DESIGN OF ROOM SHAPE

The shape of a room is one of the important factors affecting its acoustical properties.
Hence, the
determination of the most desirable shape is a problem that the architect should know
now to solve.
1. FLOOR PLAN
The design of an auditorium or a lecture room
usually begins with the layout of the floor
plan. The seating should be arranged so that
the audience is as near .the stage as is
consistent with the requirements set by the
distribution of sound .from the source and with
those for good visibility. Thus, although an
audience can be brought nearer the speaker
in a room having a square floor plan than in
one in which the greater than the width, the
latter is preferable.
DESIGN OF ROOM SHAPE
The shape of a room is one of the important factors affecting its acoustical properties.
Hence, the
determination of the most desirable shape is a problem that the architect should know
now to solve.

TO BRING A LARGE AUDIENCE AS

CLOSE
AS POSSIBLE TO THE STAGE OF AN
AUDITORIUM
it is advantageous to
design a floor plan
with diverging side
walls. Reflections from
these walls can aid in
the establishments of
a higher sound level
at the rear of the
auditorium, but these
reflections must be
carefully controlled.
TAKE NOTE

•
Path length of 65 feet or more
between direct and reflected
sound give rise to echoes.
•
Path length of 50-65 feet or more
produce a blurring quality which
may result in a lack of
"intimacy", especially for
auditors in the front seating
area.

2. ELEVATION OF SEATS
The shape of a room is one of the important factors affecting its acoustical properties.
Hence, the
determination of the most desirable shape is a problem that the architect should know
now to solve.
DESIGN OF ROOM SHAPE
Since an audience constitutes a highly absorptive surface,
sound waves which graze it are greatly attenuated. Hence, it
is good design in an auditorium, from the standpoint of
hearing as well as of seeing, to elevate the seats in order to
provide a free flow of direct sound from the source to the
listeners. A useful formula for computing this distance is
d = r(2.5h-1)
WHERE r is the distance between rows and h is the height of
the source.
EXAMPLE PROBLEM: Suppose the rows are 3 feet apart and
that the lips of a speaker are 5 feet above the floor level.
What is the distance of the level area from the speaker?
d=3(2.5x5-1}
=34.5 ft.
TAKE NOTE
• Angle of elevation of the room in
an auditorium it should not be less
than 8 degrees
•
In a demonstration lecture hall an
auditorium it should be about 15
degrees
•
It is advantageous not only to
elevate the seating area but also to
stagger the seats.
DESIGN OF ROOM SHAPE
The ceiling and walls should provide favorable
reflections of sound, especially for the seats far
removed from the stage. In some instances, the
ceiling also should aid in the diffusion of sound.
However, if adequate means of diffusion are
furnished by the floor and wall surfaces, no
additional diffusion is needed for the ceiling; hence, it
may be utilized to the outmost for the advantageous·
reflection of sound. ,Lecture rooms chamber music
rooms, council chambers, Christian science
auditoriums are type· of rooms which a low smooth,
highly reflective ceiling may be used to good
advantage.
TAKE NOTE
•
Ceiling height of a room to be used
for speech and music should be:
•
Large room = 1/3 USING THE
WIDTH
•
Small room = 2/3 USING THE
WIDTH
•
If the ceiling of an auditorium_ is
too high, not only will the volume
per seat be excessive, but also
long
delayed reflections from this
surface will be a source of echoes.
Ceiling splays in the front of a room, or appropriately
tilted portions of the ceiling can be devised to reinforce
the sound reaching the rear parts of an auditorium.

