reveiw arch-2010 acoustics and lighting

8/9/2019 Reveiw Arch-2010 Acoustics and Lighting

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ACOUSTICS AND LIGHTINGInstructor: Architect Leah Ybae!"#artin

ACOUSTICS

" is a branch o% science that &ea's (ith the contro'

an& )ro)a+ation o% soun&,

Ob.ecti/es o% acoustics

0, to rein%orce nee&e& soun&

1, to e'i2inate un(ante& soun&

3, to )re/ent un(ante& soun& to be trans2itte& into anenc'ose& s)ace

TH4 NATU54 O6 SOUND

soun&

" ori+inates %ro2 a /ibratin+ bo&7, It is )ressureha/e in an e'astic 2e&iu2, It is not restricte&8 it s)rea&sout(ar& %ro2 its source in a'' &irections &i2inishin+ inintensit7 in/erse'7 as the s9uare o% the &istance %ro2 thesource increases

" these /ibrations %ro2 the bo&7 co2e out(ar& asco2)ressions an& rare%actions in the surroun&in+ air

rare%action

" the instantaneous8 'oca' re&uction in &ensit7 o% a+as resu'tin+ %ro2 )assa+e o% a soun& (a/e8 or the re+ion in(hich the &ensit7 is re&uce& at so2e instant

" e'on+ation o% soun&" the /ibration %ro2 a bo&7 are ca''e& %re9uencies

%re9uencies

" c7c'es )er secon& c)s; or /ibrations )er secon&/)s; an& the co2)ressions an& rare%actions are ca''e&soun& (a/es

SOUND

" is a )h7sica' (a/e or si2)'7 a series o% )ressure/ibrations

" %or airborne soun&8 the 2e&iu2 is air

" %or structure borne soun&8 the 2e&iu2 isbui'&in+ 2ateria's such as concrete8 stee'8 (oo&8 +'ass orco2binations o% a'' these

" it is a'(a7s assu2e& that the hearer has a )air o% hea'th7 7oun+ ears (ith the &irection ran+e o% 1< to 1


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A4L4NGTH" &istance bet(een t(o crests o% a soun& (a/e" 'o( %re9uenc7 soun&s ha/e 'on+er

(a/e'en+ths than hi+h %re9uenc7 soun&s, The (a/e'en+this a'so the &istance tra/e'e& b7 soun& in one secon& &i/i&e&

b7 the %re9uenc7 o% the (a/e" ea2)'e:the (a/e'en+th o% a 0


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roo2s &i2ensions8 a stan&in+ (a/e is create&, hen asoun& co2es %ro2 a source8 the hearer o% the soun& actua''7hears t(o t7)es o% soun&s:

0, &irect or ori+ina' soun&" %ro2 the source an& &irect'7 &e'i/ere& to the hearer

1, re%'ecte& soun&" %ro2 a'' &irections o% the roo2

%or a soun& to be hear& b7 a 'istener co2%ortab'78 there%'ecte& soun& 2ust co2e to hi2 not 'ater than


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the case b7 E


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SOUND 6I4LDS CAN 4 54COGNIR4D AS 6OLLOS

near %ie'&

" +enera''7 (ithin one (a/e'en+th o% the 'o(est%re9uenc7 o% soun& )ro&uce& b7 the source,

" the 2ai2u2 (a/e'en+th %or the 2a'e hu2an/oice is 3,3


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re'aation

- Noise Q %ro2 the rush hour tra%%ic causes aniet7 an&tension

These are on'7 %e( instances (here soun& on'7

beco2es a )art o% our e/er7&a7 'i%e8 but a'so a%%ects it as(e'',

#USIC TH45A=HY #usic 2aFes a )o(er%u' i2)act on the senses, O%ten

touchin+ %ee'in+s too &ee) or too &i%%icu't to e)ress in(or&s, The a))roach o% 2usic thera)7 )ractitioners can bec'assi%ie& into t(o:

The res)onse a))roach

" %ocuses on the thera)eutic )o(er o% 2usichear& %ro2 an eterna' source an& the bo&7 an& 2in&s

reaction to such 2usic, The e)ression a))roach

" i&enti%ies 2usics )o(er to co2e not on'7 %or2its rece)tion but a'so %ro2 its creation,

#usic a''o(s us to e)ress a (i&e ran+e o% e2otions Q %ro2 %rustrations Q to etre2e .o7 2usic a'so re/ea's &ee)%ee'in+s an& )rob'e2s

