BUILDING UTILITIES

05
Architectural Acoustics

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ARCHITECTURAL ACOUSTICS
MAN, SPACE AND SOUND
 Introduction:

• Architectural Acoustics is the art and technique of designing

spaces, structures and mechanical systems to meet hearing
needs.
• The architect must deal primarily with the external human
senses of sight, touch and hearing when designing the
environment of the building.
• Knowledge of the concepts of architectural acoustics, the
study of everything which concerns hearing in and around
buildings, will enable the designer to properly integrate the
requirements of sound control with the requirements of
other building functions.
• It is essential that the designer be prepared to recognize and
solve acoustical problems from the very earliest design stages
of a project.

• Equipped with a knowledge of the concepts of architectural

acoustics, the architectural designer can identify
acoustical conditions requiring professional assistance and
engage in productive collaborative work with all the
members of the project design team.

• The goal of architectural acoustics is to make the

environment best serve the functions intended, such as
work, relaxation or sleep.
 Essential Elements of Architectural Acoustics
1. Room Acoustics 3. Sound Isolation
a. Volume a. Site consideration
b. Interior Surface Shapes b. Location of activities within the
c. Surface Material Select i on and building
Placement [Link], floor & ceiling construction and
d. Audience Seating and Furnishings barriers
d. Background sound levels
2. Sound Reinforcement e. Coordination with room acoustics
System 4. Mechanical System Noise
a. Compatibility with room acoustics
b. Loudspeaker selection and placement
Control
c. System controls and components a. Vibration isolation
b. Duct treatment
c. Equipment selection
d. Background Noise Generation
 Room Acoustics

Surface Material Selection

Interior Surface Shapes / Audience

Seating and Furnishing

Room Volume
Sound Reinforcement
Systems

Loudspeaker selection & Placement

Compatibility with Room Acoustics

System controls & components

 Sound Isolation

Wall, Floor & Ceiling Construction

and Barriers

Background Sound Levels

Site Consideration / Coordination

with Room Acoustics
Location of Activities within the
building
Mechanical System
Equipment
Selection

Background Noise Generation

Duct
Treatment

Vibration Isolation
 The Physics of Acoustics
• What is Sound?
Sound is an oscillation in presence
of the atmosphere which is
capable of being detected by the
human ear.
It is a form of energy propagated in
waves that continues to subsist
until filtered through a material
turning into heat by friction.
Sound is the sensation produced
through the ear resulting from
fluctuations in the pressure of
the air.
• What is the Nature of
Sound?
The nature of sound, in order
to be heard, requires the
following elements:
1. Source of sound
2. Medium or Transmission
Path
3. Receiver
Source of Sound
• Source of Sound is normally
a vibrating body, which
converts some other form
of energy into vibration.
The source can be made
quioer.
• The word transducer is
osen used as a generic
term for devices used in
converting some form of
energy into sound such as
loudspeakers and
microphones.
Transmission Path
• Transmission path is any
substance that allows the
vibration to be
transmioed in the form of
a wave motion. The
transmission can be made
to transmit more or less
sound.
• Sounds that are transmioed
by air are called airborne
sounds.
• Sounds that are transmioed
through solid bodies are
called structureborne
sounds.
Receiver
• Receiver pertains with
the human ear.
• The receiver can be
influenced.
What are the types of Sound?
• The types of sound are:
1. Music – can be classified
as ordered sound since it is
integrated.
2. Speech – can also be
considered as ordered
sound since it is also
integrated.
3. Noise – is classified as
disordered sound, as in
street noise.
The Sound Wave
• Sound Vibrations • Complex sounds are
are longitudinal those of speech, music
waves.
and noise.
• They can be pure tone or a
complex sound. • Most sounds in the
• A pure tone is sound everyday world are
dominated by energy in a complex, consisting of
single frequency, and is a variety of pressures
described by a single which vary in time.
smooth sine curve.
• Pure tones can only be
produced electronically.
The Pure Tone Sound Wave and The
Complex Sound Wave

Pure Tone Sound Wave

Complex Sound Wave

 • Cycle – the full circuit by
the particle.
Parts of the Sound • Frequency – the number
of complete cycles per
Wave second, measured in
hertz (Hz).
• Amplitude – the
maximum displacement
of a particle.
• Period – the time
required for one
complete vibration,
measured in seconds
per cycle.
• Wavelength – the
distance a sound wave
travels during one cycle
of vibration.

