ACOUSTICAL DESIGN OF

ROOMS & THEATERS

WEEK 3 – BUILDING UTILITIES 3
DESIGN OF ROOM SHAPE
The shape of a room is one of the important factors affecting its acoustical properties. Hence, the
determination of the most desirable shape is a problem that the architect should know now to solve.

1. FLOOR PLAN
The design of an auditorium or a lecture room
usually begins with the layout of the floor
plan. The seating should be arranged so that
the audience is as near .the stage as is
consistent with the requirements set by the
distribution of sound .from the source and with
those for good visibility. Thus, although an
audience can be brought nearer the speaker
in a room having a square floor plan than in
one in which the greater than the width, the
latter is preferable.
 DESIGN OF ROOM SHAPE
The shape of a room is one of the important factors affecting its acoustical properties. Hence, the
determination of the most desirable shape is a problem that the architect should know now to solve.

DEFFECTS OF ELLIPTICALY & CIRCULAR LAYOUT

DESIGN OF ROOM SHAPE
TO BRING A LARGE AUDIENCE AS CLOSE
AS POSSIBLE TO THE STAGE OF AN
AUDITORIUM
it is advantageous to
TAKE NOTE
• Path length of 65 feet or more
design a floor plan
with diverging side between direct and reflected
walls. Reflections from sound give rise to echoes.
these walls can aid in • Path length of 50-65 feet or more
the establishments of
produce a blurring quality which
a higher sound level
may result in a lack of
at the rear of the
"intimacy", especially for
auditorium, but these
auditors in the front seating
reflections must be
area.
carefully controlled.
DESIGN OF ROOM SHAPE
The shape of a room is one of the important factors affecting its acoustical properties. Hence, the
determination of the most desirable shape is a problem that the architect should know now to solve.

2. ELEVATION OF SEATS
Since an audience constitutes a highly absorptive surface,
sound waves which graze it are greatly attenuated. Hence, it
is good design in an auditorium, from the standpoint of
hearing as well as of seeing, to elevate the seats in order to
TAKE NOTE
provide a free flow of direct sound from the source to the • Angle of elevation of the room in
listeners. A useful formula for computing this distance is an auditorium it should not be less

d = r(2.5h-1) than 8 degrees

WHERE r is the distance between rows and h is the height of
the source.
EXAMPLE PROBLEM: Suppose the rows are 3 feet apart and
that the lips of a speaker are 5 feet above the floor level.
What is the distance of the level area from the speaker?
d=3(2.5x5-1}
• In a demonstration lecture hall an
auditorium it should be about 15
degrees
• It is advantageous not only to
elevate the seating area but also to
stagger the seats.

=34.5 ft.
DESIGN OF ROOM SHAPE
The shape of a room is one of the important factors affecting its acoustical properties. Hence, the
determination of the most desirable shape is a problem that the architect should know now to solve.

3. CEILINGS TAKE NOTE

The ceiling and walls should provide favorable
reflections of sound, especially for the seats far • Ceiling height of a room to be used
removed from the stage. In some instances, the for speech and music should be:
ceiling also should aid in the diffusion of sound.
However, if adequate means of diffusion are • Large room = 1/3 USING THE WIDTH
furnished by the floor and wall surfaces, no
additional diffusion is needed for the ceiling; hence, it • Small room = 2/3 USING THE WIDTH
may be utilized to the outmost for the advantageous·
reflection of sound. ,Lecture rooms chamber music
rooms, council chambers, Christian science • If the ceiling of an auditorium_ is
auditoriums are type· of rooms which a low smooth, too high, not only will the volume
Ceiling splays in ceiling
highly reflective the front of a
may beroom,
used or
to appropriately
good per seat be excessive, but also
tilted portions of the ceiling can be devised to reinforce
advantage. long-delayed reflections from this
the sound reaching the rear parts of an auditorium. surface will be a source of echoes.
COMPUTING FOR CEILING HEIGHT
EXAMPLE PROBLEMS
Use large room ratio: Use small room ratio:
= =

= =
6m
33 m
= =

8m
50m
DESIGN OF ROOM SHAPE
The shape of a room is one of the important factors affecting its acoustical properties. Hence, the
determination of the most desirable shape is a problem that the architect should know now to solve.

