Rhythm in Architecture

Rhythm in Architecture ” Music & Architecture is the efflorescence of auditorium”

BEIRUT ARAB UNIVERSITY_ TRIPOLI CAMPUS FACULTY OF ARCHITECTURAL ENGINEERING

ARCH 534 // Graduation Thesis // FALL 2015 -2016 NAME OF STUDENT: Mahmoud ID :

Bikai

201203550

Instructor: Dr.Eslam Elsamahy 1|Page

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DEDICATION

I would like to dedicate this work to my loving family and all friends that always encouraged me, believed in my capabilities and invested in me to shape me as the person I grew to be.

Moreover, I dedicate this work to Beirut Arab University, especially to the faculty of Architectural Engineering, with all its professors and workers, and above all to the Dean, they combined their efforts so I could reach to this stage. Also to all the persons who are truly interested in our culture and its promotion.

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ACKNOWLEDGEMENT

I would like to acknowledge the Dr.Eslam Elsamahy for his encouragement and for giving us the best thing he owes << His Knowledge>> In Addition, to Dr. Nabil Mohareb , Dr. Karim Galal, Dr. Mustafa Khalifa, Arch. Jenan Diab Moreover, Special Thanks to Dr. Muhammad Assem Hanafi .

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ABSTRACT

Rhythm in design, as explored in this research, is proposed to be the result of cognitive performance generated stylistically by creators and recognized consciously by beholders. This study describes the phenomenon of rhythm; how it is created; the factors that comprise rhythm; the types of rhythms created by human cognition of repetition, and why repetition is recognized as a part of human cognition.

Evidence gathered in this research explains that rhythm in design is a result of the design method consciously applied by human cognition of repetition. Rules of generating the phenomena of rhythm are also summarized. Designers could apply these rules to generate harmonious patterns through the effective usage of repetition. In sum, rhythm is ingrained in the human conscience and therefore should be a key component of design applied universally.

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“Musicians, designers and dancers and scholars seem to agree that the perception of rhythm is not reducible to the kind of periodic repetition produced by a metronome. It is corporeal and mental activity that on one level acknowledges periodic repetition while on another consciously moves to push, pull, syncopate, disrupt and shift…regular repetition.

It is actually experienced as an irregular pattern.”

Kent Bloomer, The Nature of Ornament

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4 Table of Content 1.1 Keywords & the Definition of Terms ……………………………………………….. 10 1.2 Introduction …………………………………………………………….……12

3 27-47

4 47-50

Rhythm in design

20-26

1.4

The research questions & hypotheses…………………….......14

1.5

Limitations ………………………………………..……….…15

1.6

Research methodology…………………………………..........15

1.7

Research hierarchy……………………………………………16

1.8

Literature review ……………...…………………………………...17

2.1 Introduction...................................................................…... 20 2.2 Historical and Theoretical background of auditorium ….…21 2.3 Phenomenology of rhythm………………………………....22 2.4 Rules creating rhythm in design………………………...…22 2.5 Impacts of rhythm in design………………………….……25

3.1

Data Analysis - Type of Auditorium…………………………. 27

3.2 Acoustical ……………...………………………..…….…35

Design auditorium

2

Goals & Objectives…………………………………………………….……13

3.3 Case studies analysis…………...…………………….…....45

4.1 Conclusions & Recommendations………………………….…49

Conclusions & Recommendation s

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Introduction

1

1.3

4.2 References……………………………………….……………….50

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Table of Figure Figure 1: the architecture and color of music .................................................................................................................................. 2 Figure 2: frank Gehry concert hall, Los Angeles, ............................................................................................................................ 2 Figure 3: The Roman Theatre at Bosra ....................................................................................................................................... 20 Figure 4: Thalian Hall, Wilmington ............................................................................................................................................ 20 Figure 5: Riley Center, Meridian ................................................................................................................................................ 20 Figure 6: Muuratsalo, Experimental House by Aalto, 1952– 1954. Note: Photo: Eino Mokinen, Alvar Aalto Museum……………………...…….21

Figure 7: : Paimio Sanatorium by Aalto, 1928–32. Photo: Photographer unknown, Alvar Aalto Museum. 1930s ......................................... 2 Figure 8: Riola Church by Aalto, 1966–1980. Note: Photo: Maija Holma, Alvar Aalto Museum. 1997 ..................................................... 21 Figure 9: Riola Church interior, Aalto, 1966–80. Note: Riola Parish Church ...................................................................................... 22 Figure 10: Seinajoki Town Hall by Aalto, 1958–65. Note: Photo: Kalevi A. M¨okinen, Alvar Aalto Museum. Approximately 1965............... 22 Figure 11: Wolfsburg Cultural Center by Aalto, 1958–62. Note: Photo: Harald Raebiger, Alvar Aalto Museum. 1993............................... 22 Figure 12: Shiraz Art Museum, by Aalto, 1969–70. Note: Photo: Photographer unknown, Alvar Aalto Museum ...................................... 22 Figure 13: Progressive rhythm showing movements.................................................................................................................. 22 Figure 14: Kohl Building at Oberlin College- Westlake Reed Leskosky ............................................................................................. 23 Figure 15: Beko Masterplan, Belgrade, Serbia ............................................................................................................................... 23 Figure 16: Carlton Studios, Courtesy of the Royal Exchange Theatre ............................................................................................... 27 Figure 17:The Playhouse, Overture Center for the Arts, Madison, WI, USA ...................................................................................... 27 Figure 18: Theatre Projects ...................................................................................................................................................... 28 Figure 19: Studio, Tempe Center for the Arts, Tempe, AZ, USA ...................................................................................................... 28 Figure 20: Jerwood Vanbrugh Theatre, Royal Academy of Dramatic Art, London, UK ....................................................................... 29 Figure 21: Kay Theatre, Clarice Smith Performing Arts Center, College Park, MD, USA ....................................................................................... 29 Figure 22: Olivier Theatre, Royal National Theatre, London, UK ........................................................................................... 30 Figure 23: Mixon Hall, Cleveland Institute of Music, Cleveland, OH, USA ........................................................................................ 30 Figure 24: concert Hall, Esplanade - Theatres on the Bay, Singapore................................................................................................ 20 Figure 25: Walt Disney Concert Hall, Music Center, Los Angeles, USA ...................................................................................................... 31 Figure 26: Glyndebourne Opera House, Glyndebourne, UK ............................................................................................................. 2 Figure 27: Glorya Kaufman Hall, University of California, Los Angeles, CA, USA ............................................................................. 31 Figure 28: Overture Hall, Overture Center for the Arts, Madison, WI, USA ...................................................................................... 32 Figure 29: Derngate, Northampton, UK ...................................................................................................................................... 32 Figure 30: Kodak Theatre, Hollywood, CA, USA ................................................................................................................................ 23 Figure 31: Wynn Resorts, Macau ............................................................................................................................................... 33 Figure 32: New World Symphony, Miami Beach, FL, USA ..................................................................................................... 33 Figure 33: Palacio de Congress, Valencia, Spain ..................................................................................................................... 34 Figure 34: loudspeaker system ................................................................................................................................................... 34 Figure 35: loudspeaker system................................................................................................................................................... 34 Figure 36: loudspeaker system ................................................................................................................................................... 25 Figure 37: shape of auditorium ................................................................................................................................................. 35 Figure 38: shape of auditorium .................................................................................................................................................. 25 Figure 39: acoustic panel .......................................................................................................................................................... 36 Figure 40: acoustic panel .......................................................................................................................................................... 37 Figure 41: seating area and fixation in the floor ............................................................................................................................ 37 Figure 42: ceiling shape and reflection sound ............................................................................................................................... 38 Figure 43: annotation diagram .............................................................................................................................................. 39 Figure 44: Wales Millennium Centre .......................................................................................................................................... 23 Figure 45: Wexford Opera House .............................................................................................................................................. 23 Figure 46: Glyndebourne Opera House ....................................................................................................................................... 24 Figure 47: Bruges Concertgebouw ............................................................................................................................................. 25 Figure 48: Grand Canal Theatre ................................................................................................................................................ 25

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1.1. Research keywords Polyrhythm, Repetition, Pattern, Rhythm, Texture, Harmony, Unity, Balance, Proportion, Dynamics, Material.

1.1.1.

The Definition of Terms

 Polyrhythm: To define polyrhythms, it is necessary to establish a definition of “rhythm”. The original Indo-European word meant “to flow”. Flow requires movement and rhythm requires repetition. Using the standard meaning of the prefix “poly”, polyrhythm would mean “many rhythms”. The pattern created below would technically qualify as a polyrhythm but does not convey the richer meaning that the word has come to suggest.  Repetition: refers to one object or shape repeated, Repetition is a cognitive way of processing in formation. In language arts, repetition is a persuasive strategy used to affect or coordinate attitudes, especially when terms are used repeatedly in question begging form. In writing, repetition is a rhetorical device used to emphasize a point, notion, or meaning. Repeated use of a shape, color, or other art element or design in a work can help unify different parts into a whole.

The repetition might be limited to only an instance or two: not enough to create a pattern or rhythm, but enough to cause a visual echo and reinforce or accent certain aspects of the work.

