KLPAC Report
KLPAC Report
KLPAC Report
BUILDING SCIENCE II
ARC 3413 / BLD61303
PROJECT 1:
AUDITORIUM: A CASE STUDY ON ACOUSTIC
DESIGN
1
CONTENTS
03 1. INTRODUCTION
1.1 Historical Background
1.2 Aim & Objective
07 2. ACOUSTICAL PHENOMENA
2.1 Acoustical In Architecture
2.2 Sound Intensity (SIL)
2.3 Reverberation, Attenuation, Echoes & Sound Shadow
10 3. Methodology
3.1. Equipments
3.2. Data Collection Method
48 6. NOISE
7. REVERBERATION TIME CALCULATION
57 8. RECOMMENDATION
9. REFERENCES
2
1.0 INTRODUCTION
The Kuala Lumpur Performing Arts Centre also known as KLPac or Pentas Seni Kuala
Lumpur is one of the most established centres for the performing arts in Malaysia. It is a
non-profit company whose aim is to "cultivate and sustain the performing arts for the
betterment and enrichment of communities within the Klang Valley and for the Nation.
Founded by Joe Hasham and Dato' Faridah Merican. Each year, KLPac and the Actors
Studio plays host to more than a hundred major events, as well as many other
workshops, classes, film screenings and more. Many of KLPac events are self-directed
and self organised shows.
The four main areas of the Kuala Lumpur Performing Arts Centre are:
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1.1 HISTORICAL BACKGROUND
In 1995, both founders created history by building the first privately owned and operated
theatre in Malaysia below Dataran Merdeka named The Actors Studio @ Plaza Putra.
However in 2003, flash floods swamped KL and destroyed the underground complex
entirely. In search of a new home for the arts community, they found an old warehouse
that is owned by Tan Sri Francis Yeoh.
The old warehouse started as a woodcrafting workshop and sawmill in the 1800s.
Eventually it became part of Sentul Works in 1906, region’s most important railway depot
and workshop, till it was bombed during tail end of WWII but was rebuilt in mid 1940s. In
late 1960s it was then converted into a makeshift gold clubhouse but was soon
abandoned in early 1990s.
In 2005, KLPac was launched becoming an arts and cultural icon with an award-winning
architectural design making it a historical landmark.
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1.2 AIM & OBJECTIVE
The aim and objective of this report is to provide a concise and well-documented analysis
that can showcase our understanding of our case study of acoustical theory in
auditorium halls. Done so over the course of five to six weeks, the learning outcomes are
as follows:
By observing and analysis the type of acoustical design theories applied in the
auditorium, we are then able to develop a better understanding on the characteristic of
architectural space and how it affect the multiplicity of design approaches that can be
taken for said space to be considered “acoustically efficient”. It is also important to know
how different types of design and their acoustical treatment influence the sound
efficiency and the overall user experience.
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2.0 ACOUSTIC PHENOMENA
2.1 ACOUSTIC IN ARCHITECTURE
The main noise paths are roofs, eaves, walls, windows, door and penetrations. Sufficient
control ensures space functionality and is often required based on building use.
Acoustic is the term used to describe the “science of sounds”. It deals with the study of all
mechanical waves in matters such as gases, liquids (air,water) or any solid, physical
object that can return to its normal state after being deflected.
Understanding these differences and know how to utilize building materials, system
design and technologies are key factors behind any successful acoustical design. While
the science behind sound is well understood, using that knowledge to create an efficient
acoustical performance within a specific building or room is a complex practice. There is
ano single “solution” or “formula” that can be universally applied to any building design
as each built environment offers its own unique set of acoustical parameters.
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The common method in gauging this energy transport is to measure the rate at which
energy is passing a certain point. This concept is dubbed as “ sound intensity”.
Consider an area that is normal to direction of the sound waves. If the area is a unit,
namely one square metre, the quantity of sound energy expressed in Joules that passes
through the unit area in one second defines the sound intensity. The time rate of energy
transfer is then referred to as its ”power” - written in the unit: “Watt” (1W equal to 1
Joule/s). In simple terms, this means that the sound intensity is the power per square
meter.