Sounds with wavelengths ranging from 12mm to 15,000mm can be heard by humans.
 The Properties of Sound
• The properties of
sound are:
1. Speed or Velocity
2. Frequency (Pitch or Tone)
3. Power (Intensity or
Loudness)
4. Threshold of Audibility
5. Threshold of pain
6. Directionality of
Sound Sources
 *Speed or Velocity of Sound
Medium Speed of Sound
in meters per
• Velocity is the speed of
second
sound that varies greatly
Air @ 20 Degrees 330
according to the medium Centigrade
the waves travel in and Concrete 3,500
slightly according to the
temperature of the Water 1,350
medium.
Steel 4,600
• Sound travels in the air at
330 meters per second at Glass 4,750
normal temperature (20 Brick 3,450
degrees Centigrade)
Aluminum 5,540
 *Frequency or Pitch or Tone
• The approximate frequency
• In sound, Frequency is osen range of a healthy person’s
referred to by a term is 20 to 20,000 Hz.
borrowed from musical • Humans are most sensitive
concepts – Pitch. to sounds having significant
• The higher the frequency, energy in the 500 to 4000
the higher the pitch. Hz.
• The sound’s frequency is its • Low frequency sounds of
number of vibration in about 16 to 500 Hz are
cycles per second, also called rumble, while high
known as Hertz (Hz). frequency sounds of 1,000
to 8,000 Hz are referred to
as hissy.
Frequency Range of Common Sound
Condition Frequency Range
Frequency of
A healthy young person 20 to 20,000 Hz Sound and its
is capable of hearing
Human speech 125 to 8,000 Hz
Wavelength
Male Voice 350 to 500 Hz • The relationship
between wavelength,
Female Voice 700 to 900 Hz frequency and speed of a
The Octave Frequency 63, 125, 250, 500, sound is expressed as;
Bands 1000, 2000, 4000 &
8000 Hz w=v/f
where: w = wavelength (m)
AM Radio 250 – 500 Hz
v = velocity (m/s)
Jet engine 1,000 Hz f = frequency (Hz)
Siren 2,000 Hz *Sounds with wavelengths
ranging from 12mm to
Chirping bird 4,000 Hz 15,000mm can be heard by
Chirping insect 8,000 Hz humans.
Squeaking door 10,000 Hz
Sound Pressure Level: Power, Intensity or Loudness
• Sound power level, also known as • A sound pressure level of 0
sound intensity, is its loudness or dB = 0.0207 uP or
impact of its pulsating waves
against eardrums, measured in
0.000000003 psi
decibels (db). • and
• This is the most osen used • 120 dB = 20,700 uP or 0.03
description and measurement • psi
of sound relative to human
sensitivity as to pressure. • Sound pressure levels
• Its unit of measure is in uP changes with distance from
(micropascal) or psi (pounds per a sound source.
square inch.
 Loudness Level of Common Loud
Recognized Sounds
70 dB Aircraft cabin during
Painful flight, speech
60 dB Highway traffic, inside
140 dB Jet engine @ 23 meters general office, baby
away crying, speech
130 dB Threshold of pain; jet Moderate
aircraft @ takeoff (91 meters
away) 50 dB Office activities
120 dB Threshold of feeling;
40 dB Typing, inside private
thunder, siren, “hard rock” office
Deafening Faint
110 dB Accelerating motorcycle, 30 dB Bird singing, inside
rock band bedroom
100 dB Auto horn, chainsaw 20 dB Whisper

Very Loud Very Faint

90 db Pneumatic tools, shouting 10 dB Rustling leaves,

human breathing
80 db Threshold of hearing loss 0 dB Threshold of
(long term exposure) hearing (Audibility)
Changes in Intensity Level Change in Apparent Loudness

1 dB Almost imperceptible

3 dB Just perceptible

5 dB Clearly noticeable

10 dB Twice (or ½ ) as loud

18 dB Very much louder (or quiter)

 KEY WORDS DEFINED: Sound Transmission Class
The Sound Transmission Class (STC) is a single number rating of the effectiveness of
a material or construction assembly to retard the transmission of airborne sound.