 Pattern: Pattern uses the art elements in planned or random repetition to enhance surfaces or paintings or sculptures. Patterns often occur in nature, and artists use similar repeated motifs to create pattern in their work. Pattern increases visual excitement by enriching surface interest.  Rhythm: Rhythm is most easily understood within music. An effect of ordered movement in a work of art, literature, drama. attained through patterns in the timing, spacing, repetition, accenting of the elements, such recurrence; pattern of flow or movement .Rhythm represents our desire for order or Rhythm is like our own heart best, it gives us a sense of the pulsing of life.  Texture: texture is the perceived surface quality of a work of art. It is an element of twodimensional and three-dimensional designs and is distinguished by its perceived visual and physical properties. Use of texture, along with other elements of design, can convey a variety of messages and emotions.  Harmony: harmony is the use of simultaneous pitches (tones, notes), or chords. The study of harmony involves chords and their construction and chord progressions and the principles of

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connection that govern them, Harmony is often said to refer to the "vertical" aspect of music, as distinguished from melodic line, or the "horizontal" aspect.  Unity: Unity means the harmony of the whole composition. The parts of a composition made to work together as a total visual theme. Unity is the relationship among the elements of a visual that helps all the elements function together. Unity gives a sense of oneness to a visual image. In other words, the words and the images work together to create meaning

 Proportion: Proportion refers to the relative size and scale of the various elements in a design.

The issue is the relationship between objects, or parts, of a whole. This means that it is necessary to discuss proportion in terms of the context or standard used to determine proportions.  Balance: Balance is a psychological sense of equilibrium. As a design principle, balance places the parts of a visual in an aesthetically pleasing arrangement. In visual images, balance is formal when both sides are symmetrical in terms of arrangement. Balance is informal when sides are not exactly symmetrical, but the resulting image is still balanced. Informal balance is more dynamic than formal balance and normally keeps the learner's attention focused on the visual message.

There are three main types of balance, horizontal balance, vertical balance, radial balance.  Dynamic: Someone with a dynamic personality is probably funny, loud, and excitable; a quiet, mousy person is not dynamic. You can also talk about the dynamic aspect of music, which has to do with how the music uses dynamics, which means "changes in volume." When things are dynamic, changes and energy are in the air.  Shape: An enclosed space defined by a line or by contrast to its surroundings. Shapes are two-dimensional (flat): circle, square, triangle, organic blob, etc. In everyday usage, the word 'shape' is also used to talk about three-dimensional form, often as something of a shorthand for referring to the two-dimensional outline or silhouette of the object. When discussing art, meaning will be clearer if you reserve using 'shape' to talk about two dimensional shapes on a plane.  Space: The distance or area around or between elements of an artwork. The illusion of depth created on a flat surface using perspective, overlapping elements, size, and level of detail, color and value.

 Material: Material is defined as the physical components of something, to relevant facts, to jokes or items that are part of a performer’s routine, or to the things required to build something or accomplish a task.

Ref: [www.edb.utexas.edu]

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1

1.2 Introduction …………………………………………………………….……12 1.3 Goals & Objectives…………………………………………………….……13 1.4 The research questions & hypotheses…………………….......14 1.5 Limitations ………………………………………..……….…14 1.6 Research methodology…………………………………..........15 1.7 Research hierarchy……………………………………………16 1.8

Literature review ……………...……………………………….....17

Introduction

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1.2.

Introduction

Rhythm is about a sequential repetition of elements in a dynamic way that could be in regular or irregular recesses, these elements could be masses, windows, embellishment or any architectural parts.

This principle plays important role in determining the aesthetics of architectural form. Musical terms such as rhythm, texture, harmony, proportion, dynamics, and articulation refer both to architecture and to music. Rhythm in music is patterns of sounds in relation to a beat; repetition of elements openings, shapes, structural bays- establish regular or irregular rhythm in architecture. Rhythm is the recurring, predictable exchange of work products within an architecture group and across their customers and suppliers. There are three elements of rhythm: tempo, content, and quality. As in music, architecture rhythm is not just the repetition of a beat. Effective rhythm enables teams throughout the organization to coordinate explicit and complex activities without the corresponding load of communication and coordination. If tempo, content, or quality is lacking, these benefits will not be realize, and progress will not be make. Tempo is the frequency with which the same type of handoff occurs between one group and anotherâ&#x20AC;&#x201D;for example, between the architecture team and product development engineers.

The more predictable the timing of each handoff becomes, the easier each transition is to manage.

Musical texture refers to layers of sounds and rhythms produced by different instruments.

Architectural texture appears in different materials. Harmony is balance of sound or composition and balance of parts together. Proportion is relationship between parts; in music, it is distance between notes or intervals. Dynamics is the quality of action in music or in a buildingâ&#x20AC;&#x2122;s facade or mass. Our focus is to encourage and elevate architecture and design in the community, interweaving our work with the rhythm of the surrounding context as well as. Rhythm might stand for the expressive contrast between points of balance in relation to an inner movement. Rhythmical movement might be define as a balanced form with an inner movement. Rhythm is an organizing power as well as a producer of meaning. Both aspects relate to the fact that rhythm activates internalized bodily experiences.

Rhythm has been defined in various fields of arts and performing arts, sharing the central meaning of a patterned recurrence, repetition, or movement in actions or artifacts. In design, rhythm is the regular, harmonious recurrence of a specific element, often a single specific entity coming from the categories of line, shape, form, color, light, shadow, and sound. If a designer chooses elements from these categories and creates some composition of these elements, then a motif or pattern is generated. The designer could 12 | P a g e

also repetitively apply a single element, a composed motif or pattern at regular mode. As long as a visually or auditory harmonious composition is generated, through repetition, a rhythm is created. Of course, a hybrid composition of such entities across categories should also serve the same purposes.

However, without having or experiencing the comfortable visual or auditory results of element repetitions, rhythm would not exist. On the other hand, designers working with singular massing and uniform detailing strategies might have produce different outcomes.

The audiences who will potentially find the study of interest & significance of a study for them the definition of rhythm, how it is created, and why it is a part of human design cognition are explored through case studies. Even though rhythm is seen as a phenomenon, it has not been approached from a phenomenological point of view on what thing means. Studies in this approach would generate more theoretical and scientific contributions to the fields of design studies and design thinking. However, not many studies have been done in this regard. This project takes a lead in this direction. In design, rhythm is made by form repetitions. As long as the basic element is repeated with an ordered sequence, a pleasant pattern will be created and would be identified as a rhythm. The phenomena of such a visual attraction will generate a pleasant environment for living, working, and recreation. Such a pleasant creation in product could be valid to justify good quality of design, Shown in seven buildings, the repetition of major forms of balcony, window patterns, roof shapes, beam and columns, spatial volumes, and skylights had created poetic architectonic character of articulation in design.

The purpose statement in rhythm, in this study, is described as a patterned repetition of a motif, or formal element at regular or irregular intervals in the same or a modified form. If the form is generated by regular repetition, a consistent order is generated and an integrated whole is presented. If the form is generated at irregular intervals, the coherent order and grace level that result in the generation of rhythm might be diluted. This concept of difference between rhythmic patterns relates to the notion of the degree of rhythm, which needs further studies. On the other hand, a harmonious sequence or pattern of masses alternating with voids, a sequence of light alternating with shades or shadows, and a sequence of objects alternating with colors or textures all qualify as rhythm.

1.3. Goals & Objectives ď&#x201A;ˇ

Musical architecture building have many Support and goals by activities people the ministry of environmentâ&#x20AC;&#x2122;s strategy (including Sustainable environmental development) and be an effective core that educates the community in order to achieve this goal.

ď&#x201A;ˇ

To complete the project objective, the building itself must carry a message through its sustainable architecture. Architecture presents a unique challenge in the field of sustainability.

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

The aim is to give a center a special architectural language separated from the existing building in Tripoli, and led to be an example for the future buildings that will be built around the site. In addition it should achieve a clear performance art center in the relationship between the project and its architectural character.



The center will seek to explore the balance between the built environment to apply modern design and sustainable design to create a beautiful and environmentally friendly building. In addition it will be spatial, experiential, and has an aesthetic quality. It will concentrate on the compatibility of sustainable architecture and aesthetics in design, as well as a hand on educational tool.



Establishment of cultural and scientific seminars in order to develop environmental awareness. It leads to attract conferences to Tripoli.



Encourage community participation in planning and implementing social development and environmental projects.



Promoting human, environmental and social development by opening the way for the establishment of many intellectual and environmental activities. The presence of this center in Tripoli will stimulate the Economics institutions in this city (markets, hotels…), and therefore will effect on the tourism; as Tripoli has a lot of landmark travel.



Musical terms such as rhythm, texture, harmony, proportion, dynamics, and articulation refer both to architecture and to music. Musical texture refers to layers of sounds and rhythms produced by different instruments -Architectural texture appears in different materials. Phenomenology of rhythm relates to the quality of repetition and how is perceivers observe the results



Analytically speaking, rhythm generates some regularity, simplicity, balance, and order of composition that allows the design to develop a nature of consistency.



The consistency would make the view easy to understand. In fact, after the rhythmic pattern is recognized, the whole design could be clearly comprehended. Therefore, repetition with similar movement and/or transformation rules would always generate an ordered pattern. Such created patterns could call viewers’ visual attention to put more cognitive process for investigating the semantic context of the pattern

1.4. Questions & Hypotheses Answering that question adding a performance art center and exhibition part for the cultural center that include catwalks, several studios or teaching areas.

Nowadays there's a lot of conflict about making the Tal Square a public parking made of four underground floors.

1.

What is rhythm in architecture?

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2. How rhythm in architecture can be affective in musical buildings?

