainly focused on the left and right side of the
stage.This might cause an unbalance sound distribution from both sides and the middle.
- Reinforcement systems are not the solution to prolong the reverberation times of standing sound
waves. Standing sound waves are low frequency resonances that take place between two parallel
reflecting surfaces
-The originality sound of the performers are not clearly heard as the audience would hear the same
sounds arriving at two separates times. The ideal difference should not be more than 1/30 seconds. This
causes the disturbance in harmony of the original sound.
- When placement of the speaker is halfway down or is facing directly towards the front of the stage, the
audience might hear the sound from the loudspeaker first, followed by the direct sound as a faint echo.
However, this problem can be solved by adding a delayed mechanism in the loudspeaker that balance
the direct sound.
- If the distance of the speaker is far away from the audience, sound attenuation might occur, where the
sound path is affected which reduces the intelligibility.
- Need maintenance and proper storage care for the speakers.
- If the speakers malfunction during the performance, it will cause a disturbance in the sound
distribution.
- Inefficient because the performers must tune or adjust the speakers according to its suitable outcome.
It is also troublesome for them to carry in and out for different type of stage shows.
Disadvantages of using sound reinforcement system
Figure 3.1.13 : Sound distribution uneven for middle
audience
24

3.2 Sound concentration and propagation
Sound Propagation
Figure 3.2.1 : Figure above show sound distribution in the seating
area taken from the sound source of the stage
From a point source the sound waves will be circular, and intensity of sound will be surmised the
Inverse Square Law. After we gathered the information of the sound intensity level utilizing sound level
meter from the performers amid their practice, we plotted out the sound dispersion all through the
seating and discovered that energy loss of sound propagation in Shantanand Auditorium is low a direct
result of its wide shallow arrangement. The separation from the stage to the end is just 14.9m long due
to its sunken plan of seating generally near the stage.
The stage as the propagation area changed, outputting consistent sound from the performers.
The discoveries demonstrate that the design and the utilization of material of Shantanand Auditorium
are not proper as it produce unpleasant sound at certain area and uneven sound distribution.
Figure 3.2.3 : Figure above shows SIL readings of the auditorium
Figure 3.2.2 : Figure above show the
wide shallow concave shape of the
Shantanand Auditorium that helps
spread sound evenly
25

Sound Concentration
Figure 3.2.4 : Figure above show sound distribution in the seating area taken from the sound source of the stage
The shape and composition of the auditorium reflects sound to the center of the auditorium. This
concentration of sound makes the highlighted area the best spot in the auditorium.
26

3.3 Sound Shadow
Figure 3.3.1 : Sectional Drawing showing the dimension of the sound shadow area and differences of sound intensity
level
Sound shadow imperfection can be resolved when the sound wave neglected to propagate
because of the exhibition obstruction. After we gathered the information of sound intensity level from
the performers, we discovered there is intermediate sound shadow under the gallery as the sound
intensity level dropped from 65 dB to 55 dB when we were moving from the front seating to the seating
under the overhang. The display overhang depth ought to be not as much as double the height of the
exhibition underside, however Shantanand Auditorium has moderately low floor to ceiling height of
2.38m with 4.76m depth under the balcony. The ratio of the ceiling height and depth is precisely 1:2
which implies the occurrence of a sound shadow. Consequently, the side wall of Shantanand
Auditorium is made of timber board to reflect sound into the sound shadow area.
27

Auditorium halls vary in both shapes and sizes, depending on the purpose and budget. Of the
abundance of shapes, the two most common shapes used would be the the rectangular or shoe-boxed
geometry halls. The Shantanand auditorium is shoe-boxed, where the stage is placed at the narrow end
of the hall. This is usually done to maximise the seating area while maintaining relatively close distance
between the seats and stage.
3.4 Sound Reflection and Diffusion
Figure 3.4.1 indicates how the composition of the auditorium reflects sound throughout the space. The
walls reflect sound towards the center of the auditorium, reaching the seats located at the sides as well.
28

The Shantanand auditorium was initially designed as a multi-purpose hall. It was later redesigned
into a performance theatre where musical performances from the Indian community were held. The area
was renovated in order to fulfil the acoustic requirements of a musical performance hall. One of the many
renovations included the change in ceiling, whereby they lowered the floor to ceiling heights and included
several additional elements such as a tilted ceiling surface as well as a convex-surfaced ceiling. These
can be seen in Figure 3.4.2. The tilted ceiling allows for sound from the performers to reach the audience
in the upper balcony area as shown in Figure 3.4.2. The convex-surface ceiling also disperses sound to
the upper balcony seats.
Figure 3.4.2 shows the reflection and dispersion of sound from a performer through a sectional cut of the
auditorium.
29

