SUBJECT- ACOUSTIC DESIGN

PUTRAJAYA INTERNATIONAL
CONVENTIONAL CENTRE
_ MALAYSIA

-M.HEMA SUPRAJA
18011AA058
 INFORMATION ABOUT CONVENTION CENTRE

The Putrajaya International Convention Centre is the main convention centre in Putrajaya, Malaysia. This building
is located on the top of Taman Puncak Selatan in Precinct 5. PICC receives a yearly average of more than
230,000 delegates and 15,000 visitors around the world since 2006.

1. HISTORICAL BACKGROUND
Construction of the convention centre began in 2001 and finished
in April 2003. The first conference held in PICC was the 10th
Islamic Summit organised by the Organisation of Islamic
Cooperation (OIC) in October of the same year. In October 2004,
the Putrajaya Convention Centre was officially renamed to the
Putrajaya International Convention Centre or PICC. It is a precinct
landmark, and was designed by Malaysia’s fourth Prime Minister,
Tun Dr. Mahathir Bin Mohamad

2
 FACILITIES AND SERVICES
A low-slung bridge through tropical gardens connects to the Plenary Hall, one of the
most impressive of the 5 building modules. It can conveniently accommodate 3,500
people in a theatre set up for convention meetings or special events. It is also
equipped with a permanent stage, dressing rooms and a VIP lounge.The convention
centre is a focal point of Malaysia’s new administrative capital. Its seven levels provide
a plenary hall for 3000 and two large conference halls (capital 2000), as well as mini
halls, meeting rooms, suites,galleries and supporting services - yet its footprint
occupies only three acres of its 51-acre site, leaving .

remainder for use as a public park. To achieve this, more than 60 per cent of the spaces are
submerged below ground. The glazed walls of the above ground structure are sloped and
louvered to prevent direct solar gain; the membrane roof is made of Sarnafil. The plenary hall
is renowned for hosting grand and historic events and concerts. Besides hosting the 10th
Islamic Summit, PICC is also a conference venue for high security risk events, hosted by the
government or the private sector. PICC has had many important guests including foreign head
of states and heads of government, important corporate personalities such as the world's
richest man, Bill Gates, as well as the current CEO of Microsoft, Steve Ballmer.
3
FLOOR DETAILS AND CIRCULATION
 ARCHITECTURAL DESIGN
The design of the building is based on the shape of the
eye of 'pending perak' (a silver Malay royal belt buckle).
However, the structure of the roof was designed similar to
a folded origami to alleviate the plain roundness of the
structure. From the frontview, the building's eaves or
wings are lifted at the sides, creating broad overhangings
over the raking wall. Most of the walls are made of glass,
so natural sunlight can easily illuminate the auditorium
through the raked and shaded windows
Inspired from Pending Perak (left) to site plan of PICC

The roof structure, which is geometrically complex,

covers the plenary hall and the column-free banquet
hall. The latter space can accommodate 3000
delegates, each with an uninterrupted view of the
stage with the conference and main auditorium floors
above supported on a sculptural system of radial
arms.Surrounding these main spaces the ancillary
accommodation follows a conical geometry with the
Interior view of Plenary Hall from the stage
rings increasing in diameter up the building to provide Interior view of Plenary Hall toward the
the larger area needed for the plenary hall itself.
 PICC DRAWINGS

“ Front elevation of PICC (North)

Site Plan of PICC

North South sectional elevation of PICC

6
Floor Plan of Plenary Hall, PICC
 SOUND SOURCE AND STRATAGIES

ISSUES OF ACOUSTICS DESIGN STRATAGIES :

