1807 BS2 Project 2 ( Group 10 )

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2018

AB633 BUILDING SCIENCCE 02

PREPARED FOR

Assignment 02 - Acoustic Application

Ms. Umairah Alias

PREPARED BY Group 10

the

AUDITORIUM REPORT

AUDITORIUM REPORT

THE SHORT LIST ABOUT OUR TEAM

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KOH LI TING

OOI XIN YAN

LAM ZHENG KAI

CHUA KE SIN

1001542180 Semester 5 Johor bahru

1001747894 Semester 4 Kedah

1001438059 Semester 5 Ipoh

1001542198 Semester 5 Batu Pahat

AUDITORIUM REPORT

CONTENTS

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02 3 CASE STUDIES

International auditorium case studies M-AUDITORIUM Mumbai. Maharashtra, India AL QASBA THEATRE Sharjah, United Arab Emirates EVERYMAN THEATRE Liverpool, UK COMPARISON OF CASE STUDIES A comparative table to summarize all the three precedent studies together NEW AUDITORIUM DESIGN PROPOSAL Propose a new auditorium with great acoustic elements REVERBERATION TIME OF NEW AUDITORIUM Calculate with a standard format

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REFERENCES A list for sources of information

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PREPARED BY LI TING

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Precedent Study

01 A contoured volume rendered in wood faced acoustical board acts to engage sound in a way that it carries from the stage, right to the back of the auditorium without perceptible drop in intensity.

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With the use of parametric and computational design tools, multiple form finding experiments and studied the effect of every iteration on the sound carrying ability of the space.

To ensure that the spatial form and materiality working together should help achieve even sound quality in the space while keeping reverberation factor low.

01 01

CEILING LAYOUT PLAN Contouring creates a sculpted feel on the ceiling and the walls and an interesting sense of space inside.

From suspended tiles to open cells and eventually a closed volume, the design evolved out of multiple simulations.

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SECTION VIEW Stretched fabric forms within contours are backlit with dimmable LED lights controllable over zones.

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LAYOUT PLAN The neutral palette of wood is complemented by grey and orange auditorium chairs laid out in an outsized ‘V’ echoing the client’s logo.

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AUDITORIUM REPORT

M-AUDITORIUM For the design of this 300 seat auditorium in Central Mumbai we studied sound, the very element that the space has to engage with. On the premise that the space is merely a container and that sound deserves primacy in hierarchy of considerations, we simulated wave patterns within the given structural volume to understand its effect as it travelled through.

Stretched fabric forms within contours are backlit with dimmable LED lights controllable over zones and these engage with the patrons in an interesting way for the moments leading up to the actual show.

SPECIFICATION Architect

: Planet 3 Studios Arch.

Location

: Mumbai. Maharashtra, India

Project year : 2014 Volume

: 9600m3

Seating capacity : 300 seat

PREPARED BY XIN YAN

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Precedent Study

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MASRAH AL QASBA THEATRE The conversion of the Masrah Al Qasba Theater in Sharjah is the first project to be completed by magma architecture in the United Arab Emirates.

Visitors to the 300 seat auditorium find themselves wrapped in a sculpturally undulating space evoking recollections of the landscapes of Sharjah.

Carefully concealed lighting elements shining through stretchable fabric surfaces enhance the spatial sensation of continuous enclosure.

DESIGN

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The design of the Al Qasba auditorium refers to the nature of Sharjah as inspiration and suggests an inverted, fully enclosing scenographic landscape.

SPECIFICATION Architect

: Magma Architecture

Undulating surfaces with light strips on fold lines scatter across the ceiling evoking images of evening sun streaking sand dunes.

Location

: Sharjah, United Arab Emirates

Visitors entering the auditorium disconnect from everyday life to immerse into the surprising and striking space of the staged narrative in the new Masrah Al Qasba Theater.

Volume

AUDITORIUM REPORT

Project year : 2012 : 8128.51m3

Seating capacity : 300 seat

01 REFLECTED CEILING PLAN Ceiling design of the auditorium are covered with a polyamide and spandex textile stretched over an aluminium substructure.

