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Acoustical renovation of university multipurpose halls: the case of lala mustafa paşa hall.

1. Introduction

2. literature review, 3. method of the study, 3.1. measuring method, discussion of the measurement results, 3.2. simulations, discussion of the simulation results, 4. conclusions, author contributions, conflicts of interest.

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Share and Cite

Alibaba, H.Z.; Ozdeniz, M.B. Acoustical Renovation of University Multipurpose Halls: The Case of Lala Mustafa Paşa Hall. Sustainability 2019 , 11 , 1397. https://doi.org/10.3390/su11051397

Alibaba HZ, Ozdeniz MB. Acoustical Renovation of University Multipurpose Halls: The Case of Lala Mustafa Paşa Hall. Sustainability . 2019; 11(5):1397. https://doi.org/10.3390/su11051397

Alibaba, Halil Zafer, and Mesut B. Ozdeniz. 2019. "Acoustical Renovation of University Multipurpose Halls: The Case of Lala Mustafa Paşa Hall" Sustainability 11, no. 5: 1397. https://doi.org/10.3390/su11051397

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The interactive multipurpose performing arts hall.

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Hyun Paek , Gary W. Siebein , Jennifer R. Miller , Marylin Roa , Matthew Vetterick; The interactive multipurpose performing arts hall. J. Acoust. Soc. Am. 1 October 2017; 142 (4_Supplement): 2688. https://doi.org/10.1121/1.5014802

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Each multipurpose performing arts hall has a unique acoustic signature. The success of a modern multipurpose hall relies on how the disciplines of architecture, interior design, stage lighting and rigging systems, and acoustical design are coordinated to very small tolerances. The shaping and finish materials are integrated both visually and with precision to create the sound field of the room to accommodate a variety of venues. Two case studies are presented. The first is a 1000 seat multipurpose performance hall in central Florida which accommodates the use of variable acoustics, a specially designed orchestral shell, stage lift, and all visible interior spaces sculpted to provide richness of both amplified and natural acoustics. The second is a performance hall for a magnet high school for the performing arts in western Georgia that has undulating waves of aesthetically integrated panels on the walls that provides a stunning multipurpose space even with economic constraints. The case studies present different approaches to acoustical design of multipurpose theaters. The first multipurpose theater accommodates the needs of varying visiting performers while the second case study focuses on the presentation of students of performing arts that needed an economical but aesthetic center piece of a magnet school. This interactive process between the design team ultimately results in the beauty of the interactive participation of the audience and the performers also.

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Acoustic control in a multipurpose hall: The case study of Lala Mustafa Pasa Sports Complex, Eastern Mediterranean University, Gazimagusa - North Cyprus

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Eastern Mediterranean University’s Lala Mustafa Paşa hall is a multipurpose auditorium with conflicting functions. It is used for lectures, graduation ceremonies, music performances, shows, and sports. Thus, it is necessary to provide both speech intelligibility and quality sound. Many complaints were made regarding the long reverberation and echoes in the hall. To find the optimum solution for all of these conflicting uses, a survey of the acoustic parameters for music and speech was conducted, the criteria for which were identified. Measurements of these parameters were taken for the unoccupied hall. It was found that the acoustic conditions for both speech and music were in a critical condition in the hall. A simulation program was used to find a suitable solution, and various solutions were tested. The optimum solution was found to be the use of fireproof pyramidal melamine plates on the ceiling, and melamine plates with fireproof textile on the front surface with an air cavity ...

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powergreen Case Study: The Al Sadd Multipurpose Hall

Follow our blog and stay up to date with powergreen

The Al Sadd Multipurpose Hall is a living example of a sustainable sports facility located in the heart of Qatar. Owned and operated by the Ministry of Youth and Sports, the Multipurpose Hall is one of the country’s most contemporary multisport facilities and it has quickly become known as the sporting jewel of Doha.

With this case study we trace the development of the Al Sadd Multipurpose Hall, from its inception to the awards it has claimed, outlining our involvement in the construction of this environmentally-friendly sports complex.

The Challenge

The Qatari government set a goal to achieve a zero carbon footprint for its 2022 FIFA games. The Al Sadd Multipurpose Hall therefore had to comply with the aggressive new environmental guidelines, and was the first sports facility in the region to follow these regulations.

Al Sadd Multipurpose Hall needed to be designed to provide cutting-edge facilities for a range of activities, including handball, boxing, ice hockey, basketball, volleyball, badminton and rhythmic gymnastics.

