The Platform is a 523-seat performing arts theatre located in Menara Ken TTDI in Kuala Lumpur, Malaysia. It was designed with various acoustic treatments and materials to improve the room's acoustics. These include wool carpets on the floor, wood wool acoustic panels on the walls, and acoustic ceiling tiles. Upholstered seats and velour curtains on the stage also help absorb sound. A sound reinforcement system with different types of speakers helps distribute sound evenly throughout the large, rectangular space. The angled ceiling and use of sound reflective materials like the stage flooring and an LED screen further aid the room's acoustics.

1. the platform
PERFORMING ARTS CENTRE
Foo Ming -Wei, Fabien, 0327869 | Alexander Jose-Cheah ,0326803 | Woon Siu Zhi ,0331301 | Nicole Tan Tze Qi ,0330706 |
Hee Kar Hang ,0328186 | Aw Zhi Xuan ,0327651 | Lissa Lai Jing Ying ,0326465 | Aidiel Syazrie bin Azhar ,0327161 | Lim Jesson, 0326938
BUILDING SCIENCE ll (BLD61303)
PROJECT 1 : A CASE STUDY ON ACOUSTIC DESIGN

2. CONTENT
1.0 Introduction
1.1 Introduction to Menara Ken TTDI
1.2 Introduction to The Platform
2.0 Methodology
2.1 Measuring and Recording Equipment
3.0 Drawings
3.1 Ground Floor Plan
3.2 First Floor PLan
3.3 Section
4.0 Acoustics Design Analysis
4.1 Photos of The Platform
4.2 Form and Shape
4.3 Arrangement and leveling of seats
4.4 Sound Reinforcement
4.5 Acoustic treatment and Components
4.6 Sound Absorption Materials
4.7 Sound Reflective Materials
4.8 Sound Propagation
4.9 Sound Delay and Echo
4.10 Sound Defect
4.11 Noise Intrusion
4.12 Noise analysis
5.0 Sound Readings
6.0 Calculations
7.0 Conclusions
8.0 References
1
3
5
8
39
43
52
53

3. INTRODUCTION
1.0

4. INTRODUCTION
Menara Ken TTDI is an office building
strategically located in Taman Tun Dr
Ismail (TTDI). Developed by Ken TTDI Sdn
Bhd, a subsidiary of Ken Holdings Berhad
(KEN), the company has garnered a few
awards for their promoting of sustainable
and green developments in Malaysia. The
building itself has been awarded the
Platinum grade avant garde office award.
Besides housing corporate offices, Menara
Ken TTDI also features a performing arts
theatre, f&b outlets, ballroom, rooftop bar,
rooftop gymnasium and swimming pool.
Menara Ken TTDI
1

5. The Platform at Menara Ken TTDI is a
fully integrated 523-seater performing
arts theatre, fully equipped with state
of the art sound and lighting
equipments, located at the Ground
Floor of Menara Ken TTDI which was
developed by Ken TTDI Sdn Bhd. The
space is also conducive for corporate
meetings, seminars, conferences and
private events. The Platform has
hosted events such as Comedy Shows,
Mud The Musical, Sean Ghazi’s
Tarakucha Concert, School Award or
Prize Giving Ceremony.
SA Architects designed the building as
a whole. However, the theatre itself
was designed by the owner himself,
Dato’ Kenny, after getting inspiration
from the many theatres around the
world from his travels with his son and
daughter.
The Platform
2

6. METHODOLOGY
2.0

7. 2.1 Measuring & Recording Equipment
Digital SLR Camera & Tripod
A DSLR camera and a tripod is used to capture photographs of the space,
materials, seating capacity and the condition of the auditorium for analysis
purposes.
A few measuring techniques were being studied before we managed to visit The Platform in Menara Ken TTDI.
Recording and measuring equipments were prepared to facilitate our on- site measurement
Digital Sound Level Meter
The digital sound level meter is a measuring instrument used to measure the
acoustics within the auditorium. The acoustic unit of measurement is decibels,
dB in shot. It is used to measure the sound intensity levels at various points in
the auditorium to determine the sound concentration as well as the white noise
levels.
3

