BUILDING UTILITIES III

MIDTERMS: WEEK 1-5

WEEK 1

ARCHITECTURAL ACOUSTICS
●​ May be defined as the technology of
designing spaces, structures, and
mechanical systems to meet hearing
needs.
●​ “Wanted” sounds can be heard
properly, “unwanted” sounds or
“noise” can be attenuated to the
point where it does not cause
annoyance
●​ A branch of acoustics that deals with
providing rooms and buildings with
good conditions for listening to
speech and music
●​ Plays an important role in the
planning and construction of
auditoriums, churches, halls,
libraries and music halls

However, achieving good acoustics has

become increasingly more difficult for a
variety of reasons. Weight of construction MAXIMUM LEVEL OF DECIBEL a human
materials used in today’s building is reduced ear can endure
to cut costs.

BASIC ELEMENTS in an acoustical

situation
1.​ SOURCE
2.​ TRANSMISSION PATH
3.​ RECEIVER

How long it would take for noise to

damage your ears

30 dB Will not cause damage

85 dB Higher than this level is the

beginning of hearing damage
 ●​ MEASUREMENTS
(esp. After 8 hours of
exposure) ○​ CAVEA: 119 mts
○​ ORCHESTRA: 24.65 mts
88 dB Such as lawn mower, city ○​ HEIGHT: approx. 59 mts
traffic (damage in 4 hours) ●​ FACTORS that contributed
○​ Seats are made of limestone
91 dB Such as hairdryer, garbage
disposal (damage in 2 hours) & marble
○​ Semi-circular seating of the
94 dB Such as electric drill (damage theater
in 1 hour) ○​ Unenclosed design of the
theater
97 dB Such as motorcycle (damage
in 30 mins) ○​ Steepness of the theater
●​ THEORY: It’s all in the seats!
100 dB Such as mp3 player,
snowmobile (damage in 15 OLD CHURCHES
minutes) REVERBERATION
115 dB Such as leaf blower, stadium ●​ The persistence of sound after the
football game (damage in 30 cause of sound has stopped - a
seconds) result of repeated reflections
●​ Architectural factors
120 dB Such as rock concert, ○​ Tall ceilings
ambulance siren (damage in 8
○​ Open plan
seconds)
○​ Arches, domes and little
125 dB Such as fire alarm, firecracker window openings
○​ Shape of the churches
140 dB Such as jet engine at take off, ○​ Materials like marble,
gunshot (damage in concrete and stones
immediate hearing)
SOUND PATH
Acoustics is already present in ancient ​ Every listener in a lecture hall,
times… theater, or concert hall should hear the
speaker of performer with the same degree
THEATER OF EPIDAURUS of loudness and clarity.
●​ Considered as an architectural
marvel 1. REFLECTIONS
●​ The Theatre of Epidaurus through its ●​ These occur when sound hits a
production and presentation of surface that is neither predominantly
drama, plays and recitals therefore absorptive nor sound transparent at
became an important contributor to the specific frequency.
the progress of Greek arts
●​ Acoustics of the Epidaurus theatre ●​ Non-absorptive surfaces that are
are so good you can hear a pin drop large, as compared to the
from the back seats wavelength at a given frequency,
●​ Spectators capacity: 11,750-14,700 reflect sounds.
 ○​ (a) Flat ceiling

Ex. 3-inches wide pickets in a fence reflect

frequencies with wavelengths that are less
than three in (4500 Hz and higher). If the
fence is 50% open, it reflects about 50% of
the high-frequency energy. However, it does
not significantly affect the lower frequencies.
These lower frequencies (longer
wavelengths) simply diffract around the
obstruction.
○​ (b) Two panel ceiling
2. SPECULAR REFLECTION
●​ Specular reflection occurs when
sound reflects off a hard polished
surface. These characteristics can
be used to good advantage to create
an effective image source.
●​ In ancient Greek and Roman
theaters, seats were arranged on a
steep, conical surface around the
performer.
●​ The virtue of the arrangement in fig. ○​ (c) Multifaceted ceiling
(a) below is that the sound below is
that the sound power travels to each
location, with minimal attenuation.

