SOUND ACOUSTIC IN BUILDING 2023-24

CHAPTER 1
INTRODUCTION
Sound acoustics is the branch of physics that deals with the study of sound, its
production, transmission, and effects. Understanding sound acoustics is crucial in various
fields, including music, architecture, engineering, and environmental science. This
seminar report aims to provide an overview of sound acoustics, its principles,
applications, and advancements.

Acoustics in one of the very important parameters to ensure proper living conditions
in the room or a building. But however, much importance is not being taken for that field
during the design of buildings. The reasons for this include either no proper building
guidelines or Acoustics as a whole is never looked at because India being a developing In
the country due though to very mass constructions are done not much emphasis is being
given to the field of acoustics. Some of the advanced countries have given importance to
this field during construction process. So now an attempt has been made to understand the
importance of acoustic parameters and emphasis has been given to the recent innovative
methodologies available and how those methodologies could be more appropriate in
calculating and analyzing the sound quality parameters in buildings. So, for the proper
understanding it has been divided into various segments of research where firstly proper
emphasis is giving the sound measuring methodologies compared to those in the IS codes
and their efficiency respectively. Next the usage of different acoustic materials and their
orientation has been given importance. On the basis of all the data available for different
material and respective materials properties the usage has been recommended based on
some of the international standards. Then a model has been drafted where buildings are
classified based on their usage, Importance and working and steps to be followed are
recommended.

Moreover, as technology continues to advance, so too does our capacity to manipulate

and harness sound to unprecedented ends. From cutting-edge digital signal processing
techniques to the innovative use of acoustic metamaterials, the horizon of sound acoustics
expands, promising new frontiers in audio engineering, environmental noise control, and
beyond.

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Building acoustic can be influenced by:

 The geometry and volume of a space.

 The sound absorption, transmission and reflection characteristics of surfaces
enclosing the space and within the space.
 The sound absorption, transmission and reflection characteristics of materials
separating spaces.
 The generation of sound inside or outside the space.
 Airborne sound transmission.
 Impact noise.

Characteristics of sound

 Sound intensity is measured in Decibels (dB). This is a logarithmic scale in which

an increase of 10 dB gives an apparent doubling of loudness.
 Sound pitch is measured in Hertz (Hz), the standard unit for the measurement for
frequency. The audible range of sound for humans is typically from 20 Hz to
20,000 Hz, although, through ageing and exposure to loud sounds the upper limit
will generally decrease.
 As well as intensity and frequency, sound also transmits information. For example,
music or speech, transmit information which people may perceive differently from
other sounds.
 Sound amplitude represents the magnitude or intensity of sound waves and
correlates with loudness. Greater amplitude corresponds to louder sounds, while
smaller amplitudes result in softer sounds.
 Sound wavelength is the physical distance between successive peaks or troughs
of a sound wave. It is inversely proportional to frequency, meaning higher
frequency sounds have shorter wavelengths, and vice versa.
 Timbre, also known as tone colour or quality, refers to the unique characteristics of
a sound that distinguish it from other sounds, even when they have the same pitch
and loudness. Timbre is influenced by factors such as harmonic content, envelope,
and resonance.

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 The speed of sound varies depending on the medium through which it
travels. In air at room temperature, sound travels at approximately 343 meters
per second (about 1,235 kilometers per hour).
 Sound waves exhibit directionality, meaning they can be focused or
dispersed depending on factors such as the shape of the sound source and the
surrounding environment. Directionality influences how sound is perceived and
localized.

Room arrangement
Noise impacts can be substantially reduced by separating more noise sensitive rooms from
less noise sensitive rooms; and placing the former in the part of the building which is
furthest away from the noise source. The less sensitive rooms should then be placed
closest to the noise source where they can act as noise buffers for the more sensitive
rooms. Whether or not a room is noise sensitive depends omits use. Bedrooms, living
rooms, and dining rooms are usually noise sensitive, while kitchens, bathrooms, and
playrooms are less so. Fig. 1.1zshowsa layout designed to reduce the impact of highway
noise. This technique was used extensively in England in a 100-acre residential
development adjacent to a planned expressway. Kitchens and bathrooms were placed on
the expressway side of the building, and bedrooms and living rooms were placed on the
shielded side. In addition, the wall facing the expressway is sound insulated.

