[Book_FTUI] Sound of Engineering

Narator 3: N. Milatia Moemin \"Pengabdian Tak Berbatas\" Jadilah MESIN penggerak perubahan Jadilah ARSITEK pembangun negeri Bangunlah pondasi dari KONSTRUKSI cara pikir yang inovatif dan integritas sekuat METAL. Jadilah pusat keunggulan yang tak putus menTRANSIMISIkan ilmu, nilai-nilai, dan inspirasi Jadilah katalis yang mempercepat PROSES transformasi bangsa Sungguh.. Dunia REKAYASA tak bersekat Sehingga darmamu pun tak berbatas Narrator 3: N. Milatia Moemin \"Unlimited Devotion\" Be a driving MACHINE for change Be a nation builder ARCHITECT Build the foundation of the CONSTRUCTION of innovative thinking and integrity as strong as METAL Be a center of excellence that does not end up transmitting knowledge, values, and inspiration Be a catalyst that accelerates the PROCESS of nation's transformation Indeed.. So that your virtue is unlimited 39

SONG 7 “Puja Indonesia”/ Praise Indonesia \"Puja Indonesia\" is a song created by Gita Gutawa about Indonesia\" (2017) which contained a collection of songs of Indonesian hymn of the struggle. ^ Figure_16 Photograph of Engineering in Symphony 40

Figure_17 Photograph of Engineering in Symphony 41

Narator 4: Teten Derichard \"Damai\" Damaimu damaiku juga Tentrammu tentramku juga Merah putihmu, merah putihku juga Negerimu, negeriku juga Lalu kenapa kita harus saling hujat? Saling cerca? Saling tikam? Bukan itu yang diwariskan oleh eyang, andung, ompung, engkong dan kakek kita Bukan itu yang dititipkan oleh anak cucu kita Jangan kita tinggalkan daging busuk bernama kecurigaan dan kebencian kepada anak cucu negeri DAMAI adalah kodrat Nusantara Mengapa kini kita gadaikan untuk eksploitasi ego berbungkus suku, agama, dan idealism? Damailah hati Damailah jiwa Dan Nusantara akan kembali Narrator 4: Teten Derichard \"Peace\" YYoouurr cpoenacteenist mis imneinteootoo Your ‘red and white’, my ‘red and white’ too Your country, my country too Broke each other? Kill each other? andung, ompung, engkong and our grandfather for the children of the country PEACE is the nature of the Archipelago Wrelhigyioaurse, wanedniodwealmistoirctgeaggoesd? for the exploitation of tribal, Peace of heart PanedactehtehAe rscohuilpelago will return 42

^ Figure_18 Photograph of Engineering in Symphony SONG 8 “Damai Bersamamu”/ Peace be with You and created by Johnny Sahilatua. Religious nuances with touching lyrics, this song is now a universal song, used and sung by people from various religions. 43

^ Figure_19 Photograph of Engineering in Symphony 44

Narator 5: Arief Budhy Hardono \"Bersama Kita\" Tak ada zat tanpa unsur Tak ada puisi tanpa penggalan kata Tak ada lukisan indah tanpa sapuan-sapuan kecil berbagai warna Optimasi perlu SINERGI Sinergi ilmu dan daya HARMONIsasi langkah dan upaya Kunang-kunang tak akan cemerlang jika terbang sendiri Ia mampu menerangi malam jika terbang BERSAMA Mari kita siapkan sayap masing-masing Yang berbeda warna Yang berbeda kompetensi Dalam suatu orkestra indah Untuk terbang bersama Menerangi negeri Sampai fajar menyingsing Narrator 5: Arief Budhy Hardono \"Together with Us\" various colors Optimization needs SYNERGY Synergy of science and power Let's prepare each wing In a beautiful orchestra Light up the nation Until the dawn 45

SONG 9 “Kidung Abadi”/ Eternal Song \"Eternal Song\" is a breakthrough. Written by Erwin Gutawa & Gita Gutawa for the \"Kidung Abadi\" concert composed of 246 syllables from hundreds of songs with Chrisye's original voice master. SONG 10 Medley Guruh Gipsy/ Guruh Gipsy Medley Gipsy, a collaborative project between Guruh Soekarno Putra and the Gipsy music group, which consists of Keenan Nasution, Chrisye, Roni Harahap, and Oding Nasution. Consisting of the song \"Geger Gelgel\", \"Chopin Larung\", combination of Balinese gamelan and western music can 46

