CONTENTS 2.0 BACKGROUND OF THE STUDY THE SIX MAIN TYPES OF AUDITORIUM.

THE TYPES ARE:

1. INTRODUCTION 2.2.1. TYPES OF AUDITORIUM 1. LECTURE HALLS 2. CLASSROOMS 3. AUDITORIA FOR MUSIC
2.2.2. SHAPE
1.1 RESEARCH QUESTION 2.2.3. VOLUME 4. CONCERT HALLS AND OPERA HOUSES 5. STUDIOS 6. THEATRES.
1.2 HYPOTHESIS
1.3 AIM AND OBJECTIVES
1.4 SCOPE
1.5 METHODOLOGY
1. BACKGROUND OF THE STUDY
2. VARIOUS ACOUSTICAL TREATMENT
AS PER CASE STUDY
i) SHANTANAND AUDITORIUM, KUALALAMPUR
ii) CALLVARY CONVENTION CENTER, KUALALAMPUR
iii) PHILHARMONIC AUDITORIUM, BERLIN
3. ACOUSTIC TREATMENT FOR WALL
3. CONCLUSION AND RECOMMENDATION
4. BIBLOGRAPHY

1.1 RESEARCH QUESTION - WHAT IS THE RELEVANCE OF SACRED GEOMETRY IN SPIRITUAL CENTER ?
IS IT ALWAYS IMPORTANT TO USE SACRED GEOMETRY IN RELIGIOUS BUILDINGS. THE PROSCENIUM SHAPE THE OPEN THRUST SHAPE THE ARENA SHAPE THE APRON SHAPE
1.2 HYPOTHESIS - ADVANCE TREATMENT IN WALLS ENHANCES THE SOUND QUALITY & REDUCES
VARIABLE FREQUENCIES.

1.3 AIM & OBJECTIVES

1.3.1. TO STUDY SOUND AND ITS MECHANISM.

1.3.2. TO STUDY ACOUSTICS IN ENCLOSURES.
1.3.3. WALL TREATMENT FOR NOISE REDUCTION.

1.4 SCOPE
AS AN ARCHITECTURE STUDENT THE SCOPE WILL BE LIMITED TO TYPES OF AUDITORIUM, WALL
TREATMENT TO REDUCE VARIABLE FREQUENCIES AND PRODUCE AN AUDIBLE LEVEL SOUND.
1.5 METHODOLOGY
1.5.1 IDENTIFICATION OF AREA AND TOPIC
1.5.2 PRIMARY SOURCES - CASE STUDIES OF BUILDINGS, BASIC GUIDELINES.
1.5.3 SECONDARY SOURCES - LITERATURE STUDY1 & LIT. STUDY2 AND FORMULATION OF GUIDELINES.
1.5.4 DATA COLLECTION
1.5.5 DATA ANALYSIS
1.5.6 CONCLUSION
2.0 BACKGROUND OF THE STUDY
2.1.1. DEFINITION OF AUDITORIUM
AN AUDITORIUM IS A ROOM BUILT TO ENABLE AN AUDIENCE TO HEAR AND WATCH PERFORMANCES.
FOR MOVIE THEATRES, THE NUMBER OF AUDITORIA (OR AUDITORIUMS) IS EXPRESSED AS THE
NUMBER OF SCREENS. AUDITORIA CAN BE FOUND IN ENTERTAINMENT VENUES, COMMUNITY HALLS,
AND THEATERS, AND MAY BE USED FOR REHEARSAL, PRESENTATION, PERFORMING ARTS
PRODUCTIONS, OR AS A LEARNING SPACE.
AUDITORIUM
AN ENCLOSURE, COVERED OR OPEN, WHERE PEOPLE CAN ASSEMBLE FOR WATCHING A
PERFORMANCE GIVEN ON THE STAGE.
AN AUDITORIUM IS A ROOM BUILT TO ENABLE AN AUDIENCE TO HEAR AND WATCH
PERFORMANCES AT SUCH VENUES SUCH AS THEATERS.
ETYMOLOGY

SEMI-CIRCULAR SEATING SHELVES IN THE THEATRE, DIVIDED BY BROAD 'BELTS', CALLED

DIAZOMATA, WITH ELEVEN ROWS OF SEATS BETWEEN EACH.
STUDENT : VINAY KUMAR
SESSION : 2018 - 2019
B.ARCH : IVTH YEAR
SEM : VIIITH
SCALE : STUDY CENTRE
AAYOJAN SCHOOL
SIGN : OF ARCHITECTURE, JAIPUR.
STUDY CENTRE CODE :- 9321A

BATCH : 2012 REMARK :