How did we do it?

So how did this structure achieve its sustainability goals while still providing Doha with a cutting-edge training facility? powergreen  made a fair contribution.

To achieve Qatar Olympic Committee’s ambitious goals, powergreen incorporated a custom photovoltaic system into the structure’s massive 1.8Km 2 roof. The integrated system provides the structure and surrounding area with an impressive 275kW of solar electric power with the potential to offset nearly 150 tons of CO 2 emissions every year.

The project started with custom polycrystalline PV modules provided by Austrian manufacturer KIOTO and was delivered through the capable expertise of  powergreen technicians. The structure’s distinct curved shape and wavy rooftop meant that a completely customized installation process had to be developed.

Though the installation was more challenging compared to flat roofs, the final results were worth the extra effort. The unique panel arrangement was the first of its kind installed in Qatar.

The Results

With such a unique solution, it’s not surprising that the Al Sadd Multipurpose Hall caught the attention of the region’s construction industry, going on to win the Sustainable Project of the Year at the 2015 Construction Week Awards.

When asked about the project Amr Belal, managing partner at powergreen responded: “We feel accomplished with this win. We have put in a lot of determination and effort, coupled with amazing teamwork, towards working for these kinds of projects. We are happy to be some of the first people to be contributing towards the success of renewable projects in the region.”

Today, the hall plays an important role in the lives of many Qatari athletes.

Interested in learning more about sustainable projects across the Middle East? Check back for weekly updates and the latest news and if you haven’t already, be sure to join us on Facebook , Twitter and LinkedIn for even more updates.

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Home › The Wire › Case Studies

Case Study: Multipurpose Lecture Hall Gets TecPodium I Lectern

By dbrosilovski

Tecom has successfully supplied TecPodium I lectern to the multi-purpose hall serving for both smaller seminars and larger presentations. The hall changes his layout on a daily basis. The acoustic wall system allows for the splitting of the larger lecture area into 3 smaller rooms, each having it’s own presentation system. The customer chose TecPodium I lectern […]

Tecom has successfully supplied TecPodium I lectern to the multi-purpose hall serving for both smaller seminars and larger presentations. The hall changes his layout on a daily basis. The acoustic wall system allows for the splitting of the larger lecture area into 3 smaller rooms, each having it’s own presentation system.

The customer chose  TecPodium I  lectern that houses all the audio-video equipment, locked and secure. From the Tecom control panel the lecturer can control all projectors and sound system in the 3 rooms easily at a touch of a button. Once the projector is turned on the electric motorized screen and projector lift is rolled down. At the end of the presentation all equipment is automatically turn off and is secure.

The TecPodium I was equipped with heavy-duty wheels to allow maneuverability in the lecture hall and compliance with the different layouts. Simple, cost-effective, advanced and high-quality solution from Tecom.

Sporting a sleek, modern design, TecPodium I is a sophisticated, fully ADA compliant, compact lectern with multimedia capabilities built-in for smooth presentations.

For more case studies

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Musholm extension / AART Architects

• Curated by ArchDaily
• Architects: AART Architects
• Area Area of this architecture project Area:  3200 m²
• Year Completion year of this architecture project Year:  2015
• Photographs Photographs: Kirstine Mengel , Jens Markus Lindhe
• Manufacturers Brands with products used in this architecture project Manufacturers:   Fox Belysning , Pressalit
• Landscape Architect : UrbanLab
• Developer:  The Danish muscular dystrophy foundation
• Collaboration:  Keinicke & Overgaard Architects
• Engineers:  MOE and D & N
• Universal Design Consultant:  Karin Bendixen
• City:  Korsør
• Country:  Denmark
• Did you collaborate on this project?

Text description provided by the architects. Supported by the biggest charitable foundations in Denmark, AART architects together with the Danish muscular dystrophy foundation has extended the resort by designing a new multi-purpose hall and 24 holiday homes. In the project, AART architects also have collaborated with Karin Bendixen, Keinicke & Overgaard Architects, UrbanLAB, MOE and D & N to set new standards for accessible architecture.

“The extension brings to life our vision of enhancing the quality of life for people with disabilities on the basis of making room for differences. We bring new kinds of experiences to Musholm – including by challenging the traditional approach to accessible architecture.

Instead of erasing differences, we make space for a range of experiences, giving any visitor regardless of handicap the opportunity to engage in physical activities and extend their own boundaries,” explains Anders Tyrrestrup, partner at AART architects.

