INSTITUTE OF ENGINEERING

PURWANCHAL CAMPUS

DEPARTMENT OF CAMPUS
DHARAN, SUNSARI

BUILDING SCIENCE
REPORT ON ACOUSTIC AND LIGHTING PROPERTIES OF BUILDINGS

SUBMITTED BY: SUBMITTED TO:

PRAKASH ROKA MAGAR (30) AR. ANISH LIMBU
PRIYANKA KARNA (31)
RIWAZ UPRETI (33)
SUJAN BISHWOKARMA (41)
UJJWAL DEV (47)
 REPORT ON LIGHTING AND ACOUSTIC PROPERTIES March 9, 2021

Table of Contents
1. RASTRIYA SABHA GRIHA :- .............................................................................................................. 3
1.1 INTRODUCTION :- .................................................................................................................... 3
1.2 SURROUNDING CONTEXT :- .................................................................................................... 3
1.3 FUNCTIONAL ANALYSIS :- ........................................................................................................ 3
1.4 AUDITORIUM :-........................................................................................................................ 4
1.5 ARCHITECTURAL STYLE AND BUILDING FORM :- ................................................................... 5
1.6 MATERIAL USED :- ................................................................................................................... 5
1.7 LIGHITNG PROPERTIES :- ......................................................................................................... 5
1.8 ACOUSTIC PROERTIES :- .......................................................................................................... 6
1.9 INFERENCES :-.......................................................................................................................... 6
2 KIMBELL ART MUSEUM .................................................................................................................. 7
2.1 LUMINOUS ENVIRONMENTS IN MUSEUMS ............................................................................ 7
2.2 THE KIMBELL ART MUSEUM: SITE, ARCHITECTURE, SPATIAL EXPERIENCE AND LIGHT :- ...... 8
2.2.1 SITE MICRO-CLIMATE ANALYSIS ...................................................................................... 8
2.2.2 ARCHITECTURE ................................................................................................................. 8
2.2.3 SPATIAL EXPERIENCE........................................................................................................ 9
2.2.4 LIGHT .............................................................................................................................. 10
2.2.5 DAYLIGHTING PERFORMANCE ANALYSIS ...................................................................... 10
3. SHANTANAND AUDITORIUM :-..................................................................................................... 12
3.1 Acoustic Design Analysis ..................................................................................................... 12
3.1.1 AIM OF SOUND AMPLIFICATION SYSTEM : ....................................................................... 13
3.1.2 GEOMETRY & BUILT FORM .............................................................................................. 15
3.1.3 Early Reflectlons ( On stage ............................................................................................... 15
3.1.4 CEILING REFLECTION PATTERN ....................................................................................... 16
3.1.5 INTRUSION ......................................................................................................................... 17
3.2 MATERIAL TABULATION :- ..................................................................................................... 17
3.3 CONCLUSION :- ...................................................................................................................... 19

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1. RASTRIYA SABHA GRIHA :-

1.1 INTRODUCTION :-
City hall was designed in 2057 by the first architect of Nepal, Gangadhar Bhatta. It
was built at the time when the
architecture was blooming from
its bud. The importance of hall
lies in its architectural expression
and space efficiency. The city hall
is managed by the Metropolitan
City Office of Kathmandu, houses
an auditorium, administrative
office, and few shopping outlets
accessible only from outside and
has served for many performing arts as well as a milestone for the development of
modern architecture in the valley.

1.2 SURROUNDING CONTEXT :-

Adjacent to the complex are the Bus Park, Mahendra Police Club, Nepal Tourism
Board and Bhrikuti Mandap Exhibition Hall. It is easily accessible from all part of the
valley since it lies at the center of the city. Since the site lies lower the main road it
can be perceived by the passerby walking around the location. It is one of the
appreciated built forms in terms of architectural expression.

1.3 FUNCTIONAL ANALYSIS :-

There are separate entrances that lead to the
main hall, Administrative office, and also
separate entrance is provided for the VIP at
the west. The ground floor houses
administrative office, and café. The staircase
in the center is there providing a vertical
access to the first floor. A large skeletal
staircase at the front leads people directly
towards the main foyer whereas the office
area is hidden from direct approach.

