7th Semester | Building Services - IV I Unit 1 Introduction to Architectural Acoustics Building Services — IV (Architectural Acoustics) Unit 1 - Introduction to Architectural Acoustics Sound js a vibration that typically propagates as an audible wave of pressure, through a transmission medium such as a gas, liquid or soli. Formula: € =x Where, v= Frequency A= Wavelength c = Velocity of Sound (c = 343 m/s at 20°C) FrequencyVsWavelength c=OxKA vx a Short Wavelenath: - High Frequency Long Wavelength Low Frequency Amplitude is the fluctuation or displacement of a wave from its mean value. Wavelength 4 Crest ¥ 4 Trough Ambient noise - It is any sound other than the sound being monitored. Ambient noise is a form of noise pollution or interference. Attenuation - It is a measure ot the energy loss ot sound propagation in media. When sound propagates, there is always thermal consumption of energy caused by viscosity. Prof. Anup Kumar Prasad, School of Architecture, REVA University, Bengaluru (2020)7th Semester | Building Services - IV I Unit 1 | Introduction to Architectural Acoustics Damping - it is the process of making machinery quieter by damping the vibrations to prevent them from reaching the observer. Diffusion — It is the efficacy by which sound energy is spread evenly in a given environment. Noise Reduction It is a process of removing noise from a signal. Decibel - A unit to measure the intensity of the sound or the power level of an electrical signal by comparing it with a given level on a logarithmic scale B (dB) = 10 logo (I) B (dB) = (10x 7) logo (10} B (dB) = 10 logno (10) B (dB) =70x1 {From log table, logio (10) = 1} B (8) = 70 dB 4.Compare 2.Compress 3. Scale Quantity “8 Power (x10) ‘Quantity"A” 4210920 0dB 10=10%4 10-dB 02=2 20 dB 0%=3 30 dB Of=4 40 dB a 05=5 50 dB Watts) Volts ‘Pressure’ Distance 4{000,000=10°=6 60-dB Watts Volts” Pressure” Distance Results in a ratio Results in a ratio between: Scales the valuein Bels between'the:two the two quantities expressed toa value in decibels quantities in Bels (compressed) Unit of intensity of Soundiis Watt/m* Sound level — It is Usually defined in terms of something called SOUND PRESSURE LEVEL (SPL). SPLis a ratio of absolute, sound pressure and a reference level. Itis measured in decibels (4B). B (dB) = 10 logo (I / lo) Threshold of hearing is the lowest threshold of acoustic pressure sensation, possible to perceive by an organism lo=10'2 Watt /m? {SPL (dB) = 0 dB} Noise Reduction -It is a process of removing noise from a signal. Sound transmission loss - It is the no of decibels that are stopped by a wall or other structure at a given frequency. Prof. Anup Kumar Prasad, School of Architecture, REVA University, Bengaluru (2020)7th Semester | Building Services - IV I Unit 1 | Introduction to Architectural Acoustics NORMAL INCIDENT RAY REFLECTED RAY a=B Angle of Incident is equals to angle of reflection 90db 84dB 78dB im 2m 3m 4m 6dB reduction on doubling the distance from the source. sphere area intensity at 4nr2 surface of sphere source power P. The energy twice as far fromthe Dr source Is spread over four times the area, hence one-tourth the intensity, 3r Prof. Anup Kumar Prasad, School of Architecture, REVA University, Bengaluru (2020)7th Semester | Building Services - IV I Unit 1 | Introduction to Architectural Acoustics Decibels: logarithmic scale f- sousa By doubling the quantity of sound source of similar power, there would, be’ain increase of 3qB at total SPL to the receiver Ly @ +648 a 4948 3 Echo is a reflection of sound that arrives at the listener with a delay after the direct sound. Prof. Anup Kumar Prasad, School of Architecture, REVA University, Bengaluru (2020)7th Semester | Building Services - IV I Unit 1 | Introduction to Architectural Acoustics The human ear cannot distinguish echo from the original direct sound if the delay is less than 1/10 of a second. Hearing/Audible Range — 20-20,000Hz (for a healthy young person) om fy we ==] = 20Hz 20KHz 2MHz 200MHz Ultrasound is sound waves with frequencies higher than the upper audible limit of human hearing. The upper audible limit varies from person to person and is approximately 20 kilohertz (20,000 hertz} in healthy young adults. Infrasound, or low-frequency sound, describes sound waves with a frequency below the lower limit of audibility (generally 20 Hz). Hearing becomes gradually less sensitive as frequency decreases. Infrasound Vs Ultrasound Low frequency waves travel further than high freduency