ACOUSTICS IN ARCHITECTURE

Bachelor of Architecture
Of
Poornima University, Jaipur

Session: 2019-20

Submitted By: Ar. URMILA PANWAR

BASHAR NAWAZ (Guide)
2015PUSPABARX03708
V Year, B.Arch.
Ar. Yash Pratap Singh
Shekhawat

(COORDINATOR)

School of Planning & Architecture

Poornima University, Ramchandrapura, Jaipur, Rajasthan – 303905

1|Page
 APPROVAL

The dissertation study title “ACOUSTICS IN ARCHITECTURE” is hereby approved as original

work of BASHAR NAWAZ, enrolment no. 2015PUSPABARX03708 –on the approved subject
carried out and presented in a manner satisfactory to warrant as per the standard laid down by the
Faculty of Architecture, Poornima University.
This dissertation has been submitted in partial fulfilment for the award of Bachelor of Architecture
degree from School of Planning and Architecture, Poornima University, Jaipur.
It is to be understood that the undersigned does not necessarily enclose or approve any statement
made, any opinion expressed or conclusion drawn there in, but approves the study for the purpose it
has been submitted.

Date:

Place: Jaipur

Seal of Poornima University

Ar. URMILA PANWAR

External Examiner Dissertation Guide

AR. PREETHI AGARWAL AR. SAURABH SHARMA

Dissertation co-ordinator Head of Department

2|Page
 DECLARATION

I, Bashar Nawaz, here by solemnly declare that the research work undertaken by me, titled,
“Acoustics in Architecture” is my original work and whatever data is incorporated in the form of
text, data, photograph, drawings, etc. from different sources, has been duly acknowledged in my
report.

This dissertation has been completed under the supervision of the guide assigned to me AR.
URMILA PANWAR, by the Faculty of Architecture, Poornima University.

BASHAR NAWAZ

B.Arch. Vth year

Session: 2019-2020
School of Planning and Architecture
Poornima University,
Jaipur, Rajasthan

3|Page
CHAPTER 1: SYNOPSIS ...................................................................................................................................
CHAPTER 2 :- INTRODUCTION AND BASIC ACOUSTICS ........................................................................
2.1 IMPORTANCE OF ACOUSTICS IN ARCHITECTURE .......................................................................
2.2 CONCEPT OF ACOUSTICS IN ARCHITECTURE ...............................................................................
2.3 FUNDAMENTALS OF ACOUSTICS .....................................................................................................
2.3.1 APPROPRIATETIES OF SOUND: ...................................................................................................
2.3.2 ACOUSTICAL INTERACTION .......................................................................................................
2.4 PROBLEMS IN ACOUSTICAL DESIGN ...............................................................................................
2.4.1 FACTORS INFLUENCING THE ACOUSTIC ENIVORNMENT ..................................................
2.4.2 FACTORS INFLUENCING HEARING CONDITIONS ..................................................................
2.5 CRITERIA FOR GOOD ACOUSTICS ....................................................................................................
2.6 DEFECTS OF ACOUSTICS AND THEIR REMEDIES .........................................................................
2.6.1 PROBLEMS AND REMEDIES ........................................................................................................
2.6.2 NOISE ................................................................................................................................................
CHAPTER 3: TREATMENT FUNDAMNETALS AND TECHNIQUES ........................................................
3.1 BRANCHES OF ARCHITECTURE ACOUSTICS .................................................................................
3.1.1 ROOM ACOUSTICS .........................................................................................................................
3.1.2 NOISE CONTROL.............................................................................................................................
3.1.3 SOUND REINFORCEMENT ............................................................................................................
3.2 ACOUSTICAL TREATMENT AND SOUND INSULATION ...............................................................
3.2.1 ACOUSTICS TREATMENT .............................................................................................................
3.3 ACOUSTICS IN DIFFERENT TYPES OF BUILDINGS .......................................................................
3.3.1 ACOUSTICS CONSIDERATION ACCORDING TO PROJECT ....................................................
3.4 ACOUSTICAL CONTROL THROUGH PLAN AND SHAPE ...............................................................
CHAPTER 4 :- ACOUSTIC MATERIALS ........................................................................................................
4.1 APPROPRIATETIES OF ACOUSTICAL MATERIALS ........................................................................
4.2 CLASSIFICATION OF ACOUSTICAL MATERIALS...........................................................................
4.2.1 NOISE CONTROL MATERIALS .....................................................................................................
4.3 CLASSIFICATION ACCORDING TO THE RANGE AVAILABLE IN MARKET .............................
4.4 TYPES OF MATERIALS .........................................................................................................................
4.4.1 SOUND ABSORBERS :-...................................................................................................................
4.4.2 SOUND DIFFUSERS ........................................................................................................................
4.4.3 NOISE BARRIERS ............................................................................................................................
4.4.4 SOUND REFLECTORS :- .................................................................................................................
4.5 SOUND INSULATION MATERIALS ....................................................................................................

4|Page
CHAPTER 5: ACOUSTICS IN ASPECTS OF ECONOMICAL MATERIALS ..............................................
5.1 INTRODUCTION .....................................................................................................................................
5.2 LOW – COST MATERIALS ....................................................................................................................
CHAPTER 6: CASE STUDY .............................................................................................................................
6.1 PRIMARY CASE STUDY .......................................................................................................................
LITRATURE TUDY1……….………………………………………………………………………………
LITRATURE STUDY2………………………………………………………………………………
6.2 SECONDARY CASE STUDY .................................................................................................................
LIVE STUDY 1………………………………………………………………………………………………
LIVE STUDY 2………………………………………………………………………………………………
CHAPTER 7: CONCLUSION ............................................................................................................................
CHAPTER 8: BIBLIOGRAPHY ........................................................................................................................

5|Page
CHAPTER 1: SYNOPSIS
ACOUSTICS IN ARCHITECTURE
HYPOTHESIS:
Acoustics is significant for improving functionality of Multiplex and concert hall.
AIM:
“To study the relevance of acoustics in architecture, it’s needs and applications according to the
spaces.”

OBJECTIVE:
• What is acoustics, need and it’s application.

• To understand various techniques in acoustical treatment.

• To know the different acoustic materials and their uses in different spaces.

• To provide specifications of material that are economical to use with respect to architectural
acoustics.

NEED AND IMPORTANCE:

• Acoustics in architecture is significant function for the building and the perception of space.

• It is a significant consideration in the design, operation and how it function in the buildings, and
can have a significant impact on communication and productivity.

• They can be particularly significant in spaces such as concert halls, recording studios, and
lecture theatres and so on, where the quality of sound and its intelligibility are very significant.

SCOPE:
This dissertation report is focused on the basic studies on the places like cinema, auditorium, studio
design, churches, radio stations, etc and the detailed studies on specific topic- Concert hall and
Multiplex will be carried out, where it is essential to control the sound for required conditions by
using different acoustical treatment is needed.

LIMITATIONS:
This report is limited where costing and acoustics calculation will not be done. It is only limited to
the basic description of the acoustics in architecture, with the purpose of acoustics and sound
insulation in different types of buildings and also it is limited to the theoretical data to understand
first the basics of acoustic.

6|Page
 RESEARCH METHODOLOGY

ACOUSTICS IN ARCHITECTURE

NEED OF STUDY: TO KNOW THE IMPORTANCE OF

ACOUSTICS IN ARCHITECTURE.

HYPOTHESIS: ACOUSTICS IS SIGNIFICANT FOR

IMPROVING FUNCTIONALITY OF MULTIPLEX AND

SYNOPSIS
CONCERT HALL.

AIM: TO STUDY THE RELEVANCE OF ACOUSTICS IN

ARCHITECTURE, IT’S NEEDS AND APPLICATIONS ACCORDING
TO THE SPACES.

OBJECTIVE

• WHAT IS TO UNDERSTAND TO KNOW THE TO PROVIDE

ACOUSTICS, VARIOUS DIFFERENT SPECIFICATIONS OF
NEED AND IT’S TECHNIQUES IN ACOUSTIC MATERIAL THAT ARE
APPLICATION. ACOUSTICAL MATERIALS AND ECONOMICAL TO USE
TREATMENT. THEIR USES IN WITH RESPECT TO
DIFFERENT SPACES. ARCHITECTURAL
ACOUSTICS.

