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1. HOLY ANGEL UNIVERSITY
School of Engineering and Architecture
Address
DEPARTMENT OF ARCHITECTURE
BUILD UTLITIES 3
Prelim Exam – Summative
Assessment
Acoustic Treatment
Section
Submitted by:
Dayrit, Chelsey J.
Submitted to:
AR. Noemi D. Ng
2nd sem S.Y. 2021- 2022

2. 1.Boston Symphony Hall
Architect: McKim, Mead and White
Built on: 1900
Location: Boston, Massachusetts, US
Introduction
The Boston Symphony Hall was created for the Boston Symphony Orchestra, which
continues to use the hall as its home. It was designed by the architectural company
McKim, Mead & White. It has a capacity of 2,625 people. In the United States, the
hall has been classified as an American embassy. As of 1999, it has been
designated as a National Historic Landmark, as well as a Boston Landmark, which is
now being considered. Symphony Hall is one of the world's top three concert halls in
terms of acoustics. Today, more than 100 years after it was built, Symphony Hall still
offers concertgoers a truly memorable experience.
Acoustics: The Perfect Sound
Symphony Hall's continued popularity would come as no surprise to its architects
and builders. They modeled the hall after two of the top concert halls in the world,
the Leipzig Neues Gewandhaus and the old Boston Music Hall.
The History of Boston Hall
The Old Boston Music Hall, which was the inaugural home of the Boston Symphony
Orchestra, was threatened by a city road-building/rapid transit project in 1893. Major
Henry Lee Higginson, the orchestra's founder, formed a corporation that summer to
raise money for a new and permanent home for the orchestra. On October 15, 1900,
a gala conducted by music director Wilhelm Gericke marked the opening of
Symphony Hall. Symphony Hall was the first auditorium created in line with
scientifically determined acoustical principles, and the architects, McKim, Mead &
White of New York, hired Wallace Clement Sabine, a young assistant professor of
physics at Harvard, as their acoustical consultant.

3. The Acoustic Design of Boston Symphony Hall
The most famous concert hall in the United States is Boston Symphony Hall. It's in
the shape of a shoebox. On the sides and back, there are two balconies. Because of
niches and sculptures, the sides beneath the balconies are flat, whilst those above
the balconies are uneven. This is a coffered ceiling. The grilles on the balconies are
mostly open. In a separate stage house, the orchestra performs. From front to back,
the audience floor is slightly slanted upward. The sound is bright, clear, and loud, but
not too loud. At mid-frequency, the reverberation time is 1.9 seconds.
In order to focus the sound on the main seating areas, an optimal shape was
selected for the concert hall and space between the rows of seats was kept at 5
inches.
To convey sound into the audience, the walls, ceiling, and floor all slope inward, and
the spacing between rows of seats was restricted to a minimum of five inches. With a
coffered ceiling, columns, and leather chairs, the hall strikes the perfect balance
between acoustic science and the elegance of classical elements. The sixteen
copies of Greek and Roman statues scattered throughout the niches are a tribute to
William Tudor's early 19th-century poem "Boston, the Athens of America."

4. Photograph of the configuration for the measurement of the
oblique absorptioncoefficients for an audience seated in
chairs on a plywood board in the anechoic chamber of
Takenaka R&D. Eighteen mannequins dressed in proper
clothes simulated a live audience. Note that the microphone
can be placed on any part of a mannequin’s body. The
loudspeaker is rigidly held at 2-m distance from the
microphone by a pole ͑ shown covered with sound-
absorbing material ͒ .
Trivia
The 16 replicas of Greek and Roman statues (10 total) of mythical subjects and
real people (6 total, statues 5,6,7,10,22, and 12) that circle the second balcony of
Symphony Hall are each related in some way to music, art, or literature.
Materials used and its Application
The hall was built using brick, steel and plaster, with wooden flooring the only soft
material used.
Brick
Because brick is naturally thick and solid, it prevents sound from flowing through. It
is more difficult for a sound wave to pass through a thicker material. As a result,
you are less likely to hear sound on the other side of a brick wall than you are on
the other side of drywall, which is a thinner, more fragile material. Brick is
frequently used in recording studios for this purpose, as it helps to block out
outside noises such as traffic and planes during the recording process.

