B.science 2 project 1

BUILDING SCIENCE II
Project 1: Auditorium : A Case Study on
Acoustic Design
CHALAKA WIJENAYAKE 0332067
RIVARTHINI CHELIYEN 0325880
NATASHA LABITORIA 0327012
KIRTHANNA NANTHINI 0328102
RANJEEV SINGH 0327812
KESHAV SEERAZ 0326598
LAISA MASOOD 0326705
JAMES LEONG 0331443
Tutor : Mr. Azim Sulaiman
DEWAN TUNKU CANSELOR
UNIVERSITI MALAYA, KUALA LUMPUR

1.0 Introduction
1.1 Dewan Tunku Canselor
1.2 History of E.T., UM
1.3 Context and Location
2.0 Methodology
2.1 Introduction
2.2 Measuring and Recording Equipment
3.0 Acoustical Analysis
3.1 Auditorium Design
3.2 Leveling and Arrangement of Seats and Stage
3.3 Sound Reinforcement
3.4 Acoustical Treatment and Components
3.5 Sound Propagation
3.6 Sound Defect
3.7 Noise Intrusion
4.0 Reverberation
4.1 Time Introduction
4.2 Reverberation Time Calculation
5.0 Conclusion
5.1 Considerations and Suggestions
6.0 References
CONTENTS
1
2
3
4
5
7
13
15
23
24
29
34
40
43
48
49

1.0
INTRODUCTION.
1.1 General information
1.2 History
1.3 Context and location

Name of Auditorium
Address
Type of Auditorium
Year of Construction
Year of Completion
Volume
Capacity
Dewan Tunku Canselor, University of Malaya
825, Lingkungan Budi, 50603 Kuala Lumpur, Wilayah
Persekutuan Kuala Lumpur
Performing Arts Theatre
1965
1966
19,250 m³
435 pax
:
:
:
:
:
:
:
Dewan Tunku Canselor of the University of Malaya is a unique example of adaptation of
modern architecture idioms into the local context of climate and culture. It was built
immediately after Malaysia’s independence.
The Dewan Tunku Canselor mirrored the nation’s identity and aspiration at that time. The
design of the building not only reflects progress in technology and construction but also
expresses democratic and rational values. Its honest expression of raw concrete enhanced
its neutrality and intention to unity differences among students in creating a new tertiary
education platform for all.
Figure 1.0: Dewan Tunku Canselor during 1970
1.0 INTRODUCTION
1.1 Dewan Tunku Canselor
1.

The growth of universities were seen in the 1960s and 1970s in Malaysia.
Tertiary education was one of the peak priorities as great attention was given
to train future experts in the many different fields. Prior to the independence
of Malaysia in 1957, the very first independent university was established
with the Faculty of Arts as a branch of the University Malaya in SIngapore.
Constructed in 1965-1966, The Dewan Tunku Canselor, with its distinctive
architecture in the influence of Brutalism Architecture, evokes nostalgia
among the generations of graduates who have passed through its doors. It
has been the venue of convocations, concerts, semester examinations,
theatre performances,seminar and conferences. The two-and-a-half-storey
building, constructed with off-form concrete, is an important landmark in the
historical development of the University of Malaya.
The Dewan Tunku Canselor (DTC) or Tunku Chancellor Hall was opened
officially by the first Prime Minister of Malaysia and the first Chancellor of the
University, the Hon. Tunku Abdul Rahman Putra Al-Haj. It was designed by
architects Dato' Kington Loo and Mr. Chris Bailey of the architectural firm of
Booty, Edwards & Partners or BEP. The building comprises a great hall and a
foyer area and is connected to an Experimental Theatre. A stage is located
inside the Great hall on the ground level. The foyer area serves as an
entrance to the great hall. It can accommodate about 3,000 people. The DTC
is well known among students generally as 'the Great Hall'.
On June 29th, 2001, a pre-dawn fire gutted the building and almost ninety
percent of the building was destroyed. The Faculty of Built Environment,
University Malaya participated in the effort of reconstructing the building to its
original condition. This project reveals the background and significance of
this building; the conservation approach and main stages of involvement in
reinstating the building including preparation of appraisal report; preparing a
condition survey of the building after the fire; identifying existing defects on
site as well as documentation work of the entire building before and after the
reconstruction works. As a whole, this effort is to ensure that Dewan Tunku
Canselor was restored to its original state before the fire according to the
concept of conservation work while at the same time upgrading the building
services and facilities.
1.2 HISTORY
2.

