UNIT-5

ACOUSTICS FOR DIFFERENT

TYPES OF BUILDINGS

ARCHANA.H, Asst.Prof
for 6th sem

DESIGN PROCESS OF
AUDITORIUM:
Minimize the distance to rear seats by
adopting square rather than oblong plan
proportions, in so far as sight lines
permit. The seating areas in figs 17,18
are the same, but the distance to rear
seats is reduced by a quarter in the
second example.
Economical arrangement of seats and
gangways, and the introduction of
balconies, also reduce the distance to
rear seats, but sound shadows under
balconies must be avoided.

Seating should be raked as much as possible, according to

circumstances. The amount of sound shared by the audience in figs 19,
20 has been increased by a half in the second case.

Reinforcement by reflected
sound:
Where the source of sound is in
one fixed position, as in figs 21,
22, the best reflector is near,
above, and in advance of the
source because:
a: the reflected sound paths are
short and therefore reflections are
strong and follow quickly upon the
direct sound,
b: unobstructed reflected sound
benefits each member of the
audience equally,
c: reflected sound is projected to
the rear and middle rows of seats.

Where the position of the source is

variable, but within a limited area,
the reflector must be larger as
indicated in figs 23, 24. In the
longitudinal section, reflector AB is
required for the forward position of
the source, and CD for the rear
position, if rear and middle rows of
seats are to benefit. The length of
the reflector should therefore the
AD.
Similarly, the cross section shows
that the width of the reflector should
be GF if the whole width of the
audience is to receive reflections
when the source moves laterally.

Where the source of sound may be anywhere

in the room, as in a Council Chamber, the
reflector should be near and above all
positions of source, fig 25. In the longitudinal
section, reflector AB will be sufficient when the
source of sound is at S. It must, however, be
extended to C to allow for other positions of
source. In the cross section, reflector FD will
allow for a source of sound on either side of
the room.

Materials used in construction of good Auditorium:

In the design of an auditorium few of the finished need be chosen
solely for their acoustic properties. The main should rather be to
choose materials which are desirable from other points of view, both
functional and aesthetic, and employ them appropriately for acoustic
purposes. Plasters, panelling and curtains all play their part in an
acoustic design, though they are not though of as acoustic materials.
Where special acoustic materials are employed certain practical and
aesthetic considerations should determine their choice:
a: many acoustically absorbent materials are easily damaged and
should not be employed within reach.
b: some materials are satisfactory in the first instance but are made
ineffective by subsequent decoration.
c: fire resistance has often to be taken into account, and materials
which are vermin and rot-proof are obviously desirable.
d: acoustically porous materials may also absorb moisture and the
effects of expansion and contraction must be considered,

e: materials with a high coefficient of absorption will obviously be more

economical than those which require use in larger quantities. Some of
these materials may, however, be found to have a high absorption only
over a limited frequency range,
f: some materials may have to be rejected on grounds of appearance
in the first instance, or because their appearance suffers in the
process of fixing or the passage of time.

Cinemas: normal sound reproduction:

1: The plan shape of a cinema is influenced by sight lines to an even
greater extent than the theatre, giving usually a longer proportion or a
narrower fan shape.
2: The introduction of a balcony tends to reduce the distance from the
screen of the furthest seats, where this is required for large audiences.
The directional nature of the loudspeaker allows the balcony overhang to
be deeper.
3: Although the sound may be raised to any level to reach rear seats,
the result may well be unsatisfactory in front seats. Overhead reflectors
or the whole ceiling should therefore be designed to provide progressive
reinforcement. This can be done more accurately than in the theatre
because the position of source is fixed.
4: The amplifier should be behind and approximately in the center of the
screen.
5: Side walls should be dispersive, with areas of absorbent material as
required to reduce reverberation.
6:The rear wall must be absorbent and dispersive.
7: the rake of the floor may be less than in a theatre, provided clear sight
lines are available for all members of the audience, to the bottom of the

screen, and provided the amplifier is not too low.

8: Check for echoes from all re-entrant angles.
9: The surfaces of any volume behind the screen should be made
absorbent.
10: Allowance should be made for the variable size of audiences, and
seats should be as absorbent as possible.
11: Reverberation time should not be more than one second because
reverberation is added to the sound track when required.

Classrooms:
1:Though small, a classroom may be much too reverberative if all
surfaces are reflective. This is unsuitable for speech and creates a noisy
environment.
2: The ceiling, rear wall and the wall opposite the main windows should
be made absorbent.
3: Perforated acoustic titles are suitable for ceilings, soft pinning boards
for walls.
4: Absorbent material should be introduced to reduce reverberation to
second.

Concert halls:
1: Various plan shapes can be satisfactory acoustically, but square
rather than long proportions are preferable because sound paths
are then more equal in length. This helps in obtaining a steady
decay of reverberation.
2: A fan-shaped auditorium has the advantage of placing a majority
of the audience at some distance from the orchestra, providing
them with a more balanced hearing of the orchestral ensemble.
3: If the auditorium is fan-shaped, however, greater care is needed
in avoiding a megaphone interior, by the provision of dispersive
elements in the desing.
4: Seating should be well raked to provide strong direct sound and
the clear reception of transients. (Transient is the musical term for
the initial sound produced by an instrument. It has a different quality
from the remainder of a sustained note).
5: Galleries should be shallow to avoid sound shadows and nonreverberative pockets.
6: Provide angle reflectors over, and at the sides of, the platform to
provide close reinforcement of direct sound.

7: Reflectors over the platform should be modeled to scatter part of

the sound among the players, for mutual appreciation of the
orchestral ensemble.
8.The ceiling, if shaped, should provide progressive reinforcement of
sound towards the rear, but the surface should be broken to
contribute towards background reverberation.
9: Side walls should be boldly modelled or broken by galleries or
loges. This is especially important if the interior is fan-shaped.
10: The rear wall and gallery aprons should be absorbent and
dispersive to prevent echoes. Concave curved walls require a greater
degree of absorption.
11: Check carefully for possible echoes from re-entrant angles.
12: As much as possible, absorbent material should be distributed
around the interior.

Lecture Theatres:
1: An economic arrangement of seating and gangways is essential.
2: In larger rooms, seating rows splayed around the lecturers dais will
reduce the distance to the back row, but sight lines for the lantern
screen will limit the overall width of the seating area.
3: Tiered seating for good acoustics corresponds with good sight lines
for the lantern screen and where a demonstration bench is required.
4: A splayed overhead reflector and a horizontal reflective ceiling
provides adequate reinforcement of sound in most cases, providing
that the ceiling is not too high.
5: If an angled reflector over the dais is not introduced, the ceiling
above the lecturer should be dispersive.
6: The walls behind and around the lecturer should act as reflectors
when he turns away from his audience.
7: Prevent cross-reflections at the dais by splays or dispersive
treatment.
8: Side walls should be dispersive or non-parallel.
9: The rear wall should be absorbent and, if curved, also dispersive.

10: Seating or benches should be padded and, if bench fronts are

employed, these should be of perforated plywood with absorbent infilling.
11: Prevent echoes from the angle between rear wall and ceiling.
12: The reverberation period should be in the region of second.