waves because there is less energy transferred to the medium. Hence the Use of low frequencies for fog horns. Woofer - Till 30 Hz Bass ~ Below 60Hz Sub-woofer~ Below 30 Hz Clarity (C80) The amplitude of the reverioérant sound relative to the direct sound is referred to as fullness.Clarity, the opposite of fullness, is achieved by reducing the amplitude of the reverberant sound, Fuliness generally implies a long reverberation time, while clarity implies a shorter reverberation time. A fuller sound is generally required of Romantic music or performances by larger groups, whilé more clority would be desirable in the performance of rapid passages from Bach.or Mozart or in speech. Intelligibllity / Definition (050) Itis used to project speech intelligibility. If a room has a long reverberation time, spoken words will not die out before the next words reach the listener. These results in poor speech intelligibility and it will be difficult for the listener to understand what is said. Prof. Anup Kumar Prasad, School of Architecture, REVA University, Bengaluru (2020)7th Semester | Building Services - IV I Unit 1 | Introduction to Architectural Acoustics The understanding of speech (speech intelligibility) is directly dependent of the backgroundnoise level, of the reverberation time and of the size of the room. For the rating of the understanding of speech, STI and %ALcons are established Speech Transmission Index ST! The Speech Transmission Index STI is a machine measure of intelligibility It is a numeric representation measure of communication channel characteristics whose value varies from 0 = bad to 1 = excellent. On this scale, an STI of at least 0s is desirable for most appiications. ‘Speech Transmission Class STCc Sound Transmission Class (or STC) is an integer rating of how well e-building partition attenuates airborne sound. Sound Transmission Glass (or STC) is an integer rating of how welll a building partition attenuates airborne sound. ‘Adjacency Combinations SICC Residence (within a multi-family | Residence or Hotel/Motel Room | 55 residence) or Hotel/Motel Room Residence orHotel/Motel Room | Common Hallway/Stairway 50 Residence or Hotel/Motel Room Retail 60 Retail Retail 50 Standard Office ‘Standard Office 5 Prof. Anup Kumar Prasad, School of Architecture, REVA University, Bengaluru (2020)7th Semester | Building Services - IV I Unit 1 Introduction to Architectural Acoustics Executive Office Executive Office 50, Conference Room Conference Room 50) Office/Conference Room Hallway/Stainway 50, Mechanical Equipment Room Occupied Area 60, Acoustical requirements of common built spaces by expertise and experienced Open plan building SPL 40-45 dB Minimize disturbance Audibility wherever intended Auditorium/Home theatres: SPL 25-30 dB Optimal Reverberation Intelligibility Clarity and definition Liveliness Board Rooms/Lecture Hall/ Meeting Room/Teléconference Room: SPL 30-35 dB Privacy Inteliigibility Private Office: SPL 35-40 dB Minimum noise incursion Privacy Hospitals: SPL 30-35 dB Minimize noise Privacy Audibility Restaurant: SPL45~ 50 dB(A) Privacy Audibility Live Ambiance lobbies/ Common areas SPL 45 - 50 dB(A) Minimize Background Noise Audibility Privacy Prof. Anup Kumar Prasad, School of Architecture, REVA University, Bengaluru (2020)7th Semester | Building Services - IV I Unit 1 Introduction to Architectural Acoustics Urban Residential: SPL 45 ~ 50 dB(A) Minimize Background Noise Privacy Common acoustical problems and their remedies 1. Echois a reflection of sound that arrives at the listener with a delay after the direct sound. Ihus, there is repetition of sound. Ihe sensation of sound persists for 1/10" of a second after the source has ceased. Remedies: Either alter the geometry of the offending surfaceor apply absoriper or diffusion by providing rough and porous interior surfaces to disperse the énéray of echoes. 2. Sound concentration - ‘hot-spots’ or Sound Foci: In some cases, the room makes sound waves to concentrate in some areas of room creating’sound of large quality. These spots are called sound foci, Remedies: Treat with absorberor diffusers. It's alwdys \belter still, redesign it to focus the sound outside or above the enclosure. 