Figure 1.1: University Malaya Compound
Figuire 1.2: Dewan Tunku Canselor
1.3 CONTEXT AND LOCATION
Located in Kuala Lumpur, University
of Malaya houses an Olympic sized
swimming pool, the Rimba Ilmu
Botanical Gardens, a university
stadium with jogging track and also
numerous gyms.
The Brutalist Architectural building,
Dewan Tunku Canselor sits in the
compound of University Malaya,
holding events like graduations,
examinations and conferences.
3.

2.0
METHODOLOGY.
2.1 Data Collection
2.2 Measuring and recording equipments

2.0 METHODOLOGY
2.1 DATA COLLECTION METHOD
2.2 MEASURING AND RECORDING EQUIPMENTS
2.2.1 DIGITAL SOUND METER
A digital sound meter (sound level meter) was used for acoustic measurements within the
auditorium. It is a microphone-held portable device with a LCD screen that displays the
reading of the measurement recorded. The acoustic level is measured in decibels (dB) which
reflects the frequency dependent nature of human hearing at various sound level.
Figure 2.0: Digital sound meter
Before our site visit, arrangements were made with the managing staff of Dewan Tunku
Canselor so that the building is unoccupied to ensure that the measurements are accurate.
The data were recorded on site using various measuring devices and were then analysed
with diagrams and sketches.
Gunshot
Jet take off
Industrial noise
Subway train
Lawnmower
City traffic noise
Hairdryer
Laughter
Normal conversation
Snoring
Whisper
Quiet room
Breathing
Threshold of human hearing
Figure 2.1: Decibel Scale
4.

2.2.2 Digital Single-Lens Reflex Camera (DSLR)
Smartphones were used as an alternative method to measure acoustic level from various
points. It is also use to capture photographs of the auditorium and the materials.
DSLR camera was to capture the architecture features and the interior elements of
Dewan Tunku Canselor for analysis and recording purposes.
2.2.3 Smartphone
Figure 2.5: Smartphone
Figure 2.4: Digital Single Lens Reflex
Camera (DSLR)
5.

2.2.4 Measuring Tape
The measuring tape was used to measure the distance between the stage and the
position of the digital sound meter and measurement of the auditorium.
Figure 2.6: Measuring tape
6.

3.0
ACOUSTICAL
ANALYSIS.
3.1 Auditorium Design
3.2 Leveling and Arrangement of
Seats and Stage
3.3 Sound Reinforcement
3.4 Acoustical Treatment and
Components
3.5 Sound Propagation
3.6 Sound Defect
3.7 Noise Intrusion

3.1.1 Auditorium Floor plans
1
2
3
4
1
2
3
4
Backstage
Stage
Great hall
Foyer
A
A
3.1 AUDITORIUM DESIGN
Ground floor
7.

5
6
5 Upper tier seating
Control room6
First floor
8.

1
4
2
3
65
1
2
3
4
Backstage
Stage
Great hall
Foyer
5 Upper tier seating
Control room6
Section A - A
9.

Figure 3.0: The view of the stage from the
main entrance.
Figure 3.1: A ramp for the disabled leading
towards the stage from the main entrance.
Figure 3.2: The upper tier seats along the
sides of the first floor level.
Figure 3.3: View towards the backstage
from the front of the stage where the sides
are lined with velour curtains
Figure 3.4: View of the left side of the stage
showing the three layers of velour curtains
leading towards the back giving off a sense
of depth.
Figure 3.5: Angular wall panels lined with
timber padded with acoustic foam.
3.1.2 Pictures of Auditorium
10.

Figure 3.6: Control panels, lighting
switches and opening of curtains are
controlled from the sides of the stage and
the back.
Figure 3.7: Sound system control room
located on the first floor level above the
main entrance.
Figure 3.8: Both sides of the auditorium are
lined with velour curtains covering the side
doors.
Figure 3.9: The entire auditorium is
equipped with parquet flooring.
Figure 3.10: Second floor level only used
for storage of musical instruments.
11.

