CONNEXIONS@NEXUS

KUALA LUMPUR
Built over a period of two years and
completed in 2014, this a multi-purpose
auditorium with a seating capacity of
approximately 300 people.
LOCATION AND CONTEXT
• The idea behind the development of
Connexion@Nexus was to provide an
opportunity for the community to
come together in a strategically BANGSAR

nestled location between Bangsar,

Kuala Lumpur city center and Petaling
Jaya for all kinds of activities including
business, social and leisure.
• An entire floor within
connexion@nexus is dedicated to KUALA
function rooms, ballrooms, a gazebo, PETALING LUMPUR

as well as an auditorium, which became JAYA

the auditorium of our choice.

• Serving as a multi-purpose auditorium,
a variety of events are held here,
including annual general meetings,
business presentations, concerts,
movie screenings, conferences,
conventions, press conferences,
product launches, product talks,
seminars and training sessions.
ZONING/DEMARCATION OF AREAS WITHIN THE AUDITORIUM
• The chosen
auditorium is
located in one
corner of the
bigger floor space
on the third floor
of the building.
• It can be accessed THIRD FLOOR PLAN OF CONNEXIONS@NEXUS

using an escalator
or a staircase.
• It has a lobby area
preceding the main
space.
• There’s only one
tiny entrance for
an auditorium of a
capacity of 300
people.
EXTERIOR INTERIOR:STAGE INTERIOR:HOUSE
SPATIAL PLANNING TOILET

VIP LOUNGE
AV ROOM

• The space is well planned with

every need of a well functioning
auditorium being met.
• Curved walls on both right and
left side of the auditorium.
• Separate washroom for vip
lounge and a common washroom LOBBY
in the lobby.
• An elevator given near the back
stage which can be used only
by the members of event CHANGING
ROOMS
management.
• Having only one entrance can be
a problem in case of fire, etc.
There’s no emergency exit in a STAGE

place that is going to TOILETS

accommodate such large

number of people. SERVICE AREAS

LIFT
SHAPE AND MASSING
• The auditorium's overall
shape is curvilinear, with one
side of shorter length that
the other.
• Concave walls line the left
and right of the space,
enclosing the seating area
and stage within.
• This configuration hints to a
poor acoustical design as
concave shapes tend to
naturally reflect and
concentrate sound waves to
the centre of its
propagation especially when
majority of the sound
source is on the stage.
LEVELLING OF SEATS
• The levelling of the seating area is of utmost
importance to ensure that sound waves reach all
the occupants within the auditorium clearly.
• Given the scenario where the seats are not
raised, the sound would not be able to travel all
NOT EFFECTIVE AT ALL
the way to the farthest seat as the vibrations
would have been absorbed by only the first half,
with majority of the sound waves dying out by the
time it reached the second.
• Despite this, it can be solved by raising the
stage, elevating it above the seats and allowing
the sound source to project directly to all the
occupants. A LITTLE BETTER THAN THE PREVIOUS SCENARIO

• The seats within connexion are in the most

effective configurations because not only are the
seats levelled but also the stage is raised at a
certain height so even the farthest occupant gets
the sound waves uninterrupted or with least
interruption possible.
ARRANGEMENT IN CONNEXIONS: MOST EFFECTIVE
ARRANGEMENT OF SEATS
• The seating arrangement is well
configured and deemed effective.
• The seats are arranged in a fan shaped
configuration to ensure a maximum
number of seats are fitted, and an
optimum view of the stage area is
obtained from every seat.
• Most importantly, it helps achieve the
most effective acoustic quality because
sound waves travel in a spherical
order.
• Also, the angle at which the seating
arrangement is fanned out is 140
degrees from the centre of the sound
source on stage which is the best
angle for not letting the sound waves
go waste.
REFLECTED CEILING PLAN SECTION
CEILING REFLECTOR PANELS
Expected sound reflection from ceiling reflector panels to all audience members.

• The ceiling reflector panels included in the design forms a staggered ceiling configuration that aids in reflecting
the sound back towards the seating area and increasing the volume of the sound as it reaches the ears of the
occupants.
• As the height of the ceiling is not too great, the formation of echoes lessens and the panels serve their full
purpose as a sound reflector whilst helping to distribute sound evenly throughout the auditorium. The
increments of these sound levels are extremely important for the occupants at the last row.
CEILING gypsum plaster
• The ceiling is an important factor for sound
isolation. Gypsum plaster ceiling panels are
used as they have smooth surfaces that aid
sound reflection. They also provide for
acoustical intimacy, clarity, and strength of
the overall room's sound.

