Music in Heritage involves my research on how to approach unsuitable room acoustics in existing buildings. This paper is part of my graduation at the TU Delft Faculty of architecture, at the studio Architectural Engineering. If you have any question at the end of the paper, do not hesitate to contact me.
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Music in Heritage
1. MARTIJN VAN DEN BERG | 4183541
MUSIC IN HERITAGE
A RESEARCH INTO NEW WAYS FOR THE DESIGN OF
ROOM ACOUSTICS IN HERITAGE
2. 2 | Music in Heritage - Martijn van den Berg
June 2015
Research paper
Architectural mentor: Ir. A. Snijders
Acoustic mentor: Dr. Ir. M. J. Tenpierik
martijn.johannes@gmail.com
0636136515
Van Lynden van Sandenburgstraat 3
2613CJ Delft
3. | 3
MUSIC IN HERITAGE
Music in Heritage involves my research on how to
approach unsuitable room acoustics in existing
buildings. This paper is part of my graduation at
the TU Delft Faculty of Architecture, at the studio
Architectural Engineering.
If you have any question at the end of the paper,
do not hesitate to contact me.
5. | 5
CONTENTS
Abstract 7
1. Acoustic quality in heritage 9
Objective 9
2. Research Methodology 11
Literature study 11
Case study 11
Research by design 11
Simulation 11
3. Van Gendthallen 13
Objective parameters 14
The current room acoustics 16
Hypothetical design 17
4. Case Study 21
Nieuwe Kerk Den Haag 22
Beurs van Berlage 22
Rijksmuseum 23
Casa da Musica 23
5. Modelling 25
Geometry 25
Materials 25
Existing situation 25
Audience and podium 26
Program 26
Solutions models 27
6. Simulation 37
Algorithms 37
Amount of rays 38
Air absorption 38
Simulation roadmap 38
Simulation section one 39
Simulation section two 40
Section three 40
Section four 40
Section five 44
7. Conclusion 47
Bibliography 49
Appendices 51
7. | 7
ABSTRACT
A lot of heritage suffer from bad acoustics, because
of the non-absorptive materialisation and big
dimensions or high ceilings. In this paper, the
possibilities of altering these acoustics with non
conventional solutions are researched, so these can
be used in buildings where conventional methods do
not fit the aesthetics.
The non-conventional solutions are tested inside the
last two halls of the Van Gendthallen in Amsterdam,
which are very suitable for this research, because
of the bad acoustics, the space and the fact that is
heritage.
The research started with a literature study to
discover the best ways to quantify the solutions.
This is done by simulation with CATT acoustic, which
simulates the sound in buildings, the building is
modelled as geometry with its acoustic properties.
The objective parameters which are used, calculated
by CATT acoustic, are the reverberation time of the
first 30 decibel (RT30), the G-strength (G), clarity (C80)
and the early decay time (EDT).
A case study has been done on buildings with
unconventional solutions to change the acoustics.
The Rijksmuseum and its acoustic chandelier, the
Beurs van Berlage and its glass box, the Laurenskerk
with its glass curtains and the Casa da Musica with its
corrugated glass are researched.
Based on these predecessors several solution models
are created, and later on some other solutions are
designed, like the reflectors, heavy curtains attached
to the overhead cranes and roof adjustments. With
the results of the 31 models, new models have
been made which consists of combinations of the
solutions.
The solutions all impacted the acoustics in a very
different way. For example; the reflectors increased
the clarity, the glass box increased the G-strength and
decreased the early decay time and the absorption
roof decreased the reverberation time.
Especially the combinations proved to have
significant impact on the acoustics. It seems unlikely
that there will be any case like the Van Gendthallen,
where one fine-tuned solution would be sufficient,
but with using multiple solutions at once, good
acoustics can be achieved.
9. | 9
1. ACOUSTIC QUALITY IN HERITAGE
Redevelopment of existing buildings is a growing
trend. Former government architect Frits van Dongen
believes we entered‘the century of redevelopment’
(klimaatverbond.nl, 2012) and the Technical
University of Delft even has its own studio specialized
in the field of redevelopment and heritage.
In many of the redeveloped buildings, the acoustic
quality is very poor. The reverberation times are very
high due to the little amount of absorbing surfaces
and some frequencies gain a higher sound pressure
level then other frequencies.
This is for a part due to the dimensions of the spaces.
For example; churches with very high ceilings gain
high reverberation times, because of the distances
the reflected sounds have to travel before arriving at
the listener.