The auditorium is designed in a rectangular floor plan where it stretches out towards the
stage that then pans out on both sides leading to the backstage area. This long
rectangular layout allows sound reflections on both sides towards the audience. The
position for the most concentrated sound is at the centre of the auditorium.
Figure 3.11: Direction of sound reflection of sound source on stage towards
centre of the auditorium
Concentration of sound
Direction of sound reflection
Reflective surfaces
12.
3.1.3 Shape and Form of Auditorium

There are no fixed seating for the auditorium, however if needed, temporary detachable
seats are arranged in a concentric manner, forming an arc to provide maximum sound at
different angles. The sound from the stage is distributed at an angle of 130 degrees wide
towards the audience and reflected off the angled panels on the first floor level towards the
centre of the hall.
3.2 LEVELLING AND SEAT ARRANGEMENT
Figure 3.12: The angle range of sound delivered from the
sound source on the stage.
13.
130

The seats and walkways located towards both sides of the stadium are covered with the
overhang of the balconies from the upper tier seats, therefore experiences sound
shadow, where the sound received is not as clear as it should be.
Figure 3.13: Areas affected by sound shadow
14.
Sound shadow affected area

The span of the hall from the centre of the stage till the edge of the hall is approximately 18m
long. The distance for a hall to function without sound reinforcement is 15m long. Thus, this
hall has to be equipped with sound reinforcement to help deliver and amplify the sound from
the performers or speakers on stage.
The sound system components present in the hall are:
● Line Array
● Stage Monitors
● Two-Way Wall Speaker
3.3 SOUND REINFORCEMENT
15.
● Line Array Speakers
The Dewan Tunku Canselor uses 2 Line Array Speakers suspended from the ceiling each on
both, left and right sides of the stage. Each has 2 identical speakers mounted vertically on
each other. It is not a retractable mechanism hence, the height cannot be adjusted.
Figure 3.14: Line Array Speakers suspended from
ceiling in front of the stage..
3.3.1 INTRODUCTION
3.3.2 SYSTEM COMPONENTS

A vertical line array displays a normally wide horizontal pattern useful for supplying sound
to majority of the audience. This type of speakers are used as it can amplify sound across a
longer distance. It also helps to reduce sound sent to the ceiling, which also reduces the
unwanted reflections of sound bouncing back to the audience.
The position of the line array speakers on both sides of the hall results in a balanced sound
propagation. However, it also produces a higher concentration of sound at the center of the
hall.
16.
Figure 3.15: GROUND FLOOR - Position and angle range of sound
delivered from the Line Array speakers on both sides of the stage.
Position of Sound Reinforcement
Range of Sound Delivered

17.
Equipped at the sides on the stage are 4 stage monitors, 2 on each side. They are
suspended and this is to amplify the sound of the performance and direct it back to the
performers on stage to assist them in hearing their own vocals or instruments.
The monitors also known as the foldback system, is needed to prevent the performers on
stage to hear the reverberated reflections bouncing from the rear wall of the hall which will
be delayed and distorted. Thus, it affects the performances majorly.
Figure 3.17: Stage Monitors Speakers suspended from ceiling of the
inside of the stage.
● Stage Monitors
Figure 3.16 SECTION - Position and angle range of sound
delivered from the Line Array speakers of both sides of the stage.

Figure 3.18: GROUND FLOOR - Position and angle range of sound
delivered from the Stage Monitors on both sides in the stage
Figure 3.19: SECTION - Position and angle range of sound
delivered from the Stage Monitors in the stage
18.

Figure 3.20:Stage Monitors facing the stretch of the balcony.
At the first floor, the balconies are equipped with a stage monitor on each end.The
speakers are mounted high on the wall to ensure the longitudinal space has full
coverage of sound.
Figure 3.21: FIRST FLOOR - Position and angle range of sound
delivered to the balcony from the Stage Monitors mounted on the wall.
19.

20.
For the audience seated at the balcony of the back of the hall or under the balcony, the
sound quality and concentration may be poor due to the distance from stage, Hence, sound
reinforcement is required to be able to deliver sound to the audience. There are 2 Two-Way
Wall Speakers, each on the left and right sides of the balcony, where the AV Room sits in
between.
● Two-Way Wall Speakers
Figure 3.21: Two Way Wall Speaker at the back balcony
Figure 3.22: FIRST FLOOR - Position and angle range of sound delivered
from the To Way wall speakers on both sides on the stage

21.
Figure 3.23: GROUND FLOOR - Position and angle range of sound delivered from the
Two Way wall speakers below the balconies and into the sound shadow area.
Figure 3.22: Two Way Wall Speaker below the left and right balconies.
There are 6 more below the left and right balconies of the hall, 3 on each side. These
Two-Way Wall Speakers below the balcony directs sound to the sound shadow area thus,
resolving the issue of audience not being able to hear clearly.