4. ECHOES
●​ A clear echo is caused when
reflected sound at sufficient intensity
reaches a listener approximately 70
msec or more after hears the direct
3. RAY DIAGRAM sound.
●​ Ray diagramming is a design ●​ Echoes even if not distinctly
procedure for analyzing reflected discernable are undesirable in
sound distribution throughout a hall, rooms. They are annoying and make
using the first reflection only. speech less intelligible. The relative
annoyance is dependent on the time
 delay, and loudness relative to the 6. DIFFUSION
direct sound which, in turn, are ●​ This is the converse of focusing and
dependent on the size, position, occurs primarily when sound is
shape, and absorption of the reflected from convex surfaces.
reflecting surface. ●​ A degree of diffusion is also
provided by flat horizontal inclined
reflectors as shown.

5. FOCUSING
●​ Concave domes, vaults, or walls will
focus reflected sound into
certain-areas of rooms.
●​ This has several disadvantages.
○​ For example, it will deprive
some listeners of useful
sound reflection and cause
hot spots at other audience
positions.
 ●​ Can its application be entrusted to
7. CREEP the average journeyman?
●​ This describes the reflection of ●​ What is its appearance, and what
sound along a curved surface from a are its decorative possibilities?
source near the surface. ●​ How much does the material cost?
●​ Although the sound can be heard at ●​ Will it be expensive to install and
points along the surface, it is maintain?
inaudible away from the surface.
How Sound is Absorbed?

WEEK 2: ACOUSTICAL MATERIALS

ABSORPTION
●​ The rate which sound is absorbed in
a room is a prime factor in reducing
noise and controlling reverberation.
●​ All materials used in the construction
of buildings absorbed some sounds,
but proper acoustical control often
requires the use of materials that
have been especially designed to
function primarily as sound absorbs.
●​ Such materials are popularly known
as “acoustical materials”.
○​ These are also used for
reduction in office buildings,
hospitals and restaurants.

FACTORS that need to be considered:

●​ Combustible or Fire-Resistant?
●​ How much light it will reflect?
●​ What about its structural strength,
absorption of water, and attraction
for vermin?
●​ How foolproof is it?
 b.​ Panel resonators

ABSORPTIVE MATERIALS
​ There are three families of devices
for sound absorption:
a.​ Fibrous materials

​
 2.​ ACOUSTICAL PLASTER AND
SPRAYED
c.​ Volume resonators ​ On materials. These
materials comprise plastic and
porous materials applied with a
trowel; and fibrous materials.

​ Combined with binder

agents, which are applied with
(sprayed on) an air gun of blower.

3.​ ACOUSTICAL BLANKETS​ ​

Blankets are made up chiefly of
mineral or wood wool, glass fibers,
kapok batts, and hair felt.

​ The physical characteristics

of the materials in each of these
categories will now be considered.

1.​ PRE FABRICATED UNITS

a.​ TYPE I - Cast Units having a
pined or granular - appearing
surface.
●​ Class A - mineral units composed of
small granular of finely divided
particles with Portland cement
binder.
●​ Class B - mineral units composed of
small granules or finely divided
particles with lime or gypsum binder.
●​ Class C - Unit composed of small
granules or finely divided particles of
mineral or vegetable origin with
TYPES OF ACOUSTICAL MATERIALS incombustible mineral binder.
1.​ PRE FABRICATED UNITS
​ These include acoustical tile, b.​ TYPE II -
which is the principal type of material Units having
available for acoustical treatment; perforated
mechanically perforated units surface; the
backed with absorbent material; and perforations
certain wall boards, tile boards and to be
absorbent sheets. arranged in a regular pattern.
●​ Class A - Units having a perforated
surface which acts as a covering
and support for the sound absorbent
material to be strong and durable
and substantially rigid.

●​ *Vermiculite: Good insulators

d.​ TYPE IV - Units having a

felted fiber surface
●​ Class A - Units composed of long
wood fibers
●​ Class B - Units having circular
perforations extending into the
sound absorbent material.”

●​ Class B - Units composed of fine

felted vegetable fiber or wood pulp
●​ Class C - Units having slots or
grooves extending into the sound
absorbent material.

