A CASE STUDY ON ACOUSTIC DESIGN

THE KUALA LUMPUR

PERFORMING ARTS
CENTRE
 School of Architecture, Building and Design
Bachelor of Science (Architecture)

BUILDING SCIENCE II
ARC 3413 / BLD61303

PROJECT 1:
AUDITORIUM: A CASE STUDY ON ACOUSTIC
DESIGN

TUTOR : Mr. Edwin

Chin Vin Yan 0320311

Nurul Atika Binte Mohd Gazali 0323246
Kimberly Ann Aussie 0325881
Ng Kheng Soon 0318946
Shefereena Isreen 0325915
Aimuni Khalidah A Bakar 0326074
Lee Ho Jun 1007P10652
Rhianna Mae Storey 0325369

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

12 4. Drawing & Zoning

4.1. Kl Pac Floor Plans
4.2. Stage 1 - Zoning

20 5. OBSERVATION & ANALYSIS

5.1. Auditorium Design
5.2. Materials
5.3. Acoustic Treatment
5.4. Sound Source
5.5. Sound Path

48 6. NOISE
7. REVERBERATION TIME CALCULATION

57 8. RECOMMENDATION
9. REFERENCES
2
1.0 INTRODUCTION

NAME : KUALA LUMPUR PERFORMING ARTS CENTRE (KLPAC)

LOCATION : JALAN SULTAN AZLAN SHAH, SENTUL WEST, 51100 KUALA
LUMPUR, WILAYAH PERSEKUTUAN KUALA LUMPUR.

TYPE OF AUDITORIUM : PENTAS 2

YEAR OF COMPLETION : MAY 2005

TOTAL VOLUME : 8,020m3

TOTAL SEATS : 504 SEATS

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:

➔ Pentas 1 (a Proscenium Theater): 504 seats

➔ Pentas 2 (a Black Box Theater): 192 seats depending on configuration
➔ Indicine (A film screening room): 100 seats
➔ Academy: 9 Studios for rehearsals and training.

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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.

4
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:

1. To study and develop an understanding of auditorium through their design layout

and judge its influences on the effectiveness of the acoustical design for its
designated purpose.

2. To study the general acoustical characteristics of an auditorium hall and develop a

good understanding of the physical behind their functions

3. To be able to produce a well-documented report that surmises our finding and

analysis of our case study - which can then serve as an example of our
accumulated knowledge of the relationship between acoustic and space.

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.

6
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.

Sound can be reflected, absorbed, transmitted and diffracted. It is comparatively

different to “noise”, thought the tho are often associated and mistaken for one another
by the public. The difference is in its meaning; “sounds” is any sort of vibration that can
be deemed desirable, or pleasant, “noise”, on the other hand, is undesirable and often
disturbing. Whilst it is often considered to be hindrance, noise in its own service,is
important. For example, the sounds of fire alarm or loud music can be deemed irritable,
but can also be beneficial in certain cases when its can be controlled.

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.

2.2 SOUND INTENSITY LEVEL (SIL)

Sound energy is conveyed to our ears (or instruments) by means of a wave motion
through some elastic medium (gas, liquid, or solid). At any given point in the medium, the
energy content of the wave disturbance varies as well as the square of the amplitude of
the wave motion. That said , it the amplitude of the oscillation is double, the energy of the
wave motion is quadrupled.

7
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.

Thus, we define the relative sound intensity level as SL(dB) = 10log I Io

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.

2.3 REVERBERATION, ATTENUATION, ECHOES AND

SOUND SHADOWS.
Sound reverberation is the persistence of sound reflection after the source of the sound
has ceased. Reverberation can have both a positive and negative affect in architectural
design. For example, specifying highly reflective ceiling panels directly above the stage
area in an auditorium will help direct the sound toward specific seating areas, thus
enhancing the room’s acoustical performance.

8
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.

9
3.0 METHODOLOGY
3.1 EQUIPMENTS

3.1.1. Digital Camera

The use of digital camera is to capture images of the existing feature or condition within
our auditorium. These images would later be used as support to our analysis and also
references of the analysis on how such a component contribute to external noises, such
as finishing wall materials, details of acoustic wall panelling or wall treatment, position
of sound source ( including speakers, poorly designed air conditioning or lighting system
etc.), occupancy level and activities carried out within the auditorium.

