firn TAYLOR'S UNIVERSITY

Wisdom· Integrity· Excellence

SCHOOL OF ARCHITECTURE, BUILDING & DESIGN

Bachelor of Science (Honours) in Architecture

AUDITORIUM
A CASE STUDY ON ACOUSTIC DESIGN

BUILDING SCIENCE (BLD 61303)

MAJLIS BAND ARAYA SHAH ALAM AUDITORIUM

Prepared by:

Lee Yih (0318340)

Low En Huey (0317889)
Tan Jo Lynn (0318518)
Teo Hong Wei (0322990)
Tiong Jia Min (0323763)
Too Kean Hou (0319575)
Wong Zhen Fai (0317890)
Yan Wai Chun (0319626)

Tutor: Mr. Azim Sulaiman

1
TABLE OF CONTENT

CHAPTER 1.0 INTRODUCTION

Section 1.1 Acoustic Design Introduction 4

Section l .2 Case Study Project Brief 4

CHAPTER2.0 LITERATURE REVIEW

Section 2. l Sound Reflection 5

Section 2.2 Sound Absorption 6
Section 2.3 Direct and Indirect Sound Path 8
Section 2.4 Reverberation Time 9

CHAPTER3.0 SITE INFORMATION

Section 3. l Chosen Site Introduction ll

Section 3.2 Technical Drawings 14

Section 3.3 Site Zoning 16

CHAPTER4.0 EXISTING SOUND SOURCES

Section 4. l Sound Surround System 18

Section 4.2 Existing Noise Source and Noise Control 20

2
CHAPTERS.O MATERIALS AND PROPERTIES 24

Section 5. l Floor 26
Section 5.2 Wall 28
Section 5.3 Ceiling 29
Section 5.4 Seating 30
Section 5.5 Stage 30
Section 5.6 Openings 31
Section 5.7 Balcony 31

CHAPTER6.0 SITE ACOUSTIC ANALYSIS

Section 6. l Incident Sound 32

Section 6.2 Sound Reflection and Absorption 33

Section 6.3 Sound Diffusion I Dispersion 37
Section 6.4 Reverberation Time Calculation 40

CHAPTER 7.0 ISSUES AND RECOMMENDATIONS 42

CHAPTERS.O CONCLUSION 47

CHAPTER9.0 APPENDIX AND REFERENCES 49

3
CHAPTER 1.0 INTRODUCTION

1.1 Acoustic Design Introduction

Acoustic design is the use of architectural and engineering techniques to control the
behaviour of sound in an enclosed space (in this case an auditorium). The purpose is to improve

sound distribution in the enclosed space by enhancing the desired sound suited for the program.
Acoustic design also aims to eliminate noise and undesired sound that would negatively affect the
desirability of the sounds. For instance, specific measures will be taken to make speech more

intelligible or to make music sound better for the users. Building materials, architectural designs
and layouts will be taken into consideration while engaging in acoustic designs.

1.2 Case Study Project Brief

For this project, we were tasked to conduct our observational study and research on a local
auditorium. The research is based on the acoustic design elements applied by the designer of the

chosen auditorium. We were required to record our observations and analysis in a report format.
Our research will be broken down into several categories; common program and usage of the
auditorium, existing sound sources, materials used and how these factors affect the acoustic design
of the auditorium in terms of the sound path and its reverberation time.

4
CHAPTER2.0 LITERATURE REVIEW

2.1 Sound Reflection

When sound travels in a given medium, it strikes the surface of another medium and
bounces back in other directions, this phenomenon is called the reflection of sound. The waves are

called the incident and reflected sound waves. Different type of surfaces that contact with the sound
waves react differently, for instance, hard surfaces will reflect almost all of the incident sound
energy. Convex surfaces will disperse sound while concave surfaces will concentrate the reflected

sound.

CONCAVE SURFACE
I
CONVEX StlRFACE

. • •.
• •
•
. • .. . .• • .• •
.. •
• •
• . •• • •

o
_J .J
FLAT SURFACE SFCTION

Figure 2.1.1 Sound Reflection Diagram

Reflection of sound waves in auditoriums and concert halls do not always lead to
displeasing results, especially if the reflections are designed right. Reflection is often used as a
reinforcement of sound and to distribute the sound.

5
 USE FUL CEI LI G
REi::--ECT o~ S

j
.JJ ,_,_/.J
J..J"JJJJ..JJ-1 -
A
Figure 2.1.2 /useful ceiling reflections for flat ceiling.