Advantages of Sound Reinforcement
● Speakers and microphones help to reinforce and amplify sound intensity across
a longer distance and a wider coverage.
● Sound reinforcement system is used to enhance or alter the sound of the
sources on the stage, such as controlling the sound reverberation time.
● Speakers such as vertical line arrays reduces sound sent to the ceiling which
reduces the unwanted reflections bouncing back to the audience.
● Sound reinforcement systems can cut through background noise produced such
as traffic from outside or mechanical services.
● Sound reinforcement systems can also help control the tone and frequencies of
the sound from the stage depending on the desired sound of the performance.
3.3.3 Advantages and Disadvantages of
Sound Reinforcement
Disadvantages of Sound Reinforcement
● Due to the position of most of the speakers being placed at the left and right side
of the hall, there can be still unbalanced sound distribution in the middle of the
auditorium.
● The audience might hear the original sound from the stage and the sound
reproduce from the speakers at two separate times. The ideal difference should
not be more than 1/30 second.
● Technical issues or malfunctioning of systems will cause a disturbance in the
sound distribution and quality.
● If there is not enough height of the line array speakers, vertical pattern control
can be lost, allowing low and mid frequencies to project to the ceiling and stage,
causing unwanted reflections.
● The placement of the subwoofers leaning against the wall will help increase the
bass boost but might not be ideal as the bass sound quality is not the best. The
ideal position should be 8 to 12 inches away from the wall.
● Feedback sounds may be a noise source and cause disturbance during the
performances on stage.
22.

3.4 ACOUSTICAL TREATMENT AND COMPONENTS
23.
Table 1.0: Acoustical treatment and components

3.5.1 INTRODUCTION
Sound propagation occurs from a point source, it travels outwards in circular wave motions
and its intensity decreases via the inverse square law (the intensity is proportional to
1/distance squared). With the usage of a digital sound meter, we gathered data about the
level of sound intensity in the auditorium and determined the dispersion reading of sound
with constant amplitude and frequency using a portable speaker.
43dB
45dB 45dB
44dB 44dB
42dB 42dB
43dB
42dB
43dB
41dB41dB
43dB
42dB
43dB
3.5 SOUND PROPAGATION
Figure 3.24: Diagram Decibel readings on the Ground Floor and First
Floor from point source reading
The dB value at the front of the auditorium at ground level is lower than at the sides,
because the reflected sound creates a higher dB at the sides. On the first floor, the
sound reflection is diffused hence the dB value is lower than that of the ground floor.
24.

69dB
57dB
54dB
47dB
57dB
53dB
47dB
55B
64dB
61dB
55dB
63
dB
65
dB65
dB
61
dB
30dB 63dB63dB
46dB 46dB41dB
On the ground floor, the area in front of the stage has the highest dB reading obtained as
there are line array speakers located on both sides of the stage. The sides of the
auditorium have two way wall speakers, these however do not help in regulating the sound
uniformity in those areas. On the first floor, the dB readings are more consistent than the
ground floor. The reason being that there is no area for sound shadow to occur.
Figure 3.25: The dB values multiple sound sources on ground
and first level.
On the ground floor, there are more reflective surfaces compared to the first floor. The first
floor has more absorbent surfaces and so there’s less reflection of sound.
Figure 3.26: The dB values multiple sound sources on ground and first level based
on materiality.
Absorbent
Surfaces
Reflective
Surfaces
Direct Sound
Indirect Sound
25.

Reflection of sound waves off surfaces can lead to one of two phenomena - an echo or a
reverberation. However reflection of sound is necessary to increase acoustic quality of
auditorium but the amount of reflection must be controlled and minimised to reduce sound
defection by echoes and reverberations.
The ceiling with its jagged form along with its plasterboard finish and timber panelling, it
effectively reflects sound back to the audience but the acoustic foam on the walls to
minimize resultant reflected sound to ensure clarity of transmission of sound.
Absorbent
Absorbance coefficient
at 500Hz>0.1
Reflective
At 500Hz<0.1
Absorbent
at 500Hz>0.1
Reflective
At 500Hz<0.1
Absorbent
at 500Hz>0.1
Reflective
At 500Hz<0.1
Figure 3.27: Absorbent coefficient Sound propagation towards
individual at point A lacks reflected sound.
Figure 3.28: Sound propagation towards individual at point B has
adequate sound reflection.
Figure 3.29: Sound propagation towards individual at point C provides
sufficient sound reflection to the back seats in sun shadowed region.
3.5.2 SOUND REFLECTION AND DIFFUSION
A
B
C
26.

