Bachelor of Science(Honours) in Architecture

BUILDING SCIENCE ll (ARC3413/ BLD61303)

PROJECT 1:
A Case Study On Acoustic Design
@Glad Tidings Church PJ

Group Members: Tutor: Mr.Azim Sulaiman

Chong Yit Jia 0331684 Date: 8/5/2018
Wong Wan Jiuan 0327173
Paul Wong Sze Ling 0331208
Loo Yee Pei 0329148
Rajan Kulandaya 0317164
Phan Guang Lei 0331858
Kelvin Shim 0331371
Cherilyn Chia 0321986
Sukeshshef Ramachandram 0327162
Allen Tan Hoang Yeap 0329459
TABLE OF CONTENT

1.0 Introduction
1.1 Aims & Objective
1.2 Basic information
1.3 Site Information
1.4 Historical Background

2.0 Acoustic Theory & Formulas

2.1 Architectural Acoustic
2.2 Reflection of Sound
2.3 Diffusion of Sound
2.4 Absorption of Sound
2.5 Echoes
2.6 Direct & Indirect Sound
2.7 Type of Sound Transmission

3.0 Methodology
3.1 Equipment
3.1.1 Sound level Meter
3.1.2 Photography Devices
3.1.3 Measurement Devices

4.0 Analysis on Existing Building (Glad Tidings Vision Center)

4.1 Layout form
4.2 Spatial Design
4.3 Structure
5.0 Acoustic Components
5.1 Wall
5.2 Roof
5.3 Ceiling
5.4 Floor
5.5 Door
5.6 Acoustic Reflectors
5.7 HVAC Acoustic
5.8 Silencers
5.9 Noise Paths of HVAC Equipment
5.10 Sound Absorbing Drapery Acoustic
5.11 Seating

6.0 Sound Source

6.1 Speakers Array

7.0 Calculation
- Echoes and Sound Delay
- Area Calculation
- Volume Calculation
- Effective Surface Area
- Reverberation Time Calculation

8.0 Learning Outcome & Conclusion

1.1 Aim and Objectives

The aim of the report is to record the research conducted on the acoustical design of a chosen
auditorium in order to understand the complexity of acoustic design and its application.

The main objectives of the report are:

1. To explore the auditorium’s typology according to its layout and understand the design
intention for a specific acoustic performance according to its functions.

2. To develop a better insight of the physics behind the acoustic quality of an auditorium.

3. To analyze the relationship between acoustics and materials, spatial planning and
context of an auditorium.

Through observation and analysis of the types of acoustical design theories applied in the
auditorium, we are able to improve our knowledge on the characteristics of a space and how it
influences the design approach for the area to be acoustically efficient and the influence of
sound effectiveness and the user experience.
1.2 Basic Information

Name of Auditorium: Glad Tidings Vision Centre

Location: No. 6, Jalan Bersatu 13/4, 46200 Petaling Jaya, Selangor
Type of Auditorium: Multi-purpose Auditorium
Year of Construction: 2010
Year of Completion: 2013
Total Volume: 28,860 m3
Total Seating: 1200 in auditorium arrangement, 800 in banquet arrangement
1.3 Site Introduction

Glad Tidings Vision Centre is a new extension of the church housing approximately 3000
persons. The Multipurpose Auditorium is originally designed as a sports complex, housing a full
basketball court and few badminton courts. When seatings are arranged into an auditorium
manner, the hall houses 1200 people, whereas when arranged in a banquet manner, it can
house approximately 800 persons.

Before the building is designed and constructed, the area is a single story covered car park for
the church. Due to the increasing amount of cars and people in the church, the building is
designed and the multipurpose auditorium is constructed at the first floor.

The initial purpose of the hall functioning as a sports space causes the acoustic design to be
less effective. Now, the hall is also used for church sermons and talks. Problems arose as the
lack of consideration on acoustics in the hall creates problems during the talks.
1.4 Historical Background

Glad Tidings Petaling Jaya was founded in 1963, when Rev Howard C.Osgood started the
church with a congregation of four consisting Lee, Peh and Khoo families. The church is the first
Assemblies of God (AG) church in Petaling Jaya, with services held at the chapel of Bible
Institute Malaya.

As the church grew along the years, it was relocated at a new Glad Tidings building with a 1000
seater auditorium in 1984. With the birth of Chinese, Tamil and Bahasa Indonesia churches, the
church further expanded and outgrew the 1000 seater capacity, leading towards the purchase of
the current Section 13 premises in 2002. Phase 1 of the building consists of Maranatha
Auditorium, Parousia, Kairos and Hosanna Halls, Zoe House and the office block.