8. Laser Measuring Device
The laser measuring device is used to measure distances beyond 5 metres of the
auditorium. The device was also preferred for accuracy so that the technical
drawings would be accurate.
Measuring Tape
The measuring tape measure is a flexible ruler and is used to measure smaller
dimensions of auditorium for technical drawing purposes. For our site visit, the
measuring tape is used to measure distances between the auditorium spaces,
which will benefits the generation of the drawings and calculation.
48

9. DRAWINGS
3.0
9

10. 3.1 Ground Floor Of The Auditorium
1
2
3
4
5
6
Stage
Backstage
Front entrance
Back entrance
Seating area
12
3
5
4
6
Control room
Ground Floor Plan
5

11. Seating area
Hallway
Staircase
Entrance
Entrance1
2
3
4
5
1
2
4
3
5
First Floor Plan
6
3.2 First Floor Of The Auditorium

12. Stage
Backstage
Lower seating area
Upper seating area
Hallway1
2
3
4
5
6 Staircase
2 1
3
4
5 6
7
3.3 Section Of The Auditorium

13. ACOUSTICS ANALYSIS
4.0
13

14. Overall view from the stage. Stage view from the central seating area.
A slight curved stage with draped curtains
The control room behind the auditorium
seats
8
4.1 Photos of The Auditorium

15. Overall view of the hall from the upper
seating area.
Overall view of the ceiling of The Platform Overall view of the materiality
9

16. The Platform is designed in a rectangular shoe-box type hall with the stage across one narrow end and a balcony for
upper seatings at the other end of the auditorium. The shoebox form has high volume, limited width, and multiple
audience levels, usually with relatively narrow side seating ledges. From a shoebox hall's sidewalls, strong reflected
sound arrives to listeners' ears from directions where human directional hearing sensitivity is the highest.
10
4.2 Shape and Form

17. The auditorium seats at The Platform are arranged in a continental seating manner. Because of the shoe-box type
hall, the continental manner is the preferred choice over a multiple-aisle arrangement. A continental arrangement can
frequently accommodate more seating within the same space. The auditorium seats are levelled at 8° and 10° which
is still rather flat to the ground.
11
4.3 Arrangement & Levelling Of Seats

18. - Even sound distribution throughout the
theatre.
- The ability to adjust the volume of the sound
emitted and control of the reverberation time.
- The ability to help control the tone and
frequencies of the sound from the stage.
- Reduction of sound sent to the ceiling via the
line array speakers which reduces the
unwanted reflections that bounce back to the
audience.
- Highly vulnerable to technical issues and
malfunctions.
- Feedback noise may occur and cause
disturbance and discomfort during the
performances on stage.
- Speakers mainly focused on the flanks of the
theatre would mean an imbalance of sound
distribution towards the middle of the
audience.
- The inability to adjust the line array speakers
increases the risk of causing unwanted sound
reflections through loss of vertical pattern
control which allows low and medium
frequencies to project to the ceiling and stage.
Advantages Disadvantages
The Platform requires sound reinforcement for its hall as although the hall does include acoustical material in it’s
design, it is unable to distribute sound evenly without assistance. The hall’s length to width ratio has made it difficult
for sound to reach the further areas of the hall which is at the far end of the hall as well as the theatre seating.
The Platform
18
4.4 Sound Reinforcement

19. Sound Sources
Aside from the sound reinforcements given by the speakers, there are other sources of sounds that are unwanted. For
instance, there is the unwanted non-compartmentalised noise coming from the operating system in addition to the
semi-enclosed control room. The thick walls and corridors help in reducing the sound coming from the outside of the
hall.
12

20. Sound reinforcement is needed in The Platform’s hall. This is to disperse the sound to the further parts of the hall as
the hall’s length to width ratio is high which increases the time taken for the sound to reach the back of the hall. This
also helps in increasing the clarity of sound received at the back of the hall as well as those in the first floor theater
seating area.
Two-way Speakers
Line Array Speakers
Subwoofers
Wall Mounted Speakers
LEGEND
13

