Acoustics e Book

Sound Advice
A Guide to Acoustics
Published by
Kenilworth Media Inc.
15 Wertheim Court, Suite 710
Richmond Hill, Ontario L4B 3H7
Toll-free: 800-409-8688
(905) 771-7333; Fax: (905) 771-7336
www.constructioncanada.net
The information and contents in this publication are believed by the

publisher to be true, correct, and accurate, but no independent investigation
has been undertaken. Accordingly, the publisher does not represent or
warrant that the information and contents are true, correct, or accurate,
and recommends that each reader seek appropriate professional advice,
guidance, and direction before acting or relying on all information
contained herein. Opinions expressed in the articles contained in this
publication are not necessarily those of the publisher.
2015 Kenilworth Media Inc. All rights reserved.
Contents
Part One
Contract Administration for Acoustics
By John OKeefe, M.Sc., P.Eng., FIOA, and

Kiyoshi Kuroiwa, B.A.Sc., P.Eng.
Part Two
Planes, Trains, and Automobiles
13
By Cliff Faszer, P.Eng.
Part Three
The Green Soundscape
21
By Niklas Moeller, MBA
Part Four
Studio Sound
31
By Oliver Barkovic, B.Eng.
Part Five
Sound Attenuation for Piping Systems
By Tim Meadows
CONSTRUCTION CANADA ACOUSTICS
41
Part One
Contract Administration for Acoustics
BY JOHN OKEEFE, M.SC., P.ENG., FIOA, AND KIYOSHI KUROIWA, B.A.SC., P.ENG.
John OKeefe, M.Sc., P.Eng., FIOA, principal with Torontos Aercoustics Engineering
Limited, is regarded as one of Canadas foremost architectural acousticians. He is
responsible for the acoustic design of many performing arts centres, such as Vancouvers
Orpheum and Queen Elizabeth Theatres, the Esplanade Arts and Heritage Centre
in Medicine Hat, Alberta, and Torontos Princess of Wales Theatre. OKeefe can be
contacted by e-mail at [email protected].
Kiyoshi Kuroiwa, B.A.Sc., P.Eng., created and leads Aercoustics contract administration
department. He is responsible for the acoustic design and contract administration of
architectural projects such as the Aga Khan Museum and Ismaili Centre in Toronto, Simon
Fraser University School for the Contemporary Arts in Vancouver, and Mount Allison
Universitys Purdy Crawford Teaching Centre in Sackville, New Brunswick. Kuroiwa has
applied his experience playing piano and percussion in orchestras to the acoustical design
of projects. He can be reached at [email protected].
Photo Larry Goldstein
Contract
Administration
for Acoustics
A building is an assembly of various materials intertwined to construct something solid
and enduring. However, even small adjustments in a buildings plan can lead to unforeseen
problems, especially to acoustics and noise control performance.
John OKeefe and Kiyoshi Kuroiwa are next to a scale model used to design
performance spaces, one of the many project types that can benefit from
acoustical contract administration services.
Photos courtesy Aercoustics Engineering Limited
Acoustics and ambient noise are common complaints, but relatively small changes can
have big acoustical implications. For example, while moving a wall to a different location
may seem like an easy revision in the building stage, this can cause a troublesome echo
that has a snowball effect on the floors acoustics.
Governed by the laws of physics, acoustics is a science that either helps or hinders
the ability to clearly hear sound. From too much ambient noise to too much echo, there
are many things that can go wrong acoustically in a building under construction. The
science of architectural and environmental acoustics has advanced, and they have been
incorporated into the design of projects. While these advancements have come a long
way to influence the design process, there are still numerous ways to compromise the
acoustic design.
Sometimes, noise control and acoustics can be restored after the building is finished,
but usually at a steep price. The positioning of lights or the adjustment of door seals can
easily be changed post-construction; however, noise control elements are often hidden.
This means correcting the problem usually requires breaking down walls to locate the
source. This can add time and complications, as well as put a strain on budgetary
requirements for the owner or contractor.
Post-construction hassle can be avoided by having contract administration handled
by someone with an acoustical background. Careful review of the contract requirements
and onsite inspections at key points during the construction process help maintain the
designs acoustic integrity and ensure the ultimate acoustic goal is achieved. If possible,
one should consider adding a section in the specifications stating a start-up meeting is
required to outline expectations and review acoustical mockups.
What is contract administration?

Every construction project should include all specifications and details in its
drawings and contract administration ensures all these details are followed. From
an architectural standpoint, contract administration is not a new concept. However,
contract administration for acoustical design has only recently become part of the mix.
In the past, acoustical engineers would only provide the design, while architects
(in conjunction with the mechanical engineers and other team members) managed
the contract administration. Whenever room acoustic questions would arise postconstruction, acoustical engineers would be unable to provide immediate answers
to the problem because they were not part of the construction modification process.
Additionally, acoustical designs are increasingly more complicated and applicationspecific. As the complexity increases, most engineers and architects do not have the
expertise to understand all the details in order to make the correct modifications to
acoustical designs.
As a result, most acoustical firms are seeing the benefits of assigning a specialist
to oversee contract administration. There is great value in having a single person
oversee the designs implementation. This individual is dedicated to ensuring design
ideas are realized, and devoted to catching contract administration issues. He or
she should have a solid understanding of the design and its intended integration so
executive decisions can be made on the spot to modify the plan, while still achieving
the original acoustical goal. It should also be noted every project can be a learning
opportunity because what did not work in one building still yields tremendous
learnings for future projects.
No matter how thoughtful the original design, the reality of site conditions may not
always be conducive to the plan and modifications required. Whether the design does
not suit the conditions onsite, or the contractor requests modifications, the contract
administrator takes the design intent and distills it to figure out how to make the
changes work for the conditions. There are always two questions to answer: what
should be done, and what can be done. The answers may differ greatly and help identify
what contractors will be amenable to doing when considering budgets and timelines.
Educating contractors
With any construction project, time is of the essence. When the deadline is approaching
and there is plenty of work to be done, some contractors may be faced with the need
to make executive decisions based on what they know to complete the project on time.
Unfortunately, due to a lack of understanding about acoustics, a seemingly small and
quick design change may have a big impact on the final acoustical outcome. For this
reason, one of the most important roles of a contract administrator is education.
First, it is important to note that on the jobsite there are various terms and treatments
with which contractors might not be fully familiarsuch as acoustic door seals or vibration
isolation. The contract administrator can translate the terms and provide information on
how these treatments can be used to create an acoustically sound building.
Second, there are myriad misconceptions about acoustics. The contract administrator
can clear up confusion and ensure all parties are aware of how a design change will
Although the automatic door bottom was installed in these projects, it was not adjusted to drop
when then door is closed. Sound is able to pass through the gap in the bottom, reducing the
intended sound isolation.
have an impact on acoustics. A common myth is glass fibre in walls absorb sound.
However, glass fibre is not the agent that absorbs the sound. Rather, it is the enabler
in the wall to help block out the sound, allowing the wall to have a better acoustical
performance.
This is just one of many misconceptions that can lead acoustical plans astray. Having
a contract administer available to answer contractor questions will ensure the right
directions are relayed to the subcontracted tradespeople working on a project. By
providing both expertise and education, the goal is to help contractors understand the
importance of acoustics and how changes to the design may impede the acoustic goal.
Compromised acoustics ultimately end up being costlier, so preventing issues before
they happen is key.
The wall above the finished ceiling was not completed here, leaving a large hole in the
assembly. While not visually apparent, the hole decreased the speech privacy of the meeting
room, resulting in user complaints.
Working with you not against you

