A4 Istana Budaya Report

B.
SC ll
Group members
Project 1 : Chang May Chen 0322636
Auditorium Case Study Chloe Teh Shu-Ern 0324101 Tutor
On Acoustic Design Dana Kan Jia Torng Mr. Azim Sulaiman
0323648
Bachelor Science Danica Gan Jia-En 0323708
(Hons) Lee Kylie 0326655
Ng Ji Yann 0323713
In Architecture
Shum Li Sze 0322822
Yang Jing Loo 0323066
Selected Case Study / Istana Budaya, Panggung Sari

Kuala Lumpur
TABLE OF CONTENTS
1.0 Introduction
1.1 Aim & Objectives
1
1.2 Site Introduction
2
1.3 Site History
3-4
1.4 Technical Drawings
5-8
1.5 Design Features of Panggung Sari
9 - 10
1.6 Methodology
11
2.0 Material and Properties

2.1 Furniture Materials
12
2.2 Wall Materials
13
2.3 Ceiling Materials
14
2.4 Floor Materials
15
2.5 Balcony Materials
16
2.6 Curtain Materials
17
3.0 Sound Analysis

3.1 Sound Source
18 - 21
3.2 Sound Reflection
22 - 24
3.3 Sound Echos
25 - 27
3.4 Sound Absorption
28 - 31
3.5 Table for Absorption Coefficient
32 - 33
3.6 Reverberation Time (RT)
34 - 35
3.7 Sound Lock
36
3.8 Sound Diffusion
LIST OF FIGURES
1.0 Introduction
Figure 1.2 An interior view of Panggung Sari.
Figure 1.3 An exterior view of Panggung Sari.
Figure 1.5.1 (a) Fan-shaped Panggung Sari.

Figure 1.5.1 (b) Fan-shaped arrangement.
Figure 1.5.2 Side walls angle.
Figure 1.5.3 (a) Circular concentric seatings of Panggung Sari.
Figure 1.5.3 (b) Seating levelling.
Figure 1.6.1 A digital sound level meter.

Figure 1.6.2 A digital single-lens reflex camera (DSLR).
Figure 1.6.3 A measuring tape.
2.0 Material and Properties
Figure 2.1 (a) Curved row of seats in Panggung Sari.

Figure 2.1 (b) Seats made of plywood and polyurethane foam.
Figure 2.2 (a) Curvature of ceiling reflects and dampens vibrations.

Figure 2.2 (b) Plaster ceiling below grand circle.
Figure 2.2 (c) Curved plaster ceiling above the hall.
Figure 2.2 (d) Layering of the ceiling.
Figure 2.3 (a) Wall surfaces primarily made of timber materials.

Figure 2.3 (b) Timber panels along the side wall.
Figure 2.3 (c) Texture of timber panel.
Figure 2.4 (a) Woollen carpet as flooring.

Figure 2.4 (b) “Merbau” wooden stage floor texture.
Figure 2.4 (c) Carpeting in sound lock area.
Figure 2.4 (d) Backstage of Panggung Sari.
Figure 2.4 (e) Comparative sound absorption.
Figure 2.4 (f) Carpet underlayment.
Figure 2.5 (a) Balcony protrusions on the wall surfaces.

Figure 2.5 (b) Rounded bottom of balcony.
Figure 2.5 (c) Motif frames.
Figure 2.6 (d) Vernacular carvings.

Figure 2.6 (e) Vernacular carvings.
3.0 Sound Analysis
Figure 3.1 (a) Location of speaker arrays and subwoofers.

Figure 3.1 (b) Example of speaker arrays.
Figure 3.1 (c) Example of subwoofers.
Figure 3.1.1 Location of speaker arrays and subwoofers on plan.
Figure 3.1.2 (a) Location of smaller speakers.
Figure 3.1.2 (b) Example of a smaller speaker.
Figure 3.1.2 (c) Location of smaller speakers on the first floor.
Figure 3.1.2 (d) Location of smaller speakers on the second floor.
Figure 3.1.2 (e) Location of smaller speakers on the third floor.
Figure 3.1.3 (a) Location of the sound control system.
Figure 3.1.3 (b) Location of the sound control system on plan.
LIST OF FIGURES
Figure 3.2 (a) Ceiling of Panggung Sari.
Figure 3.2 (b) Sound Reflectors.
Figure 3.2.1 (a) Sound Reflection for ceiling - plan view.
Figure 3.2.1 (b) Sound Reflection for ceiling - section view.
Figure 3.2.1 (c) Ceiling at the center part of the theatre.
Figure 3.2.1 (d) Ceiling on the stage.
Figure 3.2.1 (e) Ceiling on the third floor.
Figure 3.2.2 (a) Sound reflection for wall - plan view.
Figure 3.2.2 (b) Reflective wooden wall panel.
Figure 3.2.2 (c) Sound reflection for wall - section view.
Figure 3.3.2 (a) Time delay analysis on floor plan.

Figure 3.3.2 (b) Time delay analysis on section.
Figure 3.4.2 (a) Carpet flooring outside the auditorium on plan.

Figure 3.4.2 (b) Lobby uses carpet flooring and fabric wall.
Figure 3.4.2 (c) Corridor uses carpet flooring and half fabric wall.
Figure 3.4.2 (d) While people step on carpet, sounds of footsteps absorbed to the carpet flooring and half fabric wall finishing.
Figure 3.4.2 (e) Carpet flooring in the auditorium on plan.
Figure 3.4.2 (f) Carpet flooring in the auditorium on section.
Figure 3.4.2 (g) Carpet flooring in the audience sitting area.
Figure 3.4.2 (h) Carpet flooring along the staircase.
Figure 3.4.2 (i) Carpet staircase absorbed the sounds of footsteps when the audience is walking.
Figure 3.4.3 (a) Timber wall panel on section.
Figure 3.4.3 (b) Timber wall panel.
Figure 3.4.3 (c) Timber wall panel section cut.
Figure 3.4.3 (d) Diagram shown the absorption of unwanted sound and reflection of the sound happening at the same time.
Figure 3.4.4 (a) Fibreglass reinforced gypsum ceiling on section.
Figure 3.4.4 (b) Fibreglass reinforced gypsum ceiling.
Figure 3.4.4 (c) Diagram shown the section cut of fibreglass reinforced gypsum ceiling. The arrow shown reflection and
absorption of sound happening at the same time from the direction.
Table 3.6 Reverberation Table
Figure 3.7 (a) Sound lock system on plan.

Figure 3.7 (b) Sound lock system on plan.
Figure 3.7 (c) Sound lock with carpet flooring.
Figure 3.7 (d) Sound lock with soft door closing.
Figure 3.7 (e) Sound lock with half fabric finishing wall.
Figure 3.7 (f) Diagram shown the reducing noise through the sound lock system. Two sound lock system used to minimize the
noise transmitted into auditorium.
Figure 3.8.2 (a) Sound diffusion in section drawings.

