By ong min junn, ong jia hui, tang pei kei, tay jit ying, tang wei xin, tan wen hao, sonia mancxia, ryan kerry jee

2. 2

3. 3
I N D E X
1.0 Introduction
o Background
o Function of space
o Aims & objectives
o 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
o Sound absorption
o Flutter echoes
o Sound Reduction
o Materiality
2.5 Floor
o Materiality
o Sound insulation
o Airborne / Impact sound
2.6 Ceiling
o Materiality
o Sound reflection
2.7 Seating
o Distance
o Sound absorption
o Materiality
2.8 Speakers
o Sound source
o Sound path

4. 4
3.0 Noise intrusion/ interference
o Sound source
o Sound path
o Noise control action
4.0 Reverberation Time (RT) on acoustics
o Materiality absorption coefficient table
o Tabulation of absorption of individual materials per area
o Reverberation Time calculation
5.0 Lighting Layout
o Categories of lightings
o Types of lightings implemented
6.0 Appendix
o Photos and images on site
o Plan drawings
o Sections
7.0 References

5. 5
1.0 I n t r o d u c t i o n
BACKGROUND, FUNCTION OF SPACE & BUILDING
ASWARA (Akademi Seni Budaya & Warisan Budaya) is the only institution of higher learning
in the field of performing arts that is supported entirely by the Government of Malaysia under
the Ministry of Culture and Tourism Malaysia. It is an institution of higher learning to provide a
space for learning, research and academic publications and professional advisory services in
the field of arts, culture and heritage aimed at producing skilled artists and practitioners who
are competent in their fields besides strengthening the sustainability of the national arts
heritage. In principle, ASWARA focuses on arts education for performers knowledgeable and
professional for the local industry. As part of our case study, we have chosen the ASWARA
experimental theatre. The theatre is mainly used for dance performances where the emphasis
of the design is on the integration of the visuals and sound quality.
AIMS, OBJECTIVES & PURPOSE OF CASE STUDIES
The aim and the objectives are to understand the acoustics characteristics within a space of
the chosen building and also a brief understanding on lightings and hence allowing us to
critically report and analyze the lighting and acoustic of the space while allowing us to suggest
another way to improve the lighting and acoustics qualities of that particular space within the
chosen building.
The aim of this report is to observe and analyze the acoustic design in the space in relation to
the function and use of the space. This analysis includes the understanding of the materials
used and the theories of sound reflection, absorption and sound diffraction. As a conclusion
for the study, suggestions were made to improve the acoustic quality of the space.

6. 6
2.0 A c o u s t i c D e s i g n A n a l y s i s
2.1 Literature review
Acoustics are defined as the scientific studies of sound which includes the effect of reflection,
refraction, absorption, diffraction and interference. A sound wave is a longitudinal wave where
particles of the medium are temporarily displaced in a direction parallel to energy travelling
and then return to their original position. The vibration in a medium produces alternative waves
of relatively dense and sparse particles which are termed as compression and rarefaction
respectively.
2.2 Acoustics & Architecture
The acoustics in the built environment is normally evaluated on noise curve and, or
reverberation time (RT). By employing sound absorption materials as wall and ceiling cladding,
the desired RTs 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, air flow resistance, thickness, density, compression
and placement or 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 fiber or material.

7. 7
2.3 Shape & theatrical built form
The experimental theatre has a classical rectangular plan which has a consistent good
reputation for good acoustics. In the rectangular hall, not only are there no concave surface,
the surfaces are likely to create serious echoes and in addition, it has the possible advantage
that there is more cross-reflection between parallel walls which may give added fullness.
Figure 2.3.1: Diagram showing typical rectangular floor plan highlighted using the floor plan of ASWARA.
The quality of the sound in the experiential theatre could have been improved if the width is
reduced to form a narrower hall (shoebox hall). This is because when the early lateral reflected
sound is produced by the side walls, the reflected sound seems to extend the width of the
sound source and makes the music has an overall and surrounded sense.
The shape of a room has a big influence on its acoustical properties. One effective way of
preventing flutter echoes is simply not to use parallel walls. Tilt one or both of the barriers
outward away. An angle as small as 7 degrees is effective at minimizing degradations.

8. 8
2.4 Wall
The walls in the dance hall of Akademi Seni Budaya Dan Warisan Kebangsaan (ASWARA)
are straight and parallel to one another, which will lead to echoes and reverberation when
sound reflects off the walls.
Hard surfaces will reflect almost all incident sound energy striking them, while flat and plane
surfaces will reflect sound waves in such a way that the angle of the incident sound wave is
equal to the angle of the reflected sound wave.
In order to give a more pleasing acoustic experience, it is crucial to reduce the fluttering echoes
and reverberation within the dance hall. As such, certain preventative measures and acoustic
absorption panels have been placed, such as:
• Fabric acoustic panel
• Pyramid acoustical foam panel
• Panel absorber - MDF board
A. Fabric Acoustic Panel
Fabric acoustic panels usually comes with acoustic transparent fabric that is penetrable to
sound waves, rather than reflecting sound off the surface. The Class A fire rated fabric is made
by recycled polyester fiber for its easy maintenance, stain resistance and durable properties.
Underneath the fabric consists of high density fiberglass (Figure 1.2) that is inorganic, long
and fine fibers that are bonded together by high temperature binder. These fibers are impact
resistant and can provide broadband acoustic absorption by trapping millions of tiny pockets
of air in it. The installation of fabric acoustic panel is easy and can achieve a seamless finish
by applying heavy-duty wall-covering adhesive.
incident
sound wave
reflected
sound wave
Figure 2.4.1: incident sound waves are directly
reflected back to the hall
Figure 2.4.3: high density fiberglass Figure 2.4.4: fabric acoustic panel at the back of the hall
Figure 2.4.2: sound waves are being absorbed and
dispersed within the panels
dispersed
sound wave
acoustic
absorption
panel

