TAYLOR’S UNIVERSITY

SCHOOL OF ARCHITECTURE, BUILDING AND DESIGN

BUILDING: EXPERIMENTAL THEATRE,
UNIVERSITY OF MALAYA
MODULE: BUILDING SCIENCE II
TUTOR: AR. EDWIN CHAN YEAN LIONG

PREPARED BY:
1. DARREN TAN YONG TEE 0323398
2. HOH JEAN MING 0322496
3. JONATHAN LIM 0321119
4. MUHAMMAD NAZMI 0322251
5. PREMDYL SINGH SHADAN 0321979
6. RACQUEL OOI 0326676
7. REBECCA MARIE TANDUBA 0322757
8. SOH YONG ZHOU 0322123
9. TENGKU SYAKIRA 0323079

1
 CONTENT

INTRODUCTION
1.1 INTRODUCTION OF PROJECT 3
1.2 AIMS AND OBJECTIVES 3
1.3 SITE INTRODUCTION 4
1.4 HISTORICAL BACKGROUND 5
1.5 DRAWINGS 6

LITERATURE REVIEW
2.1 ACOUSTICS IN ARCHITECTURE 9
2.2 SOUND INTENSITY LEVEL 10
2.3 SOUND POWER LEVEL 11
2.4 REVERBERATION TIME 11
2.5 ISSUES OF ACOUSTIC DESIGN STRATEGIES 12
2.6 ACOUSTIC DESIGN FOR AN AUDITORIUM 12

METHODOLOGY
3.1 EQUIPMENT 14
3.2 DATA COLLECTION METHOD 14

ACOUSTICAL ANALYSIS
4.0 THEATRE DESIGN ANALYSIS 15
5.0 SOUND AND NOISE SOURCES 18
6.0 MATERIALS AND ACOUSTIC TREATMENT 26
7.0 SOUND PROPAGATION AND RELATED PHENOMENA 35
8.0 REVERBERATION TIME 43

CONCLUSION AND REFERENCES

9.1 CONCLUSION 49
9.2 REFERENCES 50

1
2
INTRODUCTION

2
3
1.1 INTRODUCTION OF PROJECT
In a group of 9, we were required to conduct an acoustical analysis case study on an auditorium.
Acoustic design plays an important role in the design of an auditorium as if affects the quality of
the stage performance as experienced by the audience. Good acoustic design allows the
audience to fully enjoy the stage performance to its optimum potential without the interference of
external factors or acoustic defects. Factors affecting the quality of the performance include
sound intensity, sound pressure and reverberation time. On the other hand, the design of the
space such as massing, arrangement of the seats and the levelling of the seats may lead to a
loss of focus of the audience towards the performance if the design is poorly executed. A good
theatre design can maximize the enjoyment of performance by the controlling the sound
propagation and eliminating external and internal noise sources. At the end of the project, we are
to demonstrate our understanding of the brief given and present our report.

1.2 AIMS AND OBJECTIVES

The aim of this report is to document the research conducted on the acoustical design of an
auditorium in order to provide an insight into the intricacies of acoustic modelling, design and
implementation. The objectives of the report are as follows:

1. To conduct an in-depth exploration of the auditorium typology based on its layout,

designed with an intention for a specific acoustic performance according to the needs of its
functions.
2. To develop a robust understanding of the physics behind the acoustic quality of an
auditorium.
3. To analyse the relationship between acoustics and the materials, spatial planning and
context of an auditorium.

3
1.3 SITE INTRODUCTION

Interior of the Experimental Theatre

Name of Auditorium: Experimental Theatre, University of Malaya

Location: 825, Lingkungan Budi, 50603 Kuala Lumpur, Wilayah Persekutuan
Kuala Lumpur
Type of Auditorium: Performing Arts Theatre
Year of Completion: 1965
Year of Renovation: 2011
Total Volume (Theatre): 6932 m3
Capacity: 435 seats

We have selected the Experimental Theatre (ET) of the University of Malaya as our case study to
conduct our acoustical analysis through observation, data collection and documentation. By using
different methodology to measure and test out the sound and noise of the venue, we would have
to generate a detail report of our case study.

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1.4 HISTORICAL BACKGROUND
The beginnings of the Experimental Theatre (ET) date back to the mid-sixties when it was built
together with the Dewan Tunku Canselor (DTC). Both the DTC and ET were designed and
constructed by Dato’ Kington Loo of BEP Architects. Designed with a strong influence of brutalist
architecture and the modernist movement, the building was constructed mainly from a bare
concrete structure.

The layout of the present Experimental Theatre builds upon Richard Wagner's original concept,
incorporating modern innovations and systems. It features a proscenium stage, with a ramp
leading to basement rooms that serve as a green room (waiting room or touch-up lounge for
performers). In front of the stage is a hydraulic platform, which when raised serves as an
extension to the front of the stage, and when lowered as an orchestra pit. Hidden above the
stage is a structure of grids and rigging to accommodate modern sound and lighting systems.
The auditorium consists of tiered stalls and a gallery (balcony or raised seating platform).
The theatre hall is available for rental to serve for private and public functions. The theatre has
been utilised for stage performances, conferences, seminars, presentations and product
launches.

