Building Science Auditorium Report

BACHELOR OF SCIENCE (HONS) IN ARCHITECTURE
BUILDING SCIENCE II (BLD 61303)
PROJECT 1 : CASE STUDY ON ACOUSTIC DESIGN
SUBMISSION : 5TH AUGUST 2017
SHANTANAND AUDITORIUM
PREPARED BY
TUTOR : MR. EDWIN CHAN
NAME ID NUMBER
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
0319595
0320460
0324525
0321469
0325883
0319674
0320137
0325230

TABLE OF CONTENT
CONTENT PAGE
1.0 INTRODUCTION
1.1 AIM AND OBJECTIVE
1.2 BACKGROUND OF SITE
1.3 HISTORY
1.4 PHOTOS
1.5 DRAWINGS
2.0 ACOUSTICS AND ARCHITECTURE
2.1 LITERATURE REVIEW
2.2 METHODOLOGY
3.0 ACOUSTIC DESIGN ANALYSIS
3.1 SOUND REINFORCEMENT SYSTEM
3.2 SOUND CONCENTRATION
3.3 SOUND SHADOW
3.4 SOUND REFLECTION AND SOUND TRANSMISSION
3. 5 FLUTTER ECHOES AND SOUND DELAY
3.6 NOISE INTRUSION
3.7 MATERIALITY & SOUND ABSORPTION COEFFICIENT
3.8 CALCULATION - REVERBERATION TIME
3.9 DESIGN CONSIDERATION AND SUGGESTIONS
4.0 CONCLUSION
5.0 REFERENCES
1
2
3
4
7
11
12
14
17
18
23
24
25
28
33
47
54
56
58
60

1.1 AIM AND OBJECTIVE
In this project, our aim and objectives are :
1. To produce an in-depth acoustic design analysis of our chosen auditorium, and the effectiveness that contribute to the acoustic quality of Shantanand auditorium,
2. To study and analyse the characteristics of acoustic auditorium and suggest way(s) to improve the acoustic qualities within the space,
3. To generate a documentation report based on the researched datas and on-site analysis that are able to show the relationship between acoustical design with space.
Name of auditorium: Shantanand auditorium
Location: 114-116, Jalan Berhala, Brickfields, Kuala Lumpur
Type of auditorium: Community auditorium
Year of completion: 2011
Total Volume: 8769m3
Total seats: 618
Description:
The building that we have selected is The Temple of Fine
Arts in Kuala Lumpur. It is known to be the main centre for
learning classical Indian music in Malaysia. It is located at
Brickfields also known as Little India of Kuala Lumpur.
1.2 SITE INTRODUCTION
Figure 1.2.1 Key plan showing the location of Temple of fine arts at Brickfields,
Kuala Lumpur.
2

DESCRIPTION:
Temple of fine arts are well-known as the cultural performance stage at Shantanand auditorium. The
auditorium has fullfill the needs of acoustical design and treatment without significant live and dead
spot. Hence, it is able to provide ultimate sound quality throughout the whole auditorium. The
purpose of this auditorium are normally for lavish and polished musical production such as, dance
dramas, vocal music, acting and so on. The hall itself has built-up area of 8769m3
. It can
accommodate up to 618 people in which the main hall provides a number of 400 capacity followed by
218 addition capacity at the first floor balcony. Besides, addition of 100 extra seats could be arranged
in the auditorium when it is needed.
The founder of Temple of fine arts, His Holiness Swami Shantanand Sawaswathi, aimed to
provide a platform for Malaysian Youth to show their appreciation towards cultural, artistic and
spiritual wealth. Besides, Shantanand Auditorium provides an avenue for cross-cultural initiatives for
different races in Malaysia. The auditorium was named after Swamiji as an inspiration which signifies
and continuity presence and guidance. From His Holiness Swami Shantanand Sawaswathi. The
auditorium aimed known as ‘Heartspace for creating. Expression’ to promote the beauty of Indian
arts and performances that allow youngster to get involve of Indian dance and learn to appreciate the
beauty of art.It is soft launced in January 2011 and official launching by the honourable Prime
Minister on 4th of July 2011.
1.3 HISTORY
Figure 1.2.2 Three-storey building of temple of fine arts
at Jalan Brickfields.
Figure 1.3.1 Shantanand auditorium became choice of
venue for art performing.
3
1.2 SITE INTRODUCTION

1.4 PHOTOS
Figure 1.4..1 Shantanand auditorium portray a sense of classic and
elegant with lighting
Figure 1.4..3 The stage of Shantanand auditorium is made up timber
flooring with rubber finishes
Figure 1.4..2 Shantanand auditorium illustrates a sense of humbleness
without complete lighting
Figure 1.4.4 Curtain provides a sense of mystery and initiate the
excitement of the audience towards the performances
4

1.4 PHOTOS
Figure 1.4.6 Panorama view showing the seating and balcony of Shantanand auditorium
Figure 1.4.5 Side view of Shantanand auditorium with two different leveling
5

1.4 PHOTOS
Figure 1.4.6 Shantanand auditorium has 2 main
entrance at both side which provides a narrow
passage for the audience to access to the
auditorium
Figure 1.4.7 The convex reflective ceiling with 4
meter height enhances the entirety of the
auditorium which provides a better visuality for
performer and audiences
Figure 1.4.8 Flying tower illustrates a linear
visuality for aesthetic appearance
6

