case study acoustic design

Case Study: Building Silently – Acoustics Design at Smithsonian’s NMAAHC

Tech Insights

• Jun 23, 2017

This case study gives a walk thru of the impact acoustics had on the newest Smithsonian museum, the National Museum of African American History and Culture.  NMAAHC had a number of spaces that required acoustical attention above and beyond the typical museum.

Below we share specific examples of nmaahc’s acoustical design, the challenges that arose throughout the design process, and key takeaways that will help others designing a new museum or renovating an existing space., the nmaahc is the 19th museum on the national mall in d.c., and will be the final smithsonian on the national mall., • act of congress in 2003, • design work began in 2009., • the museum opened in september of 2016 to the public., construction:.

Construction was a complex process, due in part to several of the larger artifacts having to be placed into the museum prior to the building being finished. These included the Angola Prison Guard Tower and Jim Crow-era Rail Car. This was largely due to their significant size & weight. Construction lasted up until 2016.​

Spaces impacted acoustically throughout museum:, even on a single floor of the museum there are many spaces where acoustics is an important consideration. these spaces are as follows:, • theaters/auditoriums, • entryways, • open atrium, • passageways, • conference rooms, • classrooms, • offices (open and closed), • health & wellness areas, when building a museum, it is imperative to consider the building’s acoustics. as you can see, acoustics affects almost every, if not all spaces throughout a museum. to do so, we look to three metrics – background noise, acoustical separation & interior finishes., click the image for a closer look at the floor plan..

Background Noise Level Consideration:

Background noise plays a huge part in a museum. speech intelligibility becomes harder and harder to achieve (without acoustical consideration) as technology continues to develop and enhance our museum experiences. we now find museums build exhibits and spaces that are extremely av-intensive., as you can see, one of the main open areas within this museum has multiple viewing areas paired with walkways and interactive displays. these specialty spaces require low background noise levels in order to enhance speech intelligibility which can cause a conflict between ductwork and other equipment/exhibits located in the ceiling..

In order to achieve a low background noise level, we have to consider things like air ducts, air handling units, and VAV boxes into the design of museums.

The drawing/model above shows the relation of air velocity to various Noise Criterion (NC)… Just this one drawing demonstrates the complexity of coordination between the mechanical engineer (sizing the ductwork), the structural engineer (ducts had to go through beams due to space constraints), and the architects (ceiling heights are affected by duct size and location).

Acoustical separation:.

The metric for acoustical separation is STC rating. The higher the STC rating the more acoustical separation is being provided by an element(i.e. partition, etc.).  This might not just be relevant for spaces adjacent to mechanical rooms, but could also apply to multiple level atrium spaces where quiet functions are happening on one level with noisier events on lower levels.

An extreme case is typically performance spaces which is discussed below., performance space challenges:.

A very challenging portion of our project at the NMAAHC was the Oprah Winfrey theater. We had to concentrate on partitions (including penetrations), use a box within a box construction, and door seals. This was due to the location of the main entrance hall above the theater, the main mechanical room below the theater and various support spaces surrounding the theater.

Below you will see examples of box within a box construction, showing the complexity of the details that go into the design., this is a section of the theater which means a vertically cut slice of the room..

Reverberation Time and Interior Finishes:

Reverberation time is defined as the length of time required for sound to decay 60 decibels from its initial level. we use reverberation time to determine the appropriate interior finishes to help achieve appropriate acoustics in a given space. interior finishes can help reduce overall noise buildup, control crowd noise in galleries and entrances, and even improve sound quality in theaters and recording spaces. ​ ​ selecting interior finishes adds another challenge when designing for acoustics. what might be right for reducing noise buildup, might conflict with space requirements for exhibits, or might not be visually pleasing/approved for the space. ​ the reception area uses multiple interior finishes. what you might think are just a wall and ceiling are actually…perforated metal acoustical ceiling panels and acoustical plaster. the combination of these two finishes not only provides a comfortable environment for daily use but also allows the space to be successfully used for presentations and after hours gatherings.​.

​​Acoustical finishes can be hidden in plain site. For the larger galleries the base building team provided black duct liner board across all of the ceilings. This treatment disappears when applied above the gallery lighting but provides excellent acoustical absorption. In addition the exhibit team provided a large Pyrok wall that further reduced overall reverberation times.

Acoustics has to take into account atypical environments too, like the Contemplative Court. The enclosed room for quiet reflection includes a waterfall feature with surrounding seating.