Figure 3.4.3 shows how the glass railing blocks direct sound from the performer from reaching the audience in the
upper balcony.
It can be seen in Figure 3.4.3 that the upper balcony areas do not receive direct sound as the
glass railing obstructs sound from reaching. Due to this, sound reinforcement was added in the form of
array speakers, shown in Figure 3.4.4, that are hung closer to the ceiling. This inclusion allows for the
upper balcony area to receive direct sounds.
It can be seen in Figure 3.4.3 that the upper balcony areas do not receive direct sound as the
glass railing obstructs sound from reaching. Due to this, sound reinforcement was added in the form of
array speakers, shown in Figure 3.4.4, that are hung closer to the ceiling. This inclusion allows for the
upper balcony area to receive direct sounds.
Figure 3.4.4 shows reflection made from the sound reinforcement
The sub-woofers are places on floor level as lower frequency sounds are less prone to suffer from
diffraction due to small architectural elements. Therefore, sharp cornices as displayed in Figure 3.4.4
would not scatter the low frequency sounds produced by the sub-woofers, negating unnecessary sound
reflections.
30

3.5 Flutter echoes and sound delay
Echoes are deemed to be one of the more serious acoustical defects. Different occurrences
would consider different values for a sound reflection to be considered an echo. 40 milliseconds is
considered an echo for speech whereas musical performances only consider 100 milliseconds as an
echo.
Figure 3.5.1
Figure 3.5.2
Echo =
(R1 + R2) - D
0.32
=
(15.9m + 16.4m) - 13.6m
0.32
= 58.4 msec
Echo =
(R1 + R2) - D
0.32
=
(4.6m + 5.5m) - 3.6m
0.32
= 20.3 msec
31

Figure 3.5.3
Figure 3.5.4
Echo =
(R1 + R2) - D
0.32
=
(9.3m + 3.8m) - 12.8m
0.32
= 0.9 msec
In Figure 3.5.4, it shows that
the upper balcony does not
receive echo without sound
reinforcement because the
area does not receive direct
sound as it is blocked by the
glass railing
To conclude the analysis of sound echo, the Shantanand auditorium has acceptable sound delay for
its purpose for musical performances as all values for sound delay are below 100 milliseconds.
The shathanand auditorium does not have any flutter echoes due to the absence of parallel walls
where sound is prominent. Though the rear and entrance walls are parallel, the walls along the entrance are
of sound absorbent material, negating the reflection patterns that would cause echo flutters.
32

Sound & Noise sources
3.6 Noise intrusion (Noise source)
Noise is generally defined as an undesirable sound that is determined by the attitude of the
occupants toward the noise source. Noise can be categorized as continuous, variable, impulsive or
intermittent depending on how it changes over time. In addition, continuous noise is noise that remains
constant and stable over given time period. Different operations or different noise sources can also
cause the sound to change. Noise is intermittent if there is a mix of relatively quiet and noisy time
periods. Impulsive or impact noise is a very short burst of loud noise which lasts for less than a second.
Although the Shantanand Auditorium is designed based on the acoustic architecture and filled with
acoustic equipment yet there are still some internal and external noises that cause a disturbance within
the auditorium.
33

External Noise Sources
There are multiple noise source created at the outside of the hall. Opening and closing of the door,
human chatters and human noise. On the outside of the hall where the lobby is just situated next to the
door, the conversation of the people will enter the auditorium through the main entrance which just
shows that there is no buffer zone between the area and the door lacks of sound treatment. Besides,
before entering the hall, peoples required to take off their shoes, this helps to avoiding the sound
produce by human walking which affect the performance and overall sound distribution inside the hall.
There is a corridor beside the auditorium that is use as a passageway for the crew and workers to get
into the front and back of the auditorium without the occupants. However, the seats near the doors and
passageway will get noise disturbance if people using the passageway due to lack of buffer zone and
noise insulation around the wall.
Figure 3.6.1 Shoes need to be taken off
before entering through the door. This act
may cause some noise intrusion
Figure 3.6.2 No buffer zone that separate
between the walkway and the main door
Figure 3.6.3 The distance between the
walkway and seats are near which create
unwanted sound disturbance when
people using it
Figure 3.6.4 Noise can be heard from the
side of the room if there are functions going
on.
34