Normally, sound intensity is measured as a relative ratio to some standard intensity. The
response of the human ear to sound waves closely follows a logarithmic function of the
form “R = K logI”, where “R” is the response to a sound has an intensity of “I”, and “k” is
the constant of proportionality.
The unit of Sl is called a “decibel” (abbreviated as dB). “I” is the intensity of the sound
expressed in watts per meter and “io” is the references intensity defined to be 10-12
W/m². This value of “Io” is the threshold (minimum sound intensity) of hearing at 1 kHz,
for a young person under the best circumstances. Notice that “I/Io” is a unit-less ratio; the
intensities need only to be expressed in the same units, not necessarily W/m².
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However, that same reflective performance will become a negative factor of said highly
reflective walls and ceiling materials are installed in the rear of the auditorium. That’s
because the sound reflection from the rear of the room take too long to reach the
audience, resulting in a distracting echo effect.
When sound travels through a medium, its intensity diminishes with distance. In idealized
materials, sound pressure (signal amplitude) is only reduced by the spreading of wave.
Natural materials, however, all produce an effect which further weakens the sound. This
further weakening result from scattering and absorption. Scattering is the reflection of
the sound in directions other than its original direction of propagation. Absorption is the
conversion of the sound energy to other forms of energy. The combined effect of
scattering and absorption is called attenuation.
An acoustic shadow or sound shadow is an area through which sound waves fail to
propagate, due to topographical obstructions or disruption of the waves via phenomena
such as wind currents, buildings, or sound barriers. A short distance acoustic shadow
occurs behind a building or a sound barrier. The sound from a source is shielded by the
obstruction. Due to diffraction around the object, it will not be completely silent in the
sound shadow. The amplitude of the sound can be reduced considerably however,
depending on the additional distance the sound must travel between source and
receiver.
Sound reflection occurs when wacces become off smooth, hard wall, ceiling and floor
surfaces. Concave surface tend to concentrate or focus reflected sound in one are.
Convex surfaces do just opposite; they tend disperse sound in multiple direction.
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3.0 METHODOLOGY
3.1 EQUIPMENTS
10
3.1.3. Digital Sound Level Meter
This device it is used to measure the sound level at a particular point within the auditorium.
The unit of measure is decibels (dB).
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4.0 DRAWINGS & ZONINGS
4.1 KL PAC GROUND FLOOR PLAN
STAGE 1
CAFE
FOYER
LOBBY
ENTRANCE
STAGE 2
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4.2.1 STAGE 1 - FLOOR PLANS
KLPAC PENTAS 1
GROUND FLOOR PLAN
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KLPAC PENTAS 1
FIRST FLOOR PLAN
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KLPAC PENTAS 1
SECOND FLOOR PLAN
15
KLPAC PENTAS 1
SECOND FLOOR PLAN (WITH DIMENSIONS)
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4.2.2 STAGE 1 - SECTIONAL DRAWING
KLPAC PENTAS 1
SECTION
17
KLPAC PENTAS 1
SECTION
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4.3 STAGE 1 - ZONING
CONTROL
ROOM
AUDITORIUM SEAT
PERFORMING STAGE
BACKSTAGE
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4.3.1. Performing Stage
Stage is designed in a semi-proscenium style with the stage floor levelled with the first
row of audience. Along with the structural proscenium opening at 14m wide and 7.68m
high. Having a variable proscenium panel that is capable of adjusting the proscenium
opening from a height of 7.68m to 5.68mm. Stage depth is approximately 9m from the
proscenium opening to the cyclorama and from the front end of the apron area to
proscenium opening is approximately 5.5m.
4.3.2. Backstage
Backstage is approximately 10m deep and 20m wide with both right and left wings from
the proscenium are approximately 10m deep and 6m wide.
4.3.3. Auditorium
The auditorium can seat a total of 504 patrons. While applying a front-end format
seating, in which the first row of the seating for audience is on the same level as the stage
floor, that comprises of flip-up seats covered with different solid-coloured fabrics. There
are two main access doors for entry/exit from second floor pre-function area and
walkway lights are provided.
