GLASS ARCHITECTURE- ACOUSTICS

AVOID NOISE INSIDE OUR BUILDINGS

Sound pressure level measured in dB (sometimes
indicated as dB-SPL) - a small variation can make a lot of
difference.
But loudness is sound expressed as pressure variation.
Noise - what we want to avoid inside our
buildings - is the mixture of sounds of different
"quality", some are bass, some are treble. Is our
façade or our glass pane capable of stopping
each of these "noise qualities" in the same
percentage? Could an envelope act as a barrier for
bass and a filter for treble? What do bass and treble have
to do with noise?
 2/ Frequency of sound
Graphic representations of a sound wave. (A) Air at equilibrium,
in the absence of a sound wave; (B) compressions and
rarefactions that constitute a sound wave; (C) transverse
representation of the wave, showing amplitude (A) and
wavelength (λ).
• Sound is the quickly
varying pressure wave
travelling through a
medium. When sound
travels through air, the
atmospheric pressure
varies periodically (it kind
of vibrates). The number
of pressure variations per
second is called the
frequency of sound, and
it is measured in Hertz
(Hz) which is defined as
the number of cycles per
second.
• The higher the frequency, the more high-pitched a sound is
perceived. Sounds produced by drums have much lower frequencies
than those produced by a whistle.
• The unit of frequency is the Hertz (Hz). For a sound vibration to be
audible to human beings the object must vibrate between 20 and
20,000 times per second. In other words the audible sound has a
frequency of between 20 and 20,000 Hz.
• High-pitched sounds (treble) have a frequency much greater than
bass sounds. The treble frequency ranges between 2,000 and 4,000
Hz while the bass range from 125 to 250 Hz.
 
Glass thickness effect
The sound attenuation of any material depends on its
mass, stiffness and damping characteristics. With a single
glass pane the only effective way to increase its
performance is to increase the thickness, because stiffness
and damping cannot be changed. The sound transmission
loss for a single glass pane, measured over a range of
frequencies, varies depending on glass thickness.
Thicker glass tends to provide greater sound reduction
even though it may actually transmit more sound at
specific frequencies. Every glass pane thickness has a weak
frequency value; that is, a frequency for which that glass is
less 'noise absorbent' than for the others. That value is
known as critical frequency. See the graphic below:
Sound reduction (in dB) measured at different frequency bands for
glass panes of different thickness.
A 4 mm-thick glass is rather transparent (poor attenuation
measured in dB) for high frequencies at the range of 3500
Hz; 6 mm-thick glass is poor for frequencies around 2000
Hz; and 10 mm-thick glass performs bad at 1300 Hz. The
higher the mass the less of a problem critical frequency
appears to be: 25 mm-thick glass has no weak point as it
can be noted from the graph above.
An insulating glass unit built with two panes of the same
thickness experiences the issue of critical frequency: it is
said that the two panes vibrate (resonate) together at that
frequency, thus reducing the glass overall acoustic
performance.
For this reason we recommend using different
thickness in a double glass unit. A 6-12-4 mm glass
will absorb more sound at high frequencies of 2000
Hz (claxon noise) than a 6-12-6 mm glass, in spite of
having less mass. On the other hand, at lower
frequencies between 125 and 250 Hz (traffic noise)
this is not the case: a 6-12-6 mm glass reduces
sound more effectively than a 6-12-4 mm glass. At
low frequencies sound attenuation is directly
proportional to mass
                                                            

Sound absorption of monolithic (solid) glass compared to laminated

glass with the same mass. 
A laminated glass of 2+2 mm reduces sound at high
frequencies considerably more than a monolithic glass
4 mm-thick (that's 8 to 10 dB of additional
attenuation).

Why? because the critical frequency effect disappears

due to the sound damping provided by polyvinyl
butyric (the soft interlayer used to permanently bond
the glass panes together dissipates energy by
vibration).