1.Reverberation time :
If a hall is to be acoustically satisfactory,it iis essential that iy should have the right
reverberation time makes a room ‘dead’.
2. Loudness :
Sufficient loudness at every point in the hall is an important factor for satisfactory hearing.
There would require a need of balance between sound
Absorption and reflection to loudness of sound.
3. Focusing :
Reflecting concave surface cause concentration of reflected sound, creating a sound larger
intensity at the focal point.The sound intensity will be low at dead ends and inadequate
hearing causes.
4. Echo :
When the walls of the hall are parallel, hard and separted by about 34m distance , echoes
are formed curved smooth surfaces of walls also produce echos.
5.Echelon effect :
If a hall has a flight of steps, with equal width, the sound waves reflected from the wall
consist of echos with regular phase difference. These echos combine to provide musical
note which will be heard along with direct sound.
6.Resonance :
vibration may match some frequemcy of the sound produced and hence result in resonance
phenomenon. Sound waves are capable of setting physical vibration in surrounding
objects ,such as window panes,walls, enclosed air, etc. The vibrating objects in turn produce
sound waves. The frequency of the forced

7
 ACOUSTICS ANALYSIS

Auditorium Design Analysis:

The P.I.C.C auditorium overall shape is curvilinier, shaped as a circle. The
design of the law of reflection on the concave surface. This configuration would
hint poor acoustic design particulary at such a large scaled hall.
However, the designer made usage of absorbent materials across the walls of
the hall, countering the effect of the concave sound reflection.

Elevated source arrgement

Apparent sound path without the
reduces SIL loss
usage of sound absorption materials
on the wall

LEVELLING OF SEATS :
The leveling of the seating area is of utmost significance to ensure that the
sound waves reach to the ears of all auditorium clearly. It is given that the
scenario where the seats are not raised,the sound would not be able to travel
all the way to the furthest-most seat as the vibrations would have been
absorbed by only the first half,with the majority of the sound drain out by the LEVEL GROUND SEAT ARRANGEMENT
time it reached the second.
8
 The seats within the plenary Hall are in the most effective configuration that
defines the relationship between the speaker on stage and audirncr. As such . If
they are raised, they can increase the chance of allowing the occupancy in the
furthest most seat seats to hear clearly. This is possible duse to the
effectiveness of the sound waves reaching the ears of the ocuupants when
unintereptted by the objects blocking or absorbing it. Fundamentally this is the
very basic acoustical design element that a designer can apply.

Arrangement used by PICC ensuring

optimal sound travel to all audiences.

ARRANGEMET OF SEATS :
The seats within the entire auditorium are arranged in a fan shaped configuration. It
is not only to ensure a maximum number of seats are fittrf, but also to obtin an
optimum view of the stage area from every seat prespective. Most importantly, it can
help to achieve the most effective acoustic quality due to the sound waves travel in a
spherical order. Moreover, it is also significant to set the angle of which the seating
arragngements are fanned-out.
Furthermore, the seats fall within the angle of the sound projection area (140 degree)
and is well configured and deemed effective.
9
 DIAGRAMS OF FLOOR PLAN DENOTING ZONING OF AREAS

EXTERIOR INTERIOR:HOUSE INTERIOR : STAGE

Sound Reinforcement System (Sound Amplifier)

To amplify the sound, sound speakers were adapted in order to create higher
volume and power so that audience can listen to every single words clearly.
Amplifiers must be rated to deliver sufficient power to produce intensity level of
80dB for speech.

Listen with the understanding that when the venue fills with people, the
reverberation will be lessened. This natural absorption will help with intelligibility, Central speaker provides central speakers located
wide angle of sound, while 32 high above the stage
but it will also absorb high frequencies disproportionately to low frequencies, which supplement speakers are
10 of
can muddy the sound and affect intelligibility. In order to obtain the consistency distributed along the blue
axis wall-mounted in the
acoustical experience from one section to another section, supplement speakers
 MATERIALS USED Exterior       Timber Acoustic
(Wall) Wall timber veneer 0.1
panelling Smooth 8 42 0.83
Exterior Carpeted Medium pile
(Flooring) Flooring Carpet on 0.
Plushy 0.3 0.65
rubber 5
underlay
AREA MATERIAL SURFA COEFFICIENT
CE Timber
PHOTO MATERIAL DESCRIPTI Interior Acoustic Perfor
FINISHE 200
ON 125 500 0 (Wall) fabric ated
S Panel
H H Smooth 0.2 1.4 0.7
H
z z Interior Fabric Upholstered
z
(Seatings) cushion Tip-up seats 0.5
Exterior Timber wall Timber Smooth 0.1 42 0.8 Soft 0.13 9 0.61
(Wall) veneer 8 3
panellin Interior Carpeted Medium pile
g (Flooring) Flooring Carpet on 0.6
Plushy 0.5 0.3
rubber 5
Exterior   Glass curtain Double glazing, Reflective 0.1 0.0 0.0 underlay
wall 2-3mm glass 5 3 2
Interior Gypsum 17% perforated, Smooth O.4 0.8 0.6
5
Exterior Laid on Glossy 0.0 0.0 0.0 (Ceiling) Plaster 22mm 5
Patterned Ceiling
(Flooring) concrete 1 1 2
terrazzo
slab
tiles