UNIVERSITY : YASHWANTRAO
PRN NO. : 2007017000088194 CHAVAN MAHARASTRA OPEN
CO-ORD. : Ar. ARCHANA S. RATHORE SHEET : 01 UNIVERSITY, NASHIK.
DATE :
2.2.1.1. WHAT ARE THE TYPES OF THEATRE STAGES AND AUDITORIA?
THEATRES HAVE EVOLVED WITH DIFFERENT INTERNAL LAYOUTS ACCORDING TO
THE TYPES OF PRODUCTIONS PRESENTED THERE. THE MOST COMMON TYPES
OF STAGE ARRANGEMENTS ARE LISTED BELOW.
I) PROSCENIUM STAGES
PROSCENIUM STAGES HAVE AN ARCHITECTURAL FRAME, KNOWN AS THE
PROSCENIUM ARCH, ALTHOUGH NOT ALWAYS ARCHED IN SHAPE. THEIR STAGES
ARE DEEP AND SOMETIMES RAKED, MEANING THE STAGE IS GENTLY SLOPED
RISING AWAY FROM THE AUDIENCE.
SOMETIMES THE FRONT OF THE
STAGE EXTENDS PAST THE
PROSCENIUM INTO THE AUDITORIUM.
THIS IS KNOWN AS AN APRON OR
FORESTAGE. THEATRES CONTAINING
PROSCENIUM STAGES ARE KNOWN
AS PROSCENIUM ARCH THEATRES
AND OFTEN INCLUDE AN
ORCHESTRA PIT FOR LIVE MUSIC
AND A FLY TOWER FOR THE
MOVEMENT OF SCENERY AND
LIGHTING.
IV) ARENA THEATRES I) PROSCENIUM
ARENA THEATRES ARE LARGE SCALE AUDITORIA AND HAVE A CENTRAL STAGE A PROSCENIUM IS THE AREA OF THE THEATRE SURROUNDING THE STAGE
AREA WITH AUDIENCES ON ALL SIDES, SIMILAR TO THEATRES IN-THE-ROUND. OPENING. A PROSCENIUM ARCH IS THE ARCH OVER THIS AREA. A
THE STAGE AREA IS USUALLY RECTANGULAR, MORE LIKE A SPORTS ARENA, PROSCENIUM PLANE DIVIDES THE PERFORMER AND SPECTATORS.
WITH TIERED SEATING. IT IS THE MAIN SEATING AREA.
A PASSAGE BETWEEN TWO ROWS OF SEATS. THE MINIMUM GANGWAY
SHOULD BE 1100 MM.
BLACK-BOX OR STUDIO THEATRES
THESE ARE FLEXIBLE PERFORMANCE SPACES WHICH WHEN STRIPPED TO THEIR
II) HOUSE: III) GANGWAYS: IV) AISLE:
BASICS ARE A SINGLE ROOM PAINTED BLACK, THE FLOOR OF THE STAGE AT THE
SAME LEVEL AS THE FIRST AUDIENCE ROW. USUALLY THESE SPACES ALLOW FOR
THE TEMPORARY SETUP OF SEATING IN A NUMBER OF DIFFERENT
V) DROP STAGE:
CONFIGURATIONS TO ENABLE A WIDE VARIETY OF PRODUCTIONS TO BE
A STAGE FLOOR THAT MOVES VERTICALLY ON THE ELEVATOR USUALLY SO THAT
PRESENTED.
ONE SET CAN QUICKLY REPLACE ANOTHER.

II) THRUST STAGES VI) TORMENTOR: A CURTAIN OR FRAMED STRUCTURE USED DIRECTLY BEHIND
THE PROSCENIUM AT EACH SIDE OF THE STAGE TO SCREEN THE WINGS AND
WITH THE AUDIENCE SITTING ON THREE SIDES. SIDELIGHTS FROM THE AUDIENCE.