Throughout the years, events were held at a larger scale, with the hosting of Christian speakers
and worship bands from all over the world that continue to enrich the people. With the vision of
embracing 5000 worshippers, the church set out on Phase 2 of Vision Centre in 2010. Vision
Centre was completed by April 2013 and constantly occupied till today.

GT Chapel 1984 Phase 1 Maranatha Hall

2.0 Acoustic Theory with Calculation formula

a) Acoustics in Architecture

Acoustic architecture, is a field of study that dabbles on the nature of sound and its manipulation
within the space allotted to it.

Be it an open amphitheater or a fully indoor auditorium, acoustic architecture attempts to

optimize the sound quality for whatever activities it caters.

b) Sound Intensity Level

Sound intensity is defined as the sound power per unit area (watts/m2). The usual context is the
measurement of sound intensity in the air at a listener's location. Sound strength is known as
sound intensity level (SIL) and given by the formula:

The most common approach to sound intensity measurement is to use the decibel scale:

Where,
I = The sound intensity being measured (W/m2)
10 = The intensity of threshold being hearing (1 x 10-12 W/m2)
C) Reverberation time (RT)

A persistence of sound after the sound is produced when the sound source stops but the
reflections continue, decreasing in amplitude, until they reach zero amplitude. Reverberation
time depends on:

(i) The volume of enclosure

(ii) The total surface area
(iii) The absorption coefficient of the materials

Sabina formula:

Where,
RT = Reverberation time (Sec)
V = Volume of the room
A = Total absorption of the room surfaces

D) Attenuation

Natural / Energy level of sound as it propagates through medium of different density and
scatters to the surrounding environment.
E) Echoes

Sound reflection is as ubiquitous as the cosmic radiation that surrounds us as always. Echoes
are defined as sound reflections that is returned to the listener with a perceptible magnitude.
Multiple echoes create Reverberations.

D=VT
F) Sound Shadows

Areas that are shielded from sound waves through mediums that either absorb or reflect such
waves to a considerable degree.

G) Acoustic Design for Auditoriums

Objectives:
1) Sustaining the intensity level of the sound (The longer the better)
2) Delivered the sound with clarity
3) Optimize reverberation time
4) Avoid and eliminate excessive vibrations
5) Termination of external noise or white noise
2.1 Architectural Acoustic theory

Image 1: Architectural & Building Acoustics is available on

http://www.amsscosa.com/architectural--building-acoustics.html

Architectural acoustics is the relationship between sound produces in a space which is concert
halls, auditoriums, theatre and cinema. There’re some considerations need to be taken care to
produce a good acoustics design which are reverberation time, acoustics shadow, echoes,
sound intimacy, texture, as well as external noise. Besides that, there are some solution and
materials that used to solve the noise issue to improve the acoustics effect. As examples,
orchestral shells, canopies, undulating or angled ceilings and walls.
2.2 Reflection of sound

Reflection of sound is the sound of itself. When sound hits a surface, it will create a reflected
wave, and the reflected wave will produce certain amount of energy absorbed by the surface
and a portion of energy of loss and the rest will reflected. Besides that, if the surface is flexible,
1
the energy absorbed will cause the reflecting surface to vibrate and produce a sound wave.
The reflected wave will then be a combination of the reflected wave and vibration wave that
produces from the support.

Image 2: Reflection of Sound is available on https://byjus.com/physics/sound-

reflection/

Image 3: Reflection of Sound is available on

http://www.dronstudy.com/book/sound-s-chand-question/

1
if the surface is flexible, the energy absorbed will cause the reflecting surface to vibrate and produce a sound wave is available on
http://www.physicsclassroom.com/class/sound/Lesson-3/Reflection,-Refraction,-and-Diffraction
2.3 Diffusion of sound

The general definition for diffusion of sound is the sound bounces off hard flat surfaces and the
energy will remain some amount of the intact yielding discrete echoes. In addition, the echoes
produced will affects like comb filtering, standing waves and flutter echoes. To get rid of
diffusion of sound, sound diffusers can be installed in that space. Furthermore, the diffusers will
interrupt the discrete echoes by diffusing sound energy and removing or reducing it from the
space. This is to maintains the sound clarity and improves speech intelligibility. Besides that,
diffusion is also the sound waves that its an irregular surface like carpet.