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5.0 ACOUSTIC ANALYSIS
5.1 AUDITORIUM DESIGN
21
5.2 MATERIALS
22
COMPONENT MATERIAL PHOTO 125HZ 500HZ 2000HZ
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component material PHOTO 125hz 500HZ 2000HZ
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5.3 ACOUSTIC TREATMENT
5.3.1. Performing Stage
Figure 5.3.1.2 diagram show that the wall absorb the sound
wave and produce minimum reverberation
The auditorium wall is covered with sound absorbent materials to reduce the reverberation
in the auditorium and percentage of creating echo. This material helps to absorb and
soften the sound waves produced from the stage. This in result will create a better sound
quality for the audience.
Pentas 1 auditorium is the biggest stage in KLPAC. The type of material that is used for
pentas 1 for sound absorption is concrete wall. Concrete walls may be a good sound
absorber but do not act as a good sound insulator. Thus, high frequency sounds coming
from Pentas 2 or other rooms can occasionally be heard in Pentas 1.
The concrete wall in Pentas 1 is layered with black paint. The color of the wall does not play
a huge role in sound absorbance but it helps to control the temperature in the enclosed
auditorium. The speed of sound actually increases as the temperature goes up . The wall is
a flat surface layered with wooden blocks on one side and PVC concrete tubes on the other
for trapping sound . The idea behind the technique of materials used is to keep the sound
from bouncing off in an enclosed space. If the concrete walls were left bare, sound
reflections would create undesirable echoes.
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5.3.2. PVC Tube
There are two different wall finishes and they both play a different role in terms of
acoustic purposes. PVC tubes placed on the concrete wall are not just used for aesthetic
values but also act as a sound diffuser. The height of the PVC tubes extend all the way to
the ceiling and the surface of the tubes are convex shaped. When a direct sound wave hits
the tube, it will distribute the sound wave equally to the audience. The PVC tubes are also
hollow inside and this helps to compress direct large sound waves and absorb base
sounds.
Therefore, the PVC tubes help to distribute small frequency sound waves equally to the
audience and at the same time compresses large frequency sound waves. The wall behind
will able to absorb the remaining sound waves .
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5.3.3. Wooden Block and Corrugatd Metal
Figure 5.3.3.1 Sound wave direction that hit the wooden Figure 5.3.3.3 wooden block
Block and scatter the sound wave to the audience
The wall on the opposite side of the theatre is covered with corrugated metal and wooden
blocks. The zinc metal plates are reused from the roof of the old railway station . The
surface of the metal is corrugated which is a mixture of concave and convex surfaces,
allowing it to act as a good sound reflector. It helps to reflect low frequency sounds
around the theatre.
Wooden blocks are scattered on the wall surface below the corrugated metal. These
blocks are made from small pieces of leftover wood that are formed into a box shape.
Wood is a light material and its smooth surface helps to dampen sound particularly well.
But wood cannot work alone in sound absorption, so when the sound hits the wooden
block, some of sound is scattered and some would be absorbed by the concrete wall.
Hence, the wooden blocks help to diffuse high frequency sounds.
Both of the side walls use different design strategies but they still serve an equal acoustic
experience to the audience in terms of sound diffusion and reflection. Therefore, only a
low cost is required to maximize the acoustic treatment because of well thought of design
strategies.
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5.3. 4. Flooring
Figure 5.3.4.1 zoning of wool carpet and epoxy Figure 5.3.4.3 stage floor
Concrete wall
In Pentas 1 there are two different flooring material. For the stage flooring, epoxy concrete
coating is used whereas the audience floor is covered by wool carpet. The wool carpet is
black in color and it's soft and smooth texture produces a comfortable environment for the
audience.
