Innovations in Color and Texture

After space and structure, materiality is the essence of architecture. Surfaces play a large role in articulating materiality, with equal contributions of light, color and texture giving buildings their unique character. Louis Kahn poetically described these intertwined relationships: "All material in nature, the mountains and the streams and the air and we, are made of Light which has been spent, and this crumpled mass called material casts a shadow, and the shadow belongs to Light."

Applied as architecture, that material is essential to the result. "Colors and textures cannot be seen independently of design intent," says Jack Diamond, principal at Diamond and Schmitt Architects of Toronto. "Once the objectives for a building project are established, colors and textures become an integral means of achieving design ends."

Color is inherent to materiality and can also be applied as architectural surface or finish. In either case, it makes a significant contribution—one lost on too many minimalist architects of late. "Color makes visible the spatial effect toward which architecture tends," said Theo Van Doesburg, the Dutch artist, architect and De Stijl pioneer. "Color is an expressive material equivalent to other materials like stone, iron, or glass."

Even more, "Color is a major element in scale," wrote Van Day Truex, the influential Parsons president and Tiffany's design director from 1955 to 1962. "A small room can have a larger look by the use of closely related values, hues, and intensity. A large room can be made to look smaller by marked contrasts of color and value, hue, and intensity."

When architects select surface material, color and texture, much more is at stake than a mere stylistic choice. Fortunately, new techniques and technologies make almost any type of expression possible. What follows is a brief examination of some of the latest advances and underlying principles for their use in architecture.

Panels of resin and wood fiber rendered in powerful, simple primary colors were selected for a feature facade on The Strong, also known as the National Museum of Play, in Rochester, New York

Selecting Hues

For practical reasons, both architects and material suppliers limit the number of colors considered for a given architectural application. One of the primary delimiters is the surrounding condition. "Color and texture choices are highly context-driven," notes Steven Wright, AIA, LEED AP, a project manager with Rafael Viñoly Architects. "Largely they are influenced by the regional and specific locale. And, of course, the client may have certain requirements, such as brand colors."

Combinations of colors may also be similarly limited, by considering the effects of color mixing. "Value is one of the most important elements. Whether light or dark, little value contrast makes for unity, and sharper contrast makes for stronger punctuation," said the Mad Men-era designer, Truex.

Looking to the existing context offers a backdrop for the new color choice, says Viñoly's Wright. "Depending on the situation and the design goals, the designer will seek to align the new colors and textures to the old, or she may wish to contrast and play off the old. Sometimes the introduction of a new and startling color or texture serves to bring a heightened appreciation of the existing," he says.

Manufacturers restrict their color palettes for practical reasons. Pigmentation and dyes are costly (see "Color Prognosticators" sidebar), and experience shows that specifiers and end-users prefer to choose from a pre-edited palette or have matching hues made to order.

A dramatic residential building in Barletta, Italy, employs a double-layered rainscreen of durable panels to add texture and color. Architect: Michele Sfregola. Photo courtesy of Trespa®

"Five thousand colors is simply too many to choose from. We've focused on a standard color range of about 350 hues, but recognize that custom color-matching is always needed," says Shawn Tweedy, chief operating officer for Armourcoat, a distributor of decorative finishes including polished plaster, a historical wall treatment technique still used widely today. "A critical issue is being able to offer a custom solution: to provide the exact color, hue and texture."

In addition to focusing on bespoke solutions, leading design teams and their suppliers shortlist colors and textures using an iterative process of surveying market feedback. "Based on external research in architecture and adjacent fields such as design and fashion—clothing, furniture, interior, automotive—and through specific discussions with global trend watchers, we identify a selection of possible future trends," says Remon Veraart, director—Americas for Trespa, which makes exterior claddings. "The trends are discussed in workshops with architects in Europe, Asia and the USA to identify the most captivating currently on the market." The company's in-house designers then translate the selected trends into product colors, textures and full façade design systems, adds Veraart.

Color Trends: Rich Neutrals

The investment in market research and expert advice pays off, say those in the building materials supply chain. "We must follow the palette of the times, and fit within what's happening in the market," says Stephanie Goudreau, marketing manager for Lamin-Art, a supplier of decorative high-pressure laminate (HPL). Recently Goudreau has noted a trend back towards neutral colors, "But very interesting neutrals such as greys and beiges, with undertones or hints of colorations such as taupes, blues or mauves. Abstract prints and wood grains also tend to combine warm and cool tones in the same design, making them suitable for both cool and warm color palettes."

Warm neutrals primarily include beiges and tans, while the most common cool neutral is gray. Other cool neutrals include white and green.

Novel textured interior finishes include laminates made with embossing techniques and the use of "inclusion materials," such as burlap cloth or banana fibers, which are pressed into the material's melamine face layer. Photo courtesy of Lamin-Art

"We've seen an overall shift in the neutral base color palette," confirms Marybeth Orlando, interior design director with the firm The Architectural Team. "Instead of cooler, minimalist grays, clients are opting for classic warmer beiges for both interior and exterior materials." These warmer tones tend to work well with wood finishes and other natural palettes that have a biophilic effect, exploiting the connection that humans have with nature and natural forms.

"Earth tones never go out of style, particularly given our culture's concern today with natural materials, the environment and the out-of-doors," says Katie Grimwood, an interior designer with TowerPinkster Architects Engineers. "Particularly in colder climates, bringing the outside in becomes a strong design concept. In fact, brown has really become the new black in many settings."

Yet many of the predictors of trendy, fashionable colors cut against this naturalist, neutral grain. "Right now, according to the September issue of Vogue, color is in: bright mix-and-match," says Jill Pilaroscia, IACC, a color expert and principal of Colour Studio, Inc. "Red pants with yellow shoes, with an emerald green accessory or blouse, is acceptable. This trend will result in more colorful interior environments, but it will not translate well into functional environments like healthcare or schools as trends will not support the specific behaviors and tasks that should drive public spaces."
So while mainstream architecture may not favor such Fauvist fancy, the mixing of colors and textures is now tending toward the higher value contrasts described by Truex. "Along with warmer neutrals, we are injecting bolder accents of color. Our once timid, muted accents are coming alive with more daring expressions of color and texture," says Orlando. Examples include wood finishes with more pop, says Trespa's Veraart, such as zebrawood.
As for texture, the latest consumer trends point to more variety and daring, adds Pilaroscia, an accredited color consultant who lectures frequently on theory and application. "For example, West Elm is offering accessory pillows in fur, textured felt and printed satin this season—the full range at hand," she explains. "Contract finishes include carpet tiles in a variety of neutrals with bold accents that pattern in unconventional ways. Some look like EKG tests or stock market fluctuations."