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Fig 1.1. Use of acoustical architectural design to reduce noise impacts.

Balconies:
If balconies are desired, they should be given acoustical consideration. The standard
jutting balcony, facing the road, may reflect traffic noise directly into the interior of the
building in the manner illustrated in Figure 1.2. In addition to reflecting noise into the
building, the balcony may be rendered unusable due to the high noise levels. This problem
is particularly applicable to high rise apartment buildings where balconies are common. If
balconies are desired, the architect may avoid unpleasant noise impacts by placing them
on the shielded side of the buildings.

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Fig 1.2. The standard jutting balcony reflects noise to the interior.

Courtyards:
Proper architectural design may also provide for noise reduction in an area outside of the
building. The court garden and patio houses can provide outdoor acoustical privacy (Fig.
1.3). Schools, rest homes, hotels, and multi-family apartment dwellings can also have
exterior spaces with reduced noise by means of court yards.

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Fig 1.3. Use of courtyard house to obtain quite outdoor environment.

Sabine’s Formula:
One of the most reliable ways of knowing the reverberation time of your space before
building is by using the complex three dimensional architectural and acoustical modelling
and measuring technologies. For acoustically critical venues, even a physical model of the
building and its interiors may be required. But, for many regular shaped and normal sized
rooms, a simple Sabine equation may give you a quick estimation of the reverberation
time.

According to the European Standard EN 12354-6:2003 Building Acoustics-Estimation of

acoustic performance of buildings from the performance of elements-Part 6: Sound
absorption in enclosed spaces, Sabine formula can be used to estimate the reverberation
time of an enclosed space with:

 Regular shaped volume: no dimension being more than 5 times of any other
dimension;

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 Evenly distributed absorption: absorption coefficients not varying by more
than a factor of 3 between pairs of opposite surfaces, unless good sound
diffusion objects are present;
 Not too many objects: total volume of objects being less than or equal to 20%
of room volume.

Sabine’s formula is given by the following:

RT60 = 24 (ln10) V = 0.049 V

C20 SaSa

Where;

RT60= is the reverberation time (to drop 60 dB) V= is the volume of the room c20 =is the
speed of sound at 20°C (room temperature) Sa =is the total absorption in Sabin’s The
absorption coefficient has a range of 0 to 1, where a coefficient of 0 indicates none of the
sound is absorbed, and a coefficient of 1 indicates that 100% of it is absorbed. The sabin,
named in honour of Wallace Sabine, is a unit of measure; one imperial sabin equals one
square foot of 100% absorbing material, and one metric sabin equals one square meter of
100% absorbing material. Stemming from Sabine’s 19th century work a new field of
study was born. Today, computer programs incorporate Sabine’s formula to help engineers
and architects’ model and design future concert and lecture halls around the globe.

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CHAPTER 2
LITERATURE REVIEW
K. M. Paiva (2019):
Sound acoustics in building design encompasses the intricate interplay between
architectural elements and the physics of sound propagation within enclosed spaces. By
understanding fundamental principles such as reverberation, absorption, and diffusion,
designers can manipulate room geometry, surface materials, and interior furnishings to
optimize auditory experiences for occupants. Challenges arise in balancing competing
design priorities, from achieving optimal sound quality in performance venues to ensuring
speech intelligibility in educational and healthcare settings. Technological advancements,
including computer-aided design tools and innovative acoustic materials, offer new
opportunities for simulating and enhancing acoustic performance. Moreover, the field
recognizes the critical importance of human perception and well-being, with
psychoacoustic research guiding decisions to create comfortable and inclusive
environments. Through the study of case studies and best practices, designers can refine
their approach to sound acoustics, ultimately shaping spaces that harmoniously blend
aesthetic appeal with functional excellence.