Exterior Fiberglass Fibreglass on Soft fabric 0.1 0.7 0.8

(Wall) Panel frame,20mm 5 5
absorbers cavity filled
with rockwool
 LOCATIONOF ACOUSTIC
PANELS ON WALLS

Acoustic Treatment & components

Acoustic treatment and components are cruial for an auditorium as it affects the
acoustic quality based on the function of the auditorium ,in this case of being a
hall used for speeches, assembles and public gathering. A standard acoustic
treatment should meet conditions such as freedom from acoustical faults of
echos, flutter.
Acoustic panels on wall

WALL PANELS
The walls are designed in a concave shape, a form can be perceived as
advantages but disastrous at the same time.
Disregarding that, the walls of the plenary hall are mostly covered with
acoustical fabric installed with timber perforated acoustic panels and as well as
timber framing. The back of the stage is covered with timber perforated acoustic
walls.

Timber fame and acoustic fabric

 TIMBER PERFORATED ACOUSTIC PANEL :

OCTAGON PERFORATED OCTAGON PERFORATED

ACOUSTIC PANEL ON WALL ACOUSTIC PANEL
Perforated panels are the most economical way to get an
acoustic treatment with a high degree of absorption. It is
applicale to walls and
Ceilings. For this auditorium ,this timber perforated panels are
placed at the backdrop of stage to reduce reflected sound
towards the speaker.
Octagonal perforsted panels are used all around the wall. The ACOUSTIC PANELS AT PERFORATED ACOUSTIC
panels used on timber wall let sound enter and then dissipate BACKDROP STAGE PANELS
it,and the multitude of perforations allows air to pass through
them so that the material can dissipate the sound waves as
they collide against the wlls of the cavity. Acoustics situated at
the rear of the acoustic panel increases absorption for middle
and high frequency.

13 SECTION DETAIL OF PANEL

Sound Absorber
Walls: Acoustic Wall Panels

The walls of the plenary hall are covered with sound absorbent materials.
In this case being fibreglass acoustic wall panels installed with acoustic
timber grooved framing and perforated acoustic panels.Fiberglass is
excellent in sound absorption and noise control as its porosity is kept
consistent at a very small scale during its manufacturing process. It
reduces the reverberation time within by minimising the formation of
echoes, hence clarifying speech as the plenary hall mainly
accommodates speech and conferences.

Location Of Acoustic Wall Panels

When airborne sound travels and strikes the acoustic wall panels, the
fibreglass vibrates, which causes friction between fibres to convert the
sound energy to kinetic energy. The kinetic energy then dissipates
quickly as it cannot be contained, eliminating sound waves to travel
through the acoustic wall panels. Hence, sound is absorbed.
Walls: Timber Perforated Panels

Timber perforated panels are installed with the acoustic wall panels and on
the stage wall to further improve the effectiveness of sound absorption in
the plenary hall. Although its material is laminated hardwood, known for
being a great sound reflector, it can function as highly efficient acoustical
Acoustic Wall Panels Exploded Axonometric Diagram Of the sound absorber when its fibrous and porous nature is utilised.
Acoustic Wall Panel
14
 1
10mm thk. gypsum board
.
0 15mm thk. barricade noise barrier
100mm thk. mineral wool insulation
10mm thk. plasterboard
Timber Perforated
Panel

5mm thk. fabric

Octogonal H.W. perforated acoustical panel

Normal Incidence sound absorption H.W. acoustical grooved panel

coefficients for timber Timber Perforated Panel

The perforation of the panels are evenly spaced, maximising its sound absorption ability as proven by the diagram above . Sound
energy is able to dissipate quickly into the perforation before the formation of echoes by allowing air to flow through them.
Walls: Acoustic Timber Grooved Panels

15
 ACOUSTIC WALL PANEL

A sound diffuser is an acoustic panel used to treat sound aberrations, such

as echoes and reflections,and to improve sound clarity. An ideal acoustic
diffuser is a surface that causes an incident sound wave from any direction
to be eventually in all directions.

