AR453_Building science 2_Assignment3

AR453

BUILDING SCIENCE 2

ARCHITECTURAL ACOUSTIC DESIGN

ASSIGNMENT 3 CONCERT HALL

FACULTY OF ENGINEERING, TECHNOLOGY, & BUILT ENVIRONMENT SCHOOL OF ARCHITECTURE & BUILT ENVIRONMENT

Prepared by:

SEMESTER 4 (JUNE 2021) GROUP 3 Sabaahat Shaheed Mohamed Iqbal- 1001956821 Ngulube Chawanangwa- 1001953300 Aishath Mishka Mular- 1001956727 Siva Takshit Bollineni- 1001955377 Maliha Akter Aaysha- 1002059355 Khalfan Ali Said- 1001853395 Caelester Ho- 1001850732

Lecturers: Dr.Taki Eddine Seghier and Mr. Allen Khin Kiet Lau

KENYAN

Sabaahat Shaheed Mohamed Iqbal- 1001956821 Semester 4 ZAMBIAN

Ngulube Chawanangwa1001953300 Semester 5 MALDIVIAN

Aishath Mishka Mular1001956727 Semester 4 INDIAN

Siva Takshit Bollineni100195537 Semester 4

BANGLADESHI

Maliha Akter Aaysha1002059355 Semester 4

TANZANIAN

Khalfan Ali Said1001853395 Semester 4

MALAYSIAN

Caelester Ho1001850732 Semester 4

TABLE OF CONTENT

PART 1 Case studies: Dewan filharmonik petronas, Malaysia Casa da musica, porto, Portugal Philharmonie de Paris, France Comparison table Conclusion and References

PART 2 Individual proposal: New concert hall proposal Conclusion and References

PREPARED BY: Sabaahat Shaheed Mohamed Iqbal – 1001956821

DEWAN FILHARMONIK PETRONAS, MALAYSIA

CASE STUDY 1

PREPARED BY: Sabaahat Shaheed Mohamed Iqbal – 1001956821 And Caelester Ho- 1001850732

DEWAN FILHARMONIK PETRONAS, MALAYSIA

INTRODUCTION The Dewan Filharmonik PETRONAS (DFP) is regarded as Southeast Asia's most prestigious venue for classical music performances. It is situated between the PETRONAS Twin Towers and KLCC Park and is home to the Malaysian Philharmonic Orchestra (MPO). It is the country's first dedicated Classical music performance venue, having opened in 1998.

A hidden moveable ceiling is one of the Dewan Filharmonik PETRONAS' most distinctive features: it allows for a change in the room's acoustics to accommodate both meetings and chamber music performances to big symphony concerts and organ recitals.

Room

2

Size(m )

Tiered + Flat Floor Seating

Dewan Filharmonic Petronas Promenade – Level 2 Foyer

418sqm

Standing 400pax

Stalls Foyer – Level 2 Foyer

418sqm

Standing 250pax

Circle Foyer – Level 2M foyer

425.31sqm

Standing 200pax

PREPARED BY: Sabaahat Shaheed Mohamed Iqbal – 1001956821 And Caelester Ho- 1001850732

DEWAN FILHARMONIK PETRONAS, MALAYSIA

SEATING LAYOUT A triple-volume concert hall The DFP is a three-story concert hall with three levels of seating: Stalls, Circle, and Upper Circle.

The first layer of seating and the stage are located on the ground level of the music hall. The sitting spaces are divided into two tiers, the second and third levels. Because of the music hall's triplevolume height, it is required to use a variety of reflecting sound absorption materials. DFP employs a variety of sound treatments to increase the quality of sound distributed and reflected from one angle to another. In order to provide a balanced dispersion of sound at each seating level, sound treatments are required.

Level 2 foyer

Level 2M foyer

The image on the left shows the seating arrangement of DFP concert hall. The stalls area consists of the most seats compared to the circle foyer and upper circle foyer. It also consists of corporate suites with attached lounges and balconies that allows reflection of sound to the audience at the same time getting rid of the echoing sound.

Advantages • The acoustic qualities are enhanced • There is better sound distribution Disadvantages • The balcony absorbs the sound thus makes the sound level pressure poor

Standard seating arrangement- subject to change

PREPARED BY: Sabaahat Shaheed Mohamed Iqbal – 1001956821 And Caelester Ho- 1001850732

DEWAN FILHARMONIK PETRONAS, MALAYSIA

ANGLE OF SEATING The Dewan Filharmonik PETRONAS (DFP) able to contain around the total of 885 audiences of seating capacity. Due to this huge amount, the audiences that sit on the seating have to feel comfortable while watching the performance with ease. This leading to change the angle of seating where the seat will be slanted to a specific degree.

The purpose of using a slanted seating level is to compensate for the poor sound dispersion caused by the porous-type of absorption supplied by seats and the audiences. To address this issue, the seating level is designed as a sloping level where the seating start from the lowest level near the main auditorium space and start sloping upward with a sloping of 20 degree. This sloping degree help to prevent sound absorption by the seats.

Sectional Cut of the Sloping Angle of Seating

Sloping of 20 degree for the Angle of Seating

In addition of the angle of seating, the circulation of the spaces or the distance in between two seating rows are in optimum dimension which is around 1000mm or 1m.

This dimension are sufficient in amount to ensure the audiences able to feel the acoustic experience due to good resonance of sound transmission.

Optimum Dimension for Seating PREPARED BY: Sabaahat Shaheed Mohamed Iqbal – 1001956821 And Caelester Ho- 1001850732

DEWAN FILHARMONIK PETRONAS, MALAYSIA

SIZE OF THE SPACE The Dewan Filharmonik PETRONAS (DFP) itself are separated into four different section of the spaces. The four section of the spaces are the auditorium, stage, balcony and floor.

The size of the auditorium itself has a large gentle arched perforated metal ceiling where it allow sound travel to the top and reflected back to the audiences and musicians thus eliminating the echoing and reverberance effect.

Room

The size of the space in the balcony is to increase audience capacity but poor in acoustic due to long distance propagation over the audience.

Reverberation time also become shorter due to smaller volume per audience and hard to obtain good reflective materials.

2

Size(m )

Tiered + Flat Floor Seating

Dewan Filharmonic Petronas Promenade – Level 2 Foyer

418sqm

Standing 400pax

Stalls Foyer – Level 2 Foyer

418sqm

Standing 250pax

Circle Foyer – Level 2M foyer

425.31sqm

Standing 200pax

The size of the stage is large enough capacity for the whole orchestra. This bring flexibility and convenient for the musicians to bring their heavy instruments easily.

The size of spacing between rows of seating give sufficient spaces for the audiences to move to their own seating space easily without knocking or disturbing other audiences in the front rows.

The space between seating would cause resonance in low- frequency sounds that will produce a good attenuation.

PREPARED BY: Sabaahat Shaheed Mohamed Iqbal – 1001956821 And Caelester Ho- 1001850732

DEWAN FILHARMONIK PETRONAS, MALAYSIA

SELECTION OF MATERIAL The acoustics of a performance venue are heavily influenced by the materials used. If the same materials used in a place with high acoustics were organized in a different way, they may make the space sound worse. Hard, reflecting materials, on the other hand, are good for music hall acoustics in general. This is because the orchestra requires as much reflection and reverberation as possible in order to provide a fuller sound.

Arched perforated metal ceiling The ceiling is the most distinctive feature of the acoustic design.

Although the perforated metal ceiling vault looks to be solid, it is really acoustically transparent, enabling sound to flow to a higher ceiling. The top ceiling is made up of seven moveable panels that may be changed to change the music hall's loudness and imitate various acoustic conditions. The ceiling may be adjusted as low as 58 feet above the stage and as high as 81 feet.

Absorptive panels The auditorium's resonance may be adjusted by opening or closing acoustically absorptive panels in the sidewalls. The walls, ceilings, and balconies are all intended to reflect sound back to the audience and musicians while reducing the echoing effect.

Image showing the Metal ceiling

Resilient pads To minimize exterior noise, the hall sits on resilient pads and is enclosed by two concrete walls separated by an isolation joint. As a result, the air conditioning is almost quiet. Every aspect of the hall, including the materials and finishes, was planned and chosen to provide a versatile playing atmosphere that can accommodate a wide range of symphonic performances.