The same applies to the 3+3 mm laminated against the

monolithic 6 mm. In contrast, at low frequencies
(traffic noise) the effect of butyral is less pronounced,
although it is still positive (about 2 dB increase).
 Air cavity effect
Surprise: a standard
double glazed unit does
not reduce sound
transmission much more
than a monolithic glass.
What matters is the
thickness of the air space
between glass panes, but
only for really wide
Effect of air space width on cavities.
the acoustic performance of
double glazing.  
The acoustic attenuation of a 6-12-6 mm glass is generally
superior to that of a monolithic 6mm-thick glass, but only
by 2 or 3 dB, and still there may be low frequency bands
where the DGU performs worse. Of course if we compare
a 6 mm-monolithic with a double glazed 12-6-10 mm, the
sound reduction is much better at the double glazed unit.
What really matters is the width of the air space, not the
small one found at double glazing but the one of a double
skin. The ideal cavity width to boost sound attenuation is
200 mm. For widths less than (or greater than) 200 mm
the effect is less noticeable (although a wide air space will
always perform better than a narrow one). A double
glazing with 10 mm air space performs almost like a 20
mm airspace.
 Combined air cavity & glass thickness effect
The conclusion comes in the last graph: a combination of large
thickness, different one between the two panes and wide air
space distance (even better if we use laminated glass) provides
the maximum noise attenuation. We can reach up to 45dB.

Combined effect of glass thickness and air space on the acoustic performance of
double glazing.
 To achieve this with a conventional double glazing width (about 28-35mm
only) we have to employ an acoustic interlayer or a sort of resin between two
panes in a laminated glass combined within a DGU. These acoustic interlayers
or resins dissipate sound waves much more than two or three PVB interlayers
as in a typical laminated glass. Some brands of enhanced acoustical laminated
products are:
Pilkington Optiphon.
Saint Gobain Stadip Silence.
AGC Thermobel Phonibel.
Viracon Saflex SilentGlass.
SGG Stadip Silence effect as part of a double glazed unit. Other brands perform
similarly. By the way, the scale below is not frequency but loudness (it
measures dB). 
What about the effect of using argon or krypton instead of air? In
theory, a higher density gas in the space between panes should have a
positive effect on acoustical performance. Comparison testing of
standard symmetrical insulating units indicates though that common
gases as argon have virtually no increased effect on sound attenuation
ratings. While some improvement was noted at some frequencies,
resonance effects actually became more pronounced.
 Some useful values
Rw index: The Rw index or sound reduction index (expressed in
decibels) measures, in just one number, the acoustic performance of
a specific glass unit. The higher the Rw index, the better the level of
acoustic insulation offered by that glass composition. The Rw index
of ordinary double glazing is around 29 dB whereas a good acoustic
interlayer offers an Rw index of around 50 dB.
Rw is a single figure rating for the airborne sound insulation of
building elements (not just glass). It includes a weighting for the
human ear and measures actual sound transmittance. Rw is
measured in a laboratory, not on site (the site-measured equivalent
value has the Egyptian denomination of DnT,W). The Rw value is
merely an average simplifying mutual comparison of various
building components. That can be confusing some times. Two glass
units can have the same Rw index while one of them performs well
at low frequencies and bad at high ones, and the other one
performs just the opposite.
The table below, extracted from Saint Gobain, helps showing how
these three numbers apply to different laminated units with
acoustic interlayers.
sound reduction index values for several laminated glass units with
acoustic interlayers. The thickness shown at the right column is the
total one. 13 mm means 6 mm + 6 mm + 0.8 mm interlayer.
C takes into account medium and high frequency noise sources
such as TV, music, loud conversations or aircraft noise a short
distance away. Ctr takes into account medium and low frequency
noise sources such as urban traffic noise or aircraft noise a long
distance away.
Pink Noise: Expressed in dB(A), this is an assessment of the sound
insulating properties of a building material over specified standard
frequencies, which represent general activity noise when equal
levels of power are applied at each frequency. So, in pink noise each
octave carries an equal amount of noise power. Funnily: the name
arises from the pink appearance of visible light with this power
spectrum.
Ra: Ra is the abbreviation for the sound reduction index when
the spectrum adaptation term C is applied to the single number
weighted sound reduction index (Rw), using pink noise as a
sound source.
Ra,tr: Ra,tr is the abbreviation for the sound reduction index
when the spectrum adaptation term Ctr is applied to the single
number weighted sound reduction index (Rw) using pink noise as
a sound source.
So far so good. Acoustic performance of glass should now be less
of a dark matter for us. But this is not all: remember that
detailing to achieve a proper air tightness between glass and
frame will always be required! Loose gaskets can severely harm
the best glass selection for acoustics...
Modern noise control glazing that reliably keeps intrusive noise out
STADIP SILENCE is a modern noise control glazing that reliably keeps intrusive noise
out, providing the tranquility essential for working, living and enabling relaxing
sleep.
STADIP SILENCE acoustic laminated glass contains a film interlayer that has a special
dampening viscoplastic core helping to reduce the transmission of sound.
STADIP SILENCE suppresses the intrusion of sound waves around the critical
frequency of the glass, be it a single pane or a double glazed unit. In a double glazed
unit,  STADIP SILENCE achieves an airborne sound insulation index value of up to
54dB.