The panels are arranged in a stepping configuration where it’s intention is

to dispense sound waves in various direction. Based on the findings, we
found that the acoustic psnels are redundant based on the size of it against
the scale of the hall. And is most likely used for asthetic purposes to
conceal the loud speaker situated behind it,rther than serving acoustic
purposes.

Possible sound path directed to

various direction

Sound diffuser panels,note the Note the scale of the sound diffuses
loudspeaker against the hall 16
 SEATING

There’s 3000 seating in this auditorium , each composed of a

compact block of open- cell polyurethane foam that is attached to a
130m thick beech plywwod board.The seat atomatically tips up as
there is a double, lateral ball and socket joint system which requires
no maintenance. The table is 54cm wide and steel bridge support
attached to 2 aluminium side legs. The legs are joined to a lower
togther by a central steel bridge support attached to two aluminuium
Side legs.

Location of seat in auditorium

Plenary configuration. Short time congress

Overview of the seat from entrance SIDE VIEW OF A SEAT

Parliament configuration long time

17
congress
 CEILING
The ceiling is installed with voids on the sides to allow the
penetration of natural light into the auditorium.

Concave ceiling is used in the auditorium to reflect the

sound onto certain areas of the hall. This design may
several disadvantages, it focus sound energy there by
creating hot spots and dead spots. Therefore, ceiling
should always be supported by the diffusing elemnts
placed on the in order for the sound to be dispersed in Concave ceiling inspired by
all directions. mengkuang craft

Sound Reflection from concave ceiling to one

certain area Dead spots and hot spots created by
18 concave ceiling
 CEILING MATERIAL

The ceiling material used in the auditorium is perforated metal ceiling

panels. This type of panel is commonly used now a dsys due to its
versatility. Not only it requires low maintainence, it is also able to aid in
sound absorption, separating the noisy areas with a quiter
surroundings .Perforated panels effectively reduce unwanted noises by
dispersing the sound waves on contact , making the sounds much
clearer. Perforated metal ceiling panels

The layer of mineral wool can absorb sound wave and act as a means of
reverberation control. Therefore when sound waves hit the panels, they quickly
dissipate , killing all the noise.
Perforated panel absorber is actually a type of hybrid absorber, it is a cross in
between membrane absorber and diaphragmatic absorber . Performed panel
absorber is almost equal in performance as membrane absorber , however it is not as
low as diaphragmatic absorber. Perforated panel absorber have perforations on the
front panel which help in allowing air movement in it. Diaphragmatic absorber on the
other hand has no perforations but a solid panel. In comparision , diaphragmatic
absorber has very limited ability in absorbing sound waves , the waves just bounce Layering details of metal ceiling
around noisily until they diffuse on their own.
 FLOORING

LAYERING DETAILS OF
CARPENTED FLOOR
FLOORING OF CARPENTED AREA CARPENTED FLOORING

Majority of the floor in the auditorium is covered with carpet due to its
ability as a good sound absorbing material. Carpet flooring prevents hard
contacts with the floor ,it can also be considered as a safer flooring
because it is cushioned, thus less likely to provide injury if someone falls
on it. Althrough carpet flooring does not help in sound transmission, it
reduced sound impacts. Air is transmitted by vibration of air molecules,
sound waves are absorbed instead of being reflected away back to the
surface. The rubber layer underlay also helps in strengthening the sound
absorbtion. These layers can effectively absorb sounds up to ten times
better than nirmal hardwood flooring. Metal plates on the other hand are COMPARISION OF DIFFERENT SURFACES
placed at risers of staircase to reflect sound.