DATA COLLECTION

DEFINITION, HISTORY TECHNIQUES, ADVANTAGES MATERIAL, TREATMENT,

AND ITS TYPES AND ITS USES ADVANTAGES AND ITS USES

LITRATURE STUDY LIVE CASE STUDY

1. PARCO DELLA MUSICA, IN ROME, ITALY 1. C- 21 MALL THEATRE, SATYAM

CINEMAS – INDORE

7|Page
CHAPTER 2: INTRODUCTION AND BASIC ACOUSTICS

“Quality is more significant than Quantity of any built space”.

In today’s architectural world, good acoustical design isn’t a luxury - it’s a necessity. The interest for
acoustic design has increased in the last few years, both in the indoor and outdoor spaces. With regard
to acoustics; it is said that of all the senses, hearing is the one that has the most significant impact on
people in terms of quality of life. It is a fundamental tool for us. Acoustic correction is an essential
part of creating good built environments. We human beings have been endowed with to live different
sense to perceive and analysis things around us. As far as the importance of these senses are
concerned. Public spaces that are poorly designed from an acoustical aspect not only affect our
quality of life but also our health, social behavior, and our productivity as well. Many people just do
not identify that sound affects us consciously and subconsciously within an environment. Designing
spaces is not only about look but, just as significantly, how that space functions and how people
function within that space.

2.1 IMPORTANCE OF ACOUSTICS IN ARCHITECTURE

The single biggest mistake is not paying attention to acoustics. A completed project is only as good
as it sounds for the people in the space to be able to concentrate to work productively and to hear the
spoken word clearly. Too many hard, reflective surfaces causing echo factors and reverberation kill
the efficient productivity of the space. Sound transmission from room to room is also an significant
factor to consider when designing any project today. Acoustics in the space is significant for people
to concentrate. Now we have to find more money to fix the problem after the fact.

Noise interrupts comfort, privacy, concentration, conversation and most of all productivity. If people
in any workplace can't concentrate due to noise or unwanted sound interference, or there is too much
echo, they simply can't concentrate to be efficiently productive for the company. It can take two or
three times the normal amount of time in a noisy room to accomplish the same task in a quiet room.

Companies with excessive noise levels for concentration are throwing millions of dollars away each
year paying their employees to fight to concentrate over distracting noise disturbances.

Excessive sound levels, or noise, have become a way of life in the modern world. Machinery,
increased numbers of people in the workplace, telephones, computers, open office spaces, building
noises and outside influences have all contributed to create noise in the workplace.

2.2 CONCEPT OF ACOUSTICS IN ARCHITECTURE

Architectural acoustics can be about succeeding good speech intelligibility in a theatre, restaurant or
railway station, enhancing the quality of music in a concert hall or recording studio, or suppressing

8|Page
noise to create offices and homes more productive and pleasant places to work and live in.
Architectural acoustic design is generally done by acoustic consultants.
Architectural acoustics is the science of controlling sound inside buildings. Noise spread within
building:
1. By external means (through building skin envelop)- core noise paths are roofs, eaves, walls,
windows, doors and penetration.

2. By internal means- Typical sound pathways are room partition, acoustic ceiling panels, door
window etc.

These different reflecting sounds create standing waves that create an annoying sound. There are
three ways to advance workplace acoustics and solve workplace sound problems – the ABC’s.

A = Absorb (usually via ceiling tile)

B = Block (via workstation panels, wall placement and workplace layout)

C = Cover-up (via electronic sound masking)

 To Absorb: We usually use soft surfaces and materials that are able to absorb the sound, like the
“bee-hive structure”, particularly in big and wide buildings in order to reduce the reverberation.

 To Block It: Blocking panels are usually made of different layers of rigid material. Sometimes
 it can be a multi-layer wood.

 To Cover it Up: The most used form for covering a sound is to mask it. It’s based on adding an
artificial sound to the one that we want to “hide”. This is very common in workplaces to make
employees more productive by making them less distracted. The masking sound must be hardly
noticeable, with a lower volume and a very uniform tone.

Analysis by the Sabine formula: Where alpha is the absorption rate, T is the reverberation time,

A is the absorption area, S is the complete surface and V is the room volume in .

9|Page
The most significant fact about the building is that the reverberation time is higher than it would
be in a simple building (made to play music in them). This is due to the high amount of surface
covered with glass and the big dimensions of the building itself.

2.3 FUNDAMENTALS OF ACOUSTICS

Sound (or noise) is the outcome of pressure variations, or oscillations, in an elastic medium (e.g., air,
water, solids), generated by a vibrating surface, or turbulent fluid flow.

Sound transmits in the form of longitudinal (as opposed to transverse) waves, involving a succession
of compressions and rarefactions in the elastic medium.

When a sound wave propagates in air (which is the medium considered in this document), the
oscillations in pressure are above and under the ambient atmospheric pressure.

The study of acoustics rotates around the generation, propagation and reception of mechanical waves
and vibrations.

Acoustics gazes first at the pressure levels and frequencies in the sound wave and how the wave
interacts with the environment. This communication can be described as either a diffraction,
interference or a reflection or a mix of the three. If several media are present, refraction can also
arise. Transduction practices are also of special importance to acoustics.

2.3.1 APPROPRIATETIES OF SOUND: To control sound in today’s built environment, we need to

know a little about its fundamental appropriateties such as:

1. Frequency (pitch)

2. Wavelength

3. Amplitude (loudness)
Once these fundamental appropriateties of sound or sound waves are understood, we can progress
to implement effective noise control measures.

10 | P a g e
1. Frequency (pitch): Sound is a form of mechanical energy transmitted by vibration of the
molecules of whatever medium the sound is passing through. The speed of sound in air is roughly
1,130 feet per second. In steel it is roughly 16,360 feet per second, and in water 4,900 feet per
second. The thicker the medium, the faster sound travels in that medium. The numeral of cycles
per second made by a sound wave is

termed its frequency. Frequency is conveyed in Hertz (Hz). The sound we hear is generally
radiated in all directions from a vibrating medium.

Fig 3 - The distance from start to end of a cycle Fig 4 -Equal frequency and differing amplitude

3. Amplitude (loudness): The amplitude or loudness of a sound wave is expressed by its sound
pressure level. Sounds having the alike wavelength (equal frequency) may have differing
Loudness because the sound pressure of a sound wave may vary over a wide range — a change
in magnitude of ten million to one — sound pressure is conveyed using a logarithmic scale.

This is the root of the decibel scale, which compresses the range of sound pressure into a scale
from0 to 150. The decibel (dB) is not an real measure of amplitude or loudness, but expresses
the ratio between a given sound pressure and a reference sound pressure.

2.3.2 ACOUSTICAL INTERACTION

 Acoustics means to work on these three parameters and increase sound experience.

 Historically, the primary focus of acoustics was the usage of absorbing surfaces to control the
 reverberation times and loudness of spaces.

 Redirected by reflection

 Uniformly scattered by diffusion

 Good architectural acoustic design needs an appropriate combination of absorptive, reflective and
diffusive surfaces.

11 | P a g e
 Fig 5 – Acoustical interaction
1. Sound Absorption: The appropriatety of a surface by which sound energy is converted into other
form of energy is known as absorption. In the process of absorption sound energy is transformed
into heat due to frictional resistance inside the pores of the material. The fibrous and porous
materials absorb sound energy more, than other hard materials.

2. Reflection: When a sound wave encounters a sharp discontinuity in the density of a medium,
some of its energy is reflected. Reflective surfaces are normally smooth and hard. A few mutual
acoustic problems caused by reflections are echoes and room resonance.

3. Diffusion: When a sound wave reflects off a convex or uneven surface, its energy is spread
equally rather than being restricted to a discrete reflection. This phenomenon, identified as
diffusion.

Fig 6 – Types Of Diffusion

2.4 PROBLEMS IN ACOUSTICAL DESIGN

1. Lots of sound, but little is heard: A sound wave start at the loudspeaker and only 0.17% of the
sound is directly heard by the audience. Direct sound will fall by 6 dB for each doubling of distance
propagated.

2. Noise blocks our ability to hear: The auditorium or library is meant for understanding speech.
Noise destroys sonic clarity.