21. There are two pairs of two way speakers in The Platform which are
located on each side of the backstage respectively. Similar to the
line array speakers, they are suspended on the ceiling and are
permanently placed. These speakers are directed to the
performers on stage instead of the audience.
Two Way Speakers
14

22. The Platform utilises two line array speakers suspended above
each staircase of the stage. They are connected to the ceiling and
are the main and largest speakers in the space. However, their
positions are permanent and cannot be adjusted. These speakers
are directed towards the audience and are facing diagonally
inwards towards the heart of the seating area.
Line Array
15

23. The Platform’s theatre utilises two subwoofer speakers on the
underside of either end of the stage. These speakers are capable
of providing very high bass output levels at very low frequencies
with low distortion. Their placement on the floor enables
vibrations to be sent through the floor and carpets to reach the
audience, giving a feeling of tremor and depth.
Subwoofer
16

24. These speakers are the most abundant in The Platform theatre.
They are placed in pairs on the right and left sides of the walls of
the theatre in addition to the back wall of the theatre. They face
directly towards the seating area and flank the seating rows, D,
G, K, P, V, AA and DD respectively.
Wall Mounted Speakers
17

25. Location Component Material Description Absorption Coefficient
125Hz 500Hz 2000Hz
Stage Area Floor Timber Wooden stage floor, 2
layers 27mm over airspace
0.10 0.06 0.06
Wall Concrete Smooth concrete, painted
or glazed
0.01 0.01 0.02
Curtains Velour Tight velour curtains 0.05 0.35 0.38
Seating and
Audience Space
Floor Carpet 9mm pile carpet tuffed on
felt underlay
0.08 0.30 0.75
Wall Wood Wool 25mm wood wool slabs on
unplastered solid backing
0.10 0.40 0.60
Plasterboard Plasterboard on frame,
100mm airspace with glass
wool
0.08 0.05 0.02
Ceiling Mineral Fibre Metal panel ceiling, backed
by 20 mm acoustic tiles
with 15 mm panel spacing,
35 cm cavity
0.59 0.82 0.27
Seats Cushion Empty upholstered tip-up
theatre seats
0.33 0.64 0.77
Door Timber Solid timber door 0.14 0.06 0.10
Control Room Wall Glass 4mm glass 0.30 0.10 0.05
Concrete Smooth concrete, painted
or glazed
0.01 0.01 0.02
Material Tabulation
4.5 Acoustic Treatment & Components
19

26. Wool Carpets for Flooring Material
Wool carpets that controls noise are used as a finishing for the
concrete flooring in The Platform. It improves room acoustics by
dampening any impact noise in a room, such as that arising from
footsteps, furniture movement and dropped objects.
Due to the millions of individual fibers, pile tufts and underlay that
have different resonant frequencies at which they absorb sound,
wool carpets are extremely effective sound absorbers.
Advantages of carpeted flooring :
● Controls noise by absorbing airborne sound
● Reduces surface noise generation and impact-sound
transmission to rooms below
Location of wool carpet on Ground Floor Plan
Location of wool carpet on First Floor Plan
4.6 Sound Absorption Materials
20

27. Wood Wool Acoustic Panels for Wall Material
Found on both walls that flank the interior of The Platform, wood
wool acoustic panels of red and black colours are used as a
lower-cost solution for sound absorption. These eco-friendly
cementitious wood-fiber panels have a natural resilience that can
handle moist environments. It also reduces echo and
reverberation in the performance space, thus is widely used for
acoustic treatment.
Advantages of wood wool acoustic panels :
● Paintable which allows customization
● Low VOC
● Class A Fire Rated
● Easily manufactured from 3 simple ingredients ( wood fiber,
cement & water )
● Consistent thickness ( +/-.005″ ) & dimensions
● Clean corners with less dust compared to other sound
absorber panels
Location of wood wool acoustic panels on Ground Floor Plan
Location of wood wool acoustic panels on First Floor Plan
Wood Wool Acoustic Panels
21