9. 9
Having fabric acoustic panels along the walls convert the initial hard surface of any typical
walls to one that is soft and porous, which in turn, will reduce reverberation.
Figure 2.4.5: section of fabric acoustic panel
fabric acoustic panel
Figure 2.4.6: placement of fabric acoustic panel in dance hall

10. 10
Sound wave
entering the
foam
Pores vibrate
after
accepting
energy
b. Pyramid Acoustical Foam Panel
The Class A fire rated pyramid acoustical foam panel (Figure 1.8) is made by open cell
polyurethane foam. It aids in improving the overall acoustic in the dance hall by dramatically
reducing reverberation, echoes, standing waves, while prevents destructive specular
reflections and attenuates sound pressure build-up at the same time.
As the sound waves enter the foam, the pores accept the energy and begin to vibrate. This
conducts low grade heat, which means the sound energy is converting to kinetic energy,
removing the reflection echoes from the room (NetWell, n.d.) (Figure 1.7).
Figure 2.4.7: placement of fabric acoustic panels from the side elevation
Figure 2.4.8: Diagram illustrating the activity of sound waves penetrating across the porous material of the acoustical panel
and its effect against its particles.

11. 11
Figure 2.4.9: 5cm pyramid acoustical foam with 125cm x 65cm
panel as found at the dance hall
Figure 2.4.10: the panel is placed in a slanted
manner to break up the parallel wall effect
Pyramidal acoustical foam panel
Figure 2.4.11: Placement of pyramid acoustical foam panel in dance hall

12. 12
c. MDF Board
In order to reduce the area of exposed hard surface of walls, large panels of MDF boards
(Figure 1.12) are positioned at the four corners of the hall, where fabric acoustic panels were
not placed. The MDF boards are large in area to be effective as low frequency absorbers; the
lower the frequencies to be absorbed, the larger the panels must be.
Figure 2.4.13: MDF board at the front part of the hall
Figure 2.4.12: placement of pyramid acoustical foam panel from the side elevation

13. 13
Figure 2.4.15: placement of MDF boards in dance hall
Figure 2.4.14: section MDF board panel

14. 14
d. Suggestions to Improve The Acoustic of Walls
A sufficient amount of acoustic absorption is required at all audible frequencies of sound in
order to keep the reverberation time in a room short enough to have good intelligibility. Install
absorptive foam panels on the walls and ceiling will effectively absorb frequencies from 1kHz
up, preventing flutter echo. However, they are not effective at low frequencies.
Soundproof
Window
Existing
WindowInside Outside

15. 15
2.5 Floor
A. Materials
ASWARA Multipurpose Experimental Hall’s flooring area is about 500m2
, which is constructed
using parquet flooring, rubber mat, piles carpet tiles, concrete, and PVC coin flooring material.
Figure 2.5.1: The floor plan shows the material used in different area.
Rubber Mat Parquet Flooring Piles Carpet Tiles Concrete PVC Coin Flooring

16. 16
Material Description and
Function
Sound
Absorption
Level
Rubber Mat Quick and easy installation
between two layers of
ceiling or flooring. Reduce
impact sound and reduce
slippery, suitable for
performance used.
Can reduce
most of the
domestic
sound
pollution.
Parquet Flooring Geometric mosaic of wood
pieces used for decorative
effect. Long lasting and
require little or no
maintenance.
Minimum
sound
absorption:
walking,
television.
Piles Carpet Tiles Small pieces of carpet tiles
that make of nylon. It
suitable for commercial,
education and leisure
used.
Effectively
reduce
airborne and
impact sound;
improve
acoustic
Concrete A mixture of broken stone
or gravel, sand, cement
and water.
None of sound
absorption
effect.

17. 17
The table tabulates the different types of materials which are being implemented within the
interior of the experimental theatre of ASWARA.
B. Sound Insulation
The insulation is part of the subfloor preparation process on various wooden floor installations.
It tackles issues with air-borne and impact generated sounds for normal domestic used, such
as walking, vacuum cleaning and television; however still cause problems in multi-occupancy
dwellings. Therefore, it was covered by a sheet of rubber mat in the middle of performance
area to reduce the airborne or impact sound while performing. This effectively reduces the
noise and reduces slippery, which is suitable for dance performance, mini theatre performance,
drum performance and etc.
Figure 2.5.2: The diagram shows the layering of parquet flooring.
PVC Coin Flooring Great feature of helping
with traction, safety and
waterproofing, suitable as
pedestrian flooring.
Good in sound
absorption.

18. 18
Carpet is the antithesis of hard, echoing surfaces. Sound waves are effectively absorbed and
deflected by the carpet and by the padding under the carpet, and the level of sound absorption
can be enhanced with a thicker pad. Carpet is usually the cheapest option in the short run, but
also the most problematic in terms of durability, cleaning, and allergy aggravation because it
tends to trap allergens and dust.
C. Airborne/ Impact Sound
Airborne sound occurs when a sound transfers directly from a source to the receiver. Typically
this would be through air, small holes or openings in the construction, along ductwork, or
through voids such as ceiling cavities. Airborne noises are conversation, TV noise, music,
barking dogs.
Figure 2.5.4.: The diagram shows how the air bound source transfers.
Figure 2.5.3.: The diagram shows the comparison of normal concrete flooring and the flooring that is carpeted.