THE THRUST STAGE AREA ITSELF IS NOT ALWAYS SQUARE BUT MAY BE OPEN AIR THEATRES
SEMI-CIRCULAR OR HALF A POLYGON WITH ANY NUMBER OF SIDES. SUCH STAGES THESE ARE OUTDOOR THEATRES THAT DO NOT HAVE A ROOF, ALTHOUGH
ARE OFTEN USED TO INCREASE INTIMACY BETWEEN ACTORS AND THE AUDIENCE. SOMETIMES PARTS OF THE STAGE OR AUDIENCE SEATING WILL BE COVERED. III) ORCHESTRA PIT
THESE STAGES MAY MAKE USE OF THE NATURAL LIGHT AS IT CHANGES DURING VII) APRON THE SPACE RESERVED
THE DAY, PARTICULARLY SUNSET.RUTLAND OPEN AIR THEATRE THE PART OF THE STAGE FLOOR FOR THE MUSICIANS
IN FRONT OF THE CURTAIN LINE. USUALLY IN FRONT.
PLATFORM STAGES
THESE USUALLY CONSIST OF A RAISED RECTANGULAR PLATFORM AT ONE END
OF A ROOM. THEY CAN EITHER HAVE A LEVEL OR RAKED SLOPING FLOOR. THE
AUDIENCE SIT IN ROWS FACING THE STAGE. PLATFORM STAGES ARE OFTEN
IX) BALCONY
A GALLERY THAT PROJECTS OVER THE MAIN FLOOR OF A THEATRE.
USES. WHERE THE STAGE IS OPEN AND WITHOUT CURTAINS, THEY ARE X) WING
III) THRUST AND OPEN STAGE SOMETIMES KNOWN AS END STAGES OR OPEN STAGES. THE PLATFORM ADJACENT TO THE STAGE FOR KEEPING PROPS.
THESE HAVE A CENTRAL PERFORMANCE AREA ENCLOSED BY THE AUDIENCE ON
XI) BOX OFFICE
HIPPODROMES
WHERE TICKETS ARE SOLD.
SEATING IS IN A SQUARE OR POLYGONAL FORMATION. HIPPODROMES ARE SIMILAR TO CIRCUSES AND HAVE A CENTRAL CIRCULAR
XII) CYCLORAMA:
ARENA SURROUNDED BY CONCENTRIC TIERED SEATING. DEEP PITS OR LOW
IT IS THE EXTERIOR OF THE BACKDROP. IT IS BASICALLY A DISTINCTION BETWEEN BACKSTAGE AND MAIN STAGE.
SCREENS OFTEN SEPARATE THE AUDIENCE FROM THE ARENA.
XIII) FIRE CURTAIN
SITE-SPECIFIC THEATRE
A CURTAIN OR ASBESTOS OR OTHER FIRE-PROOF MATERIAL THAT CAN BE LOWERED JUST INSIDE THE
SITE-SPECIFIC THEATRE IS USUALLY PERFORMED IN A NON-TRADITIONAL
PROSCENIUM
THEATRE SPACE SUCH AS A PUB, HOME OR WAREHOUSE, OFTEN REFLECTING
ARCH IN THE CASE OF FIRE.
THE HISTORY, ATMOSPHERE OR EXPERIENCES OF A PARTICULAR LOCATION.
XIV) GREEN ROOM
THE ACTORS ENTER THROUGH AISLES OR VOMITORIES BETWEEN THE SEATING. PROMENADE THEATRE
THE GREEN ROOM IS THE SPACE IN A THEATRE, STUDIO OR SIMILAR VENUE WHICH FUNCTIONS AS A WAITING
SCENERY IS MINIMAL AND CAREFULLY POSITIONED TO ENSURE IT DOES NOT THIS INVOLVES THE AUDIENCE MOVING FROM PLACE TO PLACE FOLLOWING THE
ROOM AND LOUNGE FOR PERFORMERS BEFORE AND AFTER A PERFORMANCES AND DURING THE SHOW WHEN
ACTORS AND PERFORMANCE.
THEY ARE NOT ENGAGED ON THE STAGE.
STUDENT : VINAY KUMAR SCALE : STUDY CENTRE
SESSION : 2018 - 2019 AAYOJAN SCHOOL
B.ARCH : IVTH YEAR SIGN : OF ARCHITECTURE, JAIPUR.
SEM : VIIITH STUDY CENTRE CODE :- 9321A

BATCH : 2012 REMARK :

UNIVERSITY : YASHWANTRAO
PRN NO. : 2007017000088194 CHAVAN MAHARASTRA OPEN
CO-ORD. : Ar. ARCHANA S. RATHORE SHEET : 02 UNIVERSITY, NASHIK.
DATE :
2.0 BACKGROUND OF THE STUDY
2.0 ACOUSTICS
ACOUSTICS IS DEFINED BY ANSI/ASA S1.1-2013 AS "(A) SCIENCE OF SOUND, INCLUDING ITS
PRODUCTION, TRANSMISSION, AND EFFECTS, INCLUDING BIOLOGICAL AND PSYCHOLOGICAL
EFFECTS. (B) THOSE QUALITIES OF A ROOM THAT, TOGETHER, DETERMINE ITS CHARACTER WITH
RESPECT TO AUDITORY EFFECTS."
THE STUDY OF ACOUSTICS REVOLVES AROUND THE GENERATION, PROPAGATION AND RECEPTION OF
MECHANICAL WAVES AND VIBRATIONS.
ABSORPTION
WAVE PROPAGATION: FREQUENCY ACOUSTIC ABSORPTION REFERS TO THE PROCESS BY WHICH A MATERIAL,
FOR CYCLICAL PROCESSES, SUCH AS ROTATION, OSCILLATIONS, OR WAVES, STRUCTURE, OR OBJECT TAKES IN SOUND ENERGY WHEN SOUND WAVES ARE
FREQUENCY IS DEFINED AS A NUMBER OF CYCLES PER UNIT TIME. ENCOUNTERED, AS OPPOSED TO REFLECTING THE ENERGY. PART OF THE ABSORBED
IN PHYSICS AND ENGINEERING DISCIPLINES, SUCH AS OPTICS, ACOUSTICS, AND RADIO, ENERGY IS TRANSFORMED INTO HEAT AND PART IS TRANSMITTED THROUGH THE
FREQUENCY IS USUALLY DENOTED BY A LATIN LETTER f OR BY THE GREEK LETTER . ABSORBING BODY.
THE RELATION BETWEEN THE FREQUENCY AND THE PERIOD T OF A REPEATING EVENT
OR OSCILLATION IS GIVEN BY
REFLECTION