The walls and balconies have been designed to reflect sound both to the audience and the performers while minimizing echoes, and are encased in a grid of hand-carved Malaysian wood screens with bronze accents.

Klais pipe organ It has a series of wooden and steel pipes with the tallest wooden pipe being 4800mm tall while the steel pipe being 6180mm tall without pipe foot. It produces a multitude of musical sounds.

Tongue-and-groove wood

Image showing the Klais pipe organ

The stage is built of tongue-and-groove wood, which is known for its flexibility. Depending on the intended function, the walls around the stage are acoustically modified to be sound reflecting or absorbent.

Furthermore, the music hall's walls are convex in form, ensuring optimum sound dispersal.

PREPARED BY: Sabaahat Shaheed Mohamed Iqbal – 1001956821 And Caelester Ho- 1001850732

DEWAN FILHARMONIK PETRONAS, MALAYSIA

HALL TYPE Conventional Shoe-box hall The most important element determining the room's acoustics is its form. The DFP's design is based on the conventional shoe-box form of famous nineteenth-century European music halls. This plan shape is usually regarded as the best acoustic setting for symphony orchestra performances. The shoebox form is the greatest acoustic design since it completely encloses the inside space. When sound is reflected off a surface, it may be seen in the same way that light is reflected off a mirror. Convex surfaces disperse or absorb sounds, and concave surfaces reflect concentrated sounds.

Legend Source of sound Sound reflected from ceiling Sound reflected from balcony

Layout plan and sound reflection

Longitudinal section of the concert hall showing the application of various Treatments to enhance the sound quality of the hall

Due to the lack of efficient reflection from walls and ceilings when a balcony is given, the sound reflection pressure level becomes low. Furthermore, because the audience size is less, the reverberation duration is reduced. To offer a more effective sound reflection, movable acoustically absorptive wall panels with a convex form are employed. The orchestra shell is made up of moveable acoustically absorptive walls with a zig-zag shape that surround the stage. The advantage is that sound energy is absorbed through the backstage area, which has been prepared with highabsorption materials.

Advantages • The sound directly reaches to the ear of the human • All the sound energy is absorbed through the backstage area • There is an even distribution to all the seats • The higher overtones are amplified by sound reflected from the sides.

Disadvantages • Sound reflection pressure is low • Could produce vibrating echo which would irritate the human ear • The narrow stair well might cause an unpleasant feeling of dizziness.

• From behind the platform, the pipe organ could be offset. This might be deemed disorienting.

PREPARED BY: Sabaahat Shaheed Mohamed Iqbal – 1001956821 And Caelester Ho- 1001850732

CASA DA MUSICA, PORTO, PORTUGAL

CASE STUDY 2

PREPARED BY: Maliha Akter Aaysha- 1002059355 And Aishath Mishka Mular- 1001956727

CASA DA MUSICA, PORTO, PORTUGAL

INTRODUCTION Year : 1999 • Competition • Breaking ground Program : • Parking • Public space • Theatre • Restaurant •Education Total

2003 2005 • Topping out • Openning • Completion 29 342m² 11 857m² 2 682m² 1 230m² 144m² 54 127m²

Foyer Cyber Music Room Grand Auditorium

The Casa da Musica, the new home of the National Orchestra of Porto, stands on a new public square in the historic Rotunda da Boavista. It has a distinctive faceted form, made of white concrete, which remains solid and believable in an age of too many icons. Inside, the elevated approximately 1,300-seat (shoe box-shaped) Grand Auditorium has corrugated glass facades at either end that open the hall to the city and offer Porto itself as a dramatic backdrop for performances.

Grand Auditorium (Capacity = 1238)

Small Auditorium (Capacity = 350 sitting / 650 standing)

PREPARED BY: Maliha Akter Aaysha- 1002059355 And Aishath Mishka Mular- 1001956727

Rooftop Restaurant (Capacity = 150)

CASA DA MUSICA, PORTO, PORTUGAL

SEATING LAYOUT The hall is thought like a big shoebox with transparent rear and back wall.The audience is seated in one raked surface so they can look out to the Rotunda da Boavista.

Musicians can see part of Porto behind the audience. The shape of the auditorium is a logic continuation of the design concept.

The width of the hall will be 22m, the hall is approximately 53m deep and have a height of 17.5m. The volume of the hall is calculated to be 17.500 m3.

The main hall of Casa da Musica has a capacity of 1238 seats and a stage that takes 110 musicians plus a choir of 143.

The seats in this hall are only Hiradoma seats on the first floor.

There are some balcony seats on the upper floors on both sides, but they are kept open when required for performance.

The shape of the seat is a little special: when one customer sits, the seat slides forward and snaps into place, and when he stands up, it returns to its original position.

It has a wider foot space than a normal folding chair, so that other customers can pass it easily even if they sit for a long time.

This hall is designed to take in a lot of natural light, and the back of the seat is see-through glass and bright.

PREPARED BY: Maliha Akter Aaysha- 1002059355 And Aishath Mishka Mular- 1001956727

CASA DA MUSICA, PORTO, PORTUGAL

ANGLE OF SEATING

20.4m 26.6m 36.9m

• The seating area is tilted to the angle of 22 degrees.

• It enables sound to travel to the back without having obstacle.

• Chairs alligned in consecutive straight rows.

•The composition of the seating provide a main focus viewpoint to audience to put their attention at the main stage as the seats are facing in one direction.

The time intervals of sound paths on a typical stage of 20 meters wide, 12 meters deep and a canopy at 10 meters height.

An example of typical sound paths on a concert hall stage related to hearing yourself, others and the hall.

This indicates that a transition time point may exist on stage between early reflected sound and late reflected sound at approximately 100 ms and that this transition time point is measured relative to the departure of the sound from the sound source(s).

The sound can either follow the paths directly through the orchestra or indirectly via a number of reflection paths.

In general, the late arriving reflections seem important for a sense of feedback from the hall.

PREPARED BY: Maliha Akter Aaysha- 1002059355 And Aishath Mishka Mular- 1001956727

CASA DA MUSICA, PORTO, PORTUGAL

SELECTION OF MATERIAL In general, materials use on the building was innovative: corrugated glass replace the front and back walls of the Grand Auditorium, where the walls are clad in plywood embossed in golden patterns. The VIP area has hand-painted tiles, while the roof has B&W tiles. The floors in public areas are made of aluminum and the façade of Casa Da Musica is made out of white concrete.

Corrugated glass walls The glass walls on both sides of the auditorium is so stable that it bears weight without the support of steel or concrete. Additionally, the glass curve helps to reflects and diffuse the sound in the hall.

Curtains Over the corrugated windows, 9 of 11 curtains are suspended. These curtains help organize light, visual and acoustic issues.

Acoustic panels The acoustic separation of the main auditorium from other spaces is done by the acoustic panels. It used to mitigate noise and reduce the reverberation and echo in a space.

PREPARED BY: Maliha Akter Aaysha- 1002059355 And Aishath Mishka Mular- 1001956727

CASA DA MUSICA, PORTO, PORTUGAL

SIZE OF THE SPACE The total area of the Casa Da Musica is 22,000 m². The main auditorium has a width of 22 m, the hall is approximately 53 m deep and with a height of 17,5 m. The volume of the hall is 17.500 m3.

Although the auditorium is primarily intended for symphonic music, musical theater is viable as well.

Therefore, technological solutions, such as a moving catwalk, and light bridges above the ceiling are implemented.

The ceiling height of the main 1 3 auditorium is relatively high, potentially curtailing early acoustic energy. The installation of lateral balconies and corrugated glass on 2 the walls of the hall generate reflections and allow build-up of reverberation, fixing the aforementioned issue. The 17.5m (1)Lateral balconies, (2)corrugated glass, and (3)Acoustic reflectors above the stage. could create echo issues.

An acoustic reflector directly above the stage aid listening comforts of the performer in terms of echoing. The space accommodates about 1500 users, a small size that allows significant volume per listener. Carefully planned acoustic absorption compensates for the smaller seat count.

In total the both the main auditorium and smaller auditorium accounts for about 7% of the actual size of the building.