1.5 DRAWINGS - PLAN
GROUND FLOOR PLAN
Scale 1:200
7

1.5 DRAWINGS - PLAN
FIRST FLOOR PLAN (BALCONY)
Scale 1:200
8

1.5 REFLECTED CEILING PLAN
REFLECTED CEILING PLAN
Scale 1:200
9

1.5 DRAWINGS - SECTION
SECTION
Scale 1:150
10

2.0 ACOUSTIC AND ARCHITECTURE
11

2.1.1 ACOUSTIC IN ARCHITECTURE
Acoustics is defined as the science that deals with the production, control, transmission, reception, and effects of sound. Sound can be defined as vibrations that travel
through elastic mediums like gases, liquid (air, water) or any solid, physical object that can return to its normal state after being deflected.
Sound can be reflected, absorbed, transmitted and diffracted. A sound wave is a longitudinal wave where particles of the medium are temporarily displaced in a direction
parallel to 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.
Acoustics in the built environment is normally evaluated on noise curve and reverberation time (RT). By employing sound absorption materials as wall and ceiling
cladding, the desired 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.
2.1.2 SOUND INTENSITY LEVEL (SIL)
Sound energy is conveyed to our ears (or instruments) by means of a wave motion through some elastic medium (gas, liquid, or solid). At any given point in the medium,
the energy content of the wave disturbance varies as well as the square of the amplitude of the wave motion. That said, if the amplitude of the oscillation is doubled, the
energy of the wave motion is quadrupled.
Sound intensity also known as acoustic intensity is defined as the power carried by sound waves per unit area. The SI unit of intensity, which includes sound intensity, is
the watt per square meter (W/m2
). One application is the noise measurement of sound intensity in the air at a listener's location as a sound energy quantity.
Normally sound intensity is measured as a relative ratio to some standard intensity. The response of the human ear to sound waves closely follows a logarithmic function
of the form “R = k logl”, where “R” is the response to a sound that has a intensity of “I”, and “k” is the constant of proportionality.
12