●​ Class C - Units comprised of

mineral fibers
c.​ TYPE III - Units having a
fissured surface
2.​ ACOUSTICAL PLASTER AND
SPRAYED MATERIALS 3.​ ACOUSTIC BLANKET
a.​ TYPE I - ACOUSTIC ​ The material used most commonly in
PLASTER the fabrication of acoustical blankets are
-​ This shall be composed of a mineral wood, hair felt, wood fiber and glass
cementitious material such fiber.
as gypsum, portland cement,
or lime with or without an ​ Although, the thickness of these
aggregate. blankets is generally between 1 1/2 and 4
inches, blankets of greater thickness are
sometimes used in special applications.

b.​ TYPE II
-​ Acoustic materials other than
acoustic plaster which are
applied with a trowel.

c.​ TYPE III

-​ Fibrous materials combined
with a binder agent and
which are applied by being
sprayed on with an air gun or
blower.
COMMON MATERIALS USED IN
ACOUSTICS FEATURES:
Effectively reduces
reflected noise and
PICTURE MATERIAL
reverberation time to
POLYURETHANE produce safe and
FOAM SOUND enjoyable
ABSORBER surroundings.

PATTERN: APPLICATIONS:
Scientifically Industrial,
engineered pattern Commercial, Audio
design to absorb the Room, Residential,
widest range of sound recording
frequencies studios, radio stations,
band rooms,
FEATURES: swimming pools,
Effectively reduces churches, schools,
reflected noise and gun ranges,
reverberation time to equipment
produce safe and enclosures.
enjoyable
MELAMINE FOAM
surroundings
SOUND ABSORBER
APPLICATIONS:
PATTERN: Flat
Industrial,
Surfaced
Commercial, Audio
Room, Residential,
FEATURES:
sound recording
Designed for sound
studios, radio stations,
absorption in a wide
band rooms,
range of frequencies.
swimming pools,
Increased surface
churches, schools,
absorption area.
gun ranges,
equipment
APPLICATIONS:
enclosures.
Industrial,
MELAMINE FOAM Commercial, Audio
LINEAR WEDGES Room, Residential,
Walls, Ceilings and
PATTERN: The linear partitions, sound
wedge pattern offers, recording studios,
excellent absorption radio stations, band
and allows you to rooms, swimming
create many different pools, churches,
designs. Install schools, gun ranges,
vertically, horizontally, equipment
diagonally, enclosures.
checkerboard as well
as create your design.
 FEATURES: Cost
PICTURE MATERIAL effective, lightweight,
high acoustical
ACOUSTICAL performance, moisture
BAFFLES and chemical
resistant.
PATTERN: Soft
Textured Beaded APPLICATIONS:
Surface Any large area where
noise and
FEATURES: reverberation needs to
Economical, be reduced.
multi-purpose, Gymnasiums,
moisture resistant, community centers,
durable lightweight sports arena, large
and cleanable. open areas.

APPLICATIONS: ABSORPTIVE/NOISE
Gymnasiums, BARRIER QUILTED
Auditoria, CURTAINS
Classrooms, Music
rooms, Arenas and PATTERN: Quilted
Stadia, Churches, pattern made of
Offices, Computer Acoustical foam or
rooms, Restaurants / Fiberglass core, faced
Cafeteria, Concert with quilted
Halls and Theaters, aluminized fabric
Gun Ranges,
Manufacturing Plants, FEATURES: Effective
Machine Enclosures, Durable Absorber with
Water Treatment mass loaded vinyl
plants, Animal barrier option.
Hospitals.
APPLICATIONS:
SAILCLOTH AND Effective solution to a
VINYL wide range of noise
ENCAPSULATED control problems.
ACOUSTIC Machinery and work
BAFFLES area enclosures,
moisture or humid
PATTERN: Plain, conditions and
mounted with outdoor noise control.
fiberglass core Silicone fabric
encapsulated in available for outdoors.
polyvinyl fil or sail
cloth.
 APPLICATIONS:
PICTURE MATERIAL Industrial,
architectural or audio
MELAMINE FOAM applications,
COMPOSITE SOUND machinery and
CONTAINMENT mechanical rooms.
SYSTEM For harsh noisy
environment that
PATTERN: require high
Convoluted or Flat performance, low
Surface Pattern frequency reduction.
Above acoustical
FEATURES: ceiling grid systems.
Acoustical foam, mass
loaded noise barrier POROUS
with foam vibration EXPANDED
decoupler. POLYPROPYLENE
(PPE) ACOUSTICAL
APPLICATIONS: WALL PANELS
Effective solution to a
wide range of noise PATTERN:Non
control problems. Abrasive, slightly
Machinery and work textured, porous
area enclosures,
moisture or humid FEATURES:
conditions and Lightweight, impact
outdoor noise control. resistant, moisture,
Silicone fabric bacteria and fungi
available for outdoors. resistant. Tackable
surface, UV Stable.
LOW FREQUENCY
SOUND ABSORBER/ APPLICATIONS:
INSULATOR Gymnasiums,
Auditoria, Swimming
PATTERN: Soft gray, pools, Arenas, Food
ideal behind acoustic Processing Plants,
fabric, perforated or Cafeterias,
slotted panel surfaces. Restaurants.