3. What should be the aesthetics and psychological impact of building? How should it related to the surrounding?

4. How can be define the rhythm into building?

5. Can be Auditoriums element of rhythm?

1.5. Limitations The Power of Limits was inspired by those simple discoveries of harmony. The author went on to investigate and measure hundreds of patternsâ&#x20AC;&#x201D;ancient and modern, minute and vast. His discovery, vividly illustrated here, is that certain proportions occur over and over again in all these forms. Patterns are also repeated in how things grow and are madeâ&#x20AC;&#x201D;by the dynamic union of oppositesâ&#x20AC;&#x201D;as demonstrated by the spirals that move in opposite directions in the growth of a plant.

The joining of unity and diversity in the discipline of proportional limitations creates forms that are beautiful to us because they embody the principles of the cosmic order of which we are a part; conversely, the limitlessness of that order is revealed by the strictness of its forms. The author shows how we, as humans, are included in the universal harmony of form, and suggests that the union of complementary opposites may be a way to extend that harmony to the psychological and social realms as well

1.6. Research Methodology It is interesting to investigate the factors that cause rhythm to appear in design. In fact, rhythm is not just one of the design methodologies used for form generation, it also is the result of cognitive processing and only comprehended through human perception. In this article, concepts of design cognition and perception are discussed from an approach treating design as a way of organizing information through human reasoning.

Theoretically speaking, design cognition is a part of the human cognitive process of gathering, recognizing, collecting, memorizing, recalling, and processing design information. The methodology model of rhythm

can placed in the context of other models and the rhythmic patterns of two dialogic passages are compared in detail. Rhythmic hierarchy defined in terms of three perceptible strata: the foreground, the middle ground, and the background.

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1.7. Research Hierarchy

RHYTHM IN ARCHITECTURE

PART 1 :

PART 2: Rhythm in design

PART 3 : Design auditorium

PART 4 : Conclusion

Introduction

Introduction

Data Analysis

Conclusion and recommendations

The research question & hypotheses

Historical and theoretical background

Type of auditorium

Limitation

Phenomenology of rhythm

Multiuse auditorium

Research methodology

Rules creating rhythm in design

Spaces auditorium

Introduction

Research hierarchy

Literature review

Impacts of rhythm in design

References

Acoustical

Case studies analysis

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1.8. Literature review Introduction: As abstract art forms based on rhythm, proportion and harmony, architecture and music share a clear cultural lineage. Now, through digital expression, architecture can attain new heights of creative supremacy its various, sometimes conflicting, aesthetics, functional, technical, artistic and economical requirements, an auditorium often has to accommodate an unprecedentedly large audience. Architectural and musical ornament can sometimes be more important than structure, and boredom and background are necessary for both arts.

1. architecture and music 2. Meaning, rhythm and force 3. musical chords like space 4. The Architecture and Color of Music 1-Architecture and music: Indeed architecture as ‘frozen music’ had a long history of tracking its sister, the parallel art of harmonic and rhythmic order. Many qualities unite these two art forms.

Museums and other building types emerge as a suitable place for musical ornament, and when expressive shapes can be produced digitally, architecture could reach its supreme condition once again and become its own particular kind of music.

2-Meaning, rhythm and force: Music and architecture have been intimately joined by a cosmic connection, the idea that they both are generated by an underlying code. This order, revealed by mathematics and geometry, was first espoused by Pythagoras who lived in southern Italy, and it led to many Greek temples designed on proportional principles revealing not only supreme beauty but ‘the music of the heavenly spheres’ − either God or nature. He and others compared the harmonic results to the rhythms of a wellproportioned building, and the code of musical architecture was born. In spite of this geometrical harmony, differences between the two arts emerge which are as instructive as the similarities. When the temple columns are seen more obliquely, the ornamental fluting becomes like a solid wall of vertical rhythms, and these accelerate even further with a tighter angle. How different this is from a symphony which cannot, ordinarily, be sped up or slowed down by the perceiver; or read backwards as architecture can be from the exit; or top-down as with a skyscraper.

Ref :( By Charles Jencks/http://www.architectural-review.com/essays/architecture-becomesmusic/8647050.article / last visit in 23/11/2015/site information: architectural-review) 17 | P a g e

3-Musical chords like space: Architecture and music thus are not only supremely emotional, at moments, but semantic and meaningful at other times. It has probably always been so, but since at least the 16th century, music explicitly has employed pictorial and programmatic themes referring to nature’s moods, such things as rain storms and mountain ranges. Musical genres, as mentioned, developed their special themes for weddings, funerals, making love and war, all the modes and stereotypes that have been transformed from the time of the troubadours to the Beatles. Such pictorial and symbolic music reaches its greatest height with early Stravinsky, although he later disputed the idea. The parallels I have been pointing out between music and architecture − rhythm,

Figure 1: the architecture and color of music

emotion, meaning and the stereotype of genre − are well known and accepted. One comparison, however, is contentious: the equation between the spatial and time arts.

Music has always been known as an art of time, whereas only in the last 150 years has architecture been claimed as the art of space, even more than sculpture. Music must be experienced in a linear sequence, while architecture is taken in three-dimensionally at a glance, or holistically, as Gottfried Semper averred; and it is even moved through as a series of whole pictures. Architecture does not move in time, even Futurist architecture does not move.

Ref :( By Charles Jencks/http://www.architectural-review.com/essays/architecture-becomesmusic/8647050.article / last visit in 23/11/2015/site information: architectural-review)

4-The Architecture and Color of Music: Diagrams showing the Circle of Fifths, taken from The Architecture and Color of Music. The major 12 keys start with C at the top (and progress or regress five piano keys), while the minor scale is on the inner circle, and some harmonic overtones apparent in the ratios. The Mersenne Star (top) was drawn in 1648, but the more regular harmonic relationships were only fine-tuned geometrically or ‘tempered’) by JS Bach later, in the early 1700s. Note the mixing of colors, a chromatic scale, yet another metaphor like the geometric one

Ref: ( By Charles Jencks/http://www.architectural-review.com/essays/architecture-becomesmusic/8647050.article / last visit in 23/11/2015/site information: architectural-review) 18 | P a g e

Conclusions: Music, as a time-art, is also much more controlling and authorial, and not meant to be experienced backwards or shift in speed with the perceiver. Countless more differences separate these two arts â&#x2C6;&#x2019; utility and cost â&#x2C6;&#x2019; but they are both routinely perceived as abstract arts, where form and content are one. This perception may be false from a semiotic viewpoint, because we know all communication is doubly-coded, but the experience of this illusion is no less convincing for that. A sequence of easy to difficult performance patterns, developed as a difficulty hierarchy, was establish among rhythm patterns performed by performance art center. The rhythm patterns determined to be the easiest to perform were duple meter patterns; the most difficult patterns were triple meter patterns. Meter seemed to be the most important characteristic in determining rhythm pattern difficulty: other characteristics of rhythm patterns were not clearly identified by the difficulty levels. A sequential curriculum based on the hierarchy of rhythm performance patterns developed from this study should be designed and implemented. Also a sequential of approach beginning with the easiest and advancing to the more difficult rhythm patterns can should be considered in curriculum development and repertoire selection and may provide an appropriate sequence of performance patterns for improvisation and creative experiences. The hierarchy of rhythm patterns determined by this study may serve as a resource for the development of performance assessment criteria for performance art center.

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2

2.3 Introduction................................................................... 20 2.4 Historical and Theoretical background of auditorium…21 2.3 Phenomenology of rhythm…………………………....22 2.4 Rules creating rhythm in design…………………...…22 2.5 Impacts of rhythm in design…………………….……25

Rhythm in design

20-26

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2.1 – Introduction: Rhythm is one fundamental element in music which depends on the time. A given piece of music is recognizable more by its rhythm rather than its notes. Rhythm thus forms the inseparable component of music, delivering motion to it and affecting our feel and sense of the piece. Rhythm in architecture can be spotted in its most rudimentary form in the repeated pattern of elements along a straight line. Halting and reclining are functional elements used in architecture in order to suggest a sense of repose, which is at times created by addition of certain elements to the whole ensemble and by drawing of the observers’ attention. When motifs or elements are repeated, alternated, or otherwise arranged, the intervals between them or how they overlap can create rhythm and a sense of movement. In visual rhythm, design motifs become the beats. Rhythms can be broadly categorized as random, regular, alternating, flowing, and progressive.

Rhythm can be described as the organization of music as it moves through time. That definition may sound a little confusing right now, but as we go through these pages, it will make more sense. There are many different aspects of rhythm and several different terms that we can use to define and describe it. Rhythm can be defined as: a strong, regular repeated pattern of movement or sound.

-the measured flow of words and phrases in verse or prose as determined by the relation of long and short or stressed and unstressed syllables.

The auditorium is one of rhythm architecture term into building, as a place for listening developed from the classical open-air theaters. Frank Gehry, Disney Concert Hall, Los Angeles, 1988-2003. With rhythmical ranks of reflective forms in Douglas fir surrounding the ‘vineyards of people’, this space is a frozen image of acoustic curves billowing and rippling out from the orchestra. The obvious place where these parallel arts meet is the concert hall, and the metaphor

Figure 2: frank Gehry concert hall, Los Angeles,

‘space as chords of sound’ turns into an expressive, petrified music. Since the Expressionists, and then Hans Scharoun’s Berlin Philharmonic Hall of 1956, the idea of acoustic generated architecture has become a dominant metaphor. Scharoun designed what he called ‘vineyards of people’ − and surrounded them with forms which reflected and at the same time dampened the sound. Similar curves are used on the outside as well. So the whole building becomes a mixed metaphor of billowing sails and acoustic reflectors, one pulled together by large, rhythmical chunks − like the simple block chords that Beethoven contrasted in his symphonies.