Thus, we define the relative sound intensity level as
SL (dB) = 10 log I Io
The unit of SL is called a “decibel” (abbreviated as dB). “I” is the intensity of sound expressed in the watts per meter and the “Io” is the reference intensity defined to be
10-12 W/m2
. This value of “Io” is the threshold (minimum sound intensity) of hearing at 1 kHz, for a young person under the best circumstances. Notice that “I/Io” is a
unitless ratio, the intensities need only to be expressed in the same units.
2.1.3 REVERBERATION, ATTENUATION, ECHOES AND SOUND SHADOW
Sound reverberation is the persistence of sound reflection after the source of the sound had ceased. Reverberation is the sound that persists in an enclosed space due to
multiple reflections, even after the source of the sound has stopped. Reverberation is an important parameter for describing speech intelligibility and the perception of
music and is used to correct or normalise sound insulation and sound power measurements. For example, specifying highly reflective ceiling panels directly above the
stage area in the auditorium will help direct the sound towards specific seating area, thus enhancing the room’s acoustical performance. However, the same reflective
performance will become a negative factor, if said highly reflective walls and ceiling materials are installed in the rear of the auditorium. That’s because the sound of
reflections from the rear of the room take too long to reach the audience, resulting in a distracting echo effect.
When sound travels through a medium, its intensity diminishes with distance. In idealized materials, sound pressure (signal amplitude) is only reduced by the spreading
of the wave. Natural materials, however, all produce an effect which further weakens the sound. This further weakening results from scattering and absorption. Scattering
is the reflection of the sound in directions other than its original direction of propagation. Absorption is the conversion of the sound energy to other forms of energy. The
combined effect of scattering and absorption is called attenuation.
An acoustic shadow or sound shadow is an area through which sound waves fail to propagate, due to topographical obstructions or disruption of the waves via
phenomena such as wind currents, buildings, or sound barriers. A short distance acoustic shadow occurs behind a building or a sound barrier. The sound from a source is
shielded by the obstruction. Due to diffraction around the object, it will not be completely silent in the sound shadow. The amplitude of the sound can be reduced
considerably however, depending on the additional distance the sound has to travel between source and receiver.
Sound reflection occurs when sound waves bounce off smooth, hard wall, ceiling and floor surfaces. Concave surfaces tend to concentrate or focus reflected sound in one
area. Convex surfaces do just the opposite; they tend to disperse sound in multiple directions.
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SOUND LEVEL METER
2.2 METHODOLOGY
The sound level meter is used to measure and record noise level precisely. It calculates the pressure caused by sound waves travelling through the air from noise sources.
The unit of measurement of sound intensity is in decibels (dBA) which reflect the frequency-dependent nature of human hearing at low sound levels.
Figure 2.2.1: Sound Level
Meter
Loudness of Musical Noise
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DIGITAL CAMERA
Digital cameras were used to capture photos of the existing context within our auditorium in order for us to refer back and analyse the noise intrusions, acoustics
finishings used to absorb unwanted sound, reflection sound concentration, sound absorption, sound reverberation time and etc.
MEASURING DEVICES
Measuring tapes and laser distance measurer were used to measure and record the reading of the dimension of our auditorium for drawings and calculation purpose. It
was used to measure the distance of the sound level meter from the sound source when taking the sound levels.
2.2 METHODOLOGY
Figure 2.2.2
Digital camera
Figure 2.2.4 Laser
Distance Measurer
Figure 2.2.3 Measuring
tape
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BLUETOOTH SPEAKER
It is used to present the acoustic performance of the auditorium. A constant sound in terms of volume and frequency at a single point was released as sound level and the
readings were taken from various distance.
DATA COLLECTING METHOD
There was a rehearsal on our site visit day. Therefore, we assumed that the auditorium is having a formal performance and we analysed the acoustic performance of the
auditorium during performance. By using the equipment above, we had recorded every necessary detail of the auditorium which included its layout and form, sound
sources, types of furniture, finishings, materials and etc. All the readings were taken for drawing and calculation purposes. On-side sketches for the floor plans and
sections were also taken for further analysis on acoustic performance of this auditorium.
2.2 METHODOLOGY
Figure 2.2.5 Bluetooth speaker
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3.0 ACOUSTIC DESIGN ANALYSIS
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3.1.1 TYPE OF SPEAKERS
The experiential auditorium uses two kinds of speakers
i) Compact 3 way symmetrical line array module speakers
ii) 2 watt compact versatile full range system speakers
Compact 3-way symmetrical line array
module speakers
- Provides a point source with a
flexible coverage of sound.
- Its ability is allow additional sound
pressure and further dispersion
option
Sensor controlled subwoofer
- Sensor controlled subwoofers
were added to the system to
provide better sound quality
for low frequency
2- way compact versatile full range system
speaker
- Located around the central part of the
theatre. To achieve a more balanced sound
throughout the theatre
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SINGLE SPEAKER CABINET
Single Speaker Cabinet ultimately reproduces tone as sound waves in the air - which reaches the listener ear, or a studio microphone
There are 2 speakers cabinet placed at the bellow front of the stage . The speaker are placed elevated on stage platform so that the high frequencies project over the
heads of the audience members closest to the stage. Both speakers are placed to the each side of the stage to produce wider sound waves in the auditorium.
Figure 3.1.1.1 shows speaker cabinet position in auditorium plan
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STAGE MONITOR SPEAKER
A stage monitor is a type of speaker used on stage in auditorium and halls were located front stage. Accurate audio reproduction is crucial. These speakers help
amplify the sound when acoustics instruments or voices are used, allowing the performers on stage to hear themselves.
There are 2 of these speakers placed in each corner side of the stage by the stairs. They are placed on the ground, allowing it to project sound towards the stage .
helping musician on stage to focus and monitor the audio, allowing acoustics instrument and vocals to be heard over electronic instrument and drum.
Figure 3.1.1.2 Position of stage monitor in auditorium plan
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ARRAY SPEAKERS
An array speaker is a loudspeaker system that is made up of a number of usually identical loudspeaker elements mounted in a line. The distance between adjacent drivers
is close enough that they constructively interfere with each other to send sound waves with a more evenly distributed sound output pattern.
These speakers are slanted angled down to provide extra coverage at locations close to the front of stage, where else the top half will be angled upwards towards the
audience at the top mezzanine floor of the auditorium.
Figure 3.1.1.3 Position of 2 speakers placed in the hanging position above the stage on the left and right.
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3.1.2 SOUND SYSTEM
A typical sound system in an auditorium may include a combination of microphones, signal processors amplifiers and loudspeaker in speaker cabinets. These system
reinforce sound to enhance its volume, then distribute it to a larger audience.
Figure 3.1.1.4 shows the position of speakers in section
Problem associated with sound system .
- Audience will hear two sounds arriving at two separates times. The ideal difference shall not be more than 1/30 seconds
- 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 loudspeaker
- The distance of the speaker is far from audience , sound attenuation might occur, the sound path is affected which reduces the intelligibility.
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3.2 SOUND CONCENTRATION
3.2.1 SOUND ATTENUATION
From a point source the sound waves will be spherical, and the intensity of sound will be approximate the Inverse Square Law. After we collected the data of sound
intensity level using sound level meter from 9 performers during their rehearsal, we plotted out the sound distribution throughout the seating area and found out that
energy loss of sound propagation in Shantanand Auditorium is low because of its wide shallow plan. The distance from the stage to the end is only 14.9 metres long
because of its concave arrangement of seating relatively close to the stage.
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Figure 3.2.1.1 The wide shallow concave plan of the
Shantanand Auditorium spread sound evenly.
<Figure 3.2.1.2 Sound distribution in the seating area
taken from the sound source from the stage.

3.3 SOUND SHADOW
Sound shadow defect can be determined when the sound wave failed to propagate due to the gallery obstruction. After we collected the data of sound intensity level from
9 performers, we found out that there is intermediate sound shadow under the balcony as the sound intensity level dropped from 65 dB to 55 dB when we were moving
from the front seating area to the seating under the balcony. Ideally, the gallery overhang depth should be less than twice the height of the gallery underside but
Shantanand Auditorium has relatively low floor to ceiling height of 2.38m with 4.76m depth under the balcony. The ratio of the floor to ceiling height and depth is exactly
1:2 which means sound shadow will be occurred. Hence, the side wall of Shantanand Auditorium is made of timber panel to reflect sound into sound shadow area.
24
Figure 3.3.1 Sectional Drawing showing the dimension of the sound shadow area and differences of sound intensity level.

