Metrowall Acoustic Lines February 2017 (EN)


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Metrowall Acoustic Lines February 2017

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February 2017


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Claude Delorme University Campus / Marseille Moli de l’Abad Restaurant / La Senia - Tarragona


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High school Jean Moulin / Draguignan Dental clinic Mayo / Barcelona Agrupació Barça jugadors / Barcelona


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Tourist pavilion /Vienne - Builder entreprise Bergamin Music school Rivesaltes - Builder entreprise SNCI


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Acoustic and Design Introduction We are constantly exposed do different types of noise. Not only in open space, the city or countryside but equally in closed spaces. When we find ourselves in a building we consciously or unconsciously feel different levels of comfort. We feel that if we are in a pleasant environment, we are comfortable. This feeling is derived from a number of important factors, amongst them lighting, temperature and acoustics. We would like to give some emphasis to the importance of acoustics, an area which is often less appreciated, but without doubt fundamental to our sensory experience. Absolute silence can be just as uncomfortable as excessive noise levels. Our perception is based on how we use the space and the activity we conduct there; therefore it is important to achieve the optimum noise levels. Nowadays, soundproofing is becoming more important in the field of architecture and is increasingly featured in building regulations. A good acoustic environment plays a fundamental part in our work, leisure and day to day lives. The parameters which define good acoustics are: The ability to have a conversation without raising our voices or straining to hear, reduction of noise, control of reverberation and acoustic insulation. Acoustic absorption allows us to lower the noise in a space by controlling and reducing reverberation. Noise originates from a source and diminishes in relation to objects which reflect it (furniture, people etc.). When the objects are more sound reflective, the longer the noise takes to reduce and the greater the reverberation interval. By working with acoustic absorption we can achieve a reduction in the reverberation time* adapted to each situation. * The reverberation time is defined by the time taken between the emission of the sound and its extinction. The intelligibility of a conversation, the reduction of noise, the control of reverberation and the sound insulation itself are the key parameters which define good acoustics. 3


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Architect’s house / Metz 4


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High school Vallon de Toulouse / Marseille Boardroom Foyer Etap’Habitat / Metz 5


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Relevant information regarding the absorption of noise. As a company based in Spain, our products are designed with the demanding Spanish building regulations in mind: CTE DB (Código Técnico de la Edificación- documento Básico) CTE DB Noise protection: Article 14. Basic requirements in the protection against noise (HR) The objectives of the basic requirements for ‘protection against noise’ consist of limiting, in normal conditions of use, the risk of annoyance or illness noise could cause to users of a building. Normal conditions of use: as a consequence of the projects characteristics, its construction and use or maintenance of the building. To satisfy this objective, buildings must be designed, constructed and maintained in such a way that the elements which make up the spaces within the building have adequate acoustic characteristics. Namely, to reduce the transmission of airborne noise, impacts and vibrations within the building itself and limit noise due to reverberation. The ‘ DB HR- protection against noise’ document species the parameters, objectives and systems to verify compliance and surpass the basic requirements for the minimum protection levels. ACOUSTIC