Figure 3.8.2 (b) Sound diffusion in third floor plan drawings.
Figure 3.8.3 (a) VIP boxes with curved edges.
Figure 3.8.3 (b) Sound diffusion diagram.
Figure 3.8.4 (a) Coffers at the back of auditorium.
Figure 3.8.5 (a) Sound diffusion diagrams of the balcony.
Figure 3.8.5 (b) Sound diffusion diagrams.
Figure 3.8.6 (a) Sound diffusion diagrams of the ornaments.
Figure 3.8.6 (b) Sound diffusion diagrams of the ornaments.
Figure 3.8.7 (a) Sound diffusion diagrams of carpets.
Figure 3.9.1 Sound concentration diagrams of the area.
Figure 3.10.2 Sectional drawing showing the dimension of the sound shadow area and differences of sound intensity level.
LIST OF FIGURES
Figure 3.11 (a) First floor plan of Panggung Sari.
Figure 3.11 (b) First floor plan of Panggung Sari.
Figure 3.11 (c) First floor plan of Panggung Sari.
Figure 3.11 (d) Second floor plan of Panggung Sari.
Figure 3.11 (e) Third floor plan of Panggung Sari.
Figure 4.1.2 (a) Outdoor ongoing construction work opposite the theatre.
Figure 4.1.2 (b) Location of Istana Budaya just right beside the busy highway. Yet trees and the surrounding spaces serve as a
barrier to filter the noises out.
Figure 4.1.3 (a) People eating in the outdoor cafe.
Figure 4.1.3 (b) Existing noise sources coming from the external environment of the theatre.
Figure 4.1.3 (c) People gathering at the entrance hall of the theatre.
Figure 4.1.3 (d) The lobby outside the theatre where people gather before entering the theatre delays the sound travel distance
from going into the theatre. Rain and thunder noises are also not heard in the theatre because of the distance.
Figure 4.2.1 (a) Curtains installed in front of entry doors.

Figure 4.2.1 (b) Automatic hydraulic door closers at the entry doors.
Figure 4.2.1 (c) Sound lock area.
Figure 4.2.1 (d) Location of doors that may cause noise during opening and closing.
Figure 4.2.2 (a) Aluminium strips at the threads to prevent slipping.
Figure 4.2.2 (b) internal connections of foldable seats cause squeaky noise.
Figure 4.2.3 (a) Backstage operations.
Figure 4.2.3 (b) Mechanical systems that may cause noise when operating.
Figure 4.2.4 (a) Some AC diffusers in the theatre badly in need of maintenance create a continuous buzzing sound.
Figure 4.2.4 (b) Section showing the source of noise from backstage and mechanical ventilation.
Figure 4.2.4 (c) The circular grills on the floor that were previously seat holders now serve as vents that open to below of the
secondary seating or orchestra stage. Slight whooshing noises can be heard at times because of the hollow
space below.
Figure 4.3 Recommended background noise levels.

Figure 4.3.1 As the barrier is closer to the receiver, the more efficient noise can be controlled as refractive atmospheric
effects is not present.
Figure 4.3.2 Design of air conditioning units in Istana Budaya.
Figure 4.3.3 Design of spaces and sound locks present in the building.
Figure 4.3.4 (a) Use of soft surface materials such as carpets and cushions.
Figure 4.3.4 (b) A diagram illustrating the absorption of noise.
Figure 4.3.5 Backdrop of the stage in the theatre.
1.0 INTRODUCTION
1.1 AIM & OBJECTIVES
The aim of this assignment is to conduct a case study on the acoustic functions of a local
auditorium whereas our objectives are to study the design layout of Istana Budaya, analyse its acoustic
characteristics, identify the types of materials used and the suitability of sound absorption materials in
building this auditorium and provide a concise and well-documented analysis that can showcase our
understanding of this case study on acoustical theory in an auditorium hall.
We, as a group has conducted a site visit to our selected auditorium, Istana Budaya and documented
the necessary information required for this assignment via photographs, drawings and also on-site
observations.
By analysing the data collected, we are able to:
- study and understand the design layout of the auditorium and analyse its influence on the
effectiveness of the acoustical design for its designated purpose.
- study the acoustic characteristics of the auditorium.
- identify the types of materials used in designing the auditorium.
- determine the suitability of the sound absorption materials and acoustic methods used in relation to
the function of the auditorium.
After analysing the acoustic characteristics of Istana Budaya thoroughly, we documented our findings
into a report as well as Powerpoint slides on our case study for an oral presentation.
01
1.2 SITE INTRODUCTION
Figure 1.2 An interior view of Panggung Sari.
Istana Budaya is Malaysia's National Theatre which is also known as The Palace of Culture. The
building is located in the heart of Kuala Lumpur, next to the National Art Gallery on Jalan Tun Razak.
Istana Budaya is designed by local architect, Muhammad Kamar Ya'akub. The main theatre hall
(Panggung Sari) can accommodate up to 1,421 audiences.
The uniqueness of Istana Budaya architecture is its Malay culture concept. Viewed from above, Istana
Budaya looks like Kelantan “wau”. The shape of the building is liken to the “sirih junjung” which is an
arrangement of betel leaves that is symbolic of the Malays customs and traditions as it is often used in
Malay wedding ceremonies and reception ceremonies.
The interior of Istana Budaya follows the concept of a Malay house with three main sections: “serambi”
which is the lobby, “rumah ibu” is the main theatre hall, as well as the kitchen which is the main stage and
practice hall. The stairs to the main theatre hall is based on the traditional stairs of Malaccan Malay
houses.
02
Figure 1.3 An exterior view of Panggung Sari.
1.3 SITE HISTORY
Since 1964, the Minister of Communication and Multimedia and the Minister of Tourism and Culture had
suggested to build a National Cultural Center. Early talks suggested that the Cultural Center should be
located at Lembah Pantai, situated in between Malaysian Broadcasting Center and University Malaya.
The Cultural Center was planned to be a cultural complex which includes a historical museum, National Art
Gallery, Planetarium, a theatre, restaurants and a shopping mall which sells cultural products.
In 1971, the National Cultural Congress planned and discussed regarding the construction of the National
Theatre. As a result, “Kumpulan Budaya Negara” (KBN) was established in 1972 by the Arts Development
Division, Cultural Division and Ministry of Culture, Youth and Sports or in short known as KKBS but it had
only move amicably.
The KBN office, was located at Wisma Keramat hence all activities were held in a house along Jalan
Ampang till the end of 1973 when KBN was moved to the National Cultural Complex at Jalan Tun Ismail as it
is the location of Akademi Seni Budaya dan Warisan Kebangsaan (ASWARA).
Since 1974, KBN was actively involved under the Arts Development Branch, Cultural Division and KKBS.
However, the attention was more towards cultural dances and traditional music. Later in 1982, the Young
Symphony Orchestra also recognised as OSM was established, followed by the National Choir Group which
was established in 1992.
In 1993, the Experimental Theatre (ET) was built in the National Cultural Complex and in the same year, OSM
was upgraded to become the National Symphony Orchestra or known as OSK.
03
1.3 SITE HISTORY
In 1994, ET was launched by Yang Berbahagia Tun Dr. Mahathir Mohamad. KBN then became part of the
National Theatre under the Ministry of Culture, Arts and Tourism or known as KKKP. In the same year, the
construction of the National Theatre has begun by determining its site, design and financial planning.
The construction of ET and the existence of Tunku Abdul Rahman Auditorium at Malaysia Tourism
Information Center (MATIC) at Jalan Ampang was an attempt to gain experience in administering a National
Theater in the future.
The construction of the National Theatre in 5.44 hectares and 21 000 meter square site started in July 1995,
involving a total cost of RM 210 million. As soon as the construction was completed on 1st December 1998,
the National Theater administration was moved to a premise located at Jalan Tun Razak. A year later, on
September 15, 1999, the National Theater was officially known as Istana Budaya.
04
1.5 DESIGN FEATURES OF PANGGUNG SARI
1.5.1 Room Shape