19. 19
Impact Sound is structural vibration, transmitted from a point of impact through a structure and
experienced as radiated sound from a vibrating surface. This is commonly caused by an item
hitting the floor, from where the impact results in vibrations being transferred through the
buildings structure. The most common path for the noise is generally to the ceiling of the lower
property or room. Impact noises are footfall, dropping items on the floor, or children running.
Figure 2.5.5: The diagram shows how the footfall impact sound transfer.
Figure 2.5.5: Photo illustrating the uncovered portion of flooring within the experimental theatre.

20. 20
The photo above shows the issue of the hall’s flooring, as there are still impact sound occurs
when pedestrian walk down from the seating to the exit or stage. The rubber matting should
have extended to cover the whole hall area.
The movable seating is definitely a good design for a multipurpose hall, flexible position to suit
all kind of events or performance. However, whenever audiences are walking on the seating
platform, it will occur some noises. Through observation, the noise was because of the
structure of the movable seating itself or an old unstable system.
Figure 2.5.6: The diagram
shows the structural design of
the movable seating.

21. 21
2.6 Ceiling
The ceiling in the dance hall spans up to 8 meters high, having a double volume to
accommodate all wirings, lightings and speakers. However, which such height, reflected
sound waves take a longer time to reach the audience and leads to echoes of the sound. To
overcome the problem, suspended ceilings are used to reduce the volume of the dance hall,
leading to lesser echoes.
Figure 2.6.1: Sectional view of the dance hall with the suspended ceilings highlighted
The large volume of the dance hall is diminished by the suspended ceilings that reduces the
echoes within the volume of the hall and they are equipped with acoustic ceiling tiles. The
suspended acoustic ceiling in the middle functions to eliminate slap-echo between the parallel
floor and ceiling surfaces while it conceals most of the wiring and sky tower above it.
Figure 2.6.2: Central suspended ceiling with acoustic ceiling tiles to reduce slap echo and reverberation

22. 22
Figure 2.6.3: Slanted suspended ceiling to redirect sound waves to audience
Suspended ceilings at the side of the hall are slanted to redirect the sound waves to the
audience. However, only a small area of the ceiling is slanted to redirect the sound waves
while mechanical sound amplification is being used in the hall as well
A. Plasterboard
Figure 2.6.4: Highlighted area which shows the plasterboard along with its structural components
Plasterboard is used to encase the suspended ceiling, hiding away the sky tower, lightings
and wirings above it as well as providing an edge to the ceiling tiles.
Plasterboards are able to reflect sound back to the audience but is poor at sound absorption,
hence, having a minimal effect to the reverberation.
VOID
VOID

23. 23
B. Fiberglass Ceiling Tile
Figure 2.6.5: Highlighted area which shows the ceiling tiles along with its structural components at the top
The fiberglass ceiling tiles are installed with T-bar keels that are suspended with hanging wires.
Fiberglass contains a dense amount of particles with micro air spaces in between them,
allowing them to be very suitable as acoustic ceiling tiles. Fiberglass has a high coefficient
amount and reduces the reverberation as it is a good sound absorber.
The fiberglass ceiling tiles are surfaced with felt fabric on the surface below it as to ensure that
the particles of the fiberglass do not fall down and as to maintain the aesthetics of the hall.
Figure 2.6.6: (Left) Fiberglass layered with felt fabric (Right) of 2mm thick that surfaces the fiberglass ceiling tile.
VOID
VOID

24. 24
2.7 Seating
A. Effect of Seating and Occupants
The seatings in ASWARA multipurpose experimental theatre are movable platforms with
foldable, fabric upholstered seats. The total number seats in this hall are 300.
Figure 2.7.1: Image illustrating one side of the seating within the experimental theatre
When people are dispersed in a room the absorption is calculated on the basis of the number
of seats. For a seated audience, quantification depends on the area they occupy. It is more
accurate to assume people as materials when quantifying, on the basis of absorption per unit
area making the results insensitive to seating density. If we consider the typical audience
situation in conference rooms, theatres or auditoriums, it is better to use the absorption
coefficient values in the following two situations: occupied and unoccupied seats. Depending
on the degree of upholstery, values vary sensitively. As a conclusion, we assumed the hall is
fully occupied and one audience equals to the one upholstered seats. Therefore, if the hall is
not fully occupied the sound absorption of the hall does not change much.

Figure 2.7.2: The diagram shows the coefficient of a person is approximately same as one upholstered seats.

25. 25
B. Design consideration
The experimental theatre hall is used for dance performance, drum performance and etc.
However, when the hall is used for speech, the paths of direct sound waves to the listener
should be as short as possible to reduce sound energy loss. Unamplified speech from source
to listener has a range of about 9 to 12m beyond which sound intensity (SI) is poor. If the
distance is larger than 12m, then sound enforcement must be used. Seat positions should fall
within 140° from the position of the speaker to preserve high frequency sounds.
Figure 2.7.3: The diagram shows the direct sound travel distance and sound path in two position, if the speaker stands at platform, he/she
must use the sound reinforcement because the sound travel distance is larger than 12m.