PREPARED BY: Maliha Akter Aaysha- 1002059355 And Aishath Mishka Mular- 1001956727

CASA DA MUSICA, PORTO, PORTUGAL

HALL TYPE The shoe-box hall Despite its efforts to break free from the shape of the traditional shoebox hall, OMA had to admit that the shoebox still has the best acoustics, so it set about reimagining the type for the 21st century. The most significant change was to replace the front and back walls with proscenium arches with corrugated glass panels.

Therefore, the Casa da Musica houses two auditoriums both designed in a contemporary shoe box shape. The shoebox shapes allows result in the early energy arrival in to be less powerful, resulting in the energy being easier to hear. Additionally, the sound energy bounces off the left and right walls, filling the stage with more sound.

Blend of the acoustical field diagrams-scheme of a generic shoebox hall

Music is perceived to have greater dynamic range in shoebox halls than in other types of halls as rooms itself amplify the passages of a concert.

Advantages •

•

Sound reflected from the sidewalls arrives to the listeners ears where human directional hearing sensitivity is the highest.

Tend to have good direct sound, especially for listeners at front.

Disadvantages •

•

The reflection of sounds on the rear end of the lateral walls do not reach the middle area of the room Potential issues with flutter echoes

PREPARED BY: Maliha Akter Aaysha- 1002059355 And Aishath Mishka Mular- 1001956727

PHILHARMONIE DE PARIS , FRANCE

CASE STUDY 3

PREPARED BY: Khalfan Ali Said- 1001853395, Ngulube Chawanangwa- 1001953300 And Siva Takshit Bollineni- 100195537

PHILHARMONIE DE PARIS , FRANCE

INTRODUCTION It was designed primarily for orchestral acoustic programs, it does however allows modular arrangements of stage and audience , including satellite platforms for musicians or end stage to crate a rich and full , yet intimate acoustical experience for musicians and audience alike. The design of the hall adopted a surround type layout , with audience seating not only from the front but also behind and the side of the performers, basically enveloping the performance stage , this creates a great sense of proximity and communion in the hall

PREPARED BY: Khalfan Ali Said- 1001853395

PHILHARMONIE DE PARIS, FRANCE

SEATING LAYOUT The Philharmonie de Paris has adopted the vineyard seating layout, this is a type of layout in which the spectators seats surround the stage with a fan shaped seating behind the performers , the aim was to create an intimate acoustic connection between the performers and the spectators The number of seats are 2400 and the hall appears smaller than its actual capacity.

Advantages of vineyard seating layout • • • •

A great visual intimacy Excellent sight lines for the spectators Different choices of views Good direct sound

Disadvantages of vineyard seating layout

Fan shape

stage

• Lack of visual focus as there are spectators behind the performers • Less spaciousness • Obstructed sounds from solo performers • Less reverberance and sound The philharmonie de Paris has also adopted the fan shape seating layout behind the performers, this is to increase spaciousness of the hall as well as better site lines in behind and as the fan layout unfolds it provides better acoustic performance behind the stage

Advantages of fan shape seating layout • •

Increases seating capacity Good sight lines

Disadvantages of fan shape • •

Lack of involvement of the rear spectators Spectators unable to capture emotions of the performers

Flexibility The seats designed by the architects are quite flexible and allows the space to open up more for different music genres without affecting acoustic quality , 319 ‘oxymora seats’ are removed and stored behind the wall to open up the hall and 476 seats that can be hidden under the floor , this space is utilized for standing spectators.

PREPARED BY: Khalfan Ali Said- 1001853395

PHILHARMONIE DE PARIS, FRANCE

ANGLE OF SEATING The Philharmonie de paris has flexible seating systemin which the seats can be hidden under the floor using a mechanical system, these seats are angled differently compared to the seats on the balcony and the ones after them.

The adjustable hidden seating system are inclined at an angle of just 10 degrees but still maintains good sightlines for the viewers to the performers.

The ground floor seats are inclined at an angle of 30degrees The balcony seats inclined at an angle of 30 degrees from the horizontal plane and still maintains very good sightlines from the spectators to the performers , this is due to its height from the performance stage.

30

30 10

PREPARED BY: Khalfan Ali Said- 1001852395

PHILHARMONIE DE PARIS, FRANCE

SELECTION OF MATERIAL Interior finish The walls on the inside of the halls are three dimensional from mahogany and solid wood oak, CBPD, panels from MDF and massive gypsum boards as well. The total surface density of the materials is summed up to between 30 – 120 kg/m*2.

With the floor we see soft wood boards being used in the hall on the stage and the orchestra pit as they lie on wooden joists. We then see then use of Parquet in the decoration of the floor in the space.

The image shows the surface density of the materials above in the hall space.

Mahogany wood This has been often referred too as a staple tone wood. With great acoustic value is often used for making multiple instruments even for example an acoustic guitar. So it was a great choice for the concert hall.

Cement Boarded Particle Board(CBPB) These are wood composites stands with a high density and is very effective with multiple buildings in which acoustic values must stay within certain limits.

Medium Density Fibreboard(MDF) This is also made from composites of softwood and hardwood residual and designed as fibres. It acts as a sound proofing material clearly.

PREPARED BY: Ngulube Chawanangwa- 1001953300

PHILHARMONIE DE PARIS, FRANCE

SIZE OF THE SPACE The philharmonie de Paris has a floor area of around 20,000m² and has an organic flowing asymmetric design with annexes, rehearsal rooms, an educational wing, a library, and a café, as well as the required infrastructure for instrument movement and a parking lot.

The Philharmonic creates a ROOM SIZE one-of-a-kind and cuttingphilharmonie de Paris HALL 540m² edge cultural hub. Three Musicians Stage rooms, two of which are adjustable rehearsal areas, are 780m² philharmonie de Paris HALL organised primarily on two Audiences seats floors.

Turning to analyse and monitor the behaviour of the structure dynamic load testing with a central span of 60 metres and a 25-meter overhang . the size of hall is large enough to contains areas dedicated to public exhibitions and educational activities.

As a result, it has the capability of combining all musical methods in order to contribute to the revival of artistic, educational, and cultural activities.

The size of the balcony is open to the public, and visitors may stroll around the top, which is 37 metres high and offers a panoramic view of the city and suburbs merging.

PREPARED BY: Siva Takshit Bollineni- 100195537

PHILHARMONIE DE PARIS, FRANCE

HALL TYPE Shoe box with Early reflection So this style hall has mainly a rectilinear orthographic shapes used in the general outlook of this design. It is accompanied by regular horizontally shaped designs on the plan hence the wittingly named hall style as well as the approximate proportions of a tennis shoe box. This concert hall characteristics to fit the part and do it well. It has addition of early reflection panels seen in section with their aesthetic effect being clearly seen in the space too.

We see multiple panels above the hall that help effect early reflection clearly viewed over the stage space. Those reflectors optimise the acoustic effect on the space below them.

Advantages It allows sound to directly arrive at someones ear.

It creates a space with an even distribution of acoustic intimacy Sound bouncing off the sides reaches the human direction where human sensitivity is a t optimum.

Because of the early reflection panels in this design it reduces any issue with flutter echoes.

PREPARED BY: Ngulube Chawanangwa- 1001953300

Disadvantages Low sound reflection pressure.

Not all the seating is encompassed under early reflective panels and may still have some unwanted sound reflections from other parts of the hall.