INSULATION (CTE) Equipped/ Public Activity Environment 55dB Insulation 33dB insulation on interior walls Protected Enclosed Inhabitable or Protected Environment 30dB Insulation on doors and windows 50dB Insulation Outside: values table 2.1 Equipped/ Public Activity Environment 30dB Insulation on doors and windows 45dB Insulation 33dB insulation on interior walls Inhabitable Environment Habitable or Protected Environment 20dB Insulation on doors and windows 50dB Insulation Equipped/ Public Activity Adjacent Buildings Environment 40dB Insulation on of every door/window 40dB Insulation on of both closures 2.1, Acoustic insulation values at airborne noise D2m, nt, atr. in dBA between a protected environment and the exterior, as a function of the “daily noise index”, Ld. Building use Résidential and Hospital Cultural, sanitary, educational and administration Ld. dBA Bedrooms Common areas Common areas Classes Ld. ­60 60 < Ld. _­< 65 65 < Ld. _­< 70 70 < Ld. _­< 75 Ld. > 75 30 32 37 42 47 30 30 32 37 42 30 30 32 30 37 32 42 37 47 42 ((1) In buildings not used for hospitilazation, namely, centers o medical attention, doctors surgeries and areas destined for diagnosis and treatment. Classification of spaces in the building regulations (DB HR) The‘DB HR’regulations take into consideration the different acoustic requirements of spaces within a building according to their use, location and configuration. To give an adequate response to different needs, the DB HR classifies buildings into one or more diverse ‘units of use’ . These are then used to determine the acoustic requirements of the construction elements which define the spaces Units of use: Building or part of a building destined for a specific use. The users of these units are integrated within the space. The following, amongst others, are considered units of use: Housing; each individual dwelling In hospitals, hotels , residences etc. – Each room, including annexes etc. In educational buildings- Each classroom, conference room (annexes), etc. Enclosed environments (normally for use by the public): Halls, sport centres, exhibition areas etc. Defined as a spaces which can be limited by the use of partitions or other forms of separation. Defined as the following types: Public spaces : Interior enclosure destined for public use in which the density of occupation and time spent in the space have adequate acoustic, thermal and health requirements. Protected enclosed environments: Enclosed space with improved acoustic conditions. Buildings for residential use (public or private) Educational buildings Sanitary or hospital/medical buildings Offices and buildings for administrative use Environments not destined for public use A space in which is occasionally/exceptionally used and, as such has a short occupation. This type of space only requires adequate health conditions. Storage rooms, Lofts /roof spaces (not conditioned for inhabitation) and rooms which house building services (eg. Lift/elevator gear, electrical installations etc..) and their common areas. Equipped enclosed environments. Spaces which have equipment or installations, both individual and collective. Taking into account how these installations alter the environmental conditions in the space. Due to the ‘DB’ lifts/elevators are not considered in this category unless they have machinery in their interior Waste storage are considered as an equipped space. Enclosed environments for public activity. Spaces used for residential purposes (public or private),hospitals/sanitary or administration. Included in this category are areas which have different activities integrated into the space, for example, concurrent public and commercial use. Car parks fall into this category regardless of their use in relation to the space (excluding those for private use in an individual dwelling) Where the space has an average standard sound pressure, weighted A, superior to 70 dBA and is not classified as a‘Enclosed high noise level environment* see below. Enclosed high noise level environments. A space which is generally for industrial use. The activities produce an average standard sound pressure, weighted A, superior to 80dBA. 6