3.1.2. MEASURING DEVICE

Measuring devices is used to obtain measurement of our auditorium for drawing and
calculation purposes. They were also used to measure the distance of the sound level
meter from the sound source when levels were taken.

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).

3.2 DATA COLLECTION METHOD

In order to achieve first-hand experience, formal arrangements were made prior to the
visit ensuring that the auditorium would be unoccupied and allowing us to conduct a
thorough investigation without disturbance. With the help of all preceding tools
mentioned, we noted down as many details within our ability and constraints, including
the auditorium’s layout & form, noise source, furniture, materials and notable acoustic
components. Measurements of the auditorium were also taken for drawing and
calculation purpose. Measurements of the auditorium were also taken for drawing and
calculation purpose, along with on-site sketches of floor plans and sections for supporting
any analysis.

11
4.0 DRAWINGS & ZONINGS
4.1 KL PAC GROUND FLOOR PLAN

STAGE 1

CAFE

FOYER

LOBBY

ENTRANCE

STAGE 2

12
4.2.1 STAGE 1 - FLOOR PLANS

KLPAC PENTAS 1
GROUND FLOOR PLAN

13
KLPAC PENTAS 1
FIRST FLOOR PLAN

14
KLPAC PENTAS 1
SECOND FLOOR PLAN

15
KLPAC PENTAS 1
SECOND FLOOR PLAN (WITH DIMENSIONS)
16
 4.2.2 STAGE 1 - SECTIONAL DRAWING

KLPAC PENTAS 1
SECTION

17
 KLPAC PENTAS 1
SECTION

18
4.3 STAGE 1 - ZONING

CONTROL
ROOM

AUDITORIUM SEAT

PERFORMING STAGE

BACKSTAGE

19
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.

4.3. 4. Control Room

Control room for production audio, light and video is situated on the second floor within
the audience and the follow spot control area is located on the third floor with a cat
ladder connecting the two floors for access.

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5.0 ACOUSTIC ANALYSIS
5.1 AUDITORIUM DESIGN

5.1.1. Shape and Massing

The overall shape of the auditorium is a square shaped. However, the front part of the
seats have slayed wall which resulting a combination of fan-shaped and square
auditorium.

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5.2 MATERIALS

COMPONENT MATERIAL PHOTO

125HZ 500HZ 2000HZ

0.01 0.015 0.02

WALLS CONCRETE

BLACK 0.35 1.20 1.07

FABRIC
FABRIC
WRAPPED
PANEL

0.45 0.8 0.65

CEILING CONCRETE,
CLOUD METAL

0.02 0.14 0.60

WOOLEN
CARPET
CARPET

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COMPONENT MATERIAL PHOTO 125HZ 500HZ 2000HZ

EPOXY 0.01 0.015 0.02

STAGE
CONCRETE
FLOOR

UPHOLSTE 0.60 0.015 0.93

CHAIR RY
FABRIC

0.05 0.40 0.60

CURTAIN FABRIC

0.36 0.31 0.39

WOODEN HARD
BLOCK WOOD

23
component material PHOTO 125hz 500HZ 2000HZ

SOUND PVC, 0.01 0.02 0.035

DIFFUSER CONCRETE

0.48 1.0 1.0

SOUND
REFLECTION ZINC
PANEL

SOUND BRICK 0.03 0.03 0.05

INSULATION WALL

24
5.3 ACOUSTIC TREATMENT
5.3.1. Performing Stage

Figure 5.3.1.1 Floor plan showing sound absorption in

concrete walls

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.

25
5.3.2. PVC Tube

Figure 5.3.2.2 alignment of PVC TUBE

Figure 5.3.2.3 PVC TUBE

Figure 5.3.2.1 sound wave direction to PVC tube
And scatter the sound wave to audience
Apart from the concrete walls, material sustainability for materials used in the theatre is
highly kept into consideration and most of the finishes are made up of reused materials.
Before the building was used as KLPAC it was a railway station and today part of the
building, including original materials have lasted from before World War ll. Although parts
of the building have been renovated, history of the place still remains and is evident
through the old building material.