COMPARATIVE TABLE DEWAN FILHARMONIK PETRONAS, MALAYSIA

CASA DA MUSICA, PORTO, PORTUGAL

PHILHARMONI DE PARIS, FRANCE

LAYOUT SEATING ARRANGEMENT

A triple-volume concert hall

Double height with rectangular seating layout

Vineyard seating layout with fan layout

SPACE FORM

Conventional shoe-box form

Shoe-box shaped

SEATING CAPACITY

885 people

HALL TYPE

Conventional shoe-box form

HEIGHT OF CEILING

Adjustable ceiling height • Highest – 24m • Lowest – 17m

TOTAL VOLUME

10875.31m³

WALL TYPE

Precast Concrete Wall

PREPARED BY : Sabaahat Shaheed Mohamed Iqbal - 1001956821

1238 seats and a stage that takes 110 musicians plus a choir of 143

Shoe-box

17.5m

17.500m³

Steel structure with pine wood paneling

Shoebox hall type

2400 seats with 795 seats being transformable to allow space for standing spectators to accommodate different music genre

Shoe-box hall

21 meters from floor to ceiling

37000mᶟ

Wood oak walls finishing

COMPARATIVE TABLE PHILHARMONI DE PARIS, FRANCE

DEWAN FILHARMONIK PETRONAS, MALAYSIA

CASA DA MUSICA, PORTO, PORTUGAL

CEILING MATERIAL

Arched perforated metal ceiling

Nordic pine wood (Acoustic plywood)

Mahogany wood

WALL MATERIAL

Resilient pads attached in between two concrete wall

Nordic pine wood (Acoustic plywood)

Mahogany wood

FLOOR MATERIAL

Carpeted Floor

Reinforced concrete flooring

Mahogany wood

SEAT MATERIAL

Fabric filled with elastic polyurethane foam

Napa leather upholstery

SOUND ABSORPTION

Resilient pads in between the wall reduce the amount of exterior noise from outside

Acoustic foam panels

SOUND REFLECTION

Malaysian wood screen with bronze accents

“Box in box” construction for acoustic separation.

SOUND DIFFUSION

Movable acoustic wall panels with convex form

Balconies, sound reflector above stage, corrugated glass on the walls.

PREPARED BY : Sabaahat Shaheed Mohamed Iqbal - 1001956821

Polyurethane foam seats

Foam panels

Balconies, ceiling reflectors

CONCLUSION & REFERENCES Conclusion When analyzing all the three case studies, we compared them to see how different halls built in different countries have different acoustical elements. With the study of the case studies, we as students were able to learn more on different materials being used in different concert halls which can then be divided into groups like reverberation time, sound quality, aesthetically pleasing, sound reflection , sound diffusion ,etc.

They all have distinct attributes with design solutions prepared for acoustic superiority. From the construction to the detailing, layout of seating, , and its ability respond to the needs of local audiences

References http://anzasca.net/wp-content/uploads/2014/08/ANZAScA2004_Husin.pdf https://issuu.com/mpomalaysia/docs/2019_season_brochure_online https://www.sciencedaily.com/releases/2014/03/140303143407.htm https://cdn.sanity.io/files/5azy6oei/production/fa5532571e108d152bde2f62f8b2f20be052f490.pdf https://www.architectsjournal.co.uk/archive/koolhaas-concrete-casa http://www.sea-acustica.es/fileadmin/publicaciones/Sevilla02_rba02012.pdf https://www.archdaily.com/619294/casa-da-musica-oma https://032c.com/casa-da-musica-porto https://kahle.be/articles/AcousticBrief_PdP_2006.pdf https://www.oma.com/projects/casa-da-musica https://www.insideoutside.nl/Casa-da-Musica-Porto https://www.ducks.fr/en/projet/casa-da-musica-2/ https://www.behance.net/gallery/62942737/understanding-the-structure-casa-da-musica https://www.chriskarlson.com/blog/2012/3/9/rotch-research-casa-da-musica.html https://www.behance.net/gallery/23732537/Analysis-Casa-Da-Musica https://divisare.com/projects/16869-oma-philippe-ruault-casa-da-musica https://eoga1080.wordpress.com/2012/09/20/casa-da-musica-oporto-portugal/ http://www.fadu.edu.uy/viaje2015/articulos-estudiantiles/casa-da-musica/ https://www.designbuild-network.com/projects/philharmonieparis/ https://www.acoustics.asn.au/conference_proceedings/AASNZ2016/papers/p169.pdf https://kahle.be/articles/PhilharmonieDeParis-AcousticScaleModelStudy-IoA2015-Katz-TW-YJ.pdf

PREPARED BY : Sabaahat Shaheed Mohamed Iqbal - 1001956821

INDIVIDUAL TASK

Prepared by:

SABAAHAT SHAHEED MOHAMED IQBAL 1001956821

NEW CONCERT HALL

INDIVIDUAL PROPOSAL Design proposal concert hall Proposed site

Project location

UCSI University next to the block D hostel Next to the highway Block G and C are near this site having a lot of students at a particular time

The outdoor acoustic environment There is construction going on the highway which would cause vibrations and noise pollution.

During the day, there could be traffic on the highway, which would be noisy There are no trees around the proposed site, therefore no buffer acting against noise pollution

Acoustic environment in the interior To prevent background noise coming from the exterior.

To have an amplification system to allow good acoustics in the concert hall

Design consideration The concert hall will be used by students for lectures as well as events To have better acoustics for the comfort inside the hall hence the materials will be picked after a good thought.

Having a good circulation inside the concert hall and a good seating arrangement that would allow the increase of reverberation time.

v Proposal To have a shoe-box form as it encloses the whole interior space with sounds reflecting from the ceiling and the walls therefore preventing any background noise as well as having a better quality of sound.

To have resilient pads that would minimize exterior noise.

To have a sloping seating arrangement, mostly at 20 degree to enhance effectiveness of sound allowing sound to travel to the back without any obstacles.

To have timber walls which would be aesthetically pleasing as well as improve the hall acoustics by reflecting sound at an optimum state

PREPARED BY: Sabaahat Shaheed Mohamed Iqbal - 1001956821

NEW CONCERT HALL

INDIVIDUAL PROPOSAL Working drawings

BACKSTAGE

BACKSTAGE

M/O PERFORMANCE LOUNGE

STAGE

STAGE CONTROL ROOM

GROUND FLOOR SEATING

FIRST FLOOR SEATING

W/C

W/C

Ground floor plan Scale 1:200

First floor plan Scale 1:200

GROUND FLOOR PLAN

FIRST FLOOR PLAN

Section B:B Scale 1:200

Section A:A Scale 1:200

SECTION A:A

PREPARED BY: Sabaahat Shaheed Mohamed Iqbal - 1001956821

SECTION B:B

NEW CONCERT HALL

INDIVIDUAL PROPOSAL Seating The total seating capacity of the auditorium is 448 with 244 seats on the ground floor while 204 seats on the first floor. The seat arrangement is fan-shaped at the ground level while the first floor is a shoe-box layout.

• The front part of the chair is covered with fabric while the back is perforated metal. This is to ensure that reverberation time is not affected by the presence of the audience. Also, the seats are fixed to the floor with molded metal. The steps has a riser of 150mm while the tread is 1000mm.

Stage The stage has a timber floor finishing. There is a hollow space between the concrete footing and the stage, for the sound to travel in the empty space and reflect on the concrete base increasing sound intensity while it reduces when it reaches the timber floor.

Curtains Velour curtains were put to ensure that sound from the stage is absorbed. Also, It allows to conceal the backstage as well as reduce noise coming from the backstage.

Openings There are a total of 5 fire exits in the hall. 3 of the doors are located on the ground floor while 2 are located on the second floor. The doors are acoustic and are made of wood and steel.

Floor The material used for the floor is lightweight precast aggregate which would be covered by the carpet on the steps while going up.

PREPARED BY: Sabaahat Shaheed Mohamed Iqbal - 1001956821

NEW CONCERT HALL

INDIVIDUAL PROPOSAL Material selection Timber acoustic panel wall • This would be aesthetically pleasing for the concert hall • It will also reflect sound at an optimum state therefore improving the hall’s acoustics. These panels have slits that allows it to have a cavity behind it thus increasing the sound resonance.

Carpet floor • It helps in controlling the noise on the floor • It brings comfort and provide a different ambience for the people • Provides insulation for the floor • It halves the reverberation time of sound waves

Suspended ceiling reflector panels • It enhances the sound quality • It reflects the sound from the stage to the ear of the person • It increases the reverberation time

Resilient pads • This will help minimize the exterior noise.

• It is normally between the walls to prevent sounds from the inside to disperse outside

Brass absorber sheet • It is used in both ceiling and wall • It absorbs sound • Helps in getting rid on unwanted noise and background noise • It is economical

Light-weight precast aggregate foam-glass concrete • • • •

It has a porous surface hence absorbs sound It gives better ambience Easy to install It insulates noise

PREPARED BY: Sabaahat Shaheed Mohamed Iqbal - 1001956821

NEW CONCERT HALL

INDIVIDUAL PROPOSAL Interior design strategy The angle of seating is at 20 degree with 1000mm spacing that allows good circulation as well as allows the users to view and hear the sound properly. Also, the form of the hall is a shoe-box form.

