Bu Midterm Exam Topics

INTRODUCTION TO ACOUSTICS and LIGHTING
1. The psycho-physics of acoustics and lighting

2. Acoustical treatment and corrections
The hearing mechanism of the ear senses sound waves, converts them to information, relays it to the brain, brain
interprets the information as sound.
ACOUSTICS: branch of physics concerned with sound.

1. SOUND SOURCE – generation of sound
2. TRANSMISSION PATH – airborne, structure borne, waterborne
3. RECEIVER (RECEIPIENT) – accepts the sound whether wanted or unwanted
What is the difference between sound and noise?

Sound is what we hear. 1. WANTED SOUND – Speech, Music
2. UNWANTED SOUND – Noise (objectionable or not desired)
ARCHITECTURAL ACOUSTICS
Effect of building design on sound control in buildings
Principles of acoustics to create a satisfactory acoustical environment
Types of sound control for Architectural Acoustics

1. Acoustical environment in a room: positioning sound sources to the listeners, and arranging appropriate
absorptivity or reflectivity levels for all interior surfaces
2. Isolation of unwanted sounds: insulating building occupants from intrusive noise
Three aspects of acoustical design of buildings
1. Planning to keep noise sources as far as possible from quiet areas
2. Internal acoustics of rooms
3. Structural precautions to reduce noise penetration
Three degrees of acoustic treatment
1. Site (landscape as sound barrier)
2. Architectural Elements (building materials, furniture, furnishings)
3. Acoustic Materials (specifically rooms needing special acoustic treatments)
SOUND WAVE: Longitudinal pressure wave in air or an elastic medium especially one producing an audible
sensation 1. Sound wave
2. Increased volume sound wave
3. Increased frequency sound wave
PITCH and FREQUENCY
Frequency is the number of times per second that a vibrating body completes one cycle of motion
Unit for frequency is hertz (Hz = 1 cycle per second)
Low pitched or bass sounds have low frequencies
High-pitched or treble sounds have high frequencies
Normal person can hear frequencies from roughly 20 to 20,000 Hz
Human speech is mainly in the range 300 to 3,000 Hz
DECIBEL (dB) - a logarithmic scale applicable to any parameter.
SOUND PRESSURE LEVEL (Lp)
Sound pressure converted to the decibel scale
SOUND PRESSURE
The amount of air pressure fluctuation a noise source creates. We "hear" or perceive sound pressure as loudness.
Sound pressure is usually expressed in units called pascals (Pa)
SOUND POWER
The sound energy transferred per second from the noise source to the air
Power is expressed in units called watts (W)
Like sound pressure, sound power (in W) is usually expressed as sound power levels in dB.
SOUND POWER LEVEL
Sound power level, Lw, the total sound energy radiated per second.
LOUDNESS
The human impression of the strength of a sound
How is vibration isolated and controlled?
to reduce the problem to a single mass supported by a spring and a damper
REVERBERATION
Prolongation of the sound in the room caused by continued multiple reflections
REFLECTION and ABSORPTION

REFLECTION, DIFFUSION, AND DIFFRACTION
REFLECTION – the repetition of a sound resulting from reflection of the sound waves
Concave Reflector
Concave sound-reflecting surfaces (barrel-vaulted ceilings in churches and curved rear walls in auditoriums) focus
sound, causing hot spots and echoes in the audience seating area
Flat Reflector
Flat, hard-surfaced building elements (large enough and oriented properly) effectively distribute reflected sound. The
reflector is tilted slightly to project sound energy toward the rear of an auditorium.
Convex Reflector
Large convex, hard-surfaced building elements are the most effective sound-distributing forms.
The reflected sound energy from convex surfaces diverges, enhances diffusion, desirable for music.
Reflected sound from convex surfaces is more evenly distributed across a wide range of frequencies.
Flat Ceiling
Hard, sound-reflecting flat ceiling provides useful sound reflections covering the entire seating area in a lecture room
Sloped Ceiling
For concert halls: long reverberation, high ceilings, sound-reflecting walls are preferred; ceilings that are diffusing can
improve audibility of lateral sound by diminishing the strength of ceiling reflections
ECHOES
The distinct repetition of the original sound and is sufficiently loud to be clearly heard above the general reverberation
and background noise in a space.
FLUTTER ECHO
Repetitive inter-reflection of sound energy between opposing parallel or concave sound-reflecting surfaces heard as
a high-frequency ringing or buzzing
To prevent flutter echo, avoid parallel surfaces, provide deep sound-absorbing treatment, or break up smooth
surfaces with splayed or ‘scalloped” elements.
DIFFUSION – Scattering or random redistribution of a sound wave from a surface; occurs when the surface depths of
hard-surfaced materials are comparable to the wavelengths of the sound.
DIFFRACTION – Bending or “flowing” of a sound wave around an object or through an opening
Noise reduction coefficient (NRC)