2
1
-Corridor
The high concentration of people gather at the corridor area increases the noise
level that affecting the audience inside.
-Side Room
Noise produced by opening and shutting of the doors.
35
Figure 3.6.5

The most disturbance sound among the multiple noise sources in the hall are came from the
electrical appliances. Besides that, sound produce by human chatting, foot stepping on the timber floor
and the doors opening and closing. The air flowing through the air conditioning diffuser creates low
frequency noise. Audience who seats at the gallery and under the gallery will directly facing disturbance
due to the close proximity of the seat. The door located at the entrance and passageway create noise
while people using it. There is no buffer zone surrounding the area where the door is situated too near
the seats which in some circumstances where the technicians or stuff using it. However the additional
curtain in front of the door helps reducing the noise created by the people at the entrance. The floor
between the stage and audience are timber floor which resulted foot stepping noises when people walks
through. The stage uses timber flooring which covered with rubber sheet but it does not reduced the
noise created by the stepping of the performers. In the audience area, the timber floor is covered by soft
pile carpet which avoid the creation of foot step and absorb the noise created by the people.
Internal Noise Sources
Figure 3.6.6 Curtains create an informal
buffer zone which help absorb the noise
Figure 3.6.7 The door is located too near
to the seat which noise from the outside
will disturb the audience hearing
experience
Figure 3.6.8 The air conditioning diffuser
create low frequency noise as the
proximity within the seat and ceiling too
near
36

-Air Conditioning Diffuser
Continuous noise produced by the air passing through air conditioning diffuser.
-Footstep
Impulsives noise generated by the footsteps as people walking around.
1
2
37
Figure 3.6.9

Internal Noise Sources Location (Floor Plan)
STAGE
Foot stepping on stage
AREA IN FRONT OF THE
STAGE
Foot stepping on timber floor
ENTRANCE(G FLOOR)
Timber door open & closing
DOORS TO
PASSAGEWAYS
ENTRANCE (1ST FLOOR)
AUDIENCE AREA
Human sounds & chatters
Figure 3.6.10 Ground
Floor Plan (NTS)
Figure 3.6.11 First Floor Plan
(NTS)
38

GALLERY AREA
High ceiling square
air-conditioning diffuser
AUDIENCE AREA
High ceiling round
air-conditioning diffuser
CORRIDOR
Linear air-conditioning
diffuser
39
Internal Noise Sources Location (Reflected Ceiling Plan)
Figure 3.6.12 Reflected
Ceiling Plan GF (NTS)
Figure 3.6.13 Reflected
Ceiling Plan 1st (NTS)

Materiality and Sound Absorption Coefficient
GROUND FLOOR PLAN
INTERIOR: SEATING
GROUND FLOOR PLAN
INTERIOR: STAGE
FIRST FLOOR PLAN
INTERIOR: SEATING
FIRST FLOOR PLAN
INTERIOR: CONTROL ROOM
40

AREA COMPONENT MATERIAL
ABSORPTION COEFFICIENT(⍺)
125 Hz 500 Hz 1000 Hz
SEATING FURNITURE
FABRIC UPHOLSTERED
TIP-UP SEATS
(UNOCCUPIED)
0.13 0.59 0.58
FABRIC UPHOLSTERED
TIP-UP
SEATS(OCCUPIED)
0.37 0.68 0.73
FLOOR
WOODEN FLOOR
0.15 0.10 0.07
PILE CARPET BOUNDED
TO CLOSED-CELL
UNDERLAY
0.30 0.25 0.31
Table of Materiality and Sound Absorption Coefficient
41

125 Hz 500 Hz 1000 Hz
SEATING CEILING
GYPSUM BOARD WITH
CEILING GRID
0.15 0.04 0.04
CURTAIN
PLEATED MEDIUM
VELOUR CURTAINS
0.05 0.13 0.22
RAILING
STEEL RAILING
(G FLOOR)
0.13 0.08 0.09
6 mm Glass Railing
(1st Floor)
0.10 0.04 0.03
42

125 Hz 500 Hz 1000 Hz
SEATING WALLS
FIBERGLASS
ABSORPTION PANEL
0.15 0.75 0.80
ACOUSTIC ROUGH
PLASTER TO SOLID
BACK
0.30 0.50 0.80
TIMBER ACOUSTIC
PANEL
0.18 0.42 0.59
DOOR
SOLID TIMBER DOOR
0.14 0.06 0.08
43