USEFUL CEILI G REFLEC TIO S

-- - --- --------
---
• ---~--- r=---

.s
o
J ...) _, J .J ..) .J _¡
j..JJ_(...}.J-l..J-1.J..J -
8
SEC TIO
Figure 2.1.3 Useful ceiling reflection for layered ceiling.

2.2 Sound Absorption Coefficient

The absorption coefficient is a common quantity used for measuring the amount of sound

absorption of a material and is known to be the function of the frequency of the incident wave. It is
defined as the ratio of energy absorbed by a material to the energy incident upon its surface.

Absorption coefficient, a = Sound Energy Absorbed

Incident Sound Energy

6
 A perfect absorber has an absorption coefficient of 1.0, for instance, an open window. Sound

absorption coefficient performed differently with different type of building materials.

2.2.1 Types of Sound Absorber

1. Porous absorbers
Porous sound absorbers react to the materials in its network of interconnected pores and the
thermal interaction cause sound energy to be dissipated and converted to heat. The absorption of

porous material is most effective at frequencies above l kHz.

Figure 2.2.1.1 Examples of porous absorbers.

2. Cavity absorbers
Helmholtz Resonators or cavity absorbers are perforated structures containing very small

pores and connected by a narrow opening to the surrounding. It can absorb maximum sound energy
in a narrow region of a low frequency band.

Figure 2.2.1.2 Examples of Cavity Absorbers.

7
2.3 Direct and Indirect Sound Path
The sound emitted from the sound source that reaches the audience without any reflection is
called direct sound; the sound that reaches the audience after one or more reflections is called
indirect sound. When the audience in a hall or acoustic room is seated closely with the main stage,

they tend to receive direct sound more whereas the audience seated further away often receives
indirect or reflected sound.

Stage wall reflection

Side wall reflection

Celling reflection

Speaker

Direct
eo und
Figure 2.3. I Reflection of direct sound path.

Indirect sound have widely varying reflective properties compared to direct sound as they

reflect on different surfaces or distances in the hall/acoustic room. Reflected sound beneficially
reinforces the direct sound if the time delay between them is relatively short, that is a maximum of
30msec.

Time Delay - Rl+R2-D

0.34

8
 -

-----<v------·--~
.J-'-'
o o o o º_¡º
_j _J

T I ME DE L A Y "l M I L I S EC O I, D S :

RI• Rz-D F O IMENSIOtlS IN FEET

13
[R1+R!-Q. f DIMENSIONS lii Ml:.1ERS1
L 034 ....

Figure 2.3.2 Sound reflector diagram.

2.4 Reverberation Time

Reverberation is the continuing presence of audible sound after the producing of sound has
been stopped. lt is affected by the reflective properties of the surfaces in the hall or acoustic room. A
reflective surface will cause the sound to die away in a longer period of time while an absorbance
surface will cause the sound to die away quickly.

----- ---~
-- ------------

Figure 2.4. l Reverberation time diagram.

9
 If the source of sound stops, in a result, the reverberant sound level decays (loses sound

pressure level over some time). Besides, the time it takes for sound pressure level to decay will
affect the acoustical quality of the space.

Reverberation time is the time for the sound pressure level in a room to decrease by 60dB
from its original level after the sound is stopped. It is dependent upon a few factors, the volume of
the enclosure (distance), total surface area, and the absorption coefficients of the surfaces.

Steady Sound Source

l
o t-----------,,..
¿ Sound turned OFF

e" Natural Decay of Sound

Sound Level
(dB)

-60 - - - - -+ - - -

1---RT60 --l
Time
Figure 2.4.2 Reverberation time diagram.

10
CHAPTER3.0 SITE INFORMATION

3.1 Chosen Site Information

The Majlis Bandaraya Shah Alam auditorium was built in the early 90s and could
accommodate approximately 1000 people. During the early years, the auditorium was mainly used

for formal events where foreign diplomats were usually involved hence there were several
translation rooms overlooking the auditorium from above. It was also the favoured venue to
perform for the Malaysian Philharmonic Orchestra before the Petronas Filharmonik Hall was built

in 1998. A season of the Malaysian TV reality show "Maharaja Lawak Mega" was aired live from
the auditorium. The typical programmes in the auditorium are live singing performances and

occasionally some formal speeches. The in-house sound system has been out of order since 2014
and there were no restoration efforts scheduled due to lack of funding and the outdated nature of the
sound systems.

Figure 3. I. I Live concert performances

11
Figure 3.1.2 Live concert performances.

Figure 3.1.3 Formal speech event.