3.4.1 GEOMETRY & THEATRICAL BUILT FORM
The built form of auditorium is the most basic acoustical design consideration, it can be rectangular, semi-circular, trapezoidal, curvilinear and so on. Shantanand
Auditorium has a wide shallow plan with its seating laid out in straight stepped rows and separated angled side blocks focusing toward the stage. Since sound travel in
straight path from its source, sound can be reached to every corner of the auditorium by reflection of sound. Trapezoidal shape of Shantanand Auditorium well
distributed sound to every seating in the auditorium evenly, unlike poor distribution of sound as curvilinear shape that concentrate sound to the centre of its propagation
only. Strong early reflection of sound at the concrete wall of backstage need to be absorbed to avoid unpleasant flutter echoes while early reflection from side wall can be
used to enhance direct sound toward the audiences. Reflection of sound at the side wall cladded with timber panel is very important in reducing sound shadow under the
balcony.
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Figure 3.4.1.1 Plan indicate early sound reflections from side walls that enhance
sound wave to the direct sound towards the sound shadow area.
Figure 3.4.1.2 Plan indicate unwanted strong prolongated reflection that caused
sound echoes from rear wall.

3.4.2 CEILING REFLECTION PATTERN
Shantanand Auditorium is initially designed as art performing centre for Indian community to perform traditional Indian dance instead of musical theatre for orchestra.
Hence, position of sound source (speakers) and reflective element must be considered in order to deliver sound to every corner of the auditorium. The distribution of
acoustic energy originating from a single or multiple sound sources is the combination effects of reflection, diffraction and absorption. Flat ceiling reflector and concave
ceiling reflector are slightly tilted to project sound energy towards the rear seatings of the gallery. The reflected sound from convex surface diverge, enhancing diffusion
and evenly distribute across a wide range of frequencies.
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Figure 3.4.2.1 Section indicate reflective
elements that deliver sound to the balcony area.

Potential echo-producing surfaces should be treated with efficient sound- absorbing materials. The front portion of the ceiling is lowered to reduce the delayed reflections
from overhead and reoriented to provide useful reflections toward the rear of the auditorium. The initial-time-delay gap is the time interval between the arrival of the
direct sound and the first reflected sound of sufficient loudness. Flutter echoes does not found in Shantanand Auditorium because it does not have repetitive
inter-reflection of sound energy between opposing parallel or concave sound-reflecting surfaces.
Time delay = R1 + R2 - D
0.34
= (4.4+5.8)m - 3.2m
0.34
= 20.6msec < 30msec
0.34
= (8.5+3.8)m - 12.2m
0.34
= 0.3msec < 30msec
3.5 FLUTTER ECHOES AND SOUND DELAY
27
Thus, direct sound is reinforced. No echo can be
heard.
Thus, direct sound is beneficially reinforced. No
echo can be heard.

0.34
= (12.7+3.3)m - 15.4m
0.34
= 1.8msec < 30msec
0.34
= (7.8+4.7)m - 11.3m
0.34
= 3.5msec < 30msec
3.5 FLUTTER ECHOES AND SOUND DELAY
28
Figure 3.5.1.1 shows the relationship between four different position of human figure with sound delay time
heard.
heard.

3.6.1 NOISE SOURCES
EXTERNAL NOISE SOURCES
There are multiple noise sources from the outside of the hall. For example, the sound produced by the opening and closing of the doors, human sounds and human
chatters, etc. The conversation of the people in the lobby outside the hall will enter the auditorium through both sides of the main entrance, which shows the lack of
sound treatment on the doors. While the additional curtains covering the doors have slightly increased the effectiveness to reduce noise intrusions from the outside of
the hall. In addition, the curtains also help to avoid the light penetrates from the other side of the entrances, which will distract the people inside the hall when the
people enter the hall from outside. Besides, the people need to take off their shoes before entering the hall, this helps on avoiding the noise produce by human walking,
which will affect the people and the performances happening inside.
The corridor beside the auditorium is used as a passageway for crews to get to the front and back of the auditorium conveniently without disturbing other occupants.
However, the seatings near the doors will be exposed to the noise disturbance if there’s people using the passageway.
Figure 3.6.1.1 People need to take off the
shoes before enter the hall.
Figure 3.6.1.2 Curtain helps to absorb noise
and avoid light penetrates from outside.
3.6 NOISE INTRUSION
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3.6.1 NOISE SOURCES
INTERNAL NOISE SOURCES
One of the most unwanted sound among the multiple noise sources in the hall are mostly come from the electrical appliances. Other than that, there are also other noises,
such as human sounds and chatters, foot stepping on the timber floor, doors opening and closing, etc. The air flowing creates low frequency noise that comes out from
the air-conditioning diffusers, especially the linear diffusers. The noises might not affect the audience that is sitting near the stage due to the distance between the
settings and the ceiling is too large. While it might affect the audience who seats under the gallery and also on the gallery, due to the close distance from the seats to the
ceiling, where the diffusers are located. The doors at the entrances and the the doors connected to the passageway also create noises while people using it, such as
performers and technicians or staffs. However, the additional curtains in front of the doors helps to reduce these noises created by the people at the entrances. The floor
of the empty space between the stage and the audience area are timber floor, which will produce foot stepping noises when people walks through. The timber surface of
the stage is covered with rubber sheet, however, this does not help very much on reducing the noise create by the stepping of the performers on the timber board. Unlike
the timber surface, the floor of the audience area is covered with soft pile carpet, which avoid the creation of the foot step noises produced by the people.
Other than that, the people from the seats also creates various noises. The noises from the audience area are mostly created by human, such as chatters, sneezing, cough,
body movement, etc. These noises are mostly absorbed by the fabric seat and the acoustic holes beneath the seats. Besides, the noises can also be absorbed by the
acoustic absorption panel.
3.6 NOISE INTRUSION
Figure 3.6.1.3 The acoustic absorption panel against the
wall absorbs sounds and noises efficiently.
Figure 3.6.1.4 The additional curtain in front of the door
helps to reduce noises created at the entrance and lights
penetrates from outside..
Figure 3.6.1.5 The auditorium chairs with acoustic holes at
beneath help to absorb the sound and noises efficiently.
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3.6 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
STAGE
Foot stepping on stage
DOORS TO PASSAGEWAYS
Timber door open &
closing
3.6.2 INTERNAL NOISE SOURCES LOCATION (FLOOR PLAN)
32