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1.4 AUDITORIUM :-
 The auditorium is accessible through the main wide staircase via a foyer.
 The hall has a capacity of 670 audiences.
 The auditorium has two aisles, which divides the seating into three parts.
 There is a single row balcony at the top.
 The auditorium is facilitating with AC facility.
 The hall is covered by timber truss and asbestos sheet. As the hall is not designed
for theatrical performances, there is no orchestra pit. Separate changing rooms
and dressing room have been provided at the back stage.

FIG : GROUND FLOOR PLAN OF CITY HALL

FIG : SECTION OF CITY HALL

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1.5 ARCHITECTURAL STYLE AND BUILDING FORM :-

Based on modern principles of design, the building reveals
the symmetric nature along the axis of entry. The building
exhibits dynamic nature in form. Various forms used create
a variety in design. Use of different colors and textures for
different surfaces adds visual interest in the exterior look.
Vertical linings on the front façade give verticality to the
structure.

The building has been symmetrically designed.

Composition of the different geometrical blocks and
varying architectural treatment represents variety in
design, yet the composition as a whole seems balanced.
The building has been symmetrically designed and it has an
interesting façade with a soothing color combination,
which provides an interesting form.

1.6 MATERIAL USED :-

 Bricks used in the wall.
 Steel frames and glass for window.
 RCC for structural members/
louvers
 Timber planks for stage, seats and
door panels.

1.7 LIGHITNG PROPERTIES :-

 Numerous no: of holes in building
to provide enough natural lighting.
 Proper use of artificial lightings in
the building.
 Use of free façade on the front elevation provides high transparency {lighting}
and connection between exterior and interior environment.
 The front foyer of the complex is exposed to the exterior through free facade
on the top which gives enough lighting.

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1.8 ACOUSTIC PROERTIES :-

 Use of irregular shape of ceiling for proper sound management through reflection
of sound.
 Numerous no: of holes in building to provide proper air circulation which helps in
maintaining sound.
 Use of timber truss and asbestos sheet for acoustic management so that it can
absorbs sound.

1.9 INFERENCES :-
 Intersting different build forms with vibrant use of color combination and façade
treatment makes this symmetrical design remarkable.
 Adequate foyer area is necessary for an auditorium. Void above foyer creates
openness.
 Well organized flow divergence created by introduction of open wide staircase. An
evidence of emphasis for pedestrians
 The landscaping greenery and water body are interesting and attractive, the play
with differently textured material like coarse aggregate and fine cement and bricks
are admirable.
 Well planned sitting arrangements in Auditorium.

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2 KIMBELL ART MUSEUM

The Art Museum in Fort Worth, Texas hosts an art collection as well as traveling art
exhibitions, educational
programs and an extensive
research library. The building
was designed by
architect Louis I. Kahn and is
widely recognized as one of
the most significant works of
architecture of recent times. It
is especially noted for the
wash of silvery natural light
across its vaulted gallery
FIG : KIMBELL ART MUSEUM
ceilings.

The museum is composed of 16 parallel vaults that are each 100 feet (30.6 m) long,
20 feet (6 m) high and 20 feet (6 m) wide (internal measurements). Intervening low
channels separate the vaults. The vaults are grouped into three wings. The north and
south wings each have six vaults, with the western one open as a portico. The central
space has four vaults, with the western one open as an entry porch facing a
courtyard partially enclosed by the two outside wings.

2.1 LUMINOUS ENVIRONMENTS IN MUSEUMS

As one of key considerations in art galleries and museums, “the situation in which it is
viewed” directly affects how display is exhibited and perceived
“Windows providing general room
lighting an views out” can create
“appearance of a daylit room and may
simulate the original ambience of an
art work”.
“Side windows providing illumination
on art works may simulate the original
ambience” and has advantages as
“good colour rendering and good
modelling of three-dimensional form”.