This )s7chothera)eutic e%%ect is the reason (h72usic thera)7 has beco2e )o)u'ar in treatin+ the 2enta''7i'' an& the 2enta''7 han&ica))e&, ='a7in+ 2usic is a'soencoura+e a2on+ the )h7sica''7 &isab'e& )eo)'e (ho nee&

to i2)ro/e their 2o/e2ent an& contro',

D4SIGN O6 5OO#S 6O5 S=44CH ITHOUT TH4 US4 O6SOUND SYST4#

0, The 2ain ob.ecti/e in the &esi+n o% roo2s o% this Fin& toinsure that e/er7 2e2ber o% the au&ience can c'ear'7hear (hat the s)eaFer sa7s,

1, Another ai2 is to )reser/e the natura' 9ua'ities o% as)eaFers /oice so that each 2e2ber o% the au&ience cana))reciate the &ra2atic e%%ect inten&e& b7 the s)eaFer,

NATU54 O6 S=44CH SOUNDS AND 4664CTS O6 5OO# ACOUSTICS

0, S)eech shou'& consist o% a %'o( o% /arious co2binations o% /o(e' an& consonant soun&s, The consonant soun&s are

2ere'7 o% a transient nature8 2eanin+ the7 are short an&ra)i&'7 chan+in+, Genera''7 8 it i s the reco+nition o% theconsonant soun&s (hich is a %actor in s)eechinte''i+ib'7 in an au&itoriu2,

1, I% e/er7 2e2ber o% an au&ience is to hear (e''8 the soun& ineach seat 2ust be 'ou& enou+h8 this bein+ the case 8 thereshou'& be a 2ini2u2 o% bacF+roun& noises (hich(i'' ten& to 2asF the (ante& soun&,

3, 5e/erberation ti2e shou'& a'so be re&uce& to a to'erab'e'e/e' because the re/erberations o% the )re/ious s7''ab'es (i''obscure the soun& o% each s7''ab'e,

ASIC 54UI54#4NTS 6O5 5OO#S INT4ND4D 6O5 S=44CH

0, The &irect soun& sha'' be as stron+ as )ossib'e because thesoun& (eaFens as the &istance %ro2 the source increases,

1, It is a'so i2)ortant that the &irect soun& sha'' not beobstructe& b7 an7 2eans,

3, The best (a7 to insure that the &irect soun& (i'' +o to e/er7seat is either:

- The source o% the soun& shou'& be 'ocate&hi+her than an7 hea& in the au&ience,

- 7 seatin+ the au&ience in such a (a7 that at 'east3 inches is )ro/i&e& bet(een the si+ht %ro2 onero( an& the si+ht %ro2 the net,


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, ecause s)eech is &irectiona'8 in )'an8 the seats shou'& be)ositione& so that none %a''s outsi&e an an+'e o% 0


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TH4 D4SIGN O6 5OO# 6O5 #USIC

6actors that a%%ect +oo& )ro&uction o% 2usic

0, &e%inition

" re%ers to hearin+ c'ear'7 each t7)e o% 2usica' instru2ent sothat the7 are rea&i'7 &istin+uishe& %ro2 each other,

1, ba'ance" is the correct 'ou&ness ratio bet(een the /arious sectionso% the orchestra,

3, b'en&" is the hearin+ o% a bo&7 o% instru2ents as a ho2o+eneoussource rather than as a co''ection o% in&i/i&ua' sources,

, a 'o( 'e/e' o% intru&in+ noise

ACOUSTICAL CONSID45ATIONS O6 5OO#S 6O5 #USIC A'' the re%'ections o% the ori+ina' soun& (i''

b'en& into the &irect soun& an& +i/es bo&7 to the 2usic,These are Fno(n as %irst re%'ections an& shou'&

arri/e a%ter the &irect soun& is not 2ore than


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be use&,

1, There 2i+ht be too 2uch noise co2in+ %ro2 outsi&e as (e''as (ithin the au&ience that ten&s to co/er the ori+ina'soun&,

3, The acoustics o% the bui'&in+ itse'% 2a7be )oor an& (e''

inter%ere (ith the unai&e& s)eech soun& an& %or this reason8rein%orce2ent s7ste2 is re9uire& to re&uce ba& acoustics

I#=O5TANT CONSID45ATIONS IN TH4 US4 O6 SOUND54IN6O5C4#4NT SYST4#

0, The au&ience 2ust hear the (or&s c'ear'7 (ithout &istortionan& in a reasonab'e 'ou&ness,

1, %or rea'istic e%%ect8 the s)eech shou'& a))ear to be co2in+%ro2 the hu2an s)eaFer an& not %ro2 an7 'ou& s)eaFer,