28. Acoustic Ceiling Panels for Ceiling Material
The Platform uses an an aesthetical and decorative suspended
ceiling system that is specially designed for acoustical control.
Made up of a stick-built grid system and easily installed acoustic
ceiling tiles, these ceiling panels serve as barriers to block sound
from traveling to adjacent rooms and also as a means to reduce
the noise within a room. As it softens, removes, and diffuses
sounds, a more pleasant environment which is free of echoes and
bothersome noise can be created.
Advantages of acoustic ceiling panels :
● Composed of mineral fiber to aid in noise reduction
● Dampens ambient noise and enhances sound quality
● Versatile, durable and cost-effective
● Good at absorbing sound within a space and help prevent
loud environments and echoes
● Highly light reflective
Acoustic Ceiling Panels
Location of acoustic ceiling panels
22

29. Cushions for Seating Material
Cushioned retractable seating arranged in single rows per aisle in
The Platform provides a degree of sound absorption as it contains
soft padding and a profiled lumbar cushion.
Location of seats on Ground Floor Plan
Location of seats on First Floor Plan
Cushions
23

30. Velour Fabric for Stage Curtains
A fabric of rich luster, durability and clean appearance is used as
curtains at the stage of The Platform. Velour fabric that is
highly porous acts as a good sound absorber as it contains
thousands of tiny sound traps, capturing the energy and
turning it into heat, increasing the effectiveness of acoustic
drapery.
Other than being used to conceal various parts of the stage
from an audience, these velour stage curtains mainly function
to dampen sound sources coming from backstage and reduce
the reflection of these sounds to the audience space.
Location of curtains Ground Floor Plan
Velour fabric
Location of curtains
24

31. Timber Planks for Stage Flooring
The performance stage in The Platform makes use of timber
planks with a painted black finish. These wooden planks have a
smooth solid surface which can be used to channel sound
reflections. Due to the internal friction within the material, wood
has a stronger sound dampening capacity than most structural
materials. It reduces excessive echoes, or reverberation, by
reducing the transmission of sound vibrations.
Advantages of timber planks :
● Aids in the amplification of sound
● Provide low-frequency reverberation control
● Naturally sound-damping, offering excellent noise control
Location of timber flooring on Ground Floor Plan
4.7 Sound Reflective Materials
25

32. LED Screen at Stage Area
The Platform makes use of a large LED screen at the centre of its
stage. Being parallel to the walls on both ends of the performance
space, the large screen that is sound reflective contributes to
flutter echoes. This helps in preventing the sounds from going
through to the stage and seating areas.
LED Screen
Location of LED screen
Location of LED screen on Ground Floor Plan
26

33. The ceiling of the Auditorium is slanted at an angle of 2°, minimizing the negative propagation of sound that
deflects back towards the stage, causing disturbing echoes to the performers or speaker. Without the ceiling being
slanted at an angle, the sound would be deflected by the edge of the first floor seatings towards the stage, thus
causing echoes. The slight angle of slant also allows better propagation of sound towards the first floor, providing
an evenly distributed sound to the first floor.
4.8 Sound Propagation
When sound is generated from centre stage, for example when a person shouts or talks as seen in the figure
above, sound disperses through the seating area but loses its intensity at the far back end of the theatre in addition
to the side flanks of the theatre. This is due to the theatre being more stretched lengthwise in its shoe box design in
comparison to its width which makes audiences at the back of the theatre and the side flanks of the theatre to not
receive the best sound from the stage.
27

34. The propagation of sound is positive when the
sound is deflected of the walls and towards the
audience. The parallel alignment of the walls
help with the deflection of the sound in
tandem with the varying extrusions of the wall.
Planned deflection can help with propagating
the sound to the further end of the hall where
sound is less concentrated. This helps to
increase the reverberation time of the sound.
Positive Propagation of Sound
Negative Propagation of Sound
The negative propagation of sound happens
when the sound propagates back towards the
stage, away from the audience. This creates an
overlapping wave of sound coming from and
going towards the speaker. A cause of this
incident is the control room located at the back
of the hall which is made of glass, a reflective
material.
28