Furthermore, as society increasingly emphasizes the importance of sustainable design,

there is a growing interest in acoustic materials that not only enhance sound quality but
also contribute to environmental stewardship. Integrating sound-absorbing materials made
from recycled or renewable sources aligns with broader sustainability goals while
addressing acoustic challenges. Additionally, ongoing research into the impact of sound
on human health underscores the need for continuous innovation in architectural
acoustics. By embracing interdisciplinary collaboration and staying abreast of emerging
trends, designers can play a pivotal role in creating built environments that promote well-
being, foster productivity, and enrich the human experience through thoughtfully crafted
soundscapes.

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A. Binal (2018):
A closer look at sound acoustics reveals the fascinating way architects and designers
harness the physics of sound to shape our built environments. They play with elements
like the size and shape of rooms, the materials used for walls and floors, and even the
arrangement of furniture to create spaces that sound just right. It's all about controlling
how sound travels, bounces off surfaces, and is absorbed by different materials. With the
help of advanced technology and innovative materials, they can fine-tune these acoustic
properties to create immersive and pleasant soundscapes. But it's not just about technical
details; designers also consider how people experience sound in these spaces, aiming to
make them feel comfortable and at ease. By studying success stories in various settings,
like theatres, libraries, and offices, we can see how these principles come together to
enhance the overall quality of our indoor environments. And as our understanding of
sound and technology continues to evolve, so too will our ability to create spaces that not
only look great but sound amazing too.

In addition to architectural elements, designers also explore the role of furniture

arrangement, acoustic panels, and sound-absorbing materials in shaping the overall sound
environment. By strategically placing furniture and incorporating specialized acoustic
treatments, they can further optimize sound quality and reduce unwanted noise.
Furthermore, considerations extend beyond traditional indoor spaces to outdoor
environments, where factors like urban planning, landscaping, and noise pollution
mitigation play crucial roles in creating pleasant and functional acoustic environments.
Collaborations with acoustic consultants, engineers, and musicians contribute to a
multidisciplinary approach, fostering innovation and pushing the boundaries of what's
possible in architectural acoustics. As we delve deeper into the complexities of sound
perception and environmental sustainability, the field of sound acoustics in building
design continues to evolve, offering exciting opportunities for creating immersive and
harmonious spaces for generations to come.

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CHAPTER 3
CASE STUDY
CASE STUDY 1: Natraj multiplex

A case study of Natraj multiplex, Moti Nagar, which is in Delhi, was done. The cine complex
is under construction and will consist of 3 cinema theatres on completion. The smallest
theatre with a capacity of 5o people was studied since it is near completion. The theatre
consists of a tri- amplified 3-line sound system. This system has more sub-woofers than a bi-
amplified system.

The main speaker is located behind the screen with 2 woofers and 2-3 sub-woofers. The
surround speakers are attached to the walls. These are provided for special effects in the
movie.

Fig 3.1 Natraj cineplex

Screen

 The screen is perforated for better sound to spread out into the Audi. The screen is made
up of a polyester product.

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 When a sound is heard, the person in the first seat hears it 0.2 milliseconds earlier than
that sitting on the back seat. For this not to happen, the walls are divided into reflecting
and absorbing surfaces.
 The sound is reflected and reaches the person sitting in the last seat. The extra sound gets
absorbed in the walls.

 The materials used to reflect sound are — Hard surfaced materials e.g. Veneer board
Materials with luster
 Materials for absorbing sound are — Glass wool, acoustic tiles, carpet and human beings
 Sound insulation is provided using glass-wool in the wall. The glass wool is put between
the rcc wall and acoustic board which is ideal for sound insulation.
 The same is applied to the ceilings. In Natraj complex, special tiles are used for the
ceilings which are provided with compressed glass wool attached to it. The placement of
tiles is as shown. This arrangement provides better sound insulation.