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2.2 - Historical and theoretical background of auditorium: The most popular forms of theater in the medieval Islamic world were puppet theatre and live passion plays known as ta'ziya, where actors re-enact episodes from Muslim history. In particular, Shia Islamic plays revolved around the shaheed (martyrdom) of Ali's sons Hasan ibn Ali and Husayn ibn Ali. Live secular plays were known as akhraja, recorded in medieval adab literature, though they were less common than puppetry and Taâ&#x20AC;&#x2122;ziya Theater.

The Roman Theatre at Bosra is a large Ancient Roman theatre in Bosra, in the district of Dar'a in south-western Syria. It was built in either the second quarter or the second half of the second century AD, and is constructed of black basalt. It was built outside the walls of the town, but was later completely enclosed by an AyyĹŤbid fortress.

The theatre is 102 meters across and has seating for about 15,000 people; it is thus among the largest of the Ancient Roman civilization. It is also one of the best preserved. It was substantially restored between 1947 and 1970, before which it contained large quantities of sand, which may have helped to protect the interior

The Auditorium Theatre officially opened just over 125 years ago.

Designed by Louis Sullivan and Dankmar Adler at the behest of Chicago businessperson Ferdinand Wythe Peck, the theatreâ&#x20AC;&#x2122;s

Figure 3: The Roman Theatre at Bosra

gilded elegance and graceful design were immediately hailed as one of the most beautiful in the world. Peck charged the renowned architects with creating a distinctly American design for the theatre, differing from European opera house models in that the best seats were available to the average Chicagoan, not the elite. Today, it remains one of the most important performance venues in the world, hosting hundreds of musical, dance, theatre, and special events each year.

Riley Center, Meridian The same family that built the Grand Opera House in downtown Meridian, Mississippi, built the

Figure 4: Thalian Hall, Wilmington

adjoining Marks Rothenberg department store, both intended to enliven the town center. Opening in the late 1800s, the theater originally hosted vaudeville and minstrel shows, as well as silent movies. This theater, it closed in 1927.

2.3 Phenomenology of rhythm: Figure 5: Riley Center, Meridian

Phenomenology of rhythm relates to the quality of repetition and how perceivers observe the results. Rhythm, by definition, is repetition and repetition could 22 | P a g e

automatically create an order to the whole design. Such a created order is the character of rhythmic phenomena. Analytically speaking, rhythm generates some regularity, simplicity, balance, and order of composition that allows the design to develop a nature of consistency. The consistency would make the view easy to understand. In fact, after the rhythmic pattern is recognized, the whole design could be clearly comprehended. Therefore, repetition with similar movement and/or transformation rules would always generate an ordered pattern. Such created patterns could call viewers’ visual attention to put more cognitive process for investigating the semantic context of the pattern.

2.4 Rules creating rhythm in design: Rules that create rhythm can be described as a set of operating procedures applied to create forms. In a design, there are many functional design issues that must be considered and rhythm may or may not be one of them. In addition, regardless of whether rhythm has been considered as a design issue or not, as long as a rhythm appeared in a building design, its phenomena demonstrate the effort of thinking about specific arrangements. Here are the examples explaining the rules applied for creation, which are categorized by the nature of repetition.

1. Repetition in forms (regular rhythm): A regular rhythm is created by repeating an element through regular recurrence (rule 1–1); and the

Figure 6: Muuratsalo, Experimental House by Aalto, 1952– 1954. Note: Photo: Eino Mokinen, Alvar Aalto Museum.

repeated elements are often similar in size or length (rule 1–2). In graphic design, it could be a shape that re-occurs by some intervals or in certain patterns to constitute a design. In architectural design, it could be the repetition of a single wall unit or vertical opening in Figures 6 and 7, or balcony unit in Figure 3 to form a fac-ade, or simple shape to composite the roof in Figure 8. Figures 6–8 were designs done by Alvar

Figure 7: Paimio Sanatorium by Aalto, 1928– 32. Photo: Photographer unknown, Alvar Aalto Museum. 1930s.

Aalto.

2. Repetition in structure (structure rhythm): A structure rhythm (rule 2) is created by combining beams and columns to form repetitive structural bays; and these structural elements are similar in size or dimensions to maintain the structural properties of equilibrium. Figure 9 was the Riola Parish Church designed by Aalto, which has repeated

Figure 8: Riola Church by Aalto, 1966–1980.

Note: Photo: Maija Holma, Alvar Aalto Museum.1997.

curved beam and column structure that creates rhythm in three-dimension.

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3. Repetition in lights (reflective rhythm): A reflective rhythm (rule 3) is created by opening up a surface with a repeated regular module to let light in. The shadows casted on walls will also create a reflective rhythm.

Figure 9 has light coming through the beams and casting shadows on the wall. Figure 6 is a design by Aalto that shows the repetition of supports

Figure 9: Riola Church interior, Aalto, 1966– 80. Note: Riola Parish Church

and voids used to define rhythm.

4. Repetition in functions (spatial rhythm): Module spaces often recur to accommodate similar or repetitive functional requirements in building program, for instance, standardized units of guest rooms (hotel), classrooms (school), or patient rooms (hospital) used in various building typologies. Figure 11 is the Wolfsburg Cultural Center designed by Aalto, which has repeated similar volume showing different

Figure 10: Seinajoki Town Hall by Aalto, 1958–65. Note: Photo: Kalevi A. M¨okinen, Alvar Aalto Museum. Approximately 1965.

spaces. Figure 12 is another un-built project by Aalto applying similar concepts of spatial rhythm for an art museum in Iran. Thus, spatial rhythm (rule 4) is to repeat the similar shape of spaces attached with similar functionalities, but the dimensions of the shape could be changed regularly.

5. Repetition in process (iterative rhythm): A rhythm could be generated

Figure 11 Wolfsburg Cultural Center by Aalto, 1958–62. Note: Photo: Harald Raebiger, Alvar Aalto Museum. 1993.

not only by regular recurrence of an element, but also by iteration to create comfortable visual result. Iteration, as used in computer programming, is the act of (rule 5) repeating the same process to approach a desired goal or result. Similarly, the same and simple actions are repeated in ballet dancing and ballroom dancing to match with certain melodies (as in waltz, tango, salsa, rumba, etc.). In music, sounds

Figure 12: Shiraz Art Museum, by Aalto, 1969–70. Note: Photo: Photographer unknown, Alvar Aalto Museum.

and silences are put together to form patterns of sound, which are beats that repeated steadily to create rhythm.

6. Repetition in both (progressive rhythm): On the other hand, rhythm could also be created (rule 6) by reverberating a shape or a form from a point and additively grow in a certain direction or follow a path (Ching, 1979). For instance, the form with rhythm could be generated in a radial

Figure 13: Progressive rhythm showing movements.

or concentric manner about a point along a path with a gradual increased interval (see Figure 13); it could also be sequentially grown proportionally in size in a linear way; or it could be repeated randomly, but maintain the proximity and similarity of a form.

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Rhythm in music refers to patterns of sounds tied to the beat. Rhythm in architecture refers to the repetition of architectural elements. In either application, the rhythm can be regular or irregular, or even a mixture. The lyrical pattern of windows and panels in the Kohl Building is one example of rhythm in architecture.

Figure 14: Kohl Building at Oberlin College- Westlake Reed Leskosky

This building design is typical of the current style by the architect – swirling forms with striations creating rhythm and dynamic energy. The criticism of many signature architects -such as Frank Gehry or Norman Foster – often revolves around whether projects are unique to their context or just another design off the production line. With such a huge

Figure 15: Beko Masterplan, Belgrade, Serbia

amount of work, it will be a major challenge for the architects to keep design fresh and specific to context.

In the picture selected, we can notice there is a use of the rhythm of lines and repetition of shapes, combined with the rhythm of masses.

Playing with the masses in the exterior is the best and most versatile way of establishing rhythm, especially if it can meet with the functionality of the piece.

Also, present repetition of shapes with their windows, doors and railing.

To end, the rhythm of the curves of the balconies and the straight lines of the windows mark a very interesting rhythm together. 

Depends on the harmony, the simplicity, and the power of these rhythmical relationships.



We can apply it through repetition of shapes, dimensions and differences.



Repetition of Shapes: Using windows, doors, columns, etc.



Repetition of Dimensions: Between the supports or those of bay spacing.



Repetition of Differences: Where the ascending and descending progressions are built up from small to large and to small again.



Rhythm of Lines: It is a repetition-based kind of rhythm and it has merely systematic variations of linear lengths or curvatures.



An open rhythm needs closing, and the closing must be a climax of sufficient importance to justify the preparation for it made by the rhythmical approach.



Masses rhythm: Applicable for the exterior.

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2.5 Impacts of rhythm in design: Impacts of the phenomenon of rhythm to human perception could be considered and evaluated from different perspectives in different fields. In language, rhythm is accomplished by the repetition of using the same words or placing the same words or phrases in writing to achieve the purposes of convincing arguments. In all poetry, repetition of a sound, syllable, word, phrase, line, stanza, or metrical pattern is a basic unifying device to heighten emotional response and provide readers a sense of balance. In music, rhythm makes a music move and flow. In dance, as a form of nonverbal communication, rhythm guides the body movement. In design, rhythm is made by form repetitions. As long as the basic element is repeated with an ordered sequence, a pleasant pattern will be created and would be identified as a rhythm.