The shape of Panggung Sari is designed as a fan shape, creating a more intimate space between the
audience and the performance. The immediate advantage of this kind of auditorium plan is that it engages
with the audience better compared to a rectangular auditorium. The narrow width of the stage end helps
with sound reflections, promote projections towards the audience, as well as help the performers to hear
each other better. However, there is a disadvantage to the fan-shaped auditorium. The rear auditorium wall
is automatically generated as a concave curved surface, which produces focused echo back to the stage.
Thus, absorption (refer to Sound absorption 3.4) and diffusion elements (refer to Sound Diffusion 3.8)
were designed to solve this problem.
Figure 1.5.1 (a) Fan-shaped Panggung Sari. Figure 1.5.1 (b) Fan-shaped arrangement.
1.5.2 Angle of Arrangement

The side walls were arranged to have a maximum of 130 degrees from a central point to bring the distance
audience closer to the performers, thus ensure visual and acoustical quality. Panggung Sari design
arrangement falls within 130 degree, which is an ideal fan shape auditorium for a music performance
auditorium, ensuring the visual and acoustical quality.
130 degree
Maximum angle for
Optimum acoustical
And visual condition
Figure 1.5.2 Side walls angle.
09
1.5 DESIGN FEATURES OF PANGGUNG SARI
1.5.3 Seating Arrangements
The seating arrangement in Panggung Sari is circular concentric scheme with projecting stage. The
concentric seatings is designed to increase the efficiency visually and acoustically. There are both
movable and permanent seats offered to accommodate different types of occasions and usage. The
layout of the auditorium complements with the design features for each seating levels to achieve
desirable acoustical quality.
Figure 1.5.3 (a) Circular concentric seatings of Panggung Sari.
2nd floor terrace
ViP box balcony
1st floor terrace
Ground floor terrace
Figure 1.5.3 (b) Seating levelling.
10
1.6 METHODOLOGY
1.6.1 Digital Sound Level Meter 1.6.3 Measuring Tape
Figure 1.6.1 A digital sound level meter. Figure 1.6.3 A measuring tape.
We used this device to measure the sound levels at This measuring tool is used to measure the
a particular point within the auditorium. The unit of auditorium for our drawings and calculation
measurement is decibels (dB). purposes.
1.6.2 Digital Single-Lens Reflex Camera (DSLR)
Figure 1.6.2 A digital single-lens reflex camera (DSLR).
A digital camera is used to capture images of the

auditorium. Images captured were used as
evidences for our analysis.
11
2.0 MATERIAL AND PROPERTIES
2.1 FURNITURE MATERIALS
Figure 2.1 (a) Curved row of seats in Panggung Sari.
The theatre, also known as Panggung Sari, houses specialised furniture which aids in providing
maximum quality of sound acoustics. There is a total of 1421 seats;
● 796 seats in stalls,
● 322 seats in the Grand Circle,
● 303 seats in Upper Circle.
These chairs are made of premier high density plywood with painted surface. Its cushion is made of
polyurethane high flexibility foam. The foam serves as a useful sound absorption and sound insulation
tool.
Plywood is a smooth and light material,

with a thick, dense surface is used but it
does not have particularly good sound
insulation performance. However, it can
dampen and reflect sound particularly
well. In Panggung Sari, plywood is made
into surfaces that channel sound
reflections.
Polyurethane
High Polyurethane foam used for the seats
Flexibility exhibits excellent shock absorption, high
Foam dynamic load capacity, excellent vibration
dampening, noise reduction and the
High
highest modulus of elasticity of all
Density
elastomers.
Plywood
Figure 2.1 (b) Seats made of plywood and

polyurethane foam.
09
12
2.2 CEILING MATERIALS
Figure 2.2 (a) Curvature of ceiling reflects and dampens vibrations. Figure 2.2 (b) Figure 2.2 (c) Curved
Plaster ceiling plaster ceiling above
below grand circle. hall.
Plaster is one of the most commonly used materials to literally shape the architecture of concert
hall acoustics. Panggung Sari uses fiberglass reinforced gypsum (FRG) ceiling board with a
thickness range of 38mm to 50mm. Regular gypsum board will be too thin for most purposes in
concert hall acoustics. The thickness of the gypsum board keeps it stiff and prevent vibrations, as
well as low frequencies absorptions.
Gypsum Drywall
Fiberglass Insulation
Wood Studs
Gypsum Drywall
Figure 2.2 (d) Layering of the ceiling.
FRG has the ability to dampen sound transmission by using the inner polymer layer as a kind of
shock absorber that slows board vibrations and dissipates the sound energy into thermal energy.
Additionally, it performs well acoustically over an extended range of frequencies, resulting in
increased Sound Transmission Class (STC) ratings for the assemblies.
13
2.3 WALL MATERIALS
Figure 2.3 (a) Wall surfaces primarily made of timber materials.
Evidently, majority of the wall surfaces in Panggung Sari is made of timber panels of
“merbau” wood. As mentioned in furniture material, timber is not a particularly good
sound insulator. Therefore, these panels are able to reflect performance sounds. On
the other hand, the foam beneath the layer of timber is able to absorb unwanted sounds
from the other side of the concert hall, thus eliminating disturbances during a
performance.
Figure 2.3 (b) Timber panels along Figure 2.3 (c) Texture of timber panel.
the side wall.
These panels can enhance the visual beauty of Panggung Sari. However, there are some
precautionary measures have to be taken. If a wood panel is too thin and there is air
space behind it, it will cause panel vibration as well as low frequencies absorption which
is similar to thin plaster or gypsum board. Therefore, there are thick layers of plaster
backing up wood panels to prevent low frequency absorption.
14
2.4 FLOOR MATERIALS
Figure 2.4 (a) Woollen carpet as Figure 2.4 (b) “Merbau” wood stage Figure 2.4 (c) Carpeting in sound
flooring. floor texture. lock area.
Carpet is an outstanding sound absorptive material. No other acoustical material performs the dual
role of a floor covering and a versatile acoustical aid. Panggung Sari utilizes woollen carpet as a
sound insulator, especially for when audience members travel along the aisles. Woollen carpet is
made of 80% wool and 20% nylon. The concert hall also uses timber flooring on stage. The type of
timber used is “merbau”. Due to its hardness and strength, it is able to reflect and channel sounds in
various directions, thus amplifying performance sounds.
Properties of “Merbau” Wood

