BUILDING SCIENCE 2

ARC 3413/ BLD61303

BENTLEY MUSIC AUDITORIUM

Project 1:
Auditorium: A case study on Acoustic Design

Tutor: Ar. Edwin Chan Yean Liong

Seow Koji Takehira 0320816

Liaw Yau Vern 0326627
Lu Chiao Er 0326947
Ng Jer Vain 0326969
Pritika Rama Mohan 0327039
Lau Hui Ming 0323827
Lim Siew Ni 0326733
Heng Rui Ying 0326639
Content

1.0 Introduction
1.1 Acknowledgement
1.2 Aim and Objectives
1.3 Historical Background
1.4 Site Information
1.5 Architectural Drawings

2.0 Methodology
2.1 Measuring Instruments
2.2 Data Collected

3.0 Literature Review

3.1 Architectural Acoustics
3.2 Sound Intensity
3.3 Reverberation, Attenuation, Echoes and Sound Shadows
3.4 Absorption Coefficient
3.5 Issues of Acoustic Design Strategies
3.6 Acoustic Design for Auditorium

4.0 Acoustical Analysis

4.1 Auditorium Design Analysis
4.2 Sound and noise sources
4.3 Sound Propagation and Related Phenomena
4.4 Material and Properties
4.5 Acoustic Treatment and Components

5.0 Reverberation Time

6.0 Observation, Recommendation and Conclusion

7.0 References
1.0 Introduction
1.1 Acknowledgement

We would like to express our very great appreciation to Ar. Edwin Chan Yean Liong as well as
Mr. Azim Sulaiman for their guidance and tutelage for this module, Building Science 2 on topics
related to Acoustic Design. We are grateful for having such opportunity being able to visit an
existing Auditorium in Kuala Lumpur’s Petronas Twin Tower, which are designed for various
musical performance by the Malaysian Philharmonic Orchestra. The visit to the site had enable
us to grasp the idea and approach for an acoustic design, where we find it relevant and useful for
our assignment project.
1.2 Aim and Objective

An auditorium is a special room built to enable an audience to hear and watch performances at
venue such as theatres and music halls. For movie theatres, the number of auditorium is
expressed as the number of screens. Auditorium can be found in entertainment venues,
community halls, and theatres, and may be used for rehearsal, presentation, performing arts
productions. Apart from entertainment, an auditorium also used for a space for speech delivery
such as lecture theatres. A successful design of auditoriums muchly depend on its acoustic
design which include the auditorium layout plus absorption materials used. It is essential to
preserve and enhance the desired sound and to eliminate noise and undesired sound.

In group of 8, we were given task to conduct a study on auditorium locally. We were to ‘observe
and report’ and formulate a formal report with our analysis regarding the site we have chosen
for our case study.

The site we had chosen for our case study were Bentley Music Auditorium. Through our analysis
and understanding by completing the following task, we had pull together a conclusion on its
suitability of activity, effectiveness of sound propagation and suggestions for such
improvement to cater for a more effective designing of an auditorium.

The task and the data we had compiled are as follow:

- Historical Background
- Architectural Drawings of Auditorium (Plans and Sections)
- Construction Materials Used (Floors, Walls, Ceilings)
- Sound Absorption Materials Used
- Sound Reflectors at Ceilings or Walls
- Sound Sources
- Number and Positions of Speakers
- Sound Propagation
- Potential Noise Intrusion
- Sound Shadow Area
- Sound Reading (dB)
- Reverberation Time
- Set of Equipments Used
1.3 Historical Background

Bentley Music started over forty years ago,

with one man’s vision, Mr Phua Sin Loke, to
bring music to Malaysians. In 1975, he
started off a single shop lots in Masjid India
and opened his first music instrument store,
Bentley & Co.

In 1981, Bentley Music required its own building and moved to Bukit Bintang to launch a super
store with four storeys showroom. Over four level of retail space, it has every musician needs and
it was once claimed “ to be the largest music store” in the country and become a significant
landmark in that area.

In 2007, Bentley Music continue to lead its way in music retailing and continue to adapt itself to
the demands of music market and opened a 20,000 square-foot Mega store in Mutiara Damansara.
This is the building where the Bentley Music Auditorium located.

In 2013, they brought a new lifestyle to Penang by opening another outlet where they offer
customers a in-store demo and specialist brand areas. Until today, the presence of online retail
complements their retail showroom and offers a greater convenience to the customers.

The auditorium is one of the most famous place for the singers and musicians to host their music
sharing sessions and mini live concert.
1.4 Site Information

The auditorium we had chosen, Bentley Music Auditorium is located inside the Bentley Music’s
six-storeyed building at Mutiara Damansara, next to Tesco, Ikea and The Curve. The building is
easily accessed by major road from LDP and Penchala Link and parking is not an issue around
the site as the building is next to a parking block building.

The auditorium located at level 4 within the building and it is acoustically treated as it is
purposely functioned to host concerts and live performances. Furthermore, it was also built as
multipurpose hall as it can be rent out to hold seminars, company events, product launching,
album launching, cooperating meetings and etc. This is an ideal venue for presenting small and
medium sized events. The Bentley Music team understands that every performance and function
is different, thus the venue is carefully designed with proper acoustically engineered music
auditorium .