The phenomena of such a visual attraction will generate a pleasant environment for living, working, and recreation. Such a pleasant creation in product could be valid to justify good quality of design. Alvar Aalto’s works are excellent examples. Shown in seven buildings (Figure 6–12), the repetition of major forms of balcony, window patterns, roof shapes, beam and columns, spatial volumes, and skylights had created poetic architectonic character of articulation in design. Given the strength of Aalto’s oeuvre, the correlation between repletion and articulation is clearly explained.

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3

4.3

Data Analysis - Type of Auditorium…………………………. 27

4.4 Acoustical ……………...………………………..…….…35 3.3 Case studies analysis…………...…………………….…....45

Design auditorium

27-47

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3.1 - Type of Auditorium: Theatre has been around since people first gathered together to listen to someone else tell a story. Friends and family shared the responsibilities of audience and player, trading roles back and forth as long as someone had a story to share. Modern theatre may be more formal, with trained actors providing the story and sophisticated theatre-goers supplying the reactions, but the idea of sharing energy between a live actor and a live audience remains just as it ever was. The biggest difference is in the building where theatre happens.

Theatre buildings evolved from the open-air amphitheaters of the Greeks and Romans to the incredible array of forms we see today. Though some forms work better for particular types of performance, there is no ideal shape of a theatre. A theatre may house drama, classical or popular music, opera, musicals, ballet, modern or folkloric dance, cabaret, circus, or any activity where a performing artist communicates with a living audience. How could any one kind of building work for all these different types of performing art?

There is no ideal size of a theatre. The scale of a theatre depends on the size of the staging required by the type of performance and the number of audience to be accommodated, with each variable influencing the other as they change. No one-size-fits-all formula works with that kind of nuance.

Theatre is not simply a space for looking at or listening to a performance. A successful theatre for live performance supports the emotional exchange between the performer and the audience, and between members of the audience. All that said, we have outlined the typical theatre forms for different performance types. The design of various types of auditoriums has become a complex problem, because in addition to its various, sometimes conflicting, aesthetics, functional, technical, artistic and economical requirements, an auditorium often has to accommodate an unprecedentedly large audience: Types and forms of theatres Spaces for drama -Smaller drama theatres: Arena. - Thrust - End stage - Flexible theatre: Environmental theatre - Promenade theatre - Black box theatre - Studio theatreCourtyard theatre -Larger drama theatres: Proscenium theatre - Thrust and open stage-Spaces for acoustic (unamplified) music: Recital hall - Concert hall - Shoebox concert hall- Vineyard concert hall, surround hall -Spaces for opera and dance: Opera house - Dance theatres -Spaces for multiple uses: Multipurpose theatre - Multiform theatre -Spaces for entertainment: Multiuse commercial theatre â&#x20AC;&#x201C; a â&#x20AC;&#x153;Broadway theatreâ&#x20AC;? form - Showroom 28 | P a g e

-Spaces for media interaction: Spaces for meeting and worship - Convention congress theatre - Houses of worship

3.1.1 - Spaces for drama: Drama comedy or tragedy can be performed in many different types of theatres, as well as outdoors, in warehouses, stairwells, and other unusual places. Many of these spaces and forms also support musical theatre, which is discussed separately under “Spaces for entertainment.”

For simplicity, we have divided this discussion into smaller drama theatres which include flexible and courtyard theatres and larger drama theatres, which include thrust, open, and proscenium stages. But keep in mind, no discussion like this can fully describe the many types of spaces where theatre happens.

3.1.2 - Smaller drama theatres: A small drama theatre usually seats between 50 and 300, with an upper limit of perhaps 400. It often doesn’t have a separate stage house meaning the stage is within the same architectural space as the audience. These small theatres often feature a unique or especially intimate actor/audience relationship.

This may be defined by a fixed seating arrangement, or the relationship may be created by temporary seating set up in a found space or in a flexible, purpose-built space. We’ve described popular forms below.

Arena A theatre in which the audience surrounds the stage or playing area. Actor entrances to the playing area are provided through vomitories or gaps in the seating arrangement.

• Bingham Theatre, Actors Theatre of Louisville, Louisville, KY, USA • Royal Exchange Theatre, Manchester, UK (image shown

Figure 16: Carlton Studios, Courtesy of the Royal Exchange Theatre

Thrust

A theatre in which the stage extended so that the audience surrounds it on three sides. The thrust stage may be backed by an enclosed proscenium stage, providing a place for background scenery, but audience views into the proscenium opening are usually limited. Actor entrances are usually provided to the front of the thrust through dormitories or gaps in the seating

Figure 17: The Playhouse, Overture Center for the Arts, Madison, WI, USA

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End stage A theatre in which the audience seating and stage occupy the same architectural space, with the stage at one end and the audience seated in front facing the stage.

• The New School for Drama, Westbeth Building, New York, NY, USA (image shown) • Playwrights Horizons, New York, NY, USA • Studio Theatre, the Lowry, Salford, UK

3.1.3 Flexible theatres:

Figure18: Theatre Projects

Flexible theatre is a generic term for a theatre in which the playing space and audience seating can be configured as desired for each production. Often, the theatre can be configured into the arena, thrust, and end stage forms described above. Environmental, promenade, black box, and studio theatre are other terms for this type of space, suggesting particular features or qualities.

3.1.4 Environmental theatre: A found space in which the architecture of the space is intrinsic to the performance or a theatre space that is transformed into a complete environment for the performance. The audience space and performance space are sometimes intermingled, and the action may be single-focus or multiple-focus.

In environmental theatre, the physical space is an essential part of the performance.

3.1.5 Promenade theatre: A theatre without fixed seating in the main part of the auditorium – this allows the standing audience to intermingle with the performance and to follow the focal point of the action to different parts of the room. Multiple-focus action and a moving audience are the primary characteristics of the promenade theatre.

3.1.6 Studio theatre: A flexible theatre with one or more audience galleries on three or four sides of a rectangular room. The main floor can

Figure 9: Studio, Tempe Center for the Arts,

usually be reconfigured into arena, thrust, end stage, and flat Tempe, AZ, USA floor configurations.

2.3.7 Courtyard theatre: Figure 19: Studio, Tempe Center for the Arts,

The term courtyard theatre embraces a range of theatre Tempe, AZ, USA forms, all with the common characteristic of at least one raised seating gallery surrounding a central area. Often this central area is flexible, and can be configured 30 | P a g e

into arena, thrust, end stage, and flat floor configurations.

Sometimes the central area has fixed seating that faces a proscenium opening and stage. Inspired by the Shakespearean theatre of Elizabethan times and the English Georgian Theatre, the much loved Cottesloe Theatre at the National Theatre in London is the granddaddy of contemporary courtyard theatres.

Interestingly, a courtyard theatre does not need to be

Figure 20: Jerwood Vanbrugh Theatre, Royal

Academy of Dramatic Art, London, UK

rectangular. Hall Two at The Sage is a striking example of a 16-sided courtyard theatre.

3.1.8 Larger drama theatres: Larger drama theatres seat audiences in the range of 300 to 900, with an upper limit of about 1,100.

Larger drama theatres are usually some variant of the proscenium form. However, some feature a thrust or open stage.

3.1.9 Proscenium theatre: In a proscenium theatre, the stage is located at one end of the auditorium and is physically separated from the audience space by a proscenium wall. This is sometimes called a “two-box” arrangement—the auditorium and stage occupy two separate “boxes” or rooms. The stage box (stage house) provides fly space

Figure 21: Kay Theatre, Clarice Smith Performing Arts Center, College Park, MD, USA

and wings and permits a wide variety of scenic and lighting effects. The auditorium box is the audience chamber, which may take many forms—fan-shaped, courtyard, lyric, etc.

The opening between the auditorium and stage is called the proscenium frame, proscenium opening, proscenium arch, or simply the proscenium. In its earliest forms, the heart of the proscenium theatre was the forestage in front of the proscenium. It wasn’t until the middle part of the nineteenth century that performers were confined with the scenery behind the proscenium arch. Contemporary proscenium theatres try to provide a flexible transition zone between stage and audience, adaptable to suit the needs of each performance.

3.1.10 Thrust and open stage: Some larger drama theatres take the form of a thrust stage, with the audience surrounding three sides of the performance platform. The term open stage can be used interchangeably with thrust, but implies a 31 | P a g e

more frontal arrangement. These and similar forms can accommodate a high seat count within an acceptable distance to the stage. Audience balconies can increase the intimacy of the room.

3.1.11 Spaces for acoustic (unamplified) music: Concert and recital halls are theatres for the performance of music. The requirements of acoustic (non-amplified) music determine the volume, shape, and even the architectural

Figure 22: Olivier Theatre, Royal National

Theatre, London, UK

detailing of the hall. At the same time, the hall must support the visual presentation of the performance and provide an intimate patron experience. A universal characteristic of these buildings is that performers and audience share the same space—there is no architectural separation between stage and auditorium.

Today, concert halls aren’t used exclusively for acoustic music. A new hall must have enough flexibility to allow other uses, like popular (amplified) and ethnic music, dance, lectures, meetings, and film presentations.

3.1.12 Recital hall: A space designed for soloists and small ensembles (up to chamber orchestra size), with a seat count typically in the range of 150 to 800. This form is a descendant of the court music

Figure 23: Mixon Hall, Cleveland Institute

rooms of the Renaissance. It is often rectangular in plan, with of Music, Cleveland, OH, USA an open concert platform at one end of the room and seating galleries on the other three walls.

3.1.13 Concert hall: A space designed primarily for symphonic music, with a seat count typically in the range of 1,100 to 2,000.