26. 26
C. Design Suggestions
The sittings are generally placed at a terraced form arrangement where the seats are installed
on a stepped floor surface which also functions as a staircase in the aisles. The cushion of the
sittings are fabricated with textured stitched fabric cloth which is one of the implementations
method used to enhance the sound absorption.
Figure 2.7.4: The diagram illustrates the typical elevations of the upholstered sittings implemented within
the experimental theatre.
Figure 2.7.5: The diagrams above illustrates the typical components for a portable stadia upholstered sittings.

27. 27
Sound reflection
Speakers
Direct sound path
Sound diffusion and dispersion
Sound diffraction and bent
Figure 2.8.1: Plan indicating sound source, sound path, sound receiver.
2.8 Speakers
The sound reinforcement is done by installing speakers. Sound amplification system is used
to reinforce the sound level when the sound source is too weak to be heard. The system is
also used to minimize sound reverberation.

28. 28
Figure 2.8.2: Compact 3-way
symmetrical line array module
speakers
Figure 2.8.3: 2-way
compact versatile full range
system speaker
Figure 2.8.4: Sensor
controlled subwoofer
The experiential theatre uses two kinds of speakers,
i. compact 3-way symmetrical line array module speakers
ii. 2-way compact versatile full range system speakers
The 2-way compact versatile full range speakers are located around the central part of the
theatre. To achieve a more balanced sound throughout the theatre, compact 3-way
symmetrical line array module speakers are used. This provides a point source with a flexible
coverage of sound. Array ability allows additional sound pressure and further dispersion
options. Sensor controlled subwoofers were added to the overall system to provide better
sound quality for low frequency sounds.
Problems associated with the loudspeaker system:
1. Audience will hear two sounds, arriving at two separate times. The ideal difference
shall not be more than 1/30 seconds.
2. When the speaker is placed halfway down the auditorium, the audience might hear the
sound from the loudspeaker first, followed by the direct sound as a faint echo. This
problem could be solved by adding a delayed mechanism in the loudspeakers.
3. If the distance of the speaker is far from the audience, sound attenuation might occur,
the sound path is affected which reduces the intelligibility.

29. 29
3.0 Noise Intrusion / Interference
Noise is considered a subjective object to be studied as different scenes, annoyance caused
to a person may be varied due to vary acceptance level or expectations during different times.
In terms of this foundation, we may tell that noise is not one dimension object to be studied.
In order to understand the potential noise and true noise to the auditorium and their effects
towards the activities within the hall, we first proceed the noise study by analyzing the
relationship among sound source, sound path and receiver.
3.1 Sound Source
Vary sources of noise may result in different amount of disturbance and effects. As it is
determined by the distance between the source and the activity, or its interference level to the
desirable sounds. Thus, sound source is categorized into three different types to further
compare their bad effects towards the hall activity.
▪ Occupant activity
▪ Operation of building/ M&E services
▪ Environmental sound produced outside a building
A. Occupant | Activity, behaviors
One of the most influential factor of noise source is by the occupants during an event. For
instances, footsteps and slammed doors are considered short of its time of occurrence,
however it might cause certain level of annoyance as it exceeds most of the audiences’
acceptance towards noise during a performance. Secondly, cultural level of the community
may also determine their behaviors while dealing with different types of scenes. Those who
was educated to appreciate a performance in contrast to those who are not familiar with the
culture of appreciating one performance may behave differently.
Sound Source Sound Path Receiver
Diagram 3.2: People who act rude during the
performance.
Diagram 3.1: People who act softly during the
performance.

30. 30
As for our case, the seating prepared for the audience is portable type which allows the
auditorium to transform to another form of usage after removing the seating. Due to this
function, the light material such as aluminum joint and the platform that used to build the
seating easily makes noise while adjusting the position, or moving to the seat, the hollowness
under the seating also forms a great space for the reverberant of the noise of foot stepping.
This will end up with annoying noise if the audiences could not settle down themselves and
keep adjusting position, or those would want to excuse themselves during a performance.
This factor might not be controlled most of the time, as we could not select occupants of the
hall, but it can be reduced and controlled by certain methods (which will be discussed in the
following sections) since this type of noise will cause serious disturbance to one performance.
B. Operation of building | Mechanical and engineering services
The scale of the auditorium, arrangement and organization are the main factors which
determines the types of services applied within the hall. As an experimental theatre that is
mainly built for small scale performances or practices might not be equipped with the best
grade of sound absorbent panel and also, their distance between the stage and services are
relatively short compare to a large scale auditorium which will then make the activity within the
experimental theatre to be easily effected by the machines noise such as air condition and
lighting equipment.
As for this scenario, the air conditional service room is located at the backstage, as high as
the fly tower level. This service room was constructed with solid brick wall which absorbs 40
dB of noise passing through the wall. It is located 10 meters apart from the center of the
performing area, which might not far enough to distance the activity area from the noise,
however actions are being taken in order to reduce sound interferences, for instance, a few
layers of soft textile curtain has been added to shield the backstage and also sound absorbent
panels on the ceiling are dedicated to reduce the noise.
Of solid brick wall, SRI = 10 log10 (1/Tb), Tb = 0.0001 In general
SRI = 10 log10 (1/0.0001)
SRI = 40 dB
Diagram 3.3: Seating within the theatre. Diagram 3.4: (i) Parquet flooring (ii) Aluminum joint
(iii) Hollow coin-tiled platform