125 Hz 500 Hz 1000 Hz
STAGE WALLS
SMOOTH PAINTED
CONCRETE
0.01 0.01 0.02
ACOUSTIC ABSORPTION
PANEL
0.15 0.75 0.80
CURTAIN
50% PLEATED MEDIUM
VELOUR CURTAINS
0.14 0.53 0.75
STAGE DECK
STEEL DECKING
(FLY TOWER)
0.13 0.08 0.09
44

125 Hz 500 Hz 1000 Hz
STAGE FLOOR
PAINTED SMOOTH
CONCRETE
0.01 0.02 0.02
RUBBER SHEET, OVER
TIMBER FLOOR
0.01 0.15 0.25
STAGE
&
SEATING
VENTILATION
GRILLE
PER METER SQUARE
0.60 0.60 0.60
CONTR0L
ROOM
DECK
OPENING
TIMBER PANELS WITH
TIMBER FRAME
0.14 0.06 0.08
45

Materiality
The gypsum board comes with extra thickness in 1 1/2 inch to resist panel vibration, due to
its mass it can lower the absorption frequency and higher the reflections frequency. The height of the
auditorium is around 9m, which hardly transmit sound. therefore the suspended ceiling provide short
delayed of sound transmitting and lower down the volume of the auditorium.
Figure 3.7.3 Gypsum plaster ceiling
construction
Figure 3.7.1 Gypsum plaster ceiling
Figure 3.7.2 Image from site
Ceiling
-Gypsum Plaster with Ceiling Grid
*Acoustic treatment is a crucial and amazing result of
acoustical design elements to dampen and diffuse
sound waves inside of a room to minimize constructive
and deconstructive interference, thereby increasing the
quality of the mental imaging of the sound field. It
enhances a room to be designed to equally absorb
sound waves to all the materials, which depends on
the proper shapes and finishes on the surface.
46
Gypsum plaster is used as the ceiling in the auditorium. It is a common material that uses in
most of the design of auditorium. With the proper angle on the ceiling panels, it also provides a good
sound reflection to the seating area and minimizes the echo that is created.
3.7 Construction of Materials
Acoustic treatment

Hard Acoustical Wall (Timber Acoustic Panel)
Figure 3.7.6 Timber acoustic
panel construction
Figure 3.7.5 Timber panel walls on site
47
Acoustic Treatment
Timber acoustic panel is installed at two sides of the stage. It is used not only for aesthetic
purpose, it is also designed to absorb the sound energy in the space. To absorb unnecessary
sound waves, it is designed with gap between each panel. For the base to support the timber
acoustic panel, plaster or gypsum board is used for the basic requirement of standard acoustic
panel.

Figure 3.7.9 : Sectional detail
Soft Acoustical (Fiberglass Acoustic Panel)
Figure 3.7.8 : The texture of the
Fiberglass Acoustic Panel
48
Acoustic Treatment
From the seating area, the wall is designed to place fiberglass acoustic wall as the surface of
interior auditorium. It is used to control the echo from the rear wall and balcony faces. The
reverberation time in the auditorium is directly proportional to the volume of the space and is inversely
proportional to the total sound absorption within the room.
With an optimized location and position for the installation of soft acoustical panel, it achieves a
proper sound distribution diffuse and reverberation.

Parquet Wooden Flooring (Wooden Floor on Floor joist)
Materiality
Acoustic joist strips are a practical method for diminishing effect commotion through regular
timber joist floors. The strip is provided in 20m self cement rolls that are effortlessly put on the
highest point of the joists. It incredibly decrease the effect sound protection. Likewise, it enhances
the acoustic execution and in this manner decrease the effect sound level.
Figure 3.7.11 :The wooden floor is nailing into the decking with
allow sound to mechanically transfer through the nail into the
deck negating the top soundproofing.
Figure 3.7.10 : The photo above shows the wooden
flooring of the seating floor area.
49

Seating Flooring (Pile Carpet Bounded to Closed-cell Underlay)
Acoustic Treatment
While rugs commotion transmission through floor in multi-structures, the level of real clamor
diminishment, and also individuals' impression of it, are subject to the recurrence Conveyance of the
sound. Floor coverings are greatly powerful stable safeguards in light of the fact that the individual
strands, heap tufts and underlay have diverse resounding frequencies at which they assimilate sound.
Figure 3.7.13 :Construction detail of acoustical floor carpetFigure 3.7.12 : Carpets absorb sounds up to ten times
better than hard flooring
50