We recommended moisture resistant acoustical panels to be located above the perforated metal ceiling panels.

In Conclusion:

Acoustics can often be overlooked or seen as less of a priority when designing a building or museum. this not only affects the sounds within a space, but can be detrimental to the budget of the project as measures will need to be implemented after the fact which is almost always more costly.​ ​ the architectural design and construction process is complex. often times, there are budgetary constraints limiting what can and cannot go into a project. when acoustics is not taken into account during design and issues are found after the fact, two things can happen., 1. you may pay even more in construction fees to incorporate acoustical elements after the fact to right the sound issue. or,, 2. you simply cannot fix the issue due to constructability issues or cost constraints.​ ​ all projects need to consider background noise levels, acoustical separation and interior finishes and by considering all three, the project will likely be very successful from an acoustical standpoint.​, please note: photos & renderings of the national museum of african american history and culture are courtesy of smithsonian, related projects.

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14 Outstanding Concert Halls: A Perfect Match Between Acoustics and Aesthetics

• Written by Fernanda Castro
• Published on May 15, 2019

When we think about a perfect match between acoustics and good design it may not be as easy as it seems. A number of technical decisions in order to make an interior space acoustically efficient -and to achieve its programmatic purpose correctly- can make some of the architect's design intentions fade and be replaced by standard and prefabricated panels.

In this article, we present a selection of architecture projects that are able to create a memorable visual impact as well as an impeccable interior solution for acoustics. These are our favorite 14 music venues that fascinate inside and out.

Harbin Opera House / MAD Architects

From the proscenium to the mezzanine balcony the grand theater’s use of simple materials and spatial configuration provides world-class acoustics. The grand theater is illuminated in part by a subtle skylight that connects the audience to the exterior and the passing of time.

National Sawdust / Bureau V

Bureau V worked closely with acoustics and theatre teams at Arup, to devise an acoustically-driven chamber hall with a wrap-around balcony that accommodates 170 patrons in row seating, 120 patrons in cabaret seating, or up to 350 standing guests. With variable stage configurations that can be lowered flush with the floor, the double-height venue can also hold a 70-piece orchestra for rehearsals and recordings.

CKK Jordanki / Fernando Menis

In addition to achieving a strong expression, the picado helps to achieve excellent acoustics. This new technique has been certified by the Institute of Building Research from Spain and Poland, respectively.

Elbphilharmonie Hamburg / Herzog & de Meuron

(...) here the architecture and the arrangement of the tiers take their cue from the logic of the acoustic and visual perception of music, performers and audience. 

Aix en Provence Conservatory of Music / Kengo Kuma and Associates

Folding is also applied to the concert hall. An asymmetrical interior was generated as its result, and helped to make a resonance with colorful, free-spirited music by Darius Milhaud (...)

Foro Boca / Rojkind Arquitectos

In its interior, the concert hall unfolds the technical knowledge of foreign and local specialists in acoustics, isoptics and theatrical mechanics. It possesses the equipment to become the most sophisticated concert hall in the country.

Palau de les Arts Reina Sofía / Santiago Calatrava

The central core is occupied by the fully air-conditioned auditorium of the main auditorium, which is set within an acoustically shaped shell embedded within the cluster. 

Philharmonic Hall Szczecin / Estudio Barozzi Veiga

The great symphonic hall differs from these in that it is a sculpted object, embedded into a barely outlined mineral-like space.

‘Henri Dutilleux’ Conservatoire / Dominique Coulon & associés

The acoustic of each studio is designed to suit one specific instrument. The areas appear to fit into each other. Empty areas are hollowed out of this compact mass, creating relationships between the different levels.

Musikene / GA + Atxurra Zelaieta Arquitectos

The most important issue to take into account is the acoustic needs that affect all the spaces of the building, needs that ensure the success of the functionality of the building.

Jazz Campus / Buol & Zünd

The materialization of the interior spaces is superior and rich due to the acoustic requirements. Acoustic needs shape the building a lot as it was necessary to build almost a second house inside the house and meters thick walls.

Walt Disney Concert Hall / Frank Gehry

The concert hall's partitions and curved, billowing ceiling act as part of the acoustical system while subtly referencing the sculptural language of the exterior.

Xiqu Centre / Revery Architecture + RLP

 The innovative design decision to suspend Xiqu Centre’s breathtaking 1,073-seat Grand Theatre at the top of the building 90 feet (27 metres) off the ground, facilitates internal configuration of the atrium and public plaza while strategically isolating the auditorium from vibration and the high ambient noise levels of its surrounding urban infrastructure.