5. Steel
It has a dense and massive structure. The sound is carried by steel's vibrations
within the substance. The structure-borne vibration is the term for this sound
transfer. In most cases, there is no noticeable vibration in the air.
Plaster
-The reverberation of sound in a room can be greatly reduced with the use of
acoustic plasters. The Noise Reduction Coefficient of most acoustic plasters
ranges from 0.5 to 1.00. The ability of a substance to reflect or absorb sound is
determined by its Noise Reduction Coefficient (NRC).
Wood:
Wood amplifies or absorbs sound waves and makes sound by striking it directly. As
a result, wood is an excellent choice for musical instruments as well as other
acoustic applications, such as architectural ones.
Coffered Ceiling - coffering in the ceiling provide a maximal aural sound experience
for each seat in the room.
Balcony - The narrow side balconies prevent sound trapping.
Walls – Slope inward to help focus the sound.
Pilars: lean inwards, so as to direct the sound properly.
Floor - The audience floor is modestly sloped upward from front to rear. The sound
is clear, brilliant, and loud, without being overly loud.

6. ConcertHall Acoustic Statistics
Measured rise in energy density at a seat 26 m from
the source (located on the stage in Boston Symphony
Hall) owing to the first seven major reflections
(unoccupied hall and at mid-frequencies).
Presentation of the early reflection sound field in
Boston Symphony Hall in approximate conformance
with Griesinger's theory about hearing the direct
sound clear
Key as in Fig. 4, but for the model of
Boston Symphony Hall. The sound source
position is 3 m from the stage edge on the
center line at a height of 1.5 m, and the
receiving position is near the center of the
main floor but shifted to the side a few
meters.
2.Wiener MusikVerein
Architect: Theopil Hansen
Built on: January 6, 1870

7. Location: Vienna, Astralia
Introduction
Vienna's most well-known facility for classical music is the Musikverein. In a setting
of the highest quality, attending a performance in Vienna is about getting to know the
city as a place of music. The Vienna Philharmonic, for example, is a musical
powerhouse.
The Musikverein in Vienna is well-known to music fans all over the world as one of
the most traditional concert halls in the world, hosting some of the world's most well-
known musicians. The edifice on Karlsplatz, not far from the renowned Ringstrasse
road, is suggestive of a temple, erected in the historical style with columns,
pediments and reliefs in 1807 according to a design by Theophil Hansen.
The History of Wiener MusikVerein
The Musikverein opened its doors to concertgoers for the first time on January 6,
1870. The sparkling Grosser Saal (or Goldener Saal), the city's first music hall, with a
capacity of 2,000 people and an acoustic that has since been emulated by venues all
over the world. The magnificent neo-classical structure became a Viennese
landmark right away after Emperor Franz Joseph I laid the foundation stone.
Founded in 1812 as a non-profit organization for amateur musicians, grew to
become Vienna's most influential musical organization, collaborating with great
composers such as Beethoven, Schubert, and Mendelssohn. The Musikverein
established a conservatory and established historical archives in addition to
performing concerts.

8. The Acoustic Design of Wiener MusikVerein
The music hall has a tiny rectangular shape, a lot of plasterwork, and a lot of
allegorical paintings on the ceilings. The room is surrounded by balconies with gilt-
edged crenellations. The radiant sound that wraps its audiences is due to the fact
that sound naturally bounces off many various surfaces and angles.
The materials used in each room were given priority, the amount of absorption,
diffusion and reflection had to be measured. The major difficulty was overcoming the
problems of using a variety of materials in each room. This was
done by applying a wide range of reliable acoustical measures, which could be
adjusted to meet the requirements of whatever type of music was being played.
Materials used and its Application

9. GLASS, STEEL, WOOD AND STONE HALLS
Glass
The largest of the four rooms, the Glass Hall, has a capacity of 380 people and is the
centerpiece of the Musikverein's new subterranean complex.
Glass is the dominant material and is used for the walls and the galleria parapets.
Glass panels – both fixed and movable, lat and curved – are adorned with a layer of
gold leaves on the reverse side and mounted on the ‘conductor’ wall.
Movable convex glass elements enlarge the absorbing surfaces at the press of a
button, if required
Steel
Acoustic regulations dictate that about 55% of the overall wall space be lined with
four rows of sheet metal panels punctuated with holes, facilitating a transition from a
slightly reverberant to studio ambience and creating a suitable environment for more.