The carpet improves the sound quality in the auditorium because it acts as a sound
absorber and helps to reduce the impact of noise such as audience entering or exiting the
auditorium, dropping of items, and moving furniture or equipment etc. Air Is transmitted by
vibration of air molecules and sound waves are absorbed by the wool carpet instead of
being reflected back to the surface. This is because the material of the wool carpet consists
of individual fibers and pile tufts which produce several resonant frequencies which absorb
sound .
The stage floor is different from the audience floor as it is an epoxy concrete floor and is
layered with a layer of black paint. It creates a focus towards the stage while the reflected
light creates an elegant environment. This surface is slip-resistant and is easy to maintain
due to the fact that the floor has a low absorbance value and reflects the sound wave to
audience. This also allows the musician to produce the best quality of sound for the
audience. 28
5.3.5. Chairs (Audience Seats)
Figure 5.3.5.1 placement of chair in the auditorium Figure 5.3.5.2 Blue arrows indicate
soundwaves while the red arrows
show sound wave absorbed by
the chair
Other than using walls and floors for dampening sound waves throughout the room
surfaces, each auditorium chair has individual sound absorption. Furthermore, the smooth
and flat surface of the chair provides comfort for the audience.
The auditorium chairs are of tip up type creating minimal noise. The shape and material of
the chair also determines the sound quality of the auditorium hall. Each chair is covered
with a sound absorbent fabric which ensures that the presence or absence of the audience
won’t affect the reverberation time.
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5.3.6. Brickwall
At the back of the stage, brick wall was still well preserved from the old railway station
since the wwii. The brick are coated a layer of black paint to give a good protection and
serve as an aesthetic purpose.
The choice of preserving the brickwall is because brick are naturally thick and dense
which help to block sound wave passing through. Hence, it helps to prevent the external
noises enter to auditorium which minimise the distraction to the audience. Beside that, the
size of the brick will also affect the insulation purpose. The thicker the material, the more
challenging for a sound wave to pass through it. Thus, auditorium less likely to hear the
sound from the other side of the wall.
Because of its bold characteristic, the direct sound wave hit the brick wall unabling the
absorption of sound wave instead the sound wave will bounce off to the surrounding.
However, to prevent any leak of the sound wave penetrate into the auditorium, the brick
wall should be well maintain due to the aging of the building.
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5.3.7. Black Curtain & Ceiling
The black curtains of KLPAC are sound absorbers where they are placed onstage for
blackout curtains. While the curtain doesn’t completely reduce the sound between two
different spaces, it helps improve the sound quality and reduce the reverberation level of
the theatre.
The thick and heavy fabric curtain absorb excessive sound. Fabric acoustic curtains
feature a core material of naturally fire resistant wool fabric that is sandwich between a
decorative fabric and a blackout liner. It reflects thermal energy and black light while
creating an elegant surrounding for the audience.
The ceiling of the auditorium consists of black fabric wrapped ceiling clouds. They prevent
sound from escaping out of the room, absorbs noise and increase sound quality to the
audience. Capable in stopping sound reflection in large areas, black fabric offers
outstanding control across all frequencies as well design flexibility being architecturally
decorative.
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5.3.8. Wall Panels
Black acoustic panels are located behind the theatre. Fabric panels are the ideal choice for
controlling excessive reverberations in the theatre setting and delivering back premium
sound quality.
Acoustic wall panels are sound absorbent, mounted directly to the wall consisting of
medium density core with a fabric finish. When the sound waves hit the surface, they are
absorbed through soft surfaces and bounce back to surrounding. Therefore the audience
will not experience sound delay and echoes behind the black acoustic panel on the
concrete wall.
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5. 4 SOUND SOURCE
Sound sources are subjects emitting sound waves into the environment which are
percepted as pleasurable sounds or taken in as noise depending on the frequency level
received by the human ear.
- To reinforce the sound level when the sound is too weak to be heard
- To provide amplified sound for overflow audience
- To minimize sound reverberation
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Figure 5.4.1.2 Primary Sound Source : Speakers Figure 5.4.1.3 Position of Speakers
34
Loudspeakers are adjusted and controlled through a processor and this is done from the
control room or control panel located above the audience seating.