3.6 NOISE INTRUSION
AUDIENCE AREA
High ceiling round
air-conditioning diffuser
CORRIDOR
Linear air-conditioning
diffuser
GALLERY AREA
High ceiling square
air-conditioning diffuser
3.6.3 INTERNAL NOISE SOURCES LOCATION (REFLECTED CEILING PLAN)
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3.7 MATERIALITY AND SOUND ABSORPTION COEFFICIENT
INTERIOR : SEATING
INTERIOR : STAGE
GROUND FLOOR PLAN
GROUND FLOOR PLAN
INTERIOR : SEATING
INTERIOR : CONTROL ROOM
FIRST FLOOR PLAN
FIRST FLOOR PLAN
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AREA COMPONENT MATERIAL
ABSORPTION COEFFICIENT(⍺)
125 Hz 500 Hz 1000 Hz
SEATING WALLS
ACOUSTIC ROUGH PLASTER TO SOLID BACK
0.30 0.50 0.80
TIMBER ACOUSTIC PANEL
0.18 0.42 0.59
FIBERGLASS ABSORPTION PANEL
0.15 0.75 0.80
CEILING
GYPSUM BOARD WITH CEILING GRID
0.15 0.04 0.04
3.7.1 TABLE OF MATERIALITY AND SOUND ABSORPTION COEFFICIENT
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125 Hz 500 Hz 1000 Hz
SEATING FLOOR
WOODEN FLOOR ON JOIST
0.15 0.10 0.07
PILE CARPET BOUNDED TO CLOSED-CELL
UNDERLAY
0.30 0.25 0.31
FURNITURE
FABRIC UPHOLSTERED TIP-UP SEATS
(UNOCCUPIED)
0.13 0.59 0.58
FABRIC UPHOLSTERED TIP-UP SEATS
(OCCUPIED)
0.37 0.68 0.73
36

125 Hz 500 Hz 1000 Hz
SEATING DOOR
SOLID TIMBER DOOR
0.14 0.06 0.08
RAILING
6mm GLASS RAILING (1ST FLOOR)
0.10 0.04 0.03
STEEL RAILING (G FLOOR)
0.13 0.08 0.09
CURTAIN/ DRAPERY
PLEATED MEDIUM VELOUR CURTAINS
0.05 0.13 0.22
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125 Hz 500 Hz 1000 Hz
STAGE WALL
ACOUSTIC ABSORPTION PANEL
0.15 0.75 0.80
SMOOTH PAINTED CONCRETE
0.01 0.01 0.02
FLOOR
RUBBER SHEET, OVER TIMBER FLOOR
0.01 0.15 0.25
PAINTED SMOOTH CONCRETE
0.01 0.02 0.02
38

ABSORPTION COEFFICIENT (⍺)
125 Hz 500 Hz 1000 Hz
STAGE CURTAIN/ DRAPERY
50% PLEATED MEDIUM VELOUR CURTAINS
0.14 0.53 0.75
STAGE DECK
STEEL DECKING (FLY TOWER)
0.13 0.08 0.09
CONTROL
ROOM
DECK OPENING
TIMBER PANELS WITH TIMBER FRAME
0.14 0.06 0.08
STAGE
&
SEATING
VENTILATION
GRILLE
PER METER SQUARE
0.60 0.60 0.60
39

3.7.1 FLOOR MATERIAL
Rubber Mat
Parquet Flooring
Piles Carpet
Figure 3.6.1.6 Floor plan material indicate different area
40