Echoes happen when reflected sound waves reach the ear less than 0.1 seconds after
the original sound wave is heard. They are distinct repetitions of the original sound. In
auditoriums such as Dewan Tunku Canselor where speeches are conducted, sound
delays above 40ms are classified as echoes.
A
B
Figure 3.30: shows sound propagation towards subject at point A.
Direct
sound.
Indirect
sound.
Figure 3.31: shows sound propagation towards subject at point B.
A) 10m + 8.4m - 9.6m
0.34
= 25.9ms
14.5m + 13m - 21m
0.34
= 19.1ms
B)
Direct
sound.
Indirect
sound.
Sound Echo and Delay
27.

28.5m + 13m - 40m
0.34
= 4.4ms
C)
C
Figure 3.32: shows sound propagation towards subject at point C.
Direct
sound.
Indirect
sound.
Conclusion:
Through the calculation of sound delay, we established that there is no presence of echo in
the auditorium.
28.

3.6.1 SOUND SHADOW
Acoustic shadows or sound shadows are regions in which the frequency regions of sound are
altered as sound undergoes diffraction effects around large pillars and corners or underneath
low balcony (Richard E. Berg, 1995)
On the ground level of Dewan Tunku Canselor, sound shadows appear beneath the
balconies of the East and West end without the usage of sound reinforcements. There is a
decrease in the quality of sound as the obstructed areas did not take into to account for the
transmission of sound to these regions. On the first level, sound shadows can be found at the
South side where the seatings are underneath a covered area.
The sun shadowed region on the ground level beneath the balconies have a depth of 5.3m
and a height of 2.8 metres. whereas on the first level, the sun-shadowed region has a height
of 3.3m while the depth is 8.6m. The readings show that sun shadowed regions have only a
variation of 1-2 decibels from areas without sound shadow.
42dB
43dB
42dB
43dB
42dB
45dB 45dB
42dB
43dB
44dB
42dB
43dB 43dB
43dB
Figure 3.32: Diagram Floor plans showing sun shadowed regions and
decibel readings of hall.
3.6 SOUND DEFECT
45dB
44dB
29.

SOUND REINFORCEMENT SYSTEMS
Sound reinforcement systems are used to enhance sound quality by increasing amplitude of
sound in areas that are a distance away from the sound source especially sun shadowed
regions through electronic means. There are 8 speakers located in highlighted area with 4
Speakers being found below each balcony on both sides as mentioned before. During a
musical performance or a conference, the speakers are used to provide a uniform clarity of
sound to audiences seating in the affected regions.
3.6.2 CONSIDERATIONS TAKEN TO REDUCE
SOUND SHADOW
Figure 3.33: The location of speakers on the ground floor.
Figure 3.34: Ground Floor and First Floor Plan showing location of speakers in sound
shadow region.
1
2
3
4
5
6
7 8
30.

STEPPED CEILING
The purpose of a stepped ceiling is to help reflect, distribute and reinforce sound. The jagged
ceiling consists of dense wood panels which are good sound reflectors. However, this could
have been further enhanced if the ceiling was tilted as the steps are along the same
elevation. A tilted ceiling with steps would have made the reflection of sound much more
widespread and varied. The materiality of the ceiling also helps in reflecting sound as
plasterboard and acoustic timber framing used are good sound reflectors.
STEPPED FLOOR
Stepped flooring can be found on the seating on the first level. They consist of 4 steps that
have a height of 15 cm each. This design is used to help increase the angle of incidence of
sound waves hence during ongoing events, the audience could receive more direct sound
from the sound source. Besides that, the steps also provide a larger surface area for sound
reflection to occur as flooring is clad in reflective material such as timber. The stepped floor
also aids in improving the visual experience of audiences.
Figure 3.36, 3.37: Ground Floor and First Floor Plan showing location of speakers in
sound shadow region.
Figure 3.35: Ground Floor and First Floor Plan showing location of speakers in
sound shadow region.
31.

Flutter echoes are a series of rapid echoes that are caused when two reflective surfaces
parallel to each other are far enough apart that a listener hears the reflections between them
as distinct echoes. The audible effect is in many cases a sort of “fluttering” sound as the
echoes occur in rapid succession. Solutions for flutter echoes include reflection and diffusions
as well as the diminishing of parallel surfaces.
In the Dewan Tunku Canselor, flutter echoes are not experienced due to the measures
undertaken to prevent/reduce it.
3.6.3 FLUTTER ECHO
3.6.4 CONSIDERATIONS TAKEN TO REDUCE FLUTTER ECHO
Wall Panels
There is wall paneling on all four sides of the auditorium. There are 12 floor to ceiling
panels located on the East and West side that cover the entirety of the first level. They are
angled at 5 degrees from the sound source so it helps reduce number of parallel surfaces.
These panels have rectangular protrusions which are made of acoustic timber. This
provides a larger surface area for sound reflection.In some areas acoustic foam is used to
also help absorb sound to reduce flutter echoes.
Figure 3.38 Angled Wood Panelling with
sound absorption foam on First Level
Figure 3.39 Wood Wall Panelling at
back seats.
Figure 3.40: First Floor Plan showing
angled wall panellings
Figure 3.41 Section showing location
of angled wall panels 32.