35. The deflection of sound is positive as it
deflects evenly throughout the seatings,
ensuring the sound intensity to have little
difference. The sound propagation is not
obstructed towards the seating providing
direct sound to the audience. The flat ceiling
helps in deflecting the sound back to the
audience, whereas the slanted ceiling at the
back helps deflect the sound to the first floor
audience.
The negative propagation on a vertical scale is
caused by the reflective surfaces such as the
control room and the first floor seating area
walls and ceiling which can cause a deflection
of sound. This causes the sound waves to return
to the stage and its source, causing an overlap
of sound waves.
Positive Propagation of Sound
Negative Propagation of Sound
29

36. Sound Delay & Echo 1
Echo = (R1
+ R2
) - D
0.34
The time delay for the position is
10.61 msec. No echo is heard.
= (10.793+ 10.793) -
17.98
0.34
= 10.61ms
R1R2
D
Indirect sound
Direct sound
4.9 Sound Delay & Echo
30

37. Sound Delay & Echo 2
Echo = (R1
+ R2
) - D
0.34
The time delay for the position is
18.59 msec. No echo is heard.
= (6.99 + 5.212) - 5.88
0.34
= 18.59ms
R1
R2
D
Indirect sound
Direct sound
Sound Delay & Echo
31

38. Sound Delay & Echo 3
Echo = (R1
+ R2
) - D
0.34
The time delay is 6.45 msec. No
echo is heard.
= (5.445 +13.369) -
16.622
0.34
= 6.45 ms
R1
R2
D
Indirect sound
Direct sound
Sound Delay & Echo
32

39. Sound Delay & Echo 4
Echo = (R1
+ R2
) - D
0.34
The time delay for the position is
4.26 msec. No echo is heard.
= (6.148 + 10.172) -
14.872
0.34
= 4.26ms
R1
R2
D
Indirect sound
Direct sound
Sound Delay & Echo
33

40. Sound shadow is an area through which sound waves fail to propagate and occurs behind a building or a sound
barrier where sound from a source is obstructed. However, 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 depending on the
additional distance the sound has to travel between source and receiver.
The seating beneath the first floor seating has formed a sound shadow area where the sound waves failed to
propagate to, resulting in a lower sound intensity level at the area. Based on the data we collected, the sound
intensity difference of 10.5 to 12.8dB is measured from the back rows to the middle rows of the auditorium.
Besides that, it is also covered by the overhang of the balcony level. The height of floor to underneath the balcony is
2.7m with 6.7m depth for the gallery. When the sound travels from the stage through air and towards the sound
shadow region, audience within that region will experience slight sound disruption as the sound quality is not at its
best and optimal value. Besides, walls covered by wooden wool reflect the sound into the shadow area.
Sound Shadow
4.10 Sound Defect
34

41. Noise is defined as an “unwanted sound”. It is either loud, unpleasant or that causes disturbance and irregular
fluctuations with other sounds that are being listened to. In acoustics, there is different type of noise such as white
noise, pink noise and colourful noise.
White noise is defined as a complex signal or sound that covers the entire range of audible frequencies, all of which
possess equal intensity.
Pink noise contains all frequencies of the audible spectrum but with an intensity that decreases with increases in
frequency at a rate of three decibels per octave. This decrease roughly corresponds to that of acoustic musical
instruments or ensembles; thus, pink noise has been used in checking listening rooms and auditoriums for their
acoustic characteristics, such as reverberation time and undesirable resonance behaviour. It is also used in audio
equalizers to produce a linear intensity-versus-frequency response in the listening environment.
Coloured noise refers to noise that may contain a wide audible spectrum but shows a greater intensity in a narrow
band of frequencies. An example is “whistling” wind.
Noise Intrusion
4.11 Noise Intrusion
35

42. Sound waves are created by a disturbance that then
propagates through a medium. Sound sources can be
divided into three categories :-
a) Activity of occupants in the hall
b) Environmental sounds produced outside of the
building.
c) Activity of occupants outside the hall
The sound sources are classified into two categories :-
External Noise
- Noises produced externally outside the building
such as road traffic, highways and construction.
Interior Noise
- Noise produced by occupants in the hall.
- Noise by machinery.
External Noise
The Platform is located inside a corporate office
building, Menara Ken at Taman Tun Dr Ismail. Due
to this reason, The Platform becomes less affected
by external noise coming from road traffic
because it is not a stand alone building.
The external noise is mainly generated from
people outside the main lobby and the corridors
heading to the washrooms. Even so, the hallways
act as a buffer zone minimizing outdoor noise
from human activities and weather. The readings
of external noise is greatly reduced to a range of
23.1 - 38.4 dB from a reading of 120 dB for a
thunderstorm due to the hallways and the
thickness of wall and door of 400mm.
Noise Analysis
4.12 Noise Analysis
36