STC 25 Normal speech can be understood quite clearly

STC 30 Loud speech can be understood fairly well
STC 35 Loud speech audible but not intelligible
STC 42 Loud speech audible as a murmur
STC 45 Must strain to hear loud speech
STC 48 Some loud speech barely audible
STC 50 Loud speech not audible
KEY WORDS DEFINED: Impact Insulation Class (IIC)

The Impact Insula"on Class (IIC) is a single-‐number rating that indicates the amount of
impact noise isolation provided by a floor/ceiling assembly. The higher the number, the
quieter the floor/ceiling assembly.
 KEY WORDS DEFINED: Noise Criterion (NC)

Noise Criterion (NC) level is a standard

that describes the relative loudness of a
space examining a range of frequencies.
They were established in U.S. for rating
indoor noise, noise from air-‐conditioning
equipment etc.
The method consists of a set of criteria
curves extending 63 to 8000 Hz and a
tangency rating procedure. The
criteria curves define the limits of
octave band spectra that must not be
exceeded to meet the occupants
acceptance in certain spaces.
 Recommended NC Equivalent Sound Level
Type of Room -‐ Space Type
Level NC Curve dBA
Residences
Apartment Houses 25-‐35 35-‐45
Assembly Halls 25-‐30 35-‐40
Churches, Synagogues, Mosques 30-‐35 40-‐45
Courtrooms 30-‐40 40-‐50
Factories 40-‐65 50-‐75
Private Homes, rural and suburban 20-‐30 30-‐38
Private Homes, urban 25-‐30 34-‐42
Hotels/Motels
-‐ Individual rooms or suites 25-‐35 35-‐45
-‐ Mee\ng or banquet rooms 25-‐35 35-‐45
-‐ Service and Support Areas 40-‐45 45-‐50
-‐ Halls, corridors, lobbies 35-‐40 50-‐55
Offices
-‐ Conference rooms 25-‐30 35-‐40
-‐ Private 30-‐35 40-‐45
-‐ Open-‐plan areas 35-‐40 45-‐50
-‐ Business machines/computers 40-‐45 50-‐55
 Recommended Equivalent Sound
Type of Room – Space Type NC level Level
NC Curve dBA
Hospitals and Clinics
-‐ Private rooms 25-‐30 35-‐40
-‐ Operating rooms 25-‐30 35-‐40
-‐ Wards 30-‐35 40-‐45
-‐ Laboratories 35-‐40 45-‐50
-‐ Corridors 30-‐35 40-‐45
-‐ Public areas 35-‐40 45-‐50
Schools
-‐ Lecture and classrooms 25-‐30 35-‐40
-‐ Open-‐plan classrooms 35-‐40 45-‐50
Movie motion picture theaters 30-‐35 40-‐45
Libraries 35-‐40 40-‐50
Legitimate theaters 20-‐25 30-‐65
Private Residences 25-‐35 35-‐45
Restaurants 40-‐45 50-‐55
TV Broadcast studies 15-‐25 25-‐35
Recording Studios 15-‐20 25-‐30
Concert and recital halls 15-‐20 25-‐30
Sport Coliseums 45-‐55 55-‐65
Sound broadcasting 15-‐20 25-‐30
KEY WORDS DEFINED: Transmission Loss (TL)

Transmission loss (TL) in general describes the accumulated decrease

in intensity of a sound energy as a wave propagates outwards from a source, or
as it propagates through a certain area or through a certain type of wall or
other structure at a given frequency.
 KEY WORDS DEFINED: Noise Rating (NR)
The Noise Ra"ng (NR) Curve is developed by the International Organization for
Standardization (ISO 1973) to determine the acceptable indoor environment for
hearing preservation, speech communication and annoyance.
Noise Rating (NR) is commonly used in Europe. The Noise Criterion (NC) is more
common in USA.
Recommended Noise Ra"ng (NR) Levels
The Noise Rating level should not exceed the Noise Ratings indicated in below:

Noise Rating curve Application

NR 25 Concert halls, broadcasting and recording studios, churches
NR 30 Private dwellings, hospitals, theaters, cinemas, conference rooms
Libraries, museums, court rooms, schools, hospitals
NR 35
operating theaters and wards, flats, hotels, executive offices
NR 40 Halls, corridors, cloakrooms, restaurants, night clubs, offices, shops
NR 45 Department stores, supermarkets, canteens, general offices
NR 50 Typing pools, offices with business machines
NR 60 Light engineering works
NR 70 Foundries, heavy engineering works
 Noise Rating (NR) Curves

Maximum Sound Pressure Level (dB)