The upper limit for a successfully intimate room is about 2,200 seats.

Figure 24: concert Hall, Esplanade -

Theatres on the Bay, Singapore

3.1.14 Shoebox concert hall: The classic concert hall form is the shoebox, named after the rectangular shape and approximate proportions of a tennis-shoe box. The shoebox form has high volume, limited width, and multiple audience levels, usually with relatively narrow side seating ledges. The ‘Musik vereinsaal’ in Vienna, the Concertgebouw in Amsterdam, and Symphony Hall in Boston are classic examples of this form.

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3.1.15 Vineyard concert hall, surround hall:

Some modern concert halls have audience seating in terraces reminiscent of a vineyard. The seating may completely or partially encircle the concert platform. An important early example of the vineyard form is the Berlin Philharmonic. A hall with partial encirclement may be called a modified vineyard. The Walt Disney Concert Hall in Los Angeles is a contemporary example of this form.

Figure 25 : Walt Disney Concert Hall, Music

Center, Los Angeles, USA

3.1.16 Spaces for opera and dance The opera house developed as a specific theatre form in the late Renaissance and persists to this day. Historically, opera and ballet performances coexist in these spaces, but beginning in the twentieth century, dedicated dance spaces began to appear.

3.1.17 Opera house: Figure 26: Glyndebourne Opera House,

An opera house is a proscenium theatre in form. Seat count ranges Glyndebourne, UK from 1,200 to 2,000 with an upper limit of about 2,400 seats. The

auditorium is usually multilevel with side tiers or boxes to enhance visual and aural intimacy. The stage is usually large, with extensive machinery. It sometimes has separate auxiliary stages in a cruciform, six-square, or other arrangement to enable the opera company to perform in repertory. European opera houses generally have smaller auditoriums and more elaborate stages, compared to opera houses in the United States.

3.1.18 Dance theatres Other than the tradition of ballet performance in opera houses, there is no strongly identifiable theatre form for dance performance. Smaller, 100 to 300-seat spaces designed for dance are usually end stage or proscenium. The design of the auditorium emphasizes frontal sightlines and a clear view of the stage floor. Sometimes the seating is on telescopic risers that can be retracted to allow the whole space to be used for rehearsal or instruction.

Figure 27: Glorya Kaufman Hall, University of

California, Los Angeles, CA, USA

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3.1.19 Spaces for multiple uses: Almost every theatre will put to many uses, but here we discuss two particular types of multiuse theatres the multipurpose theatre and the multiform theatre.

3.1.20 Multi-purpose theatre The contemporary multipurpose theatre found in medium to large US cities and occasionally elsewhere around the world.

These proscenium theatres designed to accommodate a range of activity symphonic music, opera, musical theatre, ballet, and touring productions. Seat count is in the range of 1,200 to 2,400 with an upper limit of about 2,800 seats. The

Figure 28: Overture Hall, Overture Center for

auditorium form influenced by the acoustic requirements for the Arts, Madison, WI, USA symphony, while the stage house designed to meet the needs of opera and musicals. These rooms designed with the ability to change configurations (especially in the forestage area) and to adjust the room acoustics to the needs of each performance type.

3.1.21 Multi-form theatre: A multiform theatre can reconfigured to change the actoraudience relationship and the seat count. By moving large architectural elements, the one-room form of the concert hall can be transformed into a two-room theatreâ&#x20AC;&#x201D;an auditorium and stage with a proscenium. Sidewall seating towers can positioned to narrow the room, or otherwise change its proportion. Often the orchestra (stalls) floor can leveled and

Figure 29: Derngate, Northampton, UK

the seats removed to create a large, flexible flat floor area.

(Many of the theatre forms described here can designed with this flat floor capability. It was a common feature of eighteenth and nineteenth century opera houses.)

3.1.22 Spaces for entertainment: Venues for popular entertainment can take many forms. Here we discuss two important typesâ&#x20AC;&#x201D;the multiuse commercial theatre and the showroom.

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3.1.23 Multiuse commercial theatre: A “Broadway theatre” form this is a proscenium theatre designed primarily for amplified sound. The room acoustics are usually “dry” with little adjustment available, making these rooms unsuitable for un-amplified acoustic music.

Seat count is in the range of 1,200 to 2,500 seats with an upper limit of 10,000 seats. A reasonable degree of intimacy can be achieved with multiple cantilevered balconies,

Figure 30: Kodak Theatre, Hollywood, CA, USA

bringing a large portion of the audience as close to the stage as possible. The stage is usually sized and equipped to receive large-scale touring musicals. Other uses are headliners, pop music performances, and award ceremonies.

3.1.24 Showroom:

The term showroom usually implies an entertainment venue connected with a casino, hotel, or resort. A showroom may be designed to accommodate variety or headliner acts, or it may be purpose-built for a specific production, such as a circus show, that will reside in the space for years or even decades. A smaller room may seat only 600, but seat count is

Figure31: Wynn Resorts, Macau

more often in the range of 1,200 to 4,000 seats. The theatre may take the form of a proscenium, thrust, or arena stage. Showrooms may introduce elaborate stage machinery, including “water stages” and other specialty mechanics.

3.1.26 Spaces for media interaction: Of course, all theatres are spaces for interaction, but since the late twentieth century, a new type of space has developed. Artists and scientists are using these media-intense spaces for performance, research, and instruction.

These spaces are highly flexible, usually with no fixed seating, and usually with a high degree of acoustic adjustability. Other features may include extensive media recording and playback Figure 32: New World Symphony, Miami electronic Beach, FL, USA communication with remote spaces for distance learning,

capability,

immersive

environments,

and

distributed ensembles, remote performance, and other opportunities.

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3.1.27 Convention congress theatre:

This is an auditorium, usually connected with a convention center or meeting facility, for plenary sessions, lectures, symposia, product launches, and simple presentations. The auditorium is often fan-shaped, facing an open platform with limited rigging facilities. The auditorium may be divisible into smaller spaces to accommodate simultaneous meetings with fewer participants.

Figure 33: Palacio de Congress,

Valencia, Spain

3.2 - Types of acoustic System: 2. The distributed system, using a number of overhead loudspeakers located throughout the auditorium.

This system should be used when: • Auditorium height is too low to install central system.

• When majority of listeners do not have an adequate sight line of central loudspeakers.

• When sound has to be provided for overflow audience.

• In large halls.

3. The stereophonic system, with two or more clusters of loudspeakers around the proscenium opening or the sound source.

Stereophonic system preserves the illusion that, the sound is coming from the original, unamplified source.

Figure 34: loudspeaker system

Problems Associated With Loudspeaker System 1. Audience will hear two sounds, arriving at two time.

This difference should not be more than 1/30 sec.

Figure 35: loudspeaker system

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2. When loudspeaker is placed halfway down the a large auditorium.

Audience will hear loudspeaker first and direct sound as a weak echo.

This problem can be overcome by introducing a delayed mechanism in loudspeaker system

Figure 36: loudspeaker system

Power Is Affected By :

- Distance from speaker - Directional relationship to speaker - Audience absorption of direct sound - Reinforcement by reflectors - Reinforcement by loudspeakers - Sound shadows â&#x20AC;˘ CLARITY is affected by : - Delayed reflections : Echos, Near Echos, Reverberation - Duplication of sound source by loudspeakers - Ambient Noise - Intrusive Noise

Figure 37: shape of auditorium

Figure 38: shape of auditorium

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3.2.1 – Volume of auditorium: • For unamplified speech, it is often necessary to limit the overall room volume. This is because a large volume requires more speech power than a small room.

• This volume minimization is contrary to rooms designed for music, where a relatively large volume is desirable.

• In a face-to-face conversation, an unamplified talker may generate a SPL level of about 65 db. This level decreases 6 dB for every doubling of distance. Sound is also attenuated as it travels through the hall because of air absorption.

• To support audible levels, the audience area must be placed as close as possible to the speaker. This minimizes sound attenuation, provides a more direct sound path, and also improves visual recognition which improves intelligibility.

3.2.2- Room Shape: • The talker-to-audience distance can be minimized by carefully considering the room geometry.

• A rectangular shoebox-type hall, with normal sound the stage across one narrow end, may be excellent for music where an audience can be seated farther away and a greater ratio of reverberant sound is desirable.

• However, a rectangular geometry is only suitable for a relatively small speech hall.

• For greater seating capacity, the side walls should be splayed from the stage.

• Splayed side walls allow greater seating area that is relatively close to the stage.

• The splayed walls can usefully reflect sound energy to the rear of the hall.

• A side-wall splay may range from 30° to 60°, the latter is considered a maximum angle, given the directionality of speech. Generally, fan-shaped halls are not used for music performance.

3.2.3 ABSORPTION: • In small speech halls, the majority of absorption is provided by the audience, therefore, the room surfaces can be relatively reflective. In larger halls, where there is greater room volume per seat, relatively greater room absorption is needed.

• Beneficially, a reflective front stage area provides strong early reflections that are integrated with the direct sound and enhance it. On the contrary, strong late reflections and reverberation, such as from rear walls, would Figure 39: acoustic panel

not be integrated and may produce echoes.

• To accommodate this, the stage area and front of the hall are made reflective and absorption is placed in the seating area and rear of the hall.

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3.2.4CEILING: • In many large halls, ceiling reflectors, sometimes called clouds, are used to direct sound energy from the stage to the seating area.

• Both dimensions of a square reflecting panel should be at least five times the wavelength of the lowest frequency to be reflected.