a single-number index for rating how absorptive a particular material is.
Sound Transmission Loss (TL);
A door’s ability to reduce noise is called its sound transmission loss (TL) effectiveness. TL is a value given in
decibels, which is determined by measuring sound pressure levels at a certain frequency in the source and
receiving rooms.
Sound Absorption Coefficient (SAC)
The fraction of the randomly incident sound power which is absorbed, or otherwise not reflected.
Sound Transmission Class (STC) is a single-number rating of a material’s or assembly’s barrier effect.
What is the difference between insulation & absorption?

Sound insulation is required in order to eliminate the sound path from a source to a receiver such as between
apartments in a building, or to reduce unwanted external noise inside a concert hall.
Sound absorption occurs when some or all of the incident sound energy is either converted into heat or passes
through the absorber.
NUEVA ECIJA UNIVERSITY OF SCIENCE AND TECHNOLOGY
AR 363 - BUILDING UTILITIES 3 (ACOUSTIC & LIGHTING SYSTEMS)
COLLEGE OF ARCHITECTURE
FUNDAMENTAL OF
ARCHITECTURAL ACOUSTICS
GROUP NO. 1
GROUP MEMBERS:
1. Alarilla, Melvin
2. Ardales, Jhonary
3. Asuncion, Ariel
4. Banquil, Cielo Elmyn
5. Bautista, Keith
CHAPTER OUTLINE
ACOUSTIC SYSTEMS:
● Fundamentals of Architectural Acoustics

● Sound Theory
● Human Response to Sound
● Sound Sources
● Definition of Sound and Acoustic
Terms & Units
COLLEGE OF ARCHITECTURE 1.
ACOUSTIC SYSTEM
WITHIN THE CONTEXT OF ARCHITECTURE
adequately plan a space to reinforce
needed sound, to eliminate unwanted
sound, and to prevent the transmission of
unwanted sound.
Exact science and practical art

concerned with the production,
control, transmission, reception,
and effects of sound in an
enclosed space.
SCOPE OF ACOUSTIC
ARCHITECTURAL ACOUSTIC
ARCH. GEORGE S. SALVAN (1999)
Technology of designing spaces, structures and

mechanical systems to meet hearing needs
● Wanted sound can be heard properly
● Unwanted sound can be attenuated so it

doesn’t cause annoyance
ARCH. GEORGE S. SALVAN
ELEMENTS OF ACOUSTICS
Source
Human speech, mechanical equipments, etc.
Path
air, earth, building materials, water, etc.
Receiver
humans, animals, sensitive medical equipments
SECTION
COLLEGE OF ARCHITECTURE ANCIENT THEATRE OF EPIDAURUS 6.

Wallace Clement Sabine (1886 - 1919)

● Founder of the Science of Architectural Acoustics
● Boston Symphony Hall (1900) - first structure to be designed

with the Sabine’s Law
● Published Collected Papers on Acoustics (1922)
Vilhelm Lassen Jordan (1909 - 1982)
● Redesign the Sydney Opera Theater
WALLACE CLEMENT ● Consultation on hundreds of projects throughout the world VILHELM LASSEN
SABINE JORDAN
● Acoustical Design of Concert Halls and Theaters (1980)
BOSTON SYMPHONY HALL
BOSTON SYMPHONY HALL
WALT DISNEY CONCERT HALL
CULTURAL CENTER OF THE PHILIPPINES
Wallace Clement Sabine (1886 - 1919)

● Founder of the Science of Architectural Acoustics
● Boston Symphony Hall (1900) - first structure to be designed

with the Sabine’s Law
● Published Collected Papers on Acoustics (1922)
Vilhelm Lassen Jordan (1909 - 1982)
● Redesign the Sydney Opera Theater
WALLACE CLEMENT ● Consultation on hundreds of projects throughout the world VILHELM LASSEN
SABINE JORDAN
● Acoustical Design of Concert Halls and Theaters (1980)
MATERIALS:
SYDNEY OPERA CENTER Wood is a commonly used material in concert hall
design because of its acoustic properties. In the Sydney
Opera House's Concert Hall, timber panels and finishes
are strategically placed to help diffuse sound waves and
reduce unwanted reflections, enhancing clarity.
Plaster is another material used in the construction of the
Sydney Opera House's interior surfaces. The plaster
surfaces are shaped and textured in a way that helps to
scatter sound reflections, preventing echoes and
maintaining clarity.
Adjustable Acoustic Panels In some areas of the Opera