Excellent strength characteristics
Hardness: 1,840 lbf (7,620 N)
Rupture Modulus:: 21,060 lbf/in2 (145.2 MPa)
Elastic Modulus: 2,310,000 lbf/in2 (15.93 GPa)
Crushing Strength: 10,650 lbf/in2 (73.4 MPa)
Figure 2.4 (d) Backstage of Panggung Sari.
Figure 2.4 (e) Comparative sound absorption. Figure 2.4 (f) Carpet underlayment.
Comparatively, carpet has a higher absorption property compared to a hard floor. Among the
layers, the carpet underlayment acts as the sound absorber and insulator.
15
2.5 BALCONY MATERIALS
Figure 2.5 (a) Balcony protrusions on the wall surfaces.
Balconies in Panggung Sari form part of the wall consisting of timber panels.
Needless to say, the balcony surfaces are made of similar sound-insulating timber
panels, thus reflecting performance sounds and keeping out external sounds on
the other side of the surface.
Figure 2.5 (b) Rounded bottom Figure 2.5 (c) Motif frames. Figure 2.6 (d) & Figure
of balcony. 2.6 (e) Vernacular
carvings.
The curvature beneath each balcony aids in the dispersal of sounds when sounds get
reflected and channelled into a different direction. The balcony surfaces also display
traditional vernacular motifs in reflection of Malay local culture, thus setting the mood
and identity of Istana Budaya.
16
2.6 CURTAIN MATERIALS
Figure 2.6 (a) Curtain drape of main stage serving acoustic and aesthetic purposes.
It is usually essential to have curtains or drapes in a concert hall to conceal stage preparation.
Curtains can absorb sound energy therefore having curtains behind the orchestra will rob them of
some essential early reflections.
In some special cases, it is required that the concert hall acoustics be adjustable based on the
nature of the performance. As such, the curtains can be designed to be concealed when needed so
that they do not affect the sound of the instruments on stage.
Specifications General Properties
They are made of heavy duty, flame retardant

fabrics and have the ability to absorb and
insulate sounds. Curtain products for concert
theatres are commonly made of wool serge or
velvet velour. In Panggung Sari, velvet velour
is used. For maintenance, acoustic curtain
fabric can only be cleaned with a vacuum
cleaner or soft brush. Wet cleaning of flame
retardant material will compromise the fire
Figure 2.6 (b) Main Figure 2.6 (c) Curtain resistance and must be avoided.
stage. leading to exits.
Black Borders Black Entrance
Curtains Curtains
- 5m drop X - 12m drop X
20m width 12m width
- 0% fullness - 50%
- Qty: 1 fullness
- Qty: 4
17
3.0 SOUND ANALYSIS
3.1 SOUND SOURCE
Sound amplifiers are the primary source of sound in the theatre. They amplify sounds from the stage to the
entire auditorium, ensuring a good quality of sound throughout.
Figure 3.1 (a) Location of speaker arrays and subwoofers.
Speaker Arrays
The three speaker arrays suspended from the ceiling directly in front of the stage
directs sound to the front, left and right of the auditorium. The vertical arrays
provide a narrow vertical output pattern useful for focusing sound at audiences
without wasting output of energy on ceilings or empty air above the audience.
Figure 3.1 (b) Example of speaker arrays.
Subwoofers
6 subwoofers are located, one on every level in the booths on both front sides of
the auditorium. They amplify the lower sound frequencies to create a balanced
sound. They are tilted at an angle to direct sound towards the front quarter of the
auditorium. Some of them are hidden behind black cloths to reduce the
attenuation of lower frequency sounds.
Figure 3.1 (c) Example of subwoofers.
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3.1 SOUND SOURCE
3.1.1 Location of Speaker Arrays and Subwoofers
Speaker Arrays
Subwoofers
Figure 3.1.1 Location of speaker arrays and subwoofers on plan.
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3.1 SOUND SOURCE
3.1.2 Location of Smaller Speakers
Figure 3.1.2 (a) Location of smaller speakers.
Smaller speakers are located at equal distances around the back of the auditorium to
provide a surround sound. This comes in handy when there is a large crowd and a single
source of sound from the front is not sufficient for audience to get the best sound
experience.
Figure 3.1.2 (b)

Example of a
smaller speaker.
Figure 3.1.2 (c) Location of smaller speakers on Figure 3.1.2 (d) Location of smaller speakers on
the first floor. the second floor.
Figure 3.1.2 (e) Location of smaller

speakers on the third floor.
20
3.1 SOUND SOURCE
3.1.3 SOUND CONTROL SYSTEM
Figure 3.1.3 (a) Location of the sound control system. Figure 3.1.3 (b) Location of the sound control system on plan.
The volume, balance and tonality of sound is controlled at the sound control panel
located at that back center of the auditorium, as a result hearing of sound is optimum.
21
3.2 SOUND REFLECTION
Sound Reflection occurs on hard surfaces and if a sound is not absorbed or transmitted when it
strikes a surface, it will be reflected. The waves are called incident or reflected sound waves;
Angle of incident = angle
of reflection
Convex are reflecting surfaces which disperse sound and promoting good diffusion.Concave surfaces
focus on sound waves, therefore concentrating the reflected sound in specific areas. In general,
reflections are used in room acoustics to distribute and reinforcements sounds.
Apart from that, the concave shaped structure in plastered
ceiling of Panggung Sari in Istana Budaya has no function
in directing sound waves towards the audiences, it only
acts as an aesthetic piece at the centre core of the
auditorium. It only provides minimal function in diffusing
and disperse sound in random directions.
Figure 3.2 (a) Ceiling of Panggung Sari.
Figure 3.2 (b) Sound Reflectors.

Primary Reflectors
Secondary Reflectors
22
Geometric Spreading - Direct and Indirect Sound Path

3.2.1 Ceiling Reflection
Sound Source
Direct Sound
Incident Sound / Reflection
Figure 3.2.1 (c) Ceiling at the

Figure 3.2.1 (a) Sound Reflection for ceiling - plan view. center part of the theatre.
B
C
B
A
Figure 3.2.1 (d) Ceiling at stage.
Figure 3.2.1 (b) Sound Reflection for ceiling - section view. Figure 3.2.1 (e) Ceiling at third
floor.
In the auditorium of Istana Budaya, material used in convex and concave surfaces are plaster boards. Tilted
ceiling often provides useful and effective sound reflections. In this case study, convex structure plays an
important role in reflecting surfaces that creates sound dispersion in an open space.
23
3.2.2 Wall Reflection
Sound Source
Direct Sound
Incident Sound / Reflection
Figure 3.2.2 (b) Reflective wooden wall

panel.
Figure 3.2.2 (a) Sound reflection for wall - plan view.
wall reflection
Stage wall
reflection
Sound
Source
Figure 3.2.2 (c) Sound reflection for wall - section view.
Reflections of sound energy are formed when it strikes to the hard surfaces. Wall panels used in
auditorium of Istana Budaya are mainly reflective wooden wall panels. These reflectors used in auditorium
to distribute better reinforcement sounds. Indirect sound path occurs when sound paths bouncing off the
wall and reflect towards the audience.
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3.3 SOUND ECHOS
3.3.1 Definition
Sound echoes is the reflection of a single sound source, and it can be used to estimate the distance of an
object. It is a sound wave that is reflected back to the sound source. Echo in auditorium happens when
sound waves bounce back and forth between the walls, ceilings and floors. It makes conversations difficult
as it creates acoustic issues for the audio and conversational atmosphere. It is known as the most serious
of room acoustical defects.
3.3.2 Time Delay and Sound Echo Analysis

A time delay of the auditorium is identified to ensure that the time delay reinforced the direct sound instead
of creating unwanted echo within the auditorium.
The formula to measure time delay is stated below :
Time Delay = R1 + R2 - D
0.34
R1 R2
R2 R1
D
D
D
R1
R2
Figure 3.3.2 (a) Time delay analysis on floor plan.
Sound source
Indirect sound path
Direct sound path
Location
25
3.3 SOUND ECHOS
R2 R2 R1
R1
D
Figure 3.3.2 (b) Time delay analysis on section.
Sound source
Indirect sound path
Direct sound path
Location
Time Delay, T1 = 22.3 + 15.4 - 9