Octave band mid-‐frequency (Hz)
Noise Rating ( NR )Curve
31.5 62.5 125 250 500 1000 2000 4000 8000

NR 0 55 36 22 12 5 0 -‐4 -‐6 -‐8

NR 10 62 43 31 21 15 10 7 4 2
NR 20 69 51 39 31 24 20 17 14 13
NR 30 76 59 48 40 34 30 27 25 23
NR 40 83 67 57 49 44 40 37 35 33
NR 50 89 75 66 59 54 50 47 45 44
NR 60 96 83 74 68 63 60 57 55 54
NR 70 103 91 83 77 73 70 68 66 64
NR 80 110 99 92 86 83 80 78 76 74
NR 90 117 107 100 96 93 90 88 86 85
NR 100 124 115 109 105 102 100 98 96 95
NR 110 130 122 118 114 112 110 108 107 105
NR 120 137 130 126 124 122 120 118 117 116
NR 130 144 138 135 133 131 130 128 127 126
 ACOUSTICAL
CRITERIA for
VARIOUS
BUILDING TYPES
REQUIREMENTS in AUDITORIUM DESIGN
Adequate loudness

Sound diffusion

Optimum reverberation
characteristics

Free from acoustical defects

Reduced or eliminated noise

and vibration
ROOMS for MUSIC
Acoustical attributes affect
the Quality of Music

Warmth: felt when the room has a

relatively long RT at low
frequencies (250hz and below)

Fullness of Tone: noticed when

there is a controlled RT over the
entire audio frequency range

Balance: created by numerous

reflective and diffusive surfaces
around the sound source to
strengthen and improve the
balance between various sections
of the musical sound sources
ROOMS for MUSIC
Acoustical attributes
affect the Quality of
Music

Live Hall:
An auditorium with a large
volume relative to its audience
capacity with predominantly
sound reflecting enclosures

Dead Hall:
A hall with a relatively small
volume compared to its
audience capacity, with
enclosures which are highly
absorptive
ROOMS for MUSIC
Investigations show that music
requires a longer RT than speech

No music hall is built for one

specific type or style of music

1.0 second for Baroque Music

1.5 seconds for Classical Music
2.0 seconds for Romantic Music

the RT therefore, must always be

a meticulously established
compromise of…… 1.7seconds
ROOMS for MUSIC
Floor shapes of typical music
halls include:

Rectangular

BOSTON SYMPHONY HALL

ROOMS for MUSIC
Floor shapes of typical music
halls include:

Fan - shaped

BEETHOVENHALLE, BONN
ROOMS for MUSIC
Floor shapes of typical music
halls include:

Horseshoe

TEATRO SAN CARLO, NAPLES

ROOMS for MUSIC
Floor shapes of typical music
halls include:

Irregular

PHILHARMONIE, BERLIN
ROOMS for MUSIC
CONCERT HALLS
The floor area for the orchestra
platform should be based on
the space requirements of the
users

Each musician requires a floor

area of 1.1 to 1.4 M2 , while each
member of the chorus requires
0.3 to 0.4 M2

Platforms should have a

maximum depth of 9M and a
width of 18M

If chorus space is necessary, 3M

on either side or at the back can
be added
ROOMS for MUSIC
THEATERS / OPERA HOUSES
Theaters and Opera Houses
use orchestra pits, located
at least 2.5M below the stage

FESTSPIELHAUS, BAYREUTH
ROOMS for MUSIC
THEATERS / OPERA HOUSES
Stages of theaters and opera
houses include:

Proscenium
 ELIZABETHAN PLAYHOUSE
ROOMS for MUSIC
THEATERS / OPERA HOUSES
Stages of theaters and opera
houses include:

Open / Thrust
ROOMS for MUSIC
THEATERS / OPERA HOUSES
Stages of theaters and opera
houses include:

Open / Thrust
ROOMS for MUSIC
THEATERS / OPERA HOUSES
Stages of theaters and opera
houses include:

Arena
ROOMS for MUSIC
THEATERS / OPERA HOUSES
Stages of theaters and opera
houses include:

Adaptable

PROSCENIUM OPEN / THRUST ARENA

ROOMS for MUSIC
THEATERS / OPERA HOUSES
Stages of theaters and opera
houses include: PROSCENIUM