12
Figure 3.1.4 Perspectives of the auditorium hall.

13
3.2 Auditorium's Drawings

Figure 3.2.1 Lower Ground Floor Plan.

14
Figure 3.2.2 Upper Ground Floor Plan.

15
Figure 3.2.3 Longitudinal Section.

16
3.3 Site Zoning

Sound Intensity Lower Level

• •

•
• • •
•
•
s • -·· •
~
~

• •
• • ....

Figure 3.3.1 Lower level sound intensity.

---­
·--
Sound Intensity Upper Level

.... ...
Figure 3.3.2 Upper level sound intensity.

17
CHAPTER4.0 EXISTING SOUND SOURCES

4.1 Sound Surround System

The MBSAAuditorium Hall uses the 5.1 surround sound system since the completion of the
hall in the early 90s. This surround sound system often indicates to system of a high standard

quality, as 'true' surround sound. The system consists of five speakers and a subwoofer; a powered
power designed to produce bass tones and low frequency tones. As for the main five speakers, two
of them are on the front left and right, and two are at the rear left and right, and lastly the center

quality speaker. The center speaker system is larger and more versatile, where it consists of more
individual speaker cones.

4.1.1 Equipment Location

Figure 4.1.1 Ground Floor Plan

18
 Figure 4.1.2 First Floor Floor Plan

4.1.2 Equipment Specification

A S ecification
~Pr:_:_:::o~du=c~t~B~ra=n~d=---~~~B~e~hrin==·
:<=.:er'-----~~~~~~~~----iVPI520
Dimension 685x455mm
Power Consum tion 250W Continuous, 1 OOOW Peak

45Hz-20kHz
94dB
Placement Zone 1

(B) S ecification
Product Brand Behrin er
1--~~~~~~~-1--~~--~~~~~~~~~-----1
B1220 PRO
Dimension 640x400mm
Power Consum tion 300W Continuous, 1200W Peak
Wei bt 55.2 lbs.
55Hz-18kHz (-lOdB)
95dB
Placement Zone 1
19
 C S ecification
Product Brand Electro Voice SL12-2V-FP
1------------1-----------------1
Dimension 520x600mm
Power Consum tion 200W Continuous
Wei ht 54 lbs.
70Hz-20kHz
93dB
Placement Zone2

Product Brand Electro Voice

1----------1---------------< Sentry 500
Dimension 600x690mm
Power Consum tion 1OOW Continuous, 400W Peak

40Hz-18kHz
96dB
Placement Zone3

4.2 Existing Noise Source and Noise Control

4.2.1 External Noise

In the MBSA Auditorium Hall, the absence of external noise source could be
detected due to the existence of soundproof system and the location of the building, which is

further away from other surrounding buildings. lt is also enabled by the spaces placed
around the auditorium hall, which forms a buffer zone, enhancing the desire sound in the
auditorium.

20
 {.
/
,~
. .......
.... ":%
I

I
I
I
I
NORTH:nnosque
I

I \
I \
I \
I \
I \
I \
I ••
I
WEST: \ EAST:
commercial \ open field and buildings

SOUTH: open parking lot

Buffer zone

Figure 4.2.1.1 External noise source location and buffer zone indication

21
4.2.2 Internal Noise

The internal noise source locates around the auditorium hall, which is the corridor
direct towards the entrance as well as the backstage area. This noise source exists only
during the presents of events. It is reduced by the application of soundproof wall around the
auditorium space. Internal noise source also comes from the ceiling air grills installed
throughout the lower floor ceiling for ventilation and air conditioning purposes. It is avoided
by the management group through activating the ventilation system l to 2 hours ahead of the
event at low-level to prevent the noise from degrading the standard of performance.

1oiJc,1

• 111pply Wf gnlk,

r/1111 ,,, liutl,hn>:(/ou •.,. kvrt¡

Figure 4.2.2.1 Internal noise sources' location

22
4.2.3 Equipment Specification

Specification
Product Name Whirly Mate Ceiling Grille 61325
Dimension 352mm x 352mmx x 30mm
Material ABS Polymer
Finishing White ABS Polymer
Frequency 1000Hz
Weight lkg
Placement Zone 2

23
CHAPTERS.O MATERIALS AND PROPERTIES

PllfT'AS2

......