0.34
= 84.41 msec (<100 msec, suitable time delay)
Time Delay, T2 = 5.9 + 5.4 - 7

0.34
26
3.3 SOUND ECHOS
Time Delay, T3 = 6.3 + 4.6 - 7.5

0.34
=10 msec (<100 msec,
suitable time delay)
Time Delay, T4 = 13.6 + 14 - 12.7

0.34
Time Delay, T5 = 13.6 + 10.8 - 10.8

0.34
= 103 (sound echo)
T1, T2, T3 and T4 reinforce the direct sound as the time delay is within 100 msec , which is within the
acceptable range. T5 will experience sound echos which might affect the acoustic of the sound in the
auditorium. However, sound echos can be overcome by improving sound diffusion and sound absorption in
certain area. To overcome the sound echo at T5, curtains and scattering elements were designed on the
balcony to help with sound diffusion and sound absorption.
27
3.4 SOUND ABSORPTION
3.4.1 Definition
Sound is produced by the speakers and it is reflected by timber wall panels and plaster ceiling. These sound
waves cause air particles to vibrate, and hit against our eardrum so that we hear sound. Sound absorption
happens through the materials and it is used to control unwanted sound reflections.
Figure 3.4.1 Absorption
3.4.2 Carpet
Figure 3.4.2 (a) Carpet flooring outside the auditorium on plan.
Figure 3.4.2 (b) Lobby uses carpet Figure 3.4.2 (c) Corridor uses carpet
flooring and fabric wall. flooring and half fabric wall .
Carpet flooring used to absorb impact noise which direct physical contact a surface. Lobby and corridor
(figure 3.4.2(b) and 3.4.2(c)), used carpet flooring and fabric wall to absorb the sound of footsteps when
people are walking along the corridor or waiting and chatting in the lobby before enter to auditorium.
Figure 3.4.2 (d) While people step on carpet, footsteps sounds are absorbed to the
carpet flooring and half fabric wall finishing.
28
Figure 3.4.2 (e) Carpet flooring in the auditorium on plan. Figure 3.4.2 (f) Carpet flooring in the auditorium on section.
Figure 3.4.2 (g) Carpet flooring in audience sitting area. Figure 3.4.2 (h) Carpet flooring along the staircase.
Carpet flooring in auditorium used to absorb the footsteps when the audience walks on the stairs
and stroll to his seat. Therefore, the show will not be interrupted when the audience or staffs move
around the auditorium.
Figure 3.4.2 (i) Carpet staircase absorbed the sounds of footsteps when the audience is walking .
29
3.4.3 Timber Wall Panel
Figure 3.4.3 (a) Timber wall panel on section. Figure 3.4.3 (b) Timber wall panel.
Absorbed sound
Timber panel wall is not only used to reflect sound

Transmitted but also to absorb unwanted sound source. It used
unwanted sound to isolate the sound source between the corridor
and auditorium. Therefore, the show will not be
Reflected interrupted when people move along the corridor.
sound
Figure 3.4.3 (c) Timber wall panel section cut.
Timber wall
panel
Absorb
unwanted
Reflection of
sound
sound
Direction of sound
Sound source
Figure 3.4.3 (d) Diagram shown the absorption of unwanted sound and reflection of the sound happening at the same time.
30
3.4.4 Fibreglass Reinforced Gypsum
Absorbed unwanted Cat walk

sound
Figure 3.4.4 (a) Fibreglass reinforced gypsum ceiling on section.
Plaster is used to reflect sounds and at the same

time, unwanted sounds will be absorbed in the
fibreglass insulation. This happens when the air
particles are driven into motion by the sound waves,
then attempt to pass through the dense sound-
absorbing material. The fibreglass will absorbed
the noise while the staffs are walking on the
catwalk.
Figure 3.4.4 (b) Fibreglass reinforced gypsum ceiling.
Unwanted sound Gypsum Drywall

Wood studus
Fiberglass insulation
Gypsum Drywall
Figure 3.4.4 (c) Diagram shown the section cut of fibreglass reinforced gypsum ceiling. The arrow shown reflection and absorption
of sound happening at the same time from the direction.
31
3.5 TABLE FOR ABSORPTION COEFFICIENT
Common Building Materials Absorption Coefficient 500Hz
Stage “Merbau’ Wood 0.05
Floor Medium Pile Carpet On Sponge Rubber Underlay 0.50
Ceiling Plaster Ceiling 0.02
Wood Panel 0.42
Wall
Curtain Wall 0.35
32
3.5 TABLE FOR ABSORPTION COEFFICIENT
Common Building Materials Absorption Coefficient 500Hz
Furniture Fabric With Wooden Panel 0.20
Door Solid Timber Door 0.06
Balcony Deep Opening 0.5
Railing Wooden Railing 0.1
Audience Per Person 0.46
Air Per m3 0.007
33
3.6 REVERBERATION TIME (RT)
Volume of Panggung Sari =30m x 35m x 15m

=15750 m³
Component Material Surface Area Absorption Sound

(m²) /Quality Coefficient Absorption
500Hz
Stage “Merbau” Wood 590 0.05 30
Floor Medium pile carpet on sponge 500 0.50 250

rubber underlay
Ceiling Plaster Ceiling 900 0.02 18
Wooden Panel 323.8 0.42 136

Wall
Curtain 0.98 0.35 0.35
Furniture Fabric with Wooden Panel 1412 0.20 283
Door Solid Timber Door 48 0.06 3
Deep Opening 14.4 0.5 7.2

Balcony
Wooden Railing 8 0.1 0.8
Audience Per person 1412 0.46 650
Air Per m3 15750 0.007 110.25
Total Absorption (A) 1489
34
3.6 REVERBERATION TIME (RT)
Table 3.6 Reverberation Table Graph 3.6 Reverberation Graph
Reverberation is the prolongation of sound as a result of successive reflections in an enclosed space after
the sound source is shut/turn off. Reverberation time is the time for the sound pressure level in a room to
decrease by 60 dB from its original level after the sound is stopped. It varies due to the following factors,
the room volume, materials used and also the sound sources. Reverberation time can only be measured
when it is an enclosed space.
RT = 0.16V / A
Where,
RT = Reverberation time (sec)
V = Volume of the room (m ³ )
A = Total absorption of room surfaces
RT is controlled mainly by the acoustic absorption within the enclosed space and each material has its own
material absorption coefficient. This question allows us to analyse on the effectiveness of the absorption of
materials used in the selected site
Reverberation Time (RT) = (0.16xV) ÷ A

=(0.16 x 15750 ) ÷ 1489
=1.70s
Panggung Sari is a large auditorium room with a long reverberation time (RT). This means that the room
acoustics is suitable for musical performances.
35
3.7 SOUND LOCK
Sound lock is the passage connecting entrances, corridor and the auditorium with different reverberation
times.
Figure 3.7 (a) & (b) Sound lock system on plan.
Figure 3.7 (c) Sound lock with Figure 3.7 (d) Sound lock with Figure 3.7 (e) Sound lock with
carpet flooring. soft door closing. half fabric finishing wall.
Entrance from lobby
Sound lock 1
Entrance from corridor
Sound Reduction
lock 2 of noise
Auditorium
Figure 3.7 (f) Diagram shown the reducing noise through the sound lock system. Two sound lock system used to minimize the
noise transmitted into auditorium.
The sound lock room must use absorbing materials to reduce noise transform from the outside, namely the
corridor and the entrances.
Therefore, the material used in the sound lock room for Istana Budaya includes carpeted flooring, soft door
closer and fabric finishing on half of the wall to reduce and separate the noise that enters into the
auditorium.
36
3.8 SOUND DIFFUSION
3.8.1 Definition
Sound diffusion is when sound energy is spread evenly to all parts of the auditorium. It is essential in
acoustic architectural design as it encourages uniform distribution of sounds, thus improving the qualities
of music in Istana Budaya. It does not remove sound energy but it helps to minimize distinct echoes and
reflections resulting a good sounding auditorium.
3.8.2 Sound Diffusion in Istana Budaya
Figure 3.8.2 (a) Sound diffusion in section drawings.