Panoramic view of theatre from the mezzanine level

5
1.5 DRAWINGS
1.5.1 EXPERIMENTAL THEATRE FLOOR PLANS

B
B

A
Ground Floor Plan

B
B

Mezzanine Floor Plan

6
1.5.2 EXPERIMENTAL THEATRE SECTIONS

Control
Room
House Stage

Entrance
Hallway

Orchestra Basement
Pit

Section AA

Bathrooms &
Utilities
Theatre Entrance
Hall

Bathrooms &
Utilities

Section BB

7
LITERATURE REVIEW

8
9
2.1 ACOUSTICS IN ARCHITECTURE
Acoustics can be defined as the properties or qualities of a room or building that determine how
sound is transmitted in it. In architecture, acoustics are a key element in designing for a specific
purpose and user.

Acoustics dabble into the world of sound whilst simultaneously trying to cancel out surrounding
white noise that may enter a space. The word “sound” is used to explain any sort of vibration that
can be deemed as pleasant. Comparatively, “noise” is used to determine a vibration that is
undesirable and disturbing. Although noise may come across as a nuisance, during certain times
noise is useful to alert and warn users.

Acoustics are an unstoppable wave as it travels in mechanical waves through all matters. As
architects, we must try to manage, transmit and control both airborne and impact sound within its
building design. The transmission of noise travels through any surface that comes in contact in
the building namely roof, eaves, walls , windows, floors, ceilings, doors and small penetrations.

Architectural acoustics concerns with improving sounds in a volume and space; although
understanding these differences and scientific reasons, no two spaces are posses the same
acoustical quality as one another. By researching into new methods for measuring and predicting
how sound moves within the rooms and buildings this enables us to develop innovative ways to
design rooms and buildings elements.

Sound Source, 2017

Example of diagrams showing behaviour of sounds in an enclosed

space. Couch Tuner, 2016 Hearing Health Matters, 2014

9
2.2 SOUND INTENSITY LEVEL
Sound Intensity Level is defined as the sound power per unit area. The basic units used in
calculations are measured in W/m2. A human can hear a dynamic range and sound intensity
span of 1 x 10-12 W/m2 to 1 x 101 W/m2 and upward, where it is generally the threshold of pain for
humans. 1 x 10-12 W/m2 is the lowest hearable human sound which is used as a reference point
and have a decibel value of 0.

Decibels (dB) are the unit used to measure the ratio of a given intensity ( I ) to the threshold of
hearing intensity, so that this threshold takes the value 0 decibels (0 dB). It is measured on a
logarithmic scale. To assess sound loudness, as distinct from an objective intensity
measurement, the sensitivity of the ear must be factored in.

Currently sound intensity can be defined by the equation:

I = intensity of sound being measured (W/m2)

I0= threshold of hearing intensity (1 x 10-12 W/m2)

Table 1.1: (Electrical Engineering eeweb, 2012)

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2.3 SOUND POWER LEVEL
Sound Power Level can be defined as the total energy radiated by a source from all directions or
simply described as the measure of the energy output by the source. The Sound Power Level is a
source that is fixed and produces Sound Pressure Levels depending on the distance from the
source.

When analysing and determining Sound Power Levels, we must not determine the quantity only
through Sound Pressure Levels however, we should also consider the environment around it
which could possibly contribute to the levels. For example, when assessing the noise level of
machinery or domestic appliances in a factory it is not sufficient to measure only through the
Sound Pressure Level by using an A-weighting network since the level measured may be
contributed by the noisy environment of other machinery in the area or external factors such as
transportation.

2.4 REVERBERATION TIME

Reverberation Time is the time used to measure how long a sound completely reflects and dies
out in a space. In an auditorium, sound energy is mainly absorbed by multiple factors such as
interactions between any surfaces it touches such as; walls, ceilings, seats, floors, etc. In a room
with higher reflective surfaces, it will take longer for the sound to fade out, however, in an
absorbent room, the sound should die very quickly.

However, we must take into consideration of how loud the sound is to begin with, either being
projected straight from the mouth or with additional speakers and amplification. We also must
take into consideration of the hearing ability of the observer. In this case, an empirical formula
was derived in relation between the volume of the amphitheater, the amount of absorptive
materials sued and the quantity of reverberation time. This relationship is known as the Sabine
Formula:

RT: The reverberation time defined as the time taken for the sound to decay by 60dB after the sound source is
abruptly switched off
V: Volume of the particular space.
A: Total absorption Rate of Materials

11
2.5 ISSUES OF ACOUSTIC DESIGN STRATEGIES
Acoustic design is challenging and issues may arise due to improper design of the space or from
limitations in terms of building technology, materials or human error. The interior surfaces of an
auditorium are crucial for proper acoustics as it reflects, refracts, absorbs and diffracts sounds in
all directions. Proper designing of surfaces allows the acoustics to be controlled.