Upholstered Seats
Acoustic Difuser
Acoustic Doors

Figure 5.1 Materials' location

24
Wooden Slat Acoustic
Di ffuser with Speaker

Figure 5.2 Materials' location

25
Material Absorption Coefficient

Building Material Surface 125 Hz SOOHz 2000 Hz

Components Area (m·2)
Ceiling Plaster on lath, deep 630.7 0.20 0.10 o.os
air space

Seating Fabric well- 1484.4 0.19 0.56 0.61

upholstered seats,
unoccupied

Curtain Curtains in folds 45.5 0.05 0.35 0.50

against wall
wsu Wood Slat Acoustic 102.3 0.18 0.42 0.83
Diffuser
Wood Panel Sound 232.66 0.28 0.17 0.10
Diffuser
Concrete 697.33 0.02 0.02 0.05

Floor Carpet, Heavy, on 352.72 0.02 0.14 0.60

Concrete
Wooden Flooring 281.12 0.40 0.20 0.15
Door Acoustic door with 65 0.35 0.44 0.54
steel frame
Balcony Thick Clear Acrylic 32.36 0.44 0.70 0.16
Panels
Wood Railing 16.95 0.15 0.10 0.06

Occupants - 0.39 0.8 0.92

Openings Deep Balcony 110.4 0.50-1.00

Ventilation Grills 2.97 0.15-0.50

5.1 Floor
Wood flooring is any product manufactured from timber that is designed for use as flooring,
either structural or aesthetic purpose. This type of flooring is generally used for special purpose
floor, like the auditorium due to its reflective nature.

Wood is a common choice as a flooring material and can come in various styles. The type of

wood flooring used in MBSAAuditorium is solidhardwoodflooring.

26
 Solid hardwood floors are made of planks milled from a single piece of timber. Solid wood

floors have a thicker wear surface and can be sanded and finished more times than an engineered
wood floor.

Figure 5.1. l Materials used at different location.

A sloping floor is desirable especially for large halls, it helps in improving the sight lines of
the audience. Moreover, when sitting on a sloping floor, the listeners receives more direct sound

compared to when it is on a flat floor.

Generally, the slope of an auditorium floor should not be less than 8° and for safety purposes
the slope should not exceed about 35°.

27
 1120mm/44in.

roP

. maximum s'4Jpè v-,ith s1cps 3S9(GLC,}

l

Figure 5.1.2 Floor slope diagram.

5.2 Wall
The walls of the auditorium are generally covered with sound absorbent materials like
compressed fibreboard or draperies, which is to reduce reverberation. These materials reduce the
formation of echoes by absorbing sound waves.

The acoustic material typically visible to the audience is devoted to a different task
altogether: absorbing or dampening the sound waves that emanate from stage in front of them. Most
of the time, the idea behind the application of these materials is to keep the sounds from echoing off
of the walls of an enclosed space, a phenomenon that, if left unchecked, would likely produce a
very aurally confusing experience for the audience.

The type of material used on the walls in MBSAAuditorium is sound absorbingfoam. It is

layered on with wooden panels of different widths that act as a diffuser, which is to match the high
and low frequencies of sound.

28
 Figure 5.2.1 Photo of absorptive wall.

5.3 Ceiling
The ceiling ofMBSA has a slanting profile to reflect the sound. It is suspended plaster,
providing different planes that reflect varying wavelengths of sound. Constructed on metal lath, the
ceiling is plastered thickly to resist panel vibration. Also with the thick mass of plaster and a proper
suspension system, it will permit the external noise from being transferred inside. A high volume of
the auditorium hall is recommended for good acoustic qualities.

Figure 5.3.1 Photo of auditorium's ceiling.

29
5.4 Seating
The total seating capacity of the auditorium is 1237. They are arranged in 3Á arena form that
enables 180-270 degree angle of inclusion. All seats are fixed and upholstered with moulded metal
support at the leg. The front of the chairs are covered with fabric which is sound absorbing whereas

the back of the seat pans are perforated metal over sound absorbing material. This is to ensure that
the absence and presence of audience does not affect the reverberation time. When the seats are
occupied, the absorption effect is reduced as it faces the floor whereas when unoccupied it faces the
stage.

~-----------FabricCushion------f- ..

Wood------.
. ,
' Fabnc-------t-H~------l...J

1Ì----Vîny1Pad ~----ttF;--------j
1----- Perforated Metal ------i-+--t-•
00'00000000
ºººººººººº
oo onooo
nn n o e
e e u ºº o
ao na n
Melai
' ,_,

Figure 5.4.1 Customised seating diagram.