#IC5O=HON4S T(o t7)es o% 2icro)hone

0, o2ni&irectiona' 2icro)hone" e9ua''7 sensiti/e soun& to soun&s arri/in+ at it %ro2 an7&irection

1, &irectiona' 2icro)hone" recei/es soun& %ro2 one &irection, 6or s)eaFin+ )ur)oses8the &irectiona' 2icro)hone is better to use because itre&uces the %ee&bacF

LOUDS=4AV45

" to +i/e natura' as 2uch as )ossib'e as (e'' as to2aFe the soun& 'ou&er

" &i%%uses 'o( %re9uenc7 soun&s8 )ro.ects&irectiona''7 hi+h %re9uenc7 soun&s

" shou'& be )'ace& one at the 'e%t8 the other at theri+ht

6or +oo& reaction o% the 2icro)hone8 the 2an s)eaFin+shou'& be %ro2 0K to 1 %t %ro2 the 2icro)hone, I% too c'ose8 the 'o(%re9uenc7 soun&s (i'' be accentuate&, I% %arther a(a78 the

re/erberant soun&s (i'' be )icFe& u)

6or +oo& hearin+ an& rece)tion8 the 2ain s)eaFer shou'&sta7 in a %ie& )osition an& shou'& not /ar7 substantia''7 the &istancebet(een his 2outh an& the 2icro)hone

An i&ea' situation in the use& o% s)eech rein%orce2ents7ste2 is that the 'istener (i'' hear not on'7 the natura' soun& buta'so the soun& co2in+ %ro2 a 'ou&s)eaFer

Un&er this con&ition8 the hearin+ o% the natura' an& the'ou&s)eaFer 2ere'7 2a+ni%ies the soun&

Another e%%ect to consi&er is that the 'istener shou'& be ab'eto Fno( the 'ocation o% the source o% soun&8 that is8 that the soun&a))ears to co2e %ro2 the ori+ina' source an& not %ro2 the'ou&s)eaFer, To achie/e this e%%ect8 the natura' soun& shou'& behear& %irst b7 the 'istener be%ore the soun& o% the 'ou&s)eaFer an&this is Fno(n as ti2e &e'a7e& soun& in (hich thru 2echanica'2eans8 the 'ou&s)eaFer soun& shou'& be 2a&e to co2e out a'itt'e bit 'ater than the natura' soun&8 usua''7 at an inter/a' o%


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0, in +enera'8 roo2s inten&e& %or s)eech or 2usic shou'& be&esi+ne& b7 an architect in such a (a7 that %uture use o% theroo2 (ith the ai& o% s)eech rein%orce2ent s7ste2 shou'& beincor)orate& into the &esi+n rather than &esi+nin+ the roo2(ithout this consi&eration an& then usin+ rein%orce2ent

s7ste2s 'ater on1, roo2s (hich ha/e +oo& acoustica' re9uire2ents are usua''7

better roo2s %or s)eech rein%orce2ent s7ste2

TY=4S O6 SOUND SYST4#S ITH 54S=4CT TO L44LS O6SOUND

0, The hi+h"'e/e' s7ste2" (hich consists o% a sin+'e 'ou&s)eaFer (ith a hi+h 'e/e' o% soun&, This is 2ost a))'icab'e %or roo2s (ith +oo& acoustics

1, Lo("'e/e' s7ste2

" consists o% se/era' 'ou&s)eaFer )'ace& at strate+ic 'ocationsin the roo2 an& o)eratin+ at 'o( /o'u2e o% soun&, This is2ost use%u' %or roo2s (ith ba& acoustic 'iFe churches an&cathe&ra's

I% the hi+h 'e/e' s7ste2 is use& in a roo2 (ith a %'at or 'e/e'%'oor8 it is +oo& )ractice to )'ace the 'ou&s)eaFer abo/e the hea& o% the 2ain s)eaFin+ an& &irect it to(ar&s the center o% the au&ience

I% the 'ou&s)eaFer (i'' be )'ace& behin& the s)eaFer8 the2ans /oice (i'' be hear& secon&s be%ore that8 that ca2e %ro2 the'ou&s)eaFer

=5INCI=L4S O6 SOUND INSULATION AND NOIS4 CONT5OLDe%initions

0, noise Q an un(ante& soun&

1, soun& insu'ation Q a )rocess or 2etho& o% 2aFin+ a roo2in/u'nerab'e a+ainst the entr7 o% noise