31. 31
C. Environmental sound | External noise and interferences
The distance between two buildings and their properties of amenities may result in various
effects towards the activity within. Looking into this, the theatre is mainly surrounded with
secondary space, such as the lobby and entry foyers, dressers, offices etc. The whole building
is an independent structure, while it is close to the neighboring blocks within the campus and
also the plaza and open spaces. Some of the students would utilize the plaza to practice
musical instruments.
On the other hand, there are two flanking aisles right next to the auditorium which acts as a
circulation access to the backstage, fenestrated with double glazed windows while indirectly
serving as noise barriers to shield the interior of the theatre from the surrounding unwanted
noise. Due to these properties and parallel settings of the walls, the sound produced from the
exterior plaza or adjacent building blocks’ corridors forms unwanted and unpleasant noise
towards the theatre as it is firstly penetrates through the glazed windows into the aisles, and
being enhanced and amplified due to the presence of parallel walls and hence affecting the
reverberant time between the parallel walls.
Textile curtain
Location of Air-conditional room
Distance from air-con room to
center of performing area
Diagram 3.6: Plan showing the location of the
aisles
Side aisles
Diagram 3.7: Effect of parallel walls
Noise source
Source Reflected sound
Diagram 3.5: Plan illustrating the said specifics.

32. 32
3.2 Sound Path
It is essential to understand the transmission methods of sound before looking into noise
control actions. Noise that people received, or sound in general, is a combination of sound
from different paths. One of the path being airborne while the other is structure borne and by
which both of them combine to determine the total sound received.
A. Air borne noise | Sound transmitted from air
This type of noise are transmitted through air from its source, and can be controlled by
increasing the sealing level of the site, such as closing the windows and doors (fenestrations).
As in ASWARA experimental theatre, the main source of air borne noise comes from its
surrounding, which is produced via activities being carried out in public spaces within the
campus. Given that the noise source is from one open space, which is the plaza or corridor
just right outside of the theatre, the noise level of the reverberant sound is considered to be
fully transmitted and much of which contributing to the total noise level of the hall.
B. Structure borne noise | Sound transmitted through a solid medium
The said noise are sound energy emitted from the source which are transmitted directly
through structure and being reradiated from building elements such as walls, slabs, and panels
which will eventually reach the recipients as airborne sound. It can be transmitted over long
distances through vibrations from rigidly connected sound sources to other elements, and
having said that hence, just by improving the common walls or floors might not be a sufficient
solution to reduce the noise level significantly. In this scenario, the main performing area in
the theatre is treated with rubber mats, not only for a better grip for performers, but also to
reduce the impact of sound produced via footsteps. However, this treatment is not sufficient
to significantly reduce the effects of unwanted sounds produced by mechanical services and
machines directed towards the hall.
Airborne
Structure
borne
Total
Sound
Diagram 3.8: Rubber mat treatment for parquet floorings

33. 33
C. Receiver
In an acoustical aspect, the receiver might not necessarily be persons but also the different
interior spaces within the building. Discussing about the interior of the theatre, the external
unwanted noise is produced from the flanking two aisles, which will then transmit to the main
hall via the walls. As for the main theatre, the noise is subjected to two main user groups,
which are the performers and also the audiences. Other user groups are negligible in this case.
D. Noise Intrusion
Mitigation of increasing levels of low-frequency noise (LFN) pollution requires more and better
acoustical insulation of buildings. In ASWARA theatre itself, windows (and fenestrations) are
usually the components most conducive and more prone to sound transmission, especially at
low frequencies. The highest level of noise intrusion sourced from the aisles flanking the 2
sides of the theatre, followed by the backstage and also entrances and foyers.
Diagram 3.9: Diagram illustrating the mentioned components of the aisles (RED), entrances and foyers
(GREEN) and also the backstage spaces (YELLOW).

34. 34
ENTRANCES & FOYERS AISLES
BACKSTAGE
Diagram 3.10: Diagram illustrating a 3D interior scene of the theatre which indicates the intensity of sound
intrusions source directed towards the theatre.
High
Moderate
Low
Moderate
Moderate
Low
Low
Moderate
Low

35. 35
I. Aisles as a major sound intrusion (High Intensity Sound Intrusion)
Noise
Source
Casement
Window
1
2
1. Incident Sound
2. Reflected Sound
Noise
Source Wall as
Acoustic
Barrier
Absorbed
Section B-B’
Path illustrating the reverberation of sound
AISLE
Flat Surface
(Plaster Wall)
BB
A A
Section A-A’
Flutter Echo
Caused By
Repetitive
Reflections of
Parallel Hard
Surfaces
Plaster wall which separate the sidewalk from
the auditorium acts as noise barriers which
either absorb or reflecting noise back across
the room. However, a barrier without any added
absorptive treatment is by default reflective.
Sound reflected between reflective parallel
barriers causes multiple sound reflections
which may degrade the wall barrier’s
performances.
A small enclosed room with a hard floor is
common to produce flutter echo. It is a series of
rapid, repeated reflections caused by
soundwaves bouncing around between parallel
reflective surfaces.
In an enclosed space such as the flanking
aisles, noise travels from the exterior and
enters the space which is then magnified by the
two flat parallel plaster wall as hard surfaces
reflect most of the incident sound energy in a
uniform manner.