5.5 Stage
The stage is divided into 3 parts, with one fixed central stage and 2 fore-stage platforms. The
fore-stage platform can be adjusted from O.OOm to+ l.OOm depending on the function of the event.

The space beneath the stage is hollow so sound will travel through the flooring and empty space to
be reflected by the concrete base at the bottom. When the sound is reflected back to the surface of
the flooring, the intensity of the sound would have been reduced. Hardwood timber flooring is used
for the stage.

30
 Figure 5.5.1 Perspective of stage.

5.6 Openings
There are total of7 fire exit doors in the auditorium. 4 doors are located at ground floor and
the rest at second floor. The wooden doors are acoustic and framed with steel. All of the doors have
thick curtain hung against them. The curtains act as sound absorber so that when the door is opened,
the sound will not escape from the hall. It also covers the reflective surface of the door.

5.7 Balcony
There are two balconies on each side of the wing. The balconies have fixed seats for the VIP
and carpeted flooring. Plasterboard is used for the ceiling. The railings protecting the audience from
falling off from the balcony are wooden bars and thick clear acrylic panels. The panels are made
thick to resist panel vibration.

31
CHAPTER6.0 SITE ACOUSTICAL ANALYSIS

6.1 Incident Sound

Audience sitting at the front row

receives higher intensity of direct sound
62SZSZSI
from the sound source compared to
other positions in the hall.

Audience sitting at the middle row will

receive relatively lower sound intensity
6ZSZSZSI
as it is further from the sound source.

The intensity of sound decreases as the

bZSZSZSi distance from the sound source
increases. Therefore, audience sits at the
upper level receives the lowest intensity
of direct sound.

Audience at underside of the deep

tszszszsi balcony are in the potential sound
shadow area, where direct sound could
not reach. Sound reflection and
diffraction are used to supplement for
the condition.

Figure 6.1.1 Incident sound diagram.

32
6.2 Sound Reflection and Absorption
6.2.1 Properly-tilted Ceiling

KZSZSZSI ....___,L )
--L--1.. -- _ _,/:._J.

Rellettive wall (brick wall, plaster celing)

Figure 6.2.1. l Sound Reflection Analysis of Rear of Auditorium.

Back rows of audience seatings are shaded with lower ceiling resulting from balcony
seatings at upper level. Slanted ceiling reflects sound and distribute it to deeper rows of seatings to
optimise the acoustic experience.

l\ZSZSZSI L )L {_ /

\1
~
\,
-g
/ \
__ Reflective wal (bñck wall, plaster ce,l,ng)

Figure 6.2.1.2 Sound Reflection Analysis of Ceiling of Auditorium.

33
 Properly tilted ceilings ensure the sound emitted from the sound source travel to the

audience by sound reflection and directs the sound in specific directions. As a result, reflection of
sound through the tilted ceiling is able to optimise and distribute sound throughout the whole

auditorium.

SUB SOUND SOURCE

ó4e
~
MAIN SOUND SOURCE ~
~

p/M of ilud1tonum (lower level!

Reflea:ive wall (brick wall, plaster celling) Speakers

Absorptl\le wall (surface treatement)

Figure 6.2.1.3 Sound Reflection Analysis ofln House Speakers.

34
6.2.2 Speakers
1. In house speakers
House speakers placed at stage acting as the main source of sound, directing all
incident sound towards audience, whereas sound woofers placed around audience provides

better hearing experience.

SOUND ABSORBED

';:====-=--=-:::;---======;'

-··--==='

' I';::====='~
--,
"i========:::J
:]

MONITOR
SPEAKERS

J
\
MAIN MAIN
SOUND SOUND stage
SOUR.CE SOURCE
o
'§.
6

Reflective wall (brick wall, plaster celling) Speakers

Absorptive wall (surface treatement)

Figure 6.2.2.1 Sound Reflection Analysis of External Speakers.

35
2. External Speakers

Two main speakers are placed on both sides of stage, where diamond shaped stage allows all
sound to be reflected towards audience, whereas monitor speakers direct sound to performers.

LACK OF
SOUNDRE·
FlECTION SOUNO ABSORBEO

SCDtsllM -­
remll'>'l!d

I I
audience

- -----------
stage

SOJJND
SOllRCE

plan of '<ld.<to,ium (la,,er /ew,!)

Reflective wall (brick wall and wooden panels)

Absorptive wall (surface treatement)

Figure 6.2.2.2 Sound Reflection Analysis without Speakers

36
6.3 Sound Diffusion I Dispersion
By enhancing the sound emitted from sound source through the design and material of
surfaces it selves, usage of external amplifier is at zero. At lower level of auditorium, seatings at
centre row are removed due to the lack of reflected sound or weak reflected sound arriving at that

position, as two straight walls are placed parallel to each other, perpendicular to sound source.