3. Sound shadowing - Under a balcony: Area under the balcony of an auditorium where the direct sound could not reach because of extended balcony. Remedies: Redesign the protruding. surface to provide reflected sound to the affected seats or get rid of the protrusion. Depth (d) of balcony should not be more than Height (h) 4. Coupled spaces: When |wo.space of different activity gels connected and interchange sound / Noise! Remedies: Add some form of acoustic separationor match the RT of both rooms 5. Room resonance’ Standing waves: The guality in a sound of being deep, ful, and reverberating Remedies: Apply subtle changes in overall shape of the room or find out which surfaces are contributing and use large sound diffusers Amphitheatre Similarly, Greek were the pioneer in constructing Amphitheatre. Greek invented Amphitheatre for musical performance, Drama and other amusement activities. Whereas Roman used it for recreational activities as live fight, live sex and animal fight for entertainment. Amphitheatre: Epidaurus (Greece) Architect: Polykleitos the Younger Built: 5" Century BCE Seating: 14,000 Prof. Anup Kumar Prasad, School of Architecture, REVA University, Bengaluru (2020)7th Semester | Building Services - IV I Unit 1 Introduction to Architectural Acoustics ‘Age: 2,500 Koilon: Rows of seats Orchestra: Central Circular stage Skene: Backdrop Diazom. Lower diazoma: 34 Rows Upper diazoma: 21 Rows The Acoustical quality at Epidaurus is so précised, even a coin being dropped at, the center of orchestra could be heard clearly in the back rows It satisfies the needs of both sight and hearing Material: The theatre carved on native porous stone (Lime Stone| to achieve certaindegree of absorption Openings & discontinuous where. the) stone seats are joined together to increase absorption Undulated carved seats as Diffuser, reduces standing waves and echoes & retains liveliness To minimize the reduction of Sound Level + Audience seated as close to performance as possible = Audience arranged in steep sloped area To enhance the Sound Level Prof. Anup Kumar Prasad, School of Architecture, REVA University, Bengaluru (2020),7th Semester | Building Services - IV I Unit 1 Introduction to Architectural Acoustics = Skeni : Wall behind the Logeion for reflection Reflection from orchestra to sitting area direct sound reflections trom reflections from orchestra olion ters = Leading actor on Logeion balcony at height of 2 to 3m Theatre location in a quitter site to reduce the ambient noise and raise the intelligibility + Preferable time of performance in the afternoon. * Consideration of prevailing wind direction for sound refraction towards audience Resonator embedded in the wall to the frequency need to be enhance Prof. Anup Kumar Prasad, School of Architecture, REVA University, Bengaluru (2020)7th Semester I Building Services - IV | Unit 21 Acoustics in Built Environment Building Services - IV (Architectural Acoustics) Unit 2 - Acoustics in built environment Wallace Clement Sabine: Father of Modem Architectural Acou: s He concluded the relationship between the surface quantity of absorption materials placed on walls, seats, ceilings, and floors and the volume of the lecture hall Sabine's formula is given by the following: 24(In10) V4, 0.161s/m V 60 = 20 Sa Sa or, 60 — Where, RTwis the reverberation time (to drop 60 dB) Vis the volume of the room cavis the speed of sound at 20°C (room temperature) Sais the total absorption in sabins Reverber Reverberation is the persistence of sound in an enclosed space after the original excitation sound has ceased. It consists of a series of very closely spaced reflections, or echoes, whose strength decreases over time due to boundary absorption and cir losses. Reverberation Time The interval between the initial direct arrival of a sound wave and the last audible reflected wave is called reverberation time RT60 The standard method for specifying reverberation time, RT60 is the amount of time it takes for the reverherant energy in an enclased space ta drop by 40 AR from its initial, steady-state valve atter the original sound has ceased. Large rooms with hard, highly reflective surfaces (ike cathedrals) have long reverberation times, while smaller rooms with absorptive surfaces have short reverberation times. RT6O=kxV/A=0.161 -V/A (Iypical RT for school and auditorium range from 1.8 - 12.2 seconds) RT30 & RT20 As defined earler, the RT60 is the time taken for the sound to decay by 60 dB when the source is removed. In a real environment this can be difficult to achieve, so it is more common to use the RT30 or RT20. These are based on the time taken for the sound to decay by either 30 or 20 dB respectively, and this is then extrapolated to 60 cB Early Decay Time (EDT) Prof. Anup Kumar Prasad, School of Architecture, REVA University, Bengaluru (2020)7th Semester I Building Services - IV | Unit 21 Acoustics in Built Environment A measure of reverberation, EDT is the time that it takes for the reverberant eneray in aroom to decrease by 10 dB from its steady-state value. The reverb time is affected by the size and shape of the room, the building materials and techniques used and all objects (including people) within the room. Long reverberation times can make speech uninteligiole, short reverberation times can make music sound "dead. The ideal revert time depends on the size and intended use of the space. RT CALCULATION RT60 =0.161V isa where R160 = reverberation time (sec] V=room volume (m*) $= surface area (m’) a= absorption coefficient of material(s) at given frequency To use this formula, the volume of the room, surface area of each material in the room, and absorption coefficients for those materials must be known. Sound absorption Sound waves striking an arbitrary surface are either reflected, transmitted or absorbed; the amount of energy going into reflection, transmission or absorption depends on acoustic properties of the surface. The reverberation time is strongly influenced by the absorption coefficients of the surfaces Sound absorption coefficient Absorption coefficients are measured in specialized laboratories, and represent the fraction of sound energy (not sound level-c8) the material will absorb as a decimal from 0 to 1 Noise Reduction Coefficient NRC itis simply the average of the absorption coefficients at 250, 500, 1000, and 2000 Hz This simple, one-number rating can be useful for comparing the relative absorption of two materials; however, examining absorption coefficients in each octave band gives a better idea of the performance of a material at various frequencies. NRC value of any materials varies from 0 to 1 Where: NRC value 0 indicates 100% Reflection and 0% Absorption NRC value 1 indicates 0% Reflection and 100% Absorption Prof. Anup Kumar Prasad, School of Architecture, REVA University, Bengaluru (2020)7th Semester | Building Services - IV | Unit 2 | Acoustics in Built Environment For quick RT calculation NRC could be used as Absorption coefticient a Desirable Reverberation Time The optimum reverberation time for an auditorium or room of course depends upon its intended use. Around 2 seconds is desirable for a medium-sized, general purpose auditorium! 22 2 18 16 tien zZ =i2 1 08 + 06 04 02 + 0 | 10 30 100 1000 10000 30000 100000 room volume in m? Educational buildings Recommended design | Recommended) sound level DB(A) RT Type of occupancy/activity Satisfactory] Maximum | RT60 Teaching spaces Primary Schools | 35 45 0.41005 Teaching spaces Secondary 35 45 0.51006 Schools ‘Audio Visual areas 30 35 0.61008 ‘Art Studios 40 45 0.61008 Computer Rooms 40 45 0.41006 Conference Rooms 35 40 0.61007 Corridors & Lobbies 45 50 0.61008 Libraries 40 45 0.41006 Music Practice Rooms 40 45 071009 Music Performance Room 40 45 TO0to 1.5 Office Areas 40 45 0.41006 Prof. Anup Kumar Prasad, School of Architecture, REVA University, Bengaluru (2020)7th Semester | Building Services - IV | Unit 2 | Acoustics in Built Environment Lecture theatre less than 50 30 35 <08) people Lecture theatre more than 50 [35 45 <1.0) people ‘Assembly Halls, Multi-Purpose 45 55 081012 Halls Indoor Spor's Hall 45 55 <15) Gymnasiums 45 55 <15 Health Buildings Recommended design] Recommended sound level DB(A) Type of occupancy/aciivily Satisfactory | Maximum | Reverberation time Casualty Areas 40 45 0.41006 Corridors & Lobbies 40 50 0.41006 Consulting rooms 40 45 0.41006 Wards 35 40 0.41007 Waiting rooms, Reception areas | 35 50 0.41007 Office Buildings Board & Conference Rooms | 30 40 0.61008 Call Centers 40 45 0.11004 General Office areas 40 45 0.41006 Private Office areas 35 40 0.61008 Corridors & Lobbies 45 50 0.41006 Public Buildings Municipal Building public 40 50 0.41006 spaces Library reading areas 40 45 0.41006 Post Offices & Banks 40 45 0.61008 Corridors & Lobbies 45 50 0.41006 Restaurants & Cafes 35 50 <1.0 Audit ium Design - Steps A. Recommended area and Volume 1. Floor area of Hall including gangways excluding the stage should be0.6 to 0.9m? 2. Gangway: 1,100 mm 3 @) Public lecture hall |. Volume per person should be 3.5 to 5.5m? 3.0 fo 4.5 m? Prof. Anup Kumar Prasad, School of Architecture, REVA University, Bengaluru (2020)7th Semester | Building Services - IV | Unit 2 | Acoustics