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THIRD FLOOR PLAN

SECOND FLOOR PLAN

Carpets flooring on seating area, carpets are extremely effective sound absorbers because the individual fibres and etc.

Wooden flooring on stage, the wooden material greatly reduces the impact sound insulation and also improves the acoustic performance and therefore reduce the impact sound level.

FABRIC & ALUMINIUM SUBSTRUCTURE CONSTRUCTION DETAIL The angle of the aluminium bends were defined using a computerized bending machine. The fire rated fabric is fixed with Keeder clips into a framework of aluminium profiles.

Al Qasba is the main cultural centre of the emirate of sharjah. The theatre multipurpose auditorium hosts many events, including Sharjah’s annual film festival. Magma wrapped walls and ceiling in an undulating surface resembling sand dunes.

PERSPECTIVE SECTION VIEW

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Technical installations such as air conditioning, sound equipment, light fittings, electrical wiring and acoustic insulation are concealed behind the porous fabric surface.

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Ceiling and walls of the auditorium are covered with a polyamide and spandex textile stretched over an aluminium substructure.

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The theatre can be used to stage dramas, ballets, comedy shows, premieres, film festivals, musical events, conferences, award functions, and a variety of private events.

PREPARED BY LI TING

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Precedent Study

EVERYMAN THEATRE Haworth Tompkins

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SPECIFICATION Architect

: Haworth Tompkins

Location

: Liverpool, UK

Project year : 2013 Volume

: 5910m3

Seating capacity : 550 seat

The Liverpool Everyman

is a new theatre, won in open European competition, for an internationally regarded producing company.

This theatre includes a 400 seat adaptable auditorium, a smaller performance and development space, a large rehearsal room, public foyers, exhibition spaces, catering and bar facilities, along with supporting offices, workshops and ancillary spaces.

Carefully dismantling the existing structure, all the nineteenth century bricks were salvaged for reuse as the shell of the new auditorium and recycled the timbers of the roof structure.

The auditorium is an adaptable thrust stage space of 400 seats, constructed from the reclaimed bricks of Hope Hall and manifesting itself as the internal walls of the foyers.

The building incorporates numerous creative workspaces, with a rehearsal room, workshops, a sound studio, a Writers’ Room overlooking the foyer, and EV1 - a special studio dedicated to the Young Everyman Playhouse education and community groups.

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AUDITORIUM REPORT

GROUND FLOOR

SECOND FLOOR

Having minimised the space and material requirement of the project, the fabric was designed to achieve a BREEAM Excellent rating, unusual for an urban theatre building.

FIRST FLOOR

Natural ventilation for the main performance and workspaces is achieved via large roof vents and underfloor intake plenums, using thermal mass for pre-cooling, and the foyers are vented via opening screens and a large lightwell.

REGUPOL 6010BA ACOUSTIC SCREED UNDERLAY Is a high-load bearing recycled tyre crumb product designed for use where high loads are apparent yet acoustic performance is critical.

The decision was made to specify 900m2 of CMS Danskin’s Regupol 6010BA under screed acoustic insulation material, with its potential to provide 42dB of impact sound insulation and 62dB of airborne sound insulation.

Just as importantly, with a maximum load bearing capacity of 50kN/m² (5000kg/ m²), Regupol 6010BA is designed to provide acoustic insulation beneath screed in areas where extreme loads and heavy traffic volumes are anticipated.

The client, Liverpool and Merseyside Theatres Trust, brought in architects Haworth Tompkins, with their considerable experience of theatre soundproofing work, including the Bush Theatre, the National Theatre Studio, the Young Vic, the Ustinov Theatre, the Royal Court Theatre and the Chichester Festival Theatre.

In tackling the various soundproofing issues, Howarth Tompkins worked with acousticians Gillieron Scott Acoustic Design. Gillieron Scott have an equally impressive roster of theatre soundproofing projects.

“ The building makes use of the complex and constrained site geometry by arranging the public spaces around a series of half levels, establishing a continuous winding promenade from street to auditorium.”