During one of the first site visits, the contract administrator should sit down with the
contractors and heads of trades, including drywall, mechanical, and masonry. The
meeting should walk everyone through the design and identify where acoustics can be
impacted. This includes discussing what can be seen in the design, and what is not as
obviousaspects like conduits in walls are not always visible on the drawings.
While most contractors understand conduits need to be run in the wall, they do
not take into account the acoustical reasoning of how to run an electrical conduit
so it does not affect the walls acoustical separation. The separation is solid when
there are two one-sided walls; but this acoustical separation will be lost as soon as a
conduit is placed across two studs. To make a good acoustic wall, the design should
have one wall move but not the other. This is because once a pipe is placed in between
and screwed tight, both walls will move together and the acoustic benefit is lost. If
the construction crew is aware of this beforehand, or if a contract administrator
catches it during construction, potential problems can be avoided. Once the walls are
covered, they will need to be opened up to uncover any issues, leading to the potential
that elements will need to be rebuilt.
This consideration is particularly important in condominiums. According to the
Ontario Building Code (OBC), they have to satisfy a sound transmission class (STC)
rating of 50. By implementing contract administration throughout the project, a
10
In this example, the mechanical and drywall installations were not co-ordinated. As the
hanger was installed first, the drywall was installed around the hanger, creating a hole which
allowed excess noise to the adjacent room.
contractor can ensure the minimum requirement is met and nothing needs to be redone
once the building is occupied.
Most contractors take pride in their work and strive to ensure buildings are
solid. Acousticians want portions of the building to be flexible, and this needs to be
communicated to an entire project team. However, this should not be perceived as a
battle between the various parties involved in a construction project. It needs to be a
collaborative effort whereby working together, both parties may find a better way to
implement the design and reach the acoustical goal.
From paper to reality

In order to have an acoustically sound building, it is imperative the various treatments
be outlined in the contract. Contract administrators can only administer what is in
the contract. By having a detailed plan including the acoustical treatments, it will help
make certain the intended vision is realized.
For example, when referring to vibration isolation, contract administrators will
not only watch to ensure a contractor uses 25- or 51-mm (1- or 2-in.) springs, they
also need to ensure the load on the spring is adequate to ensure it works properly.
A spring with a 45.5-kg (100-lb) rated load, being loaded with only 13.6 kg (30 lb),
would not be appropriate. However, a spring loaded at its rated load would provide
the maximum benefit.
Architects, contractors, tradespeople, and building owners should consider the
following three tips regarding contract administration.
11
This transformer has been installed with a thin neoprene pad instead of the required spring
vibration isolators, allowing vibration to pass into the structure, and enabling it to be heard
in other parts of the building.
1. Write it down: If an acoustically sound building is the goal, everything needs

to be outlined in the contract. It is difficult to administer a project and make
recommendations if it is not included in the initial scope or budget. Suggesting
additional work to facilitate good acoustics will require an increased budget, and
possibly delay a project.
2. Trust and understand the acoustical consultant: Everyone involved in a project has
an area of expertise. Avoid misconceptions of what acoustics involves, and take
advantage of any tutorials offered to learn the basics in order to ensure the entire
vision is achieved.
3. It is a two-way relationship: With so many people responsible for completing a
construction project, pressing timelines, and limited budget, it is imperative to
know where to give and where to take. The design team, contractor, and contract
administrator must work together to understand all points of view to find a solution
to any issues.
Conclusion
Ultimately, acousticians strive to have someone walk into a building and have no idea
an acoustician has been there. Success is having acoustics completely integrated into
the design of the building so its effects can be enjoyed but not seen. This cannot be
accomplished by acousticians alone. It requires significant collaboration between the
architects, contractors, engineers, designers, and contract administrators, as well as
building owners, to yield a finished product satisfactory to everyone involved.
12
Part Two
Planes, Trains, and Automobiles
BY CLIFF FASZER, P.ENG.
Cliff Faszer, P.Eng., is the president and founder of Calgary-based FFA Consultants in
Acoustics and Noise Control Ltd. He has been an acoustical consultant for 35 years.
Faszer is a member of the Association of Professional Engineers, Geologists, and
Geophysicists of Alberta (APEGGA), the Association of Professional Engineers and
Geoscientists of British Columbia (APEGBC), the Canadian Acoustical Association
(CAA), and the American Society of Heating, Refrigerating, and Air-conditioning
Engineers (ASHRAE). He can be contacted via e-mail at [email protected].
13
Images courtesy Calgary Science Centre Society
Planes, Trains,
and Automobiles
Developing noise isolation for Telus Spark:
Calgarys new science centre
After 44 years at its 11th Street SW location, Calgarys science centre moved due to a lack of
expansion space in 2011. The new Nose Creek Valley site allows room for a facility that is double
the size, and has room for expansion. However, the new site presented challenges for designers.
It is in line with the main north-south runway at the Calgary International Airport, and the
planes that land heading north fly over the site at a low altitude. The location is also adjacent
to Deerfoot Traila major freeway route through Calgary, and the Canadian Pacific (CP) Rail
line. A right-of-way for a future light rapid transit (LRT) line is also located immediately adjacent.
To meet owner requirements and exceed minimum noise isolation requirements, the building
envelope needed to provide sufficient noise isolation from all these noise sources.
14
The science centre atrium clerestory glass installation on November 8, 2010. The interior light of
all exterior insulating glazing was upgraded to 6-mm (0.2-in.) thick laminated glass to increase
insulation from outdoor noise.
An interior view of atrium clerestory glazing.
The facility, officially known as Telus Spark: The New Science Centre, opened October
29, 2011. It includes:
numerous gallery spaces;
Dome Theatre;
Presentation Theatre;
classrooms;
large central atrium space;
lobby;
cafeteria; and
various support/administration areas.
Aircraft noise isolation