 
Applications
STADIP SILENCE is equally suitable for both internal and external use.
GLASS FACADES AND WINDOWS
 STADIP SILENCE significantly reduces the effect of exterior noise in buildings
situated near noisy locations such as busy streets or airports.
INTERNAL PARTITIONS
In the case of internal partitions,  STADIP SILENCE impresses with its
high security attributes. Depending on its thickness, a single pane of 
STADIP SILENCE can dampen the sound to 47 dB. In a double layer
construction, sound insulation values far exceeding 50 dB are
possible. In addition,  STADIP SILENCE also provides numerous
opportunities for creative designs and personalisation.
OVERHEAD GLAZING
Overhead glazing is an architecturally attractive design element in
atria and passages but also in more private areas such as
conservatories. Overhead glazing can be an intrusive source of noise
itself through rain or hail landing on the glazing.  STADIP SILENCE
raises the sound insulation factor by up to 13dB.
In addition,  STADIP SILENCE also provides splinter adhesion in case
of breakage and, with a film thickness of >0.76mm, meets the
necessary requirements for overhead glazing.
BENEFITS
END-USERS / CLIENTS
Environmental noise has a detrimental impact on health in the following potential
ways.  STADIP SILENCE has the ability to minimise or eliminate these negative
physical and psychological effects:
Difficulties concentrating and sleeping
Raised blood pressure
Cardiovascular complaints
Nervous disorders
Depression
Increased blood pressure and heart rate
No reduction in visual quality – utilises an acoustic interlayer that is invisible to
the naked eye.
Filters >99% of UV light so eliminates the bleaching effect of the sun.
STADIP SILENCE can be combined with many other glass products, providing a
multitude of high performance, multi-functional glazing options, including:
Solar control glazing (e.g.  COOL-LITE or  ANTELIO)
Thermal insulation (e.g.  PLANITHERM)
Safety and security (e.g.  STADIP /  STADIP PROTECT/  SECURIT)
Fire resistant glazing (e.g.  PYROSWISS /  CONTRAFLAM)
Self-cleaning glazing (e.g.  BIOCLEAN)
Obscured and/or decorative glazing (e.g.  MASTERGLASS / Traditional Patterned
GLASS PROCESSORS / FABRICATORS OR
INSTALLERS
Delivers all the safety and security benefits of
standard laminated glass.
Offers a lighter weight, thinner acoustic glass
solution compared to using thicker, heavier
monolithic or standard laminated glass products.
Available in low-e coated formats (e.g.  STADIP
SILENCE,PLANITHERM TOTAL+).
Glass solutions  provides its customers with an
independently certified acoustic calculation tool
and independently verified test reports to support
the specification and use of the product range.
Full range availability from national, regional and
local Glass solutions  suppliers, in a range of sizes
and supported by nationwide availability of
INTERNAL PARTITIONS
In the case of internal partitions,  STADIP SILENCE impresses
with its high security attributes. Depending on its thickness, a
single pane of  STADIP SILENCE can dampen the sound to 47
dB. In a double layer construction, sound insulation values far
exceeding 50 dB are possible. In addition,  STADIP SILENCE also
provides numerous opportunities for creative designs and
personalisation.
OVERHEAD GLAZING
Overhead glazing is an architecturally attractive design element
in atria and passages but also in more private areas such as
conservatories. Overhead glazing can be an intrusive source of
noise itself through rain or hail landing on the glazing.  STADIP
SILENCE raises the sound insulation factor by up to 13dB.
In addition,  STADIP SILENCE also provides splinter adhesion in
case of breakage and, with a film thickness of >0.76mm, meets
the necessary requirements for overhead glazing.
Rw in dB C Ctr Type Thickness (mm)
STADIP
35 0 -3 6.4
SILENCE 6.4
STADIP
35 0 -3 6.8
SILENCE 6.8
STADIP
37 -1 -3 8.4
SILENCE 8.4
STADIP
37 0 -3 8.8
SILENCE 8.8
STADIP
38 -1 -3 10.4
SILENCE 10.4
STADIP
38 0 -2 10.8
SILENCE 10.8
STAPID
39 0 -2 12.4
SILENCE 12.4
STADIP
39 0 -2 12.8
SILENCE 12.8
STADIP
40 -1 -3 14.8
SILENCE 14.8
STADIP
41 -3 -3 16.8
SILENCE 16.8
OMIT THE FOLOWING SLIDES
Concepts in sound
• Let us start by
reviewing two concepts
that are paramount to
measuring glass
performance against
noise: loudness (in
particular sound
pressure level, the
decibels)
and frequency (the
Hertz,)
1/ Loudness: sound intensity, sound pressure and sound
pressure level
From physics to applied acoustics in buildings. No pain,
promised. Loudness is an intuitive concept: a loud noise
usually has a larger pressure variation and a weak one has a
smaller pressure variation. Depending on what we are
looking for - the cause, the effect or the perception of noise -
we use different variables and units:
Sound intensity refers to the cause of noise (not of our
concern, only of interest for acusticians). It measures energy
flow at the source, so its unit is W/m2.
Sound pressure refers to the effect of noise as a wave
impacting any given surface, that is, noise as energy being
transfered through air. Not of our concern either, more for
physicists. Its unit is the Pascal or N/m2 (1Pa = 1N/m2).
Sound pressure level or SPL (here comes the fun)
refers to the perception of noise in humans as it can
be "read" by our ears. So SPL is what matters to us,
poor construction buddies. For ease of numbering SPL
is measured in decibels (dB). A dB is a dimensionless
unit used to express logarithmically the ratio of a
value (the measured sound pressure) to a reference
value (the lower threshold of hearing). Decibels are
used since sound pressure level expressed in Pa would
be too wide. 0 dB (the lower threshold of audition for
humans) equals 0,00002 Pa; whilst 140 dB (the upper
human threshold or threshold of pain) equals 200 Pa.
This is a range of 140 against 10 million. But
logarithms are not "natural" to understand, so some
examples will be of help.
 Sound intensity, sound pressure and sound pressure
level are obviously related, but they measure different
things and they should not be confused. The table below, taken
from the very useful Sengpiel audio webpage provides some tips
for getting it right, at least conceptually:
 