For instance, if large echoes are to be avoided the focus on sound waves must be avoided.
Therefore smooth, curved reflecting surfaces such as domes and curved elements must be
controlled as they are focusing elements. Moreover, flutter echo must be avoided in an auditorium
as it leads to interference in sound qualities. Flutter echoes happen when sound is reflected
through a set of parallel walls, creating a repetitive pulse which results in a drag of sound.

Acoustic shadows may occur in an auditorium with a larger volume. Acoustics shadows can be
caused by the diffraction of low balconies, large pillars and corners. This happens because direct
sound waves are not able to travel to that point, relying purely on reflective sound. The solution for
acoustic shadows are usually fixed by the amplification of sound through speakers.

Finally, external noise can be a major problem for auditoriums located in an urban context near
airports, streets, highways, hospitals, etc. To overcome this issue, cavities may be designed
around the auditorium to create an air pocket of space which lowers down the sound before
impacting on the auditorium’s surface. Furthermore, the materiality of the auditorium is crucial
because the sound absorption rate varies greatly from one material to another.

When designing an auditorium with purpose of having good acoustics, we must look into the finer
details, ranging from the seat arrangement to the material used. It is vital for architects and interior
designers to be attentive and for the design to be practical yet functional when the time comes.

2.6 ACOUSTIC DESIGN FOR AN AUDITORIUM

The goals for an auditorium with perfect acoustics must:

1. preserve the sound intensity (the longer the note drags clearly the better)
2. clarity in sound delivery
3. optimum reverberation time
4. prevent excessive vibration through airborne and / or impact sound
5. reasonable reduce external noises from entering the auditorium

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METHODOLOGY

13
14
3.1 EQUIPMENT

Metal ruler. Digital camera. Digital sound level meter.

Measuring tape. Smartphone.

3.2 DATA COLLECTION METHOD

In order to gain access to utilising the Experimental Theatre at University Malaya for the purpose
of this project, permission from the university’s Cultural Centre was requested. However, due to
time constraint and the theatre’s full schedule, the limitations of our study was for its conduct to be
done with the presence of stage crews and performers setting up for their respective
performances.

● Measuring dimensions
Measuring tape was utilised to measure distances and easily accessible areas up to 10m.
Metal ruler was used to measure thickness of materials and alignment of the angled walls.
● Measuring sound intensity levels
Digital sound level meter was used during the performers’ rehearsals as they were utilising the
main speakers to obtain readings away from the sound source in different areas of the theatre.
Readings were also taken during brief periods of rest to obtain the sound level of the theatre when
it is silent.

14
ACOUSTICAL ANALYSIS
THEATRE DESIGN ANALYSIS

15
16
4.1 Shape and Massing

The audience seats of the

auditorium is designed in a
8m height cubic void form.
Acoustic timber panels are
assembled along with the
walls on the both sides of
auditorium. The timber
panels are enacted as
sound diffuser that diffuses
sound wave coming from the
stage. As a result, only small
amount of sound wave is
reflected back to the
Ground Floor Plan audience seats.

However, the ceiling of the

auditorium is mainly flat
surface and the edge is in
convex shape configuration.
Sound diffuser panels are
Cross Section not installed on the ceiling,
which sound travelling from
the ceiling cannot be
diffused and is directly
reflected to the audience
seats. Hence, the audiences
may experience unequal
sound quality and
intensity. The high ceiling of
the theater ensures space
for production lighting and
equipment that are used
Longitudinal Section during performances.

16
4.2 Seat Arrangements

The auditorium is capable of

accommodating 435
occupancies.

129 seats on the both wings

92 seats on the middle
85 seats on the mezzanine

The seats placement is

arrange in a fan shaped
configuration, fall within a
approximately 65 degree
sound projection angle from
the centre of the stage, which
is an ideal optimal visual and
acoustical region for the
audiences.

There are 12 rows of seats

and 3 rows of seats on the
mezzanine.

The riser goes up 130mm

every 1m in thread.

The levelling difference of

seats allows the audiences a
more direct angle of
incidence, which in turns
allow less absorption

However, the mezzanine

creates a sound shadow
area, which affects the
acoustic performance
receiving at the back row.

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ACOUSTICAL ANALYSIS
SOUND & NOISE SOURCES

18
19
5.1 SOUND SOURCE
The Experimental Theatre in Universiti Malaya is an auditorium that utilises AV system for better
sound output & input. The sound reinforcement system is the combination of microphones,
signal processors, amplifiers, and loudspeakers, monitors in enclosures all controlled by a mixing
console that makes live or pre-recorded sounds louder and may also distribute those sounds to a
larger or more distant audience. The main speakers are installed on the upper both sides of the
stage, whilst several smaller speakers are located towards the back seating area installed
embedded in the ceilings.