The multi-purpose hall is an example of how AART architects have integrated accessibility as a creative element to inspire and challenge users. Based on close dialogue with current and future users, the Danish practice has created such novel ideas as a 100 metre ‘experience ramp’, that winds its way around the hall, offering a wealth of activity zones and culminating in a viewing room from where Musholm’s location overlooking the sea and scenic landscape is revealed.

The multi-purpose hall is located at the heart of the resort, while the new holiday homes are located in its periphery.

Designed as a circular building, the holiday homes adapt to the landscape and existing buildings and at the same time, the circular gesture provides shelter in the open landscape and accentuates a sense of community. The interaction with the scenic surroundings is underlined by the consistent use of wood. For instance, the facades on the hall and holiday homes are covered with larch wood, while the floors, walls and ceiling in the hall are covered with ash wood.

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Address: 4220 korsør, denmark.

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Case Study – Multi-Purpose Performance and Rehearsal Venue

multi-Purpose Performance and Rehearsal Venue

Infilling a missing link.

WE LOVE THE ARTS HERE IN NORFOLK!!! For a city our size, we have become a magnet and unprecedented model for the importance and influence of the ARTS SCENE as a definition of our local culture. Our incredible collection of fine arts and performing arts organizations covers the spectrum. All are grounded in education and focus on blurring the boundaries of society. I guess you could say we are lucky, or would you say we are collectively smart and unified!?!

As the CULTURAL HUB for eastern Virginia, we are the home for the Virginia Arts Festival (VAF), Virginia Symphony Orchestra (VSO), and the Virginia Stage Company (VSC). Zooming in and focusing on the synergies of these three groups becomes the genesis of this Multi-Purpose Performance and Rehearsal Venue. These three groups are inseparable and feed off each other, acting as a true pillar to our identity. An introduction to each along with identification of their needs follows.

Norfolk's Cultural Champions

Virginia Arts Fesitval

Our VA Arts Festival attracts and brings talent from around the globe to our region each year to celebrate, in true immersion Festival style, the gamete of performing arts. Their headquarters is on the edge of our Cultural Campus across from the historic 10,000 seat SCOPE Arena and beloved 2,500 seat Chrysler Hall. Buried within their own building is a 200-seat capacity flat floor performance venue suited for small chamber and solo performances. The Festival organization taps into the pool of existing performance venues, over a dozen region wide, to find the most suitable styled venue for each performance. This careful pairing of artist to venue is critical for the overall success for the patrons and the performers experience. A dozen offerings may seem more than adequate at a glance, but when one looks into the nature of the seating arrangements, shape of the hall, size of the stage platform, overall acoustic offering and the supporting amplification technology, it becomes apparent very quickly how narrow the field of choice really is. Additionally, a 500-seat venue is non-existent and definitely a blind spot in need.

Virginia Symphony Orchestra

One of Virginia’s most celebrated musical, educational, and entrepreneurial arts organizations, the Virginia Symphony Orchestra celebrated its 100th Anniversary season in 2020. Interesting enough, this group does not have a home base to rehearse or perform. This is not by design, but rather circumstance. They are nomadic throughout the region moving from venue to venue for rehearsal space hauling their instruments, stage equipment, and props each occurrence. The transition to a full 90-piece Symphony Orchestra displaced them from their original rehearsal space located in the two sub-stage levels of Chrysler Hall. Much time, energy, and financial resources are dedicated to these logistics. Additionally, their administrative arm remotely leases space in an office building in the downtown and are integrated throughout the region for outreach and music educational offerings.

Virginia Stage Company

Virginia Stage Company is Southeastern Virginia’s leading non-profit theatre and one of the country’s foremost regional theaters. Their mission is to enrich, educate, and entertain the region by creating and producing theatrical art of the highest quality through developing plays and musicals. The Virginia Stage Company productions are created on site and from the ground up – from costumes to choreography, sound to lighting – working with a mix of local artists and artisans as well as some of the leading actors, directors, and designers from around the country to produce world class theatre for our Hampton Roads audience. Special project rehearsal space is absent in their home and they too find themselves scattered about the city or region for spaces to fulfill their mission.

These organizations are loved and owned by the community they serve and so the energy for this project grew out of the donor’s idea to bring all three together under one roof for the purpose of building collaboration, seeking efficiencies, and sharing special space needs. Hence, a programming and visioning exercise was launched. 