Image 4: Diffusion of sound is available on

https://www.google.com/search?q=diffusion+of+sound&source=lnms&tbm=isch&sa=X&ved=0ahUKEwjhiq_8o-
baAhWLu48KHWx2BhAQ_AUICigB&biw=1920&bih=930#imgrc=Me0fU8AjFyH4vM:

Image 5: Diffusion of sound is available on

https://www.google.com/search?q=diffusion+of+sound&source=lnms&tbm=isch&sa=X&ved=0ahUKEwjhiq_8o-
baAhWLu48KHWx2BhAQ_AUICigB&biw=1920&bih=930#imgrc=Me0fU8AjFyH4vM:
2.4 Absorption of sound

Sound absorption is the sound waves hits on the surface in the space, and some of the energy
penetrated and absorbed by the surface. In addition, the sound that had absorbed into the
surface had converted into heat energy that can be found in that material. The level of energy
2
converted to the heat energy depends on the sound absorbing properties of the materials.
Sound absorbents can also be divided into 3 types which are porous adsorbents, resonance
absorbents and single absorbents. One of the examples for porous adsorbents is stone wool,
whereas for resonance absorbents is mechanical oscillation system and single absorbents are
table and chairs, etc.

Image 6: Absorption of sound is available on

http://www.captivainc.us/howitworks.html

2
. The level of energy converted to the heat energy depends on the sound absorbing properties of the materials is
available on http://www.ecophon.com/en/acoustic-solutions/acoustic-knowledge-bank/Basic-Acoustics/Sound-
absorption/
2.5 Echoes

Echoes is the sound waves that can be reflected by hard or large surface as like building solid
wall or cliffs. Principle of echoes is used in echo sounder to find the depth of the sea as well as
the location of shoals of fish. Other than that, echoes can also be used to measure the speed of
sound travel. To handles the issue of echoes, wall can be roughened or softened (with padding)
or covered with curtains and floors can be covered by using carpet.

Image 7: Echoes of sound is available on

https://www.dkfindout.com/uk/science/sound/echoes/

Image 8: Echoes of sound is available on

https://www.dkfindout.com/uk/science/sound/echoes/
2.6 Direct & indirect sound

Direct sound defined as the sound that travel straight from speakers which is ear without being
affected by obstacles. Where the indirect sound can be defined that the sound reaches ear after
reflecting from a surface such as ceiling and wall etc. In addition, direct sound is the sound that
originally sound for information that’s the focus is in audio systems.

Image 9: Direct sound is available on

http://spirit16.blogspot.my/2009/02/blog-post_24.html

Image 10: Indirect sound exists in all environments through we

may not attend to it consciously is available on
http://slideplayer.com/slide/4442371/
2.7 Type of Sound Transmission

1. Airborne Sound: Airborne sound refers to sources which produce sound by directly
setting the air around them into vibration.
2. Impact Sound: Impact sound refers to sources which produce sound by impulsive
mechanical excitation of part of a building (e.g. by footsteps, electric light switches,
slamming doors). Many sources of impact sound also produce significant levels of
airborne sound.
3. Structure-borne Sound: Structure-borne sound is often used to refer to sound that
travels for long distances via the structure, especially in connection with vibrating
machinery linked directly to the structure.

Airborne and Structure-borne Sound Transmission

3.0 Methodology

3.1 Equipment

3.1.1 Sound Level Meter

Image 1: Sound Level Meter is available on

http://www.extech.com/category/?id=16770

Sound Level meter used to measure air borne for acoustics purposes which it is commonly a
hand-held instrument with a microphone. The diaphragm of the microphone responds to
changes in air pressure caused by sound waves.

3.1.2 Photography Devices

Image 2: Photography Devices is available on

https://www.wsj.com/articles/SB100014240527023038165045773057025784260
84

Photography devices used to record the existing building elements, materials and condition. It’s
also used to capture the activities and source of noises from mechanical devices and speakers.
3.1.3 Measurement Devices

Image 3: Measurement Devices is available on http://toolguyd.com/veritas-

woodworking-marking-measuring-tool-kit/

Measurement tool used to determine the distance between the sound level meter and the sound
source, as well as the dimension of the area for drawings and calculation purposes.
4.0 Analysis on Existing Building (Glad Tiding Vision Center)

The space is a Gymnasium/ multipurpose hall, serving as a sports arena, banquet hall,
performance as well as holding Sunday Services. Since the auditorium was designed with the
lack of proper sound requirements, there are a few criteria required to fulfill for the improvement
of acoustics in sound absorption coefficient in the hall.

