aswara

1. School of Architecture, Building and Design
BUILDING SCIENCE 2 (BLD 61303)
Auditorium : A Case Study on Acoustic Design
ASWARA
(AKADEMI SENI BUDAYA DAN WARISAN
KEBANGSAAN )
PREPARED BY:
ANITH SYAZLIN BINTI RAMLI 0325737
MOHD FAZRIE AIMAN RAZAZEMI 0325594
ANUAR BIN NAZIR 0325596
ADAM HARIZ SHAARANI 0325655
IDDIN HAFIZI AHZALI 0325595
MUHD ZAIM BIN AZMI 0325930

2. I N D E X
1.0 Introduction
● Background
● Function of space
● Aims & objectives
● Purpose of Case study
2.0 Acoustic Design Analysis
2.1 Literature review
2.2 Acoustics & architecture
2.3 Shape & theatrical built form
2.4 Wall
● Sound absorption
● Flutter echoes
● Sound Reduction
● Materiality
2.5 Floor
● Materiality
● Sound insulation
● Airborne / Impact sound
2.6 Ceiling
● Materiality
● Sound reflection
2.7 Seating
● Distance
● Sound absorption
● Materiality
2.8 Door
● Sealing
2.9 Speakers
● Sound source
● Sound path

3. 2.10 Design Consideration & Suggestion
3.0 Noise intrusion/ interference
● Sound source
● Sound path
● Noise control action
4.0 Reverberation Time (RT) on acoustics
● Materiality absorption coefficient table
● Tabulation of absorption of individual materials per area
● Reverberation Time calculation
5.0 Lighting Layout
● Categories of lightings
● Type of lightings implemented
6.0 Appendix
● Photos and images on site
● Plan drawings
● Sections
7.0 References

4. 1. 0 Introduction
● Background
● Function of Space
● Aims and Objectives
● Case Study

5. 2.0 Acoustic Design Analysis

6. 2.1 Literature Review
In today’s architectural environment, high quality acoustical design is a significant part of
sustainable building design. Acoustics brings the meaning of ‘to hear’, adhere to the purpose
of sound study and its behaviour in various media and environments, including the effects of
absorption, diffraction, interference, reflection and refraction.

7. 2.4. Wall
ASWARA experimental theater was designed specifically for performing arts events including music,
dance and theater. Therefore, by having a large enclosed space will caused the problem of discrete
echoes since the space will have high mean reverberation time. Without any sound treatment inside
the space (Figure 2.4.1), it will reduce the quality of an acoustic space by creating unpleasant
reverberation and echo when all incident sound started to hit the wall and reflect off since the sound
behaviour will react this way on the hard surface of wall.
Figure 2.4.1: Incident sound wave reflected off from the wall (reverberation)
In order to provide higher quality of acoustic experience inside this experimental theater, some
materials and methods has been applied at the wall to achieve suited reverberation time and echo
inside the acoustic space according to the function of the theater. Some sound will be absorbed,
transmitted and reflected. These kind of sound behavior caused by the type of material used inside
the space.
Type of materials used for the wall of Aswara experimental theater:
1. Fabric acoustic panel
2. MDF acoustic panel
3. Pyramid acoustic foam panel
Fabric Acoustic Panel
Fabric are well known as one of the acoustic absorption products because of its properties which is
acoustically transparent. This characteristic make the fabric penetrable to sound waves and allow the
air to pass through. Thus, the fabric will be used by wrapping it with the acoustic panel for esthetic
purposes.