Ceiling
The ceiling’s jagged form enables dispersion of sound hence creating a more uniform
distribution of sound throughout the theatre as it diminishes parallel surfaces to the floor which
helps reflect incident sound.
Figure 3.42: The jagged ceiling.if the auditorium.
Figure 3.43: Sectional drawing showing location of jagged ceiling.
33.

3.7.1 Introduction
Noise is described as an unwanted, usually unpleasant sound. It is loud or disruptive to the
human ear. Noise is generated from vibrations that vibrate through a medium, such as air or
water. Noise can be divided into different categories, variable, impulsive and intermittent.
Continuous noise is a constant and stable sound. Noise can be intermittent when there is a
mix of relatively quiet and noisy time periods. Impulsive noise happen in short bursts of loud
sounds which last for less than a second.
Dewan Tunku Canselor is designed with heavy concrete material, and is filled with acoustic
equipment, yet noise is still able to penetrate through the outer membranes of the hall.
3.7.2 Eﬀects of noise
Noise pollution disrupts speech and music. Dewan Tunku canselor hosts events and
performances, with weak sound proofing, it will result in difficulty for the audience to pay
attention. Various factors can affect sound such as the frequency, continuity, loudness,
content, time of occurrence, place, activity being carried out, and the personal state of mind
of the listener.
Effects of noise:
1. Distract audience from performance, hence it will reduce the outcome of the
performance.
2. Occurrence of noise may distract the audience from paying attention to the speaker
during speeches, this will result in misinformation.
3. Disturbance of noise may result in the annoyance and disinterest in the audience.
3.7 NOISE INTRUSION
Figure 3.44 : Dewan Tunku Canselor
34.

External noise sources
3.7.3 Traﬃc
The Dewan Tunku Canselor is located off Jalan Lingkuan Budi, one of University Malaya’s
main roads. Many vehicles drive along this two-way road and the traffic flow is constant.
Cars are driving by at every second, hence, noise is transmitted contributing to noise
occurrence that can be heard from the auditorium.
Figure 3.45: Map of Dewan Tunku Canselor and
Jalan Lingkuan Budi
Figure 3.46: Cars driving on Jalan Lingkuan Budi
Figure 3.47 : Map of Dewan Tunku
Canselor and Jalan Lingkuan Budi
35.

While we were having the site visit, a lady was caught vacuuming the front lobby. The sound
of the vacuum could be heard from the entrance of the auditorium because there is no proper
buffer zone between the main entrance and the hall. Other than that visitors who gather and
converse at the lobby can be heard at the back of the auditorium.
Figure 3.48: Diagram showing the location of
noise source
Figure 3.49: Entrance doors of the auditorium
3.7.4 Human Activity
36.

Internal noise sources
Upon entering the auditorium, the first sound the visitors will be able to notice is their
footsteps. Because the floor is made out of wooden panels, visitors wearing shoes will
produce a clicking sound. The stairs going up the stage are also made out of wooden panels.
The noise created by the footsteps is a generally low sound, but it might distract the audience.
With the help of soundproofing materials such as carpet,
Figure 3.50: Stairs leading up to the stage
Figure 3.52: Plastic auditorium chairs
Figure 3.51: Auditorium floor made out of
wooden panels
The temporary plastic chairs in the
auditorium also generates noise. As the
audience take their seat, some of them
might accidentally knock the chair and it
will produce a sudden noise as it moves.
Figure 3.53: Positions of stairs, wooden floor
panels and seating
3.7.5 Internal furniture and human activity
37.