10. It has a dense and massive structure. The sound is carried by steel's vibrations
within the substance. The structure-borne vibration is the term for this sound
transfer. In most cases, there is no noticeable vibration in the air.
Stone
The Stone Room has a capacity of 60 people and is made up of both rough and
polished stone. It's primarily utilized for showcasing and exhibitions.
8cm-wide, high-absorption fractures between the stone rows and forward-inclined
steps are examples of acoustic elements that help to scatter the homogeneity of the
masonry, avoiding total surface uniformity.
Carpetted Floor
By absorbing airborne sound, reducing surface noise generation, and limiting impact
sound transmission to rooms below in multi-storey buildings, carpets are extremely
useful in managing noise within buildings or even areas.
ConcertHall Acoustic Statistics
(a). Key as in Figure 4a, except for measured in Vienna Musikvereinssaal. (b).
Range of RECC curves in Figure 5a at two seating areas: main floor and center plus
side balcony. Magnitude of the whole variation range is about 5 dB. See the online
article for the color version of this figure.

11. Reverberation times averages, maxima and
minima with and without average audience
simulation, unseated stage
Plot of strengths G versus source-receiver distances measured in 5 halls: Berlin Konzerthaus,
Vienna Musikvereinssaal, Berlin Philharmonie, Tokyo Suntory Hall, and Sapporo 'Kitara'
Symphony Hall. The regression lines for each plot are shown. Left: Avg. of 125/250 Hz,
Right: 500/1k Hz
3.Tokyo Opera City Concert Hall
Architect: Takahiko Yanagisawa
Built on: 1997
Location: Tokyo, Japan

12. Introduction
The Tokyo Opera City Hall is the first concert hall in the world to have a pyramidal
vaulted ceiling and a totally wood-clad interior. This was done to guarantee that the
sound was distributed evenly. The rigorous calibration of this structure was aided by
five years of models and simulations. Along the walls, there are two long balconies
with additional seating. The smaller floor space allows for a more immediate and
unique audio experience.
Due to its outstanding sights and acoustic circumstances, which combine to provide
an unforgettable experience for both the performers and the audience, the Tokyo
Opera City Concert Hall now ranks sixth on the list of the world's best concert halls.
Toru Takemitsu, a performer who was originally involved in the project as a musical
consultant until his untimely death before the hall was completed, was given the
hall's name.
The History of Tokyo Opera City Concert Hall
The history of architectural acoustic design has always been tumultuous since it
relies so heavily on the project's unique characteristics rather than any true
standardization. The Tokyo Opera City Concert Hall, as well as the adjacent New
National Theater, were developed following a thorough examination of a number of
successful venues. To find the greatest mix, aspects such optimal reverberation
time, sound damping, and diffusion were tested and cataloged.

13. It has prompted future discussions on how to deal with sound and other sensory
aspects in public spaces, and the Tokyo Opera City Hall is an embodiment of all the
study done in the subject of architectural acoustic design. The Tokyo Philharmonic
Orchestra frequents the hall today.
The Acoustic Design of Tokyo Opera City Concert Hall
The Tokyo Opera City Concert Hall's whole design is focused on the acoustic
experience rather than merely replicating current concert halls to deliver acceptable
sound quality. Many of the visual features that make up this building also serve as
important aspects of sound control and redirection because sound clarity was so
important in the design. To guarantee a homogeneous sound dispersal, the
pyramidal shape was meticulously aligned and deformed.
The reflected sound path was first mapped out using a computer-assisted model of
the design. After that, a 10:1 scale replica was built. After the computer simulation,
this wooden model helped to smooth out any irregularities in the sound dispersion
that remaineThe grooved ceiling's equal distribution of wooden pieces balances
aesthetics with effective sound reflection.
Materials used and its Application
The interior of the Tokyo Opera City Concert Hall is entirely in white oak wood,
despite restrictions on Tokyo public buildings. The architects had to get special
permissions since wood allows to reduce reverberation and provides acoustic