House, such as the Concert Hall, adjustable acoustic
panels are installed. These panels can be moved or
adjusted to control the reverberation time and fine-tune
the acoustics for different types of performances.
SYDNEY OPERA CENTER MATERIALS:
Textile materials, such as curtains and upholstered
seating, are used strategically to absorb sound and
reduce reverberation in certain areas of the venue,
further enhancing clarity.
Ceramic Tiles: In spaces where reflective surfaces are

desired, such as lobbies and corridors, ceramic tiles may
be used. These tiles can help to maintain sound clarity by
allowing sound waves to reflect off surfaces without
causing excessive reverberation.
BRANCHES OF ACOUSTICS
ENVIRONMENTAL
ACOUSTICS
Deals with the effects

of environment upon
audible sound.
UNDERWATER
ACOUSTICS PSYCHOACOUSTICS
ENGINEERING
ACOUSTICS Deals specifically with all Deals with reaction of human
sound in the sea. beings to audible sound.
Technology of sound production and
recording, sound motion pictures,
radio, and television.
SOUND THEORY
TYPES OF SOUND
WHAT IS SOUND?
SPEECH
SPEECH
comprises of phonemes which are individual and
● A series of pressure variation in an elastic medium. distinctive sounds that an extent vary from language to
● Defined by architects as audible signal. language.
MUSIC
MUSIC
Sound travels in space by a phenomenon called wave much broader and complex than speech in frequency
motion. Wave motion in air is similar to the motion of a and dynamic range.
ripple produced by dropping a pebble in a water pond.
NOISE
Any sound that is unwanted, annoying or discordant,
that interferes on one’s hearing.
BACKGROUND WHITE NOISE
NOISE
sound present in an unvarying unobtrusive
environment which is sound having the same
not identifiable by the intensity for all
listener. frequencies of a given
band.
BASIC PROPERTIES OF SOUND
PERIOD (T)
Time it takes for one cycle.
PITCH LOUDNESS If the period decreases, the time it

An attribute for a sound that places takes for a molecule to oscillate back
● The quality of sound governed perception on a scale ranging from and forth decreases, and the note or
by the rate of vibrations inaudible/quiet to loud/uncomfortable, the pitch of the sound changes.
producing it. in response to change in sound
● The degree of highness or pressure level. The less time it takes the air molecule
lowness of tone. to oscillate back and forth, the higher
Units for loudness: Phon & sone the note we perceive

PHYSICAL PROPERTIES OF SOUND
WAVELENGTH (λ)
SPEED (c)
The wavelength and the frequency of
Speed of sound in air: 343 m/s
sound are related to each other as
(1,130 ft/s)
shown in the equation below:
FREQUENCY (f)
Speed of sound in air does not vary
c = fλ Number of cycles of compression and with the frequency of sound or
rarefaction of air makes in a given unit loudness. Sounds at all audible
The greater the frequency of sound, of time or one second. frequencies, regardless of their
the smaller its wavelength. loudness, travel at the same speed.
SI unit: hertz (Hz)

Change in dB Subjective
level Response
Just
3 dB
perceptible
INTENSITY
Clearly
5 dB
perceptible
Amount of sound power falling on/passing through/crossing a unit
area.
Unit: watt per square meter (W/m²) 10 dB Twice as loud
DECIBEL (dB)
A logarithmic unit used to measure sound level. Ratio of intensities
expressed in terms of a logarithmic scale.

PROPAGATION OF SOUND VELOCITY OF

PROPAGATION
In order to be heard by an observer, a sound wave must have a
certain minimum value of pressure.

REFERENCES:
This page graduated (chegg.com)
Ancient Theatre of Epidaurus - Wikipedia
Wallace Clement Sabine | Acoustics, Sound Research, Harvard | Britannica
What Is Soundscape and What Does It Have to Do with Architecture? | ArchDaily
Jordan, Vilhelm Lassen ⋅ 1909–1982 | The Journal of the Acoustical Society of America | AIP Publishing
How you need to prevent hearing loss as a musician (soundbrenner.com)