Exterior design strategy To install a noise barrier wall to be able to block the noise from the outside which is coming from the ongoing construction as well as the students from the other blocks.

Sound barrier blanket This type have been mainly engineered for sound control and were manufactured for construction sites that would want to control unwanted noise.

The sound barrier blanket weighs 12 pounds per square foot. Quilted on both sides with a durable exterior grade face and grommet holes around the circumference of each blanket at regular intervals for easy attachment to the fence or support structure using nylon zip ties, tie wire, or mechanical fasteners.

The outer fabric layer allows the reflection of high frequency sound while the gap spacing allows absorption of low frequency sound therefore reducing the reverberation time.

PREPARED BY: Sabaahat Shaheed Mohamed Iqbal - 1001956821

NEW CONCERT HALL

INDIVIDUAL PROPOSAL Calculations Reverberation time (RT) ABSORPTION COEFFICIENT (500HZ)

AREA

Acoustic carpet floor = 0.50 Timber acoustic panel wall = 0.15 Stage floor- wood = 0.1 Deflector panels = 0.19 Door- solid wood panels = 0.05/door Theatre seats- wood = 0.05/seat People = 0.44/person

Wall area = 980m² Floor area = 540m² Ceiling area = 540m² Door area = 19m² Stage area = 50m² Number of people = 448 Number of seats = 448 Volume = 7150m³

TOTAL ABSORPTION (A) = AREA × ABSORPTION COEFFICIENT (0.15 × 980) + (0.5 × 540) + (0.19 × 600) + (0.05 × 19) + (0.1 × 50) + (0.44 × 448) + (0.05 × 448) = A 147 + 270 + 114 + 0.95 + 5 + 197.12 + 22.4 = A

Sound intensity Intensity = 1/distance

A = 756.47

Using SABINE formula, RT=0.16V/A RT= 0.16 × 7150 / 756.47

104m

9 × 10^-6 = 104

RT = 1.5 seconds

I = 10 I = 8.65 × 10^-7 W/m²

Sound level calculation i

1

2

3

SPLi

40

60

80

(SPLi )/10

4

6

8

10(𝑆PLi)/10

10000

1000000

100000000

(𝑆PLi )/10

1010

log10

10log 10

(𝑆PLi )/10

1010

(𝑆PLi )/10

1010

PREPARED BY: Sabaahat Shaheed Mohamed Iqbal - 1001956821

10000 + 1000000 + 100000000 = 101010000

log10

101010000

80.0dB

= 8.004

CONCLUSION & REFERENCES Conclusion Based on the formula, RT=0.16V/A, RT is directly proportional to the volume of the space and inversely proportional to the amount of sound absorbed in a material.

Therefore, the material is very important when thinking about the acoustics as the absorption coefficient of the value material will affect the absorption of the surface.

For example, a ceiling with paint finishes will have a shorter RT compared to a perforated metal ceiling or a ceiling with reflective panels.

As the reverberation time is low, it would have been suitable for high quality intelligibility spaces rather than a concert hall.

However, reflective panels are put on the ceiling to reflect the sound from the stage to the audience increasing the reverberation time.

References • Neufert_ARCHITECTS_DATA.pdf • Carpet improves acoustics - Carpet by AW (Associated weavers). (n.d.). Broadloom carpet manufacturer - Carpet by AW (Associated Weavers). https://www.carpetyourlife.com/en/aboutcarpet/advantages/better-acoustics • file:///C:/Users/Sabahat/Downloads/The_use_of_foam_glass_based_aggregates_for_the_pro.pdf • Construction site sound barrier fence panels: Enoise control, https://www.enoisecontrol.com/applications/construction-site-sound-blanket-fence/ • Absorption coefficient, https://www.engineeringtoolbox.com/accoustic-sound-absorptiond_68.html

PREPARED BY : Sabaahat Shaheed Mohamed Iqbal - 1001956821

INDIVIDUAL TASK

Prepared by:

Aishath Mishka Mular 1001956727

NEW CONCERT HALL

INDIVIDUAL PROPOSAL Form and Layout Design proposal Shoe-box shaped hall The seats are positioned in angle of 22 degrees, which enables sound to travel to the back without having obstacle.

The shoebox shapes allows result in the early energy arrival in to be less powerful, resulting in the energy being easier to hear.

Additionally, the sound energy bounces off the left and right walls, filling the stage with more sound.

Ground floor plan

Mezzanine level plan

Angle of seating and layout The seats are positioned in angle of 22 degrees, which enables sound to travel to the back without having obstacle. The seats are all arranged to be front facing in order to make the stage the focal point

PREPARED BY: Aishath Mishka Mular- 1001956727

NEW CONCERT HALL

INDIVIDUAL PROPOSAL Rational behind material selection Wall The wall is made out of steel structure with acoustic foaming and acoustic plywood walls. (Nordic Pinewood). The plywood is good at sound absorption and sound control in a hall. Acoustic panels on the plywood walls help to mitigate background noise and reduce the reverberation and echo in a space. Also prevents sounds coming in from outside the building.

Ceiling Acoustic plaster ceilings contains fibers that help absorb sound. This in turn helps manage sound. Additional benefits include high reflectivity of light and cost effectiveness.

Floor The floor is comprised of reinforced concrete flooring with acoustic carpet.

Carpets help soften harsh sounds and create a quiet environment. They also help reduce reverberation time and produce good attenuation. Concrete is an effective barrier for noise.

Seating material The chair is made of polyurethane foam and velvet upholstery,. The foam is a soft material that is good for shock absorption.

Velvet is a good sound absorber.

PREPARED BY: Aishath Mishka Mular- 1001956727

NEW CONCERT HALL

INDIVIDUAL PROPOSAL Calculation of reverberation time Surfaces

Area (m2)

Absorption coefficient (500Hz)

Total absorption

Plywood wall

1090

0.12

131

Carpet floor

603

0.30

181

Plaster ceiling

895

0.15

135

People

600

0.44

264

Chair

546

0.30

164

Sabines Formula; RT = 0.16V/A RT = 0.16 x (Volume of exhibition hall) / (Total absorption) RT = 0.16 x (8055) /875 RT = 1.47 sec

PREPARED BY: Aishath Mishka Mular- 1001956727

NEW CONCERT HALL

INDIVIDUAL PROPOSAL Applied design strategies related to sound quality in the interior Sound reflectors above stage A big acoustic reflector above the stage aid in providing sound reflections back to the stage. It is placed at a height of 12m and tilted slightly for projection.

Additionally, the reflectors can improve clarity and reduce echoes.

Sound reflectors above stage A big acoustic reflector above the stage aid in providing sound reflections back to the stage. It is placed at a height of 12m and tilted slightly for projection.

Additionally, the reflectors can improve clarity and reduce echoes.

Acoustic panels on the wall Acoustic panels on the plywood walls help to mitigate background noise and reduce the reverberation and echo in a space. Also prevents sounds coming in from outside the building, creating a sound barrier between the outside and inside spaces. They also absorb first reflections.

PREPARED BY: Aishath Mishka Mular- 1001956727

NEW CONCERT HALL

INDIVIDUAL PROPOSAL Applied design strategies related to noise prevention from the outside Box in box construction method The term "box-in-box" refers to a construction style that insulates a space within a space from unwanted noise and vibration.

This construction method is applied to the design of the hall to it can result in low noise levels from outside sources. Airspaces incorporated into this act as an acoustic insulator and improve low frequency performance.

Vegetation around the building Tall plants around the building can provide act as a filter for the external noises surrounding the building. They can cause attenuation as so, reduces the noise levels coming in from the nearby highway and university buildings.

PREPARED BY: Aishath Mishka Mular- 1001956727

CONCLUSION & REFERENCES Conclusion In conclusion, the above auditorium has been designed to fit the site and provide superior acoustics through the selection of material, shape of hall and seating layout.

Additionally, sound diffusers and reflectors are used to create the best acoustics, construction and landscaping is arranged to respond to the noise surrounding the site.