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 .

26
5.3.3. Wooden Block and Corrugatd Metal

Figure 5.3.3.2 the side of wall that

function as a diffuser

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.
27
5.3. 4. Flooring

Figure 5.3.4.2 audience floor

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.

29
5.3.6. Brickwall

Figure 5.3.6.1 audience view to stage

Figure 5.3.6.2 noise been reflect to the atmosphere

by brick wall

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.

30
5.3.7. Black Curtain & Ceiling

Figure 5.3.7.1 diagram show the curtain is a

absorbent material

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.

Figure 5.3.7.2 ceiling of the auditorium

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.

31
5.3.8. Wall Panels

Figure 5.3.8.1 the sound wave created

from the stage been absorbed to fabric
wrap panel

Figure 5.3.8.2 direction of sound wave to

the fabric wrap panel

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.

32
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.

5. 4.1. Primary Sound Source

The sound amplification system in the theatre is the main sound source,, producing sound
waves which dominate the largest part of the audience hearing.

This system is used for the following purposes :

- 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

The original system arrangement for Pentas 1

would be a centrally located system, with a
single cluster of loudspeakers over the sound
source.This system is practical and realistic as
the amplified sound produced is coming from
the same direction as the actual sound source.

There are a total of ten speakers located on

the top of the front of the stage. The two
speakers at the center are positioned
vertically at a 30 degree angle facing the
center audience seating. The four speakers on
each side are horizontally positioned above
Figure 5.4.1.1 Vertical positioned speakers
each other, forming a concave projection located at the top front of the stage

towards the audience.

33
Figure 5.4.1.2 Primary Sound Source : Speakers Figure 5.4.1.3 Position of Speakers

Figure 5.4.1.4 Section of the functioning 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.

35
 Sound Source Product Name Specification

Speakers Meyer Sound Power Handling 50W - 100W

UPJ-1P
(Permanently Frequency 65Hz - 20Hz
rigged) Response

Meyer Sound Input 70v - 100v

UPM-1P Configuration

Meyer Sound Sound Pressure 35dB - 45dB

UMS-1P Level

Meyer Sound Placement Wall / Ceiling

UPA-1P

Electrical Fresnel Power Handling 3.3W

Appliance
Frequency 200Hz
Response

Sound Pressure 30dB - 40dB

Level

Placement Ceiling

Figure 5.4.1.7 Table of sound source and its specification

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

37
 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.

Figure 5.4.3.1 Tertiary Sound Source : Audience

38
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.

Figure 5.5.1 The SIL measurement of Pentas 1.

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.

39
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.

40
5.5.2. Sound Incident (Direct sound)

Figure 5.5.2.1 Front row audience nearest to the sound source

Audience in the front row receives the highest incident of sound amplitude with louder
volume as they are nearer to the sound source.

Figure 5.5.2.2 Middle row audience receiving moderate incident of sound

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.

5.5.3. Sound Reflection (Indirect sound)

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

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 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. Sound hitting a diffuser and being

reflected back in many different directions

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.

Figure 5.5.4.3. Hollow pipes that act as diffuser

panels and bass trapper.

Figure 5.5.4.2. The location of sound diffuser panels

in Pentas 1.
Figure 5.5.4.4. Wooden blocks arranged all the way up. .

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Application of Wooden Blocks as diffuser panels.

Figure 5.5.4.6. Horizontal and vertical planes scattered the

diffused sound in different directions.

Figure 5.5.4.5. How sound travels within Pentas 1 thus

amplifying the sound at right side of the hall.

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

Figure 5.5.4.7. Shows how the sound scattered after

hitting the planes.

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.

PVC hollow pipe

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.

46
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 5.5.5.1. Rock wool material is used as the main

absorber panel.

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.

Acoustical absorption abilities of a material are expressed by the sound absorption

coefficient, α, (alpha), as a function of the frequency. α ranges from 0 (total reflection) to
1.00 (total absorption).

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.