3.7.2 ACOUSTIC TREATMENT & COMPONENT
Acoustic treatment is a crucial hall construction, it can affect the sound surrounding by adding different acoustic element on different surface. A good design can
equally distribute sounds to all the seats, which depends on proper shaping and finishes on the interior surface.
A standard acoustic treatment should meet following requirement :
○ Freedom from the acoustical faults of echoes, flutter & focus
○ Freedom from disturbing noises produced by construction materials
○ Proper room’s volume & shape to control the environment sounds transmission.
3.7.3 CEILING (GYPSUM PLASTER WITH CEILING GRID)
The ceiling material used in the auditorium is gypsum plaster, commonly can be seen in a well designed auditorium. The gypsum board comes with extra thickness in
1 ½ inch to resist panel vibration, due to its mass it can lower the absorption frequency and higher the reflections frequency. The height of the auditorium is around
9m, which hardly transmit sound. Therefore the suspended ceiling provide short delayed of sound transmitting and lower down the volume of the auditorium. The
angle of the ceiling helps reflect sounds leads to the seating area and avoid room echos.
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3.7.4 HARD ACOUSTICAL WALL (TIMBER ACOUSTIC PANEL)
Timber acoustic panels are installed not only for aesthetic purposes, but also to absorb sound energy. There are air gap in between each panel to absorb unwanted low
frequency through panel vibration. The solid back of the timber acoustic panel is smooth plaster, for a standard acoustic panel back solid structure, plaster or gypsum
board must be use as base.
3.7.5 HARD ACOUSTICAL WALL (ROUGH PLASTER TO SMOOTH CONCRETE BACK)
Rough plaster are layered above smooth concrete solid back to prevent vibration and reflect sound effectively in four columns in this room.
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3.7.6 SOFT ACOUSTICAL WALL (FIBREGLASS ACOUSTIC PANEL)
Fibreglass are often used for the most absorption surface in an auditorium. The acoustic panel function as controlling echoes, and sound foci from the rear wall and
balcony faces. The reverberation time in the room is related directly to the volume of the room and, inversely, to the total sound absorption of the auditorium. A good
placement of soft acoustic panel can achieve proper sound distribution diffusion, envelopment, intimacy and reverberation.
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3.7.7 SEATING FLOORING
i) Wooden floor on floor joist
Acoustic joist strips are an economical way of reducing impact noise through conventional timber joist floors. The strip is supplied in 20m self adhesive rolls that are
easily placed on the top of the joists. It greatly reduces the impact sound insulation. Also, it improves the acoustic performance and therefore reduce the impact sound
level.
Figure 3.7.7.1 The photo above shows the wooden flooring of the seating
floor area.
Figure 3.7.7.2 The wooden floor is nailing into the decking with allow sound to
mechanically transfer through the nail into the deck negating the top
soundproofing.
44

3.7.7 SEATING FLOORING
ii) Pile carpet bounded to closed-cell underlay
While carpets reduce noise transmission through floor in multi-storied buildings, the degree of actual noise reduction, as well as people’s perception of it, are dependent
on the frequency distribution of the sound. Carpets are extremely effective sound absorbers because the individual fibres, pile tufts and underlay have different resonant
frequencies at which they absorb sound.
Figure 3.7.7.3 Construction details of acoustical floor carpetFigure 3.7.7.3 Carpets absorb sounds up to ten times better than hard flooring.
45

3.7.8 STAGE - CURTAIN
i) Pleated medium Velour Curtain
The curtain used behind the stage in the auditorium will reduce reverberation and echo in a large room, as well as reduce interference from outside noise. Also, it uses a
powerful sound blocking lining to provide maximum sound protection. The acoustic curtain is thick and highly porous. The thicker the absorption material, the more
effective it will be against a longer wavelength (lower frequency) of sound.
Figure 3.7.7.3 The curtain make an acoustically excellent finish that fully
preserves the absorptivity of the substrate.
Figure 3.7.7.3 Photo of the curtain behind the stage of the auditorium.
46

3.7.9 SEATING FURNITURE
Figure 3.7.8.1 Floor plan that indicate the seating furniture Figure 3.7.8.2 Materials for upholstered tip-up seats
Polyurethane foam with a high porosity allows effective sound absorption coefficient. It has a cellular structure which allows air flow, the absorbed sound energy is then
converted into heat energy. The geometry pattern of these types of absorbers will affect the scattering of the sound and
47

GROUND FLOOR (N.T.S)
FIRST FLOOR (N.T.S)
Figure 3.8.1.1 : To show the location of the materials
3.8 CALCULATIONS
3.8.1 AREA OF FLOOR MATERIALS
F1
F2
F3
F3
48

3.8 CALCULATIONS
3.8.1 AREA OF FLOOR MATERIALS
F1 (Stage rubber sheet over timber floor)
A : 79.68m2
⍺ : 0.15
A⍺ : (79.68 )(0.15) = 11.95m2
F2 (Wooden Floor On Joist)
A : 148.12m2
⍺ : 0.10
A⍺ : (148.12)(0.10) = 14.81m2
F3 - G floor (PILE CARPET BOUNDED TO CLOSED-CELL UNDERLAY)
A : 307.22m2
⍺ : 0.25
A⍺ : (307.22)(0.25) = 76.81m2
F3 - 1st floor (PILE CARPET BOUNDED TO CLOSED-CELL UNDERLAY)
A : 152.26m2
⍺ : 0.25
A⍺ : (152.26)(0.25) = 38.07m2
F
A⍺
= 11.95 + 14.81 + 76.81 + 38.07 = 141.64m2
SABINE FORMULA : RT = 0.16V / A
Where, RT : Reverberation Time (sec)
V : Volume of the Room
A : Total Absorption of Room Surfaces
Note,
A : Area
⍺ : Absorption Coefficient
A⍺ : Absorption Surface
49