Fig 3.2 Veneer Boards

 Veneer boards are used to reflect the sound.

 After the acoustic board is screwed in place, it is covered with a thin foam and a fabric for
absorption as well as an aesthetic finish.

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Acoustic absorption

 Acoustical absorption of furnishing and curtain fabrics against walls, readily absorb high
frequencies, but have limited absorption at low frequencies. The further curtain fabrics
are placed away from walls, the better the absorption is to include lower frequencies.
 The amount of sound energy absorbed depends on type of material, weight and pleating
width. Rock wool (fiberglass) has the highest absorption capacity, converting molecular
air movement to heat (at molecular level).

Fiberglass consists of minute razor sharp fibers that are irritant and need to be contained
within fabric

Fig 3.3 Acoustic absorption

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CASE STUDY 2: St Peters court, Bristol: Steel frame with Precast floors:

Fig 3.4 St Peters Court, Bristol

St Peters Court is a £13 million mixed use development in Bristol’s Bedminster area,
comprising 86 residential units, a health center, offices, library, and conversion of an
existing Grade II listed Police Station building into a public house and restaurant. PG
Enterprises Limited formed a partnership with Bristol City Council Library Services to
acquire the rights to develop the adjacent site which includes a Grade II listed building
housing the Bedminster library. The existing library has been relocated and the vacated
building has been refurbished to establish a ground floor art gallery with offices above.

The construction of the development is mainly a hot-rolled steel frame with Bison precast
concrete floor units. The separating floors have a Gyvlon screed which is isolated from
the precast units by a foam layer and a layer of dense mineral wool. A suspended
plasterboard ceiling is also provided. Gyvlon is a pump grade liquid gypsum screed
developed by Lafarge Plasterboard Limited. The screed provides a flat level surface and
has excellent acoustic properties. The separating walls between dwellings are of light steel

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stud construction. Twin stud frames are constructed with a cavity between them which is
filled with glass wool insulation. The faces of the walls are lined with two layers of sound
resistant plasterboard. The acoustic performance of the floors has significantly exceeded
The Building Regulation [1] and Approved Document E [2] requirements by 9 dB for
airborne sound and 15 dB for impact sound. The walls also easily satisfy the minimum
standards set by The Building regulations by 7 dB The detailed construction of the
separating floors and walls are illustrated and summarized below. The acoustic
performance of the floor is achieved by the combination of a suspended ceiling, hollow
core precast floor units and a Gyvlon screed isolated from the precast floor units.

The walls rely on separate light steel stud walls, insulation and two layers of sound
resistance plasterboard on each side for its acoustic performance.

Fig 3.5 Acoustic performance summary

Floor and wall details:
The detailed construction of the separating floors and walls are illustrated and summarized
below. The acoustic performance of the floor is achieved by the combination of a
suspended ceiling, hollow core precast floor units and a Gyvlon screed isolated from the
precast floor units. The walls rely on separate light steel stud walls, insulation and two
layers of sound resistance plasterboard on each side for its acoustic performance.

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Separating floor:

• 40 mm Gyvlon screed

• 5 mm resilient foam layer

• 25 mm dense mineral fibre

• 200 mm hollow core precast concrete unit (300 kg/m3)

• 100 mm cavity

• 12.5 mm sound resistant plasterboard ceiling supported on proprietary metal frame.

Fig 3.6 Separating floor construction

Separating wall:
 Two layers of 15 mm sound resistant plasterboard
 50 mm light steel C section stud frame
 50 mm glass mineral wool (24 kg/m3) in cavity between twin stud frames.
 50 mm light steel C section stud frame
 Two layers of 15 mm sound resistant plasterboard.