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“Specially designed roof lights illuminating art works” has “good colour rendering,
direction of light reduces shiny reflections, daylight can be controlled with louvers
and blinds”
Visual appearance in museum is evaluated through the relation between objects and
ambience in terms of illuminance and brightness contrast. In terms of illuminance, as
a benchmark; “50 lux is considered to be a minimum for displaying objects that
require the perception of detail and colour”.

2.2 THE KIMBELL ART MUSEUM: SITE, ARCHITECTURE, SPATIAL EXPERIENCE AND
LIGHT :-
In order to have a holistic understanding of the luminous environment in the Kimbell
Art Museum, this study started with the site micro-climate analysis, and then
followed by the analysis of architecture, space and light.

2.2.1 SITE MICRO-CLIMATE ANALYSIS

The Kimbell Art Museum is located in Fort Worth,
Texas, which is located on latitude 32.8°N and
longitude -97.1°W. The orientation of the building
is towards north & south on its longitudinal axis.
The gallery spaces are orientated towards north
and south with their vault-shaped facades, on
which they have only narrow semi-circular light
slits. The galleries have also elevations facing east
and west, which are blind facades except the
narrow linear light slit on the west orientated
portico side. The roof lights are positioned on the
northsouth axis. The overshadowing analysis
shows that there is no adjacent building which
overshadow on the museum.

2.2.2 ARCHITECTURE
The Kimbell Art Museum was founded by the Kimbell Art Foundation and opened in
1972. Kahn always considered the vaulted space idea and his project captain
developed the “cycloidal section”: “It has been stated that “the cycloidal vaults
fulfilled his greatest dream, defining spaces through the unification of light and
structure”.

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The plan of this museum

contains three bays, each
of which are approximately
32m long and contain six
barrel vaults. The entrance
facade hosts two porticos
under the vaults. The
entrance is from the centre
of the plan with a set-back,
which is approached from
the portico and a glazed
entrance wall. The
entrance leads directly to
the galleries, stairs to basement floor, shop and library. Exhibition galleries are on
both side of the entrance and located under the vaults. Light courts are positioned
inside the galleries and integrated into the vaults. In terms of fenestration design, the
exterior facade of the museum contains narrow linear light slits on the end and side
walls, which are largely opaque. As a contrast, the entrance facade towards west is
fully glazed. The light courts, which are north and south courts, are located inside the
vaults and act as light traps to bring light into the exhibition spaces with their
transparent facades. The unique rooflight is located horizontally on the centre of
vaults.
2.2.3 SPATIAL EXPERIENCE
The main entrance on the ground floor, which is at the centre of the museum, is
reached through a vaulted
portico and fully glazed facade.
The exhibition spaces are
located on both sides of the
entrance. Through the
exhibition spaces, the visitors
face the north court and this
court brings the exterior
ambience into the museum.
The impact of exterior
ambience is replaced with the
dominance of the concrete
vaults. The south court, which is on the opposite side of the entrance, is closer to the
west orientated wall in contrast to the north court, which is at the centre of the
museum.

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2.2.4 LIGHT
In the Kimbell Art Museum, Kahn created this unique top-lit museum environment, in
which daylight plays the key role, and he skillfully integrated the rooflight and light
courts into the museum’s architecture. The structural design allowed the cycloidal
vaults to be “supported on only four
columns each, that allowed a continuous
roof light at the apex of the roof and an
arc glazing between the soffit”. The
dynamism of daylight is integrated by
the open-air courts with different
dimensions, transparency and
reflectance. Narrow roof lights are
located at the centre of the concrete
vaults. The reflector below the rooflight
both reflects and diffuses daylight,
making the vault ceiling as one of the
brightest surfaces in the galleries. While directing the sunlight towards the ceiling,
the perforated zone of the reflector allows the controlled light beams to radiate into
the gallery spaces. The linear light slits on travertine side walls and the semi-circular
light slits on end walls echo the bright linear reflector surface and enhance luminance
balance. Due to the high solar angle and almost overhead position of the sun in
summer, the configuration of rooflight prevents the direct solar ingress entering the
gallery spaces creating a diffused lighting condition. Although there is linear light slit
on west facade, the portico and travertine wall prevent the penetration of direct sun
through the slit.
2.2.5 DAYLIGHTING PERFORMANCE ANALYSIS
Daylighting performance has been
evaluated through daylight
distribution and daylight factor (DF)
of the gallery spaces. The
performative studies were conducted
by using Autodesk ECOTECT /
RADIANCE. The measurement grid
plane has been set at 0.85m from the
finished floor level. The average
daylight factor in the entire Gallery A
is 2.0 percent. This indicates a
luminous environment which requires
supplementary artificial lighting