Arrangement of speakers

Main Array Speakers

Foldback Speaker
Subwoofers

Sound systems in the experimental theatre

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Array Speakers
There are four array speakers, two on each side and both suspended to the
ceiling on the left and right side of the hall to ensure balance. The function and
positioning of the main speakers are to efficiently assure sound travel across the
entire hall.

As the main array speakers facing towards the

centre, we discovered the centre region of the
auditorium has high sound concentration.

However, the placement of the sound system

makes the front seating area unpleasant where it
is below the ceiling speaker points.

Foldback Speaker
There are four foldback speakers installed in front of the stage. This is to assist
sound feedback to the performers on stage. Without a foldback system, the sound
that on-stage performers would hear from front of house would be the reverberated
reflections bouncing from the rear wall of the venue, which the naturally reflected
sound is delayed and affect the synchronization of performers.

The installation of the monitor speakers are to

assist performer to help them hear themselves
and for stage monitoring as the main speakers
are facing the audience which the stage area as
a blindspot.

20
Subwoofer
The two subwoofers are located on the left and right side of the stage. The
function of it is to augment the performance of main loudspeakers, it produces a
lower frequency sound that is typical low frequency ranged for about 35–200Hz.
It is placed on the stage on a higher level to make sure the sound is distributed
evenly across.

Two-way wall speaker

There are four two way speakers embedded in the ceiling at the back row of the
seats, these two way speakers are small in size and consist of a tweeter and a
bass to assist the audience to also have a clearer sound at the back.

The highlighted seats are located right below the

balcony where sound shadow occurs, therefore
4 two-way wall speakers are installed on the
ceiling to assure equal sound quality

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5.2 EXTERNAL NOISES

2
4

1 The corridor is connected 2 The activities in the

directly to the backstage. pre-function area mainly
Therefore there’s leakage human activities
of sound from the happening outside the hall.
auditorium to the walkway.
The noise from activities
along the walkway could
be heard from the
backstage as well.

The glass facade causes As the doors to the

3 4
external noises such as auditorium has no sound

traffic and rain noises in lock, therefore noises

the external area of the could be heard inside the

auditorium auditorium

22
 Traffic and other noises from
outside could be heard in the
auditorium as it is directly facing
the AV room that is open to the
auditorium

EXTERNAL NOISE FROM MEZZANINE FLOOR

AV room opening facing the

audience could be unpleasant

23
5.4 INTERNAL NOISES
Noises within the auditorium mostly comes from mechanical & electronic equipments such as the
audio system and air conditioning. The noises could be heard constantly in the theatre which could
be unpleasant to audiences. Besides, noises are also created due to human activities. Such as
opening and closing of doors, walking on stage, maintenance work and so forth.

1
2

3 4 5

1. Air Conditioning
One of the noise issue found in the auditorium is the air conditioning, when
there is an excess of air being delivered through the opening (air diffuser)
causes a constantly noise that could interrupt the audience, however, the
noise is usually covered by the sound of the speakers, which has a much
louder dB and therefore dwarfs this background noise.

2. Audio System
As the auditorium utilizes audio system, therefore one of the major noise
source is from the main speakers. It produces a buzzing noise when the
speakers are turned on and these noises could also be constantly heard in
the auditorium around 45 to 50 dB, equivalent to a quiet library with people.

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 3

3. Entrance & Back Door

As the main entrance and back door has no sound lock, therefore the
noises from the walkway, rain and traffic could be occasionally be
heard in the auditorium. Also the opening and closing of the doors
caused noises as it is timber panel door.

4. Audience
As the floor of the audience uses carpet, therefore it could help to
reduce footstep noises and movement of audience in and out of the
auditorium.

5. Stage
The material of the stage is made of hardwood timber, therefore, it
produces noises when there’s human activity & movement of objects.
This is intentional as the purpose of the theatre is drama and
theatrical performance, which the loud movement sound may be used
accordingly.

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ACOUSTICAL ANALYSIS
MATERIALS &
ACOUSTIC TREATMENT

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6.1 MATERIALS TABLE

AREA COMPONENT MATERIAL DESCRIPTION FINISHES 125Hz 500Hz 2000Hz

Stage Stage curtain 1. Velour 1. Medium velour NIL 0.05 0.40 0.60
velvet curtain, 50%
gather.