4. SIDE WALLS
The side walls should reinforce the sound that reaches t he
rear parts of a large room. This is especially desirable for
auditoriums in which a sound amplification system is not
utilized for all spoken and musical programs. The location
of the wall is, of course determined principally by the
TAKE NOTE
general contour of the floor plans. The angle that any • SPLAY
portion of the wall surfaces, such as a splay makes with a sloping or beveled surface or angle as
the wall contour line should be such to reflect sound of the side of a doorway, a spreading
beneficially to those seats where the sound level is not expansion, enlargement
adequate. The law of reflection can be used to determine
this angle. The side walls should be designed so that the
sounds they reflect to the audience will not be too long
delayed.
 DESIGN OF ROOM SHAPE
The shape of a room is one of the important factors affecting its acoustical properties. Hence, the
determination of the most desirable shape is a problem that the architect should know now to solve.

5. REAR WALLS
TAKE NOTE
In the design of all rooms, large concave rear walls should • SPLAY
be avoided. Unfortunately, they are of common occurrence a sloping or beveled surface or angle as
because it seems so simple and economical to most of the side of a doorway, a spreading
architects to have the rear wall follow the curvature of the expansion, enlargement
last row of seats. Walls with this shape are responsible for
troublesome echoes and delayed reflections in many
theaters and auditoriums. This is illustrated below which is
a longitudinal section showing a vertical rear wall.
 DESIGN OF ROOM SHAPE
The shape of a room is one of the important factors affecting its acoustical properties. Hence, the
determination of the most desirable shape is a problem that the architect should know now to solve.

6. BALCONY RECESS
Good design of a balcony recess usually requires a
shallow depth and a high openings. For an auditorium or
legitimate theater, the depth should not exceed twice the
height of the opening.
d <2h
This plan permits sound to flow readily into the space
under the balcony. Good design also requires that the
reverberation time in the balcony recess approximately
that of the main part of the auditorium. By applying the
above rules, it is possible to design the recess so that the
sound level in this space is about the same as it is in other
equally distant parts of the auditorium.
OBSERVATION OF
THEATERS
WEEK 3 – BUILDING UTILITIES 3
REFLECTIVE
DIFFUSIVE
ABSORPTIVE
ACOUSTICS CONCEPTS
“BOX WITHIN A BOX”

-A noise-isolation strategy used for containing sound within a room.

-A box is built inside another box, with air space separating each one
-Floor is raised, ceiling is dropped walls have space
-Also called “room within a room”
SOLID AND AIRBORNE
NOISES
WEEK 4 – BUILDING UTILITIES 3
 AIRBORNE NOISES
Airborne noise refers to sound that travels through the air from its source to a receiver. It is one of the
two main types of sound transmission, the other being structure-borne noise, which travels through
physical structures like walls or floors. Airborne noise can originate from various sources, such as
voices, music, machinery, or any other activity that produces sound waves in the air.

TRANSMISSION
Propagates through the air, but it can also travel through walls, ceilings and floors.

EXAMPLES
Speech, music, and most everyday sounds are examples of airborne noise.

SOURCES
Anything that generates sound in the air, such as speakers, voices, or musical instruments, contributes
to airborne noise.
CONTROLING AIRBORNE NOISES
Reducing airborne sound is crucial for creating acoustically comfortable environments. One effective
approach involves the implementation of acoustic absorption techniques. These methods play a
significant role in diminishing the intensity and reflection of sound within a given space. This report
outlines practical steps for soundproofing a room through the application of acoustic solutions.