Decibel - an overview | ScienceDirect Topics
Fields of Acoustics - Explore Sound!
Measuring sound — Science Learning Hub
COLLEGE OF ARCHITECTURE 16
THANK YOU !!
ACOUSTIC SYSTEMS
GROUP NO. 2
GROUP MEMBERS:
1. Bautista, Nescie Marie
2. Cabuang, Diane Iyra
3. Corpuz, Jerome
4. Cruz, Kyla
5. Cuizon, Kevin Dave
ACOUSTICSYSTEMS : Soundin Enclosures
CHAPTER OUTLINE
Sound in Enclosures
Sound Absorption
Reverberation
Reflection& Diffraction
Ray Diagrams and Sound
Paths
SOUND ABSORPTION
The interception and conversion of sound
energy into other form of energy by the
structure of a material.
Unit of sound absorption: sabin (one square
feet of a perfectly absorptive surface).
Most common materials do not absorb all
sound energy.
Soundproofing is a specialism that revolves around effectively

controlling unwanted noise, with various soundproofing
materials used to mitigate the effects of noise. POROUS
MATERIALS FOR SOUND ABSORPTION:
ACOUSTIC FOAMS
SOUND REFLECTION
Sound reflection occurs when soundwaves bounce back from the surface
of a solid or liquid. Many fascinating phenomena, such as echo and
reverberation, are caused by sound reflection. The reflection of sound,
like the reflection of light, obeys laws. When a sound hits a hard surface,
it bounces back to its source.
REFLECTION
Return of sound wave from a surface.
Diffusion– the scattering or random redistribution of a sound wave from
a surface
REFLECTION OF SOUNDS
ON DIFFERENT SURFACES
REVERBERATION
The persistence of a sound within an enclosed space, caused by
multiple reflection of the sound after its source has
stopped.
REVERBERANCE VS. ARTICULATION

having the character of a loud deep the formation of clear and distinct
sound; the quality of being resonant. sounds in speech.
Designed for performance of Keeps each sound event separate
romantic music Recommended for spaces for speech
ECHOES
An echo is a repetition or a
partial repetition of a sound
due to REFLECTION.
REVERBERATION is also
reflected sound, but in this
case, separate repetitions of
the original sound are not
distinguishable.
ECHOES VS. REVERBERATION
DIFFRACTION
The bending of waves
around small obstacles and
spreading out of waves
beyond small openings.
RAY DIAGRAMS & SOUND PATHS

As architects, we should
design methods to
reinforce desirable
reflections and minimize
and control undesirable
ones.
ECHOES
Distinct repetition of a
sound produced by the
reflection of soundwaves
from an obstructing Speed of sound in air (20°C): 344 m/s
surface, loud enough and Time interval bet. Each sound: 0.1 sec
received late enough
to be perceived from the 2d= 344 x 0.1 = 34.4m
source. d= 17.2 m
FLUTTER ECHO
Series of distinct echoes.
A rapid succession of echoes caused by the reflection of soundwaves back
and forth between two parallel surfaces, with sufficient time between each
reflection to cause the listener to be aware of separate, discrete signals.
FOCUSING
Convergence of a sound waves
reflected from a concave
surface.
It will deprived some
listeners.
It will increase intensity
of echoes of useful sound and
flutter if reflecting surface is
far away.
DIFFUSION
The opposite of focusing,
occurs mainly when sound
reflects from convex surfaces
or from flat, horizontal
inclined reflectors.
CREEP
Sound reflects along a
curved surface from a source
located near that surface.
While the sound can be
heard at points along the
surface, it becomes inaudible
away from the surface itself.
STANDING WAVE
A standing wave is the combination of two waves that are moving in
opposite directions. Standing waves are typically formed in situations
where a wave is bouncing back and forth in an environment that produces
constructive interference.
AUDIBILITY IS AFFECTED BY:
1. Shape of room
2. Size of room
3. Room furnishings
4. Position of source of sound
5. Reverberation period

1. Shape of room
Preferred shapes for good acoustics:
Rectangular or trapezoidal, as they
minimize standing waves and provide
balanced sound distribution.
Unfavorable shapes: Square, circular, or
oval, due to potential irregularities in
sound propagation.
Large, curved areas in a room create focal
points and disrupt sound distribution,
negatively impacting hearing conditions.

1. Shape of room
Overhangs obstruct sound waves, causing
diffraction and acoustic shadows,
affecting sound audibility.
Stepped seating arrangements can reduce
sound obstructions and create even sound
reflection, compromising the listening
experience.
Breaking up wall and ceiling surfaces
improves sound diffusion, reducing
standing waves and enhancing overall
acoustics.
COL LEGE OF ARCHITECTURE

2. Size of room
Normal speech should be audible within
approximately 20-30 m in the direction of
the speaker, 13 m to the side, and 10 m
behind.
Maximum recommended cubic space
content without aids like loudspeakers or
reflectors: 18,000 m³ for speech and 30,000
m³ for music.
Height of the room should not exceed 8 m.
Height to Width to Length Ratio: 2:3:5

3. Room furnishing
Prefer suspended ceilings and claddings
with voids for resonance in acoustics.
Design HVAC systems to prevent warm air
currents between sound source and listener.
Strategically place absorbent materials on
rear walls, dome surfaces, and balcony
railings.
Staggered, rising seating with step heights
of 80mm (French) or 100mm (UK)
standards.