The new location is in the airport vicinity protection area and, at a minimum, must
meet the requirements outlined in Alberta Building Codes (ABCs) Division B Part 11,
Exterior Acoustic Insulation, for noise isolation properties of the exterior building
15
The Dome Theatres structural steel installation as it appeared on December 14, 2010.
envelope. The protection area is a designated zone around the airport where there
has been noise exposure forecast (NEF) contours determined. These are concentric
lines around the airport runways that provide an indication as to the average energy
equivalent noise level at a distance away from the runway. Higher NEF values are
located closer to the runways, with the values decreasing as they move away. The first
step was to determine where the building site lies with respect to the noise contours.
The science centre is situated on the 35 NEF contour. ABC Chapter 11 outlines the
acoustic insulation factor (AIF) that must be met by the building envelope based on the
sites NEF contour valuea site located in a higher NEF zone requires exterior building
envelope assemblies with higher AIF ratings.
Another factor that was considered related to acoustics insulation is the use of the
buildings rooms. For example, spaces used for sleeping required a higher AIF rating
than a meeting room. ABC provides AIF values for various exterior wall, window, and
roof assemblies. Additional AIF values can be determined from sound transmission
loss values of tested assemblies. The other variables determining the required AIF value
were the amount of exterior wall and window area compared to the floor area of the
room, and the number of different exterior wall components making up the rooms
exterior envelope.
The rooms with the highest AIF requirement in the facility are the classroom
areas and those used for teaching purposessuch as the Presentation Theatre and
the Dome Theatre. The gallery spaces did not require as high an AIF value to meet
ABC requirements.
The methodology outlined in ABC Division B Part 11 is based on Canadian Mortgage
and Housing Corporations (CMHCs) 1981 guide, New Housing and Airport Noise. It
offers guidance on how to provide building envelope assemblies with higher noise
16
An artist rendering of the Telus Spark building, as seen from the south.
isolation properties for buildings located closer to airport runways. By following this
strategy, rooms became usable for their required purpose, but that still does not mean
aircraft noise will not be heard inside the science centre.
The original proposed exterior assemblies were as follows:
Type 1 Roofwaterproof membrane, membrane underlay, 150-mm (5.9-in.) rigid
insulation, air/vapour barrier membrane, gypsum sheathing, and metal deck;
Type 2 Roofprefinished metal standing seam roof, 25-mm (1-in.) air space, 240-mm
(9.4-in.) thermally broken nylon clip system, 150-mm rigid insulation, waterproof
membrane, gypsum sheathing, and metal deck;
Type 1 Wallprefinished insulated metal wall panels (i.e. bottom half of wall only),
152-mm (6-in.) metal studs, 13-mm (0.5-in.) plywood, and 16-mm (0.6-in.) gypsum board;
Type 2 Wallaluminum curtain wall frame with sealed glass units (6-mm [0.2-in.]
glass, 13-mm air space, and 6-mm glass), and insulated glass spandrel panels; and
Type 3 Wallprefinished metal panel, panel support clip system and air space, 75-mm
(3-in.) semi-rigid insulation and metal Z-bars, air/vapour barrier membrane, 13-mm
exterior gypsum sheathing, 92-mm (3.6-in.) or 152-mm steel studs, and steel framing.
The main gallery areas have suspended radiant cooling panels and suspended radiant
heating panels along the exterior walls that do not provide additional noise isolation
properties to the roof assembly. Some spaces, such as classrooms, have suspended
T-bar ceiling systems with mineral fibre tiles. The classrooms have more windows and
skylights than other areas of the building.
There is also a raised section of the science centre over part of the central atrium and
main stairway with clerestory windows. The windows are double-glazed insulating
units with 6-mm glass, 13-mm air space, and 6-mm glass, mounted in thermally
broken aluminum curtain wall type frames and are relatively lightweight.
The initial aircraft analysis indicated upgrades were required to the originally
proposed assemblies to meet minimum ABC requirements. The upgrades included a
125-mm (5-in.) thick concrete topping on the metal deck roof, and the addition of a
metal stud and gypsum board layer for the top half of the walls. One of the window
panes was upgraded from 6-mm glass to 6-mm laminated glass. These upgrades were
sufficient to meet minimum ABC requirements, but did not necessarily meet the
science centres needs regarding the audibility of aircraft noise within the building.
A second type of aircraft noise analysis was also undertaken. The methodology ABC
outlines does not provide an indication of how loud a single aircraft fly-over event
17
An artist rendering of the building, view from the southwest.
would be at the science centre site. To determine this, one-third octave band maximum
sound pressure levels of aircraft flying overhead were gauged with a precision sound
level meter. Both jet aircrafts and propeller aircrafts were measured; however, a smaller
propeller aircraft turning onto final approach directly over the site was one of the loudest
sound pressure levels measured. The measurements indicated there were significant
levels of low frequency energy from the aircraft. The measured level ranged from 74
to 79 dBA and 79 to 87 dBC. (The dBA sound pressure level is filtered through the A
filtering network to approximate human hearing response. The dBC sound pressure
level is filtered through the C filtering network and has much less attenuation of the
low frequency sounds.)
Of particular concern was the science centres Dome Theatre, as this space had a very
low background noise criteria (NC) design requirement. The target was a maximum
NC of 25. This theatre has a dome screen with three-dimensional (3-D) video capability
and high-quality surround sound. The originally proposed metal roof and wall system
for this space would not have provided the required noise isolation properties, even
with a 150-mm thick concrete topping. To obtain the required noise isolation, an inner
resilient-mounted gypsum board ceiling and wall were required. The Dome Theatre has
a sloping roof and walls; the solution for applying concrete to these walls was to use
shotcretea spray-applied concrete.
Heavy rail, light rail, and freeway noise isolation

To determine the noise impact to the site from heavy rail and freeway traffic, one-third
octave band maximum sound pressure level measurements were undertaken at the
site. As the LRT is not yet present at the site, sound pressure level measurements were
undertaken of some existing light-rail pass-bys at a location beside an existing line in
south Calgary.
The engine pass-by sound levels of the diesel locomotive on the CP Rail line had significant
low-frequency energy levels similar to the aircraft. The noise from freeway traffic heard at
the site was generally lower than the aircraft and heavy rail noise; the loudest freeway noise
events were from trucks and motorcycles. Therefore, the noise isolation required for the
aircraft would provide sufficient noise isolation for the heavy rail and freeway noise. The
LRT pass-by measurements also indicated high maximum noise levels because of the close
proximity of the proposed right-of-way to the science centre.
18
View from the west on November 1, 2010, after the exterior wall installation is underway.
View from the west, before installation of the Dome Theatres exterior finish. Theatre-raked
seating tiers are visible and traffic on Deerfoot Trail freeway can be seen in the distance.
The Presentation Theatre interior on June 28, 2011. The wall on the left is adjacent to the light
rapid transit (LRT) right-of-way.
The science centres most critical room with regard to the future LRT line is the
Presentation Theatre, located on the east side, directly adjacent to the proposed LRT
right-of-way. The design target in this theatre was a maximum NC of 30. Calculations
indicated three layers of 16-mm (0.6-in.) gypsum board on metal studs with acoustic
insulation in the stud space would provide the required noise isolation.
Based on the LRT sound level measurements, two layers of 16-mm gypsum board
on metal studs were used for the upper gallery exterior walls, and one layer of gypsum
board on top of a 13-mm (0.5-in.) plywood layer on metal studs for the lower portion
of the gallery walls. This assembly provides the flexibility to construct classrooms along
the science centres east exterior wall in the future and meet a maximum NC of 35.
19
This map shows the lands in the Calgary

International Airport vicinity protection
area and the noise exposure forecast
(NEF) contour lines.
Image courtesy Calgary AVPA Regulation 2009
The windows were also reviewed, and the windows and skylights in the classrooms
required an upgrade to meet ABC and the target background NC levels. As the design
progressed, the skylights were removed from the classrooms. With their elimination,
and substituting a layer of laminated glass for one of the panes in the sealed doublepane window assemblies located in the classroom, the exterior walls met the ABC
requirements. Further upgrades to the windows, such as laminating both panes and
providing a larger air space were reviewed. As the most critical roomsthe Dome
Theatre and the Presentation Theatredid not have windows, it was decided further
noise isolation upgrades to the windows for other less noise critical spaces would not
be incorporated into the design.
The exterior building envelope noise isolation measures incorporated into the
building design ensure the sounds heard within the building are those of the various
displays and programs rather than the noise from the surrounding planes, trains,
and automobiles.
20
Part Three
The Green Soundscape
BY NIKLAS MOELLER, MBA
Niklas Moeller, MBA, is vice-president of K.R. Moeller Associates (Burlington, Ont.),

a global developer and manufacturer of soundmasking systems. He has been in the
soundmasking business since 1998. Moeller can be reached via e-mail at nmoeller@
logison.com.
21
Photo Janet Trost Photography
The Green
Soundscape
Addressing acoustics in sustainable offices

For many people, the term green building simply means wasting minimal resources. However,
to be successful, these facilities must also be environments where employees can thrive and
productivity can soar. For this reason, a substantial number of the credits offered by Leadership
in Energy and Environmental Design (LEED) are for factors affecting indoor environmental
quality (IEQ).
22
An example of soundmaskings effect on speech intelligibility.