4. SIDE WALLS
The shape of a room is one of the important factors affecting its acoustical properties.
Hence, the
determination of the most desirable shape is a problem that the architect should know
now to solve.
DESIGN OF ROOM SHAPE
The side walls should reinforce the sound that reaches t he
rear parts of a large room. This is especially desirable for
auditoriums in which a sound amplification system is not
utilized for all spoken and musical programs. The location
of the wall is, of course determined principally by the
general contour of the floor plans. The angle that any
portion of the wall surfaces, such as a splay makes with
the wall contour line should be such to reflect sound
beneficially to those seats where the sound level is not
adequate. The law of reflection can be used to determine
this angle. The side walls should be designed so that the
sounds they reflect to the audience will not be too long
delayed.
TAKE NOTE
•
SPLAY
a sloping or beveled surface or angle as
of the side of a doorway, a spreading
expansion, enlargement
5. REAR WALLS
The shape of a room is one of the important factors affecting its acoustical properties.
Hence, the
determination of the most desirable shape is a problem that the architect should know
now to solve.
DESIGN OF ROOM SHAPE
In the design of all rooms, large concave rear walls should
be avoided. Unfortunately, they are of common occurrence
because it seems so simple and economical to most
architects to have the rear wall follow the curvature of the
last row of seats. Walls with this shape are responsible for
troublesome echoes and delayed reflections in many
theaters and auditoriums. This is illustrated below which is
a longitudinal section showing a vertical rear wall.
TAKE NOTE
•
SPLAY
a sloping or beveled surface or angle as
of the side of a doorway, a spreading
expansion, enlargement

6. BALCONY RECESS
Good design of a balcony recess usually requires a
shallow depth and a high openings. For an auditorium
or
legitimate theater, the depth should not exceed twice
the
height of the opening.
d <2h
This plan permits sound to flow readily into the space
under the balcony. Good design also requires that the
reverberation time in the balcony recess approximately
that of the main part of the auditorium. By applying the
above rules, it is possible to design the recess so that
the
sound level in this space is about the same as it is in other
equally distant parts of the auditorium.

OBSERVATION OF
THEATERS

ACOUSTICS CONCEPTS
“BOX WITHIN A BOX”
-A noise-isolation strategy used for
containing
sound within a room.
-A box is built inside another box, with air
space separating each one
-Floor is raised, ceiling is dropped walls
have
space
-Also called “room within a room”
SOLID AND AIRBORNE
NOISES
AIRBORNE NOISES
Airborne noise refers to sound that travels through the air from its source to a
receiver. It is one of the
two main types of sound transmission, the other being structure-borne noise, which
travels through
physical structures like walls or floors. Airborne noise can originate from various
sources, such as
voices, music, machinery, or any other activity that produces sound waves in the air.
TRANSMISSION
Propagates through the air, but it can also travel through walls, ceilings and floors.
EXAMPLES
Speech, music, and most everyday sounds are examples of airborne noise.
SOURCES
Anything that generates sound in the air, such as speakers, voices, or musical
instruments, contributes
to airborne noise.
CONTROLING AIRBORNE NOISES
Reducing airborne sound is crucial for creating acoustically comfortable
environments. One effective
approach involves the implementation of acoustic absorption techniques. These
methods play a
significant role in diminishing the intensity and reflection of sound within a given
space. This report
outlines practical steps for soundproofing a room through the application of acoustic
solutions.

ACOUSTIC WALL PANELS

Propagates through the air, but it can also travel
through walls, ceilings and floors.

ACOUSTIC SLABS
In addition to wall panels, acoustic slabs offer
an effective solution for absorbing airborne
sounds. Positioned within the cavity formed
by metal party walls and timber, these slabs
efficiently trap and reduce reverberation,
contributing to an overall improvement in
sound control.

ACOUSTIC SEALANTS
Basic measures, such as sealing existing gaps and
holes, play a pivotal role in reducing airborne
noise. Utilizing acoustic sealant caulk to seal any
cracks, holes, or gaps in doors and windows
ensures an airtight seal, effectively deadening
sound waves that may otherwise enter the space.