Exteriors and Façade Materials

For building façades and other exterior surfaces, color and texture preferences tend to follow material trends—not the momentary whims of fashion or consumerism. Yet this fact often sets up a tension between the material and its suitability for an architectural application. For example, wood exteriors have drawn interest, "yet there's strong demand for a natural look that requires very little maintenance during its lifetime, which is the opposite of real wood," says Veraart.
Fortunately, technology is filling the gap. "We're seeing many new manufacturing techniques reinterpreting the way we use materials," says Danny Pang, an interior designer with Lee H. Skolnick Architecture + Design Partnership, an architecture and interiors firm. "Porcelain tiles and laminates are made to look like wood, for use in locations where wood might not be suitable functionally."
Pang cites other examples including dimensional and sculpted glass, the novel application of laser cutting to metal, wood, resin and plastics, as well as expandable lightweight textile systems. "Many of these materials are changing the way we view a space and how a space communicates its character," says Pang. Others even allow for multiple colors on a single surface, adds Colour Studio's Pilaroscia: "One new system of metallic finishes employs a 45-degree angle of incidence, so as the viewer moves across the building exterior surface it changes colors, for example from grey to plum."

Color affects the spatial qualities of architecture, as seen in the open classrooms created for Summit Elementary School in Casper, Wyoming. Designed by New York City's Lee H. Skolnick Architecture + Design Partnership with RB+B Architects, unique textures and colors are used to orient children and add meaning to their daily environment. Photo by Fred Fuhrmeister

Novel applications of texture are also enriching the interior material palette for architects. On the one hand are materials typically expected to have smooth or very limited textures, such as high-pressure laminate (HPL), which are now gaining much greater depths and surface varieties. According to Lamin-Art's Goudreau, the finish of HPL is more frequently created by pressing with steel plates. Embossing films are also used to create wood grains, stone pattern, and a variety of surface effects. More recently, novel textures are being added through the use of inclusion materials such as banana fibers that are imbedded in the melamine face layer of the HPL, or by pressing such products as burlap cloth in the laminate sheet.
On the other hand are precast, panelized approaches to traditionally hand-applied surface finishes, a novel twist for creating 3D sculptural wall effects, says Armourcoat's Tweedy. Examples include a solid gypsum panel product using lightweight filler that is mechanically fixed to walls, corners and columns. The precast patterns, measuring up to a half inch in actual relief, add texture and seamless pattern at a scale that would be prohibitive, for example, with routed panels of medium-density fiberboard.
"Mass customization is affordable, so there is a degree of texture and detail that can be designed which previously could only be attained with a natural material," says Sven Shockey, AIA, LEED AP, design principal with A/E firm SmithGroup. "A custom perforated material can have a texture and tactility that a flat graphic cannot achieve."

Bringing Texture to Surface

These novel surface approaches reflect a growing tendency, says Danny Pang, that emerged in the fashion industry: "In much contemporary architecture, there is a sense of movement either through form, material or texture."
Similar to fashion designers, architects can avail their works of two types of texture: optical (or visual) and tactile (or physical). According to design author and teacher, Joseph A. Gatto,¹ tactile texture describes actual surface variation as found in wood grain, sand, metal and the like, which can be felt by the hand. The illusion of optical texture can be applied to such materials as smooth laminate through the repetition of shape and line—often to imitate surface characteristics that exist in nature. A third category, implied texture, is a visual texture that has no basis in everyday reality, according to Northern Illinois University's Mary Stewart,² and the technique is often utilized in works of abstraction or surrealism.
"There are two ways to look at texture: haptic or optic," says Goudreau. "Haptic finishes are those that can be perceived by the sense of touch, while optic textures are perceived visually, and may appear to have a 3D or embossed effect while the surface is actually flat."
Both kinds of textured surfaces are "visually active," says Gatto, and they can impart personality by creating emphasis, rhythm, contrast and the like. "Light is an important factor," he adds, "because it can affect how a surface is viewed." Textures also have a distinct impact on interior acoustics.


While texture is clearly an artistic element of building design, it is hard to quantify. According to the National Institute of Standards and Technology (NIST), there are no standard definitions of architectural-scale texture. Some standards, such as ANSI/ASME B46.1, measure texture at a very small or microscopic scale for surfaces of mechanical systems or industrial machinery. NIST contrasts texture described as roughness, created by closely spaced peaks and valleys on a surface, as opposed to waviness, which is caused by more widely spaced irregularities. The term lay expresses the dominant direction of pattern on the surface. Topography expresses the spatial structure of the peaks and valleys on the surface, while surface finish is a catchall encompassing texture, flaws, the materials themselves and any applied coatings.
A given material surface has an inherent lay, topography and surface finish. Other architectural finishes, such as plasters, are manipulated to achieve a finish that suits the project needs. "Color is design-specific, or specific to a given region or country," says Tweedy, whose company specializes in plasters. "Some colors and textures are suited to specific parts of the world." The smooth, polished plaster walls descend from the Marmorino stucco used extensively in northern Italy during the Renaissance, often as a background for ornate frescoes. Today, high-gloss, polished finishes similar tostucco lustro Veneziano are popular in Asia and in many local markets such as Las Vegas casinos, while international design is often dominated by textured surfaces.
A deep library of descriptive terms helps communicate architectural texture; pitted walls have a grainy appearance, for example, while a dragged surface has a distinct directional lay. Some finishes emulate a different material, says Tweedy, such as travertine marble or a modern urban concrete finish—complete with shuttering marks.
Thanks to recent advances in manufacturing and fabrication, texture is appearing even on surfaces not generally considered for appreciable shape or grain. In fact, these can be applied to not only opaque materials, but also plastics, metals and glass. "The challenge we have with smooth surfaces is giving them scale, but a simple irregular pattern can give the surface life," says SmithGroup's Shockey. "For example, a dimpled stone or random dotted frit on glass."

Light-Permeable Color and Texture

Colored glass is produced by adding a metal oxide or sulfide to glass material while it is molten (see Table). Deep blues from cobalt or copper, red glasses made with traces of gold or selenium oxide, and the fluorescent yellowish green of uranium oxide are familiar in both historic cathedrals and contemporary feature walls. Manganese dioxide and sodium nitrate are employed as decoloring agents—materials that neutralize the coloring impact of impurities in glass. Texture is added to glass in the rolling machine and afterward through such finishing and treatment processes as etching, fritting and enameling, among others. Art glass textures include martelé (French for "hammered") andpulegoso, Italian for bubbly, which can be made by adding gasoline or bicarbonate of soda into the glass melt.