3. Background noise: Background noise is the entire sound one hears when the lecturer is not
saying something.

4. Acoustic noise, echoes and reverberation

12 | P a g e
 Fig 7 :- Problems in acoustical design
2.4.1 FACTORS INFLUENCING THE ACOUSTIC ENIVORNMENT

Acoustic environment desired for a particular area or place depends on:

• How the space is to be used.

• Mood of the user
• How the area related to other part of the building.

Example: A concert hall which should able to provide complete entertainment to the audience and
not be a disturbance for the outer environment.

2.4.2 FACTORS INFLUENCING HEARING CONDITIONS

If the environment is to be favourable to good hearing conditions

• It must be completely quite.

• The desired sound must be sufficient load.

• The sound must be well distributed through the room to give a desirable degree of acoustic
uniformity, and to avoid disturbing echoes, focusing or “islands” of low intensity.

• The reverberation time must be long enough to give appropriate blending or sounds and yet be
enough so that there is no excessive overlapping conclusion.

2.5 CRITERIA FOR GOOD ACOUSTICS

Good acoustics are linked to human well-being. It is a question of whether we feel comfortable in
the acoustic environment, whether it is at home, in a restaurant, at a concert, in the theatre or
wherever. There is a lot of debate at the moment about acoustic comfort as the subjective experience
13 | P a g e
of good acoustics, which in fact is a more objective issue. According to classic acoustics theory
there are five requirements which, when met, product in good acoustics:

 Appropriate reverberation time: depends on the dimension of the room. It can be used in rooms
which are between 200 and 20,000 cubic metres. Unless it concerns a concert hall for classical
music, the reverberation time must in so as far as likely be the same throughout the whole
frequency range.

Fig 8 :-Reflection from Flat surface Fig 9 :- Reflection from convex surface

 Uniform sound distribution: It is significant in large rooms and halls, where the sound must
be

able to be heard equally well everywhere. It is significant to take sound distribution into
account in the architecture.

A variation of max. ±5 dB anywhere in the room is an suitable requirement. Uniform sound

distribution is not just a purpose of how much sound absorption is installed in the room, but
especially about how the sound-absorbing material is spread, the shape of the room and whether
reflectors etc.

 Appropriate sound level: There must be a satisfactorily high sound level in relation to the

background noise. With the widespread consumption of electrically amplified music and
speech, this is seldom a big problem.

- On the other hand, sometimes it is essential to limit the sound, for the sake of neighbours for
example, normal conversation is 60-65 dB, and in a busy street 70-85 dB.

- In large gatherings, a public address system in a dampened room can be used to confirm an
appropriate sound level.

 Appropriate, low background noise: It is significant to pay close attention to background

noise, because it can totally ruin the experience of good acoustics in a room.

- Therefore, it is essential to specify requirements for background noise, and to adapt the actual
requirements according to what the room is going to be used for.

14 | P a g e
- Hence, it is one of the most significant acoustic criteria – especially in concert halls and
theatres. In a room, the background noise can come from technical installations or ventilation
systems.

 No echo or flutter echoes - Must arise for the acoustics to be respectable.

- It is easy to avoid echo by installing a little sound-absorbing material on the wall. When the
reverberation time in a (large) room creates strong, single reflections, we perceive it as echo.

- Echoes may arise if you have a large smooth, hard wall at one end of an otherwise dampened
room, while you are at the opposite end of the room.

- If you clap your hands (once), it can create such an echo. There has to be a definite time delay
for the ear to perceive this delayed sound.

Fig 10 :- Sound shadow Fig 11 :- Echoes

2.6 DEFECTS OF ACOUSTICS AND THEIR REMEDIES

2.6.1 PROBLEMS AND REMEDIES

1. REVERBERATION TIME: Reverberation is per resistance or prolongation of sound in a

hall even after the source stopped emitting sound. The reverberation time is taken by the sound
to fall beneath the minimum audibility level.

Fig- 12 Sound treatment

In order to have decent acoustic effect, the reverberation time has to be upholded at optimum value.
The reason is, if the reverberation time is too less, the loudness becomes inadequate. As a outcome
15 | P a g e
the sound may not reach to the listener. Thus, this gives the hall a dead effect. On the other hand, if
the reverberation time is too long, it will lead to more confusion due to mixing of different styles.
Hence to uphold good effect reverberation time should be upholded.

Fig- 13 Quality table on the basis of reverberation time

Reverberation Time Should Remain Inside Limits As Per Indian Standard Code: 2526-1963.

Fig -14 Sound treatment

 Remedies: The reverberation time can be upholded at an optimum value by adopting the
following ways:

1. By providing windows and openings.

2. By having complete capacity of audience in the hall or room.

3. By using heavy curtains with folds.

4. By ornamenting the walls by beautiful pictures, maps, etc.

5. By covering floor with carpets.

6. By covering the ceiling and walls with good sound- absorbing materials like felt, fibre board,
false roofing, etc.

2. LOUDNESS: The uniform distribution of loudness in a hall or a room is an significant factor for
satisfactory hearing. Occasionally, the loudness may get reduced due to excess of sound- absorbing
materials in a hall or a room.

16 | P a g e
 Remedies: If the loudness of sound is not adequate, the loudness can be increased by adopting
the following methods.

1. By using suitable absorbents at place where noise is high. As a outcome, the distribution of
loudness may become uniform.

2. By constructing low ceiling for the reflection of sound in the direction of the listener.

3. By using large sounding boards behind the speaker and fronting the audience.

4. By using public address system like loudspeakers.

Fig 15 :-Reflection of sound on hard surface which can be use Fig 16 :- Loud Speakers

Fig 15 :-Reflection of sound on hard surface which can be use Fig 16 :- Loud Speakers

3. FOCUSING AND INTERFERENCE EFFECTS: The presence of any concave surface or any
other curved surface in the hall or room may make the sound to be concentrated at this focus region.
As a outcome, the sound may not be heard at all at other regions. These regions are referred as dead
space. Hence, such surfaces must be avoided. In addition to concentrating there should not be
interference of direct and reflected waves. This is because, a constructive interference may create a
sound of maximum intensity in some places and a destructive interference may create a sound of
minimum intensity in other places. Thus, there will be an irregular distribution of sound intensity.
• Remedies: curved surface can be avoided. If curved surface are existing, they should be
covered with suitable sound absorbing material.

4. ECHO: An echo is received due to reflection of sound from a disaster sound- reflecting object.
If the time interval between the direct sound and reflected sound is less than 0.066 seconds, the
reflected sound is helpful in increasing the loudness. But, those sounds arriving later then this
origin confusion.

17 | P a g e
 Fig -17 Echo
• Remedy: An echo can be avoided by covering a long distance walls and high ceiling with
suitable sound absorbing material. This avoids reflection of sound.

• RESONANCE: Resonance arises due to the matching of frequency. If the window panels and
sections of wooden portions have not been tightly fitted, they may start vibrating, thereby creating
an extra sound in addition to the sound created in the hall or room.

Remedy: The resonance may be escaped by fixing the window panels appropriately. Any other
vibrating object which may create resonance ban be positioned over a suitable sound absorbing
material.
2.6.2 NOISE

The unwanted sound is called a noise. The hall or room should be accurately insulated from
external and internal noise. In common, there are three types of noises:
1. Air-Borne Noise

2. Structure-Borne Noise

3. Inside Noise

1. Air-Borne Noise Extraneous Noise: The noise which are coming from outside through open
windows, doors and ventilators are known as air-borne noise. The air-borne noise can be dodged by
following the remedies mentioned.

• Remedies :-

1. The hall or room can be prepared air conditioned.

2. By using doors and windows with separate frames with appropriate sound insulating material.
18 | P a g e
Structure-Borne Noise: The noise which is conveyed through the structure of the building is
called structure-borne noise. The structural vibration may arise due to street traffic, operation of
heavy machines, etc.
• Remedies :-

1. This noise can be removed by using double walls with air space between them.

2. By using anti-vibration mounts such type of noise can be reduced.

3. By casing the floor and wall with appropriate sound-absorbing material this noise can be
eliminated.

Fig 18 :- Vibration Isolation Pad Fig 19 :- Cavity Wall Insulation

3. Internal Noise: The Noise which are created inside the hall or room is called inside noise. The
inside noise may be created due to machineries like air conditioners, generators, fans, typewriters,
etc.