Images courtesy K.R. Moeller Associates
Acoustics are as important to IEQand to comfort and concentrationas light,

temperature, and humidity. However, green buildings often perform poorly in this area.
In fact, post occupancy evaluations conducted by the Center for the Built Environment
(CBE) at the University of California, Berkeley, found occupants of green buildings are
generally more dissatisfied with acoustics than those in traditional facilities.1
CBEs surveys revealed the most common sources of irritation and distraction in
green spaces are people talking around occupants, talking on phones, overhearing
private conversations, and telephones ringing. Office equipment and outdoor noise are
also concerns. When CBE asked respondents to evaluate their job performance in these
noisy environments, 60 per cent declared noise inhibits their work. Others have also
found acoustic problems in various green office building evaluations.2
Acoustic design goals

To maximize comfort and productivity, the workplace should provide occupants with
speech privacy and freedom from distracting noises, enabling them to concentrate and
work without disrupting others.
Many green buildings are not meeting these goals for several reasons. An explanation
frequently cited is the fact LEEDarguably the best known green building rating
systemonly offers explicit acoustic credits for healthcare facilities and schools.
Criteria have yet to be established for commercial interiors, perhaps leading this aspect
of their design to be overlooked. Further, these buildings can achieve high LEED ratings
by satisfying requirements that are actually detrimental to acoustics.
23
Absorptive materials reduce the noise volume, as well as the

length of time sounds last and the distance they travel.
LEED credits are not always sought for green designs. Still, other sustainable
structures often fail to achieve key acoustic goals. The reason seems to lie in the fact
that many current sustainable design strategies unintentionally contravene the formula
used to achieve effective acoustics. This is known as the ABC Rule, which stands for
absorb, block, and cover.
Absorb
When a sound hits an absorptive material, its energy is reduced, decreasing its volume,
the length of time it lasts, and the distance over which it travels. Unfortunately, the
majority of green buildings use hard-surfaced materials at the expense of absorptive
ones. These surfaces are highly reflective, causing sounds and conversations to echo,
overlap, linger, and travel greater distances. The resulting environment is noisy,
distracting, and tiring for occupants.
Since the ceiling offers the largest unimpeded surface within most facilities, using
absorption in this location is essential. However, many green buildings have open
ceilings because they promote natural light penetration from the windows. It is also
thought the exposed deck can be used as a heat sink to help control the temperature
within the building. Further, eliminating the suspended ceiling reduces material costs.
If an open ceiling is used because of a desire to implement passive heating/
cooling, it is important to ensure there will be enough concrete in the deck to succeed.
There must be at least 203 mm (8 in.) to provide any meaningful thermal storage
beyond what is lost through the building envelope. Unfortunately, many buildings do
not meet this requirement. In this case, the suspended ceiling would be eliminated
without cause.
If cost is an issue, it is key to look beyond the initial savings. For example, the Ceilings
and Interior Systems Construction Association (CISCA) found office spaces with a
24
Blocking can be achieved using workstations, while still accommodating

the need for daylighting.
suspended ceiling cost between 15 and 20 per cent more up front, but show substantial
savings over their life in terms of HVAC, due to the efficiency of the plenum.
Lighting costs are also lower because the reflectance is better for ceilings than for
concrete decks. CISCA showed overall energy savings to be between nine and 10.3
per cent. They also determined payback on ceilings never exceeds 1.6 years, and if
the suspended ceiling is replaced by another type of absorption, then the return on
investment (ROI) is even faster.
Including a suspended ceiling in the buildings design is ideal. In open spaces,
designers should use a tile with at least a 0.75 noise reduction coefficient (NRC). In
closed spaces, they should consider a tile with a high ceiling attenuation class (CAC)
because it will be better at containing sounds, decreasing what can be heard from office
to office.
If this route is not taken, absorption needs to be provided by other means. Simply
adding absorptive panels to a portion of the deck (e.g. 30 per cent) will have an impact.
Another alternative is to use vertical baffles. If a concrete deck is not necessary, but an
open ceiling is still desired, another option is to use a perforated and corrugated metal
deck with an absorptive materialsuch as fibreglassplaced behind the perforations
before the concrete is poured.
As they also present a large area, workstation partitions should be absorptive as well,
particularly if there is no acoustical ceiling. If fully absorptive panels are too expensive,
some furniture systems offer different surfacing on the interior and exterior of the
partitions. Absorptive material should at least be used on the inside of the workstation,
above the work surface, so the volume of the occupants voice is reduced before it is
reflected back into the space.
It is also important to implement soft flooring. If a hard floor is used, it will result in
more footfall and traffic noise, creating a noisier, less comfortable environment.
25
Covering noise with a soundmasking system also helps to support

other sustainable design choices.
Since they account for a large percentage of the space, the materials selected for
the ceiling, workstations, walls, and flooring can significantly contribute to a projects
sustainability goals. Acoustic materials are available that are renewable, reusable,
recycled, or recyclable. When choosing materials, designers should also consider air
quality factors such as off-gassing, volatile organic compound (VOC) content, and
breathable fibre.
Block
Another method of controlling noise is to block sound transmission. Barriers, such as
walls, windows, doors, workstations, and other physical structures are typically used for
this purpose. However, the drive to maximize daylighting and promote air circulation
in green buildings often involves sacrificing many of this strategys key elements.
For example, most green designs feature a higher percentage of open plan space than
traditional buildings, as well as low workstation partitions (or, in some cases, none
at all). These open spaces allow sounds to travel unimpeded over greater distances,
contributing to overall noise levels. Open spaces also allow conversations to easily travel
to unintended listeners. Furthermore, lowering or eliminating partitions decreases the
amount of absorption they could have otherwise provided.
When selecting workstations, height is essential. There is general agreement in the
acoustical industry that workstation panels should be above seated head height, which
is 1524 to 1651 mm (60 to 65 in.). If they are shorter, they achieve little more than
holding up the desk.
If daylighting is also a priority, the best compromise is to use absorptive panels up
to a 1219-mm (48-in.) height and top them with 305 mm (12 in.) of glass or another
transparent material, allowing light to pass through while physically blocking sound in
26
Hard surfaces are highly reflective, causing noises to echo and travel greater distances.
Without consideration, this can be problematic.
Photo Kristian Dahl. Photo courtesy iStockphoto.com
the local area. This solution is not ideal because the glass reflects sound, but it provides a
balance between the lighting and acoustic requirements.
Workstations should also block sound. The success with which they will do so
is indicated by their sound transmission class (STC) rating. It is important to note
whether the STC was tested in the lab or the real world, as the former are usually
conducted in perfectly sealed conditions and may not represent performance in
actual applications. Also, designers should verify the partitions are well sealed along
any joints and there are no significant openings between or below the panels.
In closed spaces, one must pay attention to any penetrations because they can become
pathways for conversations and noise. For example, return air grilles, ductwork, or the
plenum itself, can transmit sound.
Green designs increasingly employ re-usable, demountable wall assemblies. While
these reduce waste over their lifecycle, they may not provide the sound isolation level
needed from one closed space to another (e.g. between offices and meeting rooms).
Demountable systems may have lower STC ratings than a gypsum wall and the joints
between panels may provide conduits for sound. Gaps along the ceiling, exterior walls,
and the floor also easily transmit sound and should be addressed during installation.
Many wall systems provide cable management raceways along the bottom. While the
wall panels themselves may provide good sound-blocking performance, these raceways
are often open space along the bottom, covered on each side by plastic or metal, which
can easily transmit sound. A good septum dividing each side of the wall is advisable.
27
The desire for daylighting can also change the buildings overall shape. The narrower
a facility is from the window to the core, the more easily natural light penetrates.
However, narrow spaces also reflect more sound over distance, similar to the bowling
alley effect experienced in long corridors. Sounds ricochet between the exterior wall
and the core. In traditional buildings, larger, squarer footplates are common, and
exterior walls tend to be further apart.
While it may not be possible to avoid narrower spaces if daylighting is essential, it is
important to acknowledge the impact these narrow footprints have and ensure other
steps are taken to compensate. For example, absorptive panels may need to be used at
points throughout the long space to reduce reflection.
Cover
Many people believe they have achieved good acoustics after applying the preceding
strategies and the sound level in their facility is very low. Yet, just as with lighting and
temperature, the comfort zone for the volume of background sound is actually not zero.
If it is too low, conversations and noises are easily heard and more disruptive.
Ensuring a comfortable and sufficient background sound level is the final requirement
of the ABC rule, which is to cover up any conversation and noise remaining in the space.
Due to using natural ventilation, the background sound level is often lower in green
buildings than in traditional facilities, making it easier to hear conversations and noises
from a distance. Further, if open windows are used to assist air circulation, exterior
sounds easily travel into the space, disrupting occupants. Passive heating and cooling
systems also reduce the ambient sound level. If different strategies are used along the
exterior versus the building core, mechanical systems can yield variable acoustical
conditions, contributing to overall acoustic problems.
In any case, a mechanical airflow system could never be relied on to provide a
consistent background sound level throughout the day because it turns on and off. In
fact, these cycles can make it a source of irritation itself. When the system is on, the
sound it produces is also not at an appropriate volume level or in the correct frequency
spectrum to mask speech.
Soundmasking systems provide the only way to truly replenish and keep the
background sound level at an appropriate volume, which is typically between 42 and
48 decibels (dB).
A soundmasking system consists of a series of loudspeakers, which are installed
in a grid-like pattern in or above the ceiling. The system distributes a comfortable
background sound, which most people compare to softly blowing air.
This sound has been specifically engineered to increase speech privacy. It also
improves general acoustical comfort by covering up many intermittent noises
or reducing the amount of disruption they cause by decreasing the magnitude of
change between baseline and peak volumes (i.e. dynamic range). In addition, if the
soundmasking technology features small adjustment zones with fine control over
volume and frequency, and it is installed throughout the space, it will also ensure
acoustic consistency across the facility.
Using a soundmasking system can help support sustainable design. For instance,
natural ventilation can be used without the typical negative impact on privacy and
noise levels. In an open space with few physical barriers, it will increase the external/
28
Providing occupants with speech privacy and freedom from distracting noises increases
productivity and workplace satisfaction.
Photo Chris Schmidt. Photo courtesy iStockphoto.com
internal noise isolation, as well as the isolation between workplaces. Including