• Suspended from the ceiling to provide

short delayed, reflective sound energy the
reflector panels can provide the correct
"ceiling shape 'for early reflections that help
avoid reverberation.

• This is also due to the human ear's relative

insensitivity to localizing sound on the
vertical plane.
Wall panels ( acoustic timber veneer panelling )

• The walls are designed in a concave shape . They

tend to naturally concentrate and reflect sound
to the audience seating area .
• The first layer absorbs some amount of sound
when it impinges on the fabric and the high ACOUSTIC TREATMENT DETAIL DISTRIBUTION OS ACOUSTIC WALL PANELS
density foam is used to control and reduce the
reverberations .
• The rear wall is treated with absorptive wall
panels which absorbs the sound after it has
passed over the audience and prevents a second
wave from occurring .
• The surface of the wall paneling is a fabric ,
followed by a sponge – a porus material that can
absorb high frequency sound – and finished with
plywood and rockwool , which is used to absorb
low frequency sound .
FLOORING ( timber veneer ON CONCRETE
SLAB FLOORING )
STAGE FLOOR
SECTION
• The noise that comes from people talking , music
etc. is controlled by the weight of the concrete
and the timber flooring that is layered over it .
• The noise generated from the footfalls of people
walking as well as the sound emitted from the
entertainment systems is controlled using shock AUDITORIUM FLOOR
SECTION HIGHLIGHTED CARPETED AREAS
absorbing acoustic underlays ( low frequency
noises tend to vibrate through the structure
including the concrete slab ).
• Concrete slab provides sufficient air borne
insulation but is not adequate to provide the
required level of impact sound insulation . It
becomes proficient by adding concrete
underlayment
• Carpet absorbs air borne noise efficiently and its
added rubber underlay offers a higher sound
resistance to the absorption carried out by the
carpet alone
CURTAINS ( HEAVYWEIGHT VELOUR )

• Thick , heavy fabric curtains help control the

reverberation by absorbing excess sound and
eliminating the acoustic reflection of glass .
• It also provides tunable acoustical and listening
control in an auditorium . THREE DISTINCT LAYERS OF CURTAINS ARE USED IN THE AUDITORIUM
• The highly porus material act as thousands of
tiny sound traps , capturing the energy and
turning it into heat
• The pleated nature of the curtain exposes a
more sound absorbing surface , thus increasing
the effective thickness and improving the low
frequency sound attenuation .
THICK FIRE RATED CURTAINS

SEATING ( CLOTH UPHOLSTERED TIE UP SEATS )

• Padded seats add to the acoustical absorption of an empty

auditorium and allow the space to achieve a similar quality of sound
whether the auditorium is filled or not .
• A solid hard material changes the acoustic performance depending on
the number of occupants and the reflected sound vibrations .
MATERIALS
S.no area component photo material description colour finish
Acoustic
1 Exterior Walls Timber wall timber veneer Maple brown Smooth
panelling
Double glazing
Exterior Walls Glass 2-3mm glass , Transparent Reflective
2
curtain wall 10 mm air gap

Flooring Smooth Slabs on Grey brown Glossy

3 Exterior
Terazzo slabs concrete

Timber veneer
4 Exterior Stairs Timber stairs stainless steel Maple brown Smooth
and glass panels

Steel and Stainless steel

5 Exterior Furniture Metallic silver Shiny
glass tables and glass

Living room Sofa set with

6 Exterior Furniture Beige Leather
sofa set leather covers
Fiberglass Fiberglass on frame
Interior Apron 20mm cavity filled
7 panel Beige Soft Fabric
stage Absorbers
absorbers with rockwool
MATERIALS
S.no area component photo material description colour finish
Gypsum plaster 17%
Interior Perforated ,
8 Walls on concrete Dark colour Paint finish
stage 22mm

Interior Acoustic timber

9 stage Arch Timber walls veneer panelling Maple brown Smooth

Interior Timber veneer Timber veneer

10 Flooring Maple brown Laminated
stage flooring panelling

Main act curtains,

Interior Curtains Medium velour valance curtains , Maple brown
11 stage Soft
rear curtains