Control Room with Angular Surfaces

Above the box seatings is an angular surface that reflects the sound emitted from sound

source. Sides of the surface are made up of wooden panels, in a result, the audience receives

adequate amount of reflected sound from the surrounding area.

- -- - -- ---- - - - - -- -- - _.., ----- - - - ----- - -

[ r'llld181!Cf!

r stag,. ¡
,.y-I
;'

Reflective wall (wooden panels)

Figure 6.3.1 Sound Reflection Analysis of Angular Surfaces.

37
Acoustic Shadow

The deep balcony created a potentiaJ acoustical shadow at the seats underneath the
balcony. Besides that, the application of absorptive wall at the end of the auditorium hall
causes the possible reflected sound waves to lose its energy, therefore transmitting a

relatively low intensity reflected sound towards the area below, forming an acoustic shadow
area.

ISZSZSZSJ

Reflective wall (bricK wall. plaster ceiling)

Absorptive woll (surface lreolement)

Figure 6.3.2 Acoustic Shadow

Figure 6.3.3 Interior Side View Figure 6.3.4 Removal of Seats

38
Wooden Slat Acoustic Diffuser

The wooden slats acoustic diffuser applied on the wall functions with the same theory as
cavity absorber. When sound waves travel into the gap space, certain percentage of it is absorbed by
the absorption material behind the slats, the reduced sound energy is then reflected for multiple

times in the space, further decreasing the energy of sound.

Reflective wall (brick wall. plaster ceiling)

Absorptive wall (surface treatement)

<I
Concrete

. --
•
- - - - - - - - - - - - - - - - -- - - - - -
------------------AÕSornñoñfnœ~r
~ - --- - --- - --- - -- - --- - - -- - -

...
Woo, 1 slots JCOUS ic diff rser

..,¡
"' "' "'
"' •
. .. ...

Figure 6.3.5 Sound Reflection in Cavity Wall.

39
6.4 Reverberation Time Calculation

Absorption of surface= Surface area (m2) x Absorption coefficient of surface (500Hz)

As (Ceiling)= 630.7m2 x O I
= 63.07 m2sabins

As (Seating)= l.2m2 x 1237 x 0.56

= 831.26 m2sabins

As (Curtain)= 45.5m2 x 0.35

= 15.93 m2sabins

Wall
As (Wood Slat Acoustic Diffuser)= 102.3m2 x 0.42
= 42.97 m2sabins

As (Wood Panel Sound Diffuser)= 232.66m2 x 0.17

= 39.55 m2sabins

As (Concrete)= 697.33m2 x 0.02

= 13.95 m2sabins

Floor

As (Carpet)= 352.72m2 x 0.44

= 49.38 m2sabins

As (Wooden)= 28 l.12m2 x 0.2

= 56.22 m2sabins

As (Door)= 65m2 x 0.14

= 9.1 m2sabins

Balcony

As (Thick Clear Acrylic Panels)= 32.36m2 x 0.7

= 22.65 m2sabins

As (Wood Railing)= 16.95m2 x O 1

= 1.7 m2sabins

As (Deep Balcony)= 110.42 x 0.5

= 55.2 m2sabins

As (Ventilation Grills)= 2.97m2 x 0.15

= 0.45 m2sabins

40
Total Absorption= 63.07 + 831.26 + 15.93 + 42.97 + 39.55 + 13.95 + 49.38 + 56.22 + 9.1
+ 22.65 +
1.7 + 55.2 + 0.45
= 1201.43 (m2sabins)

Reverberation Time= 0.16 x Volume of the room+ Total absorption

RT= 0.16 x I0200m3-;- 1201.43m2sabins
= l.36s

41
CHAPTER 7.0 ISSUE AND RECOMMENDATION

7.1 Issues

1'bf "'J' t •. I -'o-

Figure 7.1.1 Sound Reflection of Auditorium.

One of the concerns that could be seen in MBSA auditorium hall is the absence of concave

surface that has the potential to form concentration of sound waves especially for the back rows.
This will result in non-uniform distribution of sound waves, causing a different acoustic experience
for the audience.