Metals Used to Impart Color to Glass
Gold Chloride	Red
Cobalt Oxide	Blue-Violet
Manganese Dioxide	Purple
Nickel Oxide	Violet
Sulfur	Yellow-Amber
Chromic Oxide	Emerald Green
Uranium Oxide	Fluorescent Yellow, Green
Iron Oxide	Greens and Browns
Selenium Oxide	Reds
Carbon Oxides	Amber Brown
Antimony Oxides	White
Copper compounds	Blue, Green, Red
Tin compounds	White
Lead Compounds	Yellow
Manganese Dioxide	A decoloring agent
Sodium Nitrate	A decoloring agent

These traditional art-glass techniques have been revived, but the technology has advanced dramatically. "Some new glass coatings have opened up some exciting new possibilities—dichroic glass is one example, says Viñoly's Wright. "Although an ancient technique it has been reintroduced on an industrial scale and offers truly dynamic effects that change with ambient lighting conditions. Combined with various glass textures, the results can be very beautiful." Some of the newer glazings are based on technology developed by NASA, with a polychromatic effect created by the interaction of light with specialized prismatic interlayers.
Rather than using colored glass, architectural solutions increasingly rely on such interlayers, films or other materials paired with clear glazing, as seen in two art-meets-architecture applications in New York City. For the new Louis Armstrong Museum, located in a residential section of Corona, Queens, across from the famed trumpeter's former home, the firm Caples-Jefferson Architects sought to create a "façade that speaks to the visitors of the contents," says principal Sara Caples, AIA, NCARB. The resulting curved glass wall, in a yellowish cast, was envisaged as a direct homage to Armstrong's famed instrument but also as a vibrant yet soothing filter for natural daylight.
"We tried many ways to have the façade glow a yellowish cast, like a brass color," says Caples. "We looked at colored films, tinted glass, and then started to experiment with custom interlayers. Finally, we found a glass product with a metal mesh interlayer, which we could request to be brass."

For the renovation and expansion of the Theatre-in-the-Park in Queens, New York, the firm Caples-Jefferson Architecture highlights an inverted acoustical dome in peach, orange and red with cold cathode lighting. Photo by Nic Lehoux

For a very different application, a grid of custom colored glass was created by artist and photographer Spencer Finch for the defunct service rail trestles of the High Line in Lower Manhattan, an elevated park more than 20 city blocks in length with gardens, seating, refreshment areas and artworks. Finch's canvas, so to speak, was a pass-through under a commercial building. The glass panels, in seemingly random soft hues, actually each represent a single pixel point from a minute-by-minute series of Finch's photographs of the Hudson River, kept in chronological order. Finch applied a custom film to each panel in the corresponding pixel's precise color, arranged in sequence of capture.
Whether an homage to a great jazz artist or an industrial riverfront, glass proves a malleable and cost-effective way to apply both color and texture.
"Glass is an amazing blank canvas to work with," remarks Shannon Meyer, IIDA, LEED AP, director of interior design for KSQ Architects, Tulsa. "Adding texture to a glass surface aids in sun control at exterior facades and can create varying levels of privacy in interiors. Window films offer unending possibilities when it comes to color, texture and pattern. We've had great success combining multiple patterns and opacities in custom installations. The films add a level of detail and graphic pattern language to interior spaces." Novel products include a safety glass product with mirrored backing on both sides of the pane, creating two different aesthetic effects, one for each side of the glass. For interior uses, the glass product can be further modified by etching, rolling or coloring the mirror backing, creating subtle grains and hues that seem to change dramatically depending on the observer's viewing position.
"Manufacturers are redefining glass with their dimensional and sculpted products, some of which are also suitable for exterior purposes," says Lee H. Skolnick's Pang. Etched glass, for instance, is popular for decorative interior applications but often lacks the safety and insulating features for use as fenestration. Approaching the problem from an architectural viewpoint offers other solutions, says Pang. For instance, a "sculpted window" approach elevates artistic expression and offers the chance to integrate branded or decorative shapes. This dimensional glazing includes kiln-formed, heat-molded or cast glass, typically reserved for interior applications and even suitable as flooring.

An artist's glass installation under a building along the High Line, an elevated park in Manhattan's Chelsea neighborhood, employs custom films laminated on glass to pick up colors associated with various light conditions over the nearby Hudson River.

Exterior vs. Interior Surfaces

As with glass, opaque materials are variously suited to exterior duty or to only interior applications. The choice of color or texture must be vetted and specified carefully for its suitability to the demands of the selected use. "Considerations for color selection tend to be much more critical for exterior applications than for interior applications," says Trespa's Veraart. Examples of color specification for façades, roofs and other outdoor surfaces include:

• Pigments with high resistance to UV exposure, as confirmed through recognized testing procedures.
• Treatment or inherent resistance for chemicals or the corrosive effects of salt spray and salt fog, for example in coastal environments.
• Graffiti resistance, which is a consideration for both interior and exterior product applications.
• Level of texture for the surface — high-gloss may be a desirable design consideration or maintenance strategy, for example.

Veraart adds that interior wall applications and low-level exterior façades have a need for impact- and scratch-resistance due to close proximity to the public or to moving equipment. Since building occupants spend the most time indoors, color and texture are often given the most consideration there, both for aesthetics and wear. Fortunately, interior materials and systems generally offer designers a high degree of creativity, since the requirements for durability of pigments, dyes and textured elements relax significantly.
Two very different but equally successful projects offer valuable lessons. One is the new Montreal Concert Hall, a project for the provincial government in Quebec, Canada. Here, acoustics were critical to the specification, so the architects Diamond and Schmitt focused on surfaces "to reflect and refract low, medium and high frequencies," says principal Jack Diamond. "For low frequencies, there are large-scale convex forms — randomly placed, undulating walls and balcony fronts in this case — and for medium frequencies, molded plaster bands serve as smaller-scale surface variations." For the refraction of high-frequency sounds, however, Diamond's team employed wood paneling with varying textures, some very smooth while others are rough like sandpaper.

The Montreal Concert Hall, designed by Diamond+Schmitt Architects, uses colors and textures to highlight acoustical surfaces and improve their function. For medium frequencies, molded plaster bands in white offer small-scale surface variations and contrast to the wood paneling with various textures, which refracts high-frequency sounds. Photo by Tom Arban

To create the smooth expanse of polished plaster for London's Natural History Museum, concrete was sprayed onto a mesh, followed by insulation and an EIFS basecoat. After adding a crack-resistant substrate and a lime-and-marble base, the ivory-colored plaster of hydrated lime, marble and concrete was finished by hand. Photo by Stephen A. Wolfe