La Seine Musicale / Shigeru Ban Architects

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The Kendeda Building for Innovative Sustainable Design

Case study: acoustical design.

The acoustical design for The Kendeda Building included: exterior noise control, mechanical systems noise control, sound isolation, impact isolation, and reverberation control. In addition, we had to adhere to the LBC and identify acoustical products that do not contain Red List materials or chemicals (777 in total) that have the greatest impact to human and ecosystem health. In other words, not only did we optimize acoustical performance, we did so while taking into account occupant health.

The acoustical team chose to base the design goals on ANSI/ASA S12.60/Part 1 American National Standard Acoustic Performance Criteria, Design Requirements, and Guidelines for Schools, Part 1: Permanent Schools. The Petals of the Living Building Challenge do not currently include acoustical design concepts, but it is our hope that future iterations will include acoustical design as a component.

One of our proudest achievements is moving the acoustical manufacturing industry further along in considering sustainable options for acoustical products. Prior to this project, very few acoustical options were available on the ILFI Declare system or noted by they manufacturers as Red List free. Our investigations brought the Red List to the attention of acoustical manufacturers and now there are more documented sustainable acoustical products readily available. The products selected for this project, specifically the mineral wool, met many of the project guidelines in addition to acoustics. This is discussed further in the Reverberation Time section.

Prior to the construction of the Kendeda Building, professors working in and around the project site expressed daily discomfort due to the mechanical system noise coming from adjacent buildings. Elimination of that noise has lead directly to improvements in their and others' lives. The noise investigation and mitigation is outlined in the Environmental Noise section below.

We are pleased to report that the users are happy with the acoustical atmosphere in the building. The following narrative outlines some of the specific challenges and acoustical opportunities in the building but are not an exhaustive listing of all aspects of the acoustical consulting on the project.

Reverberation Time Control

Red list imperative.

The Living Building Challenge includes a Red List Imperative specifying that all products used shall be noted as Red List Free or Red List Compliant, meaning the product does not include any of the chemicals on the Red List. The International Living Future Institute maintains the Declare label for products that lists all the product ingredients and other relevant requirements for sustainable designs. This is a search-able database of materials that are Red List Compliant.

At the beginning of the design phase the acoustical team searched the Declare database for Red List Compliant materials and found very few acoustical options, mostly limited to ceiling tiles. This prompted the team to reach out to a number of acoustical manufacturers asking about their products' ingredients and to investigate if their materials might be Red List compliant. The team additionally requested they consider submitting materials to the Declare database. While the options were limited for this project in design, we are pleased to find many of those manufacturers contacted did investigate further and today there are many material options and aesthetic choices for acoustical products in the Declare database.

Acoustical Absorptive Materials

The acoustical panels used for the project consisted of stretch fabric using the pvc free EcoTRACK track system, the Knauf Ecose Silent Fiber Line which is a phenol/formaldehyde-free mineral wool, and Red List compliant Maharam fabric. The panels were incorporated into the aesthetic designs to meet the interior design needs, installed between the windows allowing plenty of natural light, and leaving the wood ceilings exposed. Sufficient panels were incorporated to meet the ANSI S12.60 design goals.

The EcoTrack material was not commercially available at the beginning of the design phase. Through contacts with manufacturers' local representatives, we learned of the material and its planned market release closer to the start of construction. The material was available as estimated and submitted via Novawall for installation. The pvc free track is now available as an option from many of the major stretch fabric manufacturers.

Sound Isolation

The EcoBatt Unfaced Knauf Insulation was used for sound and thermal insulation at the interior and exterior walls. While more expensive, this Red List compliant mineral wool provides improved transmission loss, higher fire resistance, higher percentage of recycled glass, and is easier to install. The insulation met the acoustical needs and satisfied multiple aspects of the project.

HVAC System Noise Control

The HVAC system design started with energy and noise control in mind. The system relied on a decoupled concept using a dedicated outside air system for ventilation and dehumidification and radiant flooring systems for space cooling and heating. By using the radiant system, the amount of air delivered by the ventilation system is approximately 1/3 of that provided by a traditional system, which allowed the team to upsize the ductwork to reduce fan energy, which had the added benefit of reducing velocity and therefore breakout noise.