3.7.7 Sound absorption
One of the main ways to reduce noise is through sound absorption and sound insulation. Sound
absorption can reduce unwanted background noise with the use of sound absorbing materials.
The angled walls on the sides of the auditorium has sound absorbing cushion to
Noise control methods
Soundproofing curtains are used on stage.
There were about 4 layers of soundproofing
curtains that can be used during an event or
a performance. These curtains have thick
absorption materials to allow for a high
degree of sound absorption.
Figure 3.55: First floor plan indicates position of
curtain in auditorium
Figure 3.54: First floor plan indicates wall
panel with soundproofing cushion.
Figure 3.56: Wall panel with sound absorbing
materials
Figure 3.57: Velour curtain
38.

3.7.8 Sound insulation
Sound insulation is the ability of building elements or structures to reduce sound transmission.
In this auditorium, soundproofing curtains are fastened parallel along both sides of the
auditorium. These curtains helps in reducing the noise transmission from outside to the inside
of the auditorium.
Figure 3.60 : Ground floor plan indicates the
position of curtains
Figure 3.58,3.59 : Curtains
39.

4.0
REVERBERATION.
4.1 Time Introduction

4.0 Reverberation
4.1 Introduction to Reverberation
The reverberant sound in a room will fade away due to the sound energy bouncing off and
being absorbed by multiple surfaces on the room. Thus, the Reverberation Time is defined
as the time for she sound pressure level in a room to decrease by 60dB from its
original level after the sound is stopped. It is depending on the following variable:
1. The volume of the enclosure (distance)
2. The total surface area.
3. The absorption coefficients of the surfaces.
Hence the Reverberation time can be calculated by using the Sabine formula:
Where,
RT = Reverberation Time (seconds)
V = Volume of the room (cu.m)
A = Total absorption of room surfaces (sq.m Sabines)
X = Absorption coefficient of air
40.

Material Area (a) Coefficient A Value
Timber Panels 313m² 0.05 15.65
Padding on
Timber
470m² 0.68 319.6
Vinyl Flooring(GF) 1712m² 0.03 51.36
Wall Curtains
(GF)
252m² 0.4 102
Single Panel
Glass Doors(GF)
55.2m² 0.04 2.208
Columns (Bare
concrete)
129m² 0.03 3.87
Balcony Railing
(Bare Concrete)
36.5m² 0.03 1.095
Parquet flooring
(Stage)
129m² 0.07 9.03
Sound absorbing
foam ( wooden
panels 1st floor)
245m² 0.3 73.5
Plywood wall 178m² 0.1 17.8
Backstage
Plywood
91.04m² 0.1 9.1
Ceiling Plaster 1079m² 0.72 789.84
Ceiling Panels
(Timber)
165.5m² 0.05 8.275
Ceiling Panels
(Absorber)
165.5m² 0.3 49.65
4.2 Absorption Coefficients and Absorption of Room Surfaces
Table 1.1 : Absorption coefficients & room surfaces
41.

Material Area (a) Coefficient A Value
Orchestra storage
room (Vinyl
flooring)
248m² 0.03 7.44
2nd floor railing
(glass)
23m² 0.03 0.69
Studio Curtain 21m² 0.51 10.71
Side walls(GF) C 255m² 0.03 7.65
Side walls(GF) G ⅔ x 255m² 0.03 5.1
Gf ceiling (under
balcony)
531.7m² 0.02 10.6
Total A value 1495.408
Table 1.2 : Absorption coefficients & room surfaces
42.

Sectional area= 446014882 mm²
(446.0m²)
Length = 28867 mm
(28.9 m)
V1 = (446.0 x 28.9 ) - 2(10.0 x 1.2 x 1.4 )
= 12889.94 m3
- 33.6 m3
= 12855.8 m3
V = A/H
Area= 299176477 mm²
(446.0m²)
Height = 2860 mm
V2 = 297.5 x 2.86
= 850.9m3
4.3 Volume Calculations
4.3.1 Middle Volume
4.3.2 Under Balcony Volume
43.

Area= 21813820 mm²
21.81m²
Height = 3010 mm
3.01m
V3 = 21.81mm2 x 3.01mm
= 65.7m3
Area= 90764774mm²
= 90.76m²
Height = 3160mm
3.16 m
V4 = 90.76mm2 x 3.16m
286.8m3
Area= 87401580mm²
= 87.4m²
Height = 5760 mm
5.76 m
V5 = 87.4m2 x 5.76m
= 503.4m3
4.3.3 Balcony Volume
44.

Area= 159903113mm²
= 159.9m²
Height = 6200mm
6.2 m
V6 = 159.9m2 x 6.2m
= 991.4m3
V7 = 28.6m2 x 12.0m
= 343.2m3
Area= 8897466mm²
= 8.9m²
Height = 2800mm
2.8 m
V8 = 8.9m2 x 2.8m
= 24.92m3
Area= 28635618mm²
= 28.6m²
Height = 12016 mm
= 12m
45.