4. Position of source of sound
Place sound source in front of reflecting
surface; use sounding boards for excessive
room height.
Keep multiple sound sources close
together; place loudspeakers within 34m
(112 ft) for theatrical and 24m (80 ft) for
musical performances.

5. Reverberation period
Reverberation time results from the reflection of direct sound off wall and
ceiling surfaces, perceived by listeners as a gradual decay of sound.
DEFINITION OF ACOUSTIC
TERMS & UNITS:
SONAR
SYMPATHETIC VIBRATION
A vibration induced in one body by the vibrations Sound Navigation and Ranging.
of exactly the same period in a neighboring body. Uses reflection of soundwaves in water to
RESONANCE locate the position or motion of an object.
The intensification and prolongation of sound METRICSABIN
produced by sympathetic vibration. Unit of sound absorption, equal to 1
UNDULATING square meter of perfectively absorptive
A smoothly rising and falling form or outline. unit.
REFERENCES:
THANK YOU !
ACOUSTICAL PROPERTIES
OF BUILDING MATERIALS
GROUP NO. 3
GROUP MEMBERS:
1. Delos Santos, Joshua C.
2. Diga, Shaina Raine
3. Estabillo, Chris Charles
4. Flores, Irish Jullian M.
5. Grospe, Edelyn P.
ACOUSTIC SYSTEMS: ACOUSTICAL PROPERTIES OF
BUILDING MATERIALS
CHAPTER OUTLINE
ACOUSTICAL
PROPERTIES OF
BUILDING MATERIALS
Mechanics of Absorption
Types of Acoustical Materials
- Prefabricated Acoustical Units
- Acoustical Plaster and
Sprayed-on
- Acoustical Blankets
Perforated Facings
Special Sound Absorptive
Construction
MECHANICS OF ABSORPTION
R e v e r b e r a n t (r e f l e c t e d ) s o u n d Reflections are largely
constitutes the greater eliminated by wall and
p o rt i o n o f r e c e i v e d s o u n d i n ceiling absorption.
much of the room.
SOUND TRANSMISSION CLASS(STC)
An integerrating on how well a building

material attenuates airborne sound.
NOISE REDUCTION COEFFICIENT(NRC)
Rating of how much sound an acoustic product can

absorb.
ABSORPTIVE MATERIALS
There are three families of devices for sound absorption
FIBROUS MATERIALS PANEL RESONATORS VOLUME RESONATORS
All types absorb sound by changing sound

energy in to the heat energy.
E L E C T R I C I T Y TYPES OF ACOUSTICAL
MATERIALS
▪ P R E -F A B RI C A T E D U N I T S
Acoustical tile Perforated units with Wall boards
absorbent material
Absorbent sheets
Tileboards
MATERIALS
▪ACOUSTICAL PLASTER AND SPRAYED

Plastic and porous
materials applied by trowel
Fibrous material with binder

agents applied by an air gun
of blower.
MATERIALS
▪ACOUSTICAL BLANKETS
made up of
mineral or wood
wool kapok batts
hair felt
glass fibers
PRE-FABRICATED UNITS A C O U S T I C A L T I L E S
ADVANTAGES
1. M o s t o u t s t a n d i n g f e a t u r e i s i t s “ b u i l t -i n a b s o r p t i v e v a l u e .
2. Foolproof
3. High absorptivity
4. S o m e c a n b e d e c o r a t e d w i t h o i l- b a s e p a i n t .
DISADVANTAGES
1. L i m i t a t i o n s f o r a r c h i t e c t u r a l t r e a t m e n t .
2. C o s t c o m p a r e d w i t h o t h e r a c o u s t i c a l m a t e ri a l s ,
3. I m p o s s i b l e t o c o n c e a l t h e p o i n t s b e t w e e n a d j a c e n t t i l e s .
PRE - FABRICATED UNITS F O U R T Y P E S
Type I. “Cast units having pitted or granular –appearing surface”
ClassA. All mineral units ClassB. mineral units ClassC. unitsc omposed of
composed of small granula composed of small granules small granules of mineral
r o f f i n e l y d i v i d e d p a rt i c l e s o r f i n e l y d i v i d e d p a rt i c l e s o r v e g e t a b l e o ri g i n w i t h i n
w i t h P o rt l a n d c e m e n t w i t h l i m e o r g y p s u m b i n d e r. combustible mineral binder
binders.
Type II. “Units having perforated surface: the perforations to be arranged in regular
pattern”
C l a s s A . u n i t s h a v i n g a p e rf o r a t e d ClassB. units having ClassC. units having slots