• Remedies :-

1. The sound producing machineries can be placed over sound absorbing materials like carpet,
pads, wood, felt, etc.

2. By using curtains of sound absorbing materials.

3. By covering the floor, wall and ceiling with sound absorbing materials.

Fig 20 :- Wall soundproofing Fig 21 :- Floor soundproofing

19 | P a g e
4. External Noise: External noises from vehicles, traffic engines , factories , machines etc. may enter
the hall either through the openings or even through walls and other structural elements having
unsuitable sound insulation.

This defect can be removed by appropriate planning of the hall with respect to its surroundings and
by appropriate sound insulation of external walls.

20 | P a g e
 CHAPTER 3: TREATMENT FUNDAMNETALS AND TECHNIQUES

3.1 BRANCHES OF ARCHITECTURE ACOUSTICS

There are three major branches of architectural acoustics.

(1) Room acoustics involves the design of the interior of buildings to project appropriately
diffused sound at appropriate levels and with appropriate aesthetic qualities for music and adequate
intelligibility for speech.

(2) Noise control or noise management includes the reduction and control of noise
between a potentially troubling sound source and a listener.

(3) Sound Reinforcement and improvement systems use electronic equipment to improve the
quality of sounds heard in rooms.

3.1.1 ROOM ACOUSTICS

Room acoustics labels how sound behaves in an enclosed space. The way sound is formed,
propagated, perceived, measured and modelled inside an enclosed space is called room acoustics.
Enclosed spaces comprise dwellings, offices, workshops, factory halls, lecture rooms, auditoriums,
concert halls and transportation terminals. Acoustic measurements are used to authenticate new
constructions and troubleshoot existing ones. Reverberation time is the single most significant
parameter used to describe room acoustics, but parameters describing music quality and speech
intelligibility are also significant.

Fig 22 :- Room Acoustics

A good Room Acoustic design would guarantee an ideal acoustic ambience is achieved within a
conditioned space, i.e. high intelligibility and clear speech, for speech linked rooms, etc.

21 | P a g e
The way that sounds behave in a room can be broken up into roughly three different frequency zones:
• High frequencies
• Mid frequencies
• Low frequencies

The Three that stand out as significant considerations in room acoustics are: room size, rigidity
and mass, and reflectivity.

• Room Size: The dimensions of the room and their ratios do much to influence the sound in a
listening room. The height, length and width will govern the resonant frequencies of the space
and, to a great degree, where the speakers and listener should be located. The longest room
dimension, the diagonal, will govern the ability of the room to support low frequencies.

• Rigidity and Mass: An ideal room would have absolute rigidity and infinite mass. While such a
"perfect" room is theoretically impossible, the closer we can estimate the ideal, the better. Our
goal then, is to decrease the amount of diaphragmatic action in the listening room. We can
accomplish this task by growing the mass and rigidity of all surfaces within the listening
environment. This can dramatically advance low frequency detail, solidity and overall accuracy.

• Reflectivity: In easy terms, reflectivity is the apparent "liveness" of a room. Professionals prefer
the term reverb time or Rt-60. Rt-60 defined, is the amount of time (in seconds) it takes for a
pulsed tone to decay to a level 6OdB beneath the original intensity. A live room has a abundant
deal of reflectivity, and hence a long Rt-60. A dead room has little reflectivity and a short Rt-60.

Rt-60 measurements are most useful in determining the acoustic appropriateties of larger spaces
such as churches, auditoria, etc. In smaller environs the Rt-60 measurements become as short as
to be unusable. Reflections can be both desirable and detrimental. This depends on their
frequency, level and the amount of time it takes the reflections to reach our ears following the
direct sounds created by the speakers.

3.1.2 NOISE CONTROL

Acoustical planning concepts for buildings include placing noisy activities away from activities that
require relative quiet and locating noise-sensitive activities away from major sources of noise. Buffer
spaces such as corridors or storage spaces are often used to separate two rooms that require acoustical
privacy such as music rehearsal rooms in a school. Intruding noises from the exterior or from
adjoining rooms can be reduced by using walls, ceilings, windows, and doors with appropriate
transmission losses.

22 | P a g e
 Basic Theory: The measures that are required to reduce the transmission of sound are generally
dependent upon the noise generated, the construction methods of the building and the quality of
workmanship of the construction.


The main methods to improve the acoustic performance of the of structures sound insulation
include:
 Increasing Mass: As the transmission of sound is dependent upon setting up vibration within the
structure increasing the mass reduces the ability of the structure to move. As a general rule of
thumb doubling the mass will give a 5dB reduction in the sound transmitted.

 Additional Layers: Increasing mass is only practicable to a certain degree. Often the most
efficient method of increasing the acoustic performance of a wall and a floor is the introduction
of additional layers, while upholding sufficient separation to the original construction by distance
or a resilient intermediate layer.

 Noise Transmission Path:-In order to govern the essential noise control for a particular noise
problem the path for the noise transmission must be governd, i.e. direct or flanking

Fig 23 :- Noise Control Parameter

23 | P a g e
EXAMPLES OF NOISE CONTROL MEASURES

 Control of Noise at Source: If the noise being generated is within a very reverberant space,
multiple reflections off walls will increase the noise level within that space. Additional absorption
on the walls and ceiling will suppress the reflections thus reducing the noise level.

Increasing Mass: As indicated in the Basic Theory increasing mass is one method of
improving the acoustic performance of a separating element. In addition increasing mass, on
additional layers such as floating floors, suspended ceilings and plasterboard wall partitions,
will lower the resonant frequency layer generally providing improvements at mid to higher
frequencies.

 Floating Floors and Soft Floor Covering:- A common complaint within residential flats is that
of footfall noise and impact noise transmitted through the floor. On concrete floors the use of an
acoustic underlay will reduce the impact noise at source. The soft floor covering detailed above
is only suitable for the control of footfall noise on concrete floors. In order to improve the
performance of the floor with a floating layer would require additional mass on a resilient layer.

 Lightweight Walls: To improve the performance of lightweight walls such as timber or metal
stud walls with plasterboard linings, additional mass can be applied to the wall surfaces such as
additional layers of plasterboard.

 Masonry walls: For masonry walls however, where the existing mass is already high additional
mass is not likely to provide any significant improvement (every doubling in mass is
approximately 5dB increase in noise). The only significant method for noise reduction would be
the use of additional linings that incorporates an air gap.

3.1.3 SOUND REINFORCEMENT

A sound reinforcement system is the combination of microphones, signal processors, amplifiers,

and loudspeakers that makes live or pre-recorded sounds louder and may also distribute those
sounds to a larger or more distant audience. A sound reinforcement system amplifies the natural
acoustic sounds in a room that is too large for people to hear with just “natural” room acoustics. This
type of system reinforces the natural sounds that come from the room, increasing their apparent
loudness with a series of loudspeakers.

3.2 ACOUSTICAL TREATMENT AND SOUND INSULATION

Acoustical treatment and controlling sound in the particular area both are very different parameters.
As applying acoustics in a room means to uphold the good sound in a room while controlling sound
such as sound insulation is to stop the sound coming for outside as glass wool is sound insulation
material.

24 | P a g e
3.2.1 ACOUSTICS TREATMENT

Acoustic treatment involves treating our room in a manner that sound reflections are the way they’re
needed for you to hear better/clear and ultimately make better mixes. Acoustic treatment is slightly
trickier than soundproofing. This is because when we are soundproofing, you’re striving towards
total blockage of sound between rooms.

Many people confuse Acoustic treatment and Soundproofing interchangeably for each other.

 Soundproofing is intended for minimising the level of sound that passes through the walls both
 ways by building it with heavy and dense material.

Acoustic Treatment is intended for controlling the sound reflections INSIDE the room for making
better sounding recordings.

THE 3 ELEMENTS OF ACOUSTIC TREATMENT

Getting your room to sound great with acoustic treatment requires of a combination of 3 items:

- BASS TRAPS – to absorb the low frequencies

- ACOUSTIC PANELS – to absorb the mid/high frequencies
- DIFFUSERS – to scatter the remaining frequencies

Fig 24 :- Bass Traps Fig 25 :- Acoustic Panels Fig 26 :- Diffusers

1. BASS TRAPS: Bass traps are acoustic energy absorbers which are designed to damp low
frequency sound energy with the goal of attaining a flatter low frequency (LF) room response by
reducing LF resonances in rooms.