Adaptable

OPEN /
THRUST

ARENA

BAUHAUS THEATER
PLACES of WORSHIP
One of the most difficult
aspects in the acoustical
design of Churches is RT
control
PLACES of WORSHIP
One of the most difficult
aspects in the acoustical
design of Churches is RT
control
PLACES of WORSHIP
One of the most difficult
aspects in the acoustical
design of Churches is RT
control

PACIFIC UNION CHURCH,

CALIFORNIA
PLACES of WORSHIP
One of the most difficult
aspects in the acoustical
design of Churches is RT
control

GRACE CHURCH,
ILLINOIS
PLACES of WORSHIP
One of the most difficult
aspects in the acoustical
design of Churches is RT
control

SPRING LAKE,
WISCONSIN
PLACES of WORSHIP
The Chancel and Pulpit, as
well as the organ and choir,
should be well elevated and
surrounded by reflective
enclosures
PLACES of WORSHIP
The Chancel and Pulpit, as
well as the organ and choir,
should be well elevated and
surrounded by reflective
enclosures
PLACES of WORSHIP
Churches usually consist of
several coupled spaces

NOTRE DAME, PARIS

CHARTRES, PARIS
PLACES of WORSHIP
Some churches have large
hemispherical domes
MULTI-PURPOSE HALLS

Most multi-purpose auditoriums

have excessively long RTs

One frequent cause of a long RT

is the unraked or level floor

Multi purpose halls in basements

of buildings can have an RT of
from 5-8 seconds

ARCH 255 EVANGELISTA

 OFFICE SPACES
Speech privacy in an open-plan
office is more difficult to attain
than in a conventional office
because work stations are not
separated by full-height but by
low-height partitions.

ARCH 255 EVANGELISTA

 OFFICE SPACES
A reasonable level of speech
privacy in an open-plan office
is achievable if the following
design guidelines are
followed:

Office partitions should be

made of multiple-leaf panels.

Partitions must be at least 1.5

M high by 2.5 M long. This will
prevent the sounds from being
diffracted too much into the
adjoining space.
OFFICE SPACES
A reasonable level of speech
privacy in an open-plan office
is achievable if the following
design guidelines are
followed:

The ceiling must be designed as

very highly absorptive
approaching the “open-sky”
acoustical condition so that all
sounds reaching the ceiling get
lost in it.

In practice, the aim is to achieve

a minimum overall NRC value of
0.75 for the ceiling system.
OFFICE SPACES
A reasonable level of
speech privacy in an
open-plan office is
achievable if the following
design guidelines are
followed:

All ceiling fixtures, such as

lighting fixtures, must be as
small as possible, to prevent
sounds reflecting from its
surface.

Use low ambient lighting from

small fixtures or from cove
lighting coupled with
individualized local lighting
closer to the table.
MOTION PICTURE
THEATERS
Motion picture theaters
represent an exclusively
single purpose auditorium

The original sound source is not

present, but is a mere
reproduction, reflecting the
acoustical character of the
motion picture studio in
which the film’s scene was shot

Motion picture theaters

should have a relatively
short RT
MOTION PICTURE
THEATERS

The room should be raked,

with the room length not
exceeding 50M

Heavily upholstered seats

should be used to
counteract fluctuating
attendance
MOTION PICTURE
THEATERS
The room should be raked, with
the room length not exceeding
50M

Heavily upholstered seats

should be used to counteract
fluctuating attendance

Cinema foyers should be

provided, and treated for a low
RT
MOTION PICTURE
THEATERS
The front wall behind the
screen is treated with
absorptive material to avoid
back reflections from the
speakers
MOTION PICTURE
THEATERS
The size of the screen
depends on the theater area

The projection room,

acoustically treated because
of the noise it produces,
should be located at the
center
RECORDING STUDIOS

Of all spaces which require

acoustical attention, recording
studios are the most complex

Recording studios are used for

sound recording and mixing,
and consequently should have
at least two defined spaces:
Recording or “Live”
Room Control or
Monitoring Room
RECORDING STUDIOS
Of all spaces which require
acoustical attention, recording
studios are the most complex
RECORDING STUDIOS

Room proportions are critical

for good reverberation
characteristics

For rectangular studios certain

room proportions are generally
advocated; (H:W:L)
1: 1.25: 1.6
1: 1.5: 2.5
1: 1.15: 1.4

Richard Bolt’s Chart

RECORDING STUDIOS

Recording Studios
should be designed
against:

Sound Reflections

Room Resonances

Thus there are two basic

types of acoustical
treatment

Absorbers
For midrange and high
frequencies
For low frequencies
RECORDING STUDIOS
Recording Studios
should be designed
against:

Sound Reflections

Room Resonances

Thus there are two basic

types of acoustical
treatment

Absorbers
For midrange and high
frequencies
For low frequencies

Diffusors
RECORDING STUDIOS
RECORDING STUDIOS

Control rooms require just as

much acoustical attention:

Monitor speakers and “mixer” should

form an equilateral triangle

Treat ‘first reflection” points with

absorptive panels

Treat remaining spaces to clean

out residual ringing

Add bass traps in some corners

RECORDING STUDIOS

Control rooms require

just as much acoustical
attention:

Traditionally, double paned

windows are provided
between the live room and
control room

These windows have

generally been angled to
prevent standing waves

However, sound isolation

suffers
RECORDING STUDIOS
Different required RTs can not be
avoided so variable absorbers
and electronically controlled RT
devices are used
RECORDING STUDIOS
To avoid noise and vibration
detection, studios make use of
structural isolation, sound
locks, multi-leaf panels, and
other acoustical technology
 BROADCASTING
STATIONS
There are several types of
studios for broadcasting

Announcer’s Booth: The

smallest studio, normally
associated with a larger one.
The floor area is only about
14m2

Talk Studio: Used for

newscasts, panel discussions,
addresses, and even recitals,
the floor area is about 47m2

Drama Studio: Floor area

is from 56 to 140m2
 BROADCASTING
STATIONS

Versatile Studio: Used for either

speech or musical presentations,
floor area varies between 140
and 370m2

Audience Studio: Used for

broadcasting choral and
orchestral programs
 BROADCASTING
STATIONS
The biggest challenge when
designing a broadcast station is
the functional layout for several
auxiliary facilities, including:

- The master room as the

center, the television studio,
announcer's booth and the sub
control room *

- Other broadcast related rooms

(dubbing room, editing room,
VTR room and machine room,
etc.) *

* These are normally provided

with a short RT
 BROADCASTING
STATIONS
The biggest challenge when
designing a broadcast station
is the functional layout for
several auxiliary facilities,
including:

-Support rooms (rehearsal

room, art storage and dressing
room, etc.)

-backup facilities essential for

broadcasting such as electric
installation machine rooms,
lighting control machine room,
CVCF(Constant-Voltage
Constant- Frequency) room,
private generator, equipment
facility, etc.
 BROADCASTING
STATIONS
Acoustical Requirements
for broadcasting studios:

Location should be far away

from
noise and vibration

Ideal room proportion is

1:1.5:2.5

For Radio Stations the

Reverberation Time should
be controlled against dull
and lifeless sound

Include serrated or diffused

walls to sound absorbers
 BROADCASTING
STATIONS
Acoustical Requirements for
broadcasting studios:

For television studios the

Reverberation Time should be
relatively low, because the
volume is larger and there is
more noise to control

More absorption is required

because of the use of boom
microphones (NC = 25)

Air conditioning systems,

lighting, and other utility related
noise must be contained
 BROADCASTING
STATIONS
CYCLORAMA (cyc)

A photographic background
used in studios, theatres and
sometimes on location.

A cyclorama is necessary for

recording pictures, because in a
TV studio both sounds and
pictures are handled to record

Heavy draperies can absorb mid

and high frequencies, but not low
frequencies
 BROADCASTING
STATIONS
CYCLORAMA (cyc)

A photographic background
used in studios, theatres and
sometimes on location.

A cyclorama is necessary for

recording pictures, because in a
TV studio both sounds and
pictures are handled to record

Heavy draperies can absorb mid

and high frequencies, but not
low frequencies
 MOTION PICTURE
STUDIOS
Motion picture studios are
usually built as large halls with
highly absorbent enclosures
so that the sets can contribute
their own acoustical
characteristics as required.

Provision for the required short

RT and for a high degree of
noise and vibration isolation
within these studios is the main
acoustical objective.
 OTHER BUILDING
TYPES
Residential Buildings:
residences in suburban
districts require a higher
degree of sound insulation
than those built in noisy
areas.