Figure: Overview of materials in Auditorium

4.1 Layout Form

4.1.1 Typical layout for auditorium

Image 14: Wide fan layout

is available on
https://blog.capterra.com/9-
auditorium-plan-templates-to-
inspire-your-next-project/

A fan shaped auditorium with a balcony is desirable to ensure a free flow of direct sound waves
to listeners. In an auditorium with cushioned seats and a sound absorbing rear wall for echo
control, the average ceiling height H is usually H=20T where T is the mid frequency
reverberation time in seconds. Seating geometry is arranged to give all the audience good sight
lines and at the shortest distance from the stage.

Image 15: End stage layout

is available on
https://blog.capterra.com/9-
auditorium-plan-templates-to-
inspire-your-next-project/
The layout is the best layout for lecture halls and also film presentation because this type of
layout does not allow viewers to get close to the stage, thus there is no close relationship
between viewers and the performance.

Image 16: ¾ Arena layout

is available on
https://blog.capterra.com/9-
auditorium-plan-templates-to-
inspire-your-next-project/

This form features in a 180° to 270° angle which is quite similar to an amphitheater. The design
is used to improve the sightline and aural contact for viewers.

Image 17: Arena stage

layout is available on
https://blog.capterra.com/9-
auditorium-plan-templates-to-
inspire-your-next-project/

The layout is considered as a 360° layout which is slightly different with ¾ arena layout. It allows
more viewers to see more parts of the stages. The disadvantage is the performers or on stage
presenters will have to show their backs to part of the viewers at any given time.
 Image 18: First floor plan of G.T.V.C is available on
https://architizer.com/projects/glad-tidings-vision-centre/

4.1.2 The first floor plan of Glad Tiding Vision Centre

The multi-purpose hall of Glad Tiding Vision Centre was designed as an auditorium which does
not focus on music performances, with the square layout lacking in relation to a typical
auditorium design. The rectangular shape layout serves better as a sports center. The acoustic
issue is to be dealt by redesigning or improving the interior space with better acoustics elements
and components. Besides, the seating provided in the auditorium hall are portable banquet
chairs which do not aid in the acoustics of the hall and prevents certain viewers from getting
better vision during stage performances.
4.2 Spatial Design

4.2.1 Typical spatial design for auditorium

Image 22: The auditorium house is available on

https://www.arch2o.com/theater-design-basic-rules/

Image 23: Small churh building plans is available on

https://www.pinterest.com/pin/270990102552397237/?lp=true
4.2.2 Spatial Layout for Glad Tiding Vision Centre

Image 24: First floor plan is available on

https://architizer.com/projects/glad-tidings-vision-centre/

Based on the spatial layout plan for Glad Tiding Vision Center, the hall is designed as an
isolated space where it is surrounded by hallways, corridors and carparks. Sounds from the hall
would not affect other spaces of the building. Besides, the auditorium is easily accessible as it is
located beside the entrance lobby. The backstage has secondary access to the covered car
park. The void behind the auditorium functions to reduce echoes. The overall spatial layout is
well planned where the architect isolated the auditorium according to typical auditorium layout.
4.3 Structure

4.3.1 Typical structure design for auditorium

Image 19: Auditorium structure design is available on

https://www.pinterest.com/pin/180566266291263396/?lp=true

Image 20: Auditorium structure design is available on

https://www.dezeen.com/2015/05/08/open-architecture-garden-school-free-
form-building-beijing-green-roof/https://www.dezeen.com/2015/05/08/open-
architecture-garden-school-free-form-building-beijing-green-roof/

Image 20: Detailing of seating installation is available on

https://www.pinterest.com/pin/568086940478620803/?lp=true
4.3.2 Structure of Glad Tiding Vision Center

Image 21: Section A-A of G.T.V.C is available on

https://architizer.com/projects/glad-tidings-vision-centre/

Through the sectional drawings of Glad Tidings Vision Centre, there is no provision of elevated
seating for audiences. The slab is designed as a normal floor slab as compared to the typical
auditorium. This structure affects the view towards the stage during performances. The
auditorium was not designed to have elevated seatings as it is also used as a sport centre,
which requires a flat surface. Currently, the hall is also used as for the church congregation to
have Sunday celebration services.
5. Acoustic Components

5.1 Wall

To reduce the echo of the auditorium, fiber acoustic panels are installed above 2.4m high along
the perimeter of the wall. The reason of the positioning of the panels is due to the protection
from sport activities in the hall. These fiber acoustic panels act as a diffuser of noise in the
auditorium.

The main material of the acoustic panels is Rockwool slab. The rock wool slab is a non-
combustible material and easy to be installed. When it is arranged in line, the sound reduction
obtained usually ranges between 5 to 10 dB.