FEATURES:
Exceptionally good
low frequency
absorption. User
friendly alternative to
glass fiber insulation.
 ●​ The seating should be
arranged so that the
PICTURE MATERIAL
audience is as near the stage
POLYURETHANE as is consistent with the
FOAM COMPOSITE requirements set by the
SOUND distribution of sound from the
CONTAINMENT source and with those for
SYSTEM
good visibility.
PATTERN: Flat ●​ Thus, although an audience
surface, vinyl noise can be brought nearer the
barrier with speaker in a room having a
polyurethane foam square floor plan than in one
vibration decoupler. in which the greater than the
width, the latter is preferable.
FEATURES: Highly
effective on absorbing
sound, noise
reduction and
vibration controls.

APPLICATIONS:
Ideally suited to line
equipment
enclosures. Used to
line walls and ceilings
of utility and
mechanical rooms to
absorb and contain
the noise source.
DEFECTS OF ELLIPTICALLY &
CIRCULAR LAYOUT
WEEK 3: ACOUSTICAL DESIGN OF
ROOMS & THEATERS; OBSERVATION
OF THEATERS

DESIGN OF ROOM SHAPE

​ The shape of a room is one of the
important factors affecting its acoustical
properties. Hence, the determination of the
most desirable shape is a problem that the
TO BRING A LARGE AUDIENCE AS
architect should know now to solve.
CLOSE AS POSSIBLE TO THE STAGE
OF AN AUDITORIUM
1.​ FLOOR PLAN
●​ it is advantageous to design a floor
●​ The design of an auditorium
plan with diverging side walls.
or a lecture room usually
●​ Reflections from these walls can aid
begins with the layout of the
in the establishments of a higher
floor plan.
sound level at the rear of the
 auditorium, but these reflections EXAMPLE PROBLEM: Suppose the
must be carefully controlled. rows are 3 feet apart and that the
lips of a speaker are 5 feet above
the floor level. What is the distance
of the level area from the speaker?

d=3(2.5x5-1}

=34.5 ft.

TAKE NOTE
●​ Angle of elevation of the
room in an auditorium it
should not be less than 8
degrees
●​ In a demonstration lecture
TAKE NOTE hall an auditorium it should
●​ Path length of 65 feet or more be about 15 degrees
-​ between direct and reflected ●​ It is advantageous not only to
sound give rise to echoes. elevate the seating area but
also to stagger the seats.
●​ Path length of 50-65 feet or more
-​ produce a blurring quality 3.​ CEILING SPLAYS
which may result in a lack of ​ Ceiling splays in the front of a room,
"intimacy", especially for or appropriately tilted portions of the ceiling
auditors in the front seating can be devised to reinforce the sound
area. reaching the rear parts of an auditorium.

2.​ ELEVATION OF SEATS

●​ Since an audience constitutes a
highly absorptive surface, sound
waves which graze it are greatly
attenuated.
●​ Hence, it is good design in an
auditorium, from the standpoint of
hearing as well as of seeing, to
elevate the seats in order to provide
a free flow of direct sound from the
source to the listeners. TAKE NOTE
●​ A useful formula for computing this ●​ Ceiling height of a room to be used
distance is d = r(2.5h-1) for speech and music should be:
WHERE r is the distance between ●​ Large room = 1/3 USING THE
rows and h is the height of the WIDTH
source.
 ●​ Small room = 2/3 USING THE ●​ The location of the wall is, of course
WIDTH determined principally by the general
contour of the floor plans.
●​ If the ceiling of an auditorium_ is too ●​ The angle that any portion of the
high, not only will the volume per wall surfaces, such as a splay
seat be excessive, but also makes with the wall contour line
long-delayed reflections from this should be such to reflect sound
surface will be a source of echoes. beneficially to those seats where the
sound level is not adequate.
COMPUTING FOR CEILING HEIGHT ●​ The law of reflection can be used to
EXAMPLE PROBLEMS determine this angle.
●​ The side walls should be designed
so that the sounds they reflect to the
audience will not be too long
delayed.