– Haworth Tompkins Architects PREPARED BY ZHENG KAI & KE SIN

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COMPARATIVE TABLE 3 CASE STUDIES

PRECEDENT STUDY 01

PRECEDENT STUDY 02

BUILDING

M-AUDITORIUM

AL QASBA THEATRE

LOCATION

Mumbai. Maharashtra, India

Sharjah, United Arab Emirates

LAYOUT

SECTION

ARCHITECTS

Planet 3 Studios Architecture

Magma Architecture

VOLUME

9600m3

8128.51m3

SEATING CAPACITY

300 seats

300 seats

FUNCTION

Theater & auditorium

LAYOUT SEATING ARRANGEMENT

- Straight linear seating scheme - End stage - Auditorium with audience only on the front sides

ANGLE OF SEATING

170 degree

Stage dramas, ballets, comedy show festivals, musical events, conference tions, and a variety of private event - Linear and angled seating scheme - Wide fan arrangement - Multiple aisle 130 degree

MATERIAL / ACOUSTIC ELEMENTS

01. FLOOR 02. WALL 03. CEILING 04. FURNITURE

01. Cork flooring has been used because of its durability and its ability to absorb sound.

02. Walls of the auditorium are covered with wood faced acoustical board 03. Fiberboard has been used in the acoustic ceiling panels because of its ability to reflect sounding a controlled manner.

04. Polyurethane foam has been used in the seats as well as in wall panels at the back of the auditorium.

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AUDITORIUM REPORT

01. Wooden stage flooring results in stage and to the front seats, while p right on top of the seating area.

02. Walls of the auditorium are cov amide and spandex textile stretche ium substructure.

03. Ceiling of the auditorium are co amide and spandex textile stretche ium substructure.

04. Fabric upholstered seat : Polyure ered with fabric

ws, premieres, film es, award functs e

PRECEDENT STUDY 03 EVERYMAN THEATRE Liverpool, United Kingdom

Second layout because its bring the distant audiences closer to the performer and promoting a more intimate relationships.

Convex surfaces ceiling greatly prevents flutter echoes than flat ceiling.

Haworth Tompkins 5910m3

7568.32m3

550 seats

300 seats

- Music and performance venue - Art Exhibitions - Pop-Ups

Art and drama performance venue

- Thrust stage with multiple aisle - Seating area wrapped around the stage on three sides 270 degree

- Multiple aisle has a maximum of 14-16 chairs per row with access to an aisle ways at both ends.

- Wide fan stage

n clearer sound on piles carpets is laid

01. Cork flooring on stage and the seating area are carpet finishes.

vered with a polyed over an alumin-

02. Recycled materials also included salvaged bricks from the formwork was also used as a finishing material for wall linings.

overed with a polyed over an alumin-

03. The supply and fit of Birch and Maritime plywoods.

These were used as an exposed finish on various walls and ceilings throughout the building.

ethane foam cov-

RECOMENDATION

04. Fabric upholstered seat

The performing area should be deep

01. Carpets laid on seating area for can significantly improve the acoustic performance of hall as it acts as a sound absorber and also dampens any impact noise in a hall.

02. Timber flooring on stage to absorb sound and reduced ambient noise caused by movement of people within the auditorium.

03. Teak wood for the side walls, stage wall and ceiling panel for good acoustics due to its reflective nature.

04. Polyurethane foam covered with fabric for seatings.

PREPARED BY LI TING & XIN YAN

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COMPARATIVE TABLE 3 CASE STUDIES

PRECEDENT STUDY 01 BUILDING ADVANTAGES

M-AUDITORIUM 01. A end stage arrangement of a auditorium with maximum limits of 170 degrees will catch the full attention of the audience onto the production. Multiple aisle s 02. The arrangement may lend itself comfortably to rectangular areas which will fit many conventional new or renovated buildings.

03. The seating arrangement will leaving all members of the audience facing the same direction.

04. Wood faced acoustical board used on walls gives a neutral for the largely red color scheme taming it. It is good for acoustics due to its reflective nature.

05. Cork flooring has been used because of its durability and its ability to absorb sound and reduced ambient noise caused by movement of people within the auditorium.

06. Wooden stage flooring of the smooth surface allows for more sound waves reflections. Resulting in clearer sound on stage and to the front seats.