The 2 Categories of bass traps commonly used accordingly:

• Porous Absorbers – that work using a dense material such as foam to absorb sound waves.
Porous absorbers are the first-line-of-defence when tackling general problems with room
acoustics.

25 | P a g e
They can be made from a variety of
They’re extremely effective at common
materials such as:
problems such as:

26 | P a g e
 - Acoustic Foam - Room Modes
- Fiberglas - Standing Waves
- Rockwool - Flutter Echo

- Speaker Boundary Interference Response

• Resonant Absorbers: That work using a diaphragm to absorb specific bass frequencies through
sympathetic vibration. Resonant absorbers (sometimes called “pressure absorbers”) work best up against
the wall where the sound waves collide, because that’s where the pressure is highest. And this is good
news, because it means they occupy far less space in the room.

ACOUSTIC PANELS: Acoustic panels are used to reduce noise and control sound in many different
spaces. They come in a large variety of sizes, types and colours to meet required design, budgetary, and
durability requirements. All of our sound absorbing wall panels can be fabric-wrapped, made from a Class A
fire rated acoustic foam, or covered in perforated metal.
3. DIFFUSERS: They are used to treat sound aberrations in rooms such as echoes. They are an excellent
alternative or complement to sound absorption because they do not remove sound energy, but can be used to
effectively reduce distinct echoes and reflections while still leaving a live sounding space.

3.2.2 SOUND INSULATION

Sound insulation purpose is to avoid from being disturbed by the activity in the next room, whether the room
is upstairs or in line, the construction has to avoid sound from being

transmitted. This doesn’t have to be a massive concrete slab or wall. Soundproofing relates to the overall
ability of a building element to reduce the sound transmission through it.

Fig - 27 Sound Insulation Fig – 28 Sound Insulation

Sound Insulation is providing the required sound transmission loss or noise reduction and it is mainly
associated selection of the building elements itself, i.e. walls, windows, doors, roof, floors, etc. The aim of
this material selection is to achieve the required reduction, by minimising the noise propagation or energy

27 | P a g e
transfer path. Sound insulation covers both cases of noise intrusion from external areas and noise intrusion
from internally within the building from internal adjacent spaces themselves.

3.3 ACOUSTICS IN DIFFERENT TYPES OF BUILDINGS

Good acoustic conditions in buildings are essential to make sure they are fit for their intended use. It is not
just about functionality but the aesthetics, quality and comfort of the buildings for those using them.

 SCHOOLS: If children can’t hear they can’t learn. That is perhaps obvious. However, if they can’t hear
well they also struggle to retain the information. Therefore, good acoustics in schools is essential. The aim
is to create schools which benefit both pupils and teachers, supporting the creation of high quality learning
environments.

Getting the acoustics right is also critical to preserve teachers' voices and their health as well as making sure
pupils can hear to learn and crucially retain that information. Services include acoustic design acoustic
testing at commissioning stage or as a benchmark.
 HOMES: Our homes are where we rest, recharge and spend time with our families. They are often a small
oasis in our noisy world, and as such are significant to our well-being. In homes privacy is needed and
sound insulation provides this for new houses and refurbishments and minimum standards apply.

Architects work to optimise designs and can assist by suggesting suitable constructions, and for those
interested, what alternatives to traditional materials can be used and that have good eco-credentials.

 OFFICES: Our work environments are critical to get right in order to maximise human efficiency and
comfort, minimise stress and sickness. We bring a fresh approach to creating pleasant, healthy and vibrant
work environments, which are tailored to the needs of the organisation.

We work with a palate of services which include: privacy, appropriate speech intelligibility design,
optimising suitable reverberation control treatment, upholding flexibility and variety of working areas to
make sure that there is a suitable place for each type of person. Particular care in open plan areas, and
meeting rooms is required if video and teleconference facilities are planned.

 PUBLIC BUILDINGS: The acoustic design of public buildings, such as libraries, courts, churches,
theatres, leisure centres and cinemas is also fundamental to their use - in some cases, ensuring clarity and
intelligibility of speech and control of interference from external noise and in others, creating the right
environment for music and dramatic effect.

We work to match the buildings connection with people so that it can succeed in its use. When buildings
are designed to be green and work for those using them for their complete lifecycles, they will then satisfy
our goal of being truly sustainable. Getting the acoustics design right is a critical part of that solution.

28 | P a g e
3.3.1 ACOUSTICS CONSIDERATION ACCORDING TO PROJECT

 
PROJECT DESIGN : CAFETERIA

 Goal: To minimize the noise levels in an environment known for excessive noise. To control the impact
of noise generated in the cafeteria to surrounding spaces.

 Related Codes & Standards :-Reverberation Time (RT 60)

Considerations:

- Because of the size and the materials typically used in this type of space, a cafeteria can become very
reverberant, causing a tremendous build up of noise. Absorptive materials are needed to help control this
reverberation. Typically, you wouldn't carpet a cafeteria; even if you did, carpet is only about 20-35%
absorptive. Ceiling and/or wall treatments are essential.
- If occupants can come in contact with the wall, use materials that are cleanable and durable. This is less
of a concern if the wall treatment is out of reach.
Keep in mind that cafeterias are often used as multi-purpose rooms, and/or gymnasiums.

 
PROJECT DESIGN : PRIVATE OFFICE

 Goal: To minimize noise-related distractions and maximize productivity in the workplace.


 Related Codes & Standards
1. Reverberation Time (RT 60)
2. Noise Criteria (NC)
3. Sound Transmission Class (STC)
4. Noise Isolation Class (NIC)

Tips/Considerations:

- Typical reverberation time is between 0.4 and 1 second.

- Absorptive materials will most likely be essential for the ceiling.
- Even if the reverberation time is optimally controlled, reflections from the walls can be problematic.
Parallel reflective surfaces can cause an annoying condition called flutter echo or standing wave.
- Avoid direct sound pathways between cubicles, by appropriate placement of wall partitions.
- Without controlling reflections off the ceiling and perimeter walls, partitions can be ineffective.
- Absorptive partitions, ceiling tile, and wall treatments will be essential to control the reverberation time.
- Reasonable precautions should be taken to insulate against noise from adjacent rooms, machinery, ducts,
and the outside.

29 | P a g e
Client Expectations:

There is a large range of acceptable isolation levels for office spaces. Transmitted noise that would be tolerable
for some projects can be very annoying for others. The annoyance potential is based on individual sensitivities,
confidentiality issues, and the level of privacy to which the users are accustomed. It is significant to understand
the client's needs in regard to privacy and confidentiality expectations in order to design a space that is best
suited for their individual needs.

 
PROJECT DESIGN : GYMNASIUM

 Goal: To appropriately absorb excessive noise in this naturally loud environment to protect the users
and minimize distractions and help to ensure the audibility of the PA system.

 Related Codes & Standards
1. Reverberation Time (RT 60)
2. Noise Criteria (NC)
3. Sound Transmission Class (STC)

Considerations:

- Because of the size and the materials typically used in this type of space, a gymnasium can become very
reverberant, causing a tremendous build up of noise and difficultly understanding the PA system.
Absorptive materials are needed to help control this reverberation.

- Ceiling and/or wall treatments are essential. If the space is also used for assemblies, meetings or other
activities, reducing the reverberation time is even more critical.
- The reverberation time needs to be beneath 2 seconds if you are just concerned with gymnasium noise,
but in order to facilitate other activities, a reverberation time of 1-1.5 seconds is ideal. A reverberation
time of above 2 seconds is unacceptable.
- Given the activities taking place in a gymnasium, and the equipment used for these activities, durability
is a critical factor when choosing acoustic materials.

 
PROJECT DESIGN : CLASSROOM

 Goal: To limit noise levels, allowing students and teachers to enjoy an optimal acoustic environment
that is conducive to focusing, interacting and general learning.

 Related Codes & Standards:
1. Reverberation Time (RT 60)
2. Noise Criteria (NC)
3. Sound Transmission Class (STC)
4. Acoustical Performance Criteria, Design Requirements and Guidelines for Schools.