TAKE NOTE
●​ SPLAY - a sloping or beveled
surface or angle as of the side of a
doorway, a spreading expansion,
enlargement

5.​ REAR WALLS

●​ In the design of all rooms, large
concave rear walls should be
avoided. Unfortunately, they are of
common occurrence because it
seems so simple and economical to
most architects to have the rear wall
follow the curvature of the last row of
seats.
●​ Walls with this shape are
responsible for troublesome echoes
and delayed reflections in many
theaters and auditoriums. This is
illustrated below which is a
4.​ SIDE WALLS longitudinal section showing a
●​ The side walls should reinforce the vertical rear wall.
sound that reaches the rear parts of
a large room. This is especially
desirable for auditoriums in which a
sound amplification system is not
utilized for all spoken and musical
programs.
 ACOUSTIC CONCEPTS
6.​ BALCONY RECESS ●​ “BOX WITHIN A BOX”
●​ Good design of a balcony recess -​ A noise-isolation strategy
usually requires a shallow depth and used for containing sound
a high openings. For an auditorium within a room.
or legitimate theater, the depth -​ A box is built inside another
should not exceed twice the height box, with air space
of the opening. separating each one
-​ Floor is raised, ceiling is
d <2h dropped walls have space
-​ Also called “room within a
●​ This plan permits sound to flow room”
readily into the space under the
balcony.
●​ Good design also requires that the
reverberation time in the balcony
recess approximately that of the
main part of the auditorium. By
applying the above rules, it is
possible to design the recess so that
the sound level in this space is about
the same as it is in other equally
distant parts of the auditorium.

WEEK 4: SOLID AND AIRBORNE NOISES

AIRBORNE NOISES
●​ Airborne noise refers to sound that
travels through the air from its
source to a receiver.
●​ It is one of the two main types of
OBSERVATION OF THEATERS sound transmission, the other being
structure-borne noise, which travels
through physical structures like walls
or floors.
●​ Airborne noise can originate from
various sources, such as voices,
music, machinery, or any other
activity that produces sound waves
in the air.
 a.​ TRANSMISSION ○​ ACOUSTIC SLABS
Propagates through the air, but it can also -​ In addition to wall panels,
travel through walls, ceilings and floors. acoustic slabs offer an
effective solution for
b.​ EXAMPLES absorbing airborne sounds.
Speech, music, and most everyday sounds -​ Positioned within the cavity
are examples of airborne noise. formed by metal party walls
and timber, these slabs
c.​ SOURCES efficiently trap and reduce
Anything that generates sound in the air, reverberation, contributing to
such as speakers, voices, or musical an overall improvement in
instruments, contributes to airborne noise. sound control.

CONTROLLING AIRBORNE NOISES

●​ Reducing airborne sound is crucial
for creating acoustically comfortable
environments.

●​ One effective approach involves the

implementation of acoustic
absorption techniques. These
methods play a significant role in
diminishing the intensity and
reflection of sound within a given
space. This report outlines practical
steps for soundproofing a room
through the application of acoustic
solutions.
○​ ACOUSTIC WALL PANELS
-​ Propagates through the air,
but it can also travel through
walls, ceilings and floors.
 -​ The level of airborne sound
○​ ACOUSTIC SEALANTS insulation relies on the
-​ Basic measures, such as following general principles:
sealing existing gaps and -​ FLEXIBILITY/RIGIDIT
holes, play a pivotal role in Y
reducing airborne noise. -​ EFFICIENCY
-​ Utilizing acoustic sealant -​ MASS
caulk to seal any cracks, -​ ISOLATION
holes, or gaps in doors and
windows ensures an airtight SOLID NOISES
seal, effectively deadening ●​ Sometimes called “Structure borne
sound waves that may noise”
otherwise enter the space. ●​ refers to the transmission of sound
through solid structures. When a
vibration or sound is generated in
one part of a structure, such as wall,
floor, or ceiling, it can travel through
the structure and be heard in
another location. ‘
●​ This phenomenon is common in
buildings, vehicles, and various
mechanical systems.