Wisma Bentley Music is located at

Mutiara Damansara, strategic located
as it’s easily accessible

The auditorium also functioned as multi purpose hall ranging from mini concert to
anniversary dinner
1.5 Architectural Drawings
2.0 Methodology
2.1 Measuring Instruments
Digital Level Sound Meter

A sound level meter is a measuring instrument used to assess noise or

sound levels by measuring sound pressure. Often referred to as a sound
pressure level (SPL) meter, decibel (dB) meter, noise meter or noise
dosimeter, sound level meter uses a microphone to capture sound. The
sound is then evaluated within the sound level meter and acoustic
measurement values are shown on the display of the sound level meter.

Measuring Tape

Tape measure, also called as a measuring tape, is a type of flexible

ruler. Tape measures are made from a variety of materials, including
fiber glass, plastic and cloth. They are among the most common
measuring tools used today.

Laser Distance Measurer

A Laser Distance Meter sends a pulse of laser light to the target and
measures the time it takes for the reflection to return. For distances up
to 30m, the accuracy is +-3mm. On-board processing allows the device
to add, subtract, calculate areas and volumes and to triangulate. And can
measure distances at a distance.

Digital Camera

A digital camera used to document the existing context within the

auditorium and to capture all the details of the space for our analysis
after the site visit. Image and videos were taken as evidence for our
report.

Smart Phone

Smartphone used to play music in the auditorium that act as a sound

source at a single point.
2.2 Data Collection

With Sound Without Sound

Standing Reading (db) Standing Reading (db)

Location Location

1 48.0 1 35.0

2 43.5 2 35.6

3 47.5 3 38.0

4 43.8 4 40.0

5 44.4 5 38.3

6 48.9 6 35.4
3.0 Literature Review
3.1 Architectural Acoustics

3.11 Understanding Sound and Acoustic

The term ‘sound’ and ‘acoustics’ represents a certain extent of similar attributes with only
difference in their functionality aspects. Sound wave can be considered as a phenomenon
characterized by a longitudinal wave where particles of the medium are temporary displaced in
a direction parallel to energy travelling which then return to their starting position.

Compression and rarefaction in sound is defined as the vibration in medium that produces
alternative waves of relatively dense and sparse particles.

The term ‘Acoustic’ which means scientific study of sound includes the effect of reflection,
refraction, absorption, diffraction and interference with involvement of behavioral sounds in an
enclosed space.

Sound wave is characterized by amplitude, frequency, wavelength, period, intensity and as well
as vibration. The approximate frequency range of a healthy young adult hearing range from 20
to 20,000Hz.

3.12 Acoustic in Architecture

Architectural acoustic is defined as study of generation, propagation and transmission of sound

in rooms, dwellings and other buildings. It permeates every walk of modern life, as sounds
behave in every environment which is heard. In experiential term, it all begins from the
perspective of the human senses. Sensation perceived by the human ears are the result of the
qualities from an acoustical performance in a space that makes it easy or difficult for a person
to hear distinctively. The human interpretation towards size, shape, materials ,and texture are
determined by a larger extent of its physical behavior of sound waves within the space,
influencing one’s perception of acoustics properties.

Apart from these aesthetic judgements of acoustical quality, the practicalities of noise control
and interference are such that it is often impossible to provide effective acoustic correction after
the building has been completed. For an example, multiple sound waves projecting towards a
same place within a room can interfere adversely with each other, also cancel each other out,
unless room acoustics and sound system are specifically designed not to do so. Interference can
remove important portions of sound spectrum which result in different sound quality at
different spots within the room and could smear the time arrival of sound . All these factors will
affect the quality of music as unappealing and speech in unintelligible.
3.2 Sound Intensity

Sound intensity describes the rate of energy flow through a unit area.Decibel (dB) is expressed as
the ratio of logarithmic scale related to a reference sound pressure level and thus dB is expressed
as:

Sound Intensity Level =10 log [intensity measured (I)/ reference intensity (Io)]

Sound intensity also state as a time-averaged rate of energy flow per unit area which energy may
be travelling in a vector quantity of back and forth. This will not be measured unless there is net
energy flow occurred.

Decay of sound in room

When a sound source is placed in a room which intensity to be measured at a particular point will
be increased in a small increment due to reflections arrived from walls ,ceilings and floor ,until an
equilibrium state is achieved where energy absorbed by the room is equal to energy radiated by
sound source. When sudden shut off of sound source ,disappearance of sound intensity will fade
away gradually ,the rate of decay being prescribed by amount and position of material absorbent in
the room.Rate of absorption of sound energy in the room proportional to sound intensity that
growth and decay of sound pressure in room is an exponential function of time.
3.3 Reverberation, Attenuation, Echoes and Sound Shadows

3.31 Reverberation Time

Reverberation is defined as prolongation of sound, when the time for the sound level in a room
decreases by 60dB from its original level after the sound is stopped . This is an acoustical
phenomenon called reverberation time, where the time it takes for sound pressure level to
decay will affect the acoustical quality of an enclosure.

Reverberation time is dependant upon the following factors:

- The volume of the enclosure
- The total surface area
- The absorption coefficients of the surfaces

Where these factors that affects the reverberation time can be found by applying the Sabine’s
Formula.

Where RT is the Reverberation time in seconds, V is the volume of the room, A is the total
absorption of room surface and x is the absorption coefficient of air.