masking systems can also help trim down material costs by, for example, reducing
wall construction standards. Movable walls can also be used without compromising
acoustics, offering buildings the potential to collect LEED points for construction
waste and construction indoor air quality (IAQ). In this way, masking can also
increase the spaces flexibility and reduce waste following renovations.
There are a number of green attributes to consider when selecting a soundmasking
system. These factors include:
energy consumption;
adherence to programs such as the Restriction of Hazardous Substances (RoHS);
lifecycle; and
the recycling program that the manufacturer offers for the end-of-life products.
Reduce noise at the source

Recognizing a combination of all these methods is required to create truly comfortable
acoustic conditionsthe ABC rule is often referred to as the rule of threes. However,
there is one tactic it overlooks, which involves identifying and subsequently reducing
or eliminating unnecessary noise sources.
Decreasing noise at the source can be achieved by implementing workplace rules and
using quieter building and workplace equipment. This can be a very effective strategy,
but only to a point. People will always generate noise as they go about accomplishing
their tasks.
29
Soundmasking addresses speech privacy and noise issues by

distributing a background sound throughout the workplace.
If a building fails acoustically, is it green?

There is no doubt current green design practices pose a challenge to acoustics and,
consequently, to workplace satisfaction and productivity. While addressing acoustics
incurs some cost, this expenditure must be weighed against the long-term negative
impact of poor noise control and speech privacy on comfort and performance. After
all, employees account for between 80 and 90 per cent of an organizations costs. Even
a small impact on their productivity can easily outweigh any initial savings.
In Acoustic Design in Green Buildings, Field asks, whether a building that is not
comfortable acoustically, and therefore not fit for its purpose, is actually a sustainable
building for its occupants.3 Indeed, it can be argued if a building fails to provide a
healthy and fully functional environment, it might not be green at all.
Notes
1
See S. Abbaszadeh, L. Zagreus, D. Lehrer, and C. Huizengas Occupant Satisfaction

With Indoor Environmental Quality in Green Buildings, in Proceedings, Healthy
Buildings, (Lisbon, Portugal, June 2006, [vol. 3, 365-370]), as well as J. Heerwagen and
L. Zagreuss The Human Factors of Sustainability: A Post Occupancy Evaluation of
the Philip Merrill Environmental Centre Summary Report for the U.S. Department
of Energy (DOE), Center for the Built Environment, University of California, Berkeley,
California (April 2005).
2
See M. Hodgsons Acoustical Evaluation of Six Green Office Buildings, in the Journal
of Green Building, (3[4], 108-118, 2008), as well as Green Buildings: Whats Working,
Whats Not, which appeared in Building Design and Constructions June 9, 2006 edition
of eShow Daily.
3
See C. Fields Acoustic Design in Green Buildings, in the ASHRAE Journal (50 [9],
60-70, 2008).
30
Part Four
Studio Sound
BY OLIVER BARKOVIC, B.ENG.
Oliver Barkovic, B.Eng., is a graduate of McMaster University and the president of

Forward Acoustics, a manufacturer of Canadian-made acoustic products. He can be
reached at [email protected].
31
Photos courtesy Forward Acoustics
Studio Sound
Adapting acoustical techniques for commercial,
office, and institutional spaces
George Martin, the Beatles renowned producer, once said, A physicist will tell you that space
is allied to time, but a record producer will argue that it is closely allied to sound as well.
Therefore, it is no surprise recording studios and radio/television broadcast studios are
among the most demanding acoustic environments. They are precisely tuned to achieve
the optimal acoustic effects, such as:
background noise elimination;
delivery of clear, crisp speech;
absence of echo; and
precise use of reverberation.
32
Whether a recording studio or a conference room, honeycomb-shaped acoustic ceiling clouds

prevent reflection and control reverb in a space with high ceilings.
The results can give a studio a distinct personality, and sometimes even make it
famous, attracting musicians from far and wide. Few are more elaborate than the famed
Tower Records Studios in Hollywood, featuring 254-mm (10-in.) thick exterior concrete
walls, separated from the interior walls by an air gap, as well as triple-layered flooring of
rubber, cork, and concrete. Another studio, 9 m (30 ft) underground, the Capitol Records
complex houses trapezoid-shaped echo chambersdesigned by guitarist and songwriter
Les Paulthat can support reverberation times of more than five seconds. In these spaces,
recording engineers can precisely tailor their recordings to get the exact feeling they want
for a song or album.
Closer to home, the Beauty Industries music recording studio in Hamilton was
designed with great acoustics in mind, and the acoustic details at work in this space
can offer guidance for other common spaces.
Triple-thick walls and underground bunkers do not appear on very many specification
sheets, to say the least. However, some of the approaches used by the professionals in
studio spaces can be adapted to improve the acoustic environments in a wide range of
spaces where good communication is critical, such as boardrooms, offices, call centres,
and videoconference facilities.
Making acoustics work

The features that make acoustics work in studio spaces are the rooms shape and size,
including high ceilings (if possible) and surface treatment where necessary.
Room shape
Non-parallel walls are ideal for a recording studio space because reflections are
randomized and the modal distribution is less uniform, producing several zones
completely free of first-order reflections. In Les Pauls underground bunkers, and in the
33
This radio station studio required a high proportion of absorptive treatment, using surface area
on the walls and ceiling.
Beauty Industries studio, the rooms are a trapezoidal shape. This may be a tall order,
especially in retrofit situations, so the next best guidance is that rooms should avoid 2:1
length-to-width ratios when possible.
Room size
The bigger the room, the better. For example, the main studio at New Yorks famous
Hit Factory on West 54th Street spans more than 15 x 15 m (50 x 50 ft) with 9-m (30-ft)
ceilings. Not only does this allow the space to accommodate a 60-piece orchestra, but
it also benefits single musicians by reducing first-order reflections from nearby walls.
High ceilings
High ceilings are better than lower onesthe greater distance from the ceiling to the
usable space below gives sound more time to dissipate, reducing echo. In many studio
spaces, the ceilings are more than 3.7 m (12 ft) high and are treated with suspended
acoustic clouds.
Absorptive treatments
In the Beauty Industries studio, a high proportion of the wall and ceiling surfaces have
been treated. At the front of the space, the recording engineer is surrounded on three sides
by floor-to-ceiling absorptive panels wrapped in a dark woven acoustic fabric, trimmed
with acrylic for visual interest.
Lessons for offices and other spaces