References https://www.engineeringtoolbox.com/accoustic-sound-absorption-d_68.html https://cdn.sanity.io/files/5azy6oei/production/fa5532571e108d152bde2f62f8b2f20be 052f490.pdf https://kahle.be/articles/AcousticBrief_PdP_2006.pdf

PREPARED BY : Aishath Mishka Mular- 1001956727

INDIVIDUAL TASK

Prepared by:

Siva Takshit Bollineni 100195537

NEW CONCERT HALL

INDIVIDUAL PROPOSAL INTRODUCTION The inhabitants of a structure are affected by sound in two ways in general. The first is based on the quality of sound produced within the structure; for example, a concert/musical hall; the second is based on the disruption or irritation caused by loud noise . Longterm exposure to excessively bright or fluttering sounds in a building environment can cause lasting ear damage. By determining noise sources, adopting architectural criteria, and developing both combinations with acoustical necessities in the structure, a suitable concert hall design may be effectively realized .

3D VIEW Design factors such as the layout plan, shape and form, as well as the use of appropriate reflecting materials, are all important for effective acoustics. To satisfy these acoustical demands, this procedure enlists the help of a wide range of experts, including architects, mechanical and electrical engineers, and acoustic consultants PREPARED BY: Siva Takshit Bollineni- 100195537

NEW CONCERT HALL

INDIVIDUAL PROPOSAL First floor plan

second floor plan

Section

PREPARED BY: Siva Takshit Bollineni- 100195537

NEW CONCERT HALL

INDIVIDUAL PROPOSAL MATERIAL FLOOR we selected douglas fir for the floor, which is a softwood that is known for its durability and ability to absorb sound. this minimised the amount of noise generated by individuals moving about in the theatre. it can also withstand the projected high traffic without requiring extensive maintenance.

SEATS sound absorption will be heavily influenced by the crowd. as a result, the chairs must replicate the same level of absorption as if a real person sat on them. as a result, the seat material must be sound- absorbing .the seat is filled with elastic polyurethane foam, and the upholstery is velour. the form is changed with elastic textiles. furthermore, have a good abrasion resistance and are simple to maintain and care for.

WALLS I designed to utilise dense hardwood TEAK TIMBER similar material but different texture sound, and can simply be converted into surfaces sound reflections. Wood can genuinely enhance the aesthetic attractiveness of and appropriate use may improve concert hall acoustics wall finish. This characteristic is used in concert venues and instruments.

CEILING Sounds can be reflected back to the earth via the ceiling. This results in distinct echoes, which may be highly disorienting for the artist as well as harmful to the acoustics of the performance venue. Panel absorption can help decrease reverberation and reduce echoes in such situations. As a result, here's how to make a cork design.to be put inpanel(400mm*400mm*15mm) PREPARED BY: Siva Takshit Bollineni- 100195537

NEW CONCERT HALL

INDIVIDUAL PROPOSAL STAGE I designed stage floor is made of TEAK TIMBER . This hardwood material gives the stage a polish that complements the staging and lighting extremely well, as well as providing beneficial sound reflection. On the preparation, I put velour curtains. When the stage is dark, the curtains may absorb a lot of sound.step, to hide the velour preparation and decrease noise MATERIAL

Absorption Coefficient(500HZ)

Area(𝒎𝟐)

TotalAbsorption

Douglas fir flooring

0.06

1500

9000

Take Timber wall

0.25

560

140

Velour curtains

0.55

65

35.75

680

102

seats

0.15

9379.75

PREPARED BY: Siva Takshit Bollineni- 100195537

CONCLUSION & REFERENCES CONCLUSION The volume of a space is proportional to RT, which is inversely proportional to the amount of sound absorbent material within that space. A tiny classroom with a suspended acoustic ceiling and carpet, for example, has a short RT, but a big multipurpose room with drywall ceiling and hardwood floor has a long RT. In this situation, the material we pick for the theatre is critical since the absorption coefficient of the value material will affect the surface's absorption, raising the A and lowering the RT.

References

https://kahle.be/articles/PhilharmonieDeParisAcousticScaleModelStudy-IoA2015-Katz-TW-YJ.pdf

PREPARED BY : Siva Takshit Bollineni- 100195537

INDIVIDUAL TASK

Prepared by:

Maliha Akter Aaysha 1002059355

NEW CONCERT HALL

INDIVIDUAL PROPOSAL PLANS

Site Plan

Ground Floor Plan

First Floor Plan

ELEVATIONS

East Elevation

South Elevation

SECTIONS

Horizontal Section PERSPECTIVE VIEW

PREPARED BY: Maliha Akter Aaysha - 1002059355

Vertical Section

RATIONAL BEHIND

SELECTION OF MATERIAL GYPSUM CIELING The theatre uses fibreglass reinforced gypsum (FRG) ceiling board with a thickness range of 38mm to 50mm. Regular gypsum board will be to thin for most purposes in concert hall acoustics. The thickness of gypsum board keeps it stiff and prevent vibration, as well as low frequencies absorptions.

METAL REFLECTOR Metals tend to have a flat shape and a polished surface, which usually makes them highly reflective and enhance sound waves.

SEATS Seats are covered with thick fabric cushion to absorb noise during human movement that improves the quality of sound within a room.

WOODEN BALCONIES Encased in a grid of wood screens with bronze accents, the balconies have been shaped to reflect sound both to the audience & the musicians while avoiding echoes TIMBER FLOOR / STAIRS / STAGE Timber flooring is used as the material is a hard surface but gives a colouring and mellowing to sound CARPET FLOOR Carpet flooring is an extremely effective sound absorber so it reduce noise due to human movement or steps FACADE Gypsum panels wall is quite effective where acoustic management is needed to dampen sound energy and significantly improved sound attenuation through walls and celling, by using the inner polymer layer as a king of shock absorbers that dampens board vibrations.

PREPARED BY: Maliha Akter Aaysha - 1002059355

DOUBLE GLAZING GLASS FACADE The glass walls on both sides of the auditorium helps to reflects and diffuse the sound in the hall.

CALCULATION OF

REVERBERATION TIME RT = 0.16 V/A (Metric units) Where • RT= reverberation time in seconds • V= volume in cubic meters • A= total absorption in square meter (sum of room surfaces times their sound absorption coefficients plus the sound absorption)

Reverberant sound in auditorium dies away with time as sound absorbed by multiple interactions with the surfaces of the room.

Surface / Finishes

Area/ m2

Absorption co-efficient

Total absoroption

Gypsum ceiling

825

0.10

82.5

Metal reflector

300

0.30

90.0

Timber floor

975

0.15

146.3

Carpet floor

185

0.30

55.5

Gypsum facade

300

0.15

45.0

Soft surface facade

378

0.20

75.6

Glass facade

156

0.18

28.1

Cushion seats

373

0.32

119.5

People

780

0.44

343.2 Total ceiling = 825 m2 Total Floor = 1169 m2 Total facade = 834 m2 Total volume = 7970 m3 Total absorption = 985.7 Therefore, RT = 0.16 V/A = (0.16 x 7970) / 985.7 = 1.29 sec

PREPARED BY: Maliha Akter Aaysha - 1002059355

DESIGN STRATEGIES FOR

INTERIOR SOUND QUALITY Vineyard Seating Vineyard concert halls are named this way because the seating sections resemble slopes in a vineyard. This type of room has several advantages: 1) It is visually interesting. 2) The irregular pattern helps to avoid acoustic issues, such as flutter echoes and focusing

130 Degree

By taking into consideration the angles of the walls at both sides of the audience, and adjusting reflections of the walls using reflectors, it is possible to redirect the sound from the stage back into the audience at a very lateral angle. The result will be a perception of the music source being much wider than it really is, compared to the case where a listener only receives the direct sound from the stage.

Metal Reflector

Soft facade from inside

When there are soft materials, they absorb due to the deformation that occurs when the sound wave hits them. When they are porous materials, they absorb by the vibration of the air contained in its pores, which loses energy by friction against their edges PREPARED BY: Maliha Akter Aaysha - 1002059355

An important objective of a concert hall is to deliver the sound to different audience sections as uniformly as possible. The room’s actual ceiling is unlikely to be able to accomplish this.

Therefore, it is common to install suspended reflectors off the ceiling, at angles that will reflect the sound towards different audience sections.