07. End stage is well suited to film or slide presentations.

PRECEDENT STUDY 02 AL QASBA THEATRE

01. A wide fan arrangement with m 130 degrees from a central focus bring the distant spectators closer to

02. This arrangement will perform straight path from its source, sound c every corner of the auditorium by re

03. Carpets laid on seating area c up to ten times better than hard sound wave hits an irregular surfac the vibration breaks up and divides wave into smaller paths.

04. Undulating surfaces ceiling grea echoes than flat ceiling.

05. Raked or rised floor allows bette visual obstruction to the audience.

06. Seating made of polyurethane porosity allows effective sound abso

07. Timber stage flooring, timber m acoustic performance is fairly good coefficient value, as its network of wood cells converts sound energy in frictional resistance within these cells within their sub-structure.

08. The aisle / walkway between e seats to permit ease of passage.

DISADVANTAGES

01. Not very conducive to close relationship between performer and spectator. Because concentric seating is found to be more efficient in auditoriums instead of straight linear seating.

02. Ceiling that is too high will result in undesirable late reflections.

03. Parallelism walls around the auditorium will let the flutter echoes taking place.

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AUDITORIUM REPORT

01. Parallelism walls around the aud flutter echoes taking place.

02. Wide fan arrangement give lim to primarily speech related activities

PRECEDENT STUDY 03

RECOMMENDATION

EVERYMAN THEATRE

maximum limits of or focal point will o the performer.

01. A thrust stage theatre arrangement will focus the full attention of the audience onto the production and can see other audience members across the stage.

01. A wide fan stage can bring the distant audiences closer to the performer and promoting a more intimate relationships.

m sound travel in can be reached to eflection of sound.

02. Carpet flooring help diffuse sound better, reducing strong reflection from constantly bounching off within the space.

02. Sound Diffusion - Timber panels and carpet help diffuse sound better, reducing strong reflection from constantly bounching off within the space.

can absorb sounds flooring. When a ce such as carpet, s the energy of the

03. The natural acoustic properties of timber or plywood control excessive echo or reverberation. by reducing the transmission of sound vibrations, hence this is why the various walls and ceiling of the auditorium is thoroughly cladded, lined with Birch and Maritime plywoods.

03. Sound Absorption - Carpets and timber panels offer a small sound absorption especialyly through its porous nature (carpet) or cavities designed (timber strip panels) where sound dissipates within this tiny space.

04. Cork material on stage flooring, as a timber material greatly in acoustic performance is fairly good sound absorption coefficient value

04. Ceiling design - geometrically designed to direct sound to the rear of the hall or to diffuse it throughout the hall.

atly prevents flutter

er line of sight, no

05. Fixed seats with tilting upholstered seat and back, integral arm and tablet arm.

e foam with a hig orption coefficient.

06. Side walls with timber panels as effective sound diffusion panel.

material greatly in d sound absorption f small interlocking nto heat energy by s and by vibrations

07. Wooden stage flooring allows for more sound waves reflections.

08. Flat wall in front of an auditorium to produce strong early reflections that are integrated with the direct sound to enhance it before reaching the audience.

each area, row of

09. Splayed walls help reflect sound while avoiding flutter echoes.

10. A raked / sloped floor improves sight lines and allows listener receive more direct sound.

ditorium will let the

01. Flat ceiling that parallel to the floor create potential flutter echo in this auditorium.

mited space usage s.

02. The used of bricks at some rare walls does not allows to absorb any sounds and may creates echoes because of the bricks density.

03. A auditorium seating layout or seating area which exceeds 130 degrees begins to limit the use of an assembly space primarily to speech related activities.

PREPARED BY LI TING

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KLCO AUDITORIUM Group 10 Team

New Auditorium Design Proposal

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SPECIFICATION Model by

: Lam Zheng Kai

Volume

: 7568.32m3

Layout Style

: Wide Fan Stage

Seating Capacity : 300 seats Function

: Art and drama performance venue

The KLCO Auditorium

is a new proposed auditorium design according to the case studies and related resources as well, This auditorium includes a 400 seats adaptable auditorium, a music, drama performance and development space.

