Professional Documents
Culture Documents
in an auditorium, sound foci and dead spots, acoustical correction design and modification techniques.
Auditorium KEY POINTS: Most auditoria are designed to fulfil a number of purposes The object is to ensure a near 100% of usage Every member of the audience should he able to see and hear the whole performance Contents 1 Introduction 2 Seating 3 Auditorium design 4 Theatres 5 Studio theatres 6 Concert halls 7 Conference halls 8 Cinemas 9 Multi-purpose auditoria 10 Support facilities 11 Legislation
Auditorium 1. Introduction
Visual and aural limitations: (a) Plan: for a performer at centre stage B there is an arc Y beyond which visual and aural perceptions are impaired. However, for performers nearer the sides of the stage at A and C produce more restrictive curves X. (b) Section: Similarly, visual and aural limits in section also set an arc centred on the performer
Auditorium seating: definitions of terms and dimensional information (a) Plan. (b) Section
2.3 Supports
3. Design of Auditorium
3.1 Audience Requirement 3.2 Visual Limitations
It determines the maximum distance from platform or stage at which the audience is able to appreciate the performance and for the performers or speaker to command an audience. This distance varies according to function type and the scale of the performance: For drama it is essential to discern facial expression, and the maximum distance should be 20 m measured from the setting line of a proscenium stage or geometric centre of an open stage. For opera and musicals discerning facial expressions is less critical and the distance can be 30 m. For dance the audience needs to appreciate the whole body of dancers and facial expression: the distance should not exceed 20 m. For full symphonic concerts acoustic conditions predominate. For chamber concerts acoustic conditions also predominate but visual definition assists achieving an intimate setting. For conference speaker and lecturer there are two scales: discerning facial expression, restricted by 20 m; larger scale where facial expression is not regarded as critical. For slide, video, television and overhead projection visual limitations are determined by their respective technologies.
(a) Row to row dimension and clearway with fixed seating. (b) Row to row dimension and clearway with tipped-up seating
3.7 Gangways
As gangways are essential escape routes, their widths are determined by the number of seats served. The minimum is 1100 mm. They can be ramped up to 10%, but only 8.5% if likely to be used by people in wheelchairs. If the seating rake is steeper, gangways must have steps extending the full width and these must have consistent treads and risers in each run. This means that the row-to-row spacing and row rise should be compatible with a convenient gangway tread and riser; and this in turn means that the shallow curve produced by sightline calculations should be adjusted to a straight line.
P Lowest and nearest point of sight on the platform or stage for the audience to see clearly. HD Horizontal distance between the eyes of the seated members of the audience, which relates to the row spacing and can vary from 760 mm to 1150 mm and more. EH Average eye height at 1200 mm above the theoretical floor level: the actual eye point will depend on seat dimensions. E Distance from the centre of the eye to the top of the head, taken as 100 mm as a minimum dimension for the calculations of sightlines. For assurance that there is a clear view over the heads of those in the row in front this dimension should be a least 125 mm. D Front row of seats: the distance from point P to the edge of the average member of the audience in the front row.
The maximum comfortable amount the head can be turned from the seat centreline is 30.
4 Means of escape
Travel distance The maximum travel distance from seat to exit within the auditorium is determined by the need to evacuate from each level of the auditorium within 2 minutes. For traditional seating the maximum travel distance is 18 m measured from the gangway, for continental seating 15 m from any seat. Exits From each level of the auditorium two separate exits must be provided for the first 500 seats with an additional exit for each further 250 seats. Below table gives the minimum total of exit widths required by legislation. Each exit from the auditorium must lead directly to a place of safety.
Exit routes The route must be a consistent width the same as the exit. There must be no bottlenecks and all doors within the route must open in the direction of escape. Routes within the building should have fire-resistant enclosures. There are special requirements for all doors opening onto fire escape routes. Stairs Staircase flights should have at least two risers and not more than 16. All treads should be 275 mm and risers 180 mm. Ramps Wheelchair users should be provided with flat or ramped escape routes which may be separate from other routes. Ramps should not be longer than 4.5 m or steeper than 8.5%.
5 THEATRE
Relationship diagrams for buildings for opera, musicals, dance and drama. If for drama only, the orchestra pit and musicians spaces may not be required: Where the building serves only touring companies or with a resident company whose production facilities are elsewhere.
Vertical sightlines for open stage Auditorium formats for drama on open stages: a End stage. b Fan shape, 90 arc with or without rear balcony. c Thrust stage, 180 + arc, with or without rear balcony. d Theatre-in-the-round. e Transverse: audience on sides of stage
3. Sound Absorption 4. Site Selection 5 Seats and Seating Arrangement Arrangement Back to back distance Balcony Balcony Seats Covering of Seats Front Most Row Raising of Seats Width of Seats
9. Traffic side be located by thick plantation and absorbent corridors. 10. Rehearsal rooms and mechanical equipment rooms should not be under the stage. Occupancy above the auditorium should be avoided. Avoid sliding doors. Use gasket doors. Corridors and Lobbies be treated with sufficient absorbents. 11. If the auditorium is expected to be multipurpose, as for lectures, dramas, orchestras, gettogether, marriage parties etc. full frequency response sound system is to be employed. 12. Upholstered and elevated seats with good sight lines be arranged to minimize the distance from the performance area. 13. Central 80% area of the ceiling be kept reflective and remaining 20% along the perimeter are kept absorptive. 14. Side walls be kept reflective and diffusive with many irregularities. Rear wall should have deep absorptive finish. Floor (In front of the stage) be carpeted to control Foot Fall Noise. 15. Fabric seats (not leather) with perforated seat pans provide stable RT when auditorium is partially occupied. 16. Avoid Vaults and Domes. Back ground noise be controlled by proper masking. Mechanical systems noise by absorbent covers and duct born noise by internal duct lining absorbents.
17. Sound reinforcing system is needed when the number of seats is more than 200. In that case, a central system, just above and in front of the stage opening with line of sight of all seats are preferred . 18. In large auditorium and larger occupancy, shallow balcony (depth less than twice the opening height) with its front face treated with absorbents is desirable. 19. Electrical control-room, if needed, should be at the rear and the operator should be able to see the happenings on the stage, hear the control sound. 20. Provision for hanging reflectors and absorbents is needed to provide variable RT for films, dances, speeches, etc. Flat floor is necessary for variable occupancy, games, parties, exhibitions etc.
THANK YOU
Partha Sarathi Mishra Asst. Professor School of Architecture GITAM University parthaconcept@gmail.com