3.8 CALCULATIONS
3.8.2 AREA OF WALL MATERIALS
W4
W5
W6
W1
W2 W2
W3 W3
50

W1 (Stage Smooth Painted Concrete Wall)
A : (24.51)(7.39) = 181.13m2
⍺ : 0.01
A⍺ : (181.13)(0.01) = 1.81m2
W2 (Acoustic Absorption Panel)
A : (2)(3.8)(7.39) = 56.16m2
⍺ : 0.75
A⍺ : (56.16)(0.75) = 42.08m2
W3 (2 Stage Smooth Painted Concrete Wall)
A : (2)(4.7)(7.39) = 69.47m2
⍺ : 0.01
A⍺ : (67.47)(0.01) = 0.67m2
W4 (Timber Acoustic Panel)
A : (2)(6.48)(5.90+4.01) = 128.43m2
⍺ : 0.42
A⍺ : (128.43)(0.42) = 53.94m2
W5 (2 Sides Acoustic Absorption Panel)
A : (2)(35.92) = 71.84m2
⍺ : 0.75
A⍺ : (71.84)(0.75) = 53.88m2
W6 (Timber Panels With Timber Frame)
A : (12.37)(0.75) = 9.28m2
⍺ : 0.06
A⍺ : (9.28)(0.06) = 0.56m2
W
A⍺
= 1.81 + 0.56 + 0.67 + 53.94 + 53.88 + 0.56 = 102.27m2
Note,
A : Area
3.8 CALCULATIONS
3.8.2 AREA OF WALL MATERIALS
51

3.8 CALCULATIONS
3.8.3 AREA OF OTHER MATERIALS
M4
M3
M2
M1
M5
M6
M7
52

M1 (Pleated Medium Velour Curtains)
A : (5.97)(22.41) = 133.79m2
⍺ : 0.53
A⍺ : (133.79)(0.53) = 70.90m2
M2 (618 Seats-Unoccupied)
A : (618)(0.47) = 290.46 m2
⍺ : 0.59
A⍺ : (290.46)(0.59) = 171.37m2
M3 (Gypsum Board With Ceiling Grid)
A : 337.33m2
⍺ : 0.04
A⍺ : (337.33)(0.04) = 13.49m2
M4 (6mm Glass Railing)
A : (1.04)(30.4) = 31.62m2
⍺ : 0.04
A⍺ : (31.62)(0.04) = 1.26m2
M5 (Doors)
A : 10.55 + 5.04 + 4.58 = 20.17m2
⍺ : 0.06
A⍺ : (20.17)(0.06) = 1.21m2
M6 (Acoustic Rough Plaster To Solid Back)
A : (2)(0.85)(7.09)+(4)(0.7)(7.09) = 31.91m2
⍺ : 0.50
A⍺ : (31.91)(0.50) = 15.96m2
M7 (Ventilation Grille)
A : (0.61)(17.25) = 10.52m2
⍺ : 0.60
A⍺ : (10.52)(0.60) = 6.31m2
M
A⍺
= 70.90 + 171.37 + 13.49 + 1.26 + 1.21 + 15.96 + 6.31= 280.50m2
Note,
A : Area
3.8 CALCULATIONS
3.8.3 AREA OF OTHER MATERIALS
53

3.8 CALCULATIONS
3.8.4 REVERBERATION TIME
V = 8769m3
A = F
A⍺
+ W
A⍺
+M
A⍺
= 141.64 + 102.27+ 274.19 = 524.41m2
RT = 0.16 (8769.00) / 524.41
= 2.68 secs
Note,
A : Area
54
Shantanand Auditorium has a reverberation time of 2.68 seconds which is slightly off
the recommended range but still served its purpose as music theatre in large room
scale ( >7500 m³ ) . After all the calculation and overall acoustic design properties,
Shantanand Auditorium can be acceptable satisfactory to served the function as
performing art hall but not conducive for good speech intelligibility (>1.25 seconds ).
In order to get the recommended range of reverberation time,, more absorption of
the surface should be added. Ideally, larger room will have a longer reverberation
time, 2.68 seconds is only achieved acceptable level of acoustical quality.

3.9.1 NOISE INTRUSION
SUGGESTION 2: MATERIALITY FOR DOORS AND WALLS
Material for door and wall at the buffer zone area are significant due to it
absorption and reflection ability. Acoustic wood door is introduce to
Shantanand auditorium as it has better sound proofing quality to reduce
the sound being transmitted through the door. Besides, acoustical wood
door must come with proper intumescent seal at both sides and bottom.
Threshold plates provides an optimum seal surfaces for the bottom of
door.
Acoustic foam panel
Shantanand auditorium has only one entrance or exit
for accessibility. The solid timber door for main entrance to
the auditorium with an absorption coefficient of 0.06 has
low intensity sound intrusion.
SUGGESTION 1: PROVIDE BUFFER ZONE
Extension of auditorium after the main entrance to create a buffer
zone area that enables the sound transmission being trapped between
door to door and absorb by acoustic wall panel at the both sides of
wall. The sound created by open or close the door can be lock within
the buffer zone.
Figure 3.9.1.2 Sound
reflects at the buffer zone
Figure 3.9.1.3 shows area extension
at the main entrance to create a
buffer zone
Wall are covered with
acoustic foam panel to
absorb the sound which
minimizes the sound
reflection.
55
Figure 3.9.1.1 shows the extension of buffer zone at the
ground floor plan of Shantanand auditorium