20
Flooring: Medium Pile Carpet with Rubber Overlay
The medium pile carpet with rubber overlays covers over the
concrete flooring, examined as a significant sound reflector that
interferes with incident sound waves, as well as a radiator of impact
sounds, usually generated from foot traffic and human activity.

Low frequency sound waves are reflected from tight porosity of pile
surface, where the individual fibers, pile tufts has less resonance to
low-frequency sound waves. This helps less to absorb lower
frequency sound waves like human chatter or machinery noises that
disrupt the clarity of presentation.
Impact sound mitigation by carpet Absorption coefficient graph of
In contrast, the gap spacing of pile tufts allow high absorption of Carpet and rubber overlay medium pile carpet in Plenary
higher frequency sound waves as they can penetrate into the piles Hall
and are absorbed into the wool. To explain, high frequency sound
waves from electronic-aided speeches from line array are absorbed
and prevented from reverberating, which affects clarity of speech.
a
i
r
In addition, the rubber overlay is optimal to absorb vibrations originating b
from human circulating, by negating reverberations from concrete o
flooring. r
n
Rubber overlay e
Concrete flooring

Airborne sound wave absorption by

Medium pile carpet in Plenary Hall
carpet

21
Seatings: Polyurethane Foam with Timber Perforated Acoustic panel

The seatings of the plenary hall are made out of open-cell 2mm thk. Leather with Dents
polyurethane foam attached to a hardwood (Indonesia Jati),
incorporating timber perforated hardwood underneath the
seats to enhance the sound absorption when the seatings 25mm thk. Indonesia Jati
are unoccupied as they are folded up. The seatings are
finished with leather with small dents for permeability to
increase the efficiency of the seatings as sound absorbers.
Polyurethane Foam
Timber Perforated panel

Sectional diagram of seatings

Timber perforated hardwood Dents on leather for permeability.

underneath Figure
the seatings.
22
Sound Diffuser

Walls: Acoustical Wall Panels

Incident sound waves from the line array at the stage

require additional reinforcement, therefore speakers
are added at the flanks of the hall. The acoustical wall
panels in Plenary Hall act as sound diffusers for the
supplementary speakers situated behind the acoustic Acoustic panel diffuser
panel formation. The diffusers disperses the sound
waves from the speaker to the sides, and by acting as
a block to diffract the incident sound waves away from
the audience adjacently, while reinforcing sound for
audiences further behind

Sound diffuser dispersing incident sound waves

23 from speakers
 STAGE FLOORING

FLOORING OF STAGE STAGE FLOORING

The stage is constructed with hard wood as a hollow construction and posses a thin
layer or carpet covering. The carpet acts as a soud absorber against noises from
knocking and walking. .

24
AUDIENCE FLOORING

Majority of the floor in the auditorim is covered with carpet due to its ability as a
good sound absorbing material . Carpet flooring prevents hard contacts with the
floor, it can also be considered as a safer flooring beause it is cushioned, thus
less likely to produce injury if someone falls on it. Although carpet flooring does
not help in sound trasmision, it reduced sound impact. Air is transmitted by
vibration of air molecules, sound waves are absorbed instead pf beimg
reflection away back to the surface. The rubber layer underlay also helps in
strengthening the sound absorption. These layers can effectively absorb
sounds up to ten times better than normal hardwood flooeing. Metal plates on
the other hand are placed at the raisers of staircase to reflect sound.
Comparison of different surface

25
 Sound Lock
Sound lock is an area usually designed to be between the lobby located between
the hall and the waiting
area that has high absorbant elements such as walls, ceilings and floors to help reduce
transmission of noise into the auditorium. For PICC, the sound lock was seemingly
effective as the scale of the sound lock area is huge enough and there are almost zero
noise that can be heard in the hall even at the seats near the entrances

Sound & Noise Sources

The term "sound" and "noise" are often interpreted to mean the the same, however,
noise can only be subjected on the receiver point of view. In other words noise is any
undesired sound considered by the listener/occupant. The level of undesiredness will
depend on the various qualities such as frequency, loudness of the sound, time of
occurrence, continuity, place, activity being carried out, origin of the sound