"Given the variety of nonsymmetrical forms, textures and other elements, a predominant material and a monochromatic color scheme has been employed to achieve design cohesion," Diamond notes. The floors and seat backs are all in wood, as are the walls, in a honey-colored Quebec beech; the upholstery is a pale wheat tone. "To avoid the muddy effect an overall monochrome can have, the horizontal plaster bands for mid-frequency reflection are in white, to provide a neutral reference for the eye and a freshness and lightness to the room," adds Diamond.
While even the most seasoned concertgoer may not realize the effect these forms and textures have on the acoustics, those who attend the hall's performances rate the overall quality very highly. Kent Nagano, conductor of the Montreal Symphony Orchestra, has crowed that the facility will take its place among the famed philharmonic halls of Europe.
In another cultural project, this time for a museum, the ancient art of plastering is appropriated for a contemporary gesture of massive scale. Known as "The Cocoon," the architectural form is a large egg-shaped volume, a new and unusual extension to the Natural History Museum, London. Officially called Darwin Centre Phase Two, the $120-million, freestanding installation was designed by Danish architecture firm C. F. Møller and finished by U.K. specialty contractor Armourcoat to resemble a literal cocoon—a silk bubble criss-crossed by threadlike textures.
To achieve the effect on the 213-foot-long, eight-story Cocoon, concrete was spray-applied to a form of expanded metal mesh on reinforcing bar to create a 10-inch structural wall. The contractor HBG Construction affixed polystyrene insulation to the curved walls with adhesive and mechanical fasteners on lengths of plywood, followed by an EIFS basecoat. This surface was surveyed to establish positions of 1-inch chases for control joints between 340 cast panels with special edge beads for a desired shadow gap and to allow thermal movement. A crack-resisting substrate was then applied, followed by a plaster substrate consisting of hydrated lime, marble and cement. The ivory-colored, polished plaster finish gives the Cocoon its signature color and texture.
While complex, the Cocoon's walls provide a highly engineered thermal mass and surface treatment to inhibit temperature variations inside, where laboratories and exhibits share space with a vast collection of 17 million insect specimens and 3 million plants collected over 300 years by Charles Darwin and other famed scientists.


Like the unique approach developed to house the museum's collection, every residential interior demands an individual, personal approach. But while an individual may have particular preferences for color palette or surface texture, architects note that residential clients drift toward certain commonalities.

Architects and Industry Collaborate on Color The renovation and expansion of New York City's Theatre-in-the-Park in Queens offers a remarkable color solution yet it also serves also as an example of the way in which designers and product manufacturers collaborate for striking results. The lighting designer envisaged illumination highlighting the form of the building, which has gently spiraling lines indoors and out. "He knew right away he wanted to use cold cathode tubes," says Sara Caples, principal of the project's architect, the local Caples-Jefferson Architecture, known for its colorful solutions. The firm worked directly with manufacturer National Cathode to develop the lighting concept and enclosures to make it work: enhancing and accenting the existing lines. The lobby's inverted acoustical dome received multi-colored flourishes at its outer edges, with a unified palette of peach, orange and red at the center, rendered in pigmented plaster. Critics note the polychrome solution reflects the multicultural nature of 106 different ethnic groups in Queens. The design for a renovated theater facility in Queens, New York, uses a polychromatic approach for the ceiling, with peach, orange and red hues. Photo by Nic Lehoux

"Soothing" tends to be the watchword for today's residential approach. Few want to live in a home whose décor asserts itself constantly, says the color consultant Pilaroscia. "People want textures and finishes that are soothing, healing, calming and uplifting, although those finishes and colors will vary given the individual's personal color likes and dislikes."
On the commercial side, soothing also has its place — but so does the enlivening, engaging surface design. Other factors become more important for the commercial setting, including durability, sustainability, affordability and, not least, aesthetic value.
Staying competitive in the commercial market means focusing on innovations in textured surfaces. "It's something we have been aggressively pursuing since 2005," says Lamin-Art's Goudreau. She, and Trespa's Veraart, note a much increased demand for wood prints and grains in the HPL and resin panel markets. "Fortunately, new trends and technical opportunities make these finish offerings more widespread," she says. Beyond the standard embossing for the ticks and grains of wood, new products include an HPL with an actual wood veneer imbedded in the laminate sheet; the fabrication process preserves the natural grain in the veneer, eliminating the need for a tick or wood pattern to be pressed into the sheet.
Yet the commercial markets often favor textures that are achieved optically, rather than actually. "Actual texture is not ideal for many applications, such as writing surfaces, or table- and countertops in restaurants, which need regular cleaning," says Goudreau. "Specifiers love real texture, but sometimes you need an alternative; that alternative can be an optic texture."
Recent commercial trends have veered into a world of greater variety, as noted by prognosticators like Pilaroscia. "There has been an ongoing trend for façade designers to include a variety of textures, colors, patterns, dimensionality and a mix of materials into the skin of a building," Trespa's Veraart agrees.
In addition to the fashion world, product manufacturers see the influences of the automotive and furniture industries on building materials. At international furniture fairs and auto shows, says Veraart, there's been a lot if interest in wood as well as digital prints and patterns. But the biggest surprise? "We've seen a lot of bright neon colors," he reports.
"It's not about overpowering the senses, but about teasing the eyes. The neon colors are used as an accent to furniture or as a dash of fun for the design."

Color Prognosticators See the Future of Building Color is big business. According to a report issued in early 2011 from Global Industry Analysts, Inc., the global market for pigmentation and dyes is expected to reach an annual volume of 9 million tons in 2015, representing a staggering market value of more than $24 billion. As such, there's more than a little interest paid to which colors will be the most sought after, meaning color trend analysis and prediction has become its own industry. The most frequently looked-to color forecasts in the architectural community include color classifiers like Pantone as well as coatings and fiber producers. Companies like Benjamin Moore and Sherwin-Williams are gross consumers of all kinds of pigments and dyes–and thus de facto market-makers on global colors. The same is true of carpet industry suppliers like Invista. Taking advantage of its unique position as a popular and ubiquitous color matching system, Pantone markets itself as a "worldrenowned authority on color" and unveils a "Color of the Year" every late fall. While architects may not give much credence to the paint industry's best guess at which colors will be popular in the coming year, they will nevertheless discover that the prices of coatings and finishes are driven by market forces that do give credence to color forecasts–perhaps especially Pantone's. For instance, a maker of textiles or interior lighting fixtures must hedge their bets on what materials and colors will most likely complement the palettes in greatest demand. If bedrooms designed in 2011 frequently include "honeysuckle"— Pantone's poster hue this year, a "dynamic reddish-pink"–then makers of carpets, wallcoverings and linens for the residential market a prudent to take note. "This is true for any manufacturer of any product; they must follow the palette of the times," says Lamin-Art's Goudreau. Interestingly, this may be truer for the commercial market than for residential. Residences are generally designed for individuals rather than groups, and the color choices reflect that. "Residential color choices are based on subjective likes and dislikes formed early in childhood," says Jill Pilaroscia, IA CC, an architectural color consultant based in San Francisco. "A positive childhood experience in a sunny yellow room will typically lead to a favorable association with that color for life. "Commercial color is more fickle."

ENDNOTES

1 Gatto, Porter, and Selleck. Exploring Visual Design: The Elements and Principles. 3rd ed. Worcester: Davis Publications, Inc., 2000. ISBN 87192-379-3 2 Stewart, Mary, Launching the imagination: a comprehensive guide to basic design. 2nd ed. New York: The McGraw-Hill Companies, Inc., 2006.