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Resonance and reverberation Acoustic absorption Acoustic absorption is the property which all materials have to absorb acoustic energy, while permitting the reflection of only a part. It can be said that when there is less reflected sound, the acoustic absorption is better. In Practice, We can look at the acoustic absorption if we compare two materials like marble and a thick fabric curtain. If we talk in front of a wall tiled with marble, we can hear the sounds we make lengthen. However, if we hang a thick curtain in front of the same surface we can hear that are voices are‘baffled’, or shortened. In this basic illustration we are comparing two materials with different surfaces and hence, two different grades of absorption. The acoustic absorption depends on how porous the surface of the material is. The pores of the material ‘trap’ the sound within them forming multiple reflections. Inside each pore the sound energy is bounced around within its limits. Due to friction, the energy is converted into heat energy which is then dissipated. Looking at marble, we can see that it doesn’t have visible pores so the majority of the sound emitted is reflected. On the other hand, rough textiles have numerous twists and cavities which trap the sound, that is to say absorb acoustic energy. Ei Ea Et Ei = Er+Et+Ea Er In the diagram we can see that the initial energy (Ei) collides with the obstacle and splits into three different types of energy. When it is necessary to know the absorption of this element, it is important to know the amount of energy reflected (Er) in relation to the initial energy. In order to calculate the acoustic insulation properties of this element we look at the energy which passes through (Et) and the energy dissipated (absorbed) within the element (Ea). We can then subtract these two figures from the initial energy (Ei+Er). These two terms are sometimes used incorrectly as they refer to two different phenomena which tend to be confused. In a similar way, the terms insulation and absorption are often used wrongly. The term resonance refers to the capacity a material has to vibrate. It is the way that the sound waves, audible or not, make objects vibrate at a greater level than normal. All physical materials have a ‘resonant frequency’ , a wall, a building, a drinking glass, the human body, a bridge etc. etc... A well known example of resonance are singers who can break a drinking glass with their voices. The singer is able to produce the same musical note as the resonant frequency of the glass. Although dependant on the thickness of the glass, when this note is reached it is only a matter of time before the glass breaks. Another classic example of resonance ,often explained in school physics lessons, is the unfortunate incident which happened as Napoleon’s army were crossing a bridge. As they marched across at a steady rhythm the frequency coincided with the resonant frequency of the bridge. Each step exerted pressure on the structure and provoked a movement which steadily grew greater. The bridge did not offer any resistance to this pressure due to the fact that it coincided with its resonant frequency, with each step the energy multiplied. Finally when the movement was too great, the bridge surrendered to the laws of physics and collapsed. A similar thing would happen if we continually pushed a child’s swing, there would be a point when it would travel a full circle. Reverberation is the phenomena derived from the reflection of sound within a closed space. It consists of the slight lengthening of the sound when the original source has died out. This lengthening is due to the reflected sound waves from the different surfaces within the space. If we modify the surfaces of a space, the reverberation will be affected. Most people have at some time experimented by putting a wall hanging, curtains or a piece of furniture in a room to make it quieter. This sound has not just‘disappeared’. In reality this sound has been absorbed by the new materials. We can hear clear examples of reverberation in large churches where the stone walls do not absorb the sound. The sound waves are travelling within building until they are dissipated. There can even be an echo in large spaces like sports halls and indoor swimming pools. This is caused when an emitted sound is reflected from a surface which is more than seventeen metres away. Acoustic insulation To give the concept of sound insulation, sound waves need to pass through the material or mix of materials the wall or ceiling is comprised of. When a sound wave collides with an obstacle it vibrates. Part of the energy is reflected as sound energy (as explained in the example of a marble tiled wall). However the vibratory energy which is created transmits through the material and generates movement in the air situated on the opposite face, making sound. When we speak in front of a marble faced wall we make it vibrate with our voice, that is to say that micro-vibrations are generated. It is a fact that sound energy makes any material vibrate, even if the inappreciable. Furthermore, a part of this vibratory energy is dissipated within the obstacle resulting in a reduction of energy transmitted to the opposite side. We can better imagine this dissipation of energy in the interior of materials thinking about the behaviour of two different materials when exposed to sound waves: glass and rubber. Glass is a rigid material which has very poor ‘damping’ qualities and sound passes through with very little problem. In contrast, if we take a sheet of rubber the sound loses energy when going through and we achieve a degree of acoustic insulation (since rubber is a good buffering material because it is not rigid but soft). We can state that acoustic insulation is the property which is expressed by the degree of sound reduction between two spaces separated by a partitioning element or between the inside or outside of a space. These materials or construction systems restrict the transmission of sound and provide a comfortable environment outside the area where noise is being produced. In summary, it can be said that sound insulation can be determined by the properties of the material, compared with the sound emitted and the degree with which it impairs the sound passing through it. Absorption can be determined by whether more or less sound is reflected from the surface. Coefficient of absorption The coefficient of absorption of a material is defined by the relationship between the energy it absorbs and the incident sound intensity. This value is specific for each frequency. = si--n-o--c-u-i-d-n---ed--n--i-nt---ts--eo---nu---sn--i-td--y---i-an--b-t--es--no---sr--v-i-t-e-y--d-- A value of 1, indicates that all of the incident sound energy is absorved, while a value of zero indicates that all of the sound is reflected. 7