The Sabine’s formula determines the reverberation time that allows architect and engineers
could use when designing a concert hall catered for certain types of activity.

Recommended outcomes of reverberation time by activities:

Use Small Room Medium Room Large Room

(750m3) (750-7500m3) >7500m3

Speech 0.75 0.75-1.00 1.00

Multipurpose 1.00 1.00-1.25 1.00-2.00

Music 1.50 1.50-2.00 2.00 or more

The reverberant sound in an auditorium dies away with time as the sound energy is absorbed by
multiple interactions with the surfaces of the room. A more reflective surface assists sound to
take longer period before dying away and the enclosed space is said to acoustically “live”. A
very absorbent room takes shorter period for the sound generated to decay and the room is
“dead”. Reverberation time depends on initial loudness of sound and hearing ability of the
observer.

T = 0.3log10V
where T is the optimum reverberation time in seconds, for speech and V is the room volume in
cubic meters (McGuinness, et al. 1980).
 3.32 Attenuation

Attenuation is defined as the conversion of the sound energy to other forms of energy, which is
the combined effect of scattering and absorption caused by the weaken sound wave. Scattering
is the reflection of the sound in directions other than its original direction of propagation.
Absorption is the conversion of the sound energy to other forms of energy.

3.33 Echo

Echo is a reflected sound wave from a surface. Reflected sound can be heard separately from
the original sound if the sound source is closer from the receiver while the reflecting hard
surface is far from receiver. Usually reflected sound can’t be distinctly be heard. It follows
closely behind and prolongs the sensation of the original sound. This is called reverberation. If
on a rough surface, the incident sound waves will be broken up and the original waveform will
be lost, therefore, no reflected sounds will be heard. To reduce the effects of echo, wall have to
be roughened or softened with padding or cover with curtains and the floor have to be cover
with carpets.

Reflected sound beneficially reinforces the Direct sound if the time delay between them is
relatively short, that is a maximum of 30m/sec.

Time Delay = R1 + R2 - D
0.34

3.34 Sound Shadow

Curtain

Sound Shadow Area

An absorption or obstruction of a sound wave by an object in its path. the effect produced is
perceived as a reduction of loudness. High frequencies are more easily absorbed than lower one
since they are less susceptible to 'diffraction', which means they move less easily around objects
because of their short wavelengths. Therefore, the attenuation of high frequencies is noted to be in a
sound shadow.
3.4 Absorption Coefficient

Sound absorption is the change in sound energy into some other form, typically in a form of heat
when it passes through a material. Sound can be absorbed by various surfaces, such as soft,
porous materials and fabrics, and people absorb a considerable amount of sound energy as well.
This absorption can be measured by the formula of absorption coefficient for the amount of
sound absorption provided by a particular type of surface. This coefficient compares the amount
of sound energy not reflected or absorbed to the amount of sound energy arriving at the surface.

Absorption Coefficient, α
α =Sound Energy Absorbed/ Incident Sound Energy

There are no unit available, as its value is expressed as a ratio. However, the perfect absorber
has an absorption coefficient of 1.0 and having an open window is a perfect example of attaining
1.0 of absorption coefficient. The table below shows the absorption coefficient of different
material.

The absorption coefficient of a material will depend not only on the nature of the material but
also one other factors such as its thickness, the way in which it is mounted, and the depth of the
air space behind it. The total absorption provided by a surface is proportional to its area and the
absorption coefficient of the material, that is:

A=Sα

where A = total absorption in sabins, S = surface area in square feet, and a = the
coefficient of absorption for a specific material.

The total room absorption is obtained by the addition of the absorption provided by each surface
in the room.

Total Absorption =　Σ(Area x Absorption Coefficient)

3.5 Issues of Acoustic Design Strategies.

Sound Reflections

Solid straight surfaces (eg. fronts of balconies ) can reflect sound waves. In the case of balcony
locates at rear of auditorium ,the sound reflected back into audience makes it difficult for those
seated in between of the stage and balcony to understand speech because they hear both the
original sound and the echoes ,which are reflected sounds that approach to ear at a later time
than original sound coming from stage which resulted in garbled.

Site Location and its Surrounding

External noise intrusion can be a threat towards the quality of an environment for acoustical
development, as the surrounding must be considered as majorly when construction is involved
around urban areas with traffic jams,highways,railways ,upcoming construction site and
industrial site etc.

Room and Wall Shapes

Concave, round shapes, including parabolic walls and

domed ceilings plays a bad factor for a room which
speech is important. Concave shape focuses sound into a
specific area ,making those areas acoustically louder than
other parts of the room and produces late reflections
which causes delay with original sound from stage or
loudspeakers which will lead to intelligibility problems.
Dividing concave surfaces into multiple convex surfaces
can diffuse reflected wave into number of smaller waves
travel in variety of directions can reduce bothersome to
audience .

Sound wave strikes uniform surface the reflection of the

wave, which the angle of reflection will equal to the angle
of incidence and be in plane of incidence .

Mechanical noise

Exposed equipment such as ducts which is not properly isolated and securely anchored will
produce noises caused by vibration. If a source of vibration is identified, it should be isolated or
secured in specific enclosed area to eliminate disturbance. Ducts and other mechanical units
without proper externally wrapped will cause noise transmission. Hence, the noise tends to be
background noise, where initially it may not be noticed but will bother its audiences during
performances.