The speaker volumes have been calculated and are adjusted before performances
whereby the top speakers produce a higher volume of sound to ensure it is propagated to
the audience seating at the back part of the theater. The bottom speakers produce sounds
of a lower volume as it is directed to the audience seating in front which is located nearer to
the sound source.
During some productions, the speakers would be arranged in a stereophonic system which
includes two or more clusters of loudspeakers around the proscenium opening and on
either side of the audience seating. This system imitates a realistic environment and
preserves the illusion that the sound is coming from the original, unamplified source.
When this system is used, side fill speakers are placed in these main places :
1. Aisle of theatre
2. Side of stage
3. Lighting bar on either side of stage
Depending on the positioning of the sub speakers, a delay tower is used to ensure sound
waves emitted reach the audience at the same time. Speakers placed at the back aisle of
the theater will have a longer delay.
Speakers are occasionally clipped onto the lighting bars either on the sides of the front part
of the theatre or at the back for backstage crew.
Figure 5.4.1.5 Placement of lighting bars on the front Figure 5.4.1.6 Placement of Sub Speakers on the
of the theatre backstage lighting bars
The number and placement of additional speakers depends heavily on the type of
production and the budget of the production team.
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Sound Source Product Name Specification
Placement Ceiling
36
5. 4.2. Secondary Sound Source
Electrical appliances such as the AC system and lighting fixes contribute to the total
internal sound produced in the theatre.
AC vents are located at the right side of the backstage above the chiller room. A motor
from the room and air travelling through the vents produce low frequency sounds that
could be considered background noise during performances and are quite prominent when
there is still silence in the theatre.
Light fixes such as spotlights produce a certain buzzing sound for the first five minutes of
being switched on but mostly do not affect performances.
Figure 5.4.2.1 Secondary Sound Source : AC Vents Figure 5.4.2.2 Position of AC Vents on
the side of the backstage
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5. 4.3. Tertiary Sound Source
This sound source is the least evident and originates from the audience themselves.
Audience movement in and out of the theatre, adjusting of seats and small chatter
contribute to sounds in the hall and can be kept minimum by announcements and
reminders before and during intermissions.
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5.5 SOUND PATH
5.5.1. Sound Concentration
The measurements of Pentas 1 were taken from a fixed sound; outputting approximately
500Hz tune at 90dB.
The measurement of the sound intensity levels (SIL) from the sound source show that
there is a distinct sound concentration zone can be found at the centre of Pentas 1 with the
reading of 74dB.
The SIL readings are high at the back right and left corner of Pentas 1 due to the location of
the speakers located on top of each respective sections resulting in amplified sound in the
specific area.
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Sound from the speakers are more intense at the direction they are pointing at, which in
return cover its own area that overlap over another. This results audiences sitting in the
darker area in the diagram to receive a higher sound amplitude which is recommendable
to sit (fig 5.4.1)
Figure 5.5.1.1 Sound coverage and path of speakers Figure 5.5.1.2 sound path and reflection from
sound source on the stage
On the other side, seats in the corners of front right and left side of the hall (fig 5.4.2) is
nearby walls of diffusion walls. However, these diffusion walls reflect certain incident of
sound simultaneously whereby audiences get distracted while receiving direct sound from
the stage.
Horizontal shape of plane walls reflects sound ray at constant angle under law of
reflection. This is not efficient way of dispersing sound and does not promote
concentration of sound efficiently.
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5.5.2. Sound Incident (Direct sound)
Audience in the front row receives the highest incident of sound amplitude with louder
volume as they are nearer to the sound source.
Audience in the middle rows receives a moderate incident of sound amplitude and volume
from the sound source.
41
Figure 5.5.2.3 Back row audience furthest from the stage of sound source
Audience in the last rows receive the lowest incident of sound amplitude as they are the
furthest from the sound source.
Figure 5.5.3.1 First row audience receiving indirect which is insignificant compared to direct sound
Reflected sound in the front rows of the audience aren’t as significant as they’re nearby
the sound source
42
Figure 5.5.3.2 Back and middle row audience receiving indirect sound reflected from
ceiling
Audience sitting in middle and last back rows receives sound reflected from the ceiling.