Walls 1. Brick 1. Brick wall 1. 0.01 0.02 0.02

plastered on both Emulsion
2. Velour sides paint 0.05 0.40 0.60
velvet (white)
2. Velour fabric 0.40 0.15 0.10
3. Timber curtain over wall 2. NIL

3. 12mm THK 3. Varnish

acoustic plywood
panel on rockwool

Flooring 1. Timber 1. H.W timber 1. Varnish 0.20 0.10 0.05

strip/parque
2. platform with large 0.02 0.05 0.10
Marmoleum space below it.
vinyl
2. Vinyl sheet over
H.W timber flooring

Apron 1. Timber 1. H.W timber 1. Varnish 0.20 0.10 0.05

strips/parquet
2. 2. NIL 0.02 0.05 0.10
Marmoleum 2. Vinyl sheet cover
vinyl over H.W timber 3. Antique
stage apron gold faux
3. coating
Aluminum 3. Aluminum grill
skirting 150mm
from stage apron

Flytower 1. Steel 1. Steel fly systems NIL - - -

and rigging

27
AREA COMPONENT MATERIAL DESCRIPTION FINISHES 125HZ 500HZ 2000HZ

House Walls 1. Gypsum 1. 2 layers of 1. Emulsion 0.30 0.15 0.05

Gypsum board on paint
2. Timber steel studs with (white) 0.40 0.15 0.10
rockwool insulation
3. Foam in air cavity 2. Varnish 0.15 0.90 0.90

2. 12mm THK 3. NIL

acoustic plywood
panel on rockwool

3.50mm THK
rockwool with facing
of stretched fabric

Flooring 1. Carpet 1. 10mm THK short NIL 0.08 0.30 0.75

pile carpet stuck to
concrete floor

Ceiling 1. Mineral 1. Mineral fibre 1.NIL 0.42 0.83 0.89

fibre board board ceiling
2. Emulsion 0.30 0.15 0.05
2. Plaster 2. Molded plaster paint
ceiling over fibre (white)
board

Seating 1. Foam 1. Upholstered 1. NIL 0.33 0.64 0.77

foam self-lifting
2. Plastic seats 2. NIL

2. Molded one-piece
plastic components

Railing 1. Glass 1. 12mm THK glass 1. NIL - - -

baluster
2. 2.
Aluminum 2. Aluminum railing Galvanized
mounted onto glass zinc

Doors 1. H.W 1. H.W timber flush 1. Varnish 0.14 0.06 0.10

timber double doors

Control 1. Glass 1. 4mm THK glass NIL 0.30 0.10 0.05

Room window panes

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6.2 MATERIALS BOARD

Upholstered foam self-lifting Short-pile carpet flooring Rockwool insulation with

seating patterned stretched fabric

Plastered brick wall with white Acoustic hardwood timber Vinyl cover over hardwood
emulsion paint panels timber tage

Aluminum grill in front of stage Velour velvet curtain Glass baluster with aluminum
apron railing

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6.3 ACOUSTIC TREATMENT AND COMPONENTS

6.3.1 WALL PANELS

Location of wall components
a. Acoustic Timber Panels
These panels intermittently surround the flanks of the theatre walls and the front walls of the stage.
As a component, these panels are built with 12mm plywood panels into a box that houses rockwool
foam beneath it. Also built into these timber panels are light boxes faced with a white acrylic under
a decorative aluminum grill.

As specific components these acoustic timber panels are angled to reflect sound from the stage to
the audience. The rockwool foam controls the energy of reflected sound as well sound insulating
the theatre - the resonance loses energy through friction in the rockwool because of its
non-directional fibres that make it difficult for for sound to pass through.

30
b. Acoustic Foam Panel

Acoustic foam panels are mounted on the walls at the back of the theatre that function to absorb
sound without any reflection. Its function is to prevent the phenomenon of echoes in the theatre
that would affect the experience of the performance and quality of sound. Each panel is made up of
a stretched patterned fabric over rockwool foam on plywood backing that is mounted onto the
walls. The rockwool foam is designed to make sound difficult for it to pass through and would
cause sound to lose energy when it passes through its surface.

c. Dry Walls
These walls are made of 2 layers of 12mm gypsum boards that are fixed onto steel studs that
allows for a jagged wall arrangement providing angled reflections from stage to the audience. The
angle in which the walls are positioned is equal to the angle of reflection from the line of incidence
from the sound source. Mounted upon these walls are the acoustic timber panels, providing a
controlled reflective surface for equal sound dispersion to the audience. In addition, the wall
arrangement prevents parallel facing wall surfaces, thus avoiding flutter echoes.

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6.3.2 FLOORING

a. Carpet Floor
The house flooring area is covered with 10mm thickness short-pile carpet stuck onto the finished
concrete floor surface. It is a sound absorbing material that is able to dampen the sound effects of
footsteps in the theatre while reducing sound reflection off the ground that may cause echoes.
However, there is no rubber or foam underlayment under the carpet that would provided additional
insulation.

6.3.3 CEILING
a. Molded Plaster Ceiling Over Fibre Board
Mineral fibre board forms the ceiling and is then plastered over and coated with a white paint finish.
The ceiling is also arranged in a jagged position that reflects incidence sound, thus equally
distributing sound from the stage to audience. This also prevents flutter echoes because there are
no parallel surfaces from ceiling to ground.