30 | P a g e
Considerations:
- Recommended reverberation time is 0.4-1.0 seconds (depending on the size of the space).Numerous
studies demonstrate how chronic noise exposure (i.e., noise found in the community, as well as noise to
which we are voluntarily exposed) negatively impacts education.
- Noise from air-conditioning/heating units or other equipment on the premises can impact the educational
environment. In addition to an NC specification for inside the classroom, specify a maximum dB level for
all equipment in and around the school.
- Consider the impact of noise from nearby freeways, busy roads, train tracks and other transportation- or
industrial-related sources. Identify noise sources in the vicinity and assess the possible impact. Based on
this assessment, take the appropriate steps to minimize or eliminate the potential problem.
- Noise from adjacent classrooms can be easily transmitted into other classrooms, particularly in an open-
classroom setting. It is vital to control the noise transfer between spaces. Keep in mind that STC ratings
only address noise isolation from 125 Hz to 4000 Hz. Low frequency sounds (beneath 125 Hz) are not
accounted for in an STC rating.
- Excessive background noise levels caused by HVAC systems can be greatly degrade speech
intelligibility.
- Splay the side walls to eliminate flutter echoes.

 
PROJECT DESIGN : CINEMAS

 Goal: To appropriately use absorption, working with the sound system, to provide the best acoustical
 environment for every moviegoer.
 Recommended Reverberation Time: 0.8 – 1.2 seconds (THX has published its own criteria for
reverberation time ranges, background noise levels and room isolation levels.)

Considerations
- Background noise levels should be kept to a minimum. Two primary potential noise sources are
mechanical equipment (HVAC) and outdoor noise.
- Excessive room length should be avoided.
- Walls, except those close to the screen, should be absorptive.

 
PROJECT DESIGN : RECORDING STUDIOS

 Goal: To have complete control over all acoustical aspects of a given space.
 Recommended Reverberation Time: 0.5 second

Considerations:

- Absorptive materials must be used to control the reverberation time over a wide range of frequencies.
- Sound must be both absorbed and diffused.
- HVAC noise must be reduced to an absolute minimum.
- An unusually high degree of isolation from extraneous noise vibrations is need.

31 | P a g e
 
PROJECT DESIGN : AUDITORIUM/THEATER

 Goal: To appropriately balance absorption and reflection to provide a favorable acoustical environment.
One must address both the need to hear and understand speech, and the desire to have a pleasant space for
music.

 Related Codes & Standards
1. Noise Criteria (NC)
2. Sound Transmission Class (STC)
3. Reverberation Time (RT 60)

Considerations:

- Recommended reverberation time is 1.0-1.5 seconds (might be higher for some auditoriums). Although
the seating area will provide absorption, thereby reducing the reverberation time, you will most likely need
to add absorptive materials to the other surfaces within the space.
- It is vital to control the reflections from the back wall. If you don't control them, the presentation could
reflect off the back wall and "slap back" to the presenter(s). This won't necessarily impact the audience,
but could be disastrous and distracting for the people on stage. Because of this, it's usually essential to
treat the back wall with an absorptive material.
- A concave back wall could compound this problem. If you can't avoid a concave back wall, it's
imperative that it be treated with absorptive material.
- Consider faceting the ceiling to help with sound dispersion.
- Control the reverberation time on the stage. Ideally, the reverberation time in the stage area should be the
same as in the house. Since the stage area might have a higher ceiling than the rest of the auditorium, more
absorptive materials might be required in this area. Frequently, the back wall of the stage, and possibly
one or two of the side walls, is treated with an acoustically absorptive material, typically black in colour.
- Remember the space will be less absorptive when only half complete, since the audience itself is
absorptive. By using absorptive seating areas, the reverberation time will remain more consistent
regardless of the audience size.

- Control the reverberation time in the room by adding absorptive material.

- Control the reverberation time on the stage.
- Splay or use irregular surfaces on the side walls to avoid flutter echoes.
- Don’t forget the ceiling. It should be faceted for better dispersion of sound.
- Be sure openings, such as doorways, are appropriately sealed.
- The balcony should be no deeper than twice its height.
- Noise from the lobby area can be disruptive. Be sure openings such as doorways are appropriately
sealed. Consider a vestibule door system.
- Persons seated deep under a balcony might experience auditory distortion. To avoid this, the balcony
should be no deeper than twice its height. Ideally, the balcony should not be any deeper than its height.

32 | P a g e
 
PROJECT DESIGN : CONFERENCE/BOARD ROOMS

 Goal: To provide a space where a variety of communications styles can be effectively used.
 Recommended Reverberation Time: 1 second

Considerations:

- Limit the amount of reflections to keep speech intelligibility at a maximum.

- Absorptive materials are needed to reduce the reverberation time.
- Avoid reflective parallel surfaces.
- Control exterior and background noise level.
- Ensure flexibility for future multi-media advancements.
- A sound system may be essential

 
PROJECT DESIGN : CORRIDOR

 Goal: To avoid noise from travelling throughout the corridors and/or hallways.

 Related Codes & Standards 1. Noise
Criteria (NC)

Considerations

- If surfaces are left untreated, a corridor can act as a megaphone, transmitting conversations into nearby
spaces.
- Recommended Reverberation Time: 0.8 – 1.2 seconds.
- Be cautious with curved surfaces, as they can compound this megaphone effect.
- The noise criteria for background noise (HVAC) should not exceed NC 35-40.
- Be cautious with curved surfaces as they lead to the undesirable acoustical condition known as creep.
- If surfaces are left untreated, a corridor can act as a megaphone, transmitting conversations into nearby
offices.
- Surfaces should be absorptive to uphold a low reverberation time. Horizontal panels are an excellent
solution for this application
 
PROJECT DESIGN : LIBRARIES & MUSEUMS

 Goal: To limit noise levels, allowing users to read and contemplate without disturbances.

 Recommended Reverberation Time: 0.8 – 1 second

Considerations:

33 | P a g e
- If domes or other concave surfaces are desired, they must be treated with absorptive material to reduce
unwanted reflections.
- Absorptive materials are need to reduce the reverberation time.
- Books are not very absorptive.
- If possible, place noisy equipment and activities in remote areas.

 
PROJECT DESIGN : PLACES OF WORSHIP

 Goal: Consider and address both the need to hear and understand speech and the desire to have a
pleasant space for music.

 Recommended Reverberation Time: 1.2 – 3.5 seconds

Considerations:

- Address lower frequency or bass sound.

- Background noise levels should be kept to a minimum. Two primary potential noise sources are
mechanical equipment (HVAC) and outdoor noise.
- Reflections should be carecompletey monitored, especially if domes or concave surfaces are
incorporated in the design.
- The seating area should be absorptive. This allows the acoustical environment to remain constant
regardless of the number of attendees.
- A sound-amplification system may be essential.
- Ranges vary dramatically for different worship centre projects.

The recommendation will be influenced by the musical program type and if congregational singing is desired.
Highly reverberant spaces are desirable for some type of musical programs. However, reverberation time of
1.2 – 1.5 seconds is appropriate for a number of worship centre.

This allows an adequate enhancement of the music program, and can allow adequate understanding of speech
with an appropriate sound system.

3.4 ACOUSTICAL CONTROL THROUGH PLAN AND SHAPE

The arrangement of buildings on a site can be used to minimize noise impacts. If incompatible land uses
already exist, or if a noise sensitive activity is planned, acoustical site planning often provides a successful
technique for noise impact reduction.

The implementation of many of the above site planning techniques can be combined through the use of cluster
and planned unit development techniques.

 Distance

34 | P a g e
Noise can be effectively reduced by increasing the distance between a residential building and a highway.
Distance itself reduces sound: doubling the distance from a noise source can reduce its intensity by as much
as 6 dBA. In the case of high rise buildings, distance may be the only means, besides acoustical design and
construction, of reducing noise impacts. This is because it is nearly impossible to provide physical shielding
for the higher stories from adjacent noise.

Fig 29 :- Noise barriers can shield only the lowest floors of a building.

 Noise Compatible Land Uses as Buffers

Noise protection can be achieved by locating noise-compatible land uses between the highway and residential
units. Whenever possible, compatible uses should be nearest the noise source.

Fig 30 :- Parking Garage to shield residential area.