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High school Vallon de Toulouse / Marseille Amphitheater El Bilia Léon l’Africain / Casablanca 8


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Agrupació Barça jugadors / Barcelona Rotterdam police station High school LEP Marie Louise Elisabeth Molé / Paris 9


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Our Acoustic Lines Metrowall panel is manufactured on a MDF black mass pigmented stand. Acoustic wall installation Metrowall Acoustic Lines is a solution for the acoustic and / or decorative treatment of walls.The base of black MDF dyed in its mass, allows to conceal the acoustic manufacturing, which offers a unique level of integration to the treated surfaces. ‘30 ‘15 ‘10 ‘5 Base ‘10 joint creux Cross ‘10 10


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318 mm Our Acoustic Lines Metrowall panel is manufactured on a MDF black mass pigmented stand. Enlarged area ACOUSTIC 2770 mm Surface area: 0,88 m2. / Base material: Black MDF (Fire resistant, specially manufactured) / Surface material: Melamin resin / Backing: Black non-woven acoustic fleece Models, sizes and measurements. ‘30 Not valid for ceilings frontal view 2.770 mm profile ‘15 frontal view 2.770 mm profile ‘10 frontal view 2.770 mm profile ‘5 frontal view 2.770 mm profile 318 mm 340,5 mm 318 mm 340,5 mm 318 mm 340,5 mm 318 mm 340,5 mm 1,5 mm 16 mm 4 mm 2,5 mm 16 mm 4 mm 3 mm 16 mm 4 mm 4,2 mm 16 mm 8 mm 59,4 mm 26,8 mm 18,7 mm 9,1 mm Weight: ~ 8.10 Kg / piece, ~ 9.20 Kg / M2. 14,15 % perforated. UNE-EN ISO 354 Weight: ~ 8.10 Kg / piece, ~ 9.20 Kg / M2. 11,90 % perforated. UNE-EN ISO 354 Weight: ~ 8.30 Kg / piece, ~ 9.40 Kg / M2. 9,40 % perforated. UNE-EN ISO 354 Weight: ~ 8.40 Kg / piece, ~ 9.55 Kg / M2. 6,60 % perforated. UNE-EN ISO 354 Coef. absorption Coef. absorption Coef. absorption Coef. absorption Frequency Frequency Frequency 0´84 0´90 0´62 0´70 0´51 0´23 Frequency Tests performed with a Plenum of 300mm of which 40mm mineral wool cavity. w= 0,55 Absorption type D w= 0,70 Absorption type C w= 0,65 Absorption type C The value may vary dependant on the substrate on which the product is xed and ongoing product improvement. Characteristics Building Regulation Characteristics Building Regulation Impact resistance UNE 438/2 Water resistance EN 203/204 Scratch resistance UNE 56.708 >1.5 N Stain resistance EN 438/2,15 no visible surface change in accordance with regulations Hygiene/anti- allergenic EN 438/2 Complies with regulations Dustmite resistance Formaldehyde emission Dry heat Humid heat Surface adhesion Dimensional stability EN 438/2 Complies with regulations CEN Complies with regulations UNE 53.150 Complies with regulations UNE 53.150 Complies with regulations UNE 56.705 h.2 UNE 56.753 < 0.7 % w= 0,65 Absorption type C Clasificación fuego Calidad M-1 B-S2,dO Organismo 1239 Certificado 28591 Medio Ambiente Certificado AENOR / PEFC Certificado 14-35-00161 11


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Our Acoustic Lines Metrowall panel is manufactured on a MDF black mass pigmented stand. DÉCORATIF Special models Metrowall Acoustic Décoratif Metrowall Panels without acoustical function, only grooved surface. Facilitates finishes with interior and/or exterior angles. All catalog systems are available in Decorative Metrowall. Visually identical toour acoustical version. Décoratif Base Expansion of materials 2770 mm 16 mm Unscored/Ungrooved Metrowall Panels 16 mm MDF products are hygroscopic made and are balanced depending on the humidity of the environment. The variability of atmospheric moisture causes dimensional changes in these materials. Metrowall is recommended to be stored at least 72 hours in placement to stabilize. It is not recommended to place in premises that are not isolated from air and water. In atmosphere controlled areas (air conditioning) expansions of approx. 1 mm. per meter can be found and up to 2 mm. per meter in areas without air conditioning. It is recommended to separate the cross panels between 3 and 4 millimeters. 318 mm 340,5 mm Assembly and installation system for Wall and Ceiling Acoustics Metrowall Lines Wall mounting Invisible fastening of panels on 4 sides. · Place a batten every 920 mm., optimum every 692mm. · Use a “flat head” screw. Rockwool First panel placement direction 692 mm Wall Batten Batten Female profile Female profile Male profile Batten position Male profile It is advisable to allow natural ventilation behind the panels, for example, cutting the thick wooden boards cleats Radio station Ona Codinenca / Sant Feliu de Codines - Barcelone


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DÉCORATIF/ACOUSTIC Our Acoustic Lines Metrowall panel is manufactured on a MDF black mass pigmented stand. Wall installation options Vertical installation No visible joints when and in the required height is not higher than 2770 mm. Installation parallel rows The joints are aligned every other row. 692 mm Batten position Installation in steps Positioning system that provides an original decorative solution and resolves visual problems of the joints. Installation of aligned panels 692 mm 692 mm 692 mm * For Base Lines (without sight slot), it is recommended to order the panels with bezel on the 4 sides (no additinal charge), to avoid decorative imperfections due to possible dimensional variations. Metrowall Acoustic Lines 10 joint creux There is also the option of requesting our Metrowall Acoustic Lines Joint Creux, with the expressly opened 6mm joints (shown in sketch) in order to offer an original design in your installation. Installation parallel rows Installation of aligned panels 692 mm 692 mm We recommend adding a strip at each junction point (short side) 13



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