External Noise
here are multiple origins of sound that can be found outside the auditorium, firstly the
sound produced by the opemng and closing of the door. The noise produced by the
people talking outside can also be heard to a certain level but due to the sound lock
created between the hall and the corridor .

shows the inner and outer door creating a sound

lockfrom the waiting area, external soundfrom suites
Timber Perforated Acoustic Panel

The waiting area outside the hall is exposed by glass panels which causes
environmental noises such as thundering. As a layer of corridor and guest waiting
rooms create a buffer there is still chances of the noise to travel airborne.

shows exterior corridor that is exposed with glass

which connects to the auditorium

Certain areas in the hall's exterior is also surrounded by suites for the
members to wait in before function starts. On each door there are
dampers applied to avoid banging to reduce structure borne transfer
as the suits are parallel to the auditorium.

: shows the inner corridor in between the

suits and the hall. Doors and walking
causes undesired noise.

Avoid noise from traveling to the stage area of the hall. Door dampers are present on each end, as well as carpets are laid on
the flooring of the corridor. However the noise from the act of opemng and closing itself causes noise due to its excessive
weight

27
 Internal Noise

As compared to external noises, internal noise sources are more prominent in the
auditorium Apart from the doors, there is a thudding sound created when one enters
the hall, or is walking towards the stage or their respective seats. There was a
"whoosh" noise that can be heard at the front and back from the air conditioners are
turned on. The back of the auditorium where the M&E room is placed, contribute to a
slight disturbance to occupants seated near the area.

The air gap below the timber stage, which is used for amplifying the subwoofers also
contribute to the noise of the footsteps. Staircase layered with carpey along
with stair nosing that causes noise.
causnoiswhepushdow
The air-conditioning diffuser system runs along the gaps of the suspended e e n ed n.
ceiling. Long, narrow strips, that force the the air-conditioning into the space. In
comparison to the size of the hall the number of panels would take longer time
to cool the space even when the temperature for the aircon is set low.
Additional coolers are placed every corner of the hall that also contributes to
noise.

causenoi
Wooden flooring that causes noise when
28 pushed down.
 Internal Noise

top left and right: indicates the row of air conditioning diffusers along
the ceiling panels.

The above mentioned undesired and

unnecessary sound contributed causes
constant and steady noise that affects the
quality ofthe event held in the auditorium
also affecting to the sound readings on
thefront and back ofthe hall.

top left and right: highlighting the additional coolers placement near
the seats. 29
NOISE SOURCES

Shows the sectional view ofthe auditorium showing the origin The doors located around the sides ofthe auditorium also
ofnoise produced by the external noise enteringfrom the ceiling produce sudden and temporary noise disturbance to the
and the walkingfootsteps or sudden movement ofthe seats. audience seated Stairs with nosing creates disturbance to
the seats adjacent due to structure borne.

30
 Sound Concentration
LOCATION
Sound Intensity Level (dB)

125Hz 500Hz 2000Hz

The measurement of the Sound Intensity Level (SIL) In the case of unassisted sound reinforcement and data
was taken from the sound source on a fixed level of  
52 70 78 collected, we were able to conclude the following:-
volume generated from our portable speaker and   1. Front seats (A) of the stage receives most sound due
across the three octave levels of 125Hz, 500Hz and 54 70 78
to it being closest and the low stage height (600m)
2000Hz A3 53 72 80
reinforces the sound angle directed to the area.
 
53 71 79 Il. Row (C) and (B) receives a level more or less the
 
same
41 52 65
Ill. Row (D) is considered as a sound shadow area in
B2 42
 
65 regards to no usage of sound reinforcement. It is situated
B3 42 55 68
approximately 7.5 metres above the center stage.
Our findings were mainly influenced by the large hall, and
B4 43 53 70 absorption materials situated across the hall, we were
 
32 52 63
also able to conclude that even though that the hall is at
 
such a large scale, the seating stretches just slightly
34 52 60
beyond 1400 and hence allowing sound to travel at the
 