When building a recording studio, acoustics are top of mind; however, when building
an office or institutional space, the auditory environment can often be an afterthought.
34
This recording studio features wall treatments that completely cover

the surface area of the walls to reduce echo and reverberation.
This vocal booth has been treated to produce a precise

acoustical environment, minimizing ambient noise and
maximizing speech clarity.
What can be learned from these demanding acoustic environments when trying to
improve the sound environment in office, commercial, or institutional buildings?
Interior finishes chosen for esthetics or functionality can help or hinder acoustic
performance. For example, in office spaces, smooth, reflective drywall is everywhere,
but it is the enemy of good acoustics. Similarly, trends toward smaller, flexible spaces
mean more walls, closer in, creating first-order reflections that bounce sound around
workspaces, meeting spaces, and hallways.
Open-plan offices are great for space efficiency, co-operative work, and effective
supervision, but they raise perennial complaints among workers about lack of privacy
and the inability to concentrate. Good acoustics can go a long way to creating a more
comfortable, productive work environment.
One should learn from recording studios that the effective isolation of instrumentation
is key by noting who and what the noisemakers are in the space, keeping loud with loud
and quiet with quiet. One should group loud spaces like photocopier areas, HVAC outlets,
35
Broadcast and recording studios are demanding auditory

environments where engineers go to extraordinary lengths
to achieve the right sound. Designers of offices and other
spaces can employ some of their tricks of the trade to
make everyday spaces sound great.
coffee stations, washrooms, and elevators together, while keeping quiet workspaces away
from these background distractions.
Workstation dividers will not cut it

Many offices use panelled workstation dividers. Therefore, is acoustic treatment still
necessary? In many cases, the answer is yesespecially where the dividers are lower,
allowing sound to travel over top. Also, in some cases, the dividers are not absorptive
enough because they have not used specialized acoustic fabric, or have a non-absorptive
core. Additional absorptive treatment on the walls and ceilings to achieve between 25
and 40 per cent coverage in each work area will work wonders.
Many studios feature extra-high ceilings with suspended acoustic clouds, often hung
by brackets or aircraft cable. Acoustic clouds are a great idea for office and institutional
spaces as well, because they are much more acoustically effective than compressed
cardboard ceiling tile. Where the suspension grid for compressed tile already exists,
fabric-wrapped panels can be swapped in for an easy retrofit fix.
36
In Beauty Industries Hamilton sound recording studio, the front wall has been treated
with floor-to-ceiling acoustic panelling.
Lessons for boardrooms

While the office boardroom may be where an organizations most important business
is done, these spaces ironically often have some of the most acute acoustic challenges.
Office workers wonder why it can be so difficult to hear someone clearly when they are
just at the other end of the table.
The typical boardroom is the antithesis of the acoustic ideal found in studio
spaces. Relatively small spaces, smooth surfaces, low ceilings, HVAC, and ambient
noise from computers and projectors can conspire to render some boardrooms
virtual echo chambers.
Many boardrooms also include a conference call unit placed in the centre of
the table. Acoustically, this arrangement could not be worse, with the sound being
directed straight up toward a reflective drywall ceilingcreating echo and reverb that
makes hearing difficult for those in the room, and especially for those on the phone.
In rooms with numerous windows, whiteboards, or other features, wall space can
be scarce, so the ceiling is a good place to start when looking to increase the surface
area that can be treated with absorptive panelling. On the walls, custom panels can be
fit into irregular spaces to make the most of the wall space that does exist.
Videoconference facilities
Companies and organizations are investing additional resources into videoconferencing
to save on travel time and expenses and to allow more employees to telecommute.
37
As videoconferencing gains popularity, a boardrooms acoustics

become even more important.
Photo iStockphoto/Bedo
However, meetings must look and sound professional, even if they are not in person.
Virtual meetings where some participants cannot be heard or well-understood, or where
participants sound like they are speaking into a bucket, are simply not satisfactory.
Perhaps more than any other office space, videoconference suites are much like small
recording studios in that external noise must be minimized and the interior space should
be treated to maximize the crispness and intelligibility of speech, while reducing echo
and distortion.
Echo and reverberation can also distort the audio signal. This issue can be
overcome by incorporating more expensive echo-cancellation functionality in the
videoconference hardware. However, that step may not be necessary in a space
designed for optimal acoustics.
Videoconference facilities are often located in small rooms where space is at a
premium. One should consider the acoustical impact of everything in the space,
including countering the reflective effect of smooth-topped tables and windows or
other surfaces. If possible, it may help to minimize the use of glass-fronted art or
whiteboards that introduce additional reflections.
38
Ceiling-mounted panels of varying depths provide broad-spectrum sound absorption and diffusion.
Photo courtesy Forward Acoustics
Choosing acoustic treatments

One should make the most of the surface area available for acoustic treatment by
opting for high-density absorption. Fabric-wrapped panels with a fibreglass insulation
core are a good choice as the interior insulation is far denser than other alternatives
like foam, and less square footage is required to achieve the same acoustic effect. One
should look for fabric-wrapped panels with a wood frame as they are more durable than
resin-hardened panels and introduce an air gap between the insulation and covering
fabric that enhances acoustical performance.
For offices and institutional settings, perforated or slatted wood-veneer panels with an
absorptive core are another good choice for their durability and esthetics. They have the
same absorptive core as a fabric-wrapped panel, with an additional sound-diffusive veneer
that can be customized in order to co-ordinate with the other millwork in an office or
institutional interior.
Tips for architects, designers, and specifiers

One should consider the following principles when seeking to improve the acoustics in
commercial and institutional spaces.
Loud with loud, quiet with quiet

At the design stage, one should try to group noisy activities together and away from
quiet workspaces. This will save headaches and expense down the road.
39
Radio broadcast studios minimize reflections with wall-mounted absorptive panels.

Photo iStockphoto/M Morgan Photography
Plan for acoustics before occupancy

One should consider the spaces sound-related needs and include acoustics as early
in the workplan as possible. Acoustic panelling should be installed in advance of, or
in conjunction with, interior furnishings and workstations. Once occupancy takes
place, one should check back with occupants for problem areas that may require
additional treatment.
Make use of every surface

Artwork and other interior fittings need not limit the surface area available for acoustic
treatment. Using custom fabric-wrapped or wood-veneer acoustic panelling, it is
possible to hang artwork and signage on top of acoustic treatments. It is not necessary
to treat the entire surface the way one sometimes sees it in recording studios, but a
distribution of acoustic absorption within the spaceto a coverage of approximately
25 to 40 per centis ideal. One should also remember to make the most of the surface
area available by choosing acoustic treatments that offer high-density absorption.
Remember the little spaces

Boardrooms, videoconference rooms, lunchrooms, and other small to medium-sized
spaces can suffer the most from common acoustic issues. One should make sure to
treat these spaces as well as the wide-open office areas.
Conclusion
Professional studio spaces are highly specialized acoustic environments with very
individualized needs. However, there are lessons to be learned for everyday commercial
and institutional spaces that can improve the acoustical functioning for those who visit
them, or those who work in them.
40
Part Five
Sound Attenuation for Piping Systems
BY TIM MEADOWS
Tim Meadows is vice-president of sales for Victaulic in Canada, and has 22 years
of industry and pipe joining expertise. He is actively involved in various industry
associations, including the Canadian Institute of Plumbing and Heating (CIPH)
and the Mechanical Contractors Association of Canada (MCAC), where he is the
executive committees associate council chairman. Meadows can be reached via
e-mail at [email protected].
41
Images courtesy Victaulic
Sound Attenuation for
Piping Systems
Noise carried through piping systems has become a more significant challenge to specifiers,
architects, engineers, contractors, and owners. Today, changing design requirements place
mechanical rooms on intermediate and top-floor building levels, and greater use of lightweight
construction materials tend to vibrate more than traditional heavy ones.
42
In a mechanical room, using flexible couplings at connections

on the pumps attains a level of vibration attenuation to improve
the acoustics of the piping system.
It is not surprising a sizable industry has grown around the idea of minimizing pipingborne noise. If systems that serve to attenuate sound are not specified at the design
stage, noise issues can continue to be a problem throughout the structures lifecycle.
This can result in unsatisfied owners whose occupants complain about noise that is
distracting enough to affect concentration and productivity. In this way, sound-control
issues can also have a bottom-line impact on the engineer or contractor, who may need
to perform numerous callbacks in an attempt to fix the problem.
The surest way to avoid the issue is to bring an acoustics professional into the project
at the design stage. However, budgets do not always permit this, and there are many
construction-grade projects where the owner does not consider sound to be a critical
compound, at least until after the fact.
This article focuses on the proven sound attenuation benefits of a technique commonly
thought of as a productivity-enhancing toolthe grooved mechanical pipe joint. Most
often specified when contractors are seeking a fast, easy, safe, and reliable alternative to
welding, grooved mechanical pipe joining has a long history of effectively minimizing
noise and vibration in applications around the globe.
Traditional sound attenuation methods