Flutter echo

It is an undesirable acoustical phenomena associated with the shape of a room which caused by
the repetitive interreflection of sound energy between opposing parallel sound-reflecting
surfaces. Prevalent phenomena in a rectangular room when one pair of opposite walls is smooth
and highly reflective; opposing wall treated with sound-absorptive materials. A single impulsive
sound, such as hand clap will produce flutter echo as it reflected between the walls.
3.6 Acoustic Design for Auditorium

Concerning the acoustics of an interior space, the audience size determines the basic floor area
of an auditorium. Once this area has been fixed, the volume of the enclosed area is developed
according to reverberation requirements of the shape.

Consider a typical auditorium as an example, in section, the shape of wall and ceiling surfaces
is developed to give proper distribution of sound and eliminate focusing or echoes. Essential
characteristics of the design are:

(a) Ceiling and sidewalls at the front of the auditorium distribute sound to the audience. The
reflecting ceilings and surfaces are positioned so that their multiple reflections give
distribution of sound into the entire space.

(b) Selection of materials used in an auditorium is also considered. Sound reflecting and
absorbing materials needs to be balance to each other. The largest area of sound absorption
available is the audience itself. Therefore, the difference of acoustical characteristics that
occur without an audience may be minimized by using a fully upholstered seating.

(c) The seats may be arranged in slope or steps to permit good line of sight. Otherwise
audience that are seated in the front will act as sound absorbent, thereby reducing the intensity
of sound that gets to the rear wall

(d) Noise from air handling systems and adjacent spaces should be reduced to minimum to
maintain a good quality of sound within a room and should therefore be examined and baffled
if necessary.

(e) The acoustical properties of room and plans for sound system should be carefully
matched earlier during the design process to avoid costly and potential unsightly acoustical
remedies later. For an example, loudspeakers with coverage patterns that needs to match with
the listening area, where poor pattern of control results in uneven sound coverage.

(f) Delay-fill speakers allows shadowed area, such as under the stage to be covered with
sound. Signal to be filled in speakers must be electronically delayed so that sound arrives at
listener’s ears in time-sync (≅ 30m/s) of the sound from main speakers. It is used part way
back in the room to cover the immediate area in surrounding.

(g) Distributed sound system consists of multiple speakers uses commonly by projecting
down from ceiling ,each covering specific area.

(h) Acoustically absorptive material tend to be frequency-selective, whereas some material

absorb only high frequencies or with midrange frequencies that span the acoustic quality. To
ensure intended frequencies where absorption in the area is required ,material selected for wall
coverings, window treatments, acoustical baffles etc plays an important role.
4.0 Acoustic Analysis
4.1 Auditorium Design Analysis
4.1.1 Shape & massing

From plan view, the auditorium is in a rectangular shape. The shape is then enhanced by the
addition of wood panels on the wall to further improve the sound reflection. By adding the
wood panels, the surface area of the room increases thus improving the sound absorption and
the reverberation time.

From section, it can be seen that the ceilings are tilted for better sound reflection. The concave
shaped ceiling also contribute to better sound propagation in the hall. The glass wall at the
backstage are tilted, to disperse the excessive sound wave to the auditorium.
4.1.2 Leveling of seats

Due to its function as a multipurpose hall, the 400 seatings within the auditorium are unfixed.
The seating are in multiple-aisle arrangement, at the same level. This allows the audience to
move by shifting sideways or to turn their heads to watch the performance. Some of the
audience may have difficulties in viewing the stage while enjoying stage performance.
4.1.3 Ceiling & Reflectors Panels

It is very important to provide as much natural reinforcement for the unamplified voice as
possible. This applies equally in smaller rooms, classrooms, meeting rooms etc, but particularly
important for larger spaces where the distance between the speaker and the audience is greater.

Natural reinforcement is achieved by the strategic placement of reflective surfaces. In a typical

auditorium, it is common to place reflectors above the stage and to angle these element, to give
useful reflections particularly to the back of the auditorium.

For Bentley Music Auditorium, the ceiling is designed to incorporate the reflector panels. The
concave shaped reflector panel ceilings are arranged and angled in a manner in which the sound
is reflected at its maximum as there aren’t any levels of seatings the sound is distributed evenly.
The Concave-shaped timber panels on the ceiling form a reflective surface having one focus point
which concentrate the sound towards one direction.

Concave shaped timber reflective panels

4.2 Sound & Noise Source

Sound and Noise have a very thin line of differentiation. Whether or not a sound is considered
undesirable will depend not only on the loudness of the sound but on its frequency, continuity,
time of occurrence, place and activity being carried out, information content and origin of the
sound and recipient’s state of mind. Any sound judged as undesirable by the recipient is
considered to be noise hence noise is considered as an unwanted sound.

4.2.1 Sound Source

i) Musical Instruments
The Bentley Music Auditorium is a platform for young emerging musicians to show off their
talents which varies from drums, guitar, violins ,keyboards and many more. This multi-purpose
auditorium also accommodate press conference ,seminars and corporate meetings which means
they have different range of frequencies for different events.These are the primary sound sources
for the auditorium which are then amplified by speakers.

Singing Competition Violin Practices

Press Conference Musical Performance

ii) Distributed Sound System
The Bentley Music Auditorium uses sound systems to electronically amplify the natural sound.
These sound reinforcement systems with purpose to augment the loudness of the live sound with
amplified sound, with the listener hearing a combination of both.