Creating a Sense of Place

VIA engaged the Executive leadership and artist voice of all three in round-table forum discussions to help each assess common needs and reveal how they might image living and working together under one roof. For the first time, these groups were immersed in multiple discussions re-imagining what would be possible and how they would operate if they had adequate spaces to bolster their missions. 

A space needs program of 55,000 square feet emerged from these workshops to include:

• Dimensionally sized to accommodate the VSO 90-piece layout for rehearsal
• Black box capability
• Retractable, hideaway seating
• Space for stow-away stage, acoustic shells, banquet round tables and lose seating
• Lobby Reception – to accommodate social gatherings and access to all educational support spaces
• Multi-purpose room for VSC special projects and rehearsals
• Donor VIP lounge
• VSO road show equipment storage and loading
• Administrative suites for both VSO + VSC with shared common space and board rooms

With the City offering available land, VIA was put to task to answer the question:  What can be done on the vacant parcel adjacent to the Scope Plaza?   This open green space is the “missing tooth” in the quadrant of the last 50 years of urban renewal activity in downtown. The parcel is open and accessible by the public right of way on two sides and only 172 X 130 feet in dimension – approximately 22,360 SF footprint. Residing partially in the Coastal Resilience zoning and working with new stormwater management regulations all revealed driving factors in support of further detailed programming needs.

THE CHALLENGE:

Organizing a 55,000SF program on a 22,360 SF site.

Accomplishing a seamless and transparent transition between the inside and outside became the planning tool of choice to guide this urban design challenge. The historic forms, materiality, and setting of Scope, The Plaza, and Chrysler Hall pay forward a fortified International style of architecture of heavy concrete and pre-cast forms.  

In contrast, this New Venue presents open arms to the passerby. It exposes the beauty and excitement of the rehearsal and performance activities in the large multi-purpose space for all the public to see and build curiosity. Fair weather days will allow the large performance space to be open air to the street for true block party festival style events. The ultimate goal is to actually step across the street and transform the bunker like Plaza wall into “STERRACES”. This is a way to breakdown its pedestrian urban barrier existence and transpose the same space into an outdoor amphitheater style seating for these special semi-outdoor open-air performances. The interior retractable seating is partially portable and can be deployed in 2 different directions on this flat floor space to support this idea.  Here the definition of “flexibility” is maximized.

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ROOM ACOUSTIC QUALITY OF A MULTIPURPOSE HALL: A CASE STUDY

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Año académico: 2018

Academic year: 2018

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PACS: SS-RBA- 02

Ribeiro, Maria Rosa Sá

Centro de Estudos do Departamento de Engenharia Civil Faculdade de Engenharia da Universidade do Porto Rua Dr. Roberto Frias s/n, 4200-465 Porto, Portugal,

Tel: +351 5082135; Fax: +351 22 5081446;e-mail: [email protected]

This paper refers some solutions defined to adjust room acoustics to the aesthetics demands of architecture and to the reduced budget available for construction of a Multipurpose Hall. We present predicted and measured values of typical acoustical parameters, for the main purposes of the Hall: Cinema, Conferences and Music. Our objectives were: To assure the necessary sound insulation to prevent noise annoyance; to assure a “non-responsive” room in order to verify the acoustical conditions for a cinema, without disregarding speech intelligibility and to adjust room acoustics for music concerts. Should we use physical elements or a sound reinforcement system would be the best choice?

INTRODUCTION

The Multimedia Centre of ESPINHO (CMM) is a new cultural building located in ESPINHO, a small town near by the sea, at about 30Km south of Porto. It was meant to be a cultural reference for the city in which two main events are very famous: The International Animated Film Festival - CINAMINA - and an International Music Festival. The CMM integrates an Auditorium, a Planetarium, a small conference room and a space for temporary art exhibitions.

The architectural, structural and mechanical projects had already been defined when acoustics was thought of, as being a very important issue, to justify an acoustical adviser. While analysing the building plans we realized there were several areas needing deep acoustical intervention, from the point of view of sound insulation (airborne and structural), internal acoustics and HVAC system Noise and Vibration Control. As a consequence of the reduced initial budget for construction, and the high extra value expected to implement the acoustical solutions, it was decided, in what concerns the Auditorium, to give priority to the Cinema acoustics, since a big investment in high technological equipment was already being made. Besides, it was decided not to considerer the HVAC system noise and vibration control, although we expected values for background noise without audience, exceeding the noise criteria curve NC35. It was then assumed that this important issue would be solved by “administrative” control measures.

acoustics for music concerts, considering the use of physical elements and eventually the use of an electro acoustical sound system, to enhance reverberation, to improve the reflected sound and “tune” the Hall for the different kinds of musical performances, ranging from a piano solo, a string quartet, a chamber group or a large percussion session.