Hotels: Three types of spaces

require attention:
1) public and social rooms,
2) guest rooms,
3) circulation areas. These
spaces must have adequate
noise control and proper
reverberation
characteristics.
 OTHER BUILDING
TYPES
Schools: The most essential
considerations for sound
control are site selection,
site planning, and
architectural programming.
Room acoustical design of
classrooms, lecture halls,
auditoriums, libraries, music
rooms, gyms, etc. must also
be considered.

Museums and Libraries: a quiet

environment is essential for
reading, studying, or
contemplating works of art. A
reasonable amount of sound
absorptive material should be
used for a short RT and to help
insulate sound from exterior
sources
 OTHER BUILDING
TYPES
Airports: other than the problem of
aircraft noise, airports provide
additional services for both
airlines and passengers. These
spaces require direct speech,
public address systems, and
telephone conversations. Thus,
the acoustical criteria should be
established with these
considerations.

Industrial Buildings: protection for

the workers from noise is the
most essential consideration.
Speech communication
among workers is also
important.
 OTHER BUILDING
TYPES
Restaurants: acoustical
problem is reducing
reverberation and noise.
Sound absorptive treatment
should be generously
placed. If possible, sound
locks should be placed
between the kitchen and
dining area.

Hospitals: Interior noise

sources are major problems
because inherent
mechanical units of a
hospital are fundamentally
noisy
THEATERS AND AUDITORIA

PLANNING AND DESIGN STANDARDS

Types of Theater and Auditorium Plans
Nomenclature of the Plan of a
theater or Auditorium
Nomenclature of a Theater or
Auditorium Section
Spot Plan of the Stage Enclosure
Stagehouse Section
 Balcony Design Example:
Concert Hall or Opera House

Concert Hall or Opera House

Balcony Design Example:
Motion Picture Theater

Mo"on Picture Theater

Flying Balcony
Example of Variable Volume
Example of Variable Volume
Example of Variable Volume
Example of Variable Volume
Example of Variable Volume
 DESIGNING
AUDITORIUMS

ARCH 255 EVANGELISTA

Architectural Contributions
to Auditorium Design

Site Development

Audience Capacity

Room Shape

Volume and Dimensions

Seating Arrangement

Layout of Boundary

Surfaces Surface

Treatment
 Acoustical Requirements in
Auditorium Design
1 There should be adequate
loudness in every part of
the auditorium, particularly
the remote seats

GOAL:
Reduce Sound Energy Loss
 Acoustical Requirements in
Auditorium Design
1. The auditorium should be
shaped so that the audience
is as close to the sound
source as possible, thereby
reducing the distance the
sound must travel.

C = Centroid
The average distance
between the stage and the
seats in the audience area
 Acoustical Requirements in
Auditorium Design
2. The sound source must be
raised as much as
feasible in order to secure
a free flow of direct sound
waves to every listener.

Section of Auditorium with Balcony

3. The floor where the audience is

seated should be properly
ramped or raked, because
sound is more readily absorbed
when it travels over the 1
audience at grazing incidence. 8
The gradient along the aisles of sloped
floors should not exceed 1:8
 Acoustical Requirements in
Auditorium Design
Other methods to improve sight
lines, and direct sound paths:

Low stepped aisles

Two row vision

 Acoustical Requirements in
Auditorium Design
4. The sound source should be closely and abundantly surrounded with large
sound reflective surfaces in order to supply additional reflected sound
energy to every portion of the audience.
 Acoustical Requirements in
Auditorium Design
4. The sound source should be
closely and abundantly
surrounded with large sound
reflective surfaces in order to
supply additional reflected
sound energy to every portion
of the audience.

Time Delay in Milliseconds

(R1 + R2 – D) / 344 < 30msec
Acoustical Requirements in Au ditor ium De sign
5. The floor area and volume of
the auditorium should be kept
at a reasonable minimum,
shortening the distance that
direct and reflected sound
must travel.
Recommended Volume / Seat Values
Type of Auditorium min opt max

ROOMS for SPEECH 2.3 3.1 4.3

CONCERT HALLS 6.2 7.8 10.8
CATHOLIC CHURCHES 5.7 8.5 12.0
MULTI-PURPOSE HALLS 5.1 7.1 8.5
MOTION-PICTURE THEATERS 2.8 3.5 5.1
 Acoustical Requirements in
Auditorium Design
6. Parallelism between opposite
sound reflective boundary
surfaces should be avoided, to
eliminate undesirable back
reflections.
 Acoustical Requirements in
Auditorium
7. The audience should occupy
Design
those parts of the seating area
which are advantageous both
for viewing and for hearing.
8. If besides the primary
sound source, which is
normally located at the
front part of an auditorium,
additional sound sources
exists in other parts of the
room, these sound sources
must also be surrounded
by sound reflecting
surfaces.