8. Fabric acoustic panels in Aswara experimental theater are Class A fire rated product that are made of
fabric wrapped fiberglass (Figure 2.4.2). This panel functioning not as a soundproofing products but
acts as a sound absorber. This mean that rather than reflecting off the sound, it acts as a giant sonic
sponge, absorb any unwanted reverberation and echo inside the space in order to provide
comfortable acoustic environment (Figure 2.4.3).
Figure 2.4.2:
Fabric acoustic panel section
Figure 2.4.3: Incident sound waves being absorb by fabric acoustic
panel (reduce reverberation)

9. Figure 2.4.5: Location of fabric acoustic panel inside
ASWARA experimental theater
Figure 2.4.4: The picture shown the fabric acoustic panel at the
wall of the hall

10. MDF Acoustic Panel

11. PYRAMID ACOUSTIC FOAM PANEL
This theater also implemented pyramid acoustic foam panels at the wall as one of the sound treatment method
(Figure 2.4.9). This acoustic foam panel consists of properties which are high sound absorption and diffusion.
The characteristic of high sound absorption occurs because of open cell structure of the foam. This open cell
has foam bubble that able to allow the air to enter when the sound wave hit the foam. As a result, this
interaction allows the sound energy to be converted into heat while the atoms of air pass through the open cell
walls.
Moreover, instead of absorbing sound waves, this foam panel able to diffuse the direction of waves that are
reflected from the foam. This foam allows the reflected sound to be diffused in multiple direction and directly
scatter sound waves (Figure 2.4.). Therefore, instead of eliminating sound waves, this method able to reduce
the intensity of sound by sprinkling it over an extended area.
Figure 2.4. : Incident sound wave scatter in multiple direction
after reflected off from pyramid acoustic foams
Figure 2.4. : Location of pyramid acoustic foam
panels from elevation side
Figure 2.4.: Pyramid acoustic
foam panel at ASWARA

12. Figure 2.4.: Location of pyramid acoustic foam panel inside ASWARA
experimental theater

13. 2.5 FLOOR
● Materiality
ASWARA Multipurpose Experimental Hall’s flooring area is about 500m2. The whole area was
constructed from different flooring materials to enable the sound to reflect and absorb fully to its function
as per space requirement.
MATERIAL DESCRIPTION AND
FUNCTION
SOUND ABSORPTION
LEVEL
- Parquet flooring Parquet is a geometric
mosaic of wood pieces
arranged in patterns such
as — squares, triangles,
lozenges used for
decorative effect in
flooring.
Minimum sound absorption
level
- Seamless carpet
flooring
This type of flooring is
typically used indoors and
made off bound of carpet
fibers or stapled fibers
where the rug is simply
used to cover a space.
Sound acoustic improve
while effectively reduce
airborne and impact sound
- Concrete Made off from a mixture of
paste and aggregates or
rocks. Concrete is
incredibly hard and strong
and is able to withstand the
pressure from very heavy
equipment.
No effect on sound
absorption
- PVC coin flooring The flooring is designed to
be durable, safe, and
aesthetically attractive.
PVC is a tough material
making it long lasting and
versatile regardless of the
application
● Durable and Sturdy
● Traction for Safety
● Good for Many
Applications
Good in sound absorption

14. Figure 2.5.0: Floor plan of ASWARA Experimental Hall with different types of flooring covered

15. ● Sound Insulation
The insulation in wooden floor installations aims to tackle the issues of airborne and impact sound that
creates vibrations that resonate through the materials in the structural components. Mostly, all flooring
projects begin with a subfloor and can be complemented with a soundproofing material. Therefore, an
acoustic floor underlayment can be utilized by placing it underneath the finished flooring and cover the
whole floor. This will prevent structural sound from passing through the completed assembly. It is
effectively reduces the noise and reduces slippery, which is suitable for dance performance and mini
theatre performance like ASWARA Experimental Hall.
Figure 2.5.1: Cross-section of soundproofing mats installed
between the subfloor and the frame
● Sound Absorption
Some rooms such as music practice rooms, performing theaters or recording studios have major
airborne noise problems. By putting carpeting alone in the space, it will be helpful in reducing footfall
noise but it can’t compete with airborne noise transmission through the floor. Therefore, a thick barrier
fiber composite will absorb the noise into the floor.
Underlay
Subfloor
Figure 2.5.2: Cross-section of carpet flooring Figure 2.5.3: Sound absorption
for carpet flooring