Horizontal ceiling reflects sound at constant angle under law of reflection - which is
inefficient, as there are limited amount of short delayed reflection.
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5.5.4. Sound Diffusion
Figure 5.5.4.1 explains how sound diffusion may be achieved with the aid of surface
irregularities and scattering elements. Adequate sound diffusion is essential in many types
of rooms in order to promote uniform distribution of sound, accentuate the natural
qualities of music and speech and preventing the occurrence of undesirable acoustical
defects. Unlike absorption, diffusers preserve the liveliness of the room as they do not
absorb much sound energy, but dispersing it instead, spreading the energy around the
room.
A sound diffuser is an acoustic panel used to treat echoes and reflections. A diffuser
jumbles up these reflections to avoid reflected sound from returning back into the room
directly or having echoes.
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Application of Wooden Blocks as diffuser panels.
An ideal acoustic diffuser is a surface that causes an incident sound wave from any
direction to be evenly scattered in all directions. Having the same function as skyline
diffuser, they are able to scatter sound across two planes: horizontal (left & right) and
vertical (up & down). This two-dimensional scattering broadens the soundscape and
provide greater distribution of amplitude of sound.
Wooden block
Concrete
The diffusion panels are placed along the side walls of Pentas 1 all the way up high to kill
echoes.
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Application of Hollow Pipe as diffuser panels.
Figure 5.5.4.8. Direction of the sound dispersed within Figure 5.5.4.9. Highlighting the small gaps in
Pentas 1. between the PVC hollow pipe.
The PVC hollow pipes are arranged closely together leaving a small gap (highlighted in
figure 5.5.4.9) in between to allow sound at certain frequency to be dispersed into many
direction when hitting the convex surface of the hollow pipes to provide better sound
quality, especially to the right side of the hall.
Concrete
Figure 5.5.4.10. Shows how the sound scattered after hitting the planes.
When sound is reflected from convex surfaces, the geometry of the surface will push back
the energy to disperse outwards and encourage uniform distribution of sound.
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5.5.5. Sound Absorption
When a sound wave hit a particular surface, its kinetic energy is converted into a small
amount of heat energy which dissipates.
Figure 5.5.5.2. Besides acting as diffuser panel, PVC Figure 5.5.5.3. Absorbency path.
hollow pipes also act as bass trap.
Application of bass traps helps to absorb much of this excess sound energy, thereby
reducing the amount of acoustic interference that occurs in the room. The more traps are
added, the more of these excess reflections are absorbed, which further reduces the
interference (or possible echoes), thus flattening the frequency response of Pentas 1.
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6.0 NOISE
Noise is a subset of sound, which is undesirable or obnoxious. Noise is a sound that is
unpleasant to hear. Unlike sound that is pleasant and clearly audible, noise is unpleasant,
deafening, and incomprehensible though audible. There are a number of ways that noise
intrudes into a specific enclosed area. Noise pollution can hinder performance intelligibility
and greatly reduce the ability for an audience to hear and understand what is being
delivered. In auditoriums, noise pollution can come from a wide array of sources, external
or internal sources.
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6.1.1 Outdoor events happening outside the auditorium
As klpac is a preserved site, most of the areas in KLPac is an outdoor space which is
occasionally being used for outdoor activities. Intruding outside noise is conducted into the
auditorium through the windows and existing single layer red bricks act as a wall
separating the outdoor and indoor spaces.
Figure 6.1.1.1 Location of outdoor events or Figure 6.1.1.2 Circular windows which can be seen from
activities which is right on the side of Pentas 1 outside are covered with black painted plasterboard in
backstage the auditorium to avoid confusion between light and
light sources
PENTAS 2
PENTAS 1
Figure 6.1.2.1 The location of Pentas 1
and Pentas 2
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6.1.3 Adjoining corridors
Noise produced by people walking or talking outside Pentas 1 corridors located along the
left and right side of the auditorium. This can be reduced by increasing the sound proofing
ability as the noise produced are conducive to sound reverberation.