The main mechanical room is located in the basement, slab on grade, and far from the occupied spaces above. The dedicated outside air unit is located on the roof, but was strategically located over the building core to minimize noise and vibration transmission to program space. By scheduling maximum allowable sound power limits for the air handlers and terminal units, and working with the mechanical engineers on the duct layout and velocity, the ducted noise control design was limited to only 2 film-lined duct silencers.

Impact Isolation

The building structure was designed using wood from sustainably managed forests, salvaged materials, and even wood reclaimed from trees felled on the campus. This wood is featured throughout the building including in the exposed ceilings. The floors are a mixture of wood and polished concrete.

The radiant flooring system created an opportunity to incorporate impact isolation into the flooring design. Based on the project requirements, the Acoutimat 3 HP product by Maxxon was determined as the preferred solution to incorporate with the radiant flooring to provide impact isolation. Below is a photo of the radiant flooring installation over the impact isolation system and a detail showing the Acoustimat incorporated with the radiant flooring.

Exterior Noise Control

From the beginning of design, exterior noise was a concern because the Kendeda Building includes outdoor gathering, relaxing, studying, and farming spaces. The adjacent Krone Engineered Biosystems Building (EBB) and Marcus Nanotechonology Building (MNB) each has exterior mechanical equipment that was audible and objectionable at the Kendeda site prior to construction.

Measurements were taken at each building and the project site to determine the source of the noise and the most practical solution. Each of these buildings was in use and any mitigation solutions had to be balanced with research and class schedules to limit service impacts.

The team walked the campus and determined the source of the tonal noise identified at the Kendeda site was coming from the ERUs on the roof of the EBB. Seven measurement locations were selected as shown below.

EBB equipment measurement locations attached for reference :

Measurement locations at EBB and Kendeda Building attached for reference ::

In addition to these 7 locations, 5 conditions were tested operating the the 3 ERUs at multiple fan speeds based on the building use cases. ERU-P01A was the unit exhibiting the tonal component at 400 Hz and 500 Hz depending on the fan speed.

The 3 ERUs included additional capacity for future uses in the building. Therefore the most practical solution, chosen and implemented by the school, was to slow the fans on ERU-P01A. This eliminated the audible tone at the project site. Should future needs require the increase of the fans on the ERU, acoustical louvers were designed to mitigate the noise. The louvers were designed in conjunction with the mechanical team to limit the impact on the ERU performance.

The Marcus Nanotechnology Building, located directly adjacent to the Kendeda site, includes lab exhaust fans (LEF), generators, exhaust fans for specific gases (Nitrogen and Silane), and chillers. Measurements were taken close to each unit and at the project site.

The highest impact was from the generators, followed by the lab exhaust fans and the nitrogen vaporizer fans. The team reviewed multiple options and chose those that provided the most improvement without impacting the building aesthetics, scheduled use, or functionality. The recommendations were provided in phases to allow for implementation with the school schedule. We understand that Phases 1 and 2 have been implemented and the resulting mitigation is satisfactory to the school.

Mitigation Options for Implementation

Phase 1 and Phase 2 were ways the Design Team outlined the mitigation options for implementation. There was also a Phase 3 that was not implemented.  The Design Team “phased” them for cost and effectiveness and to match the school schedule for when things might need to be shut down for implementation.

• LEFs: Include by-pass inlet damper silencers, model FS-401-LF, on the LEFs located on the LEF and scrubber decks on the north side of the building. This includes but is not limited to HEF-C01, HEF-C02, HEF-C03, AEF-C01, AEF-C02, AEF-C03, GCF-C01, GCF-C02, AES-C01 and AES-C02. Bi-pass damper silencers are recommended even on the future expansion locations as each damper opens into the same air plenum.
• Generators – assuming generators are only for emergency use and weekly tests, schedule generator test runs for times of lower campus occupancy perhaps before 8am classes.
• Nitrogen Evaporator Fans – review options for quieter operation. Replace with quieter fan option including vibration isolation or replace with a fan-less system.
• Chillers – Review thermal seals on roll doors and single-width door. Replace seals that are showing wear and add seals if missing. Confirm door is sealing well and closing completely.
• LEFs: Include by-pass inlet damper silencers on the remaining LEFs.
• Silane Fans S04 and S05 basement level: Wrap fans with mass loaded vinyl over quilted fiberglass blanket. Use a product such as Insultech by Shannon Enterprises.