\"Bersyukur\" Bersyukur bukan sekedar ucap. Hamdalah bukan sekedar lafal Syiarkan apa yang kau baca Amalkan apa yang kau paham Bersyukur adalah gerak bukan diam Bersyukur adalah pikir bukan asumsi Bersyukurlah dengan inovasimu, Bersyukurlah dengan baktimu Bersyukurlah dengan karyamu To be thankful, not just to speak Hamdalah is not just a pronunciation Proclaim what you read Practice what you understand Be grateful for your innovation Be grateful for the journey of your intellect and your creativity Be thankful for your work Narrative script by Indy Hardono Narrator by Shannaz Haque 4473

Husein Mutahar in 1944. Feeling that independence is getting closer, he poured gratitude for the gift of Allah, which is the homeland of Indonesia, into a song. ^ Figure_20 Photograph of Engineering in Symphony 48

ORCHESTRA MEMBER Conductor & Arranger Contra Bas Erwin Gutawa (ARS ‘81) Hendi Widodo (Principle) Flute Concert Master Andika Candra Perdana (Principle) RM. Condro Kasmoyo Robertus Grassianus Bagus Suryo Piano Oboe Putri Basa Galelya Siahaan Bima Wikan Tyoso (Principle) Keyboard Clarinet H.Andi Patiwiri Mallombasang Jeremy F.setiadji (Principle) Bass Guitar F. Horn Dorry Windhu Sanjaya Irianto Soewondo (Principle) Drums Etnik Bondan Dwi Laksana Putra Bahana Gaung Mahardika Trumpet Violin I Budi Wiryawan (Principle) Agung Wibisono Eggy Bayu Pratama Ella Hutani Trombone Laura Mareike Kasetty Novaris Ormandy Araniri (Principle) Neni Ida Rossanti Wening Prasongko Violin II Andriyanto Haryanto Yasril Adha (Principle) Classic Percussion Pritha Hayu Adzahari Muhammad Adriansyah (Principle) Christanto Hadijaya Sequencer Hana Maria Boone Syaifulloh Eka Erlina Austianti Orchestra Copyist Viola Dorry Windhu Sanjaya Yulianto Endarmawan (Principle) FOH Engineer Yusuf Kus Cahyadi Eko Sulistiyo Sanjung Prima Cahaya Dewi Edwin Djuhadi Cello Avel Hirose (Principle) Putri Juri A. Batubara Dwipa Hanggana Pratala 49

^ Figure_21 Photograph of Engineering in Symphony 50

^ Figure_22 Photograph of Engineering in Symphony 51

^ Figure_23 Photograph of Engineering in Symphony 52

EVENT’S COMMITTEE Advisory Committee Hendri D.S Budiono Nandy Setiadi Djaja Putra Organising Committee Muhamad Asvial Project O cer Jos Istiyanto Secretary Ridho Irwansyah Treasury Firman Ady Nigroho Event Annisa Marlin Masbar Rus Publication Andyka Kusuma Decoration M. Mirza Y. Harahap Culinary Elita Nuraeny Equipments Jaka Fajar Fatriansyah Security Faiz Husnayain Operational Andri Mubarak Protocoller RM Sandyanto Adityosulindro Facility Aulia Qisthi Culinary Tikka Anggraeni Documentation Nan Harta Guest Registration Abdul Hady Djamal Abdul Nasher Ita Repelita Suprapti Mugni Muhbadi Ziap Al ansyah Nuruli Exsiarni Indri Feriani Nuri Nugraini Ade Irma Sumantri Hanisya Septiarini M. A andi ^ Figure_24 Photograph of Engineering in Symphony Committee 53



PART TWO: design and build PART TWO



SPACE AND SOUND PART TWO



the design and build development of Makara Art and Centre Auditorium in which the theatrical experience can be interpreted into built form, into sound of engineering