16. ● Airborne / Impact sound
In the process to effectively curb the decibel level in a room, there are two types of noises involve;
airborne sound and impact sound. Insulating between the floor joists with acoustic insulation will reduce
airborne sound transmission through wooden floors.
Airborne/Ambient sounds
These sounds are caused by voices, a ringing telephone and a radio playing which the sound is directly
transfer from the source to the receiver. Practically, they are transmitted in vertical building elements
through the air and then through floors and ceilings or openings. To cater this kind of noise, sound-
absorbing material such as fibre insulation in between the floor cavities.
Impact sounds
These sounds are caused by something making direct contact with a surface; a dropped object, a child
running and someone walking in high heels. They travel because the impact creates vibrations in the
construction elements (like wood joists and beam) to the structural surface that connect walls, floors
and ceilings. Reducing impact sounds in an existing building can be done by decouple construction
materials that are connected to each other. For the floor side, by installing a resilient subfloor beneath
the floor covering.
Figure 2.5.5: The difference between floor section with and without the sound
insulation installed
Figure 2.5.4: Airborne sound is transmitted through the vertical structural elements.

17. 2.6 Ceiling
The ceiling in the experimental theatre hall is a double volume ceiling of
approximately 8 meters high and is used to accommodate all the important
components such wirings, lightings as well as the speakers.
‘
(diagram highlighting ceiling)
The ceiling is made up of single layer of gypsum board and covers the
suspended ceiling entirely. Even so, the sound can still travel in and out through
its layer.
● Materiality
Selection of materials for the ceiling is to control the airborne sound by the use
of absorption properties.
1. Acoustic ceiling tiles ( Fiberglass )
Fiberglass possess effective sound absorption characteristics by converting
sound waves into heat.

18. 2. Gypsum Board
The gypsum board or also known as uninterrupted walls of solid masonry,
controls structure borne sound.
3. Plaster Board

19. ● Sound Reflection
The design of the ceiling is curved and slanted at the sides for the purpose of
redirecting sound. Even though the height of the ceiling leads to echoes
problem, the slanting properties of the ceiling helped to reflect the sound in this
scenario.

20. 2.7 Seating
The seating area in ASWARA multifunctional theatre consist of two main elements which are the seats
and also the platforms with floor cover. There are over 300 seats in this theatre altogether arranged in a
U- shaped manner to allow the audience to experience the whole show on the stage.
Figure 2.7.1 Sectional drawing of ASWARA Theatre showing the seats left side seats
In this theatre hall, the amount of absorption can be calculated based on the number of the seats it
provides. The advantage is when in an event where audience are scattered, the absorption of sound is
quantified per unit area. The higher the number of the seats, the higher the amount of absorption it will
be. When the seats are being occupied by the audience, the quantification depends on the area they
occupy. This means that, when quantifying, we can assume people as materials for the absorption per
unit area making the results insensitive to seating density. So, in an area such as theatres or
auditoriums, it is better to use absorption coefficient values by classifying them into two categories
which are: occupied or vacant seats. However, this does depend on the degree of upholstery of the
fabric used, the result of the values could vary. As for the conclusion, we can say that one audience
represents one upholstered seat so that the sound absorption in the theatre hall does not fluctuate
much when the seats are no fully occupied.