Figure 6.2.1 Indicates the location of origin of interior noise produced by movement of people
inside the hall, air conditioner diffusers and profile fixtures.
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6.2.1 Sound of Folding Theatre Seats
When unfolding or folding the seats, it produces squeaking or rasping sound of the hinges.
This may interrupt the audience especially when there are latecomers entering the
auditorium during the performance.
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6.2.3 Profile Fixtures
Buzzing sound of lighting profile fixtures when it is switched on. The interrupted current can
produce a vibration within the light bulb filament or within the switch itself, which can cause
a humming or buzzing noise of lighting fixtures. It takes up to one hour to stop buzzing. The
technicians will switch the lights on earlier so that by the time the performance starts, the
noise does not interrupt the audience.
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6.2.5 Sound of Door Opening
The usage of acoustic doors act as a sound barrier to noise getting in or out, working both
ways in controlling the sound of people moving in and out of the auditorium. The sound
heard from outside is reduced with this installation however if the sound is too loud, it can
still be heard by the audience especially those who site near the entrance doors.
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7.0 REVERBERATION TIME
CALCULATION
X Y
W3
W2 W1
7.1 Volume
Volume of theatre = (260 x 26.867) + (5.25 x 14 x 26.867) + (6.75 x 26.867)
= 6985 + 1975 + 725
= 9685 m3
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7.2
Absorption of Surface, As =
Total Absoroption, At = 703.76m2 + 88.4m2 + 3.72m2 + 5.36 m2 + 1.5 +1.5 + 55.24 + 5.2
+62.75m2 + 260.5m2 + 111.7m2 + 9.07m2
= 1308.7m2 sabins
55
7.2
RT = 1.18s
Conclusion
The reverberation time calculated falls under the recommended reverberation time for
theatres which is 1.0-1.5 seconds.This shows a proper balance of absorption and
reflection to provide a favorable acoustical environment. One must address both the
needs to hear and understand speech, and the desire to have a pleasant space for
music.
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8.0 RECOMMENDATION
Issue 01 Solution 01
In Pentas 1, different seats provide a different sound quality to the audience. Based on
figure 1.1.1 , it highlights the region where audience experience the least sound quality due to
the location and direction of the speakers creating an imbalance sound frequency. Hence,
adding several small speakers are suggested to provide equal sound quality to the
audience as shown in figure 1.1.2.
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Issue 02
Solution 02
Sound Shape of
path ceiling
Concave Ceiling
The current surface of the ceiling structure in Pentas 1 is flat and it doesn't reflect significant
sound frequency equally. Therefore, creating a concave ceiling surface is suggested as the
geometry of the surface will force the energy to concentrate.
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Issue 03
Solution 03
Brickwall
Currently, the single layer brick wall enclosing the auditorium does not block external noise
and it creates distraction to the audience. External noise interrupts the performance. Hence.
By using double layer brick wall it gives minimum distraction to the audience. The thickness
and mass of the brick work to reflect sound back at the source with minimal vibration
occurring, even at lower frequencies. Double brick walls prevent sound from travelling
through by virtue of sheer weight and mass.
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REFERENCES (APA STYLE)
Kuala Lumpur Performing Arts Centre. (2017, August 24). Retrieved September 25, 2017, from
https://en.wikipedia.org/wiki/Kuala_Lumpur_Performing_Arts_Centre
Mominzaki Follow. (2014, April 07). Auditorium Acoustics. Retrieved October 02, 2017, from
https://www.slideshare.net/mominzaki/auditorium-acoustics-33230112
Sound Diffusers 101: Free Designs for DIY Diffuser Panels. (2015, September 08). Retrieved
October 02, 2017, from http://arqen.com/sound-diffusers/
Partners, S. (2017, June 19). How to Build an Acoustic Diffuser - And Why You Need Diffusion –
Soundfly. Retrieved October 02, 2017, from
http://flypaper.soundfly.com/produce/how-to-build-an-acoustic-diffuser/
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