DESIGN STRATEGIES FOR

ARTIFICIAL NOISE SCREEN (Primary barrier)

VEGETATION (Secondary barrier)

Noise barriers can redirect the paths of noise away from receivers. They can be artificial (for example, a wall) or natural (a forest). One common application for noise barriers is to prevent traffic sounds from penetrating nearby neighborhoods or habitats.

Trees act as noise barriers and reduce pollution through a phenomenon called sound attenuation, which is the damping of sound. In general, noise attenuation happens when sound waves dissipate over longer distances until there’s no energy is left to vibrate the air. Trees attenuate noise by absorption, deflection, refraction, and masking.

DOUBLE GLAZING GLASS FACADE GYPSUM FACADE Gypsum board contains sufficient mass to inhibit most low frequency sound waves and has sufficient resiliency to inhibit sound waves at the higher frequencies. In other words, gypsum board reduces the sound passing through it at both ends of the frequency spectrum.

PREPARED BY: Maliha Akter Aaysha - 1002059355

Double glazing works because there are two panes of glass absorbing the sound vibrations and the gas between the panes also helps to dampen the transmission of soundwaves.

CONCLUSION & REFERENCES CONCLUSION Theatre sound design includes everything the audience hears, such as sound effects, music, props that generate noise and similar components. Effective and clear sound design is essential to creating an enjoyable listening experience for the theatre audience.

This study has teached me the importance of sound in our lives. Sound is important because it engages audiences: it helps deliver information, it increases the production value, it evokes emotional responses, it emphasises what's on the screen and is used to indicate mood. When put to good use, language, sound effects, music, and even silence, can elevate your video dramatically

REFERENCES 2007_AR453_BSC2_21_L06 2007_AR453_BSC2_21_L07 2007_AR453_BSC2_21_L08 https://doubleglazing-justrite.com.au/properties-of-double-glazedunits/ https://trees-energy-conservation.extension.org/how-doesvegetation https://www.oma.com/projects/casa-da-musica Bork I, A Comparison of Room Simulation Software – The 2nd Round Robin on Room Acoustical Computer Simulation [Journal] // Acta Acustica 86. – 2000. – pp. 943-956.

Bradley J S, Predictors of speech intelligibility in rooms [Journal] // J. Acoust. Soc. Am. 80. – 1986.

– pp. 837-845.

Gade A C, Room acoustic measurement techniques, Chapter 4 [Book Section] // Room acoustic engineering, Note 4213. – Lyngby, Denmark : Acoustic Technology, Technical University of Denmark, 2003.

PREPARED BY: Maliha Akter Aaysha - 1002059355

INDIVIDUAL TASK

Prepared by:

Khalfan Ali Said 1001853395

NEW CONCERT HALL

INDIVIDUAL PROPOSAL

N Proposed site and current site conditions • UCSI Block D hostel • Near highway • Next to block G and C Exterior acoustic environment • Highway noise on the south of the project location • Construction noise and vibrations on south • Exposed area with no vegetation, prone to noise

Design intention / considerations • • • •

Concert hall seating layout having multiple access points for better circulation Consider sightlines for audience Sound reflectors on ceiling Choose materials to aid in acoustic design

PREPARED BY: Khalfan Ali Said 1001852395

NEW CONCERT HALL

INDIVIDUAL PROPOSAL A 1:200 Ground floor plan

1:200 First floor plan

A

SECTION A-A

The form of the concert hall is an evolution of the shoebox to a fan shaped concert hall with linear and angular seating arrangement, the choice of such a layout is due to the fan shape providing more room to accommodate spectators and due to the widening walls the sound also bounces from there to the audience

PREPARED BY: Khalfan Ali Said 1001852395

NEW CONCERT HALL

INDIVIDUAL PROPOSAL Material Selection Acoustic carpet flooring.

Absorbs the noise and blocks the transmission of noise through the floors

Curved reflective ceiling clouds This material made out of gypsum, they reflect sound, decrease reverberation time and send sound to hard reach areas in the concert hall

Grooved wall acoustic panel Absorbs the soundwaves and sound proofs the auditorium

Thick cotton fabric curtain Due to its thickness and material texture, cotton fabric curtains is a good choice for reducing noise and provide sound insulation

Polyurethane foam seats These seating materials are good for vibration dampening as well as noise reduction , a pretty good shock absorber

PREPARED BY: Khalfan Ali Said 1001852395

NEW CONCERT HALL

INDIVIDUAL PROPOSAL Calculation of reverberation time of concert hall The new proposed concert hall has a volume of 7400 cubic meters with a capacity of 245 seats, the ceiling height is 11meters .

Surfaces

Absorption coefficient

Carpet

0.3

Cushion seats

0.3

People

0.44(per individual)

Gypsum ceiling

0.1

Grooved wall acoustic panel

0.15

Area of the auditorium walls = 880.6m² Ground floor = 435² Mezzanine = 263² Ceiling = 435² Surfaces

Area²

Absorption coefficient

Area of absorption (m²)

Carpet

435 +263

0.3

209.4

Cushion seats

422

0.3

126.6

People

245

0.44(per individual)

107.8

Grooved wood panel

880.6

0.15

132.09

Gypsum ceiling

435

0.1

43.5

Using Sabines formula, Reverberation time (RT) = 0.16xVolume of hall /Area of absorption RT= 0.16 x 7400 / (209.4+126.6+107.8+132.09+43.5) = 1184 / 619.4 = 1.91sec Therefore, the reverberation time for the proposed concert hall is 1.91sec PREPARED BY: Khalfan Ali Said 1001852395

NEW CONCERT HALL

INDIVIDUAL PROPOSAL Calculation of sound intensity From the formula, I1/I2 = D1/ D2 I1, given intensity = 9 x 10-6 W/m2 D1, distance from hall entrance to road = 66m D2, distance between point A to road = 10m I2, intensity at main access = x Solution: I1/12 = D1/D2 9 x 10-6/x = 66/10 9 x 10-6 x 10 = 66x X = 9 x 10-5 /66 X = 1.4 x 10-6 Therefore , the sound intensity coming from the road heading to the entrance of the hall is 1.4e-6

PREPARED BY: Khalfan Ali Said 1001852395

NEW CONCERT HALL

INDIVIDUAL PROPOSAL Interior design strategies Seating layout, the seating layout is linear and angled at same time, having walkways on the side and in between so as to ensure good accessibility in different aisles and rows or in simpler terms, fan shape seating, also a terrace for the first floor.

Interior perspective of ground floor

Interior perspective of view from terrace

Interior perspective from audiences eye view to stage

Exterior acoustic design strategy The current site conditions include human and vehicular traffic which brings a lot of noise towards the concert hall, not to mention the ongoing construction around the site, I have proposed vegetation around the building to act as a sound barrier to limit the noise coming into the concert hall

PREPARED BY: Khalfan Ali Said 1001852395

CONCLUSION & REFERENCES Conclusion In conclusion for this assignment, a lot of considerations had to be put forth for the design of the concert hall, from interior considerations via carefully choosing acoustic materials, angle of seating and as well as to consider sightlines, exterior considerations since there is a lot of noise a vegetation barrier was put around the concert hall so as to limit the noise, after calculations of the reverberation time, a value of 1.9sec was obtain which is a good reverberation value for a medium sized concert hall.

References http://www.concerthalls.org/?page_id=84 https://www.conwed.com/products/curved-reflective-ceiling-clouds/ http://hyperphysics.phy-astr.gsu.edu/hbase/Acoustic/revtim.html#:~:text=Go%20Back,What%20is%20a%20desirable%20reverberation%20time%3F,shorter%2C%20less%20th an%20a%20second. https://www.burohappold.com/articles/sculpting-sound-through-form/#

PREPARED BY : Khalfan Ali Said 1001852395

INDIVIDUAL TASK

Prepared by:

Caelester Ho 1001850732

DEWAN FILHARMONIK PETRONAS, MALAYSIA

INTRODUCTION The new proposed concert hall/auditorium will be located near the UCSI University. Since the proposed building is near the ongoing construction of double level highway, exterior noise will affect the proposed site for long term. In order to solve this issue, I proposed a highway barrier wall that will stop direct sound path to the proposed site.