in Built Environment b] Cinema orTheatre 4,0 to 5.0m? cc} MusicalorConcert 4,0 to 5.5m? B. Seating Arrangement 1. Multiple-cisle 2. Continental 1. Multiple-Aisle: A multiole-cisle arrangement will have of 14-16 chairs per row with access to an aisle-way at both ends. If an aisle can be reached from one end of a row only, the seat count may then be limited to 7 or 8. \Ultiple-aisle arrangement 2. Continental Ina continental arrangement, all seats are located in a central section. The maximum quantity of chairs per row can greatly exceed the limits established in a multiple-aisle arrangement. In order to compensate for the greater length of rows allowed, building codes will require wider row spacing, wider aisles, and strategically located exit doors. Prof. Anup Kumar Prasad, School of Architecture, REVA University, Bengaluru (2020)7th Semester | Building Services - IV | Unit 2 | Acoustics in Built Environment (ela Fig. 2: Continental arangement C. Theatre Forms End stage Wide Fan Arrangement The % Arena Arena Stage BOND End stage: End Stage Pros: Well suited to lecture, film or slide presentations. Prof. Anup Kumar Prasad, School of Architecture, REVA University, Bengaluru (2020)7th Semester | Building Services - |V | Unit 2 | Acoustics in Built Environment Cons: Not very conducive to close relationship between performer and spectator. 2. Wide Fan Arrangement Wide Fen Pros: Brings distant spectators closer to the performer. Cons: Limits space usage to primarily speech related activities. Maximum limits of 130 degrees from a central focus or focal point Film or slide presentation is stil possiole but not advisable, since the actual position of the screen will determine the extent of image distortion. Physical discomfort which develops when one’s head is turned to the side for an extended period, may permit only brief film presentations 3. The % Arena Prof. Anup Kumar Prasad, School of Architecture, REVA University, Bengaluru (2020)7th Semester | Building Services - |V | Unit 21 Acoustics in Built Environment % Arana Pros: Improves the hearing and visual contact between spectator and performer. Cons: Film presentation is almost out of the question. This design approach is characterized by a’180 degree to 270 degree angle of inclusion and can improve aural and visual contact between spectators and performers. 4, Arena Stage Pros: Offers 360 degree visuals, so you can bring more spectators closer to the performers, Cons: Inis limits the arena physically, it allows very little (or no) expansion. This offers seating in a full 360 degree containment. Prof. Anup Kumar Prasad, School of Architecture, REVA University, Bengaluru (2020)7th Semester I Building Services - |V | Unit 21 Acoustics in Built Environment This auditorium seating layout brings even more spectators closer to the performer, but at the same time it creates certain restrictions. At any time during @ presentation, a performer will be facing only a portion of the audience. D. Auditorium Seating Dimensions 1. Seat Widths 2. Row Spacing 3. Floor design 1. Seat Widths Available sizes range from 18" to 24", however, all may not be produced by a single manufacturer The most commonly used chair widths are 20", 21", and 22” 2. Row Spacing A minimum dimension occasionally used is 2-6" (30°). This spacing provides marginal clearance between a seated person's knees and the back of the chair in the next forward row. As one increase the row spacing to 36", seating comfort is dramatically improved and passage along a row of seated persons is accomplished with less disruption. 3. Floor design Flat or less steeply sloped floors will usually allow a person to extend their knees and legs even under minimum row spacing conditions. Here, an individual can fake advantage of the open area under a seat and the free space created by the pitched back of a chair. Prof. Anup Kumar Prasad, School of Architecture, REVA University, Bengaluru (2020)7th Semester I Building Services - !V | Unit 2 | Acoustics in Built Environment As the floor slope is increased, this " fee space” diminishes. E. Building codes and safety guidelines One code may accept a 32" row spacing, while another will permit 30". In these cases, the obvious choice q would be the greater dimension, if | only for the sake of comfort, 1, Aisle-ways & Code Aisle-ways must be carefully studied in relation to the seating arangement desired. Minimum aisle widths may be greater for a continental seating plan compared toa multipie-cisle