43. Noise control can be done by implementing the
use of sound reflecting materials and sound
absorbing materials.
Sound-insulating materials effectively block or
stop sound waves from traveling to adjacent
spaces whereas sound absorption materials
absorb echoes inside a room, thereby preventing
sound from bouncing around the room.
Interior noise consist of noise produced by occupants in
the hall.
Example of noises we’ve recorded:-
a) Auditorium chairs
b) Footsteps
The noise generated is relatively low due to the sound
absorption of carpeted flooring and cushioned seats. The
noise generated by the auditorium chairs range from
35.2 - 50.1dB. The noise generated by footsteps range
from 42.9 - 63.0 dB.
Sound Absorption
Sound Insulation
Interior Noise
Noise Analysis
Noise Control
37

44. The Platform has sufficient sound insulating materials as
well as sound absorption materials at the centre of the
performance space to ensure quality of sound. However,
proper noise control at the stage area and the back of
performance space is not sufficient.
This is evident as sound caused by the operating speaker
and lighting system placed at the side of its stage are
audible even from the front rows. As for the control
booth found at the end of the auditorium, it is not
properly enclosed to cut off noise inside, thus greatly
affecting the experience of guests sitting at the back of
the performance space.
Noise Analysis
Non-Compartmentalised Noise from the Operating System
Semi-Enclosed Control Room
38

45. SOUND READINGS
05.

46. “VACUUM CLEANER” NOISE (with mic) - Ground Floor
Min.35.7
Max.71.4
Max.72.7
Max.79.7 Max.66.9
Max.69.2
Sound Shadow
39

47. “VACUUM CLEANER” NOISE (with mic) - First Floor
Max.73.0
Max.69.1
Max.68.0
40

48. Min.35.7
Max.44.6
Max.43.1
Max.39.5 Max.40.
2
Max.39.1
Sound Shadow
“VACUUM CLEANER” NOISE (without mic) - Ground Floor
41

49. “VACUUM CLEANER” NOISE (without mic) - First Floor
Max.40.8
Max.40.2
Max.40.0
42

50. CALCULATIONS
06.

51. Reverberation time is the time required for the sound to “fade away” or decay in a closed space. Sound in a room will
repeatedly bounce off surfaces such as the floor, walls, ceiling, windows or tables. When these reflections mix, a
phenomenon known as reverberation is created. Reverberation reduces when the reflections hit surfaces that can
absorb sound such as curtains, chairs and even people.The reverberation time of a room or space is defined as the time
it takes for sound to decay by 60dB. Factors that manipulate the results would be :
- Volume of enclosure
- Total surface area
- Absorption coefficient of the surfaces
The Sabine formula is as follows:
RT = 0.16V
ART = reverberation time (sec, s)
V = volume of the room (m3
)
A = total absorption of room surfaces (m2
sabins)
x = absorption coefficient of air RT = 0.16V
A + xV
Calculations
43

52. Estimated Floor Area (m2
)
A : 161.86
B : 91.78
C : 188.51
D : 27.53
A B C D
A B C D
Estimated Volume (m3
)
A : 1029.27
B : 672.56
C : 1202.66
D : 162.87
TOTAL Volume of The Platform : 3067.36 m3
RT Calculations
44

53. COMPONENTS
SURFACE AREA
(m2
)
500 Hz
Absorption Coefficient Abs Unit (m2
sabins)
A Timber Stage 250.33 0.06 15.0
B Carpet Flooring 389.42 0.3 116.8
500 Hz is used as a standard measurement due to this frequency category being the standard measurement for
musical performances. The Platform holds events related to musicals.
Area Of Floor Materials
A BB
45