Whenever possible, compatible uses should be nearest the noise source. Figure 32 shows a proposed parking
garage along two sides of a development in Boston. Both the Fitzgerald Expressway and the entrance to the
Callahan Tunnel which are shown on the site plan are major and noisy traffic routes. In addition to protecting
the residential development from the noise and dirt of highway traffic, the parking garage provides needed
facilities for the residents

 Buildings as Noise Shields

Additional noise protection can be achieved by arranging the site plan to use buildings as noise barriers. A
long building or a row of buildings parallel to a highway can shield other more distant structures or open
areas from noise. One study shows that a two-story building can reduce noise levels on the side of the
building away from the noise source by about 13dBA.
35 | P a g e
 Orientation

The orientation of buildings or activities on a site affects the impact of noise, and the building or activity area
may be oriented in such a way as to reduce this impact. Noise impacts can be severe for rooms facing the
roadway since they are closest to the noise source. The noise impact may also be great for rooms perpendicular
to the roadway because a) the noise pattern can be more annoying in perpendicular rooms and b) windows on
perpendicular walls do not reduce noise as effectively as those on parallel walls because of the angle of the
sound.

Road noise can be more annoying in perpendicular rooms because it is more extreme when it suddenly comes
in and out of earshot as the traffic passes around the side of the building, rather than rising and falling in a
continuous sound, as it would if the room were parallel to passing vehicles. Buildings can also be oriented on
a site in such a way as to exploit the site's natural features. With reference to noise, natural topography can be
exploited and buildings placed in low noise pockets if they exist.

 Cluster and Planned Unit Development

A cluster subdivision is one in which the densities prescribed by the zoning ordinance are adhered to but
instead of applying to each individual parcel, they are aggregated over the entire site, and the land is developed
as a single entity.

Fig -31
In fig 31- parking spaces, end of buildings, and a baseball diamond are placed near the highway. A berm is
constructed and trees are planted to shield residences from traffic noise.

36 | P a g e
 CHAPTER 4 :- ACOUSTIC MATERIALS
 Purpose: lowering the noise level in a reverberation or canal space.

 Factors: Type of acoustic material, Cost, Density, Fire proof, Moisture resistance Physical factors and
Aesthetic value

4.1 APPROPRIATETIES OF ACOUSTICAL MATERIALS

 Acoustical efficiency – It is most significant factor and is expressed as absorption coefficient of any
 material.

 Maintenance – After installation, maintenance plays a very significant role .material selected should have
a clean and presentable appearance, capable of being washed and renovated when required.

 Vermin and rot proof- Acoustical material are applied to serve for a long period and therefore should
 be free from these defects.

 Resistance to physical impact- Acoustical materials should possess adequate abrasive strength and
 should not be affected by physical contact.

 Resistance to moisture- Materials should have sufficient resistance, should not be used in damp
 conditions.

 Heat insulation- Material choice can cut down air-conditioning and winter heating to quite an extent,
while selection of a material it should be considered whether it is to be applied on ceilings or walls.

 Incombustibility -Acoustical material should be resistant to fire. Flame retardants should be rendered in
the material while its manufacturing process, to provide additional heat insulation appropriatety to the
material.

 Weight-light - Acoustical material are more safe to use, as it adherse appropriately to the surface to be
 treated and can also suspend easily.

 Aesthetic appearance- Though this appropriately is not really very significant, but it is preferred if good
finished surface is achieved, with its actual purpose of installation.

4.2 CLASSIFICATION OF ACOUSTICAL MATERIALS

 SOFT MATERIALS: Materials having sufficient porosity and good absorbing power; like hair felt,
asbestos, rock wool, glass silk, etc. fall under this category.

 SEMI HARD MATERIALS: Materials able to withstand rough handling like cane fibre, mineral wool
boards and tiles fall under this category. acoustical plasters are semi hard materials, which can be applied
like ordinary plaster, though require skilled labours for its application.

 Hard materials: Hard porous materials made porous during their process of manufacturing like
perforated panels, porous tiles etc. Fall under this category.

37 | P a g e
4.2.1 NOISE CONTROL MATERIALS
Noise reduction materials can work in four basic ways.
1. SOUND ISOLATORS stops sound from passing through by reflecting it.

Some heavy materials will stop a lot of sound eg sheet metal, timber, masonry, plasterboard, glass, loaded
vinyl. They may be used in double leaf constructions, in which case the air space needs to be as wide as
possible.

Fig- 32 Sound Isolation Fig- 33 Sound Absorption

2. SOUND ABSORBENTS soaks up sound so that it is not reflected.

Porous material, eg. open cell foams and fibrous materials such as fibreglass and Rockwool, act as very good
sound absorbers, by converting sound energy to a small amount of heat. However, as most allow sound to
pass through them, they are poor sound isolators. Usually they are used in conjunction with a solid sound
isolation material.
Sound absorbing materials often need a protective facing to avoid damage. Common facings include
perforated sheet metal, perforated foil or perforated vinyl.

3. VIBRATION ISOLATORS stops vibration energy passing from one point to another.

Materials that are naturally “springy” can be used to isolate a vibrating machine from a floor, wall or ceiling.
For example: springs, rubber mounts, air cushions, pads or mats of rubber cork or fibreglass. Springy materials
also act as a good buffer for absorbing impacts.

Fig- 34 Vibration Isolation Fig- 35 Machine Vibration Isolator

4. RATION ABSORBENTS soaking up the vibration by damping.

38 | P a g e
Some materials may be used to absorb vibration energy. A material which will not ring when tapped has a
good internal sound qualities and can be used to absorb the ringing of lightly damped materials.
Sound damping materials include foams, rubber, soft wood and granular materials such as sand.

Fig- 36 Damping Fig- 37 Damping

4.3 CLASSIFICATION ACCORDING TO THE RANGE AVAILABLE IN MARKET

1. Acoustical Plasters and Sprayed On Materials.

2. Prefabricated Boards or Tiles.
3. Composite or Assembled Units.

 Acoustic plaster

Acoustic plaster is plaster which contains fibres or aggregate so that it absorbs sound. Such plaster is applied
in thicknesses of up to 1.5 inches. As compared with other sound insulation, it is easy to apply and is fireproof
but it can be more fragile, being affected by physical stress and humidity. Acoustic plaster is used in
construction of rooms which require good acoustic qualities such as auditorium and libraries.

Fig 38 :-Acoustic plaster Fig 39 :- Acoustic Perforated Plasterboard

 Acoustic spray plaster

39 | P a g e
For quiet elegance, turn to the sound-rated ceiling spray texture that dries to an elegant, natural white finish.
Acoustical Spray Plaster Finish is an exclusive, sound-rated interior spray-applied texture finish for ceilings
and other noncontact surfaces over basecoat plaster, concrete, metal decks and gypsum panels.

– Designed for new construction, repair and re-modelling

– Rated for sound absorption and surface burning characteristics
– Easy spray application.
– Dries to an attractive natural white finish.

Fig 40 :-Ceiling- Acoustic spray plaster

 Mineral wool

Mineral fibres or man-made mineral fibres are fibres made from natural or synthetic minerals. The term "man-
made mineral fibres" is generally used to refer solely to synthetic materials including fibreglass, ceramic fibres
and stone wool.

 Wood particle board

Particle board, also known as particleboard and chipboard, is an engineered wood product manufactured from
wood chips, sawmill shavings, or even sawdust, and a synthetic resin or other suitable binder, which is pressed
and extruded. Particleboard is a composite material.

Fig 41 :-spray plaster

 Glass blanket
The insulation blanket acts as a highly effective barrier to sound transmission and heat flow, keeping your
building cool and at the desired interior sound levels.

40 | P a g e
  Cork board
Cork can help absorb and dissipate sounds to reduce disruptions and improve the acoustics in a room.
Placing multiple cork boards in an area reduces sound distortion and reverberation, making rooms quieter.
Cork boards are inexpensive, as cork is a renewable material. When you have problems with noise in a room
in your home, add cork on the wall as an acoustic insulation.

4.4.4 TYPES OF MATERIALS

4.4.1 SOUND ABSORBERS 4.4.3 NOISE BARRIERS

4.4.2 SOUND DIFFUSERS 4.4.4 SOUND REFLECTORS

4.4.1 SOUND ABSORBERS :-

 These sound absorbing acoustical panels and soundproofing materials are used to eliminate sound
reflections to improve speech intelligibility, reduce standing waves and avoid comb filtering.

Fig- 42 Sound Absorbents mechanism

 Typical materials are open cell polyurethane foam, cellular melamine, fiberglass, fluffy fabrics and other
porous materials. A wide variety of materials can be applied to walls and ceilings depending on your
application and environment.