DATE PUBLISHED: May 10, 2022 AUTHOR: Jessica Clements ORGANIZATION: Newcomb & Boyd, LLP PROJECT ROLE: Acoustical Consultant TELEPHONE NUMBER: 404-730-8429 EMAIL ADDRESS:  [email protected]

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Acoustic Design for an Auditorium Project Using Building Performance Simulation to Enhance Architectural Quality

2017, ASA2017 Wellington

This paper reports a consultancy work for an auditorium project. The consultancy work considers four important acoustic design issues for auditoria: volume and seats; control of reverberation time (RT); diffusion of sound; elimination of defects. Odeon 5.0 was used to simulate the reverberation time and sound propagation and diffusion. Case studies were used to discuss the simulation results and to propose design guidelines. For a small auditorium, the design recommendation is about how to minimize sound absorption and to achieve sufficient reverberation. Sound defects were found in the stage outlet and rear walls. The design recommendations based on the consultancy work helped architects improve their design and enhance architectural quality.

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In the north of Sweden, three new concert halls have been built in the last few years. The three halls are; Studio Acusticum in Pitea (2007), Kulturens hus in Lulea (2007) and Norrlandsoperan in Umea (2002). The Acoustics of the halls have been designed by Tunemalm Akustik. There are noticeable differences between the halls. Studio Acusticum is a multipurpose concert hall where the variable acoustics is realized by a height adjustable ceiling and absorbing curtains. Variable volume is an unusual solution, which permits good acoustics without many of the drawbacks normally associated with multipurpose halls. Kulturens hus is also a multipurpose hall, but here the variable acoustics is realized by variable absorption. The walls can be changed from reflective to absorptive by a system of motor driven panels. The acoustic properties of the ceiling can also be changed. To attain very short reverberation times, absorptive curtains can be lowered on the stage and side walls. Norrlandsopera...

IRJET Journal

The study discusses the acoustical design of a large Auditorium with a seating capacity of 900 and catering to various types of performances. The paper summarizes the interior acoustic materials and control of reverberation characteristics of the hall. Initially the acoustic simulation of the auditorium has been done using ODEON programme. Measurements of Reverberation have been carried out using an impulsive source and a reverberation processor resulting in fairer agreement with the simulated values. For the acoustical treatment the side walls are covered with alternate reflective and absorptive materials which resulted in a diffusivity of the halls. In order to improve the short delayed reflections reflectors have been provided beneath the ceiling. An average RT value of 0.8 sec has been attained in this hall. The Edt values have better correlation with the RT Values. The clarity values (C80) obtained is positive resulting in better intelligibility of speech. The RASTI and articulation index values indicate satisfactory values. The LEF values indicate an average value of 0.2. The definition D50 value indicates 0.7.

Firas Sharaf

José Ignacio Sánchez Rivera

This paper presents the most important conclusions of the acoustic study made in the Auditorium of the Manuel de Falla Centre in Granada (Spain). This auditorium was built by the architect José María García de Paredes in 1978 and reopened in 1987, making it one of his most important and beloved works. In the context of the concert rooms in Spain, its position is emblematic because it acts as a starting point in the modern conception of these halls. This paper is divided into two parts: • Description of the project progress up to the final construction of the auditorium: preliminary references of musical rooms, first sketches and blueprints, the evolution of the construction project from the moment the architect comes in touch with the acoustical consultant Lothar Cremer, as well as the changes made in the room in its reopening are analyzed. • Presentation of the acoustic simulation results: sound rays trajectories from the source to the receivers are analyzed and the acoustic parameters that define its sound quality are evaluated using the CATT Acoustic software.

The acoustic quality in enclosed spaces is defined by the constructive characteristics of the environment, which must be designed to increase the propagation of the sound. Therefore, the sound message to be transmitted, whether spoken, song or by music instruments, can be intelligibly captured by the listeners. Among the main characteristics that influence the sound behavior in rooms are its dimensions, its geometric shape and the finishing materials applied on their internal surfaces. Each room has different acoustic requirements, directly related to the purpose for which it is intended. Therefore, the professional responsible for the design and construction of these environments should analyze and recognize the needs of each case. In this way, the present case study presents the evaluation of the acoustic quality of a multiple use auditorium, at Unisinos Campus, in São Leopoldo, southern Brazil. Acoustic measurements were performed to calculate the Reverberation Time (T30) and the Early Decay Time (EDT) of the room. Afterwards, the modelling of the auditorium in the acoustic simulation software CATT-Acoustics was carried out, allowing the estimation of other objective acoustic parameters such as the Speech Transmission Index (STI), Definition (D50) and Clarity (C80). The results obtained through measurements and acoustic simulations show that the auditorium has satisfactory acoustic quality for speech, but it is not so suitable for receiving musical presentations. The model generated in the software also made it possible to simulate constructive solutions aiming to improve the acoustic quality of the room.