In this paper we will present the acoustic specifications we would like to achieve for reasonable performances regarding the multiuse desired for the space, the values predicted by computer simulation using a room acoustics prediction software and some measured values of the main parameters, typically used to define acoustical quality of a room, according to ISO 3382(1). We will compare these values with those obtained from Barron’s revised theory (2) and finally, considering the Hall a space for music performances, we will present the global quality factor, according to Arau-Purchade’s theory (3).

AUDITORIUM DETAILS

The Auditorium is geometrically fun shaped approximately 18 m long and 24 m wide and an average volume of 5000 m3. Its seating capacity is 281 places distributed into 10 rows, defining an amphitheatre with a rake angle of 20 degrees. The audience occupies 160 m2 of superficial area, corresponding to an acoustical seating area of 230m2. The average volume of the main Hall is 3300 m3. The stage has about 1700m3 and its configuration can be adjusted, allowing a variable stage opening area, according to the type of music and the number of musicians. The floor stage can be raised over 0,90m; a cloth “iron curtain” can be lowered as desired, and we can also rotate the two lateral doors connecting the stage to the dressing rooms. This way it's possible to vary the width of the scenery from a minimum overture of 14x6 m2, for small music groups' performances, to a maximum of 21x 12 m2 for cinema or a complete orchestra. In our study we used three stage configurations: (A) maximum scenery opening area and floor stage raised, a situation in-between the use for cinema and for conferences, (B) maximum overture of width scenery for cinema and (C) for music performances.

Searching for the most suitable solution for music we tried several hypotheses concerning physical elements and several possible arrangements, to have a perception of the room acoustical behaviour. The physical elements considered were:

Acoustical Shell (H1): We thought that one shell easy to mount and dismount and, as a consequence, light weighted, would be more suitable for the case than a traditional, massive and well-structured shell. We assumed then, some possible loss at low frequencies. For simulation we used, as a model, one of the several trademarks shells commercially available. As a first step we decided to use 20mm thick flat wooden panels: a central one 4,2m high and 8 m wide, two lateral panels at 122 degrees and three upper panels, a central, trapezoidal shaped one, at 113 degrees and two lateral, triangular shaped panels in order to “close” and complete the upper part of the shell.

Canopy (H2): We assumed a canopy composed by two overhead trapezoidal shaped stage panels, one with 12/10 base dimensions, 1,55m in depth and a 15 degrees slope and the other, at the front stage, with base of 14/12 m, a depth of 2,2 m and a slope of 8 degrees.

Lateral Reflectors (H3): Four lateral reflectors, each over 4 m2, were positioned at lateral walls, at 5 m height, along the first five rows of seats.

Audience Overhead Panels (H4): Over the audience, we considered three panels: a rectangular one, 14x2 m2 made horizontally and two trapezoidal ones, one with base 14x12, 2m deep and 14 degrees slope and the other with base 10/8, a depth of 1,7 and a slope of 30 degrees.

Figure 1- “4 View” model for configuration "C" with Acoustical Shell and Lateral Reflectors

GENERAL ACOUSTIC SPECIFICATIONS

In table 1 we present the values we have specified, for reverberation times, as a compromise considering the auditorium's multipurpose and the recommended values by the manufacturer of cinema's sound system. Table 2 presents the “optimum” values for the usual room acoustical parameters, according Arau's theory (3).

Table 1 – Specified reverberation values for different uses

f (Hz) 125 250 500 1k 2k 4k

Cinema 1,00 0,83 0,76 0,71 0,64 0,57

Conferences 1,30 1,10 1,00 1,00 1,00 1,00

Music 1,70 1,50 1,40 1,30 1,20 1,00

Table 2 – "Optimum” values for different acoustical parameters an different uses

Acoustical Parameters Cinema Conferences Music

Reverberation Time (Tmid,s) 0,735 0,85 <T mid < 1,30 1,30< T mid < 1,83 Early Decay Time (EDT,s) 0,648 < EDT mid <= 0,81 1,04 < EDT mid <= 1,56