2

Room

Size(m )

Foyer

408.6m

2

2

Toilet (M /F)

91.6m

Preparation Room

80.6m

Electrical Room

24.4m

Control Room

24.4m

Backstage Room

161.6m

2 2 2 2

2

Main Stage

148m

Seating Area

658.9m

PREPARED BY: Caelester Ho- 1001850732

Number of People 50 10 10 4 5 20 50

2

456

DEWAN FILHARMONIK PETRONAS, MALAYSIA

CALCULATION REVERBERATION TIME Absorption Coefficient (500Hz)

Total Absorption

0.5

62.4

0.5

267.55

0.15

23.06

0.5

329.45

68.4m

0.3

20.52

People

456

0.44 (per person)

200.64

Total Absorption

A

2

Surface / Finishes

Area (m )

Acoustic Panel Wall (Interior)

124.8m

Acoustic Ceiling Panel (Interior)

535.1m

Timber Wall Cladding

153.7m

Carpeted Floor

658.9m

Polyurethane Foam Seating

2

2

2

2

2

𝟎.𝟏𝟔𝑽

903.62

Using Sabines Formula,

RT = 𝑨 RT = reverberation time in seconds V = volume in cubic meters A = total absorption in square meter

RT =

0.16𝑉 𝐴

Total Volume of Auditorium Total Volume = (Seating + Main Stage) x Height RT = 0.16 ×( 658.9 +148 903.62 Total Volume = (658.9 + 148) x 8.2 RT =

× 8.2)

1058.65 903.62

Total Volume = 806.9 x 8.2

Sound Intensity D1 = 10m I1 = 9 × 10−6 W/m² D2 = 100m I2 = ? 𝐈𝟏 𝐃𝟐𝟐 = 𝐈𝟐 𝐃𝟏𝟐 I2 =

RT = 1.17 sec Total Volume = 6616.58m³

D12 × I1 D22 102 × 9 × 10−6 1002

I2 = = 0.000000875 = 8.75 × 𝟏𝟎−𝟕 W/m²

SOUND MEASUREMENT i

1

2

3

SPLi

40

50

60

(SPLi )/10

4

5

6

10(𝑆PLi)/10

10000

100000

1000000

(𝑆PLi )/10

1010

log10

10log 10

(𝑆PLi )/10

1010

(𝑆PLi )/10

1010

PREPARED BY: Caelester Ho- 1001850732

10000 + 100000 + 1000000 = 1110000

log10 1110000 = 6.05 60.5dB

PROPOSED CONCERT HALL

SEATING LAYOUT & ANGLE OF SEATING

SEATING LAYOUT

The seating layout is divided into 6 section where the audiences able to easily access the seating location from both sides without forcing the audiences to only use one side entry to reach the correct seating. Multiple walkway to enable audiences to easily access the seating from both sides.

The seating layout design become a fan design layout auditorium where the quality of sound distribution and reflection are increase. The balanced dispersion of sound is able to be achieve.

ANGLE OF SEATING

The angle of seating is adjusted to a slope height of 20 degree which allow the audiences to be able to view the stage and also hear the sound clearly without any blocking of view. The slope allow the back seating audience to hear the sound easily as reverberation time prevent sound absorption of the seats.

The distance between two row of seats are also in optimum distance as the audiences able to enjoy the acoustic experience because of the sound transmission in a good resonance way PREPARED BY: Caelester Ho- 1001850732

PROPOSED CONCERT HALL

SIZE OF SPACE & HALL TYPE

SIZE OF SPACE

DOUBLE VOLUME SPACE

The size of space is enormous as the double volume ceiling height which attach with reflected ceiling panel allow sound to travel top and reflected back to the audiences which minimize the echo and reverberance effect.

The spacing between two seats are also sufficiently enough to allow audience to move easily to their own seating without disturbing the audiences from the current rows and the front row seaters. This will create a very low frequency of resonance thus lead to a good attenuation.

The size of the main stage is big enough for the musicians to perform as a whole orchestra. The big staging area bring flexibility and convenient for the musicians to carry their heavy instruments to the stage or away the stage easier without problem.

HALL TYPE

The type of hall I used for my design is conventional shoe box form as it is the best form for acoustic design auditorium like symphony orchestra. This form is regarded the best as it enclosed the space from the inside.

PREPARED BY: Caelester Ho- 1001850732

PROPOSED CONCERT HALL

SELECTION OF MATERIALS ACOUSTIC WALL PANEL

The acoustic wall panel jointly fixed to the timber wall to absorb some sound as to reduce the background noises as well as to reduce the reverberation and echo in a certain space of an auditorium.

The reduction of reverberation time enable audiences to hear much easier and reduction of echo enable audiences to hear clearly without hearing any multiple sound wave repeatedly.

REFLECTED CEILING PANEL

The reflected ceiling panels are attached to the ceiling where the sound from stage will travel up to the ceiling panel then will be reflected back to the audiences below to all direction so that the audiences able to hear the sound even though the seating is further away from the main stage.

MINERAL WOOL SOUND ABSORPTION PANEL

The mineral wool sound absorption panel are attached as the exterior acoustic which is outside of the auditorium to reduce any exterior/background noise from entering into the auditorium. The noises from exterior transverse through vibration in the wall but mineral wool help to reduce it.

PREPARED BY: Caelester Ho- 1001850732

PROPOSED CONCERT HALL

SELECTION OF MATERIALS CARPETED FLOOR

The carpeted flooring is suitable for the auditorium as it increase the sound absorption and prevent any reverberation sound around a space. The reduction of reverberation sound will enable the audiences to easily hear the sound from the orchestra play.

POLYURETHANE FOAM FABRIC SEATING

The polyurethane foam fabric seating is the best for acoustic experience as the seating able to absorb the excessive echo from the reflected sound thus increase the quality of sound. The audiences also able to enjoy the orchestra comfortability as the seating is made from fabric.

CONCRETE WALL WITH TIMBER PANEL CLADDING

The outer layer of the auditorium is made of concrete wall and the inner layer of the will be attached with timber panel cladding as timber has the lowest reverberation time which will decrease the propagation of sound.

PREPARED BY: Caelester Ho- 1001850732

CONCLUSION & REFERENCES CONCLUSION Last but not least, for the conclusion I able to summarize that the acoustic design is very important when designing auditorium. The importance of sound transmission either through sound reflection or sound absorption is part of an acoustic experience to ensure the good quality of sound transverse to the audiences for better experiences.

The sound transmission in auditorium is very important as it can affect the total acoustic problem for sound. The reduction of echo and reverberation of time enable the audiences to receive a clear sound and better acoustic experience during an orchestra play.

The sound absorption and sound reflection are equally important in an acoustic design auditorium as the sound absorption able to absorb unwanted noise thus reducing the echo effect which make the audiences able to hear the sound more clearly. The sound reflection purposes is to reflect the sound back to the audiences and reduce the reverberation time so that the audiences able to hear the sound more easily and faster.

The seating also play an important role as angle of seating affect the acoustic experience for an audience. The slope of seating able to prevent sound absorption by the seats and optimum distance of seating is important for good resonance of sound transmission.

REFERENCES • Smardzewski, J., Kamisinski, T., Dziurka, D., & Pilch, A. (2015). Sound absorption of wood-based materials.

Retrieved 26 September 2021, from https://www.researchgate.net/publication/270895491_Sound_absorption_of_woodbased_materials • What is the Best Flooring for a Home Theater or Media Room? | Jabara's. (2016). Retrieved 26 September 2021, from https://jabaras.com/blog/jabaras-carpet-outlet/flooring-for-a-home-theateror-media-room/ • What Are Acoustic Panels? An Intro to Acoustic Wall Panels. (2018). Retrieved 26 September 2021, from https://www.acousticdesignworks.com/blogs/research/what-are-acoustic-panels-anintro-to-acoustical-wall-panels-1 • Marro, M. (2013). Theater Acoustics | Metal Architecture. Retrieved 26 September 2021, from https://www.metalarchitecture.com/articles/theater-acoustics • Peek, W. (2016). Common Absorption Coefficients for Acoustical Treatments - Commercial Acoustics®. Retrieved 28 September 2021, from https://commercial-acoustics.com/commonabsorption-coefficients-for-acoustical-treatments/ PREPARED BY : Caelester Ho- 1001850732

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