arrangement. Prof. Anup Kumar Prasad, School of Architecture, REVA University, Bengaluru (2020)7th Semester I Building Services - IV | Unit 21 Acoustics in Built Environment The aisle width in auditorium seating layout must be measured perpendicular to side walls or the direction of travel ‘and not necessarily parallel to the angle of curve of a row of seats. iia 2. Exit Doors & More Number and size of the Door as per the fire-norms for evacuation in case of emergency Serious safety hazard frequently appears when voids are created between end of row chairs and aisle steps. This results when the chair leg and aisle steps are not parallel. Aisle steps should always be extended to fall as close to the end chair as possible. The practice of allowing a chair back to overlap the edge of a tiser is recommended in order to avoid the likelihood of a person accidentally stepping over the riser's edge when entering or existing a row. F. Visibility 1. Visibility in an assembly space is a function of seat location. Poor seat location will result in distorted images. An angle of 30 degrees up to 45 degrees measured perpendicular to the far and near ‘edges of the screen can establish a side to side seating limit, while the screen or image height may determine the maximum distance. Prof. Anup Kumar Prasad, School of Architecture, REVA University, Bengaluru (2020)7th Semester | Building Services - IV | Unit 2 | Acoustics in Built Environment 2. Visibility range Horizontal viewing range and Vertical viewing range 3. Staggered seating Staggering permits an individual's view to pass between the heads of spectators ina preceding row. This staggered effect can be accomplished in several ways. i. The first (and simplest) approach would be to offset every other row by several inches, assuming straight raws i. Asecond option would be to alternate odd and even quantities of chairs in successive rows. Prof. Anup Kumar Prasad, School of Architecture, REVA University, Bengaluru (2020)7th Semester | Building Services - IV | Unit 2 | Acoustics in Built Environment G. Reverberation Time Determination of the Reverberation time based on Volume and sound type (Speech o Music) 22 2 18 4titmusle presentation 16 B14 a #12 1 og E06 04 02 ° 10 30 100 1000 10000 30000 100000 room volume in m? Prof. Anup Kumar Prasad, School of Architecture, REVA University, Bengaluru (2020)7th Semester | Building Services -IV 1 Unit3 1 Noise Control Building Services - IV (Architectural Acoustics) Unit 3: Noise control Importance of acoustics * Acoustics are fundamentally important to leaming environments. * Learning is intrinsically linked with communication, and aural (sound) communication is acoustics + Learning is about concentration, and extemal noise is a major distracting factor in education. When classroom acoustics are poor, it can cause problems with how a student: * Understands speech Reads and spells Behaves in the classroom Pays attention and Concentrates Good Classroom Acoustics necessary to overcome + Speech and language delay = Attention problems = Difficuity in concentration or distraction Two crucial factors that is causing poor classroom acoustics are; * Background Noise or Ambient noise + Reverberation and Echo Recommended Sound Pressure Levelas ambient noise, for a classroom is 3008 to 4508 Noise coming from the corridor by walking/talking students is from 55dB to 75dB Sound is a form of eneray that is transmitted by pressure variations which the human ear can detect. Noise is unwanted:sound. Noise perception is subjective. Factors such as the magnitude, chardeteristics, duration, and time of occurence may affect one's subjective impression of the noise. World Health Organization The WHO suggests that for a steady continuous noise, the noise level in outdoor living areas should not exceed LAeq 55 dB(A) to prevent the majority of people from being seriously annoyed. The noise level should not exceed L.Aeq 50 dB(A} to protect the majority of people from being moderately annoyed The WHO also suggests that internal noise levels in dwellings during the daytime should be limited to 35 dB(A) to allow ‘casual conversation. LAeg is the sound level in decibels equivalent to the total A-weighted sound energy measured over a stated period of time. Prof. Anup Kumar Prasad, School of Architecture, REVA University, Bengaluru (2020)7th Semester | Building Services -|V 1 Unit3 1 Noise Control A-weighting is applied to instrument-measured sound levels in an