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PROJECT BACKGROUND PREFACE About Makara Art & Culture Auditorium Universitas Indonesia (UI) is one of the leading universities the international survey institute QS, World University Rankings 2014/2015 with the main criteria of Academic Reputation, Employer Reputation, Student to Faculty Ratio, Citation per Faculty, International Faculty Research, International Student Ration; which places UI in the top position among universities in Indonesia and ranks 310 in competing locally and globally. From the assessment criteria of the survey institutions above, one of the important roles in improving university achievement is academic reputation. To improve academic quality, the learning and teaching process must be pursued with good facilities. Along with the growth in the number of UI students, which continue to grow every year, a large enough space is needed to accommodate academic activities involving hundreds of students such as large class activities, seminars, talk shows, performing arts, etc. One of the facilities that support this activity is an auditorium room with more capacity than an ordinary classroom. UI itself already has several auditoriums spread over faculties & central libraries. However the capacity of existing auditoriums is still below 300 seats, so activities requiring audiences of more than 300 people with adequate UI management intends to develop the Art & Culture Auditorium with a design and build system that is relevant to current academic needs for the next few years so as to obtain higher quality and capacity than the existing auditorium both in terms of lighting, sound system, furniture, and interior design. In the planning and construction of the Art & Culture auditorium, construction planners and implementers must follow building technical standards concerning environmental safety, building reliability, human safety, and continue to encourage innovation in improving the quality of comfort, convenience, aesthetics and energy savings. < Figure_25 Photograph of Makara Art and Culture 61

^ Figure_26 Photograph of Makara Art and Culture Auditorium 62

PROJECT DETAIL UI Rector Prof. Dr. Ir. Muhammad Anis. M. Met Working unit Badan Perencanaan, Pengembangan, dan Pengendalian Universitas (BP3U) Advisor Prof. Dr. –Ing. Nandy Putra Architect Prof. Yandi Andri Yatmo, Dip.Arch, M.Arch, PhD Mechanical Electrical Dr. Ir. Hendrajaya, M.Sc. Prof. Dr. Ir. Muhammad Idrus Alhamid Engineer Dr. Ir. Budihardjo, Dipl.Ing M. Asri, ST Structural Engineer Baskoro Laksitoadi, S. Ars, M. Sc Main contractor Ir. Rully Andhika, MT Title PT. Daksinapati Makara Putra (Ir. Batara S.) Output type Design and Build of Makara Art and Culture Auditorium Function Design and Building Client Auditorium Universitas Indonesia Location Art & Culture Building North Masjid Ukhuwah Islamiyah UI Parking Area East Prof. Mr. Djokosoetono Street/ PLK Building South Security Building/ Cluster of Health Sciences Parking Area West Kenanga Lake Area ± 510 m² Capacity ± 450 seats 63

^^ Figure_27 Photograph of Makara Art and Culture Auditorium Figure_28 Diagram of Space and Sound 64

01 CONTENTS Space & Sound Optimizing Auditory Experience A Balancing Distribution of Sound B Choosing Materials C SPACE AND SOUND 65

^ Figure_29 Photograph of Makara Art and Culture Auditorium 66

DESIGN PARAMETER Acoustics: Background Noise Noise Criteria Attenuation Reverberation Time Initial Time Delay Distribution of Sound Pressure Level Speech Intelligibility Speech Transmission Index (STI) Bass Ratio Brilliance Sound Systems: Adequate amount of Sound Pressure Level Equitable frequency response of the speaker Sound system device doesn’t cause electronic reverberation Sound system device is free from RF (Radio Frequency) and EM (Electromagnetic Waves) (free from noises such as: hiss, pop, click, hum, buzz) Feedback doesn’t occurred (PAG > NAG) (PAG: Potential Acoustical Gain, NAG: Needed Acoustical Gain) overload risk years User friendly and expandable 67

acoustic music performance, choir/ vocal group performance, theatrical performance, conference meeting and graduation ceremony. Because the function of this auditorium is quite diverse with compromise as the midpoint of the acoustic parameters that must be achieved. Taking into account that the frequency of usage will be more frequent for art and theater performances, the parameters to be achieved in the pre-design and design of the acoustic interior are as follows: Noise criteria = NC-30 (42 dBA) for Choir/ musical performances without sound system and NC-35 (45 dBA) for seminars with sound system in the stage area But taking into account that this auditorium is also used for seminars with speech acoustic functions, it is recommended not to exceed 1.2 seconds for the hum so that the level of speech clarity is good enough 68

^ Figure_30 Collaged Photographs of Makara Art and Culture Auditorium (work in progress) 69