Interior Tables and Cloth

12 stage Furniture upholstered Maroon Soft Fabric
chairs

Interior Stainless steel

13 Furniture Podium Dark brown Shiny
stage and plastic

Interior Solid timber Timber veneer Metallic

14 Doors Smooth
stage door door silver
MATERIALS
S.no area component photo material description colour finish
Interior Steel deck Perforated Industrial
15 Upstage regging mesh black Hard
stage

Interior Acoustic timber

16 house Walls Timber walls veneer panelling Maple brown Smooth

Fiberglass Fiberglass on frame

Interior Walls 20mm cavity filled
18 panel Beige Soft Fabric
house with rockwool
absorbers
Medium pile
Interior Carpeted Brown
19 Flooring carpet on rubber Plushy
house flooring pattern
underlay

Interior Seating Upholstered

20 Vacant Orange Soft
house tie up seats

Interior Hand Stainless Metallic

21 - Shiny
house railing steel silver

17%
22 Interior Ceiling Gypsum plaster White
Perforated , Smooth
house ceiling
22mm
SOUND AND NOICE SOURCES

➢ Noise is any sound that is considered undesirable by the occupant.

➢ How undesirable a sound is depends on-
EXTERNAL NOISES
• Loudness of sound
• Frequency
• Continuity
• Time of occurrence
• Place
• Activity being carried out
• Information content INTERNAL NOISES
• Origin of sound
• Personal state of mind of listener
EXTERNAL NOISES
Outside the Connexion Convention hall there are
multiple origins of noise → 1 8.23ms sound delay is acceptable
for a speech-oriented auditorium.

• Noise produced by people talking outside in

waiting and reception lobby can enter the
auditorium as there is lack of sound proofing
treatments on doors.

• There is a sound lock within the inner and outer

door at the main entrance, which traps sound
waves within the sound lock and prevent them
from interfering with event inside, bringing
noise level down to 25 dB.

2.1ms sound delay is short, even

for a speech oriented
auditorium.
EXTERNAL NOISES
Outside the Connexion Convention hall there
are multiple origins of noise
8.23ms sound delay is acceptable
→2 for a speech-oriented auditorium.
• There is also an exterior alley running along
the right side of auditorium that many
occupants- crew and receivers use without
disturbing the other occupants.

• Any noise from the people using walkway

can be easily heard in auditorium due to lack
of any sound proofing on doors or sound
locks.

• The seats closer to doors are exposed to

roughly 50 dB of noise disturbance.
INTERNAL NOISES
Inside the Connexion Convention
hall there are multiple origins of 8.23ms sound delay is acceptable
noise for a speech-oriented auditorium.

→1

• The whoosh noise from air con.

diffusers, footsteps on the
carpet and stage, door leading to
the backstage and AV room.

• The air gap below the concrete

platform, which is used for
amplifying the subwoofers
below the stage also contributes
to the noise of footfalls.
INTERNAL NOISES
Inside the Connexion Convention hall there
are multiple origins of noise 8.23ms sound delay is acceptable
→2 for a speech-oriented auditorium.

• The linear air conditioning diffuser

system runs along the gaps of the
suspended acoustic ceilings is long,
narrow strips, and is designed for forcing
air-conditioning into the space.

• This causes an undesired and

unnecessary ‘whoosh’ sound of forced
air that can be heard easily by audience
seated below.
INTERNAL NOISES
Inside the Connexion Convention hall there are multiple origins of noise
→3
8.23ms sound delay is acceptable
for a speech-oriented auditorium.
• The doors located around the sides of auditorium also produce sudden and temporary noise disturbance for audience
seated in hall.

• The average dB produced from the banging of door is 80 dB, which is very noticeable from any seat.
SOUUND PROPOGATION AND RELATED PHENOMENA → SOUND CONCENTRATION
• The measurement of sound intensity
level (SIL) from the sound source shows
that there is a distinct sound
concentration zone can be found at the
center-back of auditorium.

• This is despite the inefficient coverage

of acoustic paneling found on virtually
every wall surface in auditorium.

• The creation of this sound

concentration zone is offset by overly
excessive usage of sound absorbent
materials- materials that have a sound
absorbency coefficient lower than 0.1.
SOUND REFLECTIONS

In order to make the use of sound more

efficient, it is necessary for the sound to be
reflect towards the audience. However, the
Sound propagation towards amount of sound reflected, with the added
subject.
design of these reflections, must be carefully
controlled to minimize the creation of Echoes.