Sponsored by Kinetics Noise Control

By Karin Tetlow

In contrast to patrons of super-loud restaurants who are oblivious of the fact that 90-plus decibels of sound can cause permanent damage to hearing, occupants of modern buildings are very much aware of noise, so much so, that their complaints about airborne and impact noise are a major source of building dissatisfaction.

Acoustics are increasingly recognized as an important feature of building design. Already playing a significant role in LEED® school construction, acoustics are contributing to LEED points in other types of construction. Given the number of projects that require special attention to sound control from concert halls to offices, plus the fact that conventional construction of floors, walls, and ceilings is often inadequate for controlling unwanted sound, design professionals benefit from knowledge of the principles of sound, plus methods for its control.

Measuring sound

Sound travels in waves. In solid building materials, it progresses as vibration. Building materials, such as stud walls, glass windows and concrete floors vibrate at a variety of frequencies when excited by sound or vibration. What we hear are fluctuations in air pressure produced by the vibrating surfaces.

Decibel (dB).

The decibel is commonly used in acoustics to quantify sound levels relative to a 0 dB reference, the typical threshold of perception of an average human

Hertz (Hz).

Sound frequency is measured in Hertz (Hz), cycles per second. The frequency of the fluctuation in pressure determines the pitch. Most sounds are a combination of many frequencies. The human voice or a diesel generator produce sound across many frequencies. An example of a single frequency is the striking of a piano key producing a single note. The 1st (lowest) key is 27 Hz. The 88th key is 4186 Hz.

Wood veneer reflectors manage acoustics at Susquehanna University, Selingsgrove, PA.

Spectrum band analysis.

The application of acoustical finish materials or the design of a floor/ceiling assembly will depend on the frequencies needing to be controlled.

Decibel levels of different sounds. Provided by Kinetics Noise Control

For purposes of analysis, sound is divided into frequency bands. A spectrum band analysis plots sound (decibels or dBs) against frequency (hertz or Hz).

A-weighting (dBA).

In the measurement of loudness, an A-weighting filter on the sound meter is commonly used to emphasize frequencies from 1000 to 8000 Hz where the human ear is most sensitive, while attenuating very high and very low frequencies to which the ear is less sensitive. The aim is to ensure that measured loudness corresponds with subjectively perceived loudness.

Frequency ranges

Frequency range in Hz depends on the source of the sound. The range of frequencies that young people (under age 25) are able to hear is 20 Hz to 20 kilohertz (one kHz equals 10³ Hz). People’s ability to hear high frequencies decreases with age.

The application of acoustical finish materials or the design of a floor/ceiling assembly will depend on the frequencies needing to be controlled.

Frequency range varies by source and is diminished with age

Sound wave length.

High frequency sounds have a shorter wave length. A 2000 Hz sound, for example, has a 7-in. wavelength. Low frequency sounds have a longer wavelength; a 125 Hz (low frequency), for example, has a 9-ft wavelength.

Low frequency (longer) sound waves are difficult to control with standard building materials.

Noise Criteria establishes background noise across various frequencies Provided by Kinetics Noise Control

Noise criteria (NC)

NC curves establish the desirable background sound levels. Because higher frequencies are heard as louder than lower frequencies of the same dB level, NC curves allow higher dB levels at lower and lower frequencies.

Established in the U.S., NC rates indoor noise for various spaces. NC is a single numerical index commonly used to define design goals for the maximum allowable background noise in a given space. They primarily apply to the noise produced by a ventilation system, but they may be applied to other noise sources. The NC criteria consist of a family of curves that define the maximum allowable octave-band sound pressure level corresponding to a chosen NC design goal. As an example, a private office space would require a lower NC rating than a lobby area.

Sound reflects off hard surfaces and is absorbed by softer surfaces

Room acoustics

Sound reflection in a room can be compared to light reflection. Light reflects most brightly from light colored or mirrored finishes. Sound reflects with little energy loss from hard surfaces like concrete or gypsum board. A soft surface such as carpet or curtains (dark surfaces for light) will not reflect as much sound.

Various materials reflect sound at varying degrees and at different frequencies. Concrete will reflect about 99 percent of the sound that hits it, and a 2-inch-thick acoustical panel will reflect 5 percent. The typical 2-inch thick acoustical panel will not be as effective at absorbing lower frequencies versus higher frequencies. Carpet only absorbs high frequencies. Sound absorption is the opposite of sound reflection. A very small amount of sound in higher frequencies is absorbed by air.

Implementing sound absorption strategies can reduce both the noise level by as much as 8-10 dB while also reducing the reverberation time. Properly applied absorptive materials will improve speech intelligibility and the clarity of music. However, too much absorption makes the space too “dead.” Too little absorption makes the space too “live.” The shape and volume of the room are important components along with the amount of sound absorption and where it is located. It should be noted that sound absorption materials, standing alone, do little to “block” noise or reduce sound transmission.

Noise Reduction Coefficient (NRC) represents sound energy absorbed. Provided by Kinetics Noise Control

Noise reduction coefficient (NRC)

Noise reduction coefficient (NRC) is a single number measure of the amount of sound energy absorbed when striking a particular surface. An NRC of 0.00 indicates very high reflection; an NRC of 1.00 indicates very high absorption. NRC is the arithmetical average rounded to the nearest multiple of 0.05, of the absorption coefficients for the 250, 500, 1000, and 2000 Hz frequencies. The sound absorption coefficients of materials are commonly determined through use of standardized testing procedures, such as ASTM C423.

NRC is most commonly used to rate general acoustical properties of acoustic ceiling tiles, baffles, and banners, office screens, and acoustic wall panels. It is occasionally used to rate floor coverings and construction materials.

Sabin. The unit measure for sound absorption is the Sabin, named after Wallace Clement Sabine (1868-1919) who was a pioneer in architectural acoustics. One Sabin is the sound absorption provided by 1 sq ft of a perfectly absorptive surface whose absorption coefficient is 1.0, such as an open window. Sound goes through the window with no reflected energy back into the space. Many acoustical products have high sound absorption coefficients in various frequencies.

Absorption Coefficient (α) describes ability of material to absorb sound.

Absorption coefficient

The sound absorption coefficient describes the ability of a material to scatter or diffuse sound expressed as a fraction of incident sound. The sound absorption coefficient is frequency-specific and ranges from 0.00 to 1.00. For example, a material may have an absorption coefficient of 0.50 at 250 Hz, and 0.80 at 1,000 Hz. This indicates that the material absorbs 50 percent of incident sound at 250 Hz, and 80 percent of incident sound at 1,000 Hz. In some cases, the coefficient can exceed 1.00. The arithmetic average of absorption coefficients at mid-frequencies, 250 to 2000 Hz, is the noise reduction coefficient (NRC). It is worth noting that the NRC measurement does not include lower frequencies which are important in many applications. NRC should be considered a method of broad comparison for various sound absorptive materials. Measurements are done according to a standard test method such as ASTM C423.