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.While the court zone is a well daylit space with daylight factor around 5 percent,
inner zone has a rather low daylight factor around 1 percent. It is evident that the
court zone benefits from the light trapped by the north court. In Gallery B facing the
south court, the average daylight factor is 2.3 percent suggesting a relatively low
daylit appearance for
the gallery space.
Uniformity ratio (UR) is
calculated to
investigate the daylight
distribution in the
galleries. In Gallery A,
the uniformity ratio is
0.5, which indicates an
uniform lighting
condition. The daylight
factor distribution curves, which show the light distribution on the horizontal and
vertical axis, reveal that the daylight factor is higher in the centre of the Gallery A due
to the north court on X-axis. The line graph on Y-axis shows the drop in daylight
factor value starting from court. The light distribution remains uniform on the inner
zone of the gallery.
In Gallery B, the uniformity ratio is slightly lower (0.4) indicating a less uniform
daylight distribution. While the X-axis shows a similar characteristic, the Yaxis differs
uniform for the majority of the gallery as it is narrower from the Gallery A. The light
distribution is than Gallery A.

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3. SHANTANAND AUDITORIUM :-

LOCATION : JALAN BERHALA, KUALA LAMPUR MALAYSIA

CAPACITY : 658 SEATS
YEAR : 2011
BUILT AREA : 8769 M2

The temple of Fine Arts is located right in the centre of

the crescent shaped Jalan Berlaha in Brickfields. The 5
storey building was designed with the needs of the
institution such as dance, music studios. Shantanad
auditorium is well known for its cultural performance
stage.
Shantanand Auditorium occupies the second and third floor of the Temple of Fine
arts, as a choice performance venue suited for cultural and artistic events. It has also
served well as a venue for weddings, seminars, workshops and corporate events

3.1 Acoustic Design Analysis

The auditorium is designed as a fan shape

which bring distant spectators to the
performers. However, the arrangement of
Shantanand Auditorium is ideally within
the maximum limit of 130° for wide fan
arrangement. This is to ensure that the
sounds can be heard clearly throughout
the auditorium.

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The measure of the Sound

Intensity Level (SIL) from 10 and
more dance performers during
their rehearsal, in Shantanand
Auditorium shows a distinct FIG : SOUND ATTENUATION OF GORUND FLOOR

souncl attenuation
<:oncentrated at the center of
the auditorium and found out
that energy loss of sound
propagation in Shantanand F

Auditorium is low because the i

g

depth ofthe auditorium is u

•

shallow.

FIG : SOUND ATTENUATION OF FIRST FLOOR

3.1.1 AIM OF SOUND AMPLIFICATION SYSTEM :

 To reinforce the sound level when the sound

source is too weak to be heard.
 To provide amplified sound for overflow audience.
 To minimize sound reverberation.
 To provide official reverberation in rooms Erlich are too dead for satisfactory
listening.

Sound shadow area can be determined

when sound waves failed to propagate.
Due to the size of the gallery, sound
shadow does not happen even at the
back section of ground floor seating, as
the seatings riglst under the gallery are
not too far away from the sound source,
the area receives higher sou nd intensity
level (79 dB) than the back section of first
floor seating area (77 dB).
FIG : POSITION OF SPEKER

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For the reason that ground floor seating receives direct sound
path (79 dB) compare to first floor seating receives indirect
sound path (77 dB), because the longer distance the sound
travels, the softer the sound will get.

