147 Acoustic Riter I A

ACOUSTICAL
CRITERIA for
VARIOUS
BUILDING TYPES
ARCH 147 EVANGELISTA

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
halls include:
Fan - shaped
BEETHOVENHALLE, BONN

ROOMS for MUSIC
halls include:
Horseshoe
TEATRO SAN CARLO, NAPLES

ROOMS for 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
Stages of theaters and opera
houses include:
Proscenium

ELIZABETHAN PLAYHOUSE
ROOMS for MUSIC
houses include:
Open / Thrust

ROOMS for MUSIC
houses include:
Open / Thrust

ROOMS for MUSIC
houses include:
Arena

ROOMS for MUSIC
houses include:
Adaptable
PROSCENIUM OPEN / THRUST ARENA

ROOMS for MUSIC
Stages of theaters and opera PROSCENIUM
houses include:
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

is RT control

PLACES of WORSHIP

is RT control
PACIFIC UNION CHURCH,

CALIFORNIA

PLACES of WORSHIP

is RT control
GRACE CHURCH,
ILLINOIS

PLACES of WORSHIP

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

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.

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
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
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

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

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

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.

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

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

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

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.

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

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.

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

REFERENCES:
Leslie L. Doelle. Environmental Acoustics
Egan, David, Concepts in Architectural Acoustics
Dean CPEspina powerpoint on office spaces
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147 Acoustic Riter I A

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147 Acoustic Riter I A

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ACOUSTICAL

ARCH 147 EVANGELISTA

Free from acoustical defects

Reduced or eliminated noise

ARCH 147 EVANGELISTA

Fullness of Tone: noticed when

Balance: created by numerous

ARCH 147 EVANGELISTA

ARCH 147 EVANGELISTA

Investigations show that music

No music hall is built for one

1.0 second for Baroque Music

the RT therefore, must always be

ARCH 147 EVANGELISTA

BOSTON SYMPHONY HALL

ARCH 147 EVANGELISTA

ARCH 147 EVANGELISTA

TEATRO SAN CARLO, NAPLES

ARCH 147 EVANGELISTA

ARCH 147 EVANGELISTA

Each musician requires a floor

Platforms should have a maximum

If chorus space is necessary, 3M

ARCH 147 EVANGELISTA

ARCH 147 EVANGELISTA

ARCH 147 EVANGELISTA

ARCH 147 EVANGELISTA

ARCH 147 EVANGELISTA

ARCH 147 EVANGELISTA

PROSCENIUM OPEN / THRUST ARENA

ARCH 147 EVANGELISTA

ARCH 147 EVANGELISTA

One of the most difficult aspects in

ARCH 147 EVANGELISTA

One of the most difficult aspects in

ARCH 147 EVANGELISTA

One of the most difficult aspects in

PACIFIC UNION CHURCH,

ARCH 147 EVANGELISTA

One of the most difficult aspects in

ARCH 147 EVANGELISTA

One of the most difficult aspects in

ARCH 147 EVANGELISTA

ARCH 147 EVANGELISTA

ARCH 147 EVANGELISTA

NOTRE DAME, PARIS

ARCH 147 EVANGELISTA

ARCH 147 EVANGELISTA

Most multi-purpose auditoriums

One frequent cause of a long RT

Multi purpose halls in basements

ARCH 147 EVANGELISTA

ARCH 147 EVANGELISTA

Office partitions should be made

Partitions must be at least 1.5 M

ARCH 147 EVANGELISTA

The ceiling must be designed as

In practice, the aim is to achieve a

ARCH 147 EVANGELISTA

All ceiling fixtures, such as lighting

Use low ambient lighting from small

ARCH 147 EVANGELISTA