Definition (D, %) >= 65 45 < D <= 60

RASTI (%) > 75

Clarity (C, dB) C50 > 6 -2 < C80 < 4

Strength (G10, dB) G10 > 0 G10 > 0

DATA RESULTS

To evaluate the interior acoustical conditions of the auditorium for cinema/conferences we made acoustical measurements using B&K equipment and we modelled the room using commercial advanced Room Acoustic Prediction Software (4) to obtain the parameters in accordance with the ISO 3382(1). Table 3 and Figure 2 presents the mean values measured for configuration "A" over five receivers and for three omni directional sound source positions on stage. Table 4 presents the predicted acoustical data for music concerts, using the defined physical elements: Acoustical Shell (H1/AS), Canopy (H2), Lateral Reflectors (H3/LR) and Over Audience Panels (H4/OAP), as well as two sets of data considering two arrangements (H1+H3) and (H1+H3+H4). We used the same software as before but in a more advanced version, considering configuration “C”, an omni directional sound source placed at centre of the stage and four receivers in the seating area. As a starting point of our study, trying to dress the space for music performances, we present the predicted values considering the two real configurations “B” and “C”, being, in fact, used for Cinema and Music.

Table 3 – Measured and predicted Values for Cinema/Conferences

f(Hz) 125 250 500 1000 2000 4000

Values Meas Pred Meas Pred Meas Pred Meas Pred Meas Pred Meas Pred TR30, s Mean

Stdev 1,86 0,16 1,77 0,01 1,20 0,06 1,15 0,01 1,13 0,04 1,02 0,01 1,02 0,06 0,93 0,02 0,85 0,04 0,78 0,03 0,70 0,02 0,60 0,04 EDT, s Mean

Stdev 1,48 0,21 1,75 0,13 1,06 0,1 1,16 0,14 0,96 0,14 1,16 0,22 0,9 0,09 1,14 0,41 0,72 0,08 0,86 0,36 0,56 0,03 0,60 0,49 C80, dB Mean

Stdev -1,7 2,1 0,2 0,85 8,9 0,3 3,9 0,51 9,6 1,5 5,9 1,49 8,8 1,2 6,6 2,71 9,8 1,2 8,2 3,93 12,9 1,8 11,2 4,78 D50, % Stdev Mean 32 9 41,5 1,83 83 2 1,98 60 81 5 8,64 72 76 8 13,90 73,3 78 7 16,29 76,6 87 5 83,7 14,0 6 TS, s Mean

Stdev 117 10 115,1 8,26 36 3 64,3 3,35 35 6 42,4 9,85 39 11 38,5 16,90 34 5 32,2 20,31 24 8 20,8 15,5

Figure 2 – T30 values for configuration “A”

0,40 0,60 0,80 1,00 1,20 1,40 1,60 1,80 2,00

125 250 500 1k 2k 4k

Next table we present some predicted acoustical data for music concerts, using the defined physical elements: Acoustical Shell (H1), Canopy (H2), Lateral Reflectors (H3) and Over Audience Panels (H4), as well as two sets of data considering two arrangements (H1+H3) and (H1+H3+H4). We used the same software as before but in a more advanced version, considering configuration “C”, an omni directional sound source placed at centre of the stage and four receivers in the seating area. As a starting point of our study trying to dress the space for music performances, we also present the predicted values considering the two real configurations “B” and “C”, used for Cinema and Music.

Table 4 – Predicted values for music

Configuration "B" Configuration "C"