32
6.3.4 STAGE
a. Hardwood Timber with Vinyl Floor
The stage is structured with hardwood timber parquet flooring laid over wooden battens on the
concrete counterfloor. This material was chosen for its resilience to withstand heavy foot traffic and
a smooth surface finish that would be a good reflector, increasing reverberation time. Currently,
marmoleum vinyl covers the stage and apron as it is a suitable material surface for dance
performances. This additional cover decreases the stage’s reflectivity but it could be reasoned that
it helps with reverberation control if required.

b. Hardwood Timber with Vinyl Apron

The apron is also made of hardwood timber strips and covered with marmoleum vinyl. In front of
the apron is an aluminum grill railing coated with antique gold faux coating that lines the front
perimeter of the stage. This grill deflects sound when the orchestra plays in the open basement
below the stage during live music performances.

33
6.3.5 CURTAIN
a. Velour Velvet Curtain
A medium velour curtain is used at the stage for the drop curtain, backdrop curtains and stage side
entrance curtains. Its use as the backdrop curtain provides an aesthetic appearance but also
dampens sound from reflecting off the stage back walls that would cause overlapping of sound
from the stage. The drop curtain and side curtain prevents backstage sound from leaking to the
audience while providing aesthetic appearance on stage.

6.3.6 SEATING
a. Upholstered Foam Self-lifting Seating
The seats are fixed folding seats with padded foam upholstery. Its material has sound absorbing
properties that diminish sound reflection and echoes when it is vacant.

34
ACOUSTICAL ANALYSIS
SOUND PROPAGATION &
RELATED PHENOMENA

35
36
7.1 SOUND PROPAGATION & RELATED PHENOMENA

7.1.1 SOUND INTENSITY LEVEL

Sound reflection is typically utilised in a room for efficient and distribution and sound waves
reinforcements to be heard by the audience. In the ET (Experimental Theater) of University
Malaya, there are several types of reflective surfaces including parallel and angled
coordinated surfaces to provide good sound coverage for the audience. Below are the
sound intensity levels measured in decibels, dB within the theatre;
1. Theatre with background mechanical noise
2. Theatre with music played through speakers

Diagram depicting SIL (Sound Intensity

Level) in the theatre at different zones;
with background mechanical noise.

STAGE External
speakers as
sound
reinforcement

Diagram depicting SIL (Sound

Intensity Level) in the theatre at
different zones; with music played
through speakers.

Thus, the highest sound intensity

level appears to be at the front row;
nearest to the speakers.

External
speakers as
sound
reinforcement

36
7.1.2 SOUND CONCENTRATION

There is a higher SIL (Sound Intensity Level) in the centre of the theater as the presence of a
concave wall at the back allows the reflection of sound waves to be concentrated towards
the centre. Hence, this supports the evident of a higher dB at the centre of the theatre; which
is of 49.0dB as compared to the sides a the same seating row which only has 47.0dB. Thus,
audience at the centre of the theatre will enjoy most from the acoustics of the theatre.

Diagram depicting sound waves reflecting off concave surface; resulting to

concentrated sound waves at the centre of the theatre

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7.1.3 SOUND REFLECTION AT PARALLEL AND CONCAVE SURFACE

The design of straight walls in the theatre allows sound waves to reflect at a perpendicular
angle against the walls. However, there is a higher SIL (Sound Intensity Level) in the centre
as the presence of a concave wall allows the reflection of sound waves to be concentrated
towards the the center of the theater. Hence, this allows sound to be distributed efficiently
and evenly towards the centre of the theatre.

Concave
wall

Parallel
wall

Diagram depicting sound waves reflecting off the parallel and concave walls, allowing
sounds to be distributed efficiently and evenly within the theatre.

38
7.1.3 SOUND REFLECTION

The design of straight ceiling in front allows sound waves to be reflected perpendicularly;
distributing the sound evenly throughout the theatre.

However, the straight ceiling at the back of the theatre causes sound waves to be reflected
perpendicularly; resulting the sound wave to be reflected towards outside the theatre -
hence ineffective for the audience to listen.

Diagram depicting sound wave propagation through sectional diagram; whereby

sound waves are seen reflected evenly at the front of the theatre; however straight
ceiling at the back causes sound waves to be reflected ineffectively for the audience
to listen.

40
7.1.4 SOUND DISPERSION

The hall is mainly intended for performance and theatre usage thus, the positioning of
the reflective elements must be considered in relation to the source of sound. The design
of the convex ceiling at the corner enables sound to disperse and scatter, and
distributed more evenly throughout the whole theatre. It also eliminates sharp corners
which prevents unwanted echoes - which may disrupt the intended incident sound
waves.

7.1.5 SOUND SHADOW

Within the experimental theatre, sound shadow occurs for seats below the mezzanine.
Without the use of speakers, audience members within this area would possibly experience
a slight sound disruption as they would not be able to enjoy the performance or speech to
the fullest due to the lack of design application in bringing sound waves further back and
under. However, the sound shadow only minimally affects sound output from the array
speakers located at the top of the stage.