42
 ISZSZSZSI
- {_-~,/--l.

... ~~~~ ..-: I

I
I
I
I

Retlective wall [brick 'NOI plaster ceihngl

Absorptive wd' ls~oce trea1ementl

Figure 7.1.2 Sound Shadow Issue

Another issue that is detected in the hall is the acoustic shadow area that is located below the
balcony due to the depth as well as the absorptive wall behind. This could affect the amount of

sound received by audience, especially the last seating row.

43
7.2 Recommendations
Solution 01

Reflective œílìng (plaster œilìng)

Figure 7.2. l Concave Ceiling Suggestion.

To achieve desired sound throughout the whole auditorium and to ensure the satisfaction of
the acoustic experience, ceiling is recommend to tilt or orientate in a more concave-like shape.

Concentrated sound can be produced and distributed uniformly once the sound is reflected.

44
Solution 02

!Before!

KZSZSZSJ .__....,L )L
--{,_ Ll

Reflective wall (brick wall, plaster coiling)

Absorptive wall (surface treotement)

!Aff er!

KZSZSZSI

Reflective wall (brick wall. plaster ceiling)

Absorptive wall (surface treatement)

Figure 7.2.2 Ceiling Adjustment

45
 The initial design of the auditorium hall has a deep balcony, which then creates a potential

acoustical shadow underneath the balcony. The application of absorptive wall at the end of the
auditorium hall also causes the possible reflected sound to losses its energy, therefore transmitting a
relatively low intensity sound towards the area, forming an acoustic shadow area.

The recommended solution for the occurrence of acoustic shadow below the balcony is to escalate
the height of the floor to balcony dimension and at the same time, increase the steepness of the
tilted ceiling of the lower floor. This will ensure the reflected sound is able to be guided towards the
audience below the balcony area without decreasing the energy of the sound.

46
CHAPTERS.O CONCLUSION
The calculated reverberation time of l.36s at 10200m3 volume reinforces the mixed use
nature of the Majlis Bandaraya Shah Alam auditorium. With the common programs such as live
singing performances and the occasional speech conferences, the reverberation time is neutral and

neither fully catered towards speeches nor musicals. The reverberation time of l .36s is suitable for
live singing performances due to the presence of music that should have a relatively higher
reverberation time to reach more 'fullness' and at the same time, the program requires a relatively
lower reverberation time to maintain the intelligibility of the lyrics.

47
CHAPTER9.0 APPENDIX AND REFERENCES
ABSORPTION COEFFICIENTS www.alwstik.ua

FREQUENCY Hz
MATERIAL THICKNESS us 250 soo 1000 2000 4000

MASONRY WAUS

Rough concrete 0,02 0,03 0,03 0,03 0,04 0,07

Smooth unpainted concrete 0,01 0,01 0,02 0,02 0,02 o.es
Smooth concrete, painted or ¡lazed 0,01 0,01 0,01 0,02 0,02 0,02
Porous concrete biodes (no surrace ßnlsh) o.os 0,05 o.os 0,08 0,14 0,2
Olnker concrete (no sutf3Ce finish) 0,10 0,20 0,40 0,60 o.so 0,60
Smooth brickwoñ< with ílush pointing 0,.02 0,03 0,03 0,04 o.os 0,07
Srnoottl brlckwort with flush pointing. painted 0,01 0,01 0,02 0,02 0,02 0,02
Stanc11rd brlckwo,k 0,05 0,04 0,02 0,04 0,05 o.os
8clckworlt, IOmm ílush pointing 0,08 0,09 0,12 0,16 0,22 0,24
Ume cement pluter on masonry wall 0,02 0,02 0,03 0,04 0,05 0,05
Glau, plaster on masonry wall 0,01 0,01 0,01 0,02 0,02 0,02
Palntt!d plHll!r surtnee on masonry wall 0,02 0,02 0,02 0,02 0,02 0,02
Plaster on masonry wall with wall pa~r on œcklng
p~per 0,02 0,03 0,04 0,05 0,07 0,08
Cer.amie tites with s,noolh surf~ce 0,01 0,01 0,01 0,02 0,02 0,02
Breeze block 0,20 0,45 0.60 0,40 0,45 0,40
l'lo.stN on solid wall 0,04 aos 0,06 0,08 0,04 0,06
Planer, lime or 1ypsum on solid backln1 0,03 0,03 0,02 0,03 0,04 o.os
STUDWORK AND l.lGHTWEIGHT WAW
Plasunboard on batte<is, 18mm airsp1Ke with 11us
wool 0,.30 0,20 0,15 o.os o.os o.os
Plasterboard on l111me, lOOmmairspace 0,30 0,12 0,08 0,06 0,06 o.os
PIMterboard on frame, lOOmm alrspi,ce with glass
wool 0,08 0,11 0,05 0,03 0,02 0,03
Plasterboard on SOmm b•ttens 0,29 0,10 0,05 0,04 0,07 0,09
Plasterboard on 2Smm battens 0,31 0.33 0,14 0,10 0,10 0,12
2 • plasterboard on frame, SOmmairspace with
mineral wool 2x13mm 0,15 0,10 0,06 0,04 0,04 nos
Pl.lsterboard on œltular core partition O,lS 0,00 0,01 0,00 0,04 o.os
Plasterboard on frame lOOmm cavity 13mm 0,08 o.u o.os 0,03 0,02 0,03
Pläuerboard on fl'llrnol, lOOmm cavity with minero!
wool 13mm 0,30 0,12 0,08 0,06 0,06 o.os
2 x l3mm plasterboard on steel frame, SOmm
mlnenl wool ln callity, surface painted 26mm 0,IS 0,01 0,06 0,04 0,04 o.os
GLASS AND GLAZING
4mmcllss 4mrn 0,30 0,20 O.IO 0,07 e.os 0,02
6mmalus 6mrn 0,10 0,06 0,04 0,03 0,02 0,02
Couble atadna, 2·3mm alass. IOmm air '3P O,IS e.os 0,03 0,03 0.02 0,02