Figure 3.8.2 (b) Sound diffusion in third floor plan drawings.
37
3.8 SOUND DIFFUSION
3.8.3 Curved Edges

The VIP boxes at the side walls of Panggung Sari
were designed with curved edges, diffuse sound
uniformly in all direction to the audience.
Figure 3.8.3 (a) VIP boxes with curved edges.
38
3.8 SOUND DIFFUSION
3.8.4 Coffers
Figure 3.8.4 (a) Coffers at the back of the auditorium.
Coffers are found at the side walls of Panggung

Sari, changing the reflection of sound from the
source and disperse the sound wave evenly. Without
the coffers, sound echoes will occur as sound
energy reflects slightly later at the back of the
auditorium.
3.8.5 Balcony
Figure 3.8.5 (a) Sound diffusion diagrams at the balcony.
Irregularity of geometrical edges of the balcony helps in sound

diffusion. When sound travels and being delivered to the audience,
it hits the sharp geometrical edges of the balcony and diffuses
Figure 3.8.5 (b) Sound diffusion diagrams. evenly in all direction.
39
3.8 SOUND DIFFUSION
3.8.6 Ornamentations
Figure 3.8.6 (a) Sound diffusion diagrams at the ornaments.
Detailed ornamentation uses sharp and edgy geometrics

motifs instead of curves motifs to promote sound diffusion.
Other than improving aesthetical value to the auditorium, it
also enhances the acoustic quality of the interior.
Figure 3.8.6 (b) Sound diffusion diagrams at the ornaments.
40
3.8 SOUND DIFFUSION
3.8.7 Carpet
Figure 3.8.7 (b) Sound diffusion detailed diagram at the

carpet.
Other than absorbing sound, the irregular surface

of carpet helps in acoustical treatment by
diffusing the sound.
Figure 3.8.7 (a) Sound diffusion diagrams at carpets.
41
3.9 SOUND CONCENTRATION
The auditorium controls sufficient sound travel from the stage towards the audience. Main speakers and
smaller speakers are installed around the auditorium to achieve better vocal clarity. From the sound
sources, sound intensity are concentrated at the centre core of the auditorium, caused by the reflected
sound waves which spread the sound in the area.
Figure 3.9.1 Sound concentration diagrams of the area.
42
3.10 SOUND SHADOW AREA
3.10.1 Definition
The effect produced is perceived as a reduction of loudness. High frequencies are more easily absorbed
than lower one since they are less susceptible to 'diffraction'; which means they move less easily around
objects because of their short wavelengths. Therefore, it is the attenuation of high frequencies is noted to
be in a sound shadow.
3.10.2 Sound Shadow in Istana Budaya

Sound shadow defect can be determined when the sound wave failed to propagate due to the auditorium
obstruction. After we collected the data of sound intensity level from the staff and our group members, we
found out that there is intermediate sound shadow under the balcony as the sound intensity level dropped
from 68.6 dB to 60.3 dB when we were moving from the front seating area to the seating under the balcony.
Ideally, Panggung Sari Auditorium overhang depth should be less than twice the height of the auditorium
underside.The ratio of the floor to ceiling height and depth is exactly 1:2 which means sound shadow will be
occurred. Hence, the side wall of Panggung Sari Auditorium is made of timber panel to reflect sound into
sound shadow area.
60.3dB
68.6dB
STAGE
Figure 3.10.2 Sectional drawing showing the dimension of the sound shadow area and differences of sound intensity level.
43
3.11 SOUND READING
Level 1 ( Back )
Silent | 40 dB
When People Talking | 55.4 dB
When People Talking On Stage | 60.3 dB
Air-cond | 51.1 dB
Figure 3.11 (a) First floor plan of Panggung Sari.
Level 1 ( Middle )
Silent | 36.3 dB
Figure 3.11 (b) First floor plan of Panggung Sari.
Level 1 ( Front )
Silent | 35.1 dB
Figure 3.11 (c) First floor plan of Panggung Sari.
44
3.11 SOUND READING
Level 2
Silent | 35.6 dB
Figure 3.11 (d) Second floor plan of Panggung Sari.
Level 3
Silent | 39.3 dB
Figure 3.11 (e) Third floor plan of Panggung Sari.
45
4.0 Identifying Existing Noise Sources
4.1 External Noise
4.1.1 Definition
Noise is usually defined as undesirable sound impeding at unwanted times but it is subjective based on
each individual's attitude toward the noise source.
Even as Istana Budaya is designed with acoustic considerations to achieve the best environment for sound
propagation, yet, there would still be some noise disturbance that cannot be avoided within the theatre.
Acceptable background noise in an auditorium ranges from 20 dbA to 25 dbA, and any levels higher or
lower than that may either cause disturbance or not be heard respectively. Noise pollution disrupts speech
and music intelligibility and can disallow the audience from understanding what is being said. How
undesirable a sound is will depend on various factors such as the frequency, continuity, loudness, content,
time of occurrence, place, activity being carried out, and the personal state of mind of the listener.
4.1.2 Traffic and Outdoor Construction Work

However, due to the location and the existence of soundproof system in Istana Budaya, external noise
source can be prevented so that it does not disrupt the performances inside the auditorium. The spaces
around the auditorium hall also form a buffer zone which helps distance the noise coming into the hall.
Istana Budaya is located in a busy city centre where it is surrounded with buzzing traffic.
Being adjacent to the Jalan Tun Razak highway which connects to the Kuala Lumpur city centre, many
vehicles drive along this road and it becomes congested during peak hours. Furthermore, during our visit to
Istana Budaya, an ongoing construction project was seen opposite the site. Vibration and structure borne
sound from the vehicles and construction operations are prohibited from entering the theatre as the
building is isolated a distance away from these noise sources, thus sound travelling distance is lengthened
and this reduces the noise intensity. The surrounding trees and plantations also help create a buffer space
to filter the noise coming into the building.
Figure 4.1.2 (a) Outdoor ongoing

construction work opposite the
theatre.
Figure 4.1.2 (b) Location of

Istana Budaya just right beside
of busy highway. Yet trees and
the surrounding spaces serve as
a barrier to filter the noises out.
46
4.1 EXTERNAL NOISE
4.1.3 Human Activities

Besides that, social activities like chit-chatting, greetings and other interactions as people gather outside
the theatre, at the receptionist and the outdoor cafe may also contribute to the noise occurrence. However,
even though it is crowded with visitors during performances and events, the soundproofing and sound locks
outside the theatre provide a barrier to reduce the noise from entering the hall.
Figure 4.1.3 (a) People eating in the outdoor cafe.
Figure 4.1.3 (b) Existing noise sources coming from the

external environment of the theatre.
Figure 4.1.3 (c) People gathering at the

entrance hall of the theatre.
Figure 4.1.3 (d) The lobby outside the theatre where people gather before entering the theatre delays
the sound travel distance from going into the theatre. Rain and thunder noises are also not heard in the
theatre because of the distance.
47
4.2 INTERNAL NOISE
4.2.1 Entry Doors