Stage curtain (Pleated Medium Velour Curtain)
Materiality
The curtain used behind the stage in the auditorium will reduce reverberation and echo in a large
room, as well as reduce interference from outside noise. Also, it uses a powerful sound blocking lining
to provide maximum sound protection. The acoustic curtain is thick and highly porous. The thicker
the absorption material, the more effective it will be against a longer wavelength (lower frequency) of
sound.
Figure 3.7.14 : Photo of the curtain behind the stage
of the auditorium.
Figure 3.7.15 :The curtain make an acoustically excellent finish
that fully preserves the absorptivity of the substrate.
All of the
sound wave
bounces off
Acoustically
reflective surface
(wallboard,
wood)
Some of the
sound wave is
absorbed
Acoustically
Absorbent
surface
(Curtains,
Carpet)
51
Acoustic Treatment
The pleated medium curtain plays a role as private-public space divider but also functions as a
reverberation and echo reducer in the auditorium. It also reduces the interference from outside noise.
It uses sound blocking lining that provides maximum sound protection from inner and outer area. As
the thicker the curtain, the more effective the function to block longer wavelength of sound.

Seating Furniture
Acoustic Treatment
Polyurethane froth with a high porosity permits compelling sound assimilation coefficient. It has
a cell structure which permits wind current, the assimilated sound vitality is then changed over into
warm vitality. The geometry example of these sorts of safeguards will influence the dissipating of the
sound.
Figure 3.7.18 :Materials for upholstered tip-up seats
Figure 3.7.16 : Floor plan that indicate the seating furniture
Figure 3.7.17 : Auditorium seats
52

4.1 Area of Floor Materials
Ground Floor Plan (N.T.S)
First Floor Plan (N.T.S)
Figure 4.1.1 Floor Plan to indicate the floor
materials
F1
F2
F3
F4
SABINE FORMULA : RT = 0.16V / A
Where,
RT : Reverberation Time (Sec)
V : Volume of the Room
A : Total Absorption of Room Surface
*The concert hall is currently used to house
musical performances and etc.. 500 Hz was
used as the standard of measurement as
musical performances regularly fall into this
category of frequency.
Surface Area (m2
) 500 Hz
Absorption Coefficient (α) Abs.units (m2
sabins)
F1 81.20 0.15 12.18
F2 150.15 0.10 15.02
F3 310.20 0.25 77.55
F4 161.43 0.25 40.36
TOTAL (∑FAα
) 145.11
Legend
F1 Stage rubber sheet over timber floor
F2 Wooden Floor On Joist
F3 Pile Carpet Bounded to Closed-cell Underlay
F4 Pile Carpet Bounded to Closed-cell Underlay
54

4.2 Area of Wall Materials
Ground Floor Plan (N.T.S)
Section (N.T.S)
Figure 4.2.1 Drawing to indicate the wall materials
W1
W2
W3
W4
Where,
W5
W3
Surface Area (m2
) 500 Hz
sabins)
W1 178.34 0.01 1.78
W2 56.24 0.75 42.18
W3 141.54 0.42 59.45
W4 147.40 0.75 110.55
W5 9.30 0.06 0.56
TOTAL (∑WAα
) 214.52
Legend
W1 Stage Smooth Painted Concrete Wall
W2 Acoustics Absorption Panel
W3 Timber Acoustic Panel
W4 Acoustic Absorption Panel
W5 Timber Panel with Timber Frame
55

4.3 Area of Other Materials
Section (N.T.S)
Figure 4.3.1 Drawing to indicate other materials
Where,
M1
M2
M3
M4
M5
M6
M7
Surface Area (m2
) 500 Hz
sabins)
M1 134.40 0.13 17.47
M2 290.46 0.59 171.37
M3 338.53 0.04 13.54
M4 30.40 0.04 1.22
M5 13.23 0.06 0.79
M6 32.23 0.50 16.12
M7 26.88 0.60 16.13
TOTAL (∑MAα
) 236.64
Legend
M1 Pleated Medium Velour Curtains
M2 618 Seats -Unoccupied
M3 Gypsum Board With Ceiling Grid
M4 6mm Glass Railing
M5 Doors
M6 Acoustic Rough Plaster To Solid Back
M7 Ventilation Grille
56