While the a the auditorium has presented

itself many opportunities to create a rich and
lively soundscape, due to the combined use of
excessive reflective surfaces, the choice of
Sound propagation towards the materials as well as other factors, it has
first row.
severely hampered the experience, and will
lead to the creation of an auditory "dead
space".

Sound propagation towards the

last row.
ECHOES AND SOUND DELAY

An echo is a constant repetition of the original

sound. The nature of the program influences the
desired sound delay period and thus, the definition
8.23ms sound delay is acceptable
for a speech-oriented auditorium. of its echo.

In this analysis, only reflective surfaces will be

treated as effective sources of sound delay.

Generally, in an Auditorium designed for speeches,

any sound delay above 40ms will be considered as
an echo, while an Auditorium designed for music
13.8ms sound delay is acceptable will consider any sound delay above 100ms as an
for a speech-oriented auditorium.
echo.

The sound delay present in this auditorium is so

minuscule that it is difficult to discern. As such, this
Auditorium will not suffer from any negligible
sound caused by echoes.

2.1ms sound delay is short, even

for a speech oriented
auditorium.
REVERBERATION
It is in this aspect that this Auditorium suffers greatly. Due
to extensive use of absorbent materials covering of the
auditorium, coupled with the relatively small volume, is
reverberation time is extremely low.

A reverberation time of 0.26 seconds is only suitable in a

studio environment, and unequivocally not in an
auditorium. As such, this Auditorium can be and auditory
dead space.

REVERBERATION TIME IN SECONDS

ACOUSTICAL DEFECTS AND DESIGN ISSUES
Besides the extremely low reverberation time, this Auditorium also suffers flutter echoes from it inefficient design. Despite
the low sound delay time present in the house itself, flutter Echoes tend to occur on stage. This is because of the parallel
surfaces between the ceiling and stage floor, both of which are defined as reflective materials.

Furthermore, nearly half of the ceiling reflectors present in the Auditorium are not effective. They tend to reflect any sound
right into the back wall - which is covered with absorbent acoustic panels as well.

This is an inefficient use of the available sound energy, would be of a better design had it been angled to allow the reflections
back towards the audience instead.

FLUTTER ECHOES AND INEFFICIENT CEILING REFLECTOR DESIGN

INFERENCE
• Location is great as it connects three cities together for different events to happen.
• Proper planning of space with all basic requirements except for an emergency exit. Also, presence of a small
entrance would make evacuation difficult if needed.
• The curved shape of the auditorium would make for poor acoustics as all the sound waves get concentrated in
the centre after reflecting.
• The seating arrangement and the way seats are levelled is considered the most effective kind of seating
arrangements and helps in most optimum sound propagation and view of the stage.
• The constant angle of the reflective ceiling panels is not an optimal arrangement
• The auditorium layout has resulted in creation of unpleasant sounds at certain spaces.
• There is an inefficient use of materials, considering the distribution of sound reflecting and absorbing materials.
• The curvilinear form of auditorium has a detrimental acoustic quality, and has created auditory foci within,
amplifying sound in specific areas.
• It is evident that the designer of this auditorium has taken steps to reduce the impact of sound concentrated
areas, with the result being only 3 dB higher in concentration than the surrounding spaces.
INFERENCE
• Connexion advertises itself as a 'multipurpose auditorium', however, Most events held within this
auditorium are seminars, speeches and lectures; events of voice and not music.
• The lack of echoes is important to ensure the clarity of the speeches performed at the auditorium, and
with no distinct repetition of sounds, the audience would be able to perceive every word spoken
clearly. This is due in part to the liberal use of absorbent materials, which greatly limits and control the
degree of which reflection can occur.
• The walls are designed in a concave shape . They tend to naturally concentrate and reflect sound to the
audience seating area.
• Carpet flooring can be difficult to maintain.
• While the layout of the auditorium itself is created a sound concentration area, it has been tackled
arguably successfully with the use of absorbent materials.
• Even so, it is the heavy use of absorbent materials that has led to it having a extremely low
reverberation time of 0.26 seconds. This will lead the sound to seem flat and can cause speeches to
be perceived as being "dead" and "boring" as the sound does not have a "ring" to it.