Sound shadow

Mezzanine

Sound
Ground floor source

39
 7.1.6 SOUND ECHO

An echo is an acoustical defect that occurs in a space when sound is reflected off the
surfaces. In reducing the occurrence of echoes within the theatre, absorbent materials
are used to absorb and diffused the sound; to prevent excessive sound echo which
would disrupt the sounds within the theatre.

Occurence of flutter
echoes without
absorbent material.

Sounds may not be

clear to audience as
incident sounds are
disrupted by reflected
sound waves.

Flutter echoes with

absorbent material; in
University Malaya’s
Plaster
ceiling Theatre:
Incident sounds can be
heard clearly from the
sound source without any
disruption; as sound
waves are diffused and
absorbed by the
absorbent materials.
Fabric wall
Thus, minimal sound echo
- minimal sound disruption
Fabric seats may be heard by the
audience

Carpet
flooring

Diagram depicting reflected sound waves that are gradually diffused into the
absorbent materials.

40
7.1.6 SOUND ECHO

Flutter echoes without absorbent material.

Fabric wall

Timber
panels with
moderate
absorption
coefficient

Minimal flutter echoes with absorbent material

41
7.2 SOUND DELAY

R1

R2 Sound
source
D

Sectional diagram depicting the sound delay in the theatre.

Finding sound delay in the theater using the formula;

R1: Initial Sound travel length.

R2: Reflected Sound travel length
D: Displacement between R1 and R2
Vs: Speed of Sound [344m/s]

1. (6.5m + 8m - 3.4m) / 344m/s = 32.6ms

2. (6.8m + 8.1m - 5.2m) / 344m/s =28.5ms
3. (7.4m + 8.5m - 8.1m) / 344m/s =22.9ms
4. (8m + 8.8m - 10.1m) / 344m/s =19.7ms
5. (8.6m + 9.2m - 12.1m) / 344m/s =16.8ms
6. (10.6m + 6.7m - 14m) / 344m/s =9.7ms
7. (11.5m + 6.9m - 15.5m) / 344m/s =8.5ms

The sound delay that occurs in Universiti Malaya Experimental Theatre falls within an
acceptable range for a multi-use hall, with little sound delay at various seats. This is
because it falls below 40ms which ar the longest acceptable delay for speech and
100ms which are the longest acceptable delay for music.

42
REVERBERATION TIME

43
45
8.1 REVERBERATION TIME CALCULATION
Reverberation is the resonance of sound, which plays an important role in the acoustic qualities of
a room. The period for the reverberant sound to die, results in the determination of the space as
“wet” or “dry”. The desirable RT is reliant on the function of the room, whereby the balance
between the sound carried, acoustic quality and clarity varies for speech and music.

The optimum reverberation times. (Industrial Electronics, 2016.)

Reverberation time is dependent on:

● Volume of enclosure (distance)
● Total surface area
● Absorption coefficients of surfaces

The formula to obtaining the RT is the Sabine's formula:

RT: Reverberation time in second

V: Volume of room in cubic meter
A: Total absorption of room surfaces, sabins

44
8.2 VOLUME CALCULATION

A B C D

Floor Plan
Approximate Area Calculation:
A = 34.9m2
B = 289.8m2
C = 44.8m2
D = 188.2m2

A B C D

Section
Approximate Volume Calculation:
A = 34.9m2 x 6m ≈ 209m3
B = 289.8m2 x 8m ≈ 2318m3
C = 44.8m2 x 8m ≈ 359m3
D = 188.2m2 x 21.5m ≈ 4046m3 Total Volume of Theatre Space: 6932m3

45
8.3 SOUND ABSORPTION OF ROOM SURFACE

125Hz 500Hz 2000Hz

MATERIAL SURFACE Sound Absorption Sound Absorption Sound Absorption
AREA Absorption units Absorption units Absorption units
Coefficient m2 sabins Coefficient m2 sabins Coefficient m2 sabins

Plastered Brick
Wall 455m2 0.01 4.6 0.02 9.1 0.02 9.1

Acoustic Timber
Panel 205m2 0.40 82 0.15 30.8 0.10 20.5

Acoustic Foam
Panel 48m2 0.15 7.2 0.90 43.2 0.90 43.2

Carpeted
Flooring 330m2 0.08 26.4 0.30 99 0.75 247.5

Hardwood
Timber Flooring 227m2 0.02 4.5 0.05 11.4 0.10 22.7

Plaster Ceiling
557m2 0.30 167.1 0.15 83.6 0.05 27.9

Hardwood
Timber Door 11m2 0.14 1.5 0.06 0.7 0.10 1.1

Stage Curtains
631m2 0.05 31.6 0.40 252.4 0.60 378.6

Glass Window
9m2 0.30 2.7 0.10 0.9 0.05 0.5

Auditorium
Seats (vacant) 150m2 0.33 49.5 0.64 96 0.77 115.5

Total Absorption units: 125Hz: 377.1 500Hz: 627.1 2000Hz: 866.6

46
Using the Sabine's formula to find how long the sound would decay 60dB:

RT60 of the Theatre:

RT 125Hz = (0.16 x 6932m3) / 377.1 m2 sabins = 2.9s
RT 500Hz = (0.16 x 6932m3) / 627.1 m2 sabins = 1.8s
RT 2000Hz = (0.16 x 6932m3) / 866.6 m2 sabins = 1.2s

( Prof Allehyani S.H. 1999.)