Desired reverberation time (T60)) varies according to the space. Provided by Kinetics Noise Control

Room reverberation

Reverberation levels are controlled by the room shape and volume and by adding absorptive material content in the room.

T ₆₀ = .049 V/A
T ₆₀ = Reverberation time (60 dB decay) in seconds
V = Room volume, cubic feet
A = Total room absorption in Sabins

Achieving sound control

In order to select the most effective sound control building system and materials, design professionals are well served by consulting an acoustical engineer whenever acoustic performance is highly important to the project. Addressing the issue during the design stage, yields the most economical and effective solutions. Leading manufacturers typically provide specifications and product performance and fire test reports on their web sites. They also can easily import product details into specifications, documents or plans in AutoCAD, REVIT (BIM) and PDF format.

The key areas for achieving sound control include:

* Finishing Treatment and Surface Shaping within Rooms.

• Absorption
• Reflection
• Diffusion

* Sound isolation between rooms

• Airborne: speech, music, noisy HVAC equipment, air traffic are some examples.
• Structure-borne: footfalls, carts or furniture moving on floor, fitness activity & equipment on floor, adjacent railway or parking garage.

It should be noted that for A/V systems or electronic sound reinforcement to be effective, the room should first have the required sound control treatment.

Increased absorptive materials and reduced reverberation improves speech clarity and intelligibility

LEED® requirements

Sound control can contribute to LEED points in several categories. LEED 2009 Schools New Construction and Major Renovations Indoor Environmental Quality (IEQ) Prerequisite 3: Minimum Acoustical Performance Required Intent To provide classrooms that are quiet so that teachers can speak to the class without straining their voices and students can effectively communicate with each other and the teacher. Requirements Background Noise Achieve a maximum background noise level from heating, ventilating and air conditioning (HVAC) systems in classrooms and other core learning spaces of 45 dBA. AND Reverberation Time Design classrooms and other core learning spaces to include sound absorptive finishes to sufficiently limit reverberation in classrooms and other core learning spaces. CASE 1. Classrooms and Core Learning Spaces < 20,000 Cubic Feet (560 Cubic Meters) For classrooms and core learning spaces less than 20,000 cubic feet (560 cubic meters), options for compliance include: OPTION 1. Minimum NRC For each room, confirm that the total surface area finished with a material with a Noise Reduction Coefficient (NRC) of 0.70 or higher equals or exceeds the total ceiling area (excluding lights, diffusers and grilles). OR OPTION 2. Compliance with ANSI Standard S12.60-2002 or Non-U.S. Equivalent. Revised ANSI S12.60-2010/Parts 1 & 2 relate to classroom acoustics for permanent schools (Part 1) and relocatable classrooms (Part 2). (Copies are available for free download from the Acoustical Society of America: http://asastore.aip.org/shop.do?pID=594 IEQ Credit 9: Enhanced Acoustical Performance (1 Point) Intent To provide classrooms that facilitate better teacher-to-student and student-to-student communications through effective acoustical design. Requirements Sound Transmission Design classrooms and other core learning spaces to meet the Sound Transmission Class (STC) requirements of ANSI Standard S12.60-2002, Acoustical Performance Criteria, Design Requirements and Guidelines for Schools, except windows, which must meet an STC rating of at least 35. Projects outside the U.S. may use a local equivalent to ANSI Standard S12.60-2002. AND Background Noise Reduce background noise level1 to 40 dBA or less from heating, ventilating and air conditioning (HVAC) systems in classrooms and other core learning spaces. LEED® 2009 Schools New Construction and Major Renovations includes potential technologies and strategies for achieving IEQ Prerequisite 3 and IEQ 9. LEED 2009 New Construction and Major Renovations Materials and Resources (MR) Credit 4: Recycled Content 1–2 Points Intent To increase demand for building products that incorporate recycled content materials, thereby reducing impacts resulting from extraction and processing of virgin materials. Requirements Use materials with recycled content such that the sum of postconsumer recycled content plus 1/2 of the preconsumer content constitutes at least 10% or 20%, based on cost, of the total value of the materials in the project. Many common acoustical materials contain 30 percent or more recycled content. MR Credit 5: Regional Materials (1–2 points) Intent To increase demand for building materials and products that are extracted and manufactured within the region, thereby supporting the use of indigenous resources and reducing the environmental impacts resulting from transportation. Requirements Use building materials or products that have been extracted, harvested or recovered, as well as manufactured, within 500 miles of the project site for a minimum of 10% or 20%, based on cost, of the total materials value. LEED Pilot Credit Library Pilot Credit 24: Acoustics for new construction and commercial interiors covering a wide range of applications. Pilot Credit 47: Acoustic Comfort for homes and mid-rise. For details seehttp://www.usgbc.org/DisplayPage.aspx?CMSPageID=2104

Finishing Treatment and Surface Shaping within Rooms

Adding absorption reduces reverberation and unwanted sound reflections. Adding absorption reduces in room noise levels.

Adding reflection and diffusion redirects and scatters sound in order to enhance the listening experience.

Sound absorption

Materials that control reverberation time include absorptive panels, absorptive baffles, carpet, upholstery—and people.

Panels and baffles are the most effective broadband absorbers. Thicker panels better absorb low frequency sound. There are also acoustical panels on the market that are designed for improved low frequency absorption.

Since people absorb higher frequencies, the number of people occupying a space at different times must be factored into the acoustic design.

Acoustical panels absorb sound. Photo provided by Kinetics Noise Control

Noise Control and Room Acoustics in Building Design

Using finishing treatments, engineered products, and floor, wall and ceiling framing design to effectively control noise and improve acoustics

October 2013

Sponsored by Kinetics Noise Control

By Karin Tetlow

A cloud system of acoustical panels in a media room does not interfere with lighting or sprinklers. Photo provided by Kinetics Noise Control

High-impact-resistant perforated metal acoustical panels that are 1-1/8-inch-thick typically have an NRC value of 1.00. Photo provided by Kinetics Noise Control

Panels designed for moist pool environments reduce reverberation and noise in otherwise super reverberant natatoriums. Photo provided by Kinetics Noise Control

Acoustical materials come in a variety of finishes, including perforated wood.

Traditional acoustic wall panels. With its variety of shaped edges and panel thicknesses, the traditional acoustical wall panel offers design versatility and a solution for controlling reverberant noise while also controlling sound reflections in the room. Fiberglass core acoustical panels faced in fabric or vinyl can be placed on the walls or ceiling. Typically they are fabricated from 6-7 PCF fiberglass board with edges chemically hardened for durability. Maximum panel sizes are typically 4 ft. x 10 ft. Angled or contoured perimeter cut custom shapes can be specified. A 2 in. thick panel typically has an NRC value of 1.00.

Applications include any interior surfaces where superior acoustical performance is required, such as conference rooms, auditoriums, churches, media rooms and office spaces.