WIDE FAN STAGE The built form of this new auditorium is the wide fan stage layout which is most basic acoustical design consideration. In this form, auditorium seats are placed within a 130-degree angle of inclusion.

The purposes are to allows the audience closer to the performer, establishing a more intimate experience.

It well distributed the sound to every seating in the auditorium evenly. For the selection of material are identified and the respective absorption coefficient. Sound absorption within a hall is essential because it created inside the hall limits reverberation therefore reducing overall sound energy.

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AUDITORIUM REPORT

D1

FLOOR PLAN Layout design with wide fan stage arrangement with maximum limits of 130 degrees from a central focus or focal point.

Splayed walls help reflect sound and provide diffusion while avoiding flutter echoes.

D1

AUDITORIUM HALL PROPOSAL

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01 Floor Proposal

FLOOR PROPOSAL F1. A sloping or raked floor is proposed to allow an obstructed view.

F2. Carpet is proposed above the timber floor at audience area, which can function as an acoustic layer to reduce the sound and ability to

02 Wall Proposal

absorb noise generated elsewhere.

03 Ceiling Proposal

F3. Teak wood stage flooring allows for more sound waves reflections due to its reflective nature.

04 Seat Proposal 05 Stage Proposal 06 Ceiling Reflection Proposal 07 Sound absorption wooden panel

W1 F3

W2

C1 F2

F1

D2 D2

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SECTION VIEW Location of materials selected in this auditorium.

WALL PROPOSAL W1. Teak wood for the stage wall is good for acoustic due to its reflec tivity nature.

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CEILING PROPOSAL C1. Sound absorption wooden panel ceiling is proposed to allows sound

W2. Fibre wood acoustic panels with sponge and a wooden sound ab sorption wall panel is proposed as its finished material. This helps to allow sound to reflect as well as absorb into the holes of the acoustic panel.

to reflect and enhance the acoustic environment of the hall.

PREPARED BY ALL MEMBERS

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Foam with Fabric

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SEAT PROPOSAL Staggering of seats is proposed in the auditorium hall. The seatings furniture are proposed refer to the 3 case studies which is using Polyurethane foam covered with fabric.

Wood Foam with Fabric

The purpose of using this material it is because the polyurethane foam with a high porosity allows effective sound absorption coefficient. It has a cellular structure which allows air flow, the absorbed sound energy is then converted into heat energy.

Metal

05 Some of the sound wave is absorbed

STAGE PROPOSAL The curtain is proposed in the auditorium stage area. The purpose of using this material in a way of reducing reverberation and echo in a large hall, as well as reduce interference from outside noise. It also provide maximum sound protection.

CURTAIN - ACOUSTICALLY ABSORBING SURFACE

07 Fibre Wood Veneer

SOUND ABSORPTION WOODEN PANEL Micro perforated acoustic panels, the special lightweight design allows the perforated wood sheets to be hung like traditional wall panels using standard z-clips, making them easy to integrate with ceiling and wall design.

Acoustic Foam Use of perforated acoustic panels will get an acoustic treatment with a high degree of absorption. With several variations of patterns and hole diameters, different levels of absorption and aesthetic results can be achieve.

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CEILING REFLECTION PROPOSAL This auditorium is initially designed as art and drama performance. Hence, the position of sound source and reflective element must be considered in order to deliver sound to every corner of the auditorium.

To avoid potential flutter echo, the ceiling should not be flat design to the floor. Instead, it should be designed to direct sound to the rear of the hall or to diffuse it throughout the hall.

The reflected sound from contour surface ceiling, enhancing the diffusion and evenly distribute across a wide range of frequencies. A contoured volume rendered in wood faced acoustical board acts to engage sound in a way that it carries from the stage.

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AUDITORIUM REPORT

REVERBERATION TIME OF NEW AUDITORIUM Reverberation Time Calculation The recommended range for a medium sized multi-purpose auditorium is 1.0 sec - 1.25 sec. This shows that the acoustical properties of the auditorium achieve successfully and it function well.

