The document provides details about the Shantanand Auditorium located in Brickfields, Kuala Lumpur. It summarizes that the auditorium is the main center for learning classical Indian music in the area, can accommodate up to 618 people, and has a total volume of 8769 cubic meters. Acoustic analyses were performed and found that while the space is suitable for musical and dance performances, modifications could improve the acoustics, such as adding a buffer zone at the entrance, changing materials for better sound absorption, altering the balcony design, and tilting the ceiling.

1. TEMPLE OF FINE ART
SHANTANAND AUDITORIUM

2. INTRODUCTION TO SITE
LOCATED IN BRICKFIELDS (LITTLE INDIA)
MAIN CENTRE FOR LEARNING CLASSICAL INDIAN MUSIC
TOTAL VOLUME OF 8769 m3
ACCOMMODATE UP TO 618 PAX

3. SIDE VIEW OF SHANTANAND AUDITORIUM WITH TWO DIFFERENT
LEVELING
SHANTANAND AUDITORIUM PORTRAY A SENSE OF CLASSIC AND
ELEGANT WITH LIGHTING
CURTAIN PROVIDES A SENSE OF MYSTERY AND INITIATE THE
EXCITEMENT OF THE AUDIENCE TOWARDS THE PERFORMANCES
THE STAGE OF SHANTANAND AUDITORIUM IS MADE UP TIMBER
FLOORING WITH RUBBER MAT AS FINISHES

4. SHANTANAND AUDITORIUM HAS 2 MAIN
ENTRANCE AT BOTH SIDE WHICH PROVIDES A
NARROW PASSAGE FOR THE AUDIENCE TO
ACCESS TO THE AUDITORIUM
THE CONVEX REFLECTIVE CEILING WITH 4
METER HEIGHT ENHANCES THE ENTIRETY OF
THE AUDITORIUM WHICH PROVIDES A BETTER
VISUALITY FOR PERFORMER AND AUDIENCES
FLYING TOWER ILLUSTRATES A LINEAR
VISUALITY FOR AESTHETIC APPEARANCE

5. PLANS & SECTION
G FLOOR PLAN, 1ST FLOOR PLAN, REFLECTED CEILING PLAN, SECTION

6. GROUND FLOOR PLAN
20.15m
30.70m

7. FIRST FLOOR PLAN
5.75m

8. REFLECTED CEILING PLAN

9. SECTION
9.80m

10. ACOUSTIC DESIGN ANALYSIS
SOUND CONCENTRATION, SOUND SHADOW, FLUTTER ECHOES, NOISE INTRUSION, CALCULATION

11. SOUND ATTENUATION
SOUND DISTRIBUTION THROUGHOUT THE SEATING AREAS ARE PLOTTED OUT FROM THE DATA WE COLLECTED IN THE SITE.
ENERGY LOSS OF SOUND PROPAGATION IN SHANTANAND AUDITORIUM IS LOW DUE TO ITS WIDE SHALLOW PLAN.

12. SOUND SHADOW
SOUND SHADOW DEFECT CAN BE DETERMINED WHEN THE SOUND WAVE FAILED TO
PROPAGATE DUE TO THE GALLERY OBSTRUCTION

13. SOUND REFLECTION & SOUND TRANSMISSION
REAR WALL ECHOES CAUSE UNWANTED REFLECTIONSIDE WALL REFLECTING & ENHANCE THE SOUND WAVE

14. SOUND REFLECTION
FLAT CEILING REFLECTOR AND CONCAVE CEILING REFLECTOR ARE SLIGHTLY TILTED TO
PROJECT SOUND ENERGY TOWARDS THE REAR SEATINGS OF THE GALLERY.

15. FLUTTER ECHOES & TIME DELAY
TIME DELAY = R1 + R2 - D
0.34
= (4.4+5.8)m - 3.2m
0.34
= 20.6msec < 30msec
Relationship between four different position of human figure with sound delay time

16. FLUTTER ECHOES & TIME DELAY
TIME DELAY = R1 + R2 - D
0.34
= (8.5+3.8)m - 12.2m
0.34
= 0.3msec < 30msec

17. FLUTTER ECHOES & TIME DELAY
TIME DELAY = R1 + R2 - D
0.34
= (7.8+4.7)m - 11.3m
0.34
= 3.5msec < 30msec

18. FLUTTER ECHOES & TIME DELAY
TIME DELAY = R1 + R2 - D
0.34
= (12.7+3.3)m - 15.4m
0.34
=1.8msec < 30msec
CONCLUSION:
THUS, DIRECT SOUND IS REINFORCED.
NO ECHO CAN BE HEARD