Cloud system. For enhanced reverberant noise absorption, an acoustical cloud system of acoustical panels can be used in spaces where ceilings are too low for vertical baffle installations. Cloud panels can be located to not interfere with sprinkler or lighting and can be backlit with low voltage lighting.

High impact acoustical wall panel. For applications where acoustical performance must be teamed with greater durability, such as in gymnasiums, a high impact panel can be specified. A typical two-part panel has a 6-7 PCF density core with a 1/8 in. thick, high density impact resistant skin laminated on the core face.

Corrosion-resistant aluminum or galvanized steel panels. These are suited for controlling reverberant noise problems in gymnasiums, natatoriums, and recreation centers. Some manufacturers fill panels with a 2-in.-thick, glass fiber sound absorber encapsulated in a heat sealed poly vinyl bag.

Wood-faced absorption panels. One typical panel is made with a ¾-inch-thick MDF core with a laminated hardwood veneer facing that is perforated. Designers can select from different perforation patterns and wood types Each panel is backed with an acoustically transparent black fabric to visually cover the sound batting, furring, and attachment hardware, which make up the substrate behind each panel.

Specular sound reflections off of flat wall and ceiling surfaces often produce inconsistent poor acoustic quality throughout the listening space; Image provided by Kinetics Noise Control

Reflective design in an auditorium or lecture hall. Ceiling and wall shaping directs sound to mid and rear seating areas.

Using finishing treatments, engineered products, and floor, wall and ceiling framing design to effectively control noise and improve acoustics

October 2013

[ Page 10 of 16 ]                   

Sponsored by Kinetics Noise Control

By Karin Tetlow

Curved acoustical reflectors direct and diffuse sound to the seating area of the auditorium. Image provided by Kinetics Noise Control

In a diffuse sound field sound level is uniform in all locations and from all directions. Image provided by Kinetics Noise Control

Suitable for band and choral rehearsal rooms and performance spaces, barrel and geometric diffusers disburse sound reflections evenly throughout the space. Photo provided by Kinetics Noise Control

For high level performance spaces, quadratic diffusers are designed with variable well depths based on a mathematical sequence

Sound reflection

Acoustical reflection is often desirable in critical listening environments versus the absorption and deadening of sound energy. Higher frequency sound reinforcement through early reflections off of the walls adds brilliance to music and improves speech intelligibility. Higher frequency sound is easily absorbed by common materials such as curtains, fabric covered chairs and people’s clothing. Designing a room to create a scattering of high frequency sound reflections is preferable and often required to prevent unwanted flutter echo. There are two types of sound reflection: Specular reflection and diffuse reflection.

Specular. Specular reflection is the mirror-like reflection of sound waves from a surface, in which sound from a single incoming direction is reflected into a single outgoing direction.

Diffusion. A diffuse sound field is designed to create uniform sound levels in all locations and from all directions. With adequate sound diffusion, each listener has the feeling of being “enveloped” in sound.

A tuned absorber/diffuser panel acoustically optimizes the hole pattern in the laminate while maintaining the desired overall open versus reflective area in the panel surface. Photo provided by Kinetics Noise Control

Compared to a reflective surface, which will cause most of the energy to be reflected off at an angle equal to the angle of incidence, a diffuser will cause the sound energy to be radiated in many directions, hence leading to a more diffusive acoustic space.

Over the years, manufacturers have developed many different diffusers for high performance facilities. They also offer panels that provide both absorption and diffusion:

Geometric-shaped diffusers break up direct sound reflections and disburse them more evenly throughout the listening space.

Quadratic residue diffusers invented in the 1970s by Dr. Manfred Schroedor diffuse sound in a predictable manner. Made from strips of wood material with different depths placed in sequence, their ability to diffuse sound evenly has long been tested and documented.

Adding reflection and diffusion Wall and ceiling panels are available that provide both absorption and diffusion where low and mid-frequency absorption is desired in conjunction with increasing reflectivity and diffusion in higher frequencies. A typical assembly is a sound absorptive fibrous core covered with a variable impedance laminate. Openings in the laminate are sized and spaced to optimize the absorption in lower frequencies while creating random mid and high frequency reflective surfaces between openings.

Typical flooring, wall and ceiling STC and IIC values achieved through integrating acoustical products within framing designs.

Sound isolation between rooms

Airborne and structure-born sounds between rooms can be managed by specifying architectural sound isolation assemblies that utilize three principles:

Mass of construction materials such as concrete slabs or plywood subfloors.

Airspace between construction components.

Resilient isolation element used to integrate mass and airspace.

Sound Transmission Class (STC) and Impact Insulation Class (IIC) are two performance values associated with sound isolation between rooms.

Sound Transmission Class (STC) is a numerical rating of how well a building partition attenuates airborne sound. In the USA, it is widely used to rate interior partitions, ceilings/floors, doors, windows and exterior wall configurations (see ASTM International Classification E413 and E90.) The measurement is heavily weighted in the 1000 to 4000Hz frequency. Normal speech can be clearly understood through a wall with an STC of 30. At STC 40 speech can be heard with some effort. At STC 60 loud speech is inaudible but loud music can still be heard, especially loud bass notes. The Uniform Building Code (UBC) states that hotels and multi-family units are required to have an STC of 50.

Impact Insulation Class (IIC) IIC is a single number rating that provides a means of comparing the acoustical performance of floor-ceiling assemblies, when excited by impact such as footsteps. The IIC is derived from ASTM method E989, which in turn uses a tapping machine specified in ASTM method E492. A larger number means more attenuation.

Isolating sound reducing blanket of insulation has floor supporting resilient pads. Photo provided by Kinetics Noise Control

A concrete slab covered in roll-out isolation material with resilient pads supporting a plywood and hardwood finish floor increases STC to 66 and IIC to 63.

Footsteps and impact noise can be intrusive to occupants in spaces below. Construction that calls for hard floor surfaces such as hardwood flooring, ceramic tile, quarry tile, marble, wood parquet, and vinyl tile are all areas where impact noise is of concern.

With no additional sound isolation system, a 6-inch concrete slab has an STC of 53 and an IIC of 27. With hard floor surfaces on the concrete, the floor system falls well below the UBC requirement of IIC 50 for multi-family type buildings. Adding properly engineered resilient materials in the middle of the floor/ceiling sandwich will increase STC and IIC.

Roll-out isolation material. One typical roll-out isolation system creates an airspace of one to four inches with resilient isolators spaced according to design criteria. The roll-out isolation material can be installed beneath a “floated” concrete slab or other built up floor system utilizing cross-laid plywood sheathing. Installed between concrete slabs, the assembly STC and IIC can be 72 and 62 respectively. These values surpass the performance of continuous underlayments due to the airspace and lower natural frequency created by the isolators. Applications include high performance noise control spaces such as dance studios, rooftops where flyover noise is an issue, noisy mechanical equipment rooms over classrooms, and more (see Galaxy Lanes Case Study). Any room where high levels of airborne or structure borne noise are created over an occupied space would be a candidate for this type of systems.