6.1 External Noise

External noise is unwanted sound generated around from outside the space and that which
is capable of causing distraction and disruption of activities and proceedings within the
auditorium. In Pentas 1, there are multiple origins of noise produced by :-

Figure 6.1.1 Indicates the location of origin of exterior noise

produced by movement of people outside the hall

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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

6.1.2 Opposite auditorium

As both auditorium are located side by side, it is very important to ensure a good sound
proofing system in order to prevent unwanted sound heard by audiences during
performance or when the space is being used. In Pentas 1, sound from Pentas 2 can be
heard when loud noise is produced in Pentas 2

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 6.1.3.1 Corridors located outside Pentas 1

6.2 Internal Noise

Internal noise is unwanted sound generated from inside the space. There are a number of
ways that noise intrudes into the auditorium. In Pentas 1, sound chambers allocated at each
entrances and exit doors are designed to trap sound waves coming from outside.

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.

50
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.

Figure 6.2.1.1 Folding theatre seats

6.2.2 Sound of Footsteps

Carpet is a sound absorber material that can reduce the sound of walking by 25 to 34
decibels. The reverberation time in a carpeted room is halved compared to a space with
hard flooring, creating a soft atmosphere. However the staircase in Pentas 1 are
constructed with aluminium stair tread nosing creating a safe walking surface for the
audience but at the same time, it produces sound of footsteps that may interrupt
performance.

Figure 6.2.2.1 Staircases with aluminium nosing which is one of

the sources of noise.

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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.

Figure 6.2.3.1 Profile fixtures

6.2. 4 Air Conditioner Diffuser

In Pentas 1, the air conditioner is a centralized type where the one visible in the auditorium
is the diffusers. This type of air conditioning system has a quieter operation because the
compressor-bearing unit is located outside , the indoor noise level from its operation is
much lower. However when the auditorium is in silence, you can hear the sound of the
diffusers as air is forced out from the vents.

Figure 6.2.4.1 Air conditioner diffuser that produces unwanted

sound

52
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.

Figure 6.2.5.1 Acoustic door located at the

back side of the auditorium

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7.0 REVERBERATION TIME
CALCULATION

X Y

W3

W2 W1

Figure 7.0.1 Position of calculated walls

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

54
7.2
Absorption of Surface, As =

Surface area (m2 ) x Absorption coefficient of surface at 500 Hz

As (Ceiling) = 879.7m2 x 0.8

= 703.76m2 sabins

As (Carpet Flooring) = 631.6m2 x 0.14

= 88.4m2 sabins

As (Stage Flooring)= 248m2 x 0.015

= 3.72m2 sabins

As (Wall W) = 268m2 x 0.02

= 5.36m2 sabins

As (Wall W1) = 100.5m2 x 0.015

= 1.5m2 sabins

As (Wall W2) = 100.5m2 x 0.015

= 1.5m2 sabins

As (Wall W3) = [(268m2 -158.4m2 ) x 0.015] - (2 x 26.8m2 )

= 55.24m2 sabins

As (Wall X) = 260m2 x 0.02

= 5.2m2 sabins

As (Wall Y) = (47m2 x 1.0) + (170.4m2 x 0.015) + (42.6m2 x 0.31)

=62.75m2 sabins

As (Wall Z) = 217.08m2 x 1.2

=260.5m2 sabins

As (Curtains) = 279.4m2 x 0.4

= 111.7m2 sabins

As (Seating) =604.6 x 0.015

= 9.07m2 sabins

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

Reverberation Time = 0.16 x Volume of the room (m3) ÷ Total Absorption

RT = 0.16 x 9685m3 ÷ 1308.7

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

Figure 1.1.1 Areas where users Figure 1.1.1 Proposed allocation of

experience the least sound quality new smaller speakers

Shadow of the speaker range

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.

57
 Issue 02

Figure 1.1.1 Current ceiling shape of Pentas 1

Solution 02

Figure 1.1.1 Proposed new concave shaped ceiling

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.

58
 Issue 03

Figure 1.1.1 Single layer brick wall

Solution 03

Figure 1.1.1 Proposed double layer

brick wall

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

Http://ljournal.ru/wp-content/uploads/2016/08/d-2016-154.pdf. (2016). doi:10.18411/d-2016-154

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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