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Fig 3.7 Separating wall construction

CASE STUDY 3: The Waterfront, Grantham: Steel Frame with Composite

Floors

Fig 3.8 waterfront, Grantham

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The Waterfront is a major new residential complex developed by Urban Residential
Development and Investment Ltd (URDI) in Grantham town centre. The building has
been constructed using a hot-rolled steel frame with composite beams, composite floor
slabs using metal decking and light steel infill walls. The structural frame has
conventional Universal Beam and Universal Column sections. The composite floor is a
175 mm slab on 60 mm deep trapezoidal metal decking with normal weight concrete. The
acoustic performance of the floor is achieved by the mass of the slab combined with a
platform floor treatment above and a suspended ceiling below. The infill walls are onl150
mm thick consisting of light steel studs with resilient bars on one side, insulation between
the studs and both sides of the wall lined with two layers of sound resistant plasterboard.

A hot-rolled steel frame was chosen for the development because of the speed of
construction and because a steel frame was predicted to be less expensive than a concrete
frame structure. The structural steelwork was erected in just six weeks. The acoustic
performance of the floors has substantially exceeded The Building Regulation
requirements, by an average of 10 dB for airborne sound and by an average of 19 dB for
impact sound

Fig 3.9 Acoustic performance summary

Floor and wall details
The detailed construction of the separating floor and wall are illustrated and summarized
below. Acoustic enhancement of the floor was generally provided by a platform floor
treatment and a suspended ceiling. In some locations within the development, an isolated
screed was used as the floor treatment. For highly serviced areas such as kitchens, a
service void was constructed by an additional layer of gypsum-based board (as shown
below) to ensure the acoustic integrity of the separating wall is not compromised by
service penetrations.

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Separating floor

 18 mm tongue and groove chipboard

 25 mm of dense mineral wool

 175 mm composite floor slab on shallow trapezoidal decking (60 mm deep) with
normal weight concrete

 12.5 mm plasterboard ceiling (nominal 8 kg/m2) supported on proprietary metal frame.

Fig 3.10 Separating floor

Separating wall

 Two layers of 15 mm sound resistant plasterboard

 Horizontal resilient bar spaced a 600 mm centers

 70 mm light steel stud section

 50 mm of mineral wool insulation between studs

 Two layers of 15 mm sound resistant plasterboard

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Fig 3.11 Separating wall construction

METHODDLOGY
Reverberation

Reverberation is to sound what reflection is to light. Also known as resonance,

reverberation refers to the amount of time it takes a sound to dissipate. As sound waves
bounce off surfaces in interior spaces, such as ceiling tiles and wall panels, noise builds
up and reflects back on itself, reducing its clarity and making it harder to understand. It’s
different from an echo, in which there’s a delay between the original sound and its fainter
answer. An echo off a distant canyon wall may take a few tenths of a second to return to
you. But since the original sound only persists in your memory for 0.1 of a second, there’s
no confusion. With reverberation, the reflecting surface (such as an interior wall) is much
closer to you, and the time between when the original sound is made and reflected is less
than 0.1 of a second.

The combination of the two can create the perception of a single, prolonged sound wave,
which bounces back on itself, creating distortion.

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Reverberation time is the amount of time needed for a sound to decay by 60 db (decibels)
after being abruptly terminated. The higher the reverberation time, the noisier and more
muffled a room can sound.

Fig 3.12 Reverberation

Buildings With Reverberation

Sometimes, you want to design a space with a higher reverberation time. Doing so can
add to the warmth and texture of music, so concert venues and symphony halls are likely
to be constructed with higher reverberation times.

When high reverberation times are included in the design of a music venue, it can create a
richer and more majestic experience. When they’re not, the music is likely to sound and
feel smaller and hollower.

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Buildings Without Reverberation

By contrast, if your venue is used primarily for speaking, such as a lecture hall, you’ll
want to create acoustics with a lower reverberation time to preserve clarity. Failure to do
so can result in miscommunication and frustration among attendees trying to make out
what’s being said.