In Istana Budaya, the closing and opening of doors as audiences enter and exit out of the room does not
make any obvious air-borne noise that may disrupt the performance. This is because a sound lock is
designed within the inner and outer door at the main entrance of the theatre to trap the sound waves and
bring the noise level down to less than 35 dbA. Furthermore, curtains and hydraulic door closers are also
installed on every door so they are closed automatically and in a slow motion as the wooden door panel
comes in contact with the door frame.
Figure 4.2.1 (a) Curtains installed Figure 4.2.1 (b) Automatic hydraulic door closers at
in front of entry doors. the entry doors.
Figure 4.2.1 (c) Sound lock area.
Figure 4.2.1 (d) Location of doors that may cause noise during opening
and closing.
48
4.2 INTERNAL NOISE
4.2.2 Stairs and Seating

It may be disturbing to other people when the audience enters or leaves during a performance, as some of
the collapsible seats in the theatre are also found to produce some squeaky noises when moved down. This
might occur because of the internal connections have rusted and may need maintenance as the noise
produced would disrupt the audience’s attention. The aluminium strip found on the stairs have also found to
make a clicking noise when people stepped on them. These are structural borne noises that result from an
impact or vibration against it. But the surrounding soft carpet actually helps to absorb the noise so it is less
obvious.
Figure 4.2.2 (a) Aluminium strips Figure 4.2.2 (b) internal

at the threads to prevent slipping. connections of foldable seats
cause squeaky noise.
4.2.3 Backstage Activity

Besides that, internal noises can also be produced from the backstage operations. This is due to the
interactions between the performers and the staff when making preparations for the show to start. The
mechanical systems of the cranes or other media operating equipment make noises that are dwarfed by the
sound of the performances on stage.
Figure 4.2.3 (a) Backstage operations. Figure 4.2.3 (b) Mechanical systems that may cause
noise when operating.
49
4.2 INTERNAL NOISE
4.2.4 Mechanical Ventilation

The overall mechanical ventilation HVAC system in Istana Budaya has a low noise unit, as the noise output
level can be as low as NR25 and they have ensured it to be running at a low speed. Yet, there are a few air
conditioner diffusers that may need maintenance and have continuous sounds that the audience may find
distracting. The air vents may sometimes produce whooshing sounds as the air flows out of the outlets.The
linear air diffusers however does the opposite of regulating air out of the hall. These noises are caused by
the small opening of the vents that restrict the airflow from the aluminium panels.
Figure 4.2.4 (a) Some AC diffusers in

the theatre badly in need of
maintenance create a continuous
buzzing sound.
Backstage
activity
Figure 4.2.4 (b) Section
showing the source of
noise from backstage
and mechanical
ventilation.
Figure 4.2.4 (c) The circular grills on the floor that were
previously seat holders now serve as vents that open to
below of the secondary seating or orchestra stage.
Slight whooshing noise can be heard at times because
of the hollow space below.
50
4.3 NOISE CONTROL METHODS
To better tackle the issue of noise is best to understand how noise can be reduced. Background noise can
still occur but may be acceptable at specified values for certain spaces as seen in the table given below.
There are two main ways in which noise can be reduced: sound absorption and sound insulation. The
absorption of direct, reflected and reverberated noise in the receiving room can be absorbed to an extent by
the materials used in the room. Insulating noise however, is defined as reducing the energy that is travelling
into an adjoining airspace.
Figure 4.3 Recommended background noise levels.
4.3.1 Suppression of Noise at the Source

One of the basic methods is to have the audience to switch off their mobile phones and other electronic
devices as well as to refrain from making noises during the show. Staffs and backstage operations should
make preparations at a quieter pace. Furthermore, the location of the theatre is also surrounded with buffer
spaces that help serve as a barrier to keep noise away from the theatre.
Figure 4.3.1 As the barrier is closer to the receiver, the more efficient noise can be controlled as
refractive atmospheric effects is not present.
51
4.3.2 Mechanical and Electrical Design
Figure 4.3.2 Design of air conditioning units in Istana Budaya.
Istana Budaya has also installed HVAC systems that do not produce too much noise. Circular and linear
diffusers are set to low power so that the audiences can feel comfortable and yet also reduce noise of high
pressure air being forced out of the smaller openings to inaudible levels. Regular maintenance is done as
well to ensure that they do not produce defective noises.
4.3.3 Architectural Design

Quiet and noisy quarters are also grouped and separated from each other horizontally and vertically. This is
done by using compartmentalisation of using hallways and corridors as sound buffers. The noise from the
pre-function area where people would gather outside of the theatre is separated between two doors and a
corridor. This sound lock diffuses the external noise from coming into the theatre space as the doors are
closed.
Figure 4.3.3 Design of spaces and sound locks present in the building.
52
4.3.4 Noise Absorption

Besides that, the noise level in the theatre is further reduced by the use of sound absorptive treatment such
as soft carpets and seating. Minor noises such as people walking, shifting seats can be absorbed into the
soft surfaces to prevent from interfering with the audience’s attention during a performance.
Figure 4.3.4 (b) A diagram illustrating

the absorption of noise.
Figure 4.3.4 (a) Use of soft surface

materials such as carpets and
cushions.
4.3.5 Sound Insulation

Sound Transmission Class (STC) of certain materials or construction types are also able to come into effect
in noise control. This is seen in the heavy drapery that has high STC rating blocking the noise produced in
the backstage. The walls, floor, doors and partitions inside the Istana Budaya theatre have high STC rating
to stop the unwanted sound or airborne noise to reach the audience's ears when the performance is going
on.
Figure 4.3.5 Backdrop of the stage in the theatre.
53
5.0 COMPARISON OF ISTANA BUDAYA AND DEWAN
FILHARMONIK PETRONAS
Istana Budaya Dewan Filharmonik Petronas
Year of Built 1998 1998
Volume 15750 m³ 13300 m³ to 18975 m³
Shape Fan-shaped Shoe box-shaped
Seat capacity 1,421 920
Sound reflection Tilted ceilings and wooden wall The gently arched perforated metal
panels are commonly used in the ceiling allows sound to travel to the
auditorium to reflect sound. upper ceiling, which consist of
seven movable ceiling panels to
control the volume in the hall,
stimulating a wide range of
acoustical experience.
Sound absorption Different types of materials are used - Movable acoustical wall at
in the auditorium for sound backstage.
absorption. - Adjustable absorptive
sidewalls adjust the
resonance.
Sound lock Both auditoriums has a sound lock room which includes carpeted flooring,
soft door closer and fabric finishing on half of the wall to reduce and
separate the noise that enters into the auditorium.
Sound diffusion - Coffers - Convex surface of balcony