Auditoriums that
experience these
problems include:

Churches and Synagogues

Theaters and Opera Houses

Conference and Seminar

Rooms
2 Sound energy within the
room must be diffused;
There must be a uniform
distribution of sound.

Methods to create sound diffusion:

Providing several surface

irregularities

Providing an alternating
application of reflective and
absorptive finishes
Providing a random
application of reflective and
absorptive finishes
Providing diffusers
 Acoustical Requirements in
Auditorium Design
3 The room must maintain
optimum reverberation
characteristics.

APPROXIMATE RANGE of RTs

SEC
RC CHURCHES
2.5
CONCERT HALLS
2.0 MOVIE THEATERS
RECORDING
1.5 STUDIOS

1.0
0.5
0.0 1.5 5.0 20.0 60.0 150.0 200.0 250.0 VOLUME (cuM)
3 The room must maintain
optimum reverberation
characteristics.
Reverberation Time

.8 - 1.3 1.4 - 2.0 2.1 - 3.0 Optimum**

Fair - Unaccep-
Speech Good 0.8 - 1.1
Poor table*
Contemporary Fair -
Fair Poor 1.2 - 1.4
music Good
Poor - Fair - Good -
Choral music 1.8 - 2.0+
Fair Good Fair

* With an adequately designed and ** The optimum reverberation time can be

installed sound system, speech somewhat subjective and can shift based on
intelligibility concerns can be numerous variables.
mitigated.
 Acoustical Requirements in
Auditorium Design
3 The room must maintain
optimum reverberation
characteristics.

For rooms for speech (sabine)

OptRT = 0.3logV/10

Stephens and Bates, have

developed a formula for optimum • t  r(0.0123 v 0.1070)
reverberation time.
• T = Optimum reverberation time in
it’s an approximation that is best Seconds
• V =Volume of hall in m3
suited to frequencies of 500Hz. • R = 4, for Speech halls

= 5, for Orchestra Music

= 6, for Coral Music.
4 The room should be free
from acoustical defects
such as echo, long
delayed reflection, sound
concentration, coupled
spaces, etc.
 Acoustical Requirements in Auditorium
Design
4 The room should be free
from acoustical defects
such as echo, long
delayed reflection, REFLECTIVE
sound concentration,
coupled spaces, etc.

DIFFUSIVE

ABSORPTIVE

The General Rule of Thumb for

Wall Surfaces
Acoustical Requirements in Auditorium Design

DIFFUSIVE REFLECTIVE
ABSORPTIVE

ARCH 255 EVANGELISTA

5 Noise and vibration
which would interfere
with listening or
performing should be
excluded, or at least
reasonably reduced
to a minimum.
5 Noise and vibration which
would interfere with
listening or performing
should be excluded, or
at least reasonably
reduced to a minimum.
Sample Plate
Sample Design
Sample Design
 NRC Ratings for Selected Materials

Flooring Walls
• concrete/ ceramic tiles- 0.05 • brick- 0.05
• vinyl tile on concrete- 0.08 • concrete block (painted)- 0.10
• parquet on concrete- 0.10 • concrete block (coarse)- 0.15
• acoustical blankets 4” (bare)- 0.85
• wood on joists- 0.15
• acoustical blankets 2” (bare)- 0.65
• carpet on concrete- 0.15 • Foam panel 1”- 0.40
• carpet on rubber foam- 0.40 • cork- 0.40
• perforated panels, 4” airspace- 0.80
• 6mm plywood, 2” air space- 0.40
• 10mm glass- 0.05
 NRC Ratings for Selected Materials

Seats Ceiling
• upholstered and occupied • acoustical board fastened- 0.30- 0.55
- 0.45-0.5 • acoustical board suspended
• upholstered and empty - 0.45- 0.75
• gypsum board fastened- 0.05
- 0.30- 0.40
• gypsum board suspended- 0.30
• metal /plastic seats, occupied • 6mm plywood suspended- 0.30
- 0.30- 0.40 • concrete painted- 0.08
• metal / plastic seats, empty • acoustical spray-on- 0.30- 0.40
- 0.15- 0.20
END