When low reverberation is included in a venue such as a conference room, listeners will
remain engaged longer because it will take them less effort to hear and understand the
message. When it’s not, they may “tune out” from frustration or leave feeling exhausted
from having to focus, not just on the message, but on making sure they’re hearing it.

Sound Absorption

Sound absorption is the quality found in different materials that reduce reverberation
times by absorbing sound energy and reducing sound levels. By eliminating unwanted
sound, these materials can improve sound quality in a room.

Sound absorption is the measure of the amount of energy removed from the sound
wave as the wave passes through a given thickness of material. While propagating from
air into an absorbing material, the sound wave could experience reflection or absorption
thereby losing energy, experiencing dampening effects. In a polymeric material sound
absorption takes place by transforming sound waves into heat. Sound absorption is
necessary for soundproofing. Materials with their characteristic impedance similar to air
are regarded as best soundproofing materials thus foamed plastics are the preferred
materials for such applications. Typically, elastomers and amorphous polymers show
higher sound absorption properties as compared to semicrystalline or crystalline materials.

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Fig 3.13 Absorption

Buildings With Sound Absorption

It can be helpful to use sound-absorbing material in rooms designed for speaking,

such as lecture halls and conference rooms.

As mentioned above, different types of materials either reflect or absorb sound to

different degrees. For instance, smooth concrete may absorb just 2% of sound, while
reflecting the remaining 98%. In contrast, an acoustic panel — a glass fiber wrapped in
fabric and mounted to furring (wooden strips) — with airspace behind it might absorb
75% of the sound that hits it.

Including sound absorption in a building’s design can help create a clearer, less
cluttered sound quality by reducing reverberation: absorbing sound before it has the
chance to bounce back. It can create a quieter, more peaceful environment.

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Buildings Without Sound Absorption

Buildings without sound absorption are vulnerable to excessive reverberation because

there’s nothing to remove the sound from the room before it can bounce back — thereby
creating a noisier, busier environment. This can make it more difficult to hear spoken
communication, make it harder to focus, and add to stress levels as a result.

Sound Insulation
Sound insulation is the property in a wall that allows it to keep noise from passing from
one side to the other by absorbing sound waves of different frequencies. It can impact
acoustic design by blocking air paths between rooms or between a room and the
building’s exterior. The effectiveness of sound insulation is measured in terms of dB Dw,
with dB referring to decibels and Dw signifying the difference between the noise level in
the room where sound is being produced and the level in a second, adjacent room, where
it’s being heard or received.

The term sound insulation refers to how much sound is lost when it travels between the
source room and adjacent room. If the dB Dw between two rooms is 45, that might mean
the sound level is 65 dB in the source room and 20 in the adjacent room during a typical
speech. But if the speaker were to raise his voice, or even start yelling — at, say, 85 db —
that would double the sound level in the other room to 40 db. In other words, the number
of decibels (sound level) would increase by the same number in both rooms, rather than
according to a ratio.

Sound waves need a medium through which to travel, most typically air. As a result,
sound can travel through vents and electrical outlets or under doors — anywhere air can
go. Sealing such spaces and adding insulation to venting systems are therefore effective
ways of reducing unwanted sound.

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Fig 3.14 insulation

Buildings With Sound Insulation

When a building includes sound insulation, it can minimize distractions from sound that
emanates from adjacent rooms, whether it’s music, speech, or mechanical noise. Acoustic
insulation boards consisting of fiberglass panels and wrapped in cloth, as mentioned
above, can absorb sound and effectively insulate adjacent rooms from the sound created in
each of them, reducing background noise and improving focus.