125 250 500 1k 2k 4k 125 250 500 1k 2k 4k

T30/s 1,45 1,16 0,99 0,75 0,66 0,62 1,35 1,18 1,03 0,77 0,70 0,63

EDT/s 1,44 1,10 0,93 0,62 0,59 0,52 1,40 1,20 1,01 0,77 0,60 0,50

D% 44,2 54,6 58,9 75,2 75,6 79,7 51,0 59,9 69,9 78,0 81,9 84,8

C/dB 1,4 3,5 4,9 8,5 9,0 10,4 1,8 3,3 5,4 7,5 9,3 10,4

TS/ms 94,8 69,9 56,5 36,7 34,0 29,7 84,0 65,1 48,7 33,7 28,4 24,8

G/dB 8,6 7,1 6,3 4,7 4,4 4,1 8,5 7,2 6,5 5,4 5,1 4,8

LFC% 29,6 25,4 23,0 20,2 19,3 19,6 26,0 19,1 16,2 13,8 13,5 14,3

Shell Canopy

T30/s 1,10 0,96 0,85 0,64 0,57 0,55 1,26 1,15 0,99 0,76 0,68 0,59

EDT/s 1,08 0,83 0,75 0,57 0,54 0,54 1,33 1,12 0,93 0,71 0,59 0,54

D% 59,0 67,3 69,5 75,2 77,7 77,2 54,7 64,6 71,5 79,8 82,1 85,1

C/dB 3,8 5,7 6,4 8,6 9,1 9,7 2,6 4,3 6,0 8,3 9,5 10,7

TS/ms 63,5 49,2 45,6 36,0 33,0 32,7 75,8 57,7 45,5 31,4 25,7 22,7

G/dB 8,1 7,4 7,7 7,0 6,5 6,6 8,2 7,2 6,6 5,7 5,1 4,9

LFC% 26,0 19,1 16,2 13,8 13,5 14,3 24,8 18,2 17,9 15,9 12,4 14,2

Lat Ref Aud Pan

T30/s 1,30 1,16 1,01 0,79 0,68 0,61 1,23 1,16 1,02 0,78 0,69 0,61

EDT/s 1,41 1,18 0,97 0,76 0,61 0,48 1,30 1,16 0,99 0,64 0,56 0,49

D% 52,9 61,7 68,9 79,0 82,0 85,8 57,3 64,1 70,7 79,4 83,1 87,0

C/dB 2,3 3,7 5,4 7,7 9,3 10,9 3,0 4,3 5,8 8,7 9,7 11,4

TS/ms 81,0 64,1 49,6 34,0 28,9 25,0 71,9 58,3 47,2 31,5 26,3 22,3

G/dB 8,3 7,4 6,9 5,7 5,4 5,2 8,3 7,3 6,9 6,1 5,5 5,5

LFC% 25,2 21,0 21,4 17,3 19,3 20,8 25,4 21,4 20,0 16,9 14,7 16,4

Shell and Lat ref Shell, Lat Ref and Aud Pan

T30/s 0,97 0,89 0,75 0,60 0,56 0,52 0,97 0,88 0,75 0,57 0,55 0,53

EDT/s 0,95 0,71 0,63 0,50 0,48 0,51 0,98 0,74 0,59 0,50 0,50 0,50

D% 63,5 71,1 72,9 81,1 80,5 78,3 64,1 72,0 73,3 79,5 79,3 77,7

C/dB 4,8 7,2 7,9 10,2 10,6 10,4 4,8 6,8 8,6 10,5 10,3 10,3

TS/ms 54,5 42,6 39,0 31,2 30,9 32,4 54,2 43,0 38,1 31,7 30,6 31,7

G/dB 7,3 6,9 6,9 6,3 6,5 6,8 7,3 6,9 7,0 6,5 6,4 6,6

LFC% 25,9 25,0 23,0 22,3 23,3 23,5 25,2 23,9 24,6 24,1 22,5 24,2

ANALYSIS OF RESULTS

The values were higher than the optimum specified ones for cinema but they stayed below the maximum values according to the reverberation times recommended by the cinema's sound system. The RASTI values obtained were higher than 75% all over the audience space, for a background noise due to HVAC system according to NC25 noise criteria curve.

More recent results considering the two real configurations "B" and "C", lead us to the following conclusions: For Cinema, the predicted reverberation times, are closer to the minimum values recommended by manufacturers, for frequencies above 500Hz and for lower frequencies are about the same as before (see figure 1). For Conferences, we lost some intelligibility at high frequencies but, at the middle ones, we have about the minimum values recommended. For Music, the predicted values are out of acceptable range, according our reference data. We have reverberation values below the minimum; the bass ratio, occupied, is slightly above the maximum allowed. The definition factor is over the maximum, and the clarity is significantly above the maximum allowed. The lateral energy is less than half of the acceptable value, even when using the lateral reflectors. The centre time values are less that 80ms which is in good agreement and the strength factor is positive, showing there's a reinforcement of sound due to the use of physical elements, especially when using the acoustical shell.

CONCLUSIONS

Facing those results we realized that the use of the physical elements as defined, the choices we made of materials and absorption coefficients, dimensions and placement of the physical elements seemed not to be the most appropriate. We were expecting some difficulties to adjust reverberation, since the surrounding walls are the main absorption in the room, far beyond the audience absorption, as usual in concert Halls. Still the results show that we have undervalued this case. We have already experienced the use of an acoustical shell, last year, at the International Music Festival. Unfortunately, due to the overbooked agenda of the space it was not possible to do the necessary measurements, to get more reliable conclusions. However, the subjective impression of most the participants were very positive referring a noticeable improvement on the sound quality, but musicians are still claiming for better stage conditions.