When faced with the need to diminish noise and vibration from equipment connected
to the circulation system, designers have traditionally specified elastomeric flexible
arch connectors. These create a discontinuity in the metal piping (as opposed
to welding), so less vibration is transferred down the line. Additionally, they are
commonly constructed of nylon, polyethelene terephthalate (PET or PETE), or
polyester material to help absorb vibration, and are formed in a spheroidal shape to
permit deflection in all directions.
43
This shows the percentage of additional decrease in sound provided by

three grooved mechanical couplings. Independent testing showed that
couplings provide a significant reduction in sound vibration.
This advantage is also the elastomeric archs weakness. As the elastomeric flex
connectors shape allows pressure to exert in all directions, control units such as
restraining rods, plates, and/or anchors are required. These are used to prevent
excessive stretching of the unsupported elastomer due to system pressure thrusts. Yet,
when such thrusts repeatedly occur, and the connector is overextended through time,
use, and pressure, failure can result.
Flex connectors also employ unrestrained rubber as a pressure boundary in systems
that otherwise have continuous metallic encasement. This becomes a particular
concern in high-rise construction where large pressure differentials are often present.
The reinforcing systems complexity also means installation can be time-consuming,
and post-commissioning adjustments may be required. As a result, such connectors are
usually placed only at the point where the pump or other equipment connects directly
to the piping.
The grooved solution

To find alternative solutions, independent tests were performed by Nutech Testing
Corporation/SE Laboratories (San Jose, Calif.)a laboratory specializing in
environmental and field mechanical testing. During this research, another method was
found to be at least as effective in sound attenuation as flexible arch connectors.
44
In Vancouvers tallest building, the luxury hotel and residence

Shangri-La, grooved piping and flexible couplings were used to
provide noise and vibration control in the mechanical systems,
ensuring an optimal living environment.
Interestingly enough, this new solution was invented more than 90 years ago, and has
a major presence in the construction industry as a means for simplifying pipe joining,
ensuring reliable connections, and shortening production schedules. This method was
grooved mechanical pipe joining.
Inherent sound attenuation qualities

When the grooved pipe couplings structure is examined, it is easy to see why it
effectively reduces sound transmission. The resilient elastomeric gasketcontained
inside the ductile iron housings internal cavitycreates a discontinuity similar to
that of a flex connector. The material from which the gasket is made also serves to
absorb vibration.
The key distinctions of a grooved pipe joint over a flex connector are inherent in the
couplings proprietary design. Its unique construction enables the gasket to seal against
45
The piping systems throughout the 511-m (1676-ft) Taipei 101 (Taiwan) must
be able to withstand the high pressures that come with being one of the
worlds tallest towers.
the pipe, while the ductile iron housing provides both space for the elastomeric material
to flex and containment to prevent overstretching. Overall, the coupling works to create
a permanent leak-tight seal without need for additional reinforcement. Additionally,
ductile iron has vibration-dampening qualities of its own, so the external housing also
serves to absorb sound.
The sound attenuation characteristics of grooved mechanical couplings are not a
newly discovered phenomenon. Testing conducted by L.S. Goodfriend and Associates
(Whippany, N.J.) in 19701971 concluded that grooved couplings reduce decibel (dB)
levels from 2.3 to 12.1 over a wide frequency range.
More recently, SSA Acoustics (Seattle, Wash.) conducted field measurements at their
clients request that showed three couplings placed in series in a pipe section have a
superior performance to braided metal hoses as they dampened the overall vibration
amplitude by 80 to 90 per cent. Yet, they have a comparable performance to twinsphere neoprene connectors.
As the sound attenuation outcome of this arrangement depends only on the three
couplings being placed near each other in close proximity to the vibration source, there
are still numerous opportunities for design flexibility. In this way, grooved mechanical
46
In Taiwans Taipei Financial Center, grooved piping was used in the

HVAC, plumbing, and fire protection systems to enable the system to
flex with motion caused by seismic and wind forces, thus ensuring a
safe and sound system.
pipe joints can deliver unsurpassed vibration isolation and sound attenuation
characteristics, while still allowing owners, engineers, and contractors to achieve
their vision.
Seismic protection lessons

The sound attenuation characteristics of mechanical pipe joining are directly related
to the couplings seismic benefits. Employed around the world in earthquake zones for
their ability to absorb seismic stress, grooved mechanical pipe joints provide the flexing
qualities needed in structures subject to movement.
For example, Taiwans Taipei 101currently the worlds sixth tallest tower at a height
of 511 m (1676 ft)is located in the Pacific Rim seismic zone. Its piping systems must
be able to withstand not only high pressures, but also the buildings motion caused by
seismic and wind forces. To maximize safety, the facilitys mechanical systems team
selected grooved mechanical pipe joining for its HVAC, plumbing, and fire protection
systems. This was due both to the mechanical pipe joints unique ability to enable a
system to flex with seismic vibration without breaking apart, and to the productivity
benefits of the couplings simple-to-install design.
The same qualities that all mechanical pipe joining systems possess to accommodate
seismic movements are what enable them to diminish vibration and noise. For example,
seismic waves are characterized by a very high amplitude and very low frequency.
As the frequency increases, the resulting vibration starts to resonate, producing noise.
By diminishing the transference of vibration, mechanical couplings reduce sound.
Cumulative sound attenuation

Another benefit of mechanical coupling is each successive joint creates a further
reduction in vibration. Builders of such sound-critical applications as the Alexandria
47
There are three possible ways to arrange grooved mechanical

couplings in a piping system to deliver proven and effective
vibration/sound attenuation.
Library in Egypt, the Esplanade theatre in Singapore, the Vancouver Convention