3.9.2 SOUND CONCENTRATION
BALCONY (SOUND SHADOW)
SUGGESTION 3: PROVIDE CONCAVE-SHAPED BALCONY PARAPET
Concave-shaped balcony parapet allowed direct and reflected sound to
concentrate at the balcony underside. Sound will be transmit into the
balcony underneath for the audiences to receive clearer sound without
flutter echoes.
SUGGESTION 4: PROVIDE TILTED CEILING AND INCREASE
BALCONY HEIGHT
The balcony height of the lower floor can be escalated to its dimension.
It should not be less than the depth of the balcony which caused the
acoustical shadow underneath. Due to the space limitation of
Shantanand auditorium, it is to increase the balcony height at its most
in the same time provide tilted ceiling on top of balcony underside to
avoid the energy loss while sound reflected and absorbed by the
fiberglass absorption panels.
56
Figure 3.9.1.4 shows the addition of concave shape at the balcony parapet
Figure 3.9.1.5 shows escalated balcony height and tilted ceiling at the ground floor

4.0 CONCLUSION
In summary, this auditorium case study project has brings us a huge learning outcome for eight of us in the group. It let us understood how the acoustic design works
better depends on the functions of the auditorium, and uses the acoustic design to make the users comfort. The auditorium layout and the materials used on the structure
and furnitures, such as walls, floor, chairs, curtains, etc, can effectively affect the acoustic inside the auditorium hall and even can efficiently affect the sound from the
outside of the auditorium hall.
An auditorium is a special room built to enable an audience to hear and watch performances and may be used for rehearsal, presentation, performing arts productions.
Apart from entertainment, an auditorium also used for a space for speech delivery such as lecture theatres, reading performances and competitions. A successful design of
an auditorium depends on its acoustic design such as the auditorium layout and absorption materials used to preserve and enhance the desired sound and to eliminate
noise and unwanted sound.
In conclusion for our accumulated finding and subsequent analysis, the requirement of Shantanand Auditorium to be a performing art centre and music hall is in
acceptable and sufficient range based on its acoustical design and optimum reverberation time of 2.68 secs. The overall considerations for acoustical quality is suitable to
be served as musical and dance performance hall but not for speech related events. In order to achieve the recommended range of reverberation time for better quality,
the acoustical design of Shantanand Auditorium could slightly changed based on the suggestions and the absorption coefficient of the materials should be always
considered to further improve.
Throughout this case study, we are now more clearly understand about how the acoustic design such as architectural layout and material used can control the desired
sound and unwanted noise caused by various sound sources, and how it affects the people using the auditorium. This project had benefits us as future architects, to design
more effective and comfortable space for the people in the future.
58

6.0 REFERENCES
1. Facilities. (n.d.). Retrieved October 02, 2017, from http://shantanand-adt.org/index.php/facilities#seating
2. The Temple of Fine Arts. (n.d.). Retrieved October 02, 2017, from http://www.visitkl.gov.my/visitklv2/index.php?r=column%2Fcthree&id=63&place_id=896
3. Sound Intensity. (n.d.). Retrieved October 02, 2017, from http://hyperphysics.phy-astr.gsu.edu/hbase/Sound/intens.html
4. Attenuation of Sound Waves. (n.d.). Retrieved October 02, 2017, from https://www.nde-ed.org/EducationResources/CommunityCollege/Ultrasonics/
Physics/attenuation.htm
4. Decibels dBA. (n.d.). Retrieved October 02, 2017, from https://silentpc.com/cgi-bin/e/decibels.html
5. How To Prevent Hearing Damage When Using Headphones. (n.d.). Retrieved October 02, 2017, from https://headphonesaddict.com/safe-headphone-use/
6. Absorption Coefficient Chart. (n.d.). Retrieved October 02, 2017, from http://www.acoustic-supplies.com/absorption-coefficient-chart/
7. Acoustic Damping using Polyurethane/Polymer Composites. (n.d.). Retrieved October 02, 2017, from http://www.appropedia.org/Acoustic_Damping_using_
Polyurethane/Polymer_Composites
8. Network, D. (2015, March 16). Soundproofing a Floor. Retrieved October 02, 2017, from http://www.diynetwork.com/how-to/rooms-and-spaces/floors/soundproofing-
a-floor
9. Soundproofing floors and noise absorption. (n.d.). Retrieved October 02, 2017, from http://www.carpetyourlife.com/en/about-carpet/advantages/soundproofing-floors
10. Room Acoustics. (2014, January 25). Retrieved October 02, 2017, from https://www.soundandvision.com/content/room-acoustics
11. Littlefield, D. (2012). Metric handbook: planning and design data. London: Routledge.
12. Network/, W. (n.d.). Acoustics Doors,Acoustic Sliding Doors, Sound profing doors. Retrieved October 02, 2017, from http://www.earconsacoustic.com/
acoustic-doors.html
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