35 54 61 optimum angle during unassisted sound reinforcement.
  Despite that, the hall stretches too far away causing the
36 53 63
rear rows around the area of Grid D to have minimal level
DI 30 44 56 of sound. It is noted that the interior ambient sound level
D2 32 47 55
is at an average of 26dB
SIL Measurement location in PICC. Grid line as shown  
31 48 57
are for indication purposes. Grid A - is at a distance ofvolumefrom our output loudspeaker as a
   
of5mfrom the stage and each subsequent grid (B,C,D) 29 46
unchangeable variable to ensure the accuracy of
is 20 metres apart.
ourfindings.
31
 Sound Concentration

The sound reflection in the multipurpose hall is greatly reduced by the

heavy usage of sound absorbing elements such as the octagon
perforated acoustic panel and acoustical fabric. Sound is also diffused
in the multipurpose hall with the help of timber elements with uneven
surface However, the sound is more concentrated on the front row
(Row A) due to the large volume of space and excessive use of
absorbent materials.

Sound reflection diagram

The extensive usage of sound absorbing materials is to reduce

the sound being reflected. The sound intensity level at the back
(Row D) was recorded to be in softer dB readings hence causing
a slight problem for speech.
Sound reflection diagram with materials
Sound Reflection

Soundpropagation towards row A Soundpropagation towards row B

Sound reflection is lacking in row A but the the distance is short enough Due to the high ceiling the sound reflected from the ceiling is
for direct sound to travel to the audience directly. greatly weaken when returmng to the audience.

Soundpropagation towards row C. Soundpropagation towards row D

The reflective materials is Insufficient hence sound is not well
reflected to row C. However the huge volume space allows The distance was too large for sound to travel directly or to reflect to
33 row D.
sound to travel through it.
 Sound Shadow

A sound shadow is a phenomenon caused by the

absorption or obstruction of sound wave by an object in
its path. The effect produced is perceived as a reduction
in sound loudness from the listener's position in
conjunction with the sound source and it's obstruction .

The Plenary Hall suffers with a sound shadow area at the rear
rows however is noticed as a minor issue and is normal due to
the large scale of the hall.

Sound can still be heard at the area however it is a minimal

level. This problem exists only when there is no usage of
Diagram indicating the sound
sound reinforcement such as microphones and loudspeakers.
shadow area

34
 Sound Echo and Delay
An echo is defined by the repetition of a source sound at a
delayed time after hearing the sourced sound. Sound echo is also
known as sound delay.

By using the formula of TIME DELAY —o , We are able to find

out the estimated delay time of the sound waves at different points
in the auditorium. Delay time, is measured in milliseconds (ms).
For an auditorium catered for speech related events, a delay of
40ms would be considered an echo, whereas for. music it would
be at 100ms

Diagram indicating the sound shadow area

An echo is defined by the repetition of a source sound at a delayed time after hearing the sourced sound. Sound echo is
also known as sound delay.

By using the formula of TIME DELAY —o , We are able to find out the estimated delay time of the sound waves at
different points in the auditorium. Delay time, is measured in milliseconds (ms).
For an auditorium catered for speech related events, a delay 35
of 40ms would be considered an echo, whereas for. music
it would be at 100ms
A. (17m+16.7m-8.7m) /0.34 = 73.8ms

B. (20.3m+16.3m-16.6m) /0.34 — 58.82ms

c. (23.8m+15.2m-23.1m) /0.34 — 46.76ms

D. (27.6m+15.1m-31.7m) /0.34 = 32.35ms

E. (31.3m+13.8m-38.3m) /0.34 = 20ms

.Diagram indicating the position where we collected ourfindings.

During our visit, we noticed the echo when we clapped at center stage and group members mentioning the echo when
stood at different locations. Based on the data collected above, we were able to find evidence that reinforces the
occurrence of the echo and our observation.