54. COMPONENTS
SURFACE AREA
(m2
)
500 Hz
Absorption Coefficient Abs Unit (m2
sabins)
A Concrete Wall 160.9 0.01 1.6
B Wood Wool Wall 298.48 0.1 29.9
C Plasterboard 18.7 0.05 0.94
Area Of Wall Materials
A B C
46

55. COMPONENTS
SURFACE AREA
(m2
)
500 Hz
Absorption Coefficient Abs Unit (m2
sabins)
A Cushion Seats 130.75 0.64 83.7
B Timber Door 15.12 0.06 0.9
Area Of Other materials
A
B
47

56. COMPONENTS
SURFACE AREA
(m2
)
500 Hz
Absorption Coefficient Abs Unit (m2
sabins)
C Velour Curtains 146.24 0.35 51.2
Area Of Other Materials
C
48

57. COMPONENTS
SURFACE AREA
(m2
)
500 Hz
Absorption Coefficient Abs Unit (m2
sabins)
D Glass Box 12.44 0.10 1.2
E Mineral Fibre 244.90 0.82 200.8
Total 502.04
D
E
49
Area Of Other Materials

58. Calculation
RT = 0.16V
A
RT = reverberation time (sec, s)
V = volume of the room (m3
)
A = total absorption of room surfaces (m2
sabins)
RT = 0.16V
A
V = 3067.36 m3
A = 502.04 m2
sabins
= 0.16(3067.36)
502.04
RT = 0.97 sec
50

59. The reverberation time for The Platform is 0.97 seconds which indicates that the theatre lacks in terms on its suitability
for music thus musicals being held here may not be delivered well enough towards the audience. However, in terms of
speech it delivers sufficiently. Major factors that contribute to its RT is its long and narrow space which totals up to
3067.36 m3
and also unsuitable placements of absorbers and reflectors along the walls.
Reverberation Time
51

60. CONCLUSIONS
07.

61. After visiting and observing The Platform, we were able to differentiate the different types of spaces built for different
purposes such as speech, acoustics and multi-purpose halls. Based on our calculation , the Platform has a volume of
3067.36m³ and a reverberation time of 0.97s. Therefore, The Platform did not comply to the recommended
reverberation time to its volume. It is not suitable for acoustic performances. The auditorium is not built for conferences
and lectures due to its’ weak sound absorption towards the back of the hall which would lead to flutter echoes in
speeches.
Based on our deductions, The Platform is poorly designed to suit acoustic performances so there is room for
improvement to increase the reverberations time from 0.97s to at least 1 5s.
conclusion
Purpose Small Space
(850m³)
Medium Space
(850 - 8500m³)
Large Space
(8500m³)
Speech 0.80 0.80 - 1.0 1.0
Acoustic 1.50 1.50 - 2.0 2.0
Multi-purpose 1.0 1.0 - 1.7 1.7
Recommended reverberation time (RT) according to usage and volume.
52