36. 36
II. Backstage spaces (Moderate Intensity Sound Intrusion)
The backstage spaces such as the corridors, dressers and the loading bay are observed as
being a moderate intensity sound intrusion space and medium directed towards the interior of
the theatre. Despite the fact that much activities are being carried out within the backstage
spaces, but still it still only produce moderate intensity of noise intrusion as compared to the
flanking aisles due to the following existing implementations to curb with sound intrusions.
Acoustical drapery is a good option in order to enhance the effect of sound absorption and
where a standard 1” or 2” thick wall panels are sufficient in order to minimize sound intrusion
intensity. It filters noise intrusion from the casement window located at the backstage by
absorbing part of the noise. The acoustic curtain material is thick and is observed to be highly
porous as thousands of these pores act as tiny sound traps, capturing the sound energy and
turning it into heat.
Drapery
Diagram 3.11: Diagram of plan showing the use of drapery within the theatre.
Diagram 3.12: Image illustrating the onsite condition of how the sound
absorbent curtains are being implemented within the area near the stage and
performance area, separating the backstage and the main theatre.

37. 37
III. Entrances and foyers (Low Intensity Sound Intrusion)
It is understood and obvious that a single door cannot provide sufficient isolation of sound
intrusion for the theatre. Thus, a sound and light locks are essential for all entry points
surrounding the theatre. In ASWARA experimental theatre, the distance between the two sets
of doors are 2350mm, which forms a small vestibule. However, the surfaces within the sound
and light lock are just plain plaster wall. It is also observed that the entry doors are defective
which produce unwanted latching noise.
Additional acoustical tile for the ceiling and carpet on the floor would have increase the
effectiveness to reduce noise intrusions. The inner door should be designed without any
latching or panic hardware so as to reduce latching noise when in use while only the outer
doors should be implemented with latching and panic hardware. However in ASWARA, both
inner and outer door consists of latching and panic hardware. Accuracy in installation of the
frame and door leaf, as well as the seals, are critical to the proper function of the sound seals.
The specification must give tight tolerances and means to inspect and enforce those
tolerances at various steps in the process.
Diagram 3.13: Image illustrating the onsite condition of the sound lock with doors being either
defective or both equipped with latching and panic hardware which are one of the major
contributors to sound intrusions being produced at the entry and foyer points.

38. 38
The thickness of sound lock doors in ASWARA theatre are 50mm thick solid core timber door
where wood is required for acoustic reasons. Recommended properties of sound lock door
are as follows:
1. Minimum door thickness of 57mm.
2. High density solid wood core (56kg/m2 face density).
3. Door frame of 14 gage steel, or in solid wood frames as determined by the Architect.
Stop molding set in bed of sealant and screwed to frame.
4. Use wire stirrup type frame jamb anchors for grout filled frames (T-strap type blocks
the grout).
5. Door height and door bottom to be coordinated to ensure positive, light-tight seal
against floor. Doors cut too short must be replaced. Size door for 9mm clearance
between bottom of door and top of threshold (this is less than normal, but is required
for door bottom seals to work properly).
6. Airborne sound insulation performance of RA ≥ 39 dB(A).
Diagram 3.14: Diagram illustrating the sound lock of ASWARA
experimental theatre and its dimension as stated.

39. 39
3.3 Noise control action
To control the reverberation time, acoustic absorption is one of the main solution to manage
the room acoustics. In the ASWARA experimental theatre, the walls are equipped with
acoustical absorption panels which reduce the amount of noise reflecting back into the space
from the hard surfaces enclosing it. Wooden parquet floorings which induce large noise during
the movement of occupants are treated with resilient underlay (rubber mats), which has a
similar effect to carpets and pads. Whist two aisles adjacent to the hall and backstage passage
are designed intended to act as noise buffers from the surroundings. To reduce sound
reflection in a vertical direction, suspended ceiling system with wool panel is one of the solution
to control either the noise or the reverberation time of musical instruments.
Diagram 3.16: Acoustic absorption panel
Diagram 3.15: Plan illustrating the circulation path within the
theatre.
Corridor Aisles
Diagram 3.17: Image illustrating one part of the
ceiling system used within the theatre.

40. 40
A. Noise control methods
Generally, noise impacts can be reduced and controlled with structural methods and other
treatments. One of the four structural methods are site planning, architectural design,
construction methods, and barrier constructions.
1. Acoustical site design uses the arrangement of buildings on a tract of land to minimize
noise impacts by capitalizing on the site’s natural shape and contours.
2. Acoustical architectural design incorporates noise reducing concepts in the details of
individual buildings.
3. Acoustical construction involves the use of building materials and techniques to reduce
noise transmission through walls, windows, doors, ceilings, and floors.
4. Noise barriers can be erected between noise sources and noise-sensitive areas.
These physical techniques vary widely in their noise reduction characteristics, costs, and their
applicability to specific locations and conditions within a theatre. However, these methods are
only allowed to apply during the planning and constructing phases. As in our case, further
treatments and actions should be taken as it is not economically efficient to modify its structural
components which are already currently existing within the experimental theatre.
I. Airborne transmitted sound
The amount of airborne sound in the space can be reduced through the implementation of
acoustical absorption where sound absorption panels within the aisles are implemented as it
may reduce the amount of sound transmitting into the hall from adjacent space through the
building fabric, and which might also be cost-friendlier than by eliminating the gaps that permit
direct transmission.

41. 41
II. Structural transmitted sound
In terms of structure borne sound, the noise can be controlled by upgrading the walls of the
aisles. Since the walls of passageways are parallel to each other, hence it is recommended to
have a layer of insulation panel on their surfaces to reduce the resonance which generates
reverberation and reflections which are one of the main cause of echoes.
Even though the floorings are treated with resilient underlay, that thin layer is not sufficient to
control the noise of footsteps and movements around the interior space. Several layers are
needed to achieve the desired and intended sound-proofing level. This could be done through
the implementations of acoustic mats, acoustic underlayment and then only followed by the
existing rubber mats.
Built wall
50–75mm stud work
19mm acoustic plasterboard
12.5mm acoustic plasterboard
Resilient bar
50-100mm acoustic mineral wool
infilled between battens
Min. 10mm gap
Diagram 3.18: Section of Wall that illustrated sound insulation treatment
Carpet / Rubber mats
Acoustic underlayment
Acoustic mat
Wood parquet floorings
Diagram 3.19: Diagram illustrating sound insulation treatment for flooring.