3, noise contro' Q )rocess o% e'i2ination or 'i2itin+ the)ro)a+ation o% noise

=5O=AGATION O6 NOIS4 OUTDOO5SDe%enses a+ainst noise in the o)en air:

0, to increase the &istance bet(een the source o% noise an& theroo2 to be )rotecte&

1, to )ut a screen or obstac'es bet(een the source an& the

roo23, to &esi+n or )osition the roo2 to resist the noise

6ACTO5S THAT A664CT TH4 =5O=AGATION O6 NOIS4

0, &istancethe %arther %ro2 the source the 'esser is the intensit7o% noise

1, 2o'ecu'ar absor)tion o% soun& b7 air

hi+h %re9uenc7 soun&s are absorbe& 2ore b7 airthan the 'o( %re9uenc7 soun&s

3, (in& +ra&ientre%ers to the &i%%erences in the /e'ocit7 o% air inter2s o% &istance %ro2 the +roun& an& +enera''7near the +roun& is s'o(er than that %arther abo/ethis e%%ects the )ro)a+ation o% soun&

, te2)erature +ra&ientre%ers to the &i%%erences in the te2)erature o% air


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(ith res)ect to the &istance %ro2 the +roun&8 it ishi+her than in the u))er 'a7ers, The re/erse is trueat ni+htti2e, At ni+ht the air near the sur%ace o% theearth is coo'er

?, an7 absor)tion such as a (a''8 (i'' re&uce the )ro)a+ation o% soun& out&oors as 'on+ as the 'en+th o% the (a'' an& its(i&th shou'& be 2ore than the (a/e'en+th o% the soun&

E, soun& absorbent 2ateria's 2a7 e%%ecti/e'7 re&uce the e%%ecto% the re%'ecte& soun& out&oors

M, i% the source o% the noise an& its recei/er are a'' abo/e the+roun&, The noise 2a7 increase &ue to the re%'ection %ro2

the +roun&

SOU5C4 O6 NOIS4 INDOO5S

0, 'iFe a'' t7)es o% soun&8 the noise in a roo2 is 2a&e u) o%

t(o )arts: the &irect soun& an& the re/erberant soun&,The &irect soun& &ecreases in intensit7 as the &istanceincreases8 (hereas the re/erberant soun& is uni%or2 2oreor 'ess throu+hout the roo28 es)ecia''7 i% the roo2 is s2a''an& s9uare,

I% the &esi+ners interest is to )re/ent thetrans2ission o% soun& to an a&.acent roo28 then it is usua''7the re/erberant soun& that is to be contro''e&, I% the interestis 2ere'7 on the e%%ect o% soun& insi&e the roo28 then it isthe &irect soun& that is )ri2ari'7 to be contro''e&,

1, nothin+ that is &one to the roo2 can a'ter the &irect soun&,

3, the use o% screen 2a7 a'so he') in re&ucin+ the e%%ect o% the&irect soun& es)ecia''7 i% the soun& is &irectiona', The usua')ractice is to )ut soun& absorbent 2ateria's at the si&e o% the screen %acin+ the soun& source, The screen absorbs thesoun& an& i% the &i2ension o% the screen is 'ar+e co2)are&to the (a/e'en+th o% the soun&8 the )erson behin& thescreen cannot hear the soun&, As %or the re/erberantsoun&s8 the use o% soun& absorbent 2ateria's in the roo2(i'' so2eho( re&uce its intensit7,


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, in 'on+ an& 'o( cei'in+ roo2s8 the re/erberant soun& (i'' notbe uni%or2 an72ore, In so2e )arts o% the roo28 there/erberant soun& is 'ou&er than in the other )arts, The&irect soun& %a''s o%% (ith increase in &istance, This is)ractica' in %actories (here nois7 )rocesses 2a7 be )'ace& inone en& o% the roo2,

SOUND INSULATION5e%ers to treatin+ a roo2 acoustica''7 so that the soun&

co2in+ %ro2 it (i'' not be trans2itte& to the a&.acent roo2s

1 TY=4S O6 SOUND INSULATION

0, air borne soun& insu'ation" insu'ation a+ainst noise is ori+inatin+ in the air, 4, /oices

1, i2)act soun& insu'ation" insu'ation a+ainst i2)act noises, 4, %ootste)s an& %a''in+ob.ects

T5ANS#ISSION O6 NOIS4 IN AND OUT O6 TH4 UILDING

Noise %ro2 outsi&e to insi&e /ia an o)enin+

At concessions insi&e the bui'&in+ but c'ose to the o)enin+8the noise 'e/e' is a'2ost the sa2e as i% there (ere no bui'&in+ at a'',