36
Reverberation
Building Material Area Absorption Abs Acoustic panel Wall (timber) nts
compone unit
nt Coefficient of
surface
Acoustic Timber 4387 sqm 0.42 1842.54 Aa- 1380
nel
Ceiling (Perforated Metal Panels)
Wall
A = 4135m2 a = 0.87 Aa - 3597.45
Ceiling Perforated Metal 4135 sqm 0.87 3597.45 Audience flooring (carpet) A -
Panels 3803.5m2 a = 0.49 Aa- 1863.72
Audienc Carpet 3803.5 sqm 0.49 1863.72 Stage flooring (thin carpet) A -
e 331.5m2 a = 0.08 Aa- 26.52
Floorin Seating (timber and fabric)
A — 519m2 a = 0.59 Aa - 306.21
Stage Thin carpet 331.5 sqm 0.08 26.52
floorin RT = 0.16V/A
Seat   Timber and 519 s m 0.59 306.21
Where:
in fabric
  Occu ant 3000 0.46 1380 RT — Reverberation Time
Total Absor tion     7713.18
V— Volume of the room (m 3)

Tablefor building component absorption

A = Total Absorption of room surfaces
= 1.08
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 Acoustical Defects & Design Issues
Inemciency reflective properties sufface sectional diagram
Angled design would have a better sound reflection as the sound will
reflect back to audience when hits on angled surface. One of the
concern of PICC is that the design of the ceiling reflector doesn't has
much angled surface yet it causes lesser sound to reflect back towards
the audience in its longer and bigger spaces
The design of this auditorium appear in concave ceiling therefore it
happens that it focus sound energy thereby creating hot spots and
dead spots. The lack of angled surface and the heavy usage of sound
absorbing elements causes the reflection and reverberation of sound
directly reduced-
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Plenary Hall as a "Multipurpose Auditorium"
Putrajaya International convention centre Plenary Hall auditorium is used
as a multipurpose auditorium
This auditorium is used to accommodate events that involves with
speeches such as seminars, graduation ceremony, lectures, and talks.
However, events relating to music such as orchestra and singing are not
encouraged due to the low reverberation time of the hall.
The hall is fairly big as it is able to accommodate 3000 users. It is
important for the auditorium to have less echoes to ensure the clarity of the
speeches transmitted with no repetition of sounds which enables the
audience to be able to grasp the speaker's word clearly. The liberal use of
absorbent materials plays a vital role in controlling and limiting the degree
of sound reflection that occurs in the auditorium
Nevertheless, the usage of absorbent materials at a substantial rate has
helped to reduce the reverberation time of the auditorium. This causes the
sound to be in a monotonous manner, suitable for speeches unlike music
hall where the priority is to have high reverberation time to ensure that the
music is played in the correct tune and rhythm .
Conclusion:
To conclude our analysis and case study, the Plenary Hall of P.I.C.C is an auditorium that is generally unsuited
for musical performances without the usage of sound reinforcement system such as microphones, loudspeakers,
& etc. Correspondingly, the auditorium naturally uses the system even for speech functions as the nature is to
ensure that listeners has the best sound concentration at all available time.

The exorbitant use absorbent materials provides an unsuitable venue for musical performances, and hence hardly
any musical events are held here, and the management caters and targets for large speech-oriented events rather
than promoting musical performances.

It would be noted as well that the hall retains basic acoustic design and is at a very "surface" level. An in depth
study and design should be made in order to further improve the acoustics in the hall. And as many architects and
critique would say, it lacks "feel". Furthermore, the Plenary Hall is the grandest hall that the Putrajaya International
Convention Centre can offer

There is no such thing as a perfect auditorium hall, in part because "good acoustics" is a variable change depending how
the architect juggle between economic feasibility and design, and the ability to adapt and cater for those two aspect at
the final decision to be made at the client's approval. The final outcome and design would be a reflection of said condition

39
REFERENCE
S:
1.https://picc.com.my/
2.https://issuu.com/ongjieen/ docs/building_science_2
3.https://www.cram.com/essay/Case-Study-Of-Putrajaya-International-Convention-
Centre/FJ9MMCHWU
4.https://www.slideshare.net/dexterys/picc-theorizing-architecture-finalized

5.https://www.slideshare.net/teejoanne7/ct-report
6.https://issuu.com/cryslyntan/docs/putrajaya_convention_center__picc_.
7.https://www.slideshare.net/GaryYeowJinnSheng/picc-acoustic-system

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THANK YOU

- -M.HEMA SUPRAJA
- 18011AA058
- B.ARCH , 6TH SEM
- JNAFAU
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