42. 42
4.0 Reverberation Time (RT) on Acoustics
Reverberation Time (RT) at 500Hz.
An octave band of 500 Hz has been chosen due to its suitability of frequency range catering
towards the
The reverberation timer of space refer to the time take for the sound energy to dissipate.
Reverberation time is used to calculate and determine how well a space can function for it
intended use. A reverberation will occur when a sound is reflected. Different material has
different acoustical absorption coefficient in different frequencies. The table below shows the
total sound absorption at 500Hz within the interior of ASWARA experimental theatre.
A= S1a1 + S2a2 + S3a3 + …… Snan
Where, S = surface area of material
a = absorption coefficient of material
RT = (T x V) / A
Where, T = Reverberation time in seconds = 0.16s
V = Volume of space
a = Total room absorption

43. 43
4.1 Reverberation Time in Flanking Aisles
TABLE OF FURNISHINGS
Surface
Area
(m²)
500Hz
Abs.
Coefficient Abs. Units (m² sabins)
Ceiling
Plasterboard 50mm 84.20 0.10 8.42
Fiberglass Ceiling Tiles 50mm 184.45 0.75 138.34
Wall
Fabric Acoustic Panel
100mm airspace with
fiberglass 100.57 0.06 6.03
Polyurethane Foam 50mm 4.50 0.49 2.21
MDF Board 13mm, 50mm airspace 22.40 0.37 8.29
Concrete/ brick Plain 206.00 0.03 6.18
Curtain Medium weight, folded 57.37 0.40 22.95
Flooring
Parquet Flooring 54.24 0.07 3.80
Rubber Mat 6mm 245.00 0.05 12.25
PVC Floor Coin
Flooring 30mm 117.81 0.08 9.42
Piles Carpet Tiles Thin, felt over concrete 22.33 0.25 5.58
Concrete unpainted, rough finish 21.31 0.05 1.07
Special
Occupants 300.00 0.46 138.00
Cloth-upholstered
Seats 96.00 0.77 73.92
Total Absorption (A) 436.45
Total Volume of Auditorium 2330
RT = 0.16 V/A
= 0.16 (2330/436.45)
= 0.85
Therefore, the reverberation time for the main hall is 0.85. This shows that the materials within
hall are good absorbers. Sound does not linger within the hall for long, as such, lesser echoes
are heard and there is a lesser overlap of different sounds. However, this makes the hall less
suitable for speech and orchestra as sound is diminished too quickly as it bounces of the
surfaces within the hall.

44. 44
4.2 Reverberation Time in Flanking Aisles
RT = 0.16V/A
= 0.16 (56.655) / 3.58
= 2.5321
Therefore, the reverberation time for the sidewalk hall is 2.5321 second. This proves that the
entire surface that surrounds the sidewalk are poor absorber. Sound will linger within the
enclosed space and begin to overlap with new sounds being made, thus creating an
unintelligible mixture of sound.
Surface Area
(m2)
500 Hz
Absorption
Coefficient
Abs. units
(m2 sabins)
Wall
(plaster on brick)
103.068 0.02 2.0614
Ceiling
(plaster)
18.885 0.02 0.3777
Floor
(Concrete)
18.885 0.02 0.3777
Glass
(4mm, in window)
7.632 0.1 0.7632
Total absorption (A) 3.58
Sidewalk Section
Wall Area = 14.55 x 3m
= 43.65m
Window Area = 3 (1.2 x 2.12)
= 7.632m
Total Wall Area 1 = 43.65 – 7.632
= 36.018m2
Wall Area 2, 3, 4, 5, 6 = (1.05 + 13.4 + 2.85 + 1.15 + 3.9) m x 3m
= 67.05m2
1
2
3
4
5
6
Total Wall Area of enclosed space = 36.018m2 + 67.05m2
= 103.068m2
Total Vol. = 18.885 x 3m height
= 56.655m2

45. 45
5.0 Lightings & Layout plan
Light is defined as the electromagnet radiation with wavelengths between 380 and 750mm
which is visible to the human eyes. Light is one of the most important factor in the appreciation
and understanding of architecture is grounded in the principles of physics. The quality of
lighting in a space defines its character and creates impressions. Apart from that, light, heat,
air movement and comfort are the key factor in determining a building’s energy consumption.
Figure 5.1: Diagram showing the lighting plan within the experiential theatre
LEGEND
Yellow ceiling down lights
Ceiling down lights
Recessed lightings
Fresnel spotlights
Parabolic aluminized reflector spotlight (PAR)