21. 2.7.2 Seats
The seats are foldable, and made of upholstered seats. The seating material is also made of fabric.
This is because fabrics have a good sound absorption. This, as a result, when the audiences are not
full, it will cause an absorption to be the same as the seats has catered to the sound absorption of a
human being, covering their surface area
Figure 2.7.3 Image illustrate the fabric used on the seats in ASWARA Theatre
2.7.4 Platforms
There are three platforms used in this theatre hall located on the left, right and in front of the stage.
These platforms are movable and it can be easily dismantled. The seats are placed and arranged on
these platforms in a way that the audience can have a full view on the stage when performances
being held. The materials used for this platform are:
· Aluminum Frame
· PVC Coin Flooring
The aluminum frame used because of it durability as well as to increase the sound reflection. The
PVC Flooring act as a cover for the platform which helps the audience to step and walk on it. This
material does not only help in traction and safety for the audience but also enhance the sound
absorption in the theatre.
Figure 2.7.5 Image illustrate the platforms used in ASWARA Theatre

22. 2.7.6 Design Issues
ASWARA Theatre hall is usually used for performances such as dance, musical and also theater. This
theatre hall is fully equipped with sound amplifying system placed at every side of hall aligned with the
seats. This is because the sound travel from the sound source, which is the amplifier or speakers,
allow it to be heard by the audience as the distance of the stage and the seats are different. When the
distance is more than 12 meters, sound enforcement such as speakers and microphone need to be
used. If the sound source comes from the stage, without being amplified, (eg; speech, talk) the range
of the distance are about 9 to 12 meters which makes the sound intensity (SI) poor. Also, the
placement of the seats should be liaised with the arrangement of the speakers in the hall so that the
sound can be equally distributed. The seats must also be positioned in a range within 140° from the
placement of the speakers to preserve the quality of the sounds.
Figure 2.7.7 The diagram depict the sound travel distance and sound direction from different sources;
using the speakers and without using when the travel distance is more than 12m

23. 2.7.8 Design Suggestion
The seating in this theatre are arranged in a terraced form to prevent view blocking when performance
started. This also helps in distributing the amount of sound equally from the first row seating to the
last row of seating.
Figure 2.7.9 Image illustrate the terraced upholstered seating in ASWARA theatre
As mentioned before the seating should be place 140° from the sound source, so the design
implementation that can be used in order to improve the sound collection or the acoustic value in this
hall is that the upholstered seats should be cover fully with the absorbing materials. This is because to
make sure that without the presence or the absence of audience, the reverberation time will not be
affected.
Figure 2.7.9.1 Image illustrate the upholstered seats fully covered with fabrics

24. 2.9 Speakers
Reinforcement of sound is needed when the original sound source is too weak for the whole
auditorium to hear. Thus, sound amplification system is being used by installing speakers at specific
and strategic location throughout the auditorium. Besides that, the speakers also helps to improve the
sound quality by minimizing the sound reverberation.

25. Main Speakers
Compact 3 way line array speakers are being use in ASWARA for sound reinforcement to the
audience. It is located at both edge of the stage, facing directly straight to the audience in front.
However, as the placement of seating at ASWARA is located to the both side of the stage, without
sound reinforcement, the audience will only hear the reflected sound which is weaker. Therefore,
compact 2 way ceiling bracket speaker are installed facing every side of seating in order to direct the
sound to every part of the auditorium. The combination of these system will allow more balance sound
while adding sound pressure and dispersion options.

26. Problems
- The audience will hear two sound as it arrive at different times
- If the performer is located at the center of the auditorium, the audience might hear two different
sound which is the first would be the sound from speaker followed by the slower sound directly
from the performer. This problems can be handle by having delaying mechanism at the
speakers
- Location of speakers will affect the sound path, thus, if the location of speaker is too far from
the audience, the sound will become weaker.
Stage Monitors
As the speakers are typically placed in front of the performer, problem occur as they could not hear
themselves clearly, instead, they would only hear the reflected sounds that are delayed which can
cause them to be out of time from the rest of the performer.
Thus, having a speaker on stage facing the performer itself is one of the solution and being used in
ASWARA. The system is called stage monitor system typically uses wedge-shaped loudspeaker
cabinets, that are directed towards the performers on stage, in order to help them hear the
instruments and vocals better.