Position of Speaker in Auditorium Hall

2 Subwoofers 4 Full range speakers

A full-range loudspeaker drive

A subwoofer is dedicated to the
reproduction of low-pitched audio
frequencies (the bass).
unit is a driver which reproduces
as much of the audible frequency
range as possible, within the
limitations imposed by the
physical constraints of a specific
design.
4.2.2 Noise Source

Internal Noise
i) Air-conditioning system (Airborne noise transmission)

Air-borne sound is transmitted along continuous air paths through openings, such as open
windows and doors, ventilating ducts and grilles, shafts, cracks around doors, pipes , conduits and
electrical fixtures. For Bentley Music Auditorium ,a centralised air-conditioning unit is used to
supply cool air into the auditorium. However, the noise made by the air vents when the room is
quiet does not contribute to the acoustical properties of the auditorium.

The air ventilation outlets from the centralised air conditioning unit is hidden behind the timber
panels in the ceiling.The noise created by the ventilation outlets is due to the small outlet opening
with high wind velocity which restrict the air flow from the aluminium panel.The grilled
aluminium panel intending to hide the structure actually adds to the cause of the noise as it
restricts the air flow into the room.

Air ventilation Outlets

External Noise (Air borne noise)

1.Environmental sound

The quiet environment of a multipurpose auditorium is degraded by the noise intrusion coming
from the outside to the inside. The multipurpose hall is located at a roadside which could cause
some unpleasant noise and disturbance when there is heavy traffic during peak hour.

Traffic and cars

2. Entrance door

There are multiple source of noise, including the sound of opening and closing the door and
people talking outside at the foyer. However, there is a sound lock which reduce the noise from
interfering the audience that seats near to the door. The sound lock between the inner and outer
door of the main entrance for the multipurpose hall serves as a function to trap the sound waves as
a result to bring down the noise level to less than 45dB. The addition of acoustic absorbent linings
to the sound locks can also further enhance the sound insulation.

Sound Lock
4.3 Sound Propagation and Related Phenomena

Definition

Propagation of sound is the transmission of acoustic energy through a medium via a sound wave.
During their propagation, waves can be reflected, refracted, or attenuated by the medium.

All media have three properties which affect the behavior of sound propagation:

1. A relationship between density and pressure. This relationship, affected by temperature,

determines the speed of sound within the medium.

2. The motion of the medium itself, e.g., wind. Independent of the motion of sound through the
medium, if the medium is moving, the sound is further transported.

3. The viscosity of the medium. This determines the rate at which sound is attenuated. For many
media, such as air or water, attenuation due to viscosity is negligible.

For simplicity, it is best to view sound as a series of pressure variations. In air, these pressure
variations take the form of periodic compressions and rarefactions.

In an enclosed space, the study of sound wave can be simplified as sound “rays”, perpendicular to
the advancing wavefront, travelling in straight lines in every direction within the space. The
common phenomena of sound in an enclosed space are reflection, absorption, diffusion, diffraction,
reverberation etc.
4.3.1 Sound Reflection

When a wave reaches the boundary between one medium and another medium, a portion of the
wave undergoes reflection. The amount of reflection is dependent upon the dissimilarity of the two
media. Reflection of sound waves off of surfaces can lead to an echo or reverberation.

When sound wave strikes on a hard surface, almost all of the incident sound energy will be
reflected. In Bentley Music Auditorium, the carpet surface of the floor, wood panels attached on
the wall, and concave shaped ceiling reflect almost all the incident sound energy. The concave
shaped ceiling in the auditorium are especially useful as each of them concentrates the reflected
sound to the listeners sitting at the front, middle and back row.

Diagram shows the wood panel attached on the wall reflect the sound wave hitting on them.

Diagram shows the listener at the front row receiving the sound reflected from the ceiling and
carpet.
Diagram shows the listener at the middle row receiving the sound reflected from the concave
ceiling and the wall.

Diagram shows the listener at the back row receiving the sound reflected from the ceiling,
wall and the wooden door.
4.3.2 Sound Diffusion

Diffusion, in acoustics and architectural

engineering, is the efficacy by which sound energy
is spread evenly in a given environment.

Adequate sound diffusion is essential in many types

of rooms because it promotes uniform distribution
of sound, accentuates the natural qualities of music
and speech and prevents the occurrence of
undesirable acoustical defects.

Irregular wooden panels

Concave reflective ceiling

Sound diffusing wooden panels

Sound diffusion may be achieve with the aid of surface irregularities and scattering elements,
alternate application of sound reflective and sound absorptive treatments. For the Bentley Music
Auditorium the diffusion occurs when the sound wave form the speakers hits the irregular
scattered wooden panel at the wall and spreads evenly in the room.

The irregular pattern repeats throughout all the wall in the room so that the sound no matter
where the person is seating in the room , will be heard with the same intensity and quality.
Although the main function of the concave reflected ceiling is to reflect sound , it also helps in
diffusing sound in the auditorium .
4.3.3 Sound Absorption

Sound absorption is the change in sound energy into

heat energy when it passes through a material or strikes
a surface. Acoustic absorption refers to the process by
which a material, structure, or object takes in sound
energy when sound waves are encountered, as opposed
to reflecting the energy.

Diagram shows the sound is absorbed by felt wall panel coverings to prevent echoes.