62. REFERENCES
08.
62

63. 1. Wood Wool Acoustic Panels. (n.d.). Retrieved from https://www.acousticalsurfaces.com/envirocoustic-woodwool/
2. Breytenbach M. Carpet Effective, Presents Sound-Absorption Solution. (2015, July 17). Retrieved from
https://www.engineeringnews.co.za/article/carpet-effective-presents-sound-absorption-solution-2015-07-17
3. The Benefits of Acoustic Ceilings. (2013, October 25). Retrieved from
https://carolinaservicesinc.com/the-benefits-of-acoustic-ceilings/
4. Copyright 2019 : fat media : info@fatmedia.co.uk. (n.d.). Acoustic Reflectors. Retrieved from
http://www.totalvibrationsolutions.com/page/289/Acoustic-Reflectors.htm
5. Sound Reflecting Ceiling Tiles. (n.d.). Retrieved from
https://www.paroc.com/products/acoustics/ac-modular-ceilings/ac-modular-sound-reflecting#
6. Acoustic Wood Wall Panels, Custom Acoustical Ceiling Panels. (n.d.). Retrieved from
http://decibeldesignsolutions.com/product-range/wood/
7. What is reverberation time and how it is calculated? (2018, November 15). Retrieved from
https://www.cirrusresearch.co.uk/blog/2018/04/what-is-reverberation-time-and-how-it-is-calculated/
8. Staff, S. X. (2014, March 04). Greater music dynamics in shoebox-shaped concert halls. Retrieved from
https://phys.org/news/2014-03-greater-music-dynamics-shoebox-shaped-concert.html
9. Britannica, T. E. (2013, September 23). Noise. Retrieved from https://www.britannica.com/science/noise-acoustics
10. Transmission.", ". (2019). Sound Transmission. Retrieved from
https://www.encyclopedia.com/science/encyclopedias-almanacs-transcripts-and-maps/sound-transmission
11. Interior Noise. (n.d.). Retrieved from https://www.sciencedirect.com/topics/engineering/interior-noise
12. Does Wood Absorb or Reflect Sound? (2019, April 13). Retrieved from
https://bettersoundproofing.com/does-wood-absorb-or-reflect-sound/
13. Acoustic Academy - Wooden Panels With Unique Acoustics. (n.d.). Retrieved from
https://gustafs.com/architect-support/acoustics-academy/
14. Acoustic performance. (n.d.). Retrieved from https://www.woodsolutions.com.au/articles/acoustic-performance
15. Speakers, P. (n.d.). The Frequencies of Music. Retrieved from
http://www.psbspeakers.com/articles/The-Frequencies-of-Music
53

64. 64

65. 65

66. CONTENT
Introduction
- Introduction to Menara Ken TTDI
- Introduction to The Platform
Methodology
Drawings
Acoustics Design Analysis
- Photos of The Platform
- Auditorium Form and Shape
- Arrangement and leveling of seats
- Sound Reinforcement
- Acoustic treatment and Components
- Sound Absorption Materials
- Sound Reflective Materials
- Sound Propagation
- Sound Delay and Echo
- Sound Defect
- Noise Intrusion
- Noise analysis
Sound Readings
Calculations
- RT calculations
- Area of Floor Materials
- Area of Wall Materials
- Area of Other Materials
Conclusions
References

67. EXTERNAL NOISE
Min. 23.1
Max. 38.4
VACUUM
61.9
72.7
81.2
SQUEAKING CHAIRS
(from stage)
Min. 35.2
Max. 50.1
SQUEAKING CHAIRS
Min. 33.5
Max. 58.5
FOOTSTEPS
Min. 42.9
Max. 63.0
“VACUUM CLEANER” NOISE (with mic)
LOWER FLOOR
4th Row (D)
Min. 35.7 (CONSTANT)
Max. 71.4
8th Row (H)
Max. 72.7
12th Row (M)
Max. 79.7
16th Row (S)
Max. 69.2
20th Row (W)
Max. 66.9
UPPER FLOOR
Row AA
Max. 68.0
Row DD
Max. 69.1
Row GG
Max. 73.0
“VACUUM CLEANER” NOISE (without mic)
LOWER FLOOR
4th Row (D)
Max. 44.6
8th Row (H)
Max. 43.1
12th Row (M)
Max. 39.5
16th Row (S)
Max. 39.1
20th Row (W)
Max. 40.2
UPPER FLOOR
Row AA
Max. 40.0
Row DD
Max. 40.2
Row GG
Max. 40.8
67

68. CHECKLIST
Historical Background
- Write Up
Seating Capacity
Drawings
- Simple Layout + Seats
- Dimensions
- Broad major dimensions
- Area, volume
- Floor Layout
- 2 sections
- Longitudinal
2 or 3 people record finishes w/ pictures and notes
- Floor
- Aisle
- Stage
- Seats
- Walls
- Ceiling
Materials
- Calculation (Absorption)
- Sound Level Meter
- BG Noise (Aircond, outside etc)
Sound Shadow
- Gallery (First FLR)
BOOK SOUND LEVEL METER
Calculations
- Formula
- RT (High & Low)
Doors, speakers & curtains
Squeaky seats
Internal Noise/ External Noise
68