Noise 'e/e' %arther a(a7 %ro2 the o)enin+ &e)en&s on the area o% the o)enin+ in re'ation to the area o% soun& absorbent 2ateria's thes2a''er the o)enin+ an& the +reater the area o% the soun&absorbents8 the 'esser is the noise 'e/e',

NOIS4 65O# INSID4 TO OUTSID4 O6 TH4 UILDINGith o)enin+s8 the noise 'e/e' .ust outsi&e the o)enin+ is the

sa2e as the re/erberant soun& 'e/e' o% the roo28 %arther a(a78 thenoise 'e/e' &e)en&s on the area o% the o)enin+s an& the &istance%ro2 it,

I5ATIION CONT5OL

I5ATIONTo an& %ro2 2o/e2ent o% the structure

So2e (a7s to re&uce /ibration

0, con%ine the bui'&in+ (ithin its o(n

1, create a structura''7 2assi/e %oun&ation

3, use resi'ienc7 )rinci)'e o% (ri+ht

I5ATION =5INCI=L4The 2ore 2assi/e the bui'&in+8 the 'ess the /ibrationLi+ht %ra2e construction stee'8 (oo&8 etc,; can trans2it

soun& as (e'' as /ibration

54SILI4NCY =5INCI=L4 A +reater resistance to /ibration inc'u&es a +reater &a2a+e8

there%ore the structure shou'& +o (ith the /ibration8 'iFe in 6ranF L'7o& ri+hts I2)eria' Hote'8 it sur/i/e& the earth9uaFe,


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LIGHTING AND ILLU#INATION

6unctions o% 'i+htin+

0, to a%%or& /isibi'it7 o% ob.ects

1, to secure )'easin+ an& &ecorati/e e%%ects

- 6actors to consi&er in 'i+htin+ s7ste2

0, the 2etho& that the7 are use&

1, the )ro)erties an& ca)abi'ities o% /arious e9ui)2ent

3, the e%%ect o% the 'i+htin+ s7ste2 on the s)ace (here it is

use& as (e'' as on the occu)ants

LiFe acoustics8 'i+htin+ shou'& be incor)orate& into the&esi+n o% the bui'&in+

Li+ht 2a7 either be:

a, natura' Q &a7'i+ht

b, arti%icia'

0, incan&escent" sti2u'atin+ e%%ect8 con&uci/e to &rinFin+8 in&ucess'ee), est %or bars an& ni+htc'ubs

1, %'uorescent

" e2its a 'i+ht si2i'ar to &a7'i+ht8 con&uci/e toeatin+8 rea&in+8 stu&7in+8 etc,

3, 2ercur7

, neon

A +oo& architect shou'& use the &a7'i+ht or natura' 'i+htin+8as this is the chea)est Fin& o% 'i+ht,

TH4O5Y AND 6UNDA#4NTALS O6 LIGHTING

De%inition o% ter2s

0, )hoto2etr7" the science that &ea's (ith the 2easure2ent o% 'i+ht

1, can&'e )o(er" re%ers to the unit o% intensit7 o% 'i+ht o% one stan&ar&

can&'e (hose 'i+ht is concentrate& at a )oint an& the 'i+htsource is assu2e& to be )'ace& at the center o% a ho''o(s)here o% one %oot ra&ius

the i''u2ination at an7 )oint on the s)here is one%oot can&'e abbre/iate& %t"s;8 the unit %or the )o(er orintensit7 o% 'i+ht,

3, stan&ar& can&'e"is the bri+htness o% a b'acF bo&7 at the te2)erature o% %ree!in+ )'atinu2

, 'u2en abbre/iate& L;"is the unit o% 'u2inous %'u8 a2ount % 'i+ht %a''in+ on a

sur%ace %ro2 the source

54LATIONSHI= 4T44N LU#4N AND 6OOT CANDL4 O5 CANDL4 =O45

hen 0 'u2en o% %'u is uni%or2'7 &istribute& o/er 0 s9uare%oot o% area8 the i''u2ination at an7 )oint on the area is one"%ootcan&'e,

6O5#ULA 6O5 ILLU#INATION

I''u2ination 4; B I @ D1

here:I B the can&'e )o(er o% the sourceDBthe &istance %ro2 the source in %eet

6or ea2)'e:hat is the i''u2ination on a sur%ace (hich is 01 %t

%ro2 a 'a2) o% < can&'e )o(er c);W Ans(er:

4B I @ D1


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4B

reveiw arch-2010 acoustics and lighting

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