- Geometrical balcony - Wall surface of concert halls
- Irregularity shapes of
ornamentation
Prevention of noise The theatre is noise insulated by The hall sits on resilient pad and is
intrusion using high Sound Transmission surrounded by two concrete wall
Control rating materials such as the separated by an isolation joint.
double timber wall panels, soft
carpet material compared to timber
flooring of Dewan Filharmonik
Petronas.
54
5.0 COMPARISON OF ISTANA BUDAYA AND DEWAN
FILHARMONIK PETRONAS
Istana Budaya Dewan Filharmonik Petronas
Floor Plan
Section
Sound
Reflection
Diagram
Despite of the difference in shape of the auditorium, both the auditoriums have implemented architectural
acoustical design through different acoustical elements such as sound reflection, sound absorption, sound
diffusion and other audio aspects. Both auditoriums have fulfilled its purpose of being an auditorium for
musical performances.
55
6.0 CONCLUSION
Upon completion of this project, we have learnt a lot on the different characteristics that can affect the
acoustic performance of an auditorium. The layout of the auditorium, materials used for the interiors and
many other factors play a large role in determining the acoustic quality of an auditorium.
Music consists of a wide range of sound levels and frequencies all of which must be heard for a full
appreciation and enjoyment of any performance. Some desirable qualities of music depend on the listener’s
judgement and taste but overall, the shape and volume of the floor used , audience capacity and surface
acoustical treatment all contribute to the transmission path and receiver sequence.
Based on our analysis, the materials used for the interiors of the auditorium is suitable as it has achieved a
reverberation time of the Panggung Sari is 1.7 seconds, which is considered as an acceptable acoustical
quality for a large auditorium like Panggung Sari as music is always used during performances. The
reverberation time plays an important role in auditoriums as establishing a carefully controlled
reverberation time would increase fullness of tone and help in loudness, definition and diffusion of sounds.
Balconies in the auditorium are also designed to be 1.5 meters wide in order to achieve uniform quality
sound over the entire seating area.
Although the reverberation time of the auditorium is long, echo is noticeable at a point in the auditorium.
Besides, time delay was calculated at different part of the auditorium and all of them fall within the
acceptable range, which is within 100ms where no sound echo occurs.
In conclusion, this auditorium is more suitable for musical performances compared to plays, dramas,
speeches and other events that involve communications.
56
7.0 REFERENCES
Book
Stein, B., Reynolds, J., & McGuinness, W. J. (1992). Mechanical and electrical equipment for buildings. New
York: J. Wiley & Sons.
Ebook
Reid, E. (2016). Understanding buildings: A multidisciplinary approach. London: Routledge.
Barron, M. (2010). Auditorium acoustics and architectural design. London: Taylor & Francis.
Website
Mominzaki Follow. (2014, April 07). Auditorium Acoustics. Retrieved from
https://www.slideshare.net/mominzaki/auditorium-acoustics-33230112?qid=5bbf6ce8-70d6-4301-ba76-
496fea0369d1&v=&b=&from_search=4
Acoustic properties of wood. (2014, January 09). Retrieved from

https://www.woodproducts.fi/content/acoustic-properti
DIY. (n.d.). Sound Insulation. Retrieved from https://www.diynetwork.com/how-to/rooms-and-

spaces/floors/soundproofing-a-floores-wood
Istana Budaya. (n.d.). Retrieved from http://www.istanabudaya.gov.my/
Malaysian National Theatre, Istana Budaya - Data, Photos & Plans. (n.d.). Retrieved from
https://en.wikiarquitectura.com/building/malaysian-national-theatre-istana-budaya/
Architectural Acoustic & Design Archives. (n.d.). Retrieved from

https://www.soundzipper.com/blog/category/architectural-acoustic-design/
DEWAN FILHARMONIK PETRONAS. (n.d.). Retrieved from http://mpo.com.my/dewan-filharmonik-petronas/
Of Dewan Filharmonik Petronas, Malaysia - ANZAScA. (n.d.). Retrieved from

http://www.bing.com/cr?IG=1CA52FB6EE484BD89011F201DCADF4EC&CID=33CF7C4508836CD819B877AD
092C6D0F&rd=1&h=RVU8qw4ua4Oi5pW8Z519ZNfUAZI4TpIbndogwt8gL-w&v=1&r=http://anzasca.net/wp-
content/uploads/2014/08/ANZAScA2004_Husin.pdf&p=DevEx.LB.1,5543.1
Dewan Filharmonik PETRONAS. (n.d.). Retrieved from http://dfp.com.my/#
57

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Selected Case Study / Istana Budaya, Panggung Sari

2.0 Material and Properties

3.0 Sound Analysis

Figure 1.2 An interior view of Panggung Sari.

Figure 1.3 An exterior view of Panggung Sari.

Figure 1.5.1 (a) Fan-shaped Panggung Sari.

Figure 1.6.1 A digital sound level meter.

2.0 Material and Properties

Figure 2.1 (a) Curved row of seats in Panggung Sari.

Figure 2.2 (a) Curvature of ceiling reflects and dampens vibrations.

Figure 2.3 (a) Wall surfaces primarily made of timber materials.

Figure 2.4 (a) Woollen carpet as flooring.

Figure 2.5 (a) Balcony protrusions on the wall surfaces.

Figure 2.6 (d) Vernacular carvings.

3.0 Sound Analysis

Figure 3.1 (a) Location of speaker arrays and subwoofers.

Figure 3.3.2 (a) Time delay analysis on floor plan.

Figure 3.4.2 (a) Carpet flooring outside the auditorium on plan.

Table 3.6 Reverberation Table

Figure 3.7 (a) Sound lock system on plan.

Figure 3.8.2 (a) Sound diffusion in section drawings.

Figure 3.9.1 Sound concentration diagrams of the area.

Figure 4.2.1 (a) Curtains installed in front of entry doors.

Figure 4.3 Recommended background noise levels.

By analysing the data collected, we are able to:

Figure 1.2 An interior view of Panggung Sari.

1.3 SITE HISTORY

1.5.1 Room Shape

1.5.2 Angle of Arrangement

Figure 1.5.2 Side walls angle.

1.5.3 Seating Arrangements

Figure 1.5.3 (a) Circular concentric seatings of Panggung Sari.

2nd floor terrace

ViP box balcony

1st floor terrace

Ground floor terrace

Figure 1.5.3 (b) Seating levelling.

1.6.1 Digital Sound Level Meter 1.6.3 Measuring Tape

1.6.2 Digital Single-Lens Reflex Camera (DSLR)

Figure 1.6.2 A digital single-lens reflex camera (DSLR).

A digital camera is used to capture images of the

Figure 2.1 (a) Curved row of seats in Panggung Sari.

Plywood is a smooth and light material,

Figure 2.1 (b) Seats made of plywood and

Figure 2.2 (d) Layering of the ceiling.

Figure 2.3 (a) Wall surfaces primarily made of timber materials.

Properties of “Merbau” Wood

Figure 2.5 (a) Balcony protrusions on the wall surfaces.

Specifications General Properties

They are made of heavy duty, flame retardant

Figure 3.1 (a) Location of speaker arrays and subwoofers.

Figure 3.1 (b) Example of speaker arrays.

3.1.1 Location of Speaker Arrays and Subwoofers

Figure 3.1.1 Location of speaker arrays and subwoofers on plan.

3.1.2 Location of Smaller Speakers

Figure 3.1.2 (a) Location of smaller speakers.

Figure 3.1.2 (b)

Figure 3.1.2 (e) Location of smaller

3.1.3 SOUND CONTROL SYSTEM

Figure 3.2 (a) Ceiling of Panggung Sari.

Figure 3.2 (b) Sound Reflectors.

Geometric Spreading - Direct and Indirect Sound Path