SOUND INSULATION TECHNIQUES

Beyond acoustic treatments, sound insulation
techniques provide an alternative approach to
airborne sound reduction. While similar in effectiveness to acoustic solutions,
soundproofing
techniques differ in that they block sound waves from passing through various
surfaces, including
ceilings, floors, walls, doors, and windows, rather than absorbing them.
The level of airborne sound insulation relies on the following general principles:
– FLEXIBILITY/RIGIDITY
– EFFICIENCY
– MASS
– ISOLATION

SOLID NOISES
Sometimes called “Structure borne noise” refers to the transmission of sound
through solid structures.
When a vibration or sound is generated in one part of a structure, such as wall, floor,
or ceiling, it can
travel through the structure and be heard in another location. This phenomenon is
common in
buildings, vehicles, and various mechanical systems.
TRANSMISSION
Solid-borne noise, on the other hand, travels directly through the structure itself.
EXAMPLES
Borne noise includes footsteps, machinery vibrations, and other physical activities.
SOURCES
Vehicles, and various mechanical systems.

ISOLATION
A fundamental strategy for minimizing solid-borne sound involves isolating structural
elements. This can be achieved through the use of resilient materials or isolators
strategically placed between components, preventing the direct transmission of
vibrations.

FLOATING FLOORS
Implementing floating floors is a proven method
for reducing solid-borne sound transmission. By
installing a resilient underlayment or a floating
floor system, vibrations are absorbed, preventing
them from traveling through the structure and
reaching adjacent spaces.

DECOUPLING TECHNIQUES
Decoupling elements within the
structure can significantly reduce
the
transmission of solid-borne sound.
This involves breaking direct
connections between building
components, such as ceilings and
walls,
to disrupt the path of vibrations and
minimize their impact

CONTROLING AIRBORNE NOISES

VIBRATION REDUCTION
PUMPS, as with all rotating equipment are sources of vibration and
noise and should be treated as described above. The figure below
shows a typical pump installation with appropriate noise reduction
measures. For at least a distance of 100 pipe diameters beyond the
pump resilient pipe should be used. With centrifugal pumps as with
fan
and blowers, machine sound concentrates in narrow bands and, if
extremely disturbing, can be attenuated with resonant filters.
Reciprocating pumps are more difficult to control as the pulsations
are
more vibration than noise. Flexible connections in the piping and U
joints in the piping will absorb much of this vibration.

CONTROLING AIRBORNE NOISES

VIBRATION DAMPENERS
Applying vibration dampeners to structural
elements helps dissipate energy and reduce
the transmission of solid-borne sound.
These
dampeners absorb and convert
vibrations
into heat, preventing them from
propagating
through the building components.
REVERBERATION TIME
COMPUTATION
ALLOWABLE FOR SPEECH
AND MUSIC

REVERBERATION
Reverberation is the persistence of
sound after the cause of sound has
stopped— a result of repeated
reflections.
-WALLACE CLEMENT SABINE

REVERBERATION TIME (TR)

Reverberation time (𝑻𝑹) describes the period required
for the sound level
to decrease 60 dB after the sound source has stopped
producing sound.
Note:
In acoustics, reverberation time (RT60)
is a measure of how long it takes for
sound to decay by 60 decibels (dB)
after the sound source has stopped. It
is an important parameter in the
design and analysis of architectural
spaces, such as concert halls,
auditoriums, and recording studios.

DESIRABLE REVERBERATION TIME?

The optimum reverberation time for an
auditorium or room of course depends upon its
intended use.
• Medium sized general purpose auditorium for
both speech and music = around 2 secs
• Classroom= <1sec (0.60 sec)
• Restaurants = 1 sec
• Multi Purpose = 1.2 secs

SABINE’S FORMULA
For most rooms, the reverberation time are specific frequency may be found
by the formula:
𝐓𝐑 = 𝐊 𝐱 𝑽
𝜮𝑺𝜶
Sec
Where K = a constant, equal to 0.049 when V is in cubic feet and 0.16
when V is cubic meters
V = room volume,𝑓𝑡3 , (𝑚3)
𝜮𝑺𝜶 = total absorption, sabins at the frequency