a.​ TRANSMISSION
Solid-borne noise, on the other hand,
travels directly through the structure itself.

b.​ EXAMPLES
○​ SOUND INSULATION Borne noise includes footsteps, machinery
TECHNIQUES vibrations, and other physical activities.
-​ Beyond acoustic treatments,
sound insulation techniques c.​ SOURCES
provide an alternative Vehicles, and various mechanical systems.
approach to airborne sound
reduction.
-​ While similar in effectiveness
to acoustic solutions,
soundproofing techniques
differ in that they block sound
waves from passing through
various surfaces, including
ceilings, floors, walls, doors,
and windows, rather than
absorbing them.
CONTROLLING SOLIDBORNE NOISES
●​ ISOLATION
-​ A fundamental strategy for
minimizing solid-borne sound
involves isolating structural
elements.
-​ This can be achieved through the
use of resilient materials or isolators
strategically placed between
components, preventing the direct
transmission of vibrations.

CONTROLLING AIRBORNE NOISES

●​ DECOUPLING TECHNIQUES
-​ Decoupling elements within the
structure can significantly reduce the
transmission of solid-borne sound.
-​ This involves breaking direct
connections between building
components, such as ceilings and
walls, to disrupt the path of
●​ FLOATING FLOORS vibrations and minimize their impact.
-​ Implementing floating floors is a
proven method for reducing
solid-borne sound transmission.
-​ By installing a resilient underlayment
or a floating floor system, vibrations
are absorbed, preventing them from
traveling through the structure and
reaching adjacent spaces.
●​ VIBRATION REDUCTION
○​ DAMPING
-​ Accomplished by rigidly
coupling the vibrating source
to a large mass, frequently
called an inertia block.
-​ Much of the energy is filters. Reciprocating pumps
absorbed and dissipated as are more difficult to control as
friction; the remainder results the pulsations are more
in lower-amplitude vibration. vibration than noise. Flexible
connections in the piping and
○​ ISOLATION U-joints in the piping will
-​ Accomplished by supporting absorb much of this vibration.
the vibrating mass on
resilient supports.
-​ These take many forms and
are used in tandem. Thus,
machines are supported on
fibrous rubber, or spring steel
vibration isolators, and the
entire mass can be_
supported on a floating floor,
which in return rests on
resilient vibration isolators as
in the above figure.
-​ Large machines are
supported as special
commercial "sandwiches" of ●​ VIBRATION DAMPENERS
asbestos, lead, cork, and -​ Applying vibration dampeners to
other strong resilient structural elements helps dissipate
materials. energy and reduce the transmission
of solid-borne sound.
○​ PUMPS -​ These dampeners absorb and
-​ as with all rotating equipment convert vibrations into heat,
are sources of vibration and preventing them from propagating
noise and should be treated through the building components.
as described above.
-​ The figure below shows a
typical pump installation with
appropriate noise reduction
measures.
-​ For at least a distance of 100
pipe diameters beyond the
pump resilient pipe should be
used. With centrifugal pumps
as with fan and blowers,
machine sound concentrates
in narrow bands and, if
extremely disturbing, can be
attenuated with resonant
WEEK 5: REVERBERATION TIME speech and music = around
COMPUTATION ALLOWABLE FOR 2 secs
SPEECH AND ○​ Classroom= <1sec (0.60 sec)
MUSIC ○​ Restaurants = 1 sec
○​ Multi Purpose = 1.2 secs
REVERBERATION ○​
●​ The SABINE’S FORMULA
persistence
of sound
after the
cause of
sound has
stopped— a
result of repeated reflections.

REVERBERATION TIME (TR)

●​ Reverberation time (𝑻𝑹) describes
the period required for the sound
level to decrease 60 dB after the
sound source has stopped
producing sound.

NOTE:
​ In acoustics, reverberation time
(RT₆₀) is a measure of how long it takes for
sound to decay by 60 decibels (dB) after the
sound source has stopped. It is an
important parameter in the design and
analysis of architectural spaces, such as
concert halls, auditoriums, and recording
studios.

DESIRABLE REVERBERATION TIME?

●​ The optimum reverberation time for
an auditorium or room of course
depends upon its intended use.
○​ Medium sized general
purpose auditorium for both