WOOD AND WOOD PANEUING

3-4mm plywood, 7Smm cavity containing mineral
wool 1 o,s 0,3 0,1 o.os aes aos
Smm plywood on banens, SOmmalrsp.,ce filled 0,40 0,35 0.20 O,lS o.os aos
12mm plywood over SOmm•1'1•1' I 0,25 e.os 0,04 0,03 0,03 0,02
12mm plywood over lSOmm alrgap l 0,28 0,08 0,07 0,01 0,09 0,09
Umm plywood ove, 200mm alrgap containing
50mm mln<!ral wool I 0,14 0,10 0,10 0,08 0,10 0,08
Plywood mounted solidly o.os o.os o.os o.os
12mm plywood ln rramework with 30mm airspace
behind Umm 0,35 0,20 0,15 0,.10 o,os o.os
Umm plywood ln framewort with 30mm airspace
containing glass wool Umm 0,40 0,20 O,lS 0,10 0,10 o.os
Plywood, hardwood panelsº""' 2Smm airspace on
solid backlna 0,30 0,20 O,lS 0,10 0,10 o.os
Plywood, hardwood paneb ove, 2Smm airspace on
solid backing with absorbent material ln air space 0,40 0,2S 0,1S 0,10 0,10 aos
12mm wood panetlins on 2Smm battens 12mm 0,31 0,33 0,14 0,10 0,10 0,12
Timber boards, lOOmm wide, lOmm gaps, SOOmm
airspace with mlneml wool 22mm o.os 0.25 0,60 0,.15 o.os 0.10

48
REFERE CNES

I. https://www.acousticalsurfaces.com/acoustic_IOI/l O l _ 13.htm
2. https://www.barbourproductsearch.info/De Am p%2OBrochure-fileO58 984.pdf
3. http://www.acoustic.ua/st/web _absorption_data_eng. pdf
4. http://mapleintegration.com/sound_ab. php
5. https://issuu.com/jacquelyntan/docs/a4 _report_completed
6. https://www.engr.psu.edu/ae/thesis/portfolios/2005/sas444/F inal%20Report/Acoustics. pdf
7. https://www.omicsonline.org/open-access/a-comparative-analysis-of-acoustic-material-and­
effects-on-churchauditoriums-old-and-new-churches-in-nigeria-0976-4860-l 00015 3. php?
aid=67941
8. https://www.lifewire.com/what-is-surround-sound-audio-2640440
9. http://www.electrovoice.com/downloads.php?fam=5 l&title=SL%20Series&d= 1
1 O. http://www.hifido.co.jp/I(W /G020 l/J/0-10/C 12-68892-54803-00/
11. http://www.music-group. corn/Categories/Behringer/Loudspeaker-Systems/Portable-
Speakers/B1220-PRO/p/P0284
12. https://oneroofstore.com/behringer-vpl520.html
13. https://www.bunnings.com.au/csr-edmonds-ventilation-whirly-mate-ceil ing-grille_p08 l 6657
14. https://issuu.com/priscakwan/docs/toc.docx
15. https://www.slideshare.net/mominzaki/auditorium-acoustics-33230112

49