s u rf a c e w h i c h a c t s a s a c o v e ri n g c ir c u l a r p e rf o r a t i o n s or grooves extending into
a n d s u p p o rt f o r t h e s o u n d extending into the sound the sound absorbent
a b s o r b e n t m a t e ri a l t o b e s t r o n g a b s o r b e n t m a t e ri a l . m a t e ri a l .
and durable and substantially
ri g i d
Type III. “Units having a fissured surface”
Consist of large
fi l a m e n t s o r m i n e r a l
wool granules,
vermiculite or cork.
Type IV. “Units having a felted fiber surface.”
ClassB. units composed ClassC. units composed of

ClassA. units composed of long
of fine felted vegetable mineral fibers.
wood fibers.
fiber or wood pulp.
ACOUSTICAL PLASTER AND SPRAYED - ON MATERIAL
They can be used in most places where ordinary

lime or gypsum plaster can be used without
altering the architectural effects.
Contains fibers or aggregates so that it absorb sound.

Dependent on its thickness and composition and on the manner in
which it is applied and dried.
Uneconomical thickness beyond ½ inch.
Things to consider when using Acoustical Plaster

Insufficient amount of binder- plaster will not set hard
Undercoats are too wet - the binder material forms and impenetrable
film at the surface;
Undercoats are too dry- the binder material is absorbed by the
undercoats and the plaster will crumble
PERFORATED FACINGS
This type of facing can be easily cleaned and decorated
Does not reduce its absorptivity if the holes are not bridge
with paint
This type of facing has the advantage that it can be-easily
cleaned and Decorated
Repeatedly painting does not reduce its absorptivity
P e rf o r a t e d L a w a n i t B o a r d
SPECIAL SOUND-ABSORPTIVE CONSTRUCTION
PANEL ABSORBERS
DRAPERIES
VARIABLE ABSORBERS
-ROTATABLE CYCLINDERS
-ROTATABLE PANELS
SUSPENDED ABSORBERS
PANEL ABSORBERS
Made sufficiently durable and flexible materials
Can be employed for ceilings and even entire walls
The absorption coefficient of a thin wood panel can be increased by placing an absorptive material,
such as mineral –wool blanket, in an enclosed air space behind the panel, or by spot –cementing the
absorptive material directly to the panel.
DRAPERIES
In general, draperies are not satisfactory for the absorptive treatment of an auditorium.
Very absorptive at High frequencies

Slight absorptive at Low-frequencies.
To Increase their absorption at lower
frequencies
- It should be hang at least 6 inches to 1
foot from the wall and should be gather into
deep folds.
VARIABLE ABSORBER
Broadcast studios and music rooms make use of variable absorber such as hinged panels, rotatable
cylinders or movable draperies.
Special devices are utilized for varying and

controlling the acoustical conditions in the
room. The control of the following three
factors is desirable:
Magnitude of the average absorption
Shape of the absorption
Scattering or dispersion
ROTATABLE CYLINDERS
Cylinders are fitted into openings of such size that 120 degrees of each projects through a
suspended plaster ceiling.
ROTATABLE PANELS
This changes the total absorption of a

room they differ from the cylinders in
that their rotation generally changes
the shape of the walls or ceiling.
This panels control diffusion.
This can be controlled by push button
SUSPENDED ABSORBERS
The use of such suspended absorbers

is especially adaptable to locations
where there are no extended surfaces
on which to apply acoustical tile, or
similar materials, and where it would
be difficult or expensive to install a
false ceiling because of pipes or other
obstructions.
Sound waves impinge on both sides of
the absorbers, thus enchancing their
absorption.
DEFINITION OF
ACOUSTIC TERMS &
UNITS
Fibrous
The materials which are made up of fibres are generally known as fibrous materials.
Room acoustics
The qualities or characteristics of a room, auditorium, or concert hall that determine the
audibility of speech or fidelity of musical sounds in it
Acoustics Resonator
Are used to amplify or absorb sound in very specific frequency ranges.
REFERENCES:
THANK YOU !
GROUP NO. 4
GROUP MEMBERS:
1. Javier, Brianna
2. Lacambra, Deopaulo
3. Lacanilao, Shane
4. Mabagos, Alieza
5. Mallare, Eliza
CHAPTER OUTLINE:
ACOUSTIC SYSTEMS:
Sound Reinforcement System
• Input Devices Amplifiers
• Loudspeaker Systems
Noise Control & Reduction