14. damping. The wood provides a striking contrast to the rest of the building, which is
glass and concrete.
White Oak
Wood acoustic panels are often used to add aesthetic warmth and even as a design
feature to ceilings and walls, bringing aesthetic warmth and even as a design
feature. The air gap between the insulation and the fabric improves acoustic
performance, and fabric-wrapped wood-frame panels are more durable than resin-
hardened panels.
Glass
At its resonance frequency and at low frequencies, glass transmits a lot of sound
energy. By lowering resonance and creating air-space, laminated glass and
insulated glazing units both reduce sound transmission via glass. A well-built stud or
brick wall, on the other hand, will nearly always outperform glass.
Concrete
The non-bridging acoustical coating on the surface allows sound to flow through and
be absorbed by the fiberglass behind it. It's important to note that it doesn't fill in the
tiny air gaps like ordinary paint or other materials do. No matter how large the room
is, no control joints are required.
Trivia
The hall today is often used by the Tokyo Philharmonic Orchestra and the Tokyo
Symphonic Orchestra. Multiple popular musicians have also performed here, such
as cellist Yo-Yo Ma, and music critics universally appreciate the clarity and warmth
of the sound within the space.
ConcertHall Acoustics

15. Measuring positions used by the Takenaka R&D Institute group. For symmetrical
halls, the measurements are generally made at least at the eight positions shown,
and at more positions if there are more balconies or if there are a number of
terraces. The letters a–d relate to the dimensions of the hall and determine the
locations of sources and receivers. For three source positions and nine receiver
positions, this gives 27 observations on the main floor. Each balcony or ring chosen
has three or more positions.
With audience and orchestra, the Tokyo Opera City concert hall
has a capacity of 1632 seats, a volume of 15 300 m3, and a
reverberation duration of 1.95 seconds. Over the course of a
five-year period, measurements on a CAD computer, 1:10
wooden hall models, and full-sized materials samples were taken
as part of the design process. period. The plan of the hall is
rectangular.
4.Philharmonic Hall
Architect: Herbert Rowse
Built on: 1939
Location: Liverpool, England

16. Introduction
The hall is mostly three stories high and is built with fawn-colored facing bricks. With
a canopied entry flanked by semicircular stair turrets, it has a symmetrical aspect.
Seven windows, divided by piers with carved abstract designs, are located above the
entryway. The architectural historians Pollard and Pevsner, as well as the author of
the description in the National Heritage List for England, believe that the hall's design
was influenced by the Dutch architect. Pollard and Pevsner agree that the hall's
design was influenced by the Dutch architect.
The History of Philharmonic Hall
On the site of the existing hall, Herbert J. Rowse was commissioned to build a new
hall. The hall was designed by Rowse in the Streamline Moderne style and had a
Rushworth and Dreaper organ with a console that could be lowered from the stage.
It was officially opened on June 19, 1939, and inaugurated the following day with a
concert directed by Sir Thomas Beecham.
Liverpool's magnificent compliment to the cause of music in England "takes one's
breath away...a hall of great size, noble proportions, and modern appointments...
ready to take its place among the most eminent homes of musical culture in this or
any other country," according to the Manchester Guardian.
The Acoustic Design of Philharmonie Hall

17. The design team decided to replace the great majority of the plaster with
100mm (4") of solid concrete, with the walls' profiles slightly altered to improve
sound reflection, in order to address the issues of weak bass response,
insufficient reverberation, and poor sound distribution. The new walls and
ceiling look to be nearly untouched despite the use of more than 400 tons of
concrete.
Much of the auditorium's floor is now maple strip, with
carpet on the stairs and aisles for sound reflection. The
new fabric has been scientifically evaluated for its
acoustic capabilities, and all of the seats have been
reupholstered with wood backs, underseats, and arm
rests.
Materials used and its Application
Concrete