FIG : SECTION SHOWING SHADOW NOT OCCURING EVEN UNDER THE BALCONY

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3.1.2 GEOMETRY & BUILT FORM

Sound reflection occurs wnen sound is bounced o!T a sudace. Ths usually
occurs on flat, rigid surfaces like concrete or brick walls. Shantanand
Auditorium has a wide shallow plan
with its seating laid out in straight
stepped rows and separated angled
side blocks focusing toward the
stage. Sound travel in straight path
from its source, sound can be
reached to every corner of the
auditorium by reflection of sound.
Fan shape of Shantanand
Auditorium distributes sound to
every seating in the auditorium
evenly, unlike poor distribution of
sound as curvilinear shape that
concentrate sound to the centre of
its propagation only.
FIG : PLAN SHOWING SOUND REFLECTIONS FROM SIDE WALLS

3.1.3 Early Reflectlons ( On stage)

The early reflected sound leaves the

loudspeaker and then bounces off one of the
boundaries of the auditorium before reaching
the ears of the listener. It’s the echoes of a
signal that arrive at the microphone within a
stretch of about 3Oms aher the direct sound.
FIG : PLAN SHOWING SOUND REFLECTIONS FROM SIDE WALLS

In Shantanand auditorium, the Cyclorama

screen at the stage functions as sound
reflector during performances. Strong early
reflections of sound occurred at the
Cyclorama screen and early reflection from
side wall enhance the indirect sound toward
the audiences
FIG : SECTION SHOWING SOUD REFLECTIONS

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3.1.4 CEILING REFLECTION PATTERN

It serves to contribute useful sound reflection towards the seating area,

retaining the volume of the sound as it reaches the audience. The concave
design of the ceiling panels further aids to direct the reflected sound waves back to
the audience especially those who sit at the gallery as well as the back section under
the gallery. The reflected sound from convex surface diverge, enhancing diffusion
and evenly distribute across a wide range of frequencies.

FIG :- SECTION INDICATING THE SOUND REFLECTION

Flutter EchoeS are produced by sound Time delay = R1 + R2 — D

traveling quickly between two parallel
reflexive surfaces This phenomena - (8.6 + 3.81 -IO.9
happens when two portions of walls,
OS4
ceiling or floor are non-absorptive and
face directly at one another.

FIG :- SECTION INDICATING THE SOUND REFLECTION

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3.1.5 INTRUSION
EXTERNAL NOISE SOURCES NOISE SOURCES
There are multiple noise sources There are also various noises intrusions in the auditorium.
from the outside of the auditorium. Some of the noises comes from the electrical appliances.
For example, the sound produced by Besides, the audience from tbe seats also creates var ions
the opening and cIosincg of the noises such as chatters, sneezing, cough, body movement, etc.
doors, human sounds and human The doors, flooring and stages also produce some noises.
chatters, etc.

Doors Corridor

The conversation of the people in The corridor beside the auditorium is used as a passageway
the lobby outside the auditorium for crews to get to the front and back of the auditorium
will enter the auditorium through conveniently without disturbing other occupants.
both sides of the main entrance,
which shows the lack of sound
treatment on the doors

CORRIDORS IN AUDITORIUM
PLAN HIGLIGHTING CORRIDORS

DOORS IN AUDITORIUM

3.2 MATERIAL TABULATION :-

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3.3 CONCLUSION :-

To conclude our observations and findings, the

requirement of Shantanand Auditorium to function
as a performing arts center and music hall is in within
the sufficient range based on its acoustical design
and optimum reverberation time of 2.83secs. But the
overall considerations for acoustical quality are not
suitable for speech related events.
Through this assignment, we have identified how an
auditorium layout and massing can affect its
effectiveness of public address in the Shantanand
Auditorium. We have also identified the properties of
different acoustic materials used and now it is
controlling the desired sound. In addition, we
have also identified the unwanted noise caused by
various noise sources. The materials used also affect
the reflection and absorption of sound, therefore
influencing the overall experience in an auditorium.
Furthermore, we have learnt the reverberation time
calculation that is used to identify the time taken for
sounds to decay in an enclosed spaces, which is
crucial for us to determine the acoustical properties
of an enclosed space.

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THANK YOU

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