The Installation of fiber acoustic panel of Glad Tidings

5.2 Roof

Figure 1. The cavernous convex roof at the multipurpose hall.

Figure 2. The sound absorbed by the Rockwool panels prevent diffusion of noise in the hall.

Figure 3. The Rockwool panels also reduces exterior noises to diffuse into the hall.
Glad Tidings Vision Centre has cavernous convex roof at the multipurpose hall. The function of
the convex roof is to allow the ceiling to have enough spaces to mould into the bellying volume
and to be imbricated with acoustic ceiling panels. The convex shape metal truss roof spans
along the stage, lobby, catering kitchen, services corridor and changing room. Since the site is
located around the factory area, the convex shape roof acts as reflector from the exterior noises
around the site, such as the machineries sounds, vehicular sounds and etc.

Figure 4. The porous absorber which is the Rockwool.

The spaces between the trusses consist of porous absorbers. The absorber is made of cellular
materials such as fiberglass and mineral wools. The air in the cells provide resistance towards
the sound waves which then loses energy in the form of heat. It also acts as a weather resistant
material, trapping heat and preventing it from distributing into the space.

Figure 5. Sound absorption diagram.

5.3 Ceiling

Figure 6. The sound reflection on the perforated tilted ceiling panel.

Figure 7. The sound absorption on the perforated tilted ceiling panel.

Figure 8. The sound diffusion on the perforated tilted ceiling panel.

 Figure 9. The tilted perforated ceiling panel.

Figure 10. The aerial view of the ceiling

Figure 11. The holes on the perforated ceiling.

 Figure 12. Image above show how does the sound been diffuse through the gypsum board.
http://yoshino-gypsum.com/en/sekkou/why/kyuuon/index.html

The perforated ceiling is tilted to follow the concave shape of the roof, allowing enough space
for acoustic strategies. The ceiling contains timber acoustic panels to absorb and diffuse sound.
Sound waves can pass through the perforation on the panels without being diminished or
reflected, to be directed to the acoustical treatment above. Through this, the reverberation time
of the hall can be decreased, thus allowing the low frequency reverberation time to be
controlled.

To avoid potential flutter and echoes, a smooth ceiling should not be parallel to the floor. In
many halls, the ceiling geometry itself is designed to direct sound to the rear of the hall, or to
diffuse it throughout the hall. Ceiling height is usually determined by the overall room volume
that is required. It should be one-third to two-thirds of the room width.

Perforated gypsum board panels are used as the ceiling material of the hall. It was designed to
solve acoustical problems economically in a large cubic volume space. Gypsum panels are
usually used due to its smooth surfaces and its ability to reflect sound. The reflective material is
used on the ceiling in order to project the speakers’ voices towards the rear of the room.
Reverberation time ranging from 4 to 9 seconds can be reduced to 0.5 to 2 seconds. Speech
intelligibility is greatly improved and sound intensity levels are reduced simultaneously by 3
decibels.

In many large halls, ceiling reflectors, sometimes called clouds, are used to direct sound energy
from the stage to the seating area. Both dimensions of a square reflecting panel should be at
least five times the wavelength of the lowest frequency to be reflected. When ceilings are high,
care must be taken to ensure that path-length differences between direct and reflected sound
are not too great, and particularly should not exceed 20 milliseconds. Clouds are made
absorptive, to avoid late reflections.
5.4 Floor

The main flooring finishes of the multipurpose hall is sheet vinyl flooring. Sheet vinyl flooring
comes in a large, continuous, flexible vinyl sheets. The flooring finishes is completely
impermeable to water, fairly durable, adjustably resilient and insulating. It is easy to be installed,
available with a variety of appearances, and cheap.

As it does not let water through, sheet flooring is suitable for kitchens and bathrooms while
some can be used in wet rooms. Due to the variation of closed-cell foam backing of vinyl sheet,
it can be given the resilience profile of sprung performance floor. Thus, it is suitable as a sports
or dance floor. However, the floor does not act as a good sound absorber, due to its state of
being solid and smooth surface, preventing any air gaps through it. When sound waves hit the
floors surface, it will be reflected back into the room.
Figure 11. The label shows the timber flooring of the hall.

Figure 12. The timber texture rubber vinyl at the hall.

 Figure 13. Timber decking floor on the stage.