Area= 62158436mm²
= 62.2m²
Height = 7.5 m
V10 =62.2 m2 x 7.5m
= 465m3
Area= 248000000mm²
= 248m²
Height = 2700mm
2.7m
V9 =248 m² x 2.7m
=670.1m3
4.3.4 Orchestra Room Volume
4.3.5 Stage Volume
4.3.4 Total Volume
Vt = 12855.8 m3
+ 850.9m3
+ 2(65.7m3
) + 2(286.8m3
) +2(503.4m3
) + 2(991.4m3
) +
2(343.2m3
) + 24.9m3
+ 670m3
+ 465m3
= 19247.7 m3
46.

Vt = 19247.7 m3
A = 1495.408
Rt = 0.16V/A
= 0.16 x 19247.7m3
/ 1495.408
= 2.05s
47.

5.0 CONCLUSION
This case study has taught us the importance and application of acoustics in architecture
for a building to be able to perform its specific functions.Every surface in the building
matters in regard to the propagation of sound and therefore details should be considered
and conscious design strategies should be applied to create a fully functioning hall or
auditorium.
Based on our calculation using the Sabine’s formula, the hall has a total volume of
19247.7m3
and a Reverberation time of 2.05s due to its high volume. Therefor, the hall is
mostly suitable for live and instrumental performances as the Reverberation Time is just
enough to provide and acoustical experience. The hall is not quite suitable for speeches
and lectures. However, if sound absorption is loosely applied, echoes in the hall can be
reduced, resulting in clarity of speech. Therefor, the Dewan Tunku Canselor of University
Malaya proves to be a functional hall for performing arts.
Uses Small Room
(750m3
)
Medium Room
(750-7500m3
)
Large Room
( >7500m3
)
Speech 0.75 0.75-1.00 1.00
Multi-Purpose 1.00 1.00-1.25 1.00-2.00
Music 1.50 1.50-2.00 2.00 or more
Table 1.3 : Recommended Reverberation Time (RT) according to usage
and volume. Highlighted is the RT of Dewan Tunku Canselor.
48.

1.0 Introduction
University of Malaya Archive, "Dewan Tunku Canselor," in UM Memory, Item
#5470, http://ummemory.um.edu.my/ummemory/items/show/5470 (accessed May
11, 2019).
Facilities . [ONLINE] Available at:
http://cultural.um.edu.my/facilities-and-services/facilities. [Accessed 21 April 2019].
H. (n.d.). Facilities. Retrieved November 27, 2016, from
http://cultural.um.edu.my/facilities-and-services/facilities
Enterprise, A. B., Chen, F. V., Hamilton, Z. M. A., Rodiah, Z., & Zuraini (2003).
REHABILITATION OF THE TUNKU CANSELOR HALL, UNIVERSITY OF
MALAYA, KUALA LUMPUR, MALAYSIA. .
Dewan Tunku Canselor - Wikipedia Bahasa Melayu, ensiklopedia bebas. 2019.
Dewan Tunku Canselor - Wikipedia Bahasa Melayu, ensiklopedia bebas. [ONLINE]
Available at: https://ms.wikipedia.org/wiki/Dewan_Tunku_Canselor. [Accessed 21
April 2019].
University of Malaya Archive, "Dewan Tunku Canselor," in UM Memory, Item
#5470, http://ummemory.um.edu.my/ummemory/items/show/5470 (accessed April
15, 2019).
2.0 Methodology
Digital sound meter Image:
http://calibrationspecialty.com/product/extech-407730-digital-sound-level-meter/
Camera Icon: https://www.stockio.com/free-icon/techie-icons-dslr-camera
Smartphone icon: https://www.freepik.com/free-icon/smartphone_773805.htm
Measuring Tape Icon: https://thenounproject.com/term/tape-measure/1948/
6.0 REFERENCES
49.

3.0 Acoustic Analysis
https://en.oxforddictionaries.com/definition/noise
https://www.ecophon.com/en/knowledge/acoustic-knowledge/how-to-create-goo
d-room-acoustics/choosing-the-right-sound-absorption/
http://info.soundofarchitecture.com/blog/acoustic-design-why-size-matters
http://www.acoustic-glossary.co.uk/sound-insulation.htm
http://acousticsfreq.com/sound-control-acoustic-curtain/
4.0 Reverberation
6.0 REFERENCES
50.

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