The other part is caused by the materialization of the
buildings. The materials are mainly chosen because
of their constructive or aesthetic properties. The
masonry and concrete hardly absorb any mid to low
frequencies, which causes a high reverberation time.
However, some buildings can be very suitable for
theatres and arts centres because of their central
location in cities, their aesthetic qualities and
sometimes spatial qualities. But due to the poor
acoustic quality this is a big design challenge. In the
design question, two important demands conflict
with each other. The cultural value of the existing
building needs to display itself through the existing
material and geometry, while at the same time a
specific combination of geometry and materials is
needed to achieve a certain acoustic quality. The
cultural value needs to be seen by the users, but
sound needs to be absorbed and reflected in a
complex way.
OBJECTIVE
The main objective is to discover how the room
acoustics of heritage with bad acoustics can be
altered in an unconventional way, so architects and
acoustician’s can design a tailor-made solution for
the entire building, especially for heritage, without
having the need to turn to existing acoustic‘furniture’.
The results of the research form a rough toolbox for
both the architect and the acoustician. This objective
is guided by some research questions:
• What objective parameters which describe the
acoustics are relevant for a pop and rock venue?
• What are preferred values for the objective
parameters?
• How is dealt with unsuitable acoustics in heritage
in general?
• How can you test or compare what the influence
is of the tools or solutions?
11. | 11
2. RESEARCH METHODOLOGY
Four research methods will be applied in order find
the answer to the main question. The main research
method is research by design, combined with
simulation. Prior to this main part, a small literature
study and case studies will be done.
LITERATURE STUDY
A literature study will be done, in order to research
how music venues are designed and what the ideal
acoustic properties are for pop and rock venues. This
part will be covered in chapter 3.
CASE STUDY
Several case studies will be done, searching for ways
to deal with bad acoustics. What kind of solutions
are used and how can they be applied to a different
situation. This part will be covered in chapter 4.
RESEARCH BY DESIGN
Using the information of the case studies, several
solutions will be designed for an existing building,
the Van Gendthallen. These halls will form the
backbone of all the tested configurations, using
different solutions, program implementation and the
modification of the existing structure.
SIMULATION
In order to be able to compare solutions among each-
other and with the existing situation, the solutions
need to be quantified. To quantify the solutions, they
are simulated with the acoustic simulation software
CATT Acoustic. This software is used by a lot of
companies which are active in the built environment
like ARUP (CATT, 2015). The simulating engine returns
both the acoustic properties measured in a digital
microphone and it offers auralization. Auralization
is the application of the acoustic properties on a
dry sound. It simulates how a sound sounds when it
would be played in the simulated case (CATT, 2015).
17. | 17
typical cube (Nijs, 2008), which is why the results
will be compared to a simulation of a model of the
existing halls with CATT acoustic.
The simulation returns a reverberation time of 11.34
seconds for the first 60 decibel, which is derived from
a 30 decibel decay, from -5 to -35 (Adelman-Larsen,
2014). This shows that Sabine's equation is indeed
unsuitable, or that the decay is not linear but instead
has a longer decay tail.
The calculation of G-strength returns 9.32 decibel for
the 500 Hz octave-band, while the same simulation as
the previous returns a G-strength of 12.4 decibel. This
is a big difference, since a difference of 3 dB is twice
the intensity, expressed in watt per square meter.
α for 500 HZ S [m2] S*α
Masonry 0.03 6842 205.3
Concrete 0.02 5484.5 109.2
Steel 0.03 1134.9 34.0
Glass 0.03 7472.9 224.2
G [dB] 31+10*LOG((4*(1-α )/Σ(Sn
*αn
)) 9.32 dB
A reverberation time of 11.34 seconds is still to much
and a G-strength of 8.3 to 12.4 decibel is to high.
The EDT differs between 0.71 seconds(16 kHz) and
14.28 seconds (250kHz). The clarity of the hall is the
lowest on 1kHz band with -7.2 decibel, which means
it is almost impossible to distinguish the tones. To
HYPOTHETICAL DESIGN
The surface the audience covers in the performance
place for acoustic music, is based on the amount of
people. To be able to provide enough space for 250
people, the surface of the venue should be around
250 square meters (Nijs, 2008). This includes the
podium and circulation.
Although a definitive design will not be made before
the finishing of the research paper, it can be helpful
to know what the target values will be for this typical
venue. The venue should according to the author, feel
intimate and warm since it receives a low amount of
visitors. The reverberation time of such a small venue
should be compared to chamber music halls, which
is the smallest type of acoustic hall in literature. This
21. | 21
4. CASE STUDY
Before the research by design starts, other buildings
were analysed which dealt with unwanted acoustics
because of the existing state or because of the design,
but where they managed to alter the acoustics using
unconventional techniques.