Glad Tidings Vision Centre uses rubber vinyl finished flooring. The hall is used as a speech hall,
but also caters to be a multipurpose hall that can be used as for sports activities, such as
badminton, basketball, netball and futsal. The floor is designed to be used in sport centers and
hospital as it is easy to clean, very durable and low maintenance. The polyurethane coating on
the rubber vinyl resists dirt build-up and contains an anti-bacterial agent while providing optimal
slip resistance. However, this type of flooring is not a good sound absorbent. Sound will reflect
and produce echoes when it hits the floor. The stage uses timber decking floor as it helps to
reflect the sound produced to the audience, giving the audience a better hearing of speech or
performances.
5.5 Door

The doors of the hall are mainly fire rated door to fulfill the Bomba’s requirement. The doors are
not specifically customized for acoustic purposes. However, due to the thickness of the door
and its materiality, it can act as a sound insulation. Normally, one-hour fire rated timber door
with acoustic performance can be capped around 45dB.

Figure 14. The door or the multipurpose hall.

5.6 Acoustic Reflectors

It is very important to provide as much natural reinforcement for the unamplified voice as
possible. This applies equally in smaller rooms, classrooms, meeting rooms etc, but is
particularly important for larger spaces where the distance between the speaker and the listener
is greater.

Natural reinforcement is achieved by the strategic placement of reflective surfaces. For

example, in theatres it is common to place reflectors above the stage, and to angle these to give
useful reflections, particularly to the back of the auditorium. Hard flat surfaces can be
considered to reflect sound in a similar manner to the way that a mirror reflects light (i.e the
angle of incidence equals the angle of reflection.

Figure

Convex surfaces will scatter sound and concave surfaces can cause focusing of sound.
Focusing of sound is usually avoided because it increases the sound level for listeners at the
focal point, but do not benefit people outside the range of focus. The sound level would then
vary considerably throughout the auditorium. For this reason, convex surfaces are usually used.
 Figure

Any reflected sound that arrives within 50 milliseconds of the direct sound will help to reinforce
the speech. Reflections arriving later than 50 milliseconds might be heard as a distinct echo and
will degrade intelligibility. 50 milliseconds is the time it takes sound to travel 17 meters, so
reflective surfaces/panels should be designed so that the reflective sound has to travel no more
than 17 meters further than the direct sound to reach the listener.
 Acoustic reflective panels aligned to form a concave configuration for sound focus

In smaller rooms like meeting rooms, the main reflections come from the central part of the
ceiling. This therefore should be made reflective. Architects often specify acoustically absorbing
ceiling tiles in meeting rooms to reduce the reverberant sound levels but listening conditions
would be improved by making the central portion non-absorbing.

In our case study, the hall uses a concave ceiling, concentrating sound into the central space.
This is due to the function of the hall as a church congregation space, whereby the congregation
is also considered a sound source during praise and worship sessions.

Figure
5.7 HVAC Acoustics

Though the intention to provide comfort, HVAC systems often are a major source of noise in
buildings. While the primary focus of designers is temperature and humidity control, the
acoustics experts amongst them know the importance of keeping sound and vibration in check.

In general, the human ear is less sensitive to low- and high-frequency sounds than it is mid-
frequency sounds. Weighting is a method of reducing the contribution of low- and high-
frequency sounds to attain a value corresponding approximately to what the ear perceives.

Noise Criteria (NC) Curves

Where HVAC is concerned, "A" weighting more often is used for outdoor sound calculations
than it is indoor sound calculations. For indoor sound calculations, Noise Criteria (NC) is a more
common method.

The NC method is fairly straightforward. Sound-pressure levels at eight octave-band

frequencies are plotted on a family of curves defining the maximum allowable sound-pressure
level corresponding to a chosen design goal. An NC rating is determined by the lowest curve
exceeding the value at each octave band.

The downside of the NC approach is that the shape of a sound curve is not evaluated as a
whole, and lower frequencies (below 63 Hz) are not evaluated at all. Still, the NC method is the
most widely used basis for sound criteria for indoor HVAC applications. For office buildings, NC
35 usually is acceptable.
5.8 Silencers

How air approaches a duct silencer, how the silencer is oriented to the fan, and where the
silencer is located in relation to the equipment-room wall being penetrated are critical.
Transitions must be designed so that airflow through a silencer complies with the manufacturer's
intent. The best location for a duct silencer is centered on an equipment-room wall. If a fire or
smoke damper is required in a wall, a silencer should be located as close to the wall as
possible, within the equipment room. Otherwise, sound may radiate from the equipment room
directly into exit ducts.