Acoustic boards (also known as acoustic panels) are specifically designed with materials
that absorb sound. They can be used in a number of spaces, including on walls or ceilings
— especially at points where sound is known to reverberate — to reduce unwanted noise
and create added clarity. Panels may be situated in a variety of ways. They may be
freestanding, mounted on walls, or suspected from ceilings. They may also be inserted
between two walls. Vertical panels prevent sound from moving across a room from one
end to the other, while horizontal panels absorb sound directly. Wall-mounted acoustic
panels can be especially helpful in small rooms, where sound tends to reverberate off

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walls because they’re close to the source of the sound. By contrast, ceiling panels can be
more useful in larger venues where the sound source is farther from any surface and may
reverberate off ceilings. Acoustic boards can also be made using other inexpensive
materials such as packaging foam, but these may be less effective at reducing sound.

Buildings Without Sound Insulation

Buildings without sound insulation, on the other hand, can create problems for those
occupying rooms that are side-by-side. This is the kind of situation that leads people to
complain about “thin” walls in motels and apartment buildings. But those aren’t the only
places this problem can occur.

For instance, consider a school classroom with classrooms on both sides, and all are in
session at the same time. Sound from both adjacent classrooms is likely to make it
through the walls on both sides; if one class is a drama course in which students are
reading from a script, loud voices could be particularly disruptive.

Or imagine if a classroom were adjacent to a basketball court during a physical education

class. Without sound insulation, the bouncing of basketballs and squeaking of shoes on
the hardwood floor could be extremely distracting in the classroom next door.

Acoustical Board
Acoustical design that utilizes acoustical boards not only minimizes human noise from
adjacent rooms but also reduces noise created by HVAC units, whether they’re against
exterior walls or on the roof. Using acoustical panels can be highly effective. Fiberglass
black acoustical ceiling and wall liners are inexpensive and effective ways to reduce noise
while being integrated seamlessly into a structure.

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Fig 3.15 Acoustical board

Buildings With Acoustical Boards

Buildings with acoustical boards will be able to minimize artificial noise created by
HVAC and other mechanical units. These mechanical systems can prove distracting when
they switch on and off; thoughtful acoustic design using acoustical boards can help
prevent or mitigate this annoying background noise.

Buildings Without Acoustical Boards

Buildings without acoustical boards are vulnerable to disruptions caused by HVAC units
— especially during seasons that experience temperature extremes — when air
conditioning units, in particular, can labour for long hours or repeatedly activate and shut
off as temperature targets are met or exceeded.

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CHALLENGES IN SOUND ACOUSTIC IN BUILDING

Controlling Noise Pollution

Controlling noise pollution can involve dealing with noise from HVAC systems once
they’re installed to minimize noise pollution from the construction process itself. The
Environmental Protection Agency defines noise pollution as “unwanted or disturbing
sound,” adding that “sound becomes unwanted when it either interferes with normal
activities such as sleeping, conversation, or disrupts or diminishes one’s quality of life.”

OSHA considers anything causing or exceeding 85 decibels over an eight-hour period to

be noise pollution. Excessive noise over prolonged periods, as mentioned earlier, can
cause stress, anxiety, sleep disturbances, hearing loss, and high blood pressure, among
other negative effects. Choosing low-noise machinery can help minimize noise pollution.
So can creating noise barriers and scheduling high-volume work for times when fewer
people are nearby.

Environmental Noise
Sound passing between walls of adjacent rooms isn’t the only challenge you’ll face in
designing and constructing a building. Location matters, too: a lot. If your project is on a
long driveway off a rural road, you’ll have a lot less environmental noise to deal with than
if you’re building a convention center at the heart of downtown.

You’ll need to choose building materials and insulation to account for external noises such
as heavy vehicle traffic, construction (if you’re in the middle of a developing area),
pedestrian conversations, mobile food vendors, and ambulance or police sirens, depending
on the location and its environment. The challenges are different in North Dakota, for
example, than they are in New York City.

Sound Distribution
The larger a room is, the bigger the challenge of measuring sound distribution. Doing so
requires more than measuring reverberation because the sound quality is likely to be
different at various points around the room. Sound distribution refers to where sound
travels in a room. This is particularly important in large venues such as theatres, where
audience members are distributed at different angles and distances from the sound source.