• When ceilings are high, care must be taken to ensure that path-length differences between direct and reflected sound are not too great, and

Figure 40: acoustic panel

particularly should not exceed 20 msec.

• In some cases, clouds are made absorptive, to avoid late reflections.

3.2.5 FLOORS: • A sloping (raked) floor allows a more direct angle of incidence which in turn allows less absorption. Generally, the slope of an auditorium floor should not be less than 8°.

• The floor of a lecture-demonstration hall might have a 15° angle of inclination.

• Staggering of seats is also recommended.

3.2.6 WALLS: • Because of its potential to create undesirable late reflections, the rear

Figure 41: seating area and fixation in the floor

wall of a large hall requires special attention.

• Reflections from the rear wall would create a long path-length difference to a listener at the front of the hall. This can result in audible echoes, particularly because of the otherwise low reverberation level.

• A reflective concave rear wall would also undesirably focus sound.

• For these reasons, the rear wall of a large hall is usually absorptive.

• In some cases, when added absorption is undesirable because of decreased reverberation time, reflective diffusers can be placed on the rear wall.

3.2.7-Architectural Design for Concert Hall: The first complexity rests with the music itself.

• Different styles and culture of music have different acoustical requirements.

• Perhaps the most difficult aspect of hall design is the ambiguity of the goal itself.

• A balcony can be used to decrease the distance from the stage to some seating areas, and to provide good sight lines.

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3.2.8 -Balcony: • Generally, the balcony overhang depth should be less than twice the height of the balcony underside.

• Ideally, the depth should not be more than the height.

• Deep bal. can create acoustical shadows in the seats underneath bal.

• In addition, reflecting surfaces on the ceiling and side walls, as well as the underside of the balcony, should be designed to add as much reflected sound as possible to the seating areas on the balcony and under it, to supplement the direct sound from the stage.

• The front of a balcony parapet should be designed to avoid reflections that could affect sound quality in the seating areas in the front of the hall. This is particularly true when the plan view of the balcony has a concave shape.

3.2.9-Ceiling: Ceiling height is usually determined by the overall • room volume that is required.

• Ceiling height should be about one-third to two-thirds of the room width.

The lower ratio is used for large rooms, and the higher ratio is used for small rooms.

• A ceiling that is too high may result in a room volume that is too large, and may also create undesirable late reflections.

• To avoid potential flutter echo, a smooth ceiling should not be parallel to the floor.

• In many halls, the ceiling geometry itself is designed to direct sound to the rear of the hall, or to diffuse it throughout the hall.

Figure 42: ceiling shape and reflection sound

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3.2.10 -WALL • The rear wall must avoid any large, unbroken concave geometry.

• Side walls must avoid parallelism. This can be avoided by tilting or splaying wall surfaces.

• These angles can also be advantageously used to direct reflected sound to the audience seating area, and to provide diffusion.

• Any surface that unavoidably introduces concave geometry or a undesirable angle should be covered with absorptive material.

3.2.11-FLOOR: • In halls designed for either music or speech, a sloping (raked) floor is desirable especially for large halls.

• In halls designed for either music or speech, a sloping (raked) floor is desirable especially for large halls.

• A sloping floor improves sightlines, and also improves fidelity in the seating area.

• When sitting on a sloping floor, the listener receives more direct sound than would be available on a flat floor.

3.2.12 -Direct And Indirect Sound: • Sound picked up by a microphone in a studio consists of both direct and indirect sound.

• Direct sound is observable a short distance away from the source, but farther away, the indirect sound dominates.

• Sound picked up by a microphone would, for the first few milliseconds, be dominated by the direct component, after which the indirect sound arrives at the microphone as reflections from room surfaces.

• Another component of indirect sound results from room resonances.

• Resonances dominate the low frequency region in which wavelengths of the sound are comparable to room dimensions.

• Indirect sound also depends on the materials of construction, such as doors, windows, walls, and floors.

These too are set into vibration by sound from the source.

Figure 43: annotation diagram

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3.2.13 Acoustic material: Acoustics is the interdisciplinary science that deals with the study of all mechanical waves in gases, liquids, and solids including vibration, sound, ultrasound and infrasound. A scientist who works in the field of acoustics is an acoustician while someone working in the field of acoustics technology may be called an acoustical engineer. The application of acoustics is present in almost all aspects of modern society with the most obvious being the audio and noise control industries. The study of acoustics revolves around the generation, propagation and reception of mechanical waves and vibrations.

3.2.14 Types of Materials: •

Sound absorbers

•

Sound diffusers

•

Noise barriers

•

Sound reflectors These sound absorbing acoustical panels and soundproofing materials are used to eliminate sound reflections to improve speech intelligibility, reduce standing waves and prevent comb filtering.

- Typical materials are open cell polyurethane foam, cellular melamine, fiberglass, fluffy fabrics and other porous materials. A wide variety of materials can be applied to walls and ceilings depending on your application and environment.

- These materials vary in thickness and in shape to achieve different absorption ratings depending on the specific sound requirements - Types : - Acoustical foam panels - White paintable acoustical wall panels - Fabric wrapped panels - Acoustical wall coverings - Ceiling tiles - Baffles and banners for ceiling - Fiber glass blankets and roll

3.2.15 Acoustical foam panels: These acoustical foam sound absorbers are used in a wide variety of applications ranging from Recording and Broadcast Studios to Commercial and Industrial Facilities.

Available in Polyurethane. These products can be applied directly to walls, hung as baffles or used freestanding absorbers.

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3.2.16 White Paintable Panels: It is a white acoustical wall panel with a soft textured appearance. The two foot by one foot dimension provides installers flexibility to mount acoustical panels around existing objects. In addition to reducing echo and reverberation, these acoustical panels are used to create unique designs and patterns. The glass fiber core is faced with a paintable covering. This allows you to match or complement existing wall colors by applying a light coat of flat or matte spray paint. To customize the look even further, many local printing companies now have the capability to produce an image directly to the face of these panels. ∞ Quick & Easy acoustical solution ∞ Soft drywall texture appearance ∞ Create unique patterns ∞ Panel size allows for flexible mounting options ∞ Paintable & Printable finish

3.2.17 Fabric Wrapped Panels: Acoustical sound panels utilize 6-7 PCF glass fiber material for maximum absorption. Available as wall panels, ceiling tiles, hanging baffles, acoustical clouds and bass traps, with more than 50 standard colors to choose from, these materials will look as good as they sound. The standard sizes and configurations best maximize raw materials, however, many of these products can be customized to meet specific requirements should you need material sized to fit or other finishes or coverings. Ceiling clouds reduce reflected sound in areas such as theaters, restaurants, arenas, shopping malls, convention centers, recording and broadcast rooms, or anywhere absorption is required. All surface faces and edges of the glass fiber core are wrapped in fabric to match or accentuate room décor. Ceiling Baffles absorb sound on all sides and edges. Sculptured sound absorbing modular units used for walls, as corner traps, bass traps and ceiling applications. Available in half-rounds or quarter-rounds. Ceiling Tiles are an excellent choice for many ceiling grid applications requiring high absorption.

3.2.18 Wall Coverings: Acoustical wall fabric is a dimensional fabric that offers excellent acoustical properties, unmatched fade resistance, and a fire/smoke retardant class A rating. Sound channels is resistant to moisture, mildew, rot, bacteria, and is non-allergenic. Produced with no voc’s (volatile organic compounds), ods’s (ozone depleting substances), heavy metals or formaldehyde, it's the perfect acoustic fabric for offices, classrooms, conference centers or any area where speech intelligibility is a critical factor.

3.2.19 Installation: •

This material is not factory trimmed. It is necessary for the installer to cut a straight vertical edge 43 | P a g e

•

Following the ribbed pattern. All edges must be butt joined. Do not overcut edges. Cut material to

•

Desired lengths, allowing for top and bottom trimming. Wall carpet should be hung

•

Straight up. Do not alternately reverse strips.

•

Apply a premixed heavy duty adhesive directly to the wall, allowing it to dry to its maximum tackability

•

Without it being overly dry. (Important!!! Adhesives are ready mixed. Do not dilute)

•

Adhesive and do not apply adhesive to the back of the wall covering).

Features: • Lightweight Acoustic Fabric • Easy to install • Class A • Passes Corner Burn Test • Available in Many Colors • Durable / Abuse Resistant • Improves Speech Intelligibility

Applications: • Conference Rooms • Theaters • Hospitals • Municipal • Office Partitions • Schools • Hallways

3.2.20 Noise Barriers: These materials range from dense materials to block the transmission of airborne sound to devices and compounds used to isolate structures from one another and reduce impact noise.

•

Barriers: Sound barrier materials are used to reduce the transmission of airborne sound. The series of products include the standard one pound per square foot non reinforced barrier, transparent material when observation or supervision is required, reinforced vinyl to create a hanging barrier partition.

•

Vibration control products are used to absorb vibration energy and prevent structural noise transmission. These include vibration damping compounds and vibration pads, isolation hangers, and resilient clips. They improve sound transmission loss.