46. 46
The interior of the experimental theatre is mainly illuminated by general lightings, task lightings
and also accent lightings. The theatrical mood is also further enhanced with the
implementations of stage lightings which are the some of the few noted within the lighting plan
above.
Categories
of
lightings
Description
General
lightings
Provides an area with overall illumination which is also known as ambient
lighting. General lighting radiates a comfortable level of brightness, enabling
one to see and walk about safely within a space. It is considered one of the
easiest way and a basic form of lighting that replaces sunlight and hence
considered to be a fundamental existence to a lighting plan.
Task
lightings
This particular type of lighting helps you perform specific tasks such as
performances, control room, a particular area within an office space etc.
Task lighting should also be free of distracting glare and shadows and
should be bright enough to prevent eyestrain.
Accent
lightings
This lighting adds drama and a scene a room or an interior space by
creating visual interest and serve usually as a part of a decorating scheme.
Accent lighting usually requires at least three times a much light on the focal
point as compared to the general lighting around it.
Specifications and descriptions of the types of lightings used within the experiential
hall:
Images
of
lightings used
Type of Light Light
Effect
Description
Fresnel spotlight
Artificial light Sharp &
yellow
Produce a luminescent effect which
makes the stage more appealing. It
gives emphasis onto particular
scenes that needs to be emphasized
since it is using spotlight.
Ceiling down light
Artificial light Warm &
yellow
A small direct-lighting unit, usually
recessed in the ceiling and
directing light downward only.

47. 47
Parabolic
aluminized
reflector light (PAR)
Artificial light Sharp &
varies in
colors
Enables in providing a voluminous
amount of brightness in the area and
creating a great source of
illumination.
LED yellow strip
light (used as
recessed lighting)
Artificial light Warm &
yellow
This particular type of lighting is
usually completed with a row of
beams of lights that aids in
achieving an interesting mood and
interior ambiance. It is usually
recessed within the ceiling of the
interior space or being used as a
wall washer.
Tripod spotlight
Artificial light Sharp &
varies in
colors
Light source that focuses on a
particular object or person. It can
also contracts and expand the
brightness of the beam in regards to
what it is required to do on stage
and aids in stage lightings.

48. 48
6.0 C o n c l u s i o n
In conclusion, the hall’s function to be multipurpose is insufficient based on its acoustic design
which affects other forms or performance and speech. Currently, the hall is only suitable for
dance performances due to its large open floor surrounded by seats. As for the sound, sound
amplification is a must within the hall as the hall is not designed well with a very low
reverberation time of 0.85 seconds. Most of sound waves are absorped by the acoustic
materials. Hence, to allow the hall to carry out multipurpose events, the hall has to be changed
slightly based on the suggestions and recommendations in this report to further improve the
hall.

49. 49
7.0 A p p e n d i x
Figure 7.1: Wide view of the Experimental Theatre with the dance area in the middle
Figure 7.2: View towards the area concealed by the suspended ceilings that contain the sky tower along with other speakers
and lightings

50. 50
Figure 7.3: A view towards the make-shift seats with coin plastered rubber mat flooring
Figure 7.4: Side view of the walls that covered with acoustic wall panels and MDF boards

51. 51
8.0 R e f e r e n c e s
1. Reflection, Refraction, and Diffraction. (n.d.). Retrieved April 25, 2017, from
http://www.physicsclassroom.com/class/sound/Lesson-3/Reflection,-Refraction,-and-
Diffraction
2. Soundsorb « Malaysia Acoustic Ceiling And Wall Panel – E-acoustic Sdn. Bhd. (n.d.).
Retrieved April 26, 2017, from http://www.eacoustic.com.my/our-products/soundsorb/
3. AlphaPyramid® Foam. (n.d.). Retrieved April 29, 2017, from
https://acousticalsolutions.com/product/alphapyramid-acoustic-foam/
4. Traditional Pyramid Acoustical Foam. (n.d.). Retrieved April 29, 2017, from
http://www.acousticsfirst.com/acoustical-foam-poly-urethane-pyramid.htm
5. Glasswool (Fiberglass Insulation). (n.d.). Retrieved April 29, 2017, from
http://www.natindco.in/insualting-products/glasswool
6. Studio 54 Fabric. (n.d.). Retrieved April 29, 2017, from https://fabricmate.com/fabric/studio-
54-fabric
7. Customer, V., & Harover, A. (2017, January 19). Guilford of Maine Anchorage Fabric.
Retrieved April 29, 2017, from https://acousticalsolutions.com/product/guilford-maine-
anchorage-acoustic-fabric/
8. Joe Albano on Mar 29, 2015 in Recording & Production 0 comments. (n.d.). Studio Acoustics,
Part 4: Reflections II: Flutter Echoes & Ambience. Retrieved April 28, 2017, from
https://ask.audio/articles/studio-acoustics-part-4-reflections-ii-flutter-echoes-ambience
9. January 8, 2012 · by AcousticsFREQ · in Home Theater Acoustics, Recording Studios, The
Traditional/Classical Worship Space. (n.d.). Sound-Absorbing Drapery: Theory & Application.
Retrieved April 29, 2017, from http://acousticsfreq.com/sound-control-acoustic-curtain/
10. Sound Tranmission and Flooring Types. (2010, March 26). Retrieved April 30, 2017, from
https://www.builddirect.com/learning-center/home-improvement-info/sound-transmission/
11. Acoustic Project Company (2003). Absorption Coefficient. Absorption Coefficient Data, 1-8.
Retrieved April 30, 2017.
12. Acoustical Information. (n.d.). Alpro Acoustic Test, 1-10. Retrieved April 30, 2017. Scottish
Government, St. Andrew's House. (2005, April 08). Scottish Government. Retrieved April 30,
2017, from http://www.gov.scot/Publications/2005/03/20901/55206 Ji Choi, Y., Up Jeong, D.,
& Bradley, J. S. (2013). The effects of occupancy on theatre chair absorption characteristics.
International Symposium on Room Acoustics, 1-6. Retrieved April 30, 2017.