Centre and Shangri-La hotel in Vancouver, and the Winspear Centre in Edmonton have
used mechanical joining throughout their HVAC and fire protection systems to take
advantage of this feature.
The net effect can be viewed in this way: continuous welded pipe is taken to be the factor
of one (all vibration is transferred without interruption). Then, one grooved coupling
(and elastomeric gasket) reduces noise transference and the ductile housing absorbs an
additional amount of noise. That lowered vibration is then reduced by the same factor at
the next joint. The same effect occurs again at each subsequent joint where a mechanical
coupling is installed, providing a cumulative reduction in sound.
The findings of the Nutech Testing Corporation/SE Laboratories researchwhich
used mechanical couplings in its testingconcluded:
For any given pipe diameter, vibration isolation increases as the number of couplings increases
(i.e. less vibration is transmitted with each additional coupling) regardless of whether flexible
or rigid couplings are used.
48
The flexibility of grooved-pipe couplings reduces

the transmission of stresses through a piping system,
while the gasket and ductile iron housing combine
to dampen vibration.
This cumulative effect results in such significant attenuation of piping-borne sounds

that builders using mechanical joining have successfully installed equipment rooms
in areas previously never considered possible. For example, in the elegant Esplanade
theatre in Singapore, the equipment room is located next to the theatre hall.
In the innovative Swiss Re office tower in London, England, the pumping systems
are placed on mid-level floors to provide greater energy efficiency. The sound
attenuation qualities of mechanical joining contributed a great deal to these designs
being realized and constructed.
In any application where undesired noise is being transferred through the
piping system, owners and engineers who specify mechanical joining receive two
vitally important benefitsthat is significantly higher productivity combined with
significantly reduced sound. This provides both economic and quality advantages to
all involved.
49
Photo courtesy Winspear Centre
Winspear Centre
Images courtesy Victaulic
Edmontons Winspear Centre is thought of as one of the worlds most acoustically sound concert
halls, and has been referred to as the quietest building on the planet.
Grooved mechanical piping, as well as isolation of the system on springs, reduces noise
and vibration within the system and provides maximum acoustic quality.
Opened in 1997 in Edmonton, Winspear is one of the worlds most acoustically sound concert halls and
home to the Edmonton Symphony Orchestra. It has been referred to as the quietest building in the world,
and was designed to offer breathtaking features in an atmosphere of zero noise.
Winspear required a piping system that would provide maximum acoustic quality. By using grooved
piping in the pump, chiller, and boiler piping systems, designers achieved this. Three consecutive flexible
couplings create the noise-dampening qualities of the system, while the elastomeric gaskets further reduce
noise and vibration.
50
Shangri-La
As a landmark 62-floor five-star hotel and residence in

downtown Vancouver, Shangri-La offers views of the water,
cityscape, and North Shore mountains. Completed last year,
the hotel is the citys tallest building. To ensure an optimal
living experience for guests and residents, grooved piping
systems were used throughout the building. On the lower
level and 44th floor mechanical rooms, using three flexible
couplings connected to the pumps provided the noise and
vibration control required without needing specialized and
expensive metal flex connectors or rubber bellows.
51
Forget going
back to the
drawing board
Septe
ptem
mber
mbe
ber 2014
4 Vol.
Vol
oll 56 No.
ol.
N 6
Desiig
gn
gniin
ing
g
Bay
NE W CO Thundeer Ba
URTHOU yss
SE
Ben
Be
ene
e
et
ts
ts off car
ca
arb
bon-c
bon
-cu
cure
red con
Knowin
Kn
co
onc
cre
cre
wiing
ret
ete
te
g yo
Wood-ffram
your BIM
BIM exe
fra
ram
r ed
ex
xe
ecuttio
oo
oor
oors:
tion
ion pla
rs
s:
s: Goiing
p n
ng
n furt
furt
rth
her
h than
the code
7
Vol. 56 No.
014_Cove
r.indd 1
October
magazine
of Construct
ion Speci
ccations
t
Canada
www.cons
onstruct
2014
Surrey
Designing
Hospitals
Memorial
ioncanada
.net
$7.95
CEL
CC_Sept2
AT
EBR I
years
of
The of
cial
NG
READ
C SC - D C
es
Wood Tre
es
pes
pe
ipes
p
pi
pip
ed pipe
bed
bb
b
abbe
ab
abb
hab
h
eh
re
re
reh
es
es & reha
re
res
ure
xtture
xt
xtu
err xtur
ttte
s
ettte
ett
es
Bett
che
che
rch
s:: Be
s
arc
arch
es
de
ry ar
rade
ra
nry
grad
onry
on
pg
so
g upg
ing
al mas
b
bing
tal
nta
ntal
mb
ent
lum
Plum
P
ume
onum
Mon
Mo
fs
ofs
oof
ro
e at roo
ble
ab
kab
alka
wal
g wal
ng
on
rproo
erpr
e
atte
ate
Wat
W
INSTEAD
December 2014 Vol. 56 No. 8
www.const
cial
The of
Randi Segal-Flanagan, ext. 218

Kris Nelson, ext. 230
Will Ellis, ext. 261
cations
n Speci
of Constructio
ett
ne
a..ne
da
da.ne
ad
na
an
ncana
onca
ructio
ructi
95
95
7..9
7.
$7.95
$7
$
Canada
10/3/14
2:11 PM
Montral University
Hospitals Research
Centre
An increasing number of Architects, Engineers, and Specification Writers

are turning to Construction Canada for the latest information and insight
on the products and practices shaping the Canadian construction industry.
To place your ad call 800-409-8688:
magazine
Designing
Glazing and life safety

Insulation innovations for buildings
Contract admin for acoustics
The ofcial magazine of Construction
Specications Canada
$7.95
[email protected]
Published by Kenilworth Publishing Inc.
15 Wertheim Court, #710, Richmond Hill, ON, L4B 3H7
Tel: 800-409-8688
Fax: 905-771-7336

Acoustics e Book

Uploaded by

Copyright:

Available Formats

Acoustics e Book

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Acoustics e Book

Uploaded by

Copyright:

Available Formats

Sound Advice

The information and contents in this publication are believed by the

2015 Kenilworth Media Inc. All rights reserved.

By John OKeefe, M.Sc., P.Eng., FIOA, and

By Cliff Faszer, P.Eng.

By Niklas Moeller, MBA

By Oliver Barkovic, B.Eng.

CONSTRUCTION CANADA ACOUSTICS

CONSTRUCTION CANADA ACOUSTICS

Photo Larry Goldstein

CONSTRUCTION CANADA ACOUSTICS

CONSTRUCTION CANADA ACOUSTICS

What is contract administration?

CONSTRUCTION CANADA ACOUSTICS

CONSTRUCTION CANADA ACOUSTICS

Working with you not against you

CONSTRUCTION CANADA ACOUSTICS

From paper to reality

CONSTRUCTION CANADA ACOUSTICS

1. Write it down: If an acoustically sound building is the goal, everything needs

CONSTRUCTION CANADA ACOUSTICS

BY CLIFF FASZER, P.ENG.

CONSTRUCTION CANADA ACOUSTICS

Images courtesy Calgary Science Centre Society

CONSTRUCTION CANADA ACOUSTICS

An interior view of atrium clerestory glazing.

Aircraft noise isolation

CONSTRUCTION CANADA ACOUSTICS

CONSTRUCTION CANADA ACOUSTICS

CONSTRUCTION CANADA ACOUSTICS

An artist rendering of the building, view from the southwest.

Heavy rail, light rail, and freeway noise isolation

CONSTRUCTION CANADA ACOUSTICS

CONSTRUCTION CANADA ACOUSTICS

This map shows the lands in the Calgary

CONSTRUCTION CANADA ACOUSTICS

BY NIKLAS MOELLER, MBA

Niklas Moeller, MBA, is vice-president of K.R. Moeller Associates (Burlington, Ont.),

CONSTRUCTION CANADA ACOUSTICS

Photo Janet Trost Photography

Addressing acoustics in sustainable offices

CONSTRUCTION CANADA ACOUSTICS

An example of soundmaskings effect on speech intelligibility.

Acoustics are as important to IEQand to comfort and concentrationas light,

Acoustic design goals

CONSTRUCTION CANADA ACOUSTICS

Absorptive materials reduce the noise volume, as well as the

CONSTRUCTION CANADA ACOUSTICS

Blocking can be achieved using workstations, while still accommodating

CONSTRUCTION CANADA ACOUSTICS

Covering noise with a soundmasking system also helps to support

CONSTRUCTION CANADA ACOUSTICS

CONSTRUCTION CANADA ACOUSTICS

CONSTRUCTION CANADA ACOUSTICS

internal noise isolation, as well as the isolation between workplaces. Including

Reduce noise at the source

CONSTRUCTION CANADA ACOUSTICS

Soundmasking addresses speech privacy and noise issues by

If a building fails acoustically, is it green?

See S. Abbaszadeh, L. Zagreus, D. Lehrer, and C. Huizengas Occupant Satisfaction