Four of them have been analysed; The Nieuwe Kerk
Den Haag, The Beurs van Berlage, The Rijksmuseum
and Casa di Musica. The first three cases have in
common that a new function is realized inside
an existing building, which room acoustics lack
suitability for this new function. In Casa di Musica,
the design is a totally new building, and is the only
building which is not heritage. Three of the cases
are intended for music performances, only the
Rijksmuseum serves a different purpose. The case
studies are covered on the next page.
25. | 25
5. MODELLING
The model itself consists out of two parts, the
geometry and the acoustic properties of the used
materials. The models consist of the existing situation,
the podium and audience and the solutions. Some
solutions are based on the case studies and some on
literature or inspiration from the building.
GEOMETRY
The geometry determines how long the sound waves
travel and at what angle the waves are reflected.
However, the geometry will never be as detailed as
in real life. The relief of the material causes a certain
scattering of the waves. Details of around 300
millimetres can be drawn, which scatters waves of
1000Hz and higher, but according to the software
developer the results will be better when this
scattering is processed in the scatter coefficients of
the geometry. This is why the out of many different
profiles existing columns are drawn as simple two-
dimensional planes, with the width of the composite
columns, while the expected scattering is applied in
the material properties in the CATT-geo file.
The geometry has been drawn with Cinema 4d,
because it offers a lot of ways to easily create copies
of objects and because node-based scripting is
possible. Node-based scripting was used for the
creation of reflectors and to make it easy to alter
dimensions of objects as well as altering the amount
of baffles for example.
MATERIALS
Assigning absorption and scattering coefficients is
a combination of finding exact measurements and
using the right insight about physics.
All the absorption coefficients are derived from
literature, the exact references can be found in the
appendix. There are not many scatter coefficients
available, which is why they have to be estimated
combined with known scatter coefficients.
The geometry of the glass suspended curtain was
hard to combine with acoustic properties. The
dimensions of the suspended curtain and the fixing
is not common, and the existing measurements
are based on glass in a façade. This means that the
amount of absorption measured consists of absorbed
sound in the material and of sound penetrating
panel, vanishing in outside. The last part, the sound
penetrating the glass is in case of the suspended
curtain, still in the same hall.
EXISTING SITUATION
The model of the existing situation is the template
which will accommodate all the solutions. Hall four
and five have been modelled with the four main
46. 46 | Music in Heritage - Martijn van den Berg
Figure 43 - Link to the auralized sound of the an acoustic
guitar in the empty hall.
Use a QR scanner on a mobile phone to scan the code. If the
download does not start, use a different browser.
Figure 44 - Link to the auralized sound of the an acoustic
guitar in the hall with the combination of curtains hung
from the overhead cranes, reflectors and the absorption
roof.
Use a QR scanner on a mobile phone to scan the code. If the
download does not start, use a different browser.
47. | 47
7. CONCLUSION
It becomes clear that the acoustics of a huge hall
can be altered very well, without having the need to
clad all the masonry with acoustic material. Many of
the solutions tested had a significant effect on the
acoustics, which can be scaled down or up.
The results provide some general information about
the effect of each solution and combination.
Because of the combinations, it becomes clear that
the different solutions can be combined very well,
the positive effects stacks. For instance, when the
lamellae and absorption sheet altered the acoustics
in a certain way, adding the reflectors gave the same
additive clarity as when the reflectors would be
added to the empty hall.
Against the preconceptions, the effect on the
acoustics by the program was underestimated.
Knowing the exact program and materialisation is
important, because the effects have such a significant
influence on the acoustics. The solutions for the
venue can be tuned very well, but the effect of
the program on the acoustics in the venue are so
significant, that it can easily ruin it when the venue is
tuned before the program and its materialisation was
known.
This research can be extended in many ways, by
testing with different materials, locations, solutions
and buildings, or by testing in different ways, like with
scale models, different algorithms or in the existing
building itself. The unconventional solutions can also
be compared to some existing solutions, like huge
baffles hung unto the ceiling or‘bass-traps’ in the
corners of rooms.
The research shows what the solutions do in a general
way, and is therefore quite rough. For instance, the
effect on the reverberation time of less then one
second, would barely be called an effect at all in
this research, because of the relatively low accuracy.