 These materials vary in thickness and in shape to achieve different absorption ratings depending on the
specific sound requirements.

TYPES OF SOUND ABSORBERS

1. Acoustical Foam Panels:

- Material - Melamine Acoustical Foam.

- Features- Color and patterns provide distinctive appearance.
41 | P a g e
- Applicaions- Open office areas, conference rooms, theaters, cafeterias/restaurants, retail stores, medical
- facilities, auditoriums, hotels, night clubs, assembly areas and radio dispatch centers.
- Thickness-2-3/8" - 1-3/8" SIZES: 2' x 2' nominal.

Natural White. (Custom colors available, 3,000 square foot minimum quantity).
Installations- Adhesive for direct application to walls and ceilings.

White Paintable Panels :- - Create unique patterns

- Panel size allows for flexible mounting

- Quick and easy acoustical solution
options 2’ x 2’
- Soft drywall textures appearance
- Paintable and printable finish

42 | P a g e
 Fig – 47 Uses in Ceiling Fig – 48 Uses in walls

Fabric wrapped panels :-

- Used to reduce echo and reverberation in applications, small and large.

- These panels are manufactured from a rigid high density, glass fiber Acoustical board and covered with
an acoustically transparent fabri
- Available as Wall Panels, ceiling tiles, hanging baffles, acoustical clouds and bass traps

- Sizes are 2”thk,2’ x2’,2’ x 4’.

Fig 49 :- wall panels Fig – 50 In furnitures

Ceiling Tiles :-

- Ceiling tiles absorb noise and block sound transmission.

- Ceilings tiles may also be ordered as a complete 24’*24’inch, unbacked for adhesive mounting directly
on walls and ceilings and 2”thk.

- They are there in five different patterns and a non-pattern look to enable “mixed and match” for own
design.

43 | P a g e
5. Wall coverings :-

- Acoustical wall fabric features are Lightweight acoustic fabric, easy to install, available in many colors,
durable and improve speech intelligibility
- Sound channels is resistant to moisture, mildew, rot, bacteria and is non- allergenic

- Its the perfect acoustic fabric for offices, classrooms, conference centers or any area where speech
intelligibility is a critical factor

Fig – 51 use in wall Fig – 52

Baffles And Banners:-

Baffles Hang Vertically – Parallel With Offer Greater Absorptive Surface Area.
the Walls. CanBeUsedfor“Temporary”
Clouds Hang Horizontally – Parallel With Installations.
the Floor. Many Various Products & Finishes.

44 | P a g e
4.4.3 NOISE BARRIERS

 These materials range from dense materials to block the transmission of airborne sound to devices
and compounds used to isolate structures from one another and reduce impact noise.

Fig -58 Noise Barrier

TYPES OF NOISE BARRIERS

1. Barriers: Sound barrier materials are used to reduce the transmission of airborne sound.
2. Composites: Composite materials are manufactured from combinations of various materials from open
and closed celled foams to quilted fiberglass and barrier. These products are used to block and absorb
sound for machine enclosures as well as blocking airborne sound and impact noise. Some of these products
include Composite Foams, StratiQuilt Blankets and Floor Underlayment.

3. Vibration Control :-Vibration control products are used to absorb vibration energy and avoid
structural noise transmission. These include vibration damping compounds and vibration pads, isolation
hangers, and resilient clips. They improve sound transmission loss.

Fig 59 -Barriers Fig 60 -Composites Fig 61 -Vibration Control

45 | P a g e
4.4.4 SOUND REFLECTORS :-

 They are simply panels of wood that have been carve into a convex shape that will allow them to reflect
 sound directly into the audience in order to hear whatever is on the stage with even greater clarity.

 Composed mainly of plywood with some gel to make them even more reflective of sound.

TYPES OF SOUND REFLECTORS

1. Fabrics: Acoustical fabrics are typically used to either absorb sound or as a cover for acoustical panels.
Some fabrics can also be used as a speaker grill cloth or as a finish on other types of materials

2. Sound Channels: Acoustical wall fabric is a dimensional fabric that offers excellent acoustical
appropriateties, unmatched fade resistance, and a fire/smoke retardant class A rating.

3. Guilford Ofmaine: Guilford of Maine Fabric is and acoustically transparent fabric used to cover many
of our products including acoustical wall panels, diffusers, and corner traps. Fabric is also sold separately
as speaker grill cloth, wall covering and for other field applications.

4.5 SOUND INSULATION MATERIALS

GLASS MINERAL WOOL

Glass mineral wool is made from sand and recycled glass, limestone and soda ash. These are the same
ingredients that are used to make familiar glass objects such as window panes or glass bottles. The glass is
spun to form millions of fine strands of wool. A resin is used to bind the wool together to form a mat of
material. The density of the product governs whether the insulation is a lightweight quilt supplied in rolls, a
flexible slab or a rigid slab, and its thermal insulation value

CHARACTERISTICS
 Long strands, giving good tear strength

 Suitable for temperatures up to 230°c

 Non-combustible

 Lightweight
46 | P a g e
 Available in rolls and slabs

 Low to very low environmental impact

 Ability to be compression packed

 Good Acoustics absorber



MAIN USES
 Loft insulation

 Cavity wall insulation (built in and injected)

 Sound insulation (absorption) within partitions and floor.



COMPANIES :-

PRIZE :- 308 -680/SQ M SIZE :- 8000*1200M , 5000*1200MM

ACOUSTIC RATING :- 0.8- 1.00 THICKNESS :- 100-180MM

Fig- 64 rolls of GMW Fig- 65 planks of GMW

2. ROCK MINERAL WOOL

Rock mineral wool is made mainly from volcanic rock, typically basalt and/or dolomite. An increasing
proportion is now recycled material from slag, a waste product from blast furnaces. The materials are melted
and then spun into fine strands of wool. A resin is used to bind the wool together to form a mat of insulation.

CHARACTERISTICS

• Short strands – high compressive strength

• suitable for temperatures up to 850°c

47 | P a g e
• non-combustible

• denser than glass mineral wool

• available in slabs, rolls and mattresses

• High compressive strength

Fig- 66 Planks of RMW Fig- 67 RMW

MAIN USES

  Thermal insulation of flat roofs, rain screen facades and external wall insulation

  Fire protection of structural steel, including smoke and fire barriers

  High temperature applications

 Sound insulation for floors and walls


COMPANIES:-

PRIZE:- 850/SQ M THICKNESS :- 20-150MM

SIZE:- 1.520 M X 1.220 M ACOUSTIC RATING :- 1.1- 1.4

3. FOAMED PLASTICS

Extruded polystyrene (xps)

Extruded polystyrene (xps) is made by mixing polystyrene pellets with various ingredients to liquefy
them. A blowing agent is then injected into the mixture, to form gas bubbles. The foaming liquid is then
forced through a shaping die. When cooled, it creates closed cell foam that is rigid and moisture resistant.

48 | P a g e
CHARACTERISTICS MAIN USES
• Ground floors
• Lightweight • flat roofs
• cfc and hcfc free • heavy duty floor insulation
• high compressive strength • panels and other fabrication
• zero odp and gwp <5 applications
• 100% recyclable
• excellent water resistance
• PRIZE :- 50 , 260/SQ M
• SIZE :- 1200*2000MM , 1500*2300MM
• THICKNESS :- 50-160MM
ACOUSTIC RATING :- 1.1-1.

4. STUDIO PRO

Designed to absorb sound generated at low, mid and high frequencies, studio pro™, Class a studio foams are
professional grade products used residentially and commercially. To improve sound quality in settings
dedicated to recording and listening.

With excellent flame resistant qualities and a class a flammability rating, use studio pro™ class studio
foams in environments where sparks, or other hot material, may come into contact with acoustic product,
or in areas where crowds gather.

MAIN USES

• Commercial: Auditorium/gymnasium, restaurant, broadcast studio, recording studio, theatre.

• E-residential: Apartment/condo, multi family dwelling

• Institutional: Educational building ,sanctuary, museum

COMPANIES: Acoustic Trade

• SIZE :- 1”, 1 1/2”, 2”, 3” OR 4” THICK,

• PRIZE :- 80-240SQ.M
49 | P a g e


50 | P a g e
51 | P a g e
52 | P a g e