• Planning of Building Against Noise
• Air-borne & solid-borne noise
Theater Design
• Auditorium Design & Layouts
• Audience & Seating requirements
Stage proportions
I. SOUND REINFORCEMENT SYSTEM
A sound reinforcement system is a set

of audio components designed to
amplify and distribute sound to a
larger audience in various settings,
such as concerts, conferences, or
public events.
THREE BASIC ELEMENTS OF
SOUND SYSTEM
INPUT DEVICES
• MICROPHONE- Acoustic-to-electric transducer or sensor that converts

sound into an electric signal.
Condenser Microphone
Dynamic Microphone -For studio recording
-For stage/live use -Used for their detail and accuracy
-Booming sounds and louder environments -Made with lightweight diaphragm
-Uses a wire coil to amply the signal picked suspended in a fixed plate.
up by the diaphragm. -It needs a power source and is highly
-Tough and requires little to no maintenance sensitive.
THREE BASIC ELEMENTS OF
SOUND SYSTEM
INPUT DEVICES
• AMPLIFIERS- Electronic device that can increase the power of signal.

• LOUDSPEAKER SYSTEMS- an electro-acoustic transducer that
produces sound in response to an electrical audio signal output.
TYPES OF SPEAKERS
-Wireless/Bluetooth speakers
-Built-in speakers
-Subwoofer (lower frequency 80Hz),
consume more power
-Woofer (low-frequency 80-1000Hz),
consume less power
-High-fidelity speakers (50Hz-12Hz)
-Soundbars
TYPES O F LO UD SPEAKER SYSTEM S
• Central – designed in an array of directional

units placed above and slightly in front of the
primary speaking position.
• Distributed – consists of a series of low-level

speakers located throughout the
space that covers small areas where the central
speaker could not provide proper coverage.
CO M BI N ATI O N O F CEN TRAL AN D D I STRI BUTED
LO U D SPEAKER SYSTEM S
NOISE CONTROL & REDUCTION
Noise control and reduction are important aspects in the

context of sound reinforcement systems, especially in
environments where unwanted noise can interfere with the
desired audio experience.
SITING AND PLAN N I N G OF BUILDING
AGAINST NOISE
Grading and La n d s c a p i n g
- Masonry walls, earth embankments, and landscaping can
reduce noise by as much as 5 decibels (dB).
SITING AND PLAN N I N G OF BUILDING
AGAINST NOISE
Building Layout
- The arrangement of rooms and corridors, and the locations of windows and doors
have a bearing on the control of noise.
- Spaces facing public spaces (streets, playgrounds, roads) must be avoided in rooms
that require a quieter environment.
- Mechanical equipment should be isolated from areas that cannot tolerate loud noises.

AIR-BORNE NOISE
Sound waves from one side of the room travel through the air until they reach an element and cause it to
vibrate.
-Rigid Partition
-Compound Walls (Cavity Wall)
-Doors and Windows
-Wood/Steel Stud Partitions

SOLID-BORNE NOISE
Transmission occurs particularly by tremors which are conducted by

vibrations.
-Carpets and padding

-Foam/rubber/fiberglass underlay
-Spring ceiling hangers, sound clips, resilient
mounts
-Suspended ceiling system Secondary Wall structure
-Raised Floors

THEATER DESIGN
Theater design is a complex process that requires adequate planning

to ensure the project’s success. Planning involves understanding the
theater’s purpose and how this will impact the final design.

TYPES OF THEATER STAGES
END STAGE
-The audience faces the stage in the same
direction.
-Sightlines were kept simple. Perfect for
lecture and slide-based presentations.
-Can’t be too large due to the acoustic limit.

WIDE FAN
-Theater sets are placed within a 130-degree
angle of inclusion. This brings the audience
closer to the performer.
-Geared toward speech-related functions.

¾ ARENA/THRUST THEATER
-180-270-degree angle of inclusion/ stage
surrounded by an audience on three sides.
-Hearing and visual contact between
spectator and performer is improved.

PROSCENIUM STAGE
-Also known as the “picture frame stage’.
-Most common type of stage.
-Apron- extended part of the stage which
offers an additional playing area for the
actors.

Mariinsky Theatre (Kirov Theater),
Saint Petersburg, Russia

Philippine International Convention
Center

Greenbelt Chapel, Makati

THEATER DESIGN
Seats, aisles, and row min. requirements

-Maximum of 16 seats per aisle
-Traditional seating:
Min row to row = 850mm
Min clearway = 300mm Min, slope for ramp = 1:12
-Min. Aisle/ gangway dim.= 1100mm
-Wheelchair location and number=
2% of total seating capacity
Sightlines
-Good view w/o head movement= 30°
-Goodview w/ slight head movement= 40-60 °

THEATER DESIGN
Stage, shape, and size

-Explore different stage layouts based on your theater
seating.
Sound and light lock

- SSL is a passage between the lobby and the theater seating.
Establish floor elevations

-On your floor plans, set each change of
floor elevations in your theater seating.