ACOUSTIC WALL PANELS

Propagates through the air, but it can also travel
through walls, ceilings and floors.
CONTROLING AIRBORNE NOISES
ACOUSTIC SLABS
In addition to wall panels, acoustic slabs offer
an effective solution for absorbing airborne
sounds. Positioned within the cavity formed
by metal party walls and timber, these slabs
efficiently trap and reduce reverberation,
contributing to an overall improvement in
sound control.
CONTROLING AIRBORNE NOISES
ACOUSTIC SEALANTS
Basic measures, such as sealing existing gaps and
holes, play a pivotal role in reducing airborne
noise. Utilizing acoustic sealant caulk to seal any
cracks, holes, or gaps in doors and windows
ensures an airtight seal, effectively deadening
sound waves that may otherwise enter the space.
CONTROLING AIRBORNE NOISES
SOUND INSULATION TECHNIQUES
Beyond acoustic treatments, sound insulation techniques provide an alternative approach to
airborne sound reduction. While similar in effectiveness to acoustic solutions, soundproofing
techniques differ in that they block sound waves from passing through various surfaces, including
ceilings, floors, walls, doors, and windows, rather than absorbing them.

The level of airborne sound insulation relies on the following general principles:
– FLEXIBILITY/RIGIDITY
– EFFICIENCY
– MASS
– ISOLATION
SOLID NOISES
Sometimes called “Structure borne noise” refers to the transmission of sound through solid structures.
When a vibration or sound is generated in one part of a structure, such as wall, floor, or ceiling, it can
travel through the structure and be heard in another location. This phenomenon is common in
buildings, vehicles, and various mechanical systems.

TRANSMISSION
Solid-borne noise, on the other hand, travels directly through the structure itself.

EXAMPLES
Borne noise includes footsteps, machinery vibrations, and other physical activities.

SOURCES
Vehicles, and various mechanical systems.
CONTROLING SOLIDBORNE NOISES
ISOLATION
A fundamental strategy for minimizing solid-borne sound involves isolating structural elements. This can
be achieved through the use of resilient materials or isolators strategically placed between
components, preventing the direct transmission of vibrations.
CONTROLING AIRBORNE NOISES
FLOATING FLOORS
Implementing floating floors is a proven method
for reducing solid-borne sound transmission. By
installing a resilient underlayment or a floating
floor system, vibrations are absorbed,
preventing them from traveling through the
structure and reaching adjacent spaces.
CONTROLING AIRBORNE NOISES
DECOUPLING TECHNIQUES
Decoupling elements within the structure can significantly reduce the
transmission of solid-borne sound. This involves breaking direct
connections between building components, such as ceilings and walls,
to disrupt the path of vibrations and minimize their impact.
CONTROLING AIRBORNE NOISES
VIBRATION REDUCTION
CAN BE OF THE FOLLOWING:
DAMPING is accomplished by rigidly coupling the vibrating source to a large mass, frequently
called an inertia block. Much of the energy is absorbed and dissipated as friction; the remainder
results in lower-amplitude vibration.

ISOLATION is accomplished by supporting the vibrating mass on resilient supports. These take
many forms and are used in tandem. Thus, machines are supported on fibrous rubber, or spring
steel vibration isolators, and the entire mass can be_ supported on a floating floor, which in return
rests on resilient vibration isolators as in the above figure. Large machines are supported as
special commercial "sandwiches" of asbestos, lead, cork, and other strong resilient materials.
CONTROLING AIRBORNE NOISES
VIBRATION REDUCTION
PUMPS, as with all rotating equipment are sources of vibration and
noise and should be treated as described above. The figure below
shows a typical pump installation with appropriate noise reduction
measures. For at least a distance of 100 pipe diameters beyond the
pump resilient pipe should be used. With centrifugal pumps as with fan
and blowers, machine sound concentrates in narrow bands and, if
extremely disturbing, can be attenuated with resonant filters.
Reciprocating pumps are more difficult to control as the pulsations are
more vibration than noise. Flexible connections in the piping and U-
joints in the piping will absorb much of this vibration.
CONTROLING AIRBORNE NOISES
VIBRATION DAMPENERS
Applying vibration dampeners to structural
elements helps dissipate energy and reduce
the transmission of solid-borne sound. These
dampeners absorb and convert vibrations
into heat, preventing them from propagating
through the building components.