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In a concert hall, for instance, the acoustics are likely to be different in front of the stage
than in the wings or in the balcony. To measure sound distribution, you can place a sound
source in position (for example, where the stage will be) and measure sound pressure
levels at different locations around the room.

Open Concept Spaces

Open concept spaces in office buildings are designed to foster collaboration and remove
barriers between employees, such as office walls and cubicle barriers. Counterintuitively,
however, Harvard University’s Business Review reports that face-to-face interactions
actually fell by 70% when companies made the switch to open offices. Sound can travel
across entire open spaces in such offices, creating distractions that can be avoided if
insulated walls are in place. Ringing phones, employee conferences, and noise from office
machinery such as photocopiers can make employees want to hunker down rather than
open up and interact more. Removing sound isolation, ironically, can create a desire for
more actual isolation in such offices.

OUTCOMES
 Improve speech intelligibility: Good acoustics can help students better understand
what their teachers are saying, which can lead to increased comprehension,
participation, and engagement in the learning process.
 Reduce fatigue: Good acoustics can help reduce fatigue.
 Improve concentration: Good acoustics can help improve concentration.
 Reduce stress and anxiety: Good acoustics can help reduce stress and anxiety.
 Preserve hearing: Good acoustics can help preserve hearing.
 Improve the transmission of sounds: Good acoustics can help ensure that sounds
are transmitted and spread at optimal levels.
 Improve comfort levels: Good acoustics can improve comfort levels for hotel
guests.
 Value the building: Buildings in areas with less noise have been shown to be more
valuable than similar buildings in more noisy areas

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ADVANTAGES AND DISADVANTAGES
Advantages of sound acoustic in building
 Noise Reduction: Acoustic materials can absorb and dampen sound, reducing
noise pollution from both external sources and within the building, creating a more
peaceful environment.
 Improved Speech Intelligibility: Proper acoustic design enhances speech clarity,
making communication easier and more effective in spaces like conference rooms,
classrooms, and auditoriums.
 Privacy Enhancement: Acoustic treatments can help maintain privacy by
preventing sound from traveling between rooms, ensuring confidentiality in
offices, hospitals, and residential spaces.
 Enhanced Concentration: Effective acoustic design reduces distractions,
promoting better focus and productivity in workplaces and educational
environments.
 Aesthetic Appeal: Acoustic panels and treatments come in various styles and
finishes, enhancing the visual appeal of interior spaces while improving sound
quality.

Disadvantages of sound acoustic in building

 Cost: Quality acoustic materials and installation can be expensive, especially for
large-scale projects, potentially increasing construction costs.
 Space Constraints: Some acoustic treatments, such as sound-absorbing panels and
baffles, may take up valuable floor or wall space, limiting design flexibility and
functionality.
 Maintenance Requirements: Acoustic materials may require regular maintenance
to remain effective, such as cleaning or replacement, adding to ongoing
operational costs.
 Over-absorption: Excessive use of acoustic treatments can lead to over-absorption
of sound, resulting in a dull or unnatural acoustic environment, which may
negatively impact comfort and aesthetics.

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 Limited Effectiveness: In some cases, acoustic treatments may not fully address
noise issues, especially if underlying structural or mechanical problems exist
within the building.

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CHAPTER 4

CONCLUSION

 Accounting for potential sound variations and acoustical challenges during the
design phase of any construction project will make your job easier and maximize
your chances of success in the long run.
 It will allow you to design rooms in the proper shape to create the best possible
architectural acoustics, as well as to select the best building materials to serve as
sound absorbers and diffusers where necessary. You’ll also be able to select the
proper equipment for the construction job you’re planning.
 Whether you’re soundproofing walls for a recording studio, creating greater
resonance in a concert hall, or improving the functionality of walls separating
conference rooms or classrooms, you can be sure you’re on your way to a
successful construction project if you consider the elements of good architectural
acoustics.

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