f = T1 REFLECTION IS THE CHANGE IN

THE CENTRAL STAGE IN THE ACOUSTICAL PROCESS IS WAVE PROPAGATION. THIS FALLS WITHIN THE
DOMAIN OF PHYSICAL ACOUSTICS. IN FLUIDS, SOUND PROPAGATES PRIMARILY AS A PRESSURE
WAVE. IN SOLIDS, MECHANICAL WAVES CAN TAKE MANY FORMS INCLUDING LONGITUDINAL WAVES,
TRANSVERSE WAVES AND SURFACE WAVES.
2.1.1. WAVE PROPAGATION: PRESSURE LEVELS
IN FLUIDS SUCH AS AIR AND WATER, SOUND WAVES PROPAGATE AS DISTURBANCES IN THE AMBIENT
PRESSURE LEVEL. WHILE THIS DISTURBANCE IS USUALLY SMALL, IT IS STILL NOTICEABLE TO THE
HUMAN EAR.
2.1.2. THRESHOLD OF HEARING
THE SMALLEST SOUND THAT A PERSON CAN HEAR, KNOWN AS THE THRESHOLD OF HEARING, IS NINE
ORDERS OF MAGNITUDE SMALLER THAN THE AMBIENT PRESSURE.
2.1.3. THE LOUDNESS OF THESE DISTURBANCES IS RELATED TO THE SOUND PRESSURE LEVEL (SPL)
WHICH IS MEASURED ON A LOGARITHMIC SCALE IN DECIBELS.
2.1.4. DECIBLES
THE DECIBEL (SYMBOL: DB) IS A UNIT OF MEASUREMENT USED TO EXPRESS THE RATIO OF ONE
VALUE OF A POWER OR FIELD QUANTITY TO ANOTHER ON A LOGARITHMIC SCALE, THE LOGARITHMIC
QUANTITY BEING CALLED THE POWER LEVEL OR FIELD LEVEL,
DIRECTION OF A WAVEFRONT AT AN
INTERFACE BETWEEN TWO DIFFERENT
MEDIA SO THAT THE WAVEFRONT
RETURNS INTO THE MEDIUM FROM
Modern frequency counter
WHICH IT ORIGINATED. COMMON
EXAMPLES INCLUDE THE REFLECTION
TRANSDUCTION IN ACOUSTICS
OF LIGHT, SOUND AND WATER WAVES.
A TRANSDUCER IS A DEVICE FOR CONVERTING ONE FORM OF ENERGY INTO ANOTHER.
IN AN ELECTROACOUSTIC CONTEXT, THIS MEANS CONVERTING SOUND ENERGY INTO
ELECTRICAL ENERGY (OR VICE VERSA). ELECTROACOUSTIC TRANSDUCERS INCLUDE
REFRACTION
LOUDSPEAKERS, MICROPHONES, HYDROPHONES AND SONAR PROJECTORS. THESE
REFRACTION IS THE CHANGE IN DIRECTION OF A WAVE PASSING FROM ONE MEDIUM
DEVICES CONVERT A SOUND PRESSURE WAVE TO OR FROM AN ELECTRIC SIGNAL. THE
TO ANOTHER OR FROM A GRADUAL CHANGE IN THE MEDIUM. REFRACTION OF LIGHT IS
MOST WIDELY USED TRANSDUCTION PRINCIPLES ARE ELECTROMAGNETISM,
THE MOST COMMONLY OBSERVED PHENOMENON, BUT OTHER WAVES SUCH AS SOUND
ELECTROSTATICS AND PIEZOELECTRICITY.
WAVES AND WATER WAVES ALSO EXPERIENCE REFRACTION.
DIFFRACTION
DIFFRACTION IS THE BENDING OF A SOUND WAVE AS IT MOVES PAST AN OBSTACLE OR
THROUGH A NARROW OPENING. THE PHENOMENON OF DIFFRACTION ALLOWS US TO
HEAR SOUNDS FROM SOURCES THAT ARE NOT IN DIRECT LINE-OF-SIGHT, SUCH AS A
PERSON STANDING AROUND A CORNER OR ON THE OTHER SIDE OF A PARTIALLY
OBSTRUCTING OBJECT.
DIFFUSION
SOUND ENERGY IS SPREAD EVENLY IN A GIVEN ENVIRONMENT. A PERFECTLY DIFFUSIVE
SOUND SPACE IS ONE THAT HAS CERTAIN KEY ACOUSTIC PROPERTIES WHICH ARE THE
REVERBERATION
SAME ANYWHERE IN THE SPACE.
A REVERBERATION, IS CREATED WHEN A SOUND OR SIGNAL IS REFLECTED CAUSING A
ECHO
LARGE NUMBER OF REFLECTIONS TO BUILD UP AND THEN DECAY AS THE SOUND IS
ECHO IS A REFLECTION OF SOUND THAT ARRIVES AT THE LISTENER WITH A DELAY
AFTER THE DIRECT SOUND.
FURNITURE, PEOPLE, AND AIR. REVERBERATION IS AN IMPORTANT PARAMETER THAT
THE DELAY IS PROPORTIONAL TO THE DISTANCE OF THE
HELPS DEFINE THE SOUND QUALITY OF AN ACOUSTIC SPACE.
REFLECTING SURFACE FROM THE SOURCE AND THE LISTENER.
REVERBERATION TIME
LARGE ENCLOSED SPACES ARE ALL POTENTIALLY SUBJECT TO