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Applied Acoustics

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Acoustics in Behavioral Health: A Case Study

EDAC CEU Form_Webinars_July29_21_1.pdf

AIA Verification Quiz_07-29-21_1ON.pdf

Acoustic design is important in any interior environment, but even more so in behavioral health environments. Research and clinical experience suggest that high noise levels can contribute to noncompliant behaviors in patients and impede treatment and recovery. It can also lead to increased stress for staff. This webinar will review two separate behavioral health units, one constructed with typical acoustical ceiling tile panels and one with a new acoustic gypsum wallboard ceiling assembly with a similar noise reduction coefficient. A comparison of these two facilities’ acoustic testing results will be discussed along with security concerns, owner requirements, and possible design solutions for this particular sector of healthcare design.  

Jennifer Wilcynski is a NCIDQ certified, LEED-AP and EDAC certified Interior Designer with over 19 years creating exceptional experiences for patients, families and staff in healthcare spaces. As a Senior Associate of the firm, Jennifer leads Orcutt | Winslow’s Phoenix Healthcare Interiors department.  As a dedicated designer, she is passionate about evidence-based design and research and firmly believes that the built environment has the power to positively affect the healing process.  She utilizes EBD to support her design decisions and to enhance her client’s understanding of possible solutions for best patient outcomes.   

Tony Sola has been working as an acoustical consultant for almost 30 years.  As the Principal/Owner of Acoustical Consulting Services, he has worked on an assortment of over 4000+ projects including design phase consulting, code verification, acoustical testing, expert testimony, and consulting for municipalities, architects and builders.  Mr. Sola is a full member of the Institute of Noise Control Engineering and the Acoustical Society of America. His company is also a national member of United States Green Building Council (USGBC).   In addition to his work for ACS, he has taught Architectural Acoustics to Interior Designers and Architects at Arizona State University over the past 20 years, as well as guest lecturing and teaching at other schools and universities.  Mr. Sola has developed/presented numerous acoustic and sustainable design lectures certified for continuing education by AIA, GBCI and IDCEC.     

Kathryn Schane, DNP MHA, MSN, BSN, RN, serves in the role of Vice President of Clinical Services with Horizon Health, and supports multiple contracted psychiatric programs throughout the United States. Kathryn holds a Bachelor of Science Degree in Nursing from Cedar Crest College in Pennsylvania, a Master of Nursing Education, a Master of HealthCare Administration from Kaplan University in Iowa, and recently a Doctor of Nursing Practice from Purdue University. Kathryn has worked for Horizon Health in various roles including staff nurse, Nurse Manager, and Program Director, serving behavioral health units throughout the country. Kathryn resides in Pennsylvania with her family, and enjoys family time, running, and outdoor activities.   

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Acoustic correction of a classroom: a case study

Project: acoustic correction of a classroom Size of environment: 162 m³ Acoustic issues: high reverberation times unsuitable for studying and learning activities

In learning environments, such as schools and colleges , it has been shown that prolonged exposure to noisy surroundings can cause discomfort and mood swings, contributing to increased stress and fatigue in students and teachers, as well as diminished cognitive skills. Noise pollution can affect acquisition of knowledge during a lesson or study session, decrease attention levels and impair student-teacher communication.

The presented case study deals with the acoustic treatment of a classroom approximately 162 m³ in size. The room is designed to accommodate both teaching and self-study activities, so a phonometric analysis was carried out with the DIN standard for teaching taken into consideration. The average reverberation time (RT) measured before treatment is 1.59 s at an average of 250-2000 Hz, which is too high for teaching. During the planning and design phase, the values that could be obtained with Caruso Acoustic’s sound-absorbing products were identified and, specifically, it was decided that 7 Silente acoustic panels measuring 120x120x5 cm would be installed, both on the ceiling and walls.

The following table and graph show the reverberation time (RT) calculated in the room before the installation of the sound-absorbing products and the situation after installation:

The targeted distribution of sound-absorbing products in the classroom achieves considerable results, with a sound-level reduction of -2.33 db. Silente panels are particularly suitable for solving sound issues caused by talking and, thanks to the analyses and measurements carried out during the planning and design phase, solutions functional to the various ways in which the panels can be used may be developed.

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