27. 2.10 Design Consideration & Suggestion
The consideration made in designing the theatre performing hall includes the positioning of the stage,
seats as well as the speakers. The hall is categorised as the mixed acoustical since it is used for
theatre, dance and music performances.
The shape of the hall is a simple rectangular form that applied the 3/4 arena type of seating layout
where they are positioned front, left and right of the stage. Since the stage is not elevated as high to a
level that eye level will allow, the audience area is raked. The advantage of having this kind of layout
is to allow increasing of the hearing and visual contact between the audience and performer.
*sound panel
*speakers
*suggestion

28. 3.0 Noise intrusion/ interference
● Sound source
● Sound path
● Noise control action
From the case study proposed, few actions can taken in order to optimise the acoustic
of the hall where the type of noise control first requires suitable noise standards and
identification of the location, extent and type of noise sources. In principle, noise can be
controlled in its path of transmission through mediums such as solid, air and liquid or at
the receiver location.
1. To optimise acoustical performance, how the materials put together is as
important as the type of materials used. As example, planning of the different
material locations spaced well-apart give maximum result to reduce noise.
1. Structures which utilizes the masonry backup system have good acoustical
environment. In other words, a concrete wall construction can effectively
attenuate sound with minimal cost.

29. 2.10 Lightings and Layout Plan
Theater lighting is the most complicated because theater performances rely heavily on lighting to set the
mood of the play. The function of lighting depends on where it was installed. For the audience section,
usually a set of house lights are used to illuminate the space. Meanwhile, stage lights composed of mixture
of spotlights, ceiling mounted units and on-stage lights. Different theater has a different complex packet of
lighting instructions and configurations that theater staff follow.

30. ASWARA Experimental Hall have uses all basic types of light to illuminate the interior of the hall with
more specification of lighting focuses on where it was placed. The theater also enchanted with stage
lightings which cater for the certain event such as theater play.
Categories of Lightings Description
General lighting ● Provides an area with overall illumination.
● General lighting radiates a comfortable level of
brightness, enabling one to see and walk about
safely.
● It can be accomplished with chandeliers, ceiling or
wall-mounted fixtures, recessed or track lights, and
with lanterns outside.
● A basic form of lighting that replaces sunlight,
general lighting is fundamental to a lighting plan.
Task lighting ● Helps to perform specific tasks such as Ticket
Vending Counter, Space for design and construction
of sets for performances, Control Room, Office
Space, Recording studio, Rehearsal or Training
Room and Library.
● It can be provided by recessed and track lighting,
pendant lighting, and portable lamps.
● Task lighting should be free of distracting glare and
shadows and should be bright enough to prevent
eyestrain.
Accent lighting ● Adds drama to a room by creating visual interest.
● As part of a decorating scheme, it is used to spotlight
paintings or to highlight the texture of a wall, drapery
or outdoor landscaping.
● Accent lighting requires at least three times as much
light on the focal point as the general lighting around
it. This usually is provided by track, recessed, or
wall-mounted fixtures.

31. Types of lightings
used
Type of light Light effect Description
Stage lighting
(Fresnel Spotlight)
Artificial light Sharp & yellow It produce a luminescent
effect which makes the
stage more appealing.
Since it utilises a
spotlight, it also can
emphasis on the
particular scenes that
needs to be highlighted
(Parabolic Aluminized
Reflector, PAR)
Artificial light Sharp & varies
in colours
This type of stage lighting
can provide a voluminous
amount of brightness on
the area. It is oftentimes
used during music
concerts as it creates a
great source of
illumination.
General lighting
(Ceiling down light)
Artificial light Warm & yellow It is a small-direct lighting
unit position to direct the
light downward and
usually recessed in the
ceiling.
Recessed
Lighting
(Yellow LED Light
strip)
Artificial light Warm & yellow It is usually comprised
with a row of lamps that
aids in achieving an
interesting mood.
Normally, coloured sheet
were placed over the lens
to create more vibrant
and sophisticated lights
Specifications and descriptions of the types of lighting used in ASWARA Experimental
Hall

32. 7.0 References
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