FURTHER DEVELOPMENTS

We would like to go on with our studies in order to obtain more acceptable acoustics for music. At present moment we believe that an electro-acoustical sound system might be an efficient and practical way, if not the only one, to adjust room acoustics, for this particular Hall. We intend to look for help, near the more experienced specialists in the electro acoustics field, hoping we might find a way to overcome the resistance from the more traditional musicians. We also expect to be able to measure the main acoustical parameters, by July, when an acoustical shell will be once again, temporarily installed, for the 2002 International Music Festival.

ISO 3382 (1997), Acoustics, Measurements of the reverberation time of rooms with reference to other acoustical parameters.

Barron, M. (1998), Auditorium Acoustics and Arquitectural Design, E&F SPON.

Arau, H. (1999) : ABC de La Acustica Arquitectónica, CEAC, Spain.

Dalenbäck, B-I. (1992): Room Acoustic Prediction and Auralization based on an extended Image source model, PhD thesis, Chalmers University of Technology, Sweden.

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Acoustics in Multipurpose Halls

Multi Purpose Halls in History

Along the history, specific building designs have been developed and some specific functions for Acoustics in Multipurpose Halls. Musical events were carried out in the prom halls and with the rising attention on music special building types were started to be designed for musical functions. Foundation of the new designs obviously based on the prom halls in which the initial events had been made. Had started with this halls’ rectengular shape and then tried new approaches. Growing acoustic science as music came into prominence and new developing specialists pointed out some faults in different types of buildings, meanwhile bringing backs occured with progress by the help of developing and accumulating knowledge. Primarily multi purpose halls appeared by concert, opera, theatre halls’ being converted. The trigger of it was the economical reasons. Maintenance of a building which has multiple purpose was less costly than several buildings’ maintenance which have one purpose for each. In this case multi purpose utilization in a hall became a requested feature. The acoustical requirements for music and speech are different than each other and sometimes even the contrary. Priority is to find the least common denominator and this is rough to provide. Most of the time one of the functions come to the fore and design way is determined in accordance with this one more coherent than the other function.

Acoustic Performance

In the speech halls, speech is supposed to be made easily without a reinforcement sound system and intelligibility of the speech is a requirement which should be provided. Sound levels of male and female are different. Distinguishing of these sounds is an important discipline to provide.

Computable parameters are the objective ones which are being affected by the physical conditions. Subjective parameters are not computable and these are used to bring an explanation to the different perception of acoustics in a room by the audience. Some of the objective parameters are as followed; reverberation time (T30), early decay time (EDT), binaural quality index (BQI), strength of sound (G), bass ration (BR), initial time delay gap (ITDG), early lateral fraction (LF80), definition (D50), clarity for music (C80), centre time (Ts)… Some of the subjective parameters are as followed; intimacy, liveness, warmth, loudness, spaciousness, brilliance…

Design Parameters

Influences of the design process on acoustical comfort and performance should be remembered and the optimal case should be provided. The design parameter variables at hand; material effect, floor rake, terrace seating, terrace walls have an impact on the total energy in the halls, the early and total energy which is receiving to the receivers and consequently also has an impact on acoustical parameters.

The seatings which have better acoustical comfort than the other seats are back group seats. Because these are the closest ones to the back wall and ceiling so that they have more of the early reflections, lateral reflections and early energy. As a result, hearing conditions here are better than the other seats (front and middle group) in terms of speech intelligibility, speech transmission, envelopment by sound and intimacy of the hall. Concave surfaces cause focusing defect in the hall. In order to keep focusing defect not increasing, the form of the ceiling should be picked in a way, in which it won’t cause focusing. Absorbing and reflecting materials that are used on back walls to eliminate or minimize these defects (echo and focusing) should have a high scattering coefficient as well to contribute to the solution of these defects. Deep floor rake increases the echo defect by providing longer reflection paths, it should be kept in mind. It can contribute to the solution of echo problem to keep smaller the radius of the circle on the plan plane. Although the ceiling is delivering the reflections to the receivers geometrically, in order to increase the amount of the total energy and reflections, ceiling reflectors can be used. Should have care on usage of the terraces in the hall.

It should be remebered that materials which are used for acoustical control contribute to taking under control the sound decrease in a hall and acoustical comfort. Materials should be used on proper building components with proper absorbing, reflecting and scattering coefficients.

Acoustics in Multi Purpose Halls