Elements of components in a Duct Silencer

There are three types of duct silencers: dissipative, reactive (no sound-absorbing material in the
cavities), and active. When selecting a silencer, consider:

● Insertion loss — the difference between sound-pressure levels measured at the same
point before and after a silencer is installed.
● Static-pressure drop — the pressure drops across the silencer.
● Regenerated sound — sound generated by airflow through the silencer.
System effects can significantly impact the performance of dissipative and reactive silencers.
Silencers with internal baffles should be located at least three duct diameters from a fan, elbow,
branch take-off, or other duct element. Locating a silencer closer than three duct diameters can
result in a significant increase in static-pressure drop across the silencer, which usually
increases both fan and silencer airflow-generated noise.
Airflow-generated noise occurs as air flows into and out of a silencer. When static-pressure drop
across a silencer is greater than 0.35 in. wg, airflow-generated noise should be evaluated.

Typical ISTIQ Application and Installation

Dissipative and reactive silencers can have a rectangular or a circular cross section.
Rectangular and circular straight silencers are available in varying shapes. Straight silencers
can have side baffles, center baffles, or both. Special fan-inlet and discharge silencers,
including cone silencers, and silencers without internal baffles are designed to minimize system
effects and attenuate fan sound pressure at its source.

The side and center pods of dissipative and reactive silencers are constructed of perforated
sheet metal. The cavities of the pods of dissipative silencers are filled with either fiberglass or
mineral wool, which provides good broadband sound-attenuation characteristics. The cavities of
the pods of reactive silencers are tuned chambers void of fill material. Because of the tuning
associated with reactive silencers, broadband sound attenuation often is more difficult to
achieve.

Dissipative and reactive silencers come in several pressure-drop configurations. Insertion loss,
air flow-generated noise, and pressure drop are functions of the silencers' design and location in
a duct system. These data are measured experimentally and presented by manufacturers.

Active duct silencers produce inverse sound waves that cancel unwanted sound. They are
effective in attenuating low-frequency, pure-tone, and broadband sound. Active duct silencers
consist of a microprocessor, two microphones placed a specified distance apart in or on a duct,
and a speaker placed between the microphones and mounted externally but radiating sound
into the duct. The microphone closer to a source of low-frequency noise senses the sound. The
microphone signal is processed by the microprocessor, which generates a signal that is 180
degrees out of phase with the sound and transmitted to the speaker. Sound from the speaker
interferes with the unwanted sound, attenuating it. The other microphone, downstream of the
speaker, senses the attenuated sound and sends a corresponding feedback signal to the
microprocessor, so the speaker signal can be adjusted, if necessary.

Active duct-silencer systems have few, if any, components located within ducts. Thus, they can
be used to attenuate unwanted sound with little, if any, pressure drop and without the
introduction of regenerated sound into a duct. Discrete frequency tones between 40 and 400 Hz
typically can be attenuated by as much as 35 dB. Broadband sound in this frequency range can
be attenuated by 10 to 20 dB.

Active attenuation of Duct borne Noise

Active duct silencers are limited by airflow turbulence and cross modes near the microphones.
The microphones detect noise associated with turbulence as “pseudo noise” inhibiting the
controller's ability to analyze the sound being attenuated. Thus, active systems should not be
used where airflow velocity is greater than 1,500 fpm or there are duct elements or transitions
that can generate significant turbulence. Active duct silencers are most effective at attenuating
plane waves, where sound pressure across a duct cross section is constant. At higher
frequencies where duct cross modes exist, the sound pressure across a duct cross section is
not constant, and the corresponding effectiveness of an active silencer in attenuating sound is
reduced significantly.
5.9 Noise Paths of HVAC Equipment

Acoustic Paths

4.9.3 HVAC Noise Control

Duct Velocities - Air velocity within a duct system influences the noise levels significantly.
Regenerated noise can be created by transition pieces, bends, dampers, grilles and diffusers.
Regenerated noise can be avoided by limiting the air velocities within the duct system.

Design considerations on the air duct influences duct velocity

5.10 Sound Absorbing Drapery Acoustics

Sound acoustic drapery is an acoustic treatment that helps absorb and dampen sound. They
have to absorb the reflections off the glass and then they have to absorb the energy within the
room, giving it a double purpose.

5.10.1 Material Thickness

It is recommended that the acoustic curtain materials are think and highly porous. The thicker
the absorption material, the more effective it will be against a longer wavelength (lower
frequency) of sound. In order to be effective against “bass” frequencies, sound-absorbing
acoustical panels typically need to be at least one to two inches thick as it wouldn’t be practical
to have a 2-inch-thick drapery. Having said that, the approach taken in proceeding with sound-
absorbing drapery as a means of acoustic control fall under the consideration of selecting the
thickest and heaviest drapery your budget will allow.