When designing a room with specific dimensions,
the required objective parameters values will be
determined onto an accuracy of one decimal place,
which requires a lot of fine-tuning of acoustic design.
This research now forms a basic toolbox for the
architect or acoustician; some general effects of
all the solutions are known, as well as how some
variations perform. Altering the acoustics of buildings
becomes more accessible, now it is clear how these
unconventional solutions perform in a general way.
49. | 49
BIBLIOGRAPHY
Adelman-Larsen, N. W.(2014), Rock and Pop Venues,
Acoustic and Architectural Design, Springer, Berlin
Beemster, S. (2003), akoestiek, verstaanbaarheid of
privacy, BNI Intern, #1, february 2003
Blok, R. (2006), Tabellen voor Bouwkunde en
Waterbouwkunde, ThiemeMeulenhoff
CATT-Acoustic v8.0a manual, available on the
installation CD
Cox T. J., D’Antonio P. (2009), Acoustic Absorbers and
Diffusers, Taylor and Francis,
Lawrence, A. (1970), Architectural Acoustics, Elsevier,
Barking, UK.
Long, M. (2006), Architectural Acoustics, Elsevier,
Oxford
Peterson, J. (1984), Rumakustik, Statens
Byggeforskningsinstitut, Hørsholm
Websites
Architectenweb.nl (2011), Kroonluchters voor
atria Rijksmuseum, retrieved from: http://www.
architectenweb.nl/aweb/redactie/redactie_detail.
asp?iNID=27617
Catt (2015), www.catt.se
Klimaatverbond.nl (2012), Rijksbouwmeester Van
Dongen: Eeuw van herbestemmen is aangebroken,
nieuwbouw niet meer van deze tijd, retrieved
from: http://www.klimaatverbond.nl/nieuws/
rijksbouwmeester-van-dongen-eeuw-van-
herbestemmen-is-aangebroken-nieuwbouw
Lau Nijs et al (2006), Ruimteakoestiek, retrieved from
bk.nijsnet.com
51. | 51
APPENDICES
The simulations resulted in a lot of data, which
is covered for a small part in the chapter about
simulation. The data which is addressed is present as
appendices.
The first appendix contains all the results of the
simulations.
The second appendix contains the details of the
reflector set-ups. Reflector set-up 1 will not be
covered because this set-up was not accurately
calculated.
69. | 69
0
1
2
3
4
5
6
7
125 Hz 250 Hz 500 Hz 1 kHz 2 kHz 4 kHz
T30[s]
Frequency [Hz]
Curtains - T30
Pod + Aud + Prog v0 + Prog v1
Overhead crane with curtain -8m of mic
Overhead crane with curtain 24m of mic
Overhead crane with curtain 36m of mic
Overhead crane with vertical and horizontal
curtain
-2
-1
0
1
2
3
4
5
125 Hz 250 Hz 500 Hz 1 kHz 2 kHz 4 kHz
C80[dB]
Frequency [Hz]
Curtains - C80
Pod + Aud + Prog v0 + Prog v1
Overhead crane with curtain -8m of mic
Overhead crane with curtain 24m of mic
Overhead crane with curtain 36m of mic
Overhead crane with vertical and
horizontal curtain
0
0.5
1
1.5
2
2.5
3
3.5
4
4.5
5
125 Hz 250 Hz 500 Hz 1 kHz 2 kHz 4 kHz
EDT[s] Frequency [Hz]
Curtains - EDT
Pod + Aud + Prog v0 + Prog v1
Overhead crane with curtain -8m of mic
Overhead crane with curtain 24m of mic
Overhead crane with curtain 36m of mic
Overhead crane with vertical and
horizontal curtain
0
1
2
3
4
5
6
7
125 Hz 250 Hz 500 Hz 1 kHz 2 kHz 4 kHz
G[dB]
Frequency [Hz]
Curtains - G
Pod + Aud + Prog v0 + Prog v1
Overhead crane with curtain -8m of mic
Overhead crane with curtain 24m of mic
Overhead crane with curtain 36m of mic
Overhead crane with vertical and
horizontal curtain
76. 76 | Music in Heritage - Martijn van den Berg
REFLECTOR
SET-UP2*
REFLECTOR
SET-UP3
REFLECTOR
SET-UP4
REFLECTOR
SET-UP5
REFLECTOR
SET-UP6
* | Reflector set-up 1 is not covered, because it is not calculated
but roughly estimated. Set-up 2 is calculated with a partially
wrong script, but boosts good results.