DECAY IN A CLOSED SPACE. SOUND IN A ROOM WILL REPEATEDLY BOUNCE OFF

LENGTHS AND MULTIPLICITY OF SEATING POSITIONS NEAR AND
SURFACES SUCH AS THE FLOOR, WALLS, CEILING, WINDOWS OR TABLES.
FAR FROM THE SOUND SOURCE CAN EASILY CREATE ECHO
THE REVERBERATION TIME OF A ROOM OR SPACE IS DEFINED AS THE TIME IT TAKES PROBLEMS.
FOR SOUND TO DECAY BY 60DB.
SOUND SHADOW
FOR EXAMPLE, IF THE SOUND IN A SOUND SHADOW IS AN AREA THROUGH
ROOM TOOK 10 SECONDS TO WHICH SOUND WAVES FAIL TO PROPAGATE,
DECAY FROM 100DB TO 40DB, THE DUE TO TOPOGRAPHICAL OBSTRUCTIONS OR
REVERBERATION TIME WOULD BE DISRUPTION OF THE WAVES VIA PHENOMENA
10 SECONDS. THIS CAN ALSO BE SUCH AS WIND CURRENTS, BUILDINGS, OR
WRITTEN AS THE T60 TIME. SOUND BARRIERS.
STUDENT : VINAY KUMAR SCALE : STUDY CENTRE
SESSION : 2018 - 2019 AAYOJAN SCHOOL
B.ARCH : IVTH YEAR SIGN : OF ARCHITECTURE, JAIPUR.
SEM : VIIITH STUDY CENTRE CODE :- 9321A

BATCH : 2012 REMARK :

UNIVERSITY : YASHWANTRAO
PRN NO. : 2007017000088194 CHAVAN MAHARASTRA OPEN
CO-ORD. : Ar. ARCHANA S. RATHORE SHEET : 03 UNIVERSITY, NASHIK.
DATE :
2.0 VARIOUS ACOUSTICAL MATERIAL AS PER CASE STUDY ACOUSTICAL NOISE REDUCTION BLANKET/ ABSORPTIVE/NOISE BARRIER QUILTED CURTAINS SOUND DIFFUSERS
2.1.0 GENERAL CLASSIFICATION OF MATERIAL THESE DEVICES REDUCE THE INTENSITY OF SOUND BY SCATTERING IT OVER AN
AS PER THEIR CHARACTERISTICS IN A WIDE VARIETY OF INDUSTRIAL, & ARCHITECTURAL COMMUNITY. EXPANDED AREA, RATHER THAN ELIMINATING THE SOUND REFLECTIONS AS AN
2.1.1) ABSORPTION MATERIAL ABSORBER WOULD. TRADITIONAL SPATIAL DIFFUSERS, SUCH AS THE
2.1.2) REFLECTION MATERIAL POLYCYLINDRICAL (BARREL) SHAPES ALSO DOUBLE AS LOW FREQUENCY TRAPS.
2.1.3) DIFFUSION MATERIAL TEMPORAL DIFFUSERS, SUCH AS BINARY ARRAYS AND QUADRATICS, SCATTER
2.1.1) ABSORPTION MATERIAL SOUND IN A MANNER SIMILAR TO DIFFRACTION OF LIGHT, WHERE THE TIMING OF
a) POROUS MATRIAL REFLECTIONS FROM AN UNEVEN SURFACE OF VARYING DEPTHS CAUSES
b) PANEL AND MEMBRANE ABSORBERS INTERFERENCE WHICH SPREADS THE SOUND.
c) CAVITY (Helmholtz) RESONATORS

ABSORBING MATERIAL

ACOUSTICAL CEILING TILES:-

THE ACOUSTIC TILES ARE OFFERED IN A LARGE VARIETY OF PATTERNS, DESIGNS, COLOURS
VARIABLE ABSORBERS
AND FACINGS
VARIABLE ABSORBERS- SLIDING, HINGED, MOVABLE, AND ROTATABLE PANELS
ACOUSTICAL CEILING TILES MATERIAL: SEMI RIGID POROUS EXPANDED POLYPROPYLENE
CONSTRUCTED TO EXPOSE EITHER ABSORPTIVE OR REFLECTIVE SURFACES.
ACOUSTICAL BEAD FOAM (P.E.P.P.).
CATEGORIES OF COMMERCIAL MATERIALS: VARIOUS TYPES OF PERFORATED, FISSURED, OR
TEXTURED MATERIALS CONSTITUTE TYPICAL UNITS IN THIS GROUP COMMONLY USED MATERIALS
INCLUDE:
ACOUSTICAL BOARDS
ACOUSTIC HANGERS
GEOCOUSTIC TILES/ ACOUSTICAL
TILES FOAM SOUND ABSORBER

SOUND BLOCKING MATERIALS AUDIOSEAL SOUND BARRIER

AUDIOSEAL SOUND BARRIER IS A SOUND TRANSMISSION BLOCKER THAT REDUCES SOUND

ALLOWS THE AUDIOSEAL BARRIER TO BE SO EFFECTIVE AT REDUCING AIRBORNE NOISE FROM

ACOUSTICAL BOARDS
TRANSMITTING INTO YOUR SPACE OR INSIDE NOISE TRANSMITTING OUT OF YOUR SPACE.