effort to account for the relative loudness perceived by the human ear, as the ear is less sensitive to low audio frequencies. Range of Sound Pressure Levels CORSE go Sound Pressure Level, L, Z * 140 {68} 100 = 120 10 [SS lp \= Ff 100 1 80 On a — 60 0.01 0.001 a ae 14) =—f 2 0.0001 a a P 0.00001 + — FU Sound vs Noise Noise-induced hearing impairment, 115 0B 0.46875 minutes (~30 sec) 1120B 0.9375 minutes [~1 min) 109 GB 1.875 minutes (<2 min) 106 UB 3.75 minules (S 4 min) 103 dB 7.5 minutes 100 dBi 15 minutes 97-08 30 minutes 940B 1 hour 91 0B 2 hours 88 dB 4hours 85 dB 8 hours 82.08 16 hours Prof. Anup Kumar Prasad, School of Architecture, REVA University, Bengaluru (2020)7th Semester | Building Services -|V 1 Unit3 1 Noise Control ‘Sound Level Meter: A sound level meter is used for acoustic (sound that travels through air) measurements. It is commonly a hand-held instrument with a microphone. Acoustical requirements of common built spaces by expertise and experienced 1. Open plan building: = SPL 40-45 dB = Minimize disturbance + Audibility wherever intended 2. Auditorium/Home theatres: = SPL25-30 dB * Optimal Reverberation + Infeligibility&. Liveliness + Clarity and definition 3. Board Rooms/Lecture Hall/ Meeting Room/Teleconference: = SPL 30-35 dB + Privacy + Inteligibility 4, Private Office: = SPL35-40 dB = Minimum noise incursion = Privacy Classification of Noise 5. Hospitals: = SPL30-35 dB = Minimize noise = Privacy & Audibility 6. Restaurant: = SPL 45-50 dB(A) "Privacy & Audibility + live Ambiance 7. lobbies/ Commori areas = SPL.45~50.dB(A) = Minimize Background Noise + Audibility = Privacy 8. Urban Residential: SPL 45 ~ 50 dB(A} = Minimize Background Noise * Privacy 1. External Noises, i.e. noise whose sources are external. External noise cannot be.réduced. Need to change the location of receiver a) Atmospheric noises; b) Extraterrestrial noises c} Man-made noises or industrial noises 2. Internal Noise in. Gommunication Noises whielget, generated within the receiver or communication system Internal noise can be easily evaluated mathematically Canpbe reduced by proper design a} Thermal noise or white noise or Johnson noise b)-Shot noise ¢} Transit time noise d) Miscellaneous internal noise 1.) Atmospheric noise Atmospheric noise or static is caused by lighting discharges in thunderstorms and natural disturbances occurring in the atmosphere 1. b) Extraterrestrial noise Prof. Anup Kumar Prasad, School of Architecture, REVA University, Bengaluru (2020)7th Semester | Building Services -|V 1 Unit3 1 Noise Control Cosmic and solar noise; radio disturbances from sources other than those related to the earth 1. c] Man-made noises or industrial noises or occupational noise Industrial Noise refers to noise that is created in the factories which is jarring and unbearable. 2. a) Thermal noise or white noise or Johnson noise The noise generated in any resistance due to random motion of electrons is called thermal noise or white noise It arises because the atoms of a solid state conductor are vibrating at all temperatures and they bump into conductors (electrons). This imposes a new, random-motion on those conductors which generates noise. 2. b) Shot noise Itis a type of electronic noise that occurs when the finite numberof particles that carry energy, such as electrons in an electronic circuit or photonsin-an optical device 2. c} Transit time noise Transittime noise is any modification to a stream‘of carrier signals as they pass from the input to the output of a device (such as from the emitter to the collector of a transistor) produces an irregular, random variation Prof. Anup Kumar Prasad, School of Architecture, REVA University, Bengaluru (2020)7th Semester | Building Services -|V 1 Unit3 1 Noise Control APPROXIMATE SOUND LEVELS OF FAMILIAR NOISES SOUND LEVEL IN dBA Noise Transmission A. Sound/Noise transmission through medium 1. Structure-bome Noise 2. Airborne Noise 1, Structure-borne Noise = Struéfuré-bome noise is transmitted through solid structures, such as steel, wood, céncrete, stone etc. +Sttucture-bome sound occurs because the impact causes both sides of the building element to viorate, generating sound waves. This can oftentimes be the hardest to isolate Examples: footsteps of a person or the sound of an object falling on the floor. Measures to limit structure-borne components, by isolation and damping, Prof. Anup Kumar Prasad, School of Architecture, REVA University, Bengaluru (2020)7th Semester | Building