Low profile underlayment. While having lower STC and IIC values than 1-to 4-inch-thick pads and batting, low profile resilient underlayments are a lower cost material primarily designed to improve the impact noise rating (IIC).

Recycled rubber.One environmentally friendly noise control low profile floor underlayment is 98 percent post-consumer and post-industrial recycled rubber. A 3 mm underlayment beneath hard flooring and on top of a 6 in. concrete slab can achieve STC and IIC values of 50 each.

Gypsum concrete, ¾ in. plywood, 14 in. I-joist and 6 in. fiberglass insulation plus sound isolation clips have an STC and IIC of 54 and 57 respectively. Image provided by Kinetics Noise Control

Saving valuable ceiling height, a wood-frame rubber and steel ceiling hanger is attached to 2 in. x 10 in. joists and suspends two layers

Examples of floating hardware ceiling assemblies using a leaf spring hanger. Image provided by Kinetics Noise Control

Neoprene hanger supports one or more layers of gypsum board. Image provided by Kinetics Noise Control

Secured to concrete, metal deck, or structural framing, this ceiling hanger supports one or more layers of gypsum board. Image provided by Kinetics Noise Control

Low profile spring hanger saves ceiling space. Image provided by Kinetics Noise Control

Combination of rolled insulation in concrete slabs plus an isolation hanger suspending sheetrock yields a very high STC and IIC.

Sound isolation ceilings

Resilient isolation hangers that suspend drywall ceilings greatly improve STC and IIC.

Isolation clips. Designers wanting low-cost, space saving ceilings and walls that provide noise control have the option of using sound isolation clips. These attach to ceiling joists, wall studs, or masonry and secure the drywall furring channel. One or more layers of gypsum board are then hung to the furring channel.

Spring isolation hangers. These are best for low frequency sound or vibration. Secured to wood-frame construction (e.g., joists, trusses), a typical hanger incorporates a one-inch-rated deflection spring in series with a neoprene cup, and will resiliently support one or more layers of gypsum board.

Leaf spring hanger. Developed by one manufacturer the leaf spring hanger out-performs resilient channel and sound clips with or without gypsum concrete.

Fiberglass or neoprene hangers are lower cost, labor saving and effective in many applications.

Super-compact ceiling hanger. This low profile isolated hanger assembly may be specified when minimizing ceiling drop in an occupied space. It uses less than 3-1/2 in. of space and is often used in renovation projects.

Compared with staggered stud construction, double stud wall design provides a higher STC value. Adding an isolation clip and gypsum board layers to a single stud wall increases STC. Image provided by Kinetics Noise Control

Wall isolation clips increase STC. Image provided by Kinetics Noise Control

Stud wall framing design affects sound

The design of stud walls can significantly improve noise control. A single stud wall with a single gypsum board on each side has a low STC of 33. By redesigning the stud design and adding resilient isolation clips STC can be doubled.

Double stud. Double 2 x 4 stud wall with two layers of 5/8 gypsum board each side, provides STC 63.While effective for high STC, the two walls take additional floor space. Note, rigid bracing between walls, often done for fire rated design, will drastically lower the STC.

Staggered stud. While much less effective than double stud construction due to common base plates which transmit sound, staggered stud construction with an STC of 53 takes less floor space.

Resilient clip single stud. Using resilient isolation clips can provide a high STC of 61 and maximizes floor space.

Wall braces are available in different configurations and will isolate soffits, stud walls, plumbing and TV sound.

Floor Isolation System for Bowling Alley: Galaxy Lanes at Plaza Las Americas: San Juan, Puerto Rico

Roll-out batting with fiberglass isolators plus an addition layer of insulation was covered with a plywood pouring form. Photo provided by Kinetics Noise Control When the owners of Galaxy Lanes at Plaza Las Americas proposed a 32-lane bowling alley be located on the third floor of the largest mall in the Caribbean, the mall owners and store operators on the floors below demanded that no sound of bowling balls and pins and no airborne music be heard during business hours. Typically, spring isolators supporting a concrete slab are chosen to address impact from bowling noise. However, once the cost and construction time of the system were understood, an alternative system was sought that used roll-out material with isolators. Roll-out batting with 4-in.-tall fiberglass isolators inserted 24-in. on center plus an additional layer of batting was laid. A ¾-in.-thick plywood sheathing pouring form was installed on top and tied together using junction plates. Poly sheeting protected the pouring form. Altogether, two four-man crews each working 8-hour shifts, completed the task in three and a half days, ready for reinforcement and poring the concrete. The effort allowed the concrete contractor to start work a week early. The bowling alley manufacturer was then able to commence installation of the lanes as originally scheduled.

Column and Floor Isolator Assemblies: Kimmel Center Hamilton Terrace Philadelphia, PA

Spring isolators were placed with interconnecting steel framing members. A form deck will be installed and concrete poured to form the floor.. Photo provided by Kinetics Special spring assemblies were manufactured for isolating the columns and floor for the new Hamilton Terrace entertainment venue at Kimmel Center in Philadelphia, Pennsylvania, home of the legendary Philadelphia Orchestra. Engaged by the acoustical consulting firm Threshold Acoustics, the manufacturer was challenged with designing isolators to fully decouple the venue from the rest of the Kimmel Center structure. Two independent isolation systems were proposed, so that the variable live load on the isolated floor would not affect the isolation and detailing of the superstructure. First, column isolators had to be designed to meet height requirements, provide vertical and lateral restraint, minimize demolition to the existing structural floor, facilitate easy installation at the jobsite, and meet the specified design frequency. Next, spring isolators were designed to allow steel structural members for the floor system to be connected. Accurate load information coupled with proper spring selection yielded a floating floor system capable of handling a varied dead load imposed across the floor and varying live load input, all without significant movement to the floor during events. Opened during summer 2012, the column and floor isolators performed flawlessly. Critical to the success of this project were the manufacturer’s early involvement in the project with the design team and close coordination with the structural engineer of record.

Conclusion

Architectural construction systems and finishes are engineered, designed and specified to deliver noise control. Strategies for controlling in-room noise include surface finish treatments such as acoustical panels that reflect, absorb and diffuse sound for a range of applications such as concert halls, swimming pools and auditoriums. Wall, floor and ceiling architectural framing designs that incorporate sound isolation products play a major role in controlling sound between rooms. Recognized as a significant factor in school design, adequate noise control is a growing requirement of building design and an increasing presence in LEED certification.

Celebrating over 50 years, Kinetics Noise Control has extensive experience in designing and manufacturing innovative products to control sound and vibration. Established in 1958 as engineers focusing on sound and vibration control, Kinetics pioneered development of pre-compressed, molded fiberglass pad isolators that would be incorporated into an innovative new floor isolation system. Previous trade names of Kinetics Noise Control include Consolidated Kinetics and Peabody Noise Control.www.kineticsnoise.com