The theatre falls between 1.5 and 2.5 seconds reverberation time when the sound is in a normal
pitch (500Hz) which is optimal for both clear speech and music. This is the best suited for this
theatre whom functions is drama and theatrical performance which requires both amongst other
noise and sound effect.

For a low pitch sound in which its frequency is around 125Hz, it has a much higher
reverberation time. This is partly due to the sound absorbance property for the stage curtain,
surrounding the whole high volume stage, is very low at this frequency. This factor may be
intentional for theatrical effects, whereby strong and lasting bass may create a more convincing
and forceful sound in their play and performance.

47
CONCLUSION &
REFERENCES

48
50
9.1 CONCLUSION
Through our analysis and observations, the acoustics design of the Experimental Theatre at
University Malaya is optimized for its function of being a multipurpose auditorium that focuses on
speech and music. It reflects its suitability of its current use of being a platform for varying
performing arts events.

The theatrical hall is well-furnished with room acoustic equipments that subsequently provided for
its optimal diversified use. The space was prioritised for its performing arts purposes - hence,
presence and placements of the sound absorbers and sound reflectors help control the reflected
sound energy in speech-oriented events whereas encourage sound from the stage in theatrical or
music-oriented events to reflect to the audience.

However, they are some compromise in the sound qualities with the design. For instance, the
high volume stages are necessary for the stage lighting hoisting and equipments but they may
affect the sound quality in terms of higher reverberation (as the walls are composed of material
with very low absorption coefficient) and this may create unwanted echoes. The theatre solve this
issue by covering the walls around the stage using stage curtains which helps reducing the
reverberation in 500Hz sound frequency and above. But it does not help as much with 125Hz
frequency sound, resulting in higher reverberation for bass, in which the theatre takes advantages
of.

In studying the acoustics design of the Experimental Theatre, we are driven to comprehend the
importance of acoustics in accordance to typology and function of the theatre as well as the
furnishings which allow the space to cater to its programme requirements. We are able to
understand the relationships between spatial planning, materiality and acoustics and its
importance in conducting our future projects.

49
9.2 REFERENCES

Books:
● Grondzik, W. T., & Kwok, A. G. (2015). Mechanical and electrical equipment for buildings.
Hoboken, NJ: Wiley.
● Cavanaugh, W. J., Tocci, G. C., & Wilkes, J. A. (2010). Architectural acoustics: Principles and
practice. Hoboken: J. Wiley & Sons.

Online Websites:
● (n.d.). Retrieved from http://www.philophony.com/sensprop/reverberation.html
● (n.d.). Retrieved from
https://study.com/academy/lesson/what-is-spl-sound-pressure-level-definition-examples.html
● Absorption Coefficients[PDF]. (n.d.). http://www.akustik.ua/
● Berg, R. E. (2017, November 06). Acoustics. Retrieved from
https://www.britannica.com/science/acoustics/Acoustic-problems
● Gracey, B. (n.d.). Acoustic Glossary. Retrieved from
http://www.acoustic-glossary.co.uk/sound-power.htm
● H. (n.d.). Retrieved from http://cultural.um.edu.my/facilities-and-services/facilities
● Noise Building Acoustics Reverberation Time. (n.d.). Retrieved from
http://www.noisenet.org/Noise_Room Acoustics_Reverb.htm
● Reverberation Time. (n.d.). Retrieved from
http://hyperphysics.phy-astr.gsu.edu/hbase/Acoustic/revtim.html
● Room Acoustics. (n.d.). Retrieved from
http://www.industrial-electronics.com/measurement-testing-com/architectual-acoustics-3-0.html
● Sound Intensity. (n.d.). Retrieved from
http://hyperphysics.phy-astr.gsu.edu/hbase/Sound/intens.html
● Sound Power and Pressure Levels: What is the Difference? (2015, March 17). Retrieved from
https://www.acoustical.co.uk/acoustitips/i-sound-power-sound-pressure-technical/
● Sound Pressure Level Definition. (n.d.). Retrieved from
http://www.nchearingloss.org/spl.htm?fromncshhh
● Sound-Absorbing Treatment to Checklist for Effective Absorption of Sound. (n.d.). Retrieved
from
http://www.industrial-electronics.com/measurement-testing-com/architectual-acoustics-2-SOU
ND-ABSORPTION-2.html
● Sound-intensity Level. (n.d.). Retrieved from
https://www.merriam-webster.com/dictionary/sound-intensity level
● University of Salford. (n.d.). Salford Innovation Research Centre (SIRC). Retrieved from
https://www.salford.ac.uk/research/sirc/research-groups/acoustics/architecture-and-building-ac
oustics

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