19. NOISE INTRUSION
AUDIENCE AREA
Human sounds & chatters
ENTRANCE (G FLOOR)
Timber door open & closing
ENTRANCE (1ST FLOOR)
Timber door open & closing
AREA IN FRONT OF THE STAGE
Foot stepping on timber floor
DOORS TO PASSAGEWAYS
Timber door open & closing

20. MATERIALS
WALLS, FLOORS, SEATS & ETC.

21. WALLS
TIMBER ACOUSTIC PANEL FIBERGLASS ABSORPTION
PANEL
6mm GLASS RAILING GYPSUM BOARD WITH
CEILING GRID
SOLID TIMBER DOOR

22. FLOORS
WOODEN FLOOR ON
JOIST
PILE CARPET BOUNDED
TO CLOSED-CELL
UNDERLAY
RUBBER SHEET, OVER
TIMBER FLOOR

23. SEATS & ETC.
FABRIC UPHOLSTERED
TIP-UP SEATS
ACOUSTIC ROUGH
PLASTER TO SOLID BACK
PLEATED MEDIUM
VELOUR CURTAINS
ACOUSTIC ABSORPTION
PANEL
TIMBER PANELS WITH
TIMBER FRAME
SMOOTH PAINTED
CONCRETE

24. CALCULATIONS
ABSORPTION SURFACES
F
A⍺
= 11.95 + 14.81 + 76.81 + 38.07 = 141.64m2
W
A⍺
= 1.81 + 0.56 + 0.67 + 53.94 + 53.88 + 0.56 = 102.27m2
M
A⍺
= 70.90 + 171.37 + 13.49 + 1.26 + 1.21 + 15.96 + 6.31= 280.50m2
A = F
A⍺
+ W
A⍺
+M
A⍺
= 141.64 + 102.27+ 274.19 = 524.41m2
VOLUME OF THE AUDITORIUM = 8769m3
SABINE FORMULA : RT = 0.16V / A
Where, RT : Reverberation Time (sec)
V : Volume of the Room
A : Total Absorption of Room Surfaces
RT OF THE AUDITORIUM
RT = (0.16)(8769) / 524.41
= 2.68 SECS
CONCLUSION :
THE OVERALL CONSIDERATIONS FOR ACOUSTICAL QUALITY IS
SUITABLE TO BE SERVED AS MUSICAL AND DANCE
PERFORMANCE HALL BUT NOT FOR SPEECH RELATED EVENTS.

25. DESIGN CONSIDERATION & SUGGESTIONS
BUFFER ZONE, MATERIALITY, CONCAVE-SHAPED BALCONY, TILTED CEILING

26. BUFFER ZONE
CURRENT ISSUE :
LOW ABSORPTION COEFFICIENT TIMBER MAIN DOOR (0.06).
POTENTIAL SOLUTION :
CREATE A BUFFER ZONE TO TRAP THE SOUND TRANSMISSION

27. MATERIALITY
CURRENT ISSUE :
LOW ABSORPTION COEFFICIENT TIMBER MAIN DOOR (0.06).
POTENTIAL SOLUTION :
ACOUSTICAL WOOD DOOR FOR BETTER SOUND ABSORPTION
THRESHOLD PLATES FOR OPTIMUM SEAL SURFACES

28. CONCAVE-SHAPED BALCONY
CURRENT ISSUE :
BALCONY UNDERSIDE CAN BARELY RECEIVE SOUND
TRANSMISSION FROM DIRECT NOR REFLECTION OF THE SOUND
DUE TO THE DEPTH OF OVERHANG BALCONY
POTENTIAL SOLUTION :
PROVIDE CONCAVE-SHAPED BALCONY PARAPET

29. TILTED CEILING
CURRENT ISSUE :
LOW CEILING, BALCONY, CREATES SOUND SHADOW.
POTENTIAL SOLUTION :
INCREASE HEIGHT OF THE BALCONY.
TILT THE CEILING OF THE BALCONY UNDERSIDE TO REDUCE
ENERGY LOSS

30. PREPARED BY ,
CHONG CHIN PIN
ERICA CHIN CHING
LIEW MIN YEE
LOONG BO LIN
MICHELLE SIAW WI WEE
OSCAR WONG ZHENG YANG
TAN JINGWEI
TAY JING HENG

31. THANK
YOU