Lessons from the table above:
A raise in sound pressure level (SPL) of 3 dB equals an
increase in sound pressure (field quantity) of 1.414 times,
and (everything else being equal) it comes as a result of
doubling the sound intensity (the source of sound).
A reduction in sound pressure level measured inside a room
of 10 dB equals a reduction in sound pressure of 3.16 times,
and it comes as a result of dividing the sound intensity
(noise generated on the outside) by ten.
A typical opaque façade (not glass) can have a sound
reduction index (a reduction of SPL) of around 40 dB. This
means that if the SPL measured at the street is 70 dB, inside
the façade one would perceive only 30 dB. Up to here, just
arithmetic.
Now, if the sound reduction index of the façade could be
raised from 40 to 43 dB, the perceived noise coming from
the street would equal that of reducing the source of noise
by half. Even more, if the façade could be acoustically
improved so that its sound reduction index raised from 40
to 50 dB (difficult but it can be done), the perceived noise
coming from the street would equal that of reducing the
source of noise (sound intensity) by ten: ten times less cars
in the street, ten times less people celebrating the victory of
their football team outside.
Bad news: frequency and loudness are interrelated in the
human ear. The range of 20 Hz to 20,000 Hz is called the
audible frequency range - we know this already. But the
sounds we hear are a mixture of various frequencies, and we
don't perceive all of them with the same clarity. Let's see
what the implication of this is.
The entire audible frequency range can be divided into 8 or
24 frequency bands known as octave bands or 1/3 octave
bands respectively for analysis. An octave band is the band
of frequencies in which the upper limit of the band is twice
the frequency of the lower limit. Any particular sound or
noise can be represented as a number of 8 (or 24) sound
pressure levels in the frequency bands, as illustrated by the
diagram below
 A real sound shown as a combination of
different sound pressure levels, one per
each of the 24 frequency bands. Column
width: 1/3 octave band (24 in total).
Column height: SLP at each frequency
band, measured in dB.

The Human ear has its peak response around 2,500 to

3,000 Hz and has a relatively low response at low
frequencies. Hence, the single sound pressure level
obtained by simply adding the contribution from all 1/3
octave bands together will not correlate well with the
non-linear frequency response of the human ear.
This has led to the concept of weighting scales
In the "A-weighting" scale, the sound pressure levels for the lower
frequency bands and high frequency bands are reduced by certain
amounts before they are being combined together to give one
single sound pressure level value. This value is designated as
dB(A). The dB(A) is often used as it reflects more accurately the
frequency response of the human ear.
Other, less used weighting scales, are dB(B) and
dB(C). The decibel C filter is practically linear over
several octaves and is suitable for subjective
measurements at very high sound pressure levels.
The decibel B filter is between C and A.