ACOUSTICAL WALL FABRICS

ACOUSTICAL WALL FABRIC IS A SOFT, ATTRACTIVE, SOUND- ABSORBING WALL

POLYPROPYLENE FIBRE FOR ITS INHERENT STAIN RESISTANCE, DURABILITY AND

EASY MAINTENANCE. ACOUSTICAL FABRIC HAS A SOUND ABSORPTION RATING OF
NRC .20, IT IS CLASS 1 FIRE RATED AS WELL AS MOLD AND MILDEW RESISTANT.
ACOUSTICAL FOAM
ACOUSTICAL STRETCH FABRICS
ACOUSTIC FLOOR UNDERLAYMENT
STRETCH FABRIC IS DESIGNED AND ENGINEERED FOR SOUND TRANSMISSIBILITY
ACOUSTIC FLOOR UNDERLAYMENT MATERIAL MADE UP OF
EXTRUDED NYLON FILAMENTS WHICH FORM A THREE
WORKS VERY WELL AS A SPEAKER COVER, ACOUSTICAL PANEL COVER, OR
DIMENSIONAL CORE THAT HAS A NONWOVEN FABRIC HEAT
ACOUSTICAL STRETCH WALL COVER.

CONSTRUCTION OF SOUND CONTROL MATTING LOWERS BOTH

STRUCTURAL AND AIRBORNE SOUND TRANSMISSION BY ITS
ACOUSTIC HANGERS ACOUSTIC HANGERS - A SYSTEM OF FIBER-BOARD PANELS THAT ARE WRAPPED ABILITY TO CONVERT AND STORE VIBRATIONAL ENERGY.
WITH INSULATION AND ARE HUNG FREELY USING WIRE OR ROPE. SAMPLE OF ACOUSTIC HANGERS

STUDENT : VINAY KUMAR SCALE : STUDY CENTRE

SESSION : 2018 - 2019 AAYOJAN SCHOOL
B.ARCH : IVTH YEAR SIGN : OF ARCHITECTURE, JAIPUR.
SEM : VIIITH STUDY CENTRE CODE :- 9321A

BATCH : 2012 REMARK :

UNIVERSITY : YASHWANTRAO
PRN NO. : 2007017000088194 CHAVAN MAHARASTRA OPEN
CO-ORD. : Ar. ARCHANA S. RATHORE SHEET : 04 UNIVERSITY, NASHIK.
DATE :
 CASE STUDY 1 - SHANTANAND AUDITORIUM, KUALALAMPUR

NAME OF AUDITORIUM: SHANTANAND AUDITORIUM HARD ACOUSTICAL WALL (TIMBER ACOUSTIC PANEL) HARD ACOUSTICAL WALL (ROUGH PLASTER TO
LOCATION: 114-116, JALAN BERHALA, BRICKFIELDS, KUALA LUMPUR TIMBER ACOUSTIC PANELS ARE INSTALLED NOT ONLY FOR AESTHETIC PURPOSES, BUT ALSO TO ABSORB SOUND SMOOTH CONCRETE BACK
TYPE OF AUDITORIUM: COMMUNITY AUDITORIUM ENERGY. ACOUSTIC PANEL BACK SOLID STRUCTURE, PLASTER OR GYPSUM BOARD MUST BE USE AS BASE.
YEAR OF COMPLETION: 2011
THERE ARE AIR GAP IN BETWEEN EACH PANEL TO
TOTAL VOLUME: 8769M3
ABSORB UNWANTED LOW FREQUENCY THROUGH PANEL
TOTAL SEATS: 618
VIBRATION. THE SOLID BACK OF THE TIMBER ACOUSTIC
DESCRIPTION: THE BUILDING THAT WE HAVE SELECTED IS THE TEMPLE OF FINE ARTS IN KUALA LUMPUR.
IT IS KNOWN TO BE THE MAIN CENTRE FOR LEARNING CLASSICAL INDIAN MUSIC IN MALAYSIA. PANEL IS SMOOTH PLASTER, FOR A STANDARD ACOUSTIC

IT IS LOCATED AT BRICKFIELDS ALSO KNOWN AS LITTLE INDIA OF KUALA LUMPUR. PANEL BACK SOLID STRUCTURE, PLASTER OR GYPSUM
BOARD MUST BE USE AS BASE.
MATERIAL ABSORPTION COEFFICIENT

HARD ACOUSTICAL WALL (ROUGH PLASTER TO

ACOUSTIC ROUGH
SMOOTH CONCRETE BACK)
PLASTER TO
ROUGH PLASTER ARE LAYERED ABOVE SMOOTH 0.30 0.50 0.80
SMOOTH
KEY LOCATION PLAN FRONT ELEVATION INSIDE PANORAMIC VIEW FROM THE BACKSIDE CONCRETE SOLID BACK TO PREVENT VIBRATION AND
CONCRETE BACK
REFLECT SOUND EFFECTIVELY IN FOUR COLUMNS IN
THIS ROOM.
TIMBER ACOUSTICAL PANEL

FIBERGLASS ACOUSTIC PANEL

TIMBER ACOUSTIC PANELS ARE INSTALLED NOT ONLY
SOFT ACOUSTICAL WALL (FIBREGLASS ACOUSTIC
AUDITORIUM SIDE VIEW SITTING VIEW STAGE VIEW STAGE WITH CURTAIN
PANEL) FIBREGLASS ARE OFTEN USED FOR THE MOST

SOUND ATTENUATION FROM A POINT SOURCE THE SOUND WAVES WILL BE ABSORPTION SURFACE IN AN AUDITORIUM.