THEATER DESIGN
Toilet requirements
-Theater (assembly places) minimum plumbing fixtures:
Water closet
Male 3 36-55
Female 4 36-55
Over 55, add 1 fixture for each additional 40 persons.
Urinal
1 10-50
Add one for each additional 50 males.
Lavatories
1 per 40 male/female

https://bothners.co.za/dynamic-vs-condenser-mics-
a- basic-introduction/
https://recording-history.org/types-of-speakers/
https://www.slideshare.net/onalkothari/report-on-
landscape-element
https://archi-monarch.com/auditorium-design/
https://trashcansunlimited.com/blog/auditorium-
plans- layout-guides/
https://www.archdaily.com/799379/how-to-design-
theater- seating-shown-through-21-detailed-example-
layouts
https://www.arch2o.com/theater-design-7-for-
designing-a- good-theater/
https://www.virtualbx.com/construction-
preview/san- antonio-construction-documents-to-
be-complete-by- october-on-alameda-theater-
restoration/

THANK YOU!

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INTRODUCTION TO ACOUSTICS and LIGHTING

1. The psycho-physics of acoustics and lighting

ACOUSTICS: branch of physics concerned with sound.

What is the difference between sound and noise?

Types of sound control for Architectural Acoustics

REFLECTION and ABSORPTION

DIFFRACTION – Bending or “flowing” of a sound wave around an object or through an opening

Noise reduction coefficient (NRC)

What is the difference between insulation & absorption?

● Fundamentals of Architectural Acoustics

Exact science and practical art

ARCH. GEORGE S. SALVAN (1999)

Technology of designing spaces, structures and

● Wanted sound can be heard properly

● Unwanted sound can be attenuated so it

ARCH. GEORGE S. SALVAN

COLLEGE OF ARCHITECTURE ANCIENT THEATRE OF EPIDAURUS 6.

Wallace Clement Sabine (1886 - 1919)

● Boston Symphony Hall (1900) - first structure to be designed

● Published Collected Papers on Acoustics (1922)

Vilhelm Lassen Jordan (1909 - 1982)

● Redesign the Sydney Opera Theater

Wallace Clement Sabine (1886 - 1919)

● Boston Symphony Hall (1900) - first structure to be designed

● Published Collected Papers on Acoustics (1922)

Vilhelm Lassen Jordan (1909 - 1982)

● Redesign the Sydney Opera Theater

Adjustable Acoustic Panels In some areas of the Opera

Ceramic Tiles: In spaces where reflective surfaces are

Deals with the effects

PITCH LOUDNESS If the period decreases, the time it

COLLEGE OF ARCHITECTURE 11.

COLLEGE OF ARCHITECTURE 12.

Unit: watt per square meter (W/m²) 10 dB Twice as loud

COLLEGE OF ARCHITECTURE 13.

PROPAGATION OF SOUND VELOCITY OF

COLLEGE OF ARCHITECTURE 14.

This page graduated (chegg.com)

Ancient Theatre of Epidaurus - Wikipedia

Wallace Clement Sabine | Acoustics, Sound Research, Harvard | Britannica

What Is Soundscape and What Does It Have to Do with Architecture? | ArchDaily

How you need to prevent hearing loss as a musician (soundbrenner.com)

Fields of Acoustics - Explore Sound!

Measuring sound — Science Learning Hub

Soundproofing is a specialism that revolves around effectively

REVERBERANCE VS. ARTICULATION

ECHOES VS. REVERBERATION

RAY DIAGRAMS & SOUND PATHS

AUDIBILITY IS AFFECTED BY:

AUDIBILITY IS AFFECTED BY:

AUDIBILITY IS AFFECTED BY:

AUDIBILITY IS AFFECTED BY:

AUDIBILITY IS AFFECTED BY:

AUDIBILITY IS AFFECTED BY:

AUDIBILITY IS AFFECTED BY:

An integerrating on how well a building

Rating of how much sound an acoustic product can

FIBROUS MATERIALS PANEL RESONATORS VOLUME RESONATORS

All types absorb sound by changing sound

▪ACOUSTICAL PLASTER AND SPRAYED

Fibrous material with binder

Type I. “Cast units having pitted or granular –appearing surface”

C l a s s A . u n i t s h a v i n g a p e rf o r a t e d ClassB. units having ClassC. units having slots

Type III. “Units having a fissured surface”