•

Composite materials are manufactured from combinations of various materials from open and closed celled foams to quilted fiberglass and barrier. These products are used to block and absorb sound for machine enclosures as well as blocking airborne sound and impact noise. Some of these products include Composite Foams; strati quilt Blankets and Floor Underlayment

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3.3.0 Case study: 3.3.1 Wales Millennium Centre (2004, Rob Harris and Jeremy Newton) Architect: Percy Thomas Partnership Seats (N) 1950 V/N 6.7m3 RTocc 1.3s Form: Modest fan, mitigated by wall shaping

Figure 44: Wales Millennium Centre

Variable absorption: Extensive vertical banners + absorbing shutters for control rooms This auditorium was designed as a balance between an opera theatre (the WMC is the home of Welsh National Opera) and a lyric theatre for major amplified touring musicals and a multi-performance genre programme. The overhead panels are partly solid, to provide useful early reflections to seating areas, and partly acoustically transparent, to ensure that the upper volume contributes to rever balance. The theatre has a large, flexible orchestra pit. Tracking towers each side of the proscenium (a technique also employed in Oslo Opera House) allow the effective acoustic width to the sides of the pit to become narrower when the proscenium opening is reduced.The profiled glass reinforced gypsum wall panels provide effective high frequency sound scattering.

[J. Newton, â&#x20AC;&#x153;The acoustic design of the Donald Gordon Theatre Cardiff and the Operaen Copenhagenâ&#x20AC;? Proc IOA 28 (2) (2006)]

3.3.2 Wexford Opera House (2008, Jeremy Newton) Architect: Keith Williams Architects This compact auditorium replaces an earlier, very small opera theatre, on a restricted city site. Wexford Opera traditionally features high clarity and intelligibility and the room form and limited reverberance continue this tradition.

An acoustically important aspect of the original theatre was the large forestage that extended beyond the proscenium

Figure 45: Wexford Opera House

arch over the orchestra pit. This brought the stage action closer to the audience and helped to provide a good stage to pit sound ratio. As the Wexford Festival supports young vocal talent, the new auditorium has a similar arrangement. The design is flexible, with a double-decker orchestra pit lift allowing the orchestra to play either underneath the forestage or on top of the forestage at the same depth as the rest of the pit. The latter configuration creates an increased open area for the orchestra pit as found in modern (larger) opera house design. The visual impact of the 45 | P a g e

(relatively) large volume is reduced by suspending the lighting bridges inside the room. These are elegantly integrated into the architecture, clad in aluminium.

The sound reflector above the orchestra pit is at an acoustically preferred height of 9.9m above stage level. To reduce the expanse of clear wall above the proscenium opening, the visual ceiling continues beneath the reflector as aluminium clad made strips, spaced to allow the sound to pass through them and reflect off the surface that they obscure.

3.2.3 Glyndebourne Opera House (1994, Derek Sugden and Rob Harris) Architect: Michael Hopkins & Partners Seats (N) 1243 V/N 6.3m3 RTocc 1.25s Form: Circular Variable absorption: NoneThe theatre consultant’s and architect’s concept for the newGlyndebourne auditorium was based on the concept of 2interlinked circles – one inscribing the performers and the other the audience. This lead to a significant challenge, namely the creation of a

Figure46: : Glyndebourne Opera House

non-concave acoustic geometry within a circular architecture. Because of the curved geometry of the auditorium, it was decided not to use computer simulation, but to concentrate on scale modelling at 1:50 scale. This was the last major auditorium project by Arup Acoustics not to employ computer modelling and the last larger opera house (> 1000 seats) to be designed without the benefit of both computer and scale models.

The acoustic design uses a combination of sound reflecting, sound diffusing and acoustically transparent components to overcome the complexities of the concave geometry. A great success of the room is the way that the architects have incorporated the complex acoustic demands into a very pleasing architecture.

Visual and acoustical intimacy are assisted by the ‘semi- Wagnerian’ pit, which has a relatively deep overhang relative to the open pit area. It is questionable whether this solution would be accepted by the major orchestras which play at Glyndebourne if this house was being designed in 2010.

[L. Beranek, “One hundred concert halls and opera houses“ in Concert Halls and Opera Houses 2nd Ed. (Springer 2004) pp. 225-228}

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3.3.4 Bruges Concertgebouw (2002, Rob Harris, Robert Essert and Helen Butcher)

Architect: Paul Robbrect en Hilde van Daem Seats (N): 1200 V/N 8.9m3 RTocc 1.9s

Form: Complex – fan at low level, canted walls to give Figure 47: Bruges Concertgebouw reverse fan at high level Variable absorption: Vertical banners + horizontal drapes in front of walls The brief for this hall was unusual in that symphonic music and fully-staged opera were given equal priority. (In practice fully-staged opera performances are rare because of production costs). The acoustic solution for the symphonic mode was to go beyond a conventional concert shell, instead using the whole volume of the stage as part of the acoustic volume.

The ‘shell’ elements are partially acoustically transparent. Hence they provide visual and partial acoustic enclosure but open up the full stage volume. The maximum proscenium opening is unusually high to couple the platform and auditorium volumes and fixed reflectors above the orchestra pit / forestage continue the line of the over-platform reflectors into the auditorium. The upper volume of the fly tower (which would absorb sound) is closed off with a single hinged panel; this is stored vertically on the upstage wall of the fly tower.

3.3.5Grand Canal Theatre (2010, Jeremy Newton) Architect: Studio Daniel Libeskind and Arts Team (theatre architect) Seats (N) 2169 V/N 5.5m3 RTocc 1.3s (estimated from 1.5s unoccupied) Form: Lyric theatre fan Variable absorption: None The primary function of this major touring theatre is to present large-scale musicals and other amplified events. As the most appropriate theatre in Dublin for the presentation of opera and ballet, it was decided to provide sufficient reverberance for successful Figure 48: Grand Canal Theatre performance of these art forms.

The upper volume, required to achieve the enhanced revereberance, is screened visually using acoustically transparent metal mesh panels. Reflectors beneath the lighting bridges provide additional overhead reflections. The walls are profiled to provide a mixture of scattering and sound reflections (offsetting the natural fan shape). The controlled room response means that very high amplified sound quality can be achieved without a variable sound absorption system.

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4

4.1 Conclusions & Recommendations………………………….…49 4.2 References………………………………………………………..50

Conclusions & Recommendations

47-50

5

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4.1 conclusion Rhythm, in this study, is described as a patterned repetition of a motif, or formal element at regular or irregular intervals in the same or a modified form. If the form is generated by regular repetition, a consistent order is generated and an integrated completely is presented. If the form is generated at irregular intervals, the coherent order and grace level that result in the generation of rhythm might be diluted. This concept of difference between rhythmic patterns relates to the notion of the degree of rhythm, which needs further studies. On the other hand, a harmonious sequence or pattern of masses alternating with voids, a sequence of light alternating with shades or shadows, and a sequence of objects alternating with colors or textures all qualify as rhythm. After all, rhythm is created by repetition.

Repetition can be generated either through design intent or by automatic applications of well practiced design skills. Designers may not consciously look for the repetitive results created in the pattern, but might subconsciously address the articulated patterns in the design processes. However, the effect of rhythm created must be recognized through perception by viewers. As long as an element is repeated, a cluster of patterns will be generated, and a phenomenon of rhythm is, of course, created and recognized.

Rhythm can be described as timed movement through space; an easy, connected path along which the eye follows a regular arrangement of motifs. The presence of rhythm creates predictability and order in a composition. Visual rhythm may be best understood by relating it to rhythm in sound. Rhythm depends largely upon the elements of pattern and movement to achieve its effects. The parallels between rhythm in sound/ music are very exact to the idea of rhythm in a visual composition. The difference is that the timed "beat" is sensed by the eyes rather than the ears. Rhythm is a regular and repeated pattern, usually of sound or movement. When you think rhythm music is probably the first thing that comes to mind. In music, rhythm is created by alternating sound and non-sound over time.

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4.2 References A. Books -Power of Limits: Proportional Harmonies in Nature, Art, and Architecture Paperback â&#x20AC;&#x201C; August 12, 1981 - Ching, Frank (Francis D.K.), Architecture: Form, Space & Order, Van Nostrand Reinhold, New York 1979, 2nd ed. 1996, 3rd ed. John Wiley, Hoboken 2007 - K.A. Berney, Trudy Ring (1996). International Dictionary of Historic Places: Middle East and Africa. Volume 4 of: Noelle Watson (ed.) (1996). International Dictionary of Historic Places. Chicago: Fitzroy Dearborn Publishers. ISBN 9781884964039.

B. Research Paper -John Kaemmer, Music in Human Life: Anthropological Perspectives on Music (Austin, Texas:Universityof Texas Press, 1993) p. 82 -John Miler Chernoff, African Rhythm and African Sensibility, (Chicago: University of Chicago Press, 1984) p.60l

C. Internet Website 1.

http://www.amazon.com/The-Power-Limits-Proportional-Architecture/dp/1590302591

( Last Visit

in 20 /10/2015 )Site information: magazine 2. http://www.next.cc/journey/discovery/music-and-architecture ( Last Visit in 14 10/2015 ) Site information: article press 3. http://www.arch.ksu.edu/seamon/Hopsch.htm ( Last Visit in 15/ 10/2015 )Site information: education 4.

http://scholar.lib.vt.edu/ ( Last Visit in 18/ 10/2015 )Site information: education

5. http://novicedesign.org/NCBDS/25/pdf/MeadP_Transcendent_Design_Elements( Last Visit in 19/ 10/2015 )Site information: education 6. http://ac.els-cdn.com/ ( Last Visit in 19/ 10/2015)Site information: education 7. https://www.sophia.org/tutorials/design-in-art-repetition-pattern-and-rhythm ( Last Visit in 19/ 10/2015) Site information: education 8.

http://www.architectural-review.com/essays/architecture-becomes music/8647050.article ( Last Visit in 23/ 11/2015) Site information: architectural review

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