As mentioned previously, the material must be highly porous as the pores will act as thousands
of tiny sound traps, capturing the energy and turning it into heat. A non-porous vinyl, leather or
acrylic-faced fabric will reflect much of the sound energy, reducing the effectiveness of your
acoustic drapery.

If cost becomes the concern, the a less expensive fabric of a less thickness should be selected.
However, thinner fabric will be less effective at bass and lower midrange frequencies. Another
option would be to use multiple layers of thinner materials, like 2 layers of thin fabric.

5.10.2 Pleating

In order to improve the low and mid frequency sound absorption performance of the acoustical
curtain, the material must be pleated. Pleating will cause the fabric to be “gathered”, such that it
loops in and out. The pleating should be as deep as possible in order to expose more sound
absorbing-surfaces, increasing effective thickness and improving low frequency sound
attenuation.
5.10.3 Distance to Wall

The drapery will also become more effective at absorbing longer sound wavelengths (lower
pitches) if it is spaced several inches from the wall or window. Up to a point, the deeper the
spacing, the more improvement to low frequency absorption you will see. Consider spacing the
drape 6 to 12 inches from the surface behind.
5.11 Seating

The seating furniture’s for the hall are movable

according to the function of the hall.

The seating’s type of the hall are banquet chairs. Due

to the banquet chair is not design for sound absorption,
it hard to achieve suitable stabilization of the
reverberation moment between occupied and
unoccupied conditions in the hall.

Instead, Glad Tidings auditorium can occupy around

1000 of audience, and they arranged face to the stage,
sound will be absorbing mainly by the audience from the
speaker.
6.0 Sound Source

Internal sounds are amplified through the auditorium’s built in AV system, consist of the input
and output components. The input components include dynamic utility microphones, electric
pickups for guitars and bass and direct input from electric pickups for guitars and bass and
direct input from electric musical instruments like keyboards. Output components include
amplifiers, array speakers (ceiling mounted) and stage monitors.

Speakers

Type, location, and Number of Speakers

Speakers (also called loudspeakers) push and pull surrounding air molecules in waves that the
human ear interprets as sound. It is used to amplify the sound by creating higher volume and
power so the audience can listen clearly to the speech and also to minimize the sound
reverberation in the hall.
The Purpose of the sound system is to amplify the natural sound coming from a speaker
(person)/ instrument and reproduce that sound electronically to the audience. The speakers are
mounted in a n angled array from the ceiling at a height of approximately 7 meters from the
ground.

Speakers Arrays

Wide sound system pulls sound to the sides of the room rather than getting the sound from the
center. On the central part of the hall, two compact vertical line array series loudspeakers are
used as the main speakers to allow even frequency response and clear sonic coverage
throughout the range of the system. It is placed hanging above the stage to control of the
vertical coverage of the low frequencies emitted from it. This is crucial, as it reduces how much
sound is sent toward the ceiling, which can cause unwanted reflections back into the listening
areas.
4 Front fill speakers: 4 speakers across the front of the stage. Its job is to lower the direction of a
speaker's voice so that its directed to the in front of the stage.

The speakers are installed in such a manner to avoid reflection from the flat floor which can
produce inconsistent amplification should the speakers be on ground level.
7.0 Calculation
Effective Surface Area

The table below is the finding of reverberation time of GTVC on 500HZ to analyze the range and
extent of reverb in the hall. The findings can tell us if the acoustics function correspond with the
multi-purpose usage.

Absorption of the surface area = Surface Area X Absorption Coefficient

8.0 Learning Outcome & Conclusion

Through the observations and measurements taken, we learned that GTVC fulfilled its own
purposed in every aspect from being a sport Centre meanwhile providing an acoustic
environment for speech and music performance.

By outputting mid and high frequency sounds whole emit low frequency sounds, the GTVC
multi-purposed hall is able to reduce vibrations that could be transferred throughout the church
itself, which may interrupt an ongoing activity that are going on in other rooms. While unassisted
speech doesn’t perform well in this auditorium it is not much of a problem as speeches are
expected to be conducted with the aid of speakers at all times.

This project taught us to understand the acoustic design response based on the multi-functional
hall in GTVC and how specific treatments are provided to achieved the acoustic effect of an
auditorium in general. This analysis has clarified the relationship between acoustics and the
material used of each components finishing, the spatial program and the function of an
auditorium. The understanding of these relationships and variations would greatly affect the
design services which are conducted by us in the practical career. Especially when acoustic is
taken into consideration during a design project.

The group would like to extend its utmost appreciation towards Mr. Azim and Ar. Edwin who
have actively guiding us throughout the entire case studies assignment.