For the Bentley Music auditorium, the sound wave from the speakers hits the felt wall panel. The
surfaces are covered with sound absorbing felt panel, the reflected sound will diminish much
faster and the listener will only hear the direct sound. Also, the general sound level in the room
will diminish. Only part of the sound is being absorbed due to the thickness of the felt panel.
They are effective to absorb high frequency sound waves.
How well a material retains sound relies upon various diverse components, including material
thickness and how permeable it is.
4.4 Material and Properties

4.4.1 Construction Material

1. Reinforced Concrete

Reinforced concrete are structural elements used for floors and

walls. Its inherent mass and stiffness may affect the
transmission of sound. Often used for their ability to isolate
and dissipate noise. Concretes are excellent in two ways noise
control. First, it effectively blocks airborne sound transmission
over a wide range of frequencies. Second, concrete effectively
absorbs noise, thereby diminishing noise intensity. Because of
these abilities, concrete has been used successfully in
applications ranging from party walls to hotel separation
walls, and even highway sound barriers.

2. Brick

Structural materials such as bricks are used for some parts of

the walls with plastered walls. Sound travels fast through solid
medium, and insulation or acoustic treatment layers are
needed to reduce the sound transmission. During construction,
the gaps and cracks should be reduced to avoid penetration of
sounds.
4.2 Interior Material Absorption Coefficient

Coefficient
Building
Material
Component
125Hz 500Hz 2000Hz

Flooring Concrete 0.02 0.02 0.05

Carpet 0.10 0.25 0.30

Wall Plywood
0.42 0.10 0.06
Acoustic Panel

Fabric 0.05 0.54 1.00

Ceiling Plywood 0.28 0.17 0.10

panel
Fabric 0.03 0.61 0.76

Seating Metal
0.15 0.22 0.38
(unoccupied)

Door Timber 0.26 0.40 0.48

Curtain Velour 0.07 0.49 0.70

Acoustic Panel Perforated

Veneer 0.15 0.75 0.75
Chipboard

Curtain Wall Glass

0.32 0.18 0.07

Sound Diffuser Timber

Panel 0.18 0.42 0.83
4.5 Acoustic Treatment and Component

4.5.1 Sound Reflective Materials

Sound will vibrate the particles in a materials, whether it is in a solid, liquid or gas matter.
Kinetic energy is loss with each further movement. With the application of sound reflective
materials, sound is bounced off from the surface. It usually occurs on a flat, rigid surface with a
lot of masses as the sound waves cannot travel very far into the surface, thus it is turned back on
itself and creates an echo.

Sound Reflective Panel

The concave shape ceiling panels, sometimes called clouds are used to direct sound energy from
the stage to the seating area. Concentrated sound can be produced and distributed uniformly once
the sound is reflected.

Timber acoustic ceiling panels are applied since they have smooth surface and they also provide
acoustical intimacy, clarity of the overall room sound. The panels suspended from ceiling to
provide short delayed, reflecting sound energy. The sound reflector panels can provide the
correct “ceiling shape” that can help to reduce the reverberation time.

Fabric wire

Aluminium bracing wire Compression post

absorber
reflector
 Sound Diffuser Panel

Sound diffuser panel are employed in Bentley Auditorium to distribute sound energy throughout
a room to offer an optimum acoustic performance. The use of diffuser panels is a combination of
acoustic panels to absorb sound and avoid reverberation. In addition to fulfilling the acoustic
function but also can improve the aesthetic value in the room. The random wood slats pattern
diffusers on the side of the walls which allow for a warm, elegant design.

The timber acoustic diffuser panels help to absorb sound energy .The small gap between the
panels helped to absorb the unwanted low frequency sound through panel vibration. The uneven
spacing of acoustic panels disperses sound in all directions which can help to remove
detrimental echoes caused by surfaces and improve the quality of sound.

Timber Diffuser Panels

Acoustic Wool

Brick Wall

Some of the sound waves are absorbed by fibreglass sound insulation panel
Plan view for wall panel

Stainless Steel Checker Plate with Round Projections

The steel material is used on the stage provide

strong early reflections that are integrated with the
direct source and enhance it.
Plywood acoustic panel

Timber panels are located at the rear wall close to the stage and at the back of the stage. The
panels can provide a great deal of help in dispersing the reflected sound waves to bring out the
balance among the live and dead spot in the room.

Timber Veneer Entrance

The entrance of the Bentley Music

Auditorium is completely made from timber
because of its durability and aesthetic
purpose. Although the door doesn’t provide
any soundproofing component, the timber
still functional in terms of reflecting the
sound waves.The downside is it creates
interrupting noise when open/close, thus
affect the acoustic environment.

Glass Curtain Wall and Window

The glass material can be seen on the curtain wall and window at the sound control room. The
curtain wall system are designed with extruded aluminium framing members. The sound
transmission through curtain walls might become an issue to the interior and the single glazed
glass window itself can generate noise due to friction or binding under thermal expansion.
4.5.2 Sound Absorption Materials

Sound absorption is the change of energy from sound energy to any other forms of energy such
as heat energy. With the application of sound absorption materials, it is used to improvise the
sound quality and also reduce the reverberation time. Soft and porous-liked materials are
commonly used as they allow sound energy to pass through and the kinetic energy eventually
reduces and sound energy eventually loses in heat energy to the surroundings. Surface of walls,
floors and ceilings, people and air of the spaces also affects the sound absorption.