SPHERICAL, AND THE INTENSITY OF SOUND WILL BE APPROXIMATE THE INVERSE THE ACOUSTIC PANEL FUNCTION AS CONTROLLING ECHOES, AND SOUND FOCI FROM THE REAR WALL AND
SQUARE LAW. AFTER WE COLLECTED THE DATA OF SOUND INTENSITY LEVEL BALCONY FACES. THE REVERBERATION TIME IN THE ROOM IS RELATED DIRECTLY TO THE VOLUME OF THE
USING SOUND LEVEL METER FROM 9 PERFORMERS DURING THEIR REHEARSAL, ROOM AND, INVERSELY, TO THE TOTAL SOUND ABSORPTION OF THE AUDITORIUM.
MATERIAL ABSORPTION COEFFICIENT
SOUND SYSTEM AUDITORIUM WE PLOTTED OUT THE SOUND DISTRIBUTION THROUGHOUT THE SEATING AREA
AND FOUND OUT THAT ENERGY LOSS OF SOUND PROPAGATION IN SHANTANAND
ACOUSTIC ROUGH
AUDITORIUM IS LOW BECAUSE OF ITS WIDE SHALLOW PLAN. THE DISTANCE AREA OF WALL MATERIALS PLASTER TO
FROM THE STAGE TO THE END IS ONLY 14.9 METRES LONG BECAUSE OF ITS 0.18 0.42 0.59
SMOOTH
CONCAVE ARRANGEMENT OF SEATING RELATIVELY CLOSE TO THE STAGE. 23
CONCRETE BACK
FIGURE 3.2.1.1 THE WIDE SHALLOW CONCAVE PLAN OF THE SHANTANAND
GROUND FLOOR PLAN
AUDITORIUM SPREAD SOUND EVENLY. <FIGURE 3.2.1.2 SOUND DISTRIBUTION IN FIBERGLASS ACOUSTIC PANEL
THE SEATING AREA TAKEN FROM THE SOUND SOURCE FROM THE STAGE.

GEOMETRY & THEATRICAL BUILT FORM

THE AUDITORIUM HAS A WIDE SHALLOW PLAN WITH ITS SEATING LAID OUT IN STRAIGHT STEPPED ROWS AND
SEPARATED ANGLED SIDE BLOCKS FOCUSING TOWARD THE STAGE. SINCE SOUND TRAVEL IN STRAIGHT PATH
FROM ITS SOURCE, SOUND CAN BE REACHED TO EVERY CORNER OF THE AUDITORIUM BY REFLECTION OF
SOUND. TRAPEZOIDAL SHAPE OF SHANTANAND AUDITORIUM WELL DISTRIBUTED SOUND TO EVERY SEATING IN
THE AUDITORIUM EVENLY, UNLIKE POOR DISTRIBUTION OF SOUND AS CURVILINEAR SHAPE THAT CONCENTRATE
SOUND TO THE CENTRE OF ITS PROPAGATION ONLY.

MATERIAL ABSORPTION COEFFICIENT

ACOUSTIC ROUGH
PLASTER TO
0.15 0.75 0.80
SMOOTH
CONCRETE BACK
SOUND REFLECTIONS SOUND SHADOW DUE TO BALCONY
STUDENT : VINAY KUMAR SCALE : STUDY CENTRE
SESSION : 2018 - 2019 AAYOJAN SCHOOL
B.ARCH : IVTH YEAR SIGN : OF ARCHITECTURE, JAIPUR.
SEM : VIIITH STUDY CENTRE CODE :- 9321A

BATCH : 2012 REMARK :