Services -|V 1 Unit3 1 Noise Control Primary 2. Ait-borne Noise This is the sound that travels through the air and into‘the surrounding environment. In Closed environments such as rooms and enclosures, airborne sound may reverberate and increase the levels of noise both in and outside fhe contained space. Most forms of noise will contain contributions from both air-borne and structure-borne sound. For example, hammering nail into-a walll (See diagram) will create structural noise, causing vibration of the surrounding’structure. However, they will create a significant amount of air-borne noise, which will be clearly heard in the room where the action is taking place. For air-borne sound cai/be treated with the use of absorbing materials. B. Sound/Noise transmission through Ducts HVAC - Heating) Ventilating and Air-Conditioning HVAC Neise-Sources + Fans (Axial, Centrifugal, Propeller) -\ Compressor (Fiston, Rotary, Scroll, Centrifugal Screw) +) Pumps (to circulate liquid) + Diffuser and Ductworks (to distribute air) Noise generated from airflow in ducts * airvelocity * duct size (cross sectional area) Generated noise can be calculated with the empirical equation Ly = 10 + 50 log (v} + 10 log (A) Prof. Anup Kumar Prasad, School of Architecture, REVA University, Bengaluru (2020)7th Semester | Building Services -IV 1 Unit3 1 Noise Control Where, Ly = sound power level (dB) V = Gi velocity (m/s) air duct cross sectional area (m?] Cross-sectional geometry of a duct has a great effect on break-out and break-in characteristics, AL =0.2x (P/S}°®x! It indicates - Higher the perimeter higher would be noise generation Stiffness of round ductwork reduces break-out noise since motion of the z duct wall is restricted — This means that more noise eneroy stays within the duct and may produce higher noise levels at the outlet Pao where, p = perimeter (ft) $= Cross sectional area (ft) \= duct length (ft) Other MEP Noise sources + Waste and Rain leader piping + Transformers + Dimmer Racks + lights and Ballasts + Flevator equipment ‘Measure for vibration isolation Isolators for HVAC systems 1 Suspension hangers =) For suspending the equipment from ceilings = Itcan reduce structure-borne noise and vibration in HVAC applications * Applications (Fans, Air-conditioning, Distribution Pipes&Ducts) Prof. Anup Kumar Prasad, School of Architecture, REVA University, Bengaluru (2020)7th Semester | Building Services -IV 1 Unit3 1 Noise Control — ie LULL LULU LULL LULU UU 2. Base Spring Mounts = Reduce vibration in fans, air handling units & generators = Itprovides vertical and horizontal deflection * Applications (Fans, Air-handling units, Pumps & Generators) 3. Air Springs * Feature variable load-carrying capacity */-Itis excellent for noise and vibration isolation with low natural frequency +\ Applications (Air compressors and Water pump} Prof. Anup Kumar Prasad, School of Architecture, REVA University, Bengaluru (2020)7th Semester | Building Services -|V 1 Unit3 1 Noise Control = Neoprene Base Mounts Ideal for mounting air conditioners on rooftops These feature a tapped hole in the center of mount and flanged base plate over- molded in neoprene for corrosion resistance. = Applications (Air conditioners, A/C units and Motors} Prof. Anup Kumar Prasad, School of Architecture, REVA University, Bengaluru (2020)7th Semester 1 Building Services-|V 1 Unit4 1 Acoustical Materials Building Services - IV (Architectural Acoustics) Unit 4 - Acoustical Materials Types of Acoustical Materials A. Based on sound reaction with the surface Sound waves striking an arbitrary surface are either reflected, absorbed, diffused or transmitted; the amount of energy going into reflection, absorption, diffusion or transmission depends on acoustic properties of the surface. _DIFFUSER “ x\ REFLECTOR ABSORBER TRANSMIMON ee Reflector Absorber Transmission/Barrier Diffuser RONS The reflection or absorption Absorbers to absorb complete sound and reducing RT Diffusers, diffuses the direct sound and creates liveliness Prof. Anup Kumar Prasad, School of Architecture, REVA University, Bengaluru (2020)7th Semester 1 Building Services-|V 1 Unit4 1 Acoustical Materials Construction details of acoustical treatment on walll INSULATION FILLING. MINERAL FIBER/ STEEL STUD, yPsuM TAPE (OPTIONAL)® BRICK TIE EXTERIOR BRICK FACE Water control Steelstud psebiaalis Insulation filing Mineral fiber / Glass wool Gypsum Prof. Anup Kumar Prasad, School of Architecture, REVA University, Bengaluru (2020),