Nylon Carpet

Carpet is an acoustic treatment used for floorings. Carpet absorbs airborne noise as efficiently as
many specialized acoustical materials. Impact sound transmission to rooms below is an
acoustical advantage that become obvious as soon as carpet is installed over previously
hard-surfaces floors. Carpet can reduce the sound of walking by 25 to 34 decibels. Whereas
laminate flooring reduces surface sounds by only 1 to 6 decibels. The reverberation time in a
carpeted room is halved compared to a space with hard flooring, creating a soft atmosphere
where people talk more quietly. In addition, carpet also substantially reduces noise nuisance
from road traffic and construction work. It absorbs sound and prevent excess reverberation
around the room. Bass frequencies travel low to the ground and carpeted floor help to absorb
these frequencies better.

Carpet material used at Bentley Music Academy’s floors.

Comparison of the usage of carpet and without carpet.

Fabric Wrapped Acoustic Panels

Beveled edge acoustic panels. The panels at the walls of the main entrance.

The fabric alone does not have any significant acoustic properties, it is primarily for aesthetics. It
is also commonly incorporated with absorptive materials in the panels and wall systems.They
usually come in a variety of wrap finishes, sizes and configurations. Functionally, it covers the
absorptive products and allows sound to pass through it.

Fabric wrapped acoustic panels are great sound absorbents and functions as noise controllers. It
can be either mounted to wall or ceilings easily. Beveled edge acoustic fabric wrapped panels are
located at the main entrance wall of the auditorium. Woven fabrics are used for these panels as
they are more air permeable and holds up well over time.

Sound from the surrounding passes through the acoustic panels, some of the energy are absorbed
and dissipated as heat. Some sounds are transmitted to the walls and the kinetic energy
eventually decreases.
Felt Wall Panel Coverings

Type 1 Felt coverings are seen to be covered Type 2 Felt coverings are seen to be covered
along the walls. along the walls.

Felt materials are unique and versatile. It is flexible in its properties which allows it to adapt to
different kinds of environments. Felts are easy to handle with, they are wear resistant, they do not
ravel of fray and durable as it maintains its physical properties as it wears. However in acoustic
treatments, felts are excellent sound insulators and has superb vibration damping qualities.

To improve the sound absorption throughout the auditorium, a layer of felt wall panel coverings are
used throughout the left and right wall of the auditorium. The coverings extends all the way up to
the bottom of the ceiling with random arrangement of wooden diffuser panels attached to it. It is
used to aid the sound absorption into the acoustic blankets within the walls.

Type 1

Type 2

Type 1 felt coverings can be seen at the upper part of the wall
and Type 2 at the lower part.
 Some of the surrounding sounds are absorbed by the felt covering and are dissipated as heat.
However, some sounds are also transmitted through the walls, they eventually loses its kinetic
and hence the lost of sound energy.

Curtains

The backstage of the auditorium which is The second layer of the curtain.
covered by the curtains.

Some curtains are meant to be designed to improve the sound quality and reduce the
reverberation time, also to create a damping effect of sound. Thereby, the material of the curtain
has to be thick and porous. A thicker absorption material is more effective against longer
wavelength (low frequency) of sound. Curtains are usually pleated followed by the depth of the
pleats, which is to trap sound energy so that the energy is exposed to more sound absorbing
surfaces.

Curtains can be seen located at the back of the stage. It blocks lights and UV rays and also acts as
a sound absorption material. It consist of two layers, a thicker layer in the front and a thinner
layer at the back.
Seatings

Seatings also plays an important role in acoustic design as some of the seatings are sound
absorbent which can aid the control of sound quality and reverberation time. If good sound
absorbent materials are used, it can generally represent the absorption coefficient of an
individual when it’s vacant and to achieve the similar reverberation time when it’s partially or
fully occupied.

Fabric upholstered banquet chairs were used for their seatings. The 400 seatings of the
auditorium are unfixed. The structure of the seatings are made of stainless steel however the
back and seats are made of fabric cushions with thickness of 4mm each.

The seatings’ fabric cushion provides comfort, aesthetics and

sound absorbent properties.

4mm fabric cushion thickness for the back 4mm~5mm fabric cushion thickness for the
cushion. seating cushion.
Acoustic Fabric

Acoustic Fabric

Plywood Panel

The stripped plywood panels are separated with gaps and the
acoustic fabrics are exposed at parts of the gaps.

Acoustic fabrics can be seen located above the ceiling panels. It serves as an absorbent
material which absorbs sounds that are passed thru the slits of the ceiling panel and to avoid
the sound being reflected back.The irregular surface of the fabric are factors which allow the
sound to be absorbed or reflected irregularly.

Sound absorption diagram by the acoustic fabric on the ceiling.