Surface

Sub-Surface

Material

Area (m²)

Floor

Stage Area Audience Area Stage Area

Teak Wood Carpet

80.33 m² 405.9 m²

Teak wood

Stage Area Side Wall

Curtain Fibre Wood Acoustic Panel Fibre Wood Acoustic Panel 300

Wall

Ceiling

Ceiling

People

300

Absorption Coefficient (500Hz) 0.15 0.50

Total Absorption

117.57 m² 87.46 m² 711.2 m²

0.15

17.64

0.25 0.45

21.87 320.04

946.04 m² 300

0.45

425.72

0.44 (per person)

132

Total Absorption

12.05 202.95

1132.27

Total Absorption (A) = Area x Absorption Coefficient Volume = 7568.32 m3

Whereby V = Volume of the exhibition hall

Using Sabine formula.

A = Total Absorption

đ?‘…đ?‘…đ?‘…đ?‘… = = =

CONCLUSION

0.16V A

0.16 ( 7568.32 ) 1132.27 1210.93 1132.27

đ?‘…đ?‘…đ?‘…đ?‘… = 1.07sec

There are few attributes in considering the design of acoustics auditorium, which includes reverberation time, diffusion of sound waves, hall width and spatial Impression.

For example by using Sound Absorbing Panels as material, unwanted sound can be deadening and the acoustic sounds can be much clearer. This will lead to improved intelligibility of acoustic environment in acoustic hall.

Besides, the calculation of Reverberation Time value after adding proposed acoustic material into the hall is 1.07sec which reach the standard RT for an auditorium is 1.0 to 1.25 seconds is desirable. This proves that by adding acoustic materials, it will eventually absorb and diffuse the noise and make the designed space more sound proof and more enhance on the acoustic environment.

PREPARED BY ALL MEMBERS

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AUDITORIUM REPORT

the

SOURCE IDEA

RE

sources

ARCHDAILY

DESIGNBOOM

Plenty of ideas and information

Others websites as well

ARCHEYES Accurate building information provided

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AUDITORIUM REPORT

REFERENCES

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01. ArchDairy. (2016). How to Design Theater Seating, Shown Through 21 Detailed Example Layouts. [online] Available at: https://www.archdaily.com/799379/ how-to-design-theater-seating-shown-through-21-detailed-example-layouts [Accessed 8 Oct. 2018].

02. ArchDaily. (2014). Everyman Theatre / Haworth Tompkins. [online] Available at: https://www.archdaily.com/504031/everyman-theatre-haworth-tompkins [Accessed 8 Oct. 2018].

03. Inc., T. (2016). Auditorium Seating Layout & Dimensions Guide | Theatre Solutions Inc.. [online] Theatre Solutions Inc. Available at: http://www. theatresolutions. net/auditorium-seating-layout/#theater-forms [Accessed 7 Oct. 2018].

04. Wbdg.org. (n.d.). SPACE TYPE: AUDITORIUM. [online] Available at: https://www. wbdg.org/FFC/GSA/gsa_constr_criteria_auditorium.pdf [Accessed 7 Oct. 2018].

05. ArchEyes. (2016). Philharmonic Concert Hall Szczecin / Estudio Barozzi Veiga ArchEyes. [online] Available at: http://archeyes.com/1021/ [Accessed 7 Oct. 2018].

06. Magmaarchitecture.com. (n.d.). Magma Architecture | Home. [online] Available at: https://magmaarchitecture.com/project-details/funkhaus-berlin/ [Accessed 7 Oct. 2018].

07. Welch, A., Lomholt, I., Welch, A. and Welch, A. (2018). Masrah Al Qasba Theater: Sharjah Building - e-architect. [online] e-architect. Available at: https://www.earchitect.co.uk/dubai/masrah-al-qasba-theatre [Accessed 7 Oct. 2018].

08. Everymanplayhouse.com. (n.d.). Liverpool Everyman Theatre: BREEAM Case Study. [online] Available at: https://www.everymanplayhouse.com/sites/default/ files/150312%20BREEAM%20Case%20Study%20Everyman%20-%20FINAL.pdf [Accessed 7 Oct. 2018].

PREPARED BY KE SIN

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