18. The inherent bulk and dampening properties of concrete make it simple to create
good sound insulation by walls and floors. Additional finishes are not required,
resulting in lower capital and ongoing maintenance costs.
Maple Strip Floor
With a 19dB sound reduction and an IIC rating of 54, Wood Acoustic has a pleasant
and inviting appearance that is excellent for multi-level construction. It is great for
situations where people are on their feet a lot and need comfort underfoot because it
is 3.9mm thick and can withstand medium to heavy duty usage.
Carpetted Floor
By absorbing airborne sound, reducing surface noise generation, and limiting impact
sound transmission to rooms below in multi-storey buildings, carpets are extremely
useful in managing noise within buildings or even areas.
Acoustic Fabric
An acoustic fabric allows sound waves to pass through without any interference, neither
reflecting or absorbing. In effect, it is transparent – with the most highly transparent acoustic
fabrics being used for loudspeaker coverings as a result of the minimal impact they have
upon the sound that is being transmitted.
Preliminary design of the philharmonic hall ceiling.
5.The Whispering Gallery of St. Paul’s
Cathedral

19. Architect: Sir Christopher Wren
Built on: 1710
Location: London, United Kingdom
Introduction
A whispering gallery is most easily created as a circular wall that allows murmured
communication from any section of the circumference's internal side to any other part
of the circumference's internal side. The effect was discovered in the whispering
gallery of St Paul's Cathedral in London, where the sound travels around the
circumference clinging to the walls.[1] The extent to which the sound travels at St
Paul's may also be tested by clapping in the gallery, which produces four echoes.
History of the Whispering Gallery
In 1715, Thornhill began work on the dome, which he completed four years later. St.
Paul's life is shown in his murals, which are based on a series of pen and ink
illustrations. Reproductions of Thornhill's drawings that were redone in 1853 are
what we see today. As a result of the British climate and the smoke in London, the
originals degraded.
The Acoustic Design of the Whispering Gallery
A whisper, like a roar, creates a wave of sound. As a result, you could believe that a
shout has greater strength and is more likely to be heard from far away than a
whisper. In reality, the characteristics of a whisper are more suited to triggering this
peculiarity. If there's not too much background noise, you'll be able to hear someone
positioned anyplace along the same wall if you whisper along the curving wall.

20. Although they're on the opposite side of the circular path, more than 33 meters
distant and far beyond the range of a normal whisper, they're still within reach.
The interior of St Paul's Cathedral has a
volume of 152 000 m 3
including the large
dome. The average value of the reverberation
time is 11 s at 500 Hz when the cathedral is
empty and reduces to 7·8 s at the same
frequency when the cathedral is full. These
measurements have been confirmed by
several methods, including the method of integrated impulses.
Materials used and its Application
Stone
allows sound to flow through and be absorbed by the fiberglass behind it. It's
important to note that it doesn't fill in the tiny air gaps like ordinary paint or other
materials do. No matter how large the room is, no control joints are required.
Brick
it prevents sound from flowing through. It is more difficult for a sound wave to pass
through a thicker material. As a result, you are less likely to hear sound on the
other side of a brick wall than you are on the other side of drywall, which is a
thinner, more fragile material. Brick is frequently used in recording studios for this
purpose, as it helps to block out outside noises such as traffic and planes during
the recording process.

21. Iron
Acoustic iron panels effectively reduce unwanted noise by helping to disperse it.
Modern buildings — especially those located in louder commercial districts —
face new challenges in controlling noise
Wood
The air gap between the insulation and the fabric improves acoustic performance,
and fabric-wrapped wood-frame panels are more durable than resin-hardened
panels.
Hall Acoustics
Intensity
distribution in the equatorial plane for a TE
whispering-gallery
Analogy between acoustical and
optical whispering-gallery modes:
a) the whispering-gallery in the
dome of St. Pauls Cathedral b)
Sketch of a microsphere: light is
guided inside by total internal
reflection.
References:
[1] L Beranek Concert Hall Designs, New Findings 10 Longwood Drive, Westwood,
MA 02090

22. [2] Leo L. Beranek The Journey of the Acoustical Society of America (2015)
[3] https://londonist.com/2016/05/how-does-the-whispering-gallery-at-st-paul-s-
actually-work
[4] https://www.stpauls.co.uk/history-collections/history/explore-the-cathedral/climb-
the-dome
[5] How Sound Absorbing Panels Work (2016)
[6] https://www.researchgate.net/figure/a-The-intensities-of-the-two-peaks-in-a-
doublet-as-a-function-of-the-tip-position-along_fig8_327185237
[7] The Atlantic, Architecture's Secret Sounds Are Everywhere
Documentation