UNIVERSITY : YASHWANTRAO
PRN NO. : 2007017000088194 CHAVAN MAHARASTRA OPEN
CO-ORD. : Ar. ARCHANA S. RATHORE SHEET : 05 UNIVERSITY, NASHIK.
DATE :
 CASE STUDY - CALVARY CONVENTION CENTER, KUALALAMPUR
ROCKWOOL FOAM
NAME OF AUDITORIUM: CALVARY CONVENTION CENTRE
HARD ACOUSTICAL WALL (TIMBER ACOUSTIC PANEL)
LOCATION: JALAN JALIL PERKASA 1, TAMAN TEKNOLOGI MALAYSIA, 57000 ROCKWOOL FOAM
TIMBER ACOUSTIC PANELS ARE INSTALLED NOT ONLY TIMBER FLOOR ON JOISTS
KUALA LUMPUR, WILAYAH PERSEKUTUAN KUALA LUMPUR.
FOR AESTHETIC PURPOSES, BUT ALSO TO ABSORB PLASTER
TYPE OF AUDITORIUM: SPEECH-BASED AUDITORIUM, HOLISTIC- DRIVEN HUNG CURTAIN HEAVY
SOUND ENERGY. ACOUSTIC PANEL BACK SOLID CARPET HEAVY MATERIAL ABSORPTION COEFFICIENT
EVENTS TOTAL BUILT UP AREA: 600,000 SQUARE FEET
STRUCTURE, PLASTER OR GYPSUM BOARD MUST BE UPHOLSTERED SEAT
YEAR OF COMPLETED: 2013 TOTAL SEATS: 5,000 SEAT AUDITORIUM, WITH
USE AS BASE. TIMBER PADDED SEAT
UPHOLSTERED TIP-UP THEATRE SEAT COVERED OF 2,965 SQUARE METRE ROCKWOOL FOAM 0.15 0.90 0.90
AND TIMBER PADDED RETRACTABLE TIP-UP SEAT OF 420 SQUARE METRE.

HUNG CURTAIN HEAVY

LOCATION PLAN MAIN ENTRANCE INSIDE PANORAMIC VIEW FROM THE BACKSIDE MATERIAL ABSORPTION COEFFICIENT

HUNG CURTAIN 0.14 0.55 0.72

HEAVY

PLASTER
AUDITORIUM SIDE VIEW STAGE SITTING VIEW REAR VIEW
SHAPE AND MASSING ARRANGEMENT OF SEATS
THE SHAPE IS HORSESHOE-TYPE THE SEATING OF
HALL WITH A COMBINATION OF AUDITORIUM IS IN A
BOTH CURVED AND FLAT WALLS. FAN-SHAPED MATERIAL ABSORPTION COEFFICIENT
REVERBERATION TIME
CONFIGURATION TO
OF THE HALL BUT GRADUALLY ALLOW GREATER SEATING PLASTER 0.18 0.42 0.59
CURVE INTO A CONCAVE SHAPE AS AREA THAT IS CLOSER TO
WALL PANEL
IT LEADS TO THE REAR. THE STAGE. THE WALLS OF THE AUDITORIUM FEATURE A
SOLID TIMBER
CONCAVE SHAPE- A FORM THAT IS
LEVELING OF SEAT AND STAGE ADVANTAGEOUS WHEN USED IN THE
CORRECT LEVELLING OF THE AUDITORIUM SEATS ENSURES THAT SOUND WAVES REACH CONTEXT OF OUR BUILDING. CONCAVE
ALL THE OCCUPANTS OF THE AUDITORIUM WITHOUT OBSTRUCTION. SURFACES HAVE THE TENDENCY TO REFLECT
AND CONCENTRATE SOUND WAVES TO THE
LAYOUT OF BOUNDARY SURFACE
CENTRE OF ITS PROJECTION. MATERIAL ABSORPTION COEFFICIENT
THE AUDITORIUM IMPLEMENTS A COMBINATION OF CONCAVE SHAPED AND STEPPED
CEILING SYSTEMS THAT REFLECT THE SOUND BACK DOWN TO THE AUDIENCE. THE
SOLID TIMBER 0.14 0.06 0.08
CONCAVE SHAPE ALSO HELPS CONCENTRATE THE SOUND INTENSITY AND INCREASE
THE VOLUME OF THE SOUND. LAYOUT OF BOUNDARY SURFACE
SOUND PROPAGATION
SOUND TRAVELING FORWARD TOWARDS THE AUDIENCE IS KNOWN AS DIRECT SOUND. ACOUSTIC TIMBER
BOARD
TWO CEILING SURFACES, THE UPPER CEILING SURFACE THAT IS HEAVILY INSULATED
AND THE LOWER CEILING SURFACE CONSISTING OF ACOUSTIC PANELS. SOUND
SOUND PROPOGATION

WALL PANEL DUE TO MASSIVE SCALE,

SURFACES ARE COVERED WITH ABSORPTIVE MATERIAL ABSORPTION COEFFICIENT
MATERIAL TO REDUCE REVERBERATION
SURFACE OF WALL IS FABRIC, FOLLOWED BY ACOUSTIC TIMBER
0.18 0.42 0.59
BOARD
SOUND SYSTEM AUDITORIUM SOUND INSULATION AIR GAPS SOUND LEVELS BTW SOUND LEVELS BTW SPONGE, PLYWOOD, AND ROCKWOOL
FRONT AND BACK MIDDLE AND SIDES
STUDENT : VINAY KUMAR SCALE : STUDY CENTRE
SESSION : 2018 - 2019 AAYOJAN SCHOOL
B.ARCH : IVTH YEAR SIGN : OF ARCHITECTURE, JAIPUR.
SEM : VIIITH STUDY CENTRE CODE :- 9321A

BATCH : 2012 REMARK :

UNIVERSITY : YASHWANTRAO
PRN NO. : 2007017000088194 CHAVAN MAHARASTRA OPEN
CO-ORD. : Ar. ARCHANA S. RATHORE SHEET : 06 UNIVERSITY, NASHIK.
DATE :