Note
A : Area
Α : Absorption Coefficient
Aα : Absorption Surface
4.4 Reverberation Time
Where,
V = 4312.59 m3
A = ∑FAα
+ WAα
+ MAα
= 145.11 + 214.52 + 236.64 = 596.27 m2
RT= 0.16(4312.59)/596.27)
= 1.16 sec
The volume of Shantanand Auditorium is approximately 4312 m3
, with a
reverberation time of 1.16 seconds. From the figure above we can conclude that the
reverberation time is slightly off the recommended range for the auditorium to function as
a concert hall. Replacing certain materials with harder surfaces might improve the rate of
reflection, allowing for a better reverberation time.
Figure 4.4.1 “Ideal” average reverberation time versus room volume for several basic types of room.
Edwin, C. (2018). Lecture 2 Room Acoustic [PDF slides].
57

5. DESIGN SOLUTION
AND SUGGESTION
58

5.1 Create a buffer zone
Figure 5.1.1: The extension of the buffer zone are added in
the ground floor plan
Shantanand auditorium is only accessible through one entrance and one exit of the solid timber
door. However the sound absorption coefficient of the solid timber door is only 0.06. Its low value will
cause external sound intrusion to the auditorium.
By creating a buffer zone before the entrance to the auditorium, it enables the sound transmission
to be trapped between door to door and is absorbed by additional acoustic wall panels at both sides of
the wall. The noises created by the open and closing of the doors can be sealed within the buffer zone.
59

Figure 5.2.1 : The figure show the additional material apply in the buffer zone
to trap sound
60
Figure 5.2.2 : The components of the acoustic wooden door (Soundproofing door)
The materials used for the doors and walls in the buffer zone area are essential in trapping
sound due to its absorption and reflection ability. An acoustic timber door should be introduced to
Shantanand auditorium as it has better sound proofing quality to reduce the sound being
transmitted through the door. Furthermore, acoustical timber doors should come with proper
intumescent seals at both sides as well as the bottom. Threshold plates provide an optimum seal
surface for the bottom of door.
5.2 Materiality for doors and walls in the buffer zone

Figure 5.3.1 : The suggestion method to increase its reverberation time
61
Currently, the Shantanand auditorium uses carpet flooring and gypsum boards as the ceiling.
Though the current materials contribute to the reflection and transmission of sound, replacing these
materials would add to the reverberation time. A suggestion would be to use timber seating and
replace the flooring material with teak wood. The current reverberation time is 1.16 seconds, well
below the values required for a concert hall. If the suggested materials were to replace the current
ones, the reverberation times, as shown in the figure above, would increase to 1.73 seconds,
bringing the auditorium to be within the range a concert hall’s recommended reverberation time.
5.3 Increase the reverberation time in the auditorium

Figure 5.4.1 : The additional of concave shape at the balcony parapet
The additional concave shape parapet allowed direct and reflected sound to increase its
concentration at the underside of the balcony. Sound will then transmit into the balcony underneath
for the audiences to receive a clearer sound without flutter echoes.
62
5.4 Shaping a concave shape at the balcony parapet

63
Figure 5.5.1 : The escalated balcony height and tilted ceiling at the ground floor
The dimension of the floor to ceiling for the space below the upper balcony area can be
increased in order to resolve the issue of a sound shadow. The dimension should not be less than the
depth of the balcony. By doing so, sounds reaching the furthermost depths of the lower floor would be
clearer.
5.5 Increase the balcony height and tited ceiling

In conclusion, this auditorium case study project has taught us a lot as a group, such as how
acoustic design works better depending on the functions of the auditorium,as well as to suite the
comforts of the user. The auditorium layout and the materials chosen on the structure as well as
furnitures such as the walls, floors, chairs, curtains, etc.. can affect the acoustics inside the auditorium
hall and even the effect external sounds from the auditorium hall.
An uditorium is uniques as it is built to enable an audience to perceive and witness a
performances as well as be used for recitals, presentations and performing arts. Apart from
entertainment, an auditorium is also used for public speaking or talks such as lectures and workshops.
A successful design of an auditorium depends on the acoustic design such as the layout as well as the
absorption coefficient of materials used to encapsulate the desired tones and block out the unwanted.
The volume of Shantanand Auditorium is approximately 4312 m3, with a reverberation time of
1.16 seconds. Hence the need for the auditorium to have additional sound reinforcement to
compensate for the low reverberation time. From the figure above we can conclude that the
reverberation time is slightly off the recommended range for the auditorium to function as a concert hall.
Replacing certain materials with harder surfaces might improve the rate of reflection, allowing for a better
reverberation time.
65

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69

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