5.0 Reverberation Time
Seating (Unoccupied)
Sound Source Frequency: 500Hz
Surface Absorption
Acoustic Paneling
= 100.8m2 x 0.75 = 75.6m2 sabins
Curtain
=118.4m2 x 0.18 = 21.3m2 sabins
Ceiling Panel ( Plywood)
= (379.7m2 x 0.17)
= 64.5m2 sabins
Acoustic Timber Wall Paneling
= 252.2 x 0.42m2= 105.9
Reverberation Time
= 0.16 ( 2900 )/ 416.4m2
= 1.04 seconds
Ceiling Panel ( Plywood + Fabric)
Curtain
Acoustic Timber wall
Paneling
Plywood
Acoustic Panel
Seating (Unoccupied)
= 290.1m2 x 0.22 = 63.8m2 sabins
Plywood Acoustic Panel
= 70.0m2 x 0.10 = 7.0m2 sabins
Flooring (Carpet + Concrete)
=(290.1m2 x 0.25) + (290.1 x 0.02)
= 78.3m2 sabins
Total Absorption Coefficient
= (75.6+21.3+64.5+105.9+63.8+7+78.3)m2 sabins
= 416.4m2 sabins
2900m3
A typical medium sized multipurpose hall ranging from
750-7500m3 would have its reverberation time fall in
between 1.00-1.25 seconds. Through calculation, Bentley
Music Auditorium has its reverberation time at 1.04 seconds,
which is considered as an optimum space for a multipurpose
hall.
6.0 Observation, Recommendation and Conclusion
6.1 Acoustic Design Analysis Recommendations

Shape and massing

Bentley Music Auditorium is a rectangular

shoebox-type hall. It is excellent for music
where an audience can be seated farther away
and a greater ratio of reverberant sound is
desirable. Therefore it is the ideal massing for
the purpose of this hall.

Curved Seating arrangement

The seating arrangement in the Bentley Music

Auditorium is not permanently attached to the
floor because they accommodate other events
besides musicals. Hence arranging the chairs
in a curved manner would enhance the
hearing propagation.

Convex Ceiling reflector panels

Instead of using a concave reflector ceiling

panels which intends on focusing the sounds in
certain area , a convex ceiling reflector panels
would be the better option to help diffuse the
sound in different directions , to provide short
delayed and reflective sound energy.
6.2 Sound and Noise Propagation Recommendations

Internal Noise

The only internal noise made is through the air conditioning vent and this is because the
ventilation outlet is small with high wind velocity. To diminish the air vent noise a bigger
multiple air vent outlet with low and cooler wind velocity is recommended to evenly disperse the
air without creating much noise.

External Noise

1. Seal any air gaps

The sound waves will retain most of their energy and therefore loudness if they are allowed to
travel unopposed. By stopping air-borne sound we can reduce unwanted noise in the space. The
most effective way to do this would be to seal the window shut.

2. Make a second window

Much cheaper and easier way than completely replacing the windows is to add an extra sound
insulating layer. By attaching a layer of acrylic over the window, noise can reduce and won’t
able to travel through the window air gap.
 6.3 Sound Level Meter Reading

Internal Noise

The only internal noise made is through the air conditioning vent and this is because the
ventilation outlet is small with high wind velocity. To diminish the air vent noise a bigger
multiple air vent outlet with low and cooler wind velocity is recommended to evenly disperse the
air without creating much noise.

6.4 Acoustic Treatment and Components Recommendations

Thickness of Acoustic Materials

For a satisfactory speech environment, a thicker acoustic material can be used to enhance the
environment. The thicker the material, the absorption performance increases at lower frequencies
and also reduces the reverberation time.

Diagram showing the absorption coefficient value varies with the thickness of the
material at low frequencies.

Materiality

Ensure that the materials selected are porous as they absorb sound better than dense materials.
Porous materials also has larger amount of surface area so that the porous materials are able to
vibrate and dissipate the sound energy as heat. However, dense materials tend to reflect more
sound energies.
References

1. Fabric-Wrapped Acoustic Wall Panels | O'Neill Engineered Systems, Inc. (n.d.). Retrieved
April/May, 2018, from
https://www.noiseproblems.com/custom-noise-solutions/acoustic-fabric-wrapped-wall-panels/
2. Recording Studios. (n.d.). Sound-Absorbing Drapery: Theory & Application. Retrieved May 4,
2018, from http://acousticsfreq.com/sound-control-acoustic-curtain/
3. Advantages of Felt. (n.d.). Retrieved May 4, 2018, from
https://www.aetnafelt.com/pages/advantages-of-felt
4. Sound Absorption. (2018, April 09). Retrieved May 6, 2018, from
https://community.plm.automation.siemens.com/t5/Testing-Knowledge-Base/Sound-Absorption/ta-p/39
8589
5. Room Acoustics. (n.d.). Retrieved April 26, 2018, from
http://www.industrial-electronics.com/measurement-testing-com/architectual-acoustics-3-0.html
6. Acoustic Panels | Spigoacustic | Sound-absorbent Panels. (n.d.). Retrieved April 25, 2018, from
https://www.spigogroup.com/en/products-wood-solutions/spigoacustic-acoustic-panels/
7. Acoustic diffusers Spigoline | Diffuser panels for the acoustic conditioning. (2017, December 12).
Retrieved from https://www.spigogroup.com/en/acoustic-diffusers/
8. Copyright 2018 : fat media : info@fatmedia.co.uk. (n.d.). Acoustic Reflectors. Retrieved from
http://www.totalvibrationsolutions.com/page/289/Acoustic-Reflectors.htm

9. NL understanding. (n.d.). SpringerReference. doi:10.1007/springerreference_19727

10. Acoustic absorbers, reflectors, diffusers, soundproofing. (n.d.). Retrieved from

http://www.acousticgrg.co.uk/our-products