^ Figure_31 Photograph of Makara Art and Culture Auditorium (work in progress) 70

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DESIGN PROCESS ^ Figure_32 Design Process Diagram of Makara Art and Culture Auditorium 72 START studying the function of the room and the existing building geometry (study on existing church building) re ector ceiling design calculation of room volume to determine reverbration time (RT60) simulation re ectogram optimal results?

no >> design treatment; simulation re ectogram yes >> sound distribution simulation with the original sound source and sound system optimal results? 73

74 no >> sound system direction settings; sound distribution simulation with the original sound source and sound system yes >> done

OPTIMIZING AUDITORY EXPERIENCE To support the performance on the stage, the stage walls are nature from the stage can be spread throughout the stage need to use sound systems and theater players or choirs on stage can monitor each other. microphone placement and the operation of the sound system will also be simpler when using a sound system. 75

^ wall junction box; 11 mic in; 1 monitor out; 1 power Figure_33 Section of Makara Art and Culture Auditorium (sound system) wall panel; 1 audio in; 1 power; 1 data; 1 video 76 subwofer alt3; main speaker

^ Figure_34 Photograph of Makara Art and Culture Auditorium 77

BALANCING DISTRIBUTION OF SOUND To maximize the spread of the sounds of nature from the stage and help distribute the sound to the audience, the ceiling and walls of the auditorium must be utilized optimally. Regarding this issue, the ceiling and wall form is such a way that it can join in direct sound so that it will for this sound distribution, the use of sound systems can also be simpler. must be given to the travel time between the direct sound cause acoustic defects such as echo and also changes in the perception of the direction of sound. In order for the audience sitting on the side part of the large from the wall, it is important to add Quadratic the wall that is close to the audience. 78

BALANCING DISTRIBUTION OF SOUND Adding the Bass Absorber and Slat Absorber Measuring the basic parameters Using the white sound impression of space for the audience sitting behind is still there and combined with a little sound absorbent to avoid Absorber and Slat Absorber are also added to control In its application, all acoustic needs remain compromised the interior aspects. Measuring the basic parameters is the last step of the design process. It consists of measuring the background noise, measuring the distribution of sound in the room and testing the humming time of the room. Sound distribution measurements are carried out using the white noise sound source released through the main the deviations in the level of violence in various places. ^ Figure_35 Diagram of ‘Balancing Distribution of Sound’ of Makara Art and Culture Auditorium 79

Reverberation time is measured at various points in the area of the auditorium by using an impulse sound source at all measuring microphone is used by the receiver connected to points are then averaged. ^ Figure_36 Photograph of Makara Art and Culture Auditorium (work in progress) 80

^ Figure_37 Photograph of Makara Art and Culture Auditorium (work in progress) 8714

^ Figure_38 Photograph of Makara Art and Culture Auditorium (work in progress) 82

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which device contributes to noise in the room. logarithmic average of the background noise level is 28.9 level from the outside both the activity outside of the turned on, the logarithmic average of the background noise level inside the room is not more than 30 dBA so that the noise level produced by these three devices is still within tolerance limits for indoor activities intended for theater and music even for orchestral music performances. When the stage lighting is turned on, the average noise level seminar activities and is slightly above the expected noise level for theater performances. But for the choir and orchestral music performances it may have been a little annoying, especially the noise level in the stage area which motorized lamp equipment. 84

When the air conditioner is turned on, the noise level reaches 45.4 dBA with the highest noise level in the front area of the stage with a noise level of around 46 - 47.8 dBA. activities, but for musical performances, choirs that do not use sound systems and especially orchestral music are 85

^ 78 Figure_39 Photograph of Makara Art and Culture Auditorium (work in progress) 86

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^ is carried out using and measured at certain points that represent the entire area of the audience. Based on the noise violence distribution measurement in between the front and rear viewers on the left side of the the sound pressure level between the front and back seat on the middle side of the audience area (T2-T8) is around 4.3 front and back seats of the audience on the right side of the distribution of sound produced by the main speaker is very constantly distributed and meets the required criteria. tests is conducted by playing one of the acoustic instruments on the stage. Subjectively, the sound is constantly distributed throughout the seating area. Figure_40 Photograph of Makara Art and Culture Auditorium 88