Architectural Design Studio A: Music Venue PT1

AUDITORIUM

Nicole Farnell

102 102 092

‘Mosaics of Music’

ARC70001 Architectural Design Studio A Semester 1, 2021

Convener: Dr Ian Woodcock, Studio Leader: Dr Pantea Alambeigi

I was interested in Architecture from a young age growing up in a family of builders and engineers. I am forever told to make things practical and build able which is what I would like to pursue in my future of designing. I also have an interest in communication design, designing logos and product packaging for companies. I have worked with Wellwood Walnuts, Pentland Calisthenics College and The Tasty Lyks to create their branding.

My skills consist of practicality of design, technical drawing and detailed aspects of projects. I have an interest in Sustainability and the way we need to design for our future.

I have experience in Rhino, Grasshopper, Revit, Adobe and CAD programs. This experience has been conducted through my High School and University studies being pushed further with every project and idea.

In completing this unit I aim to expand my knowledge of sound and acoustics and how important their role is in how we perceive a space. One thing is to have a visually appealing design but it is another to be able to visualize a space through its sound perception and for it to be pleasing to the ear.

https://www.linkedin.com/in/nicole-farnell-0089981a5/ https://issuu.com/niki.farnell

https://www.instagram.com/nfarchitecture.design/ https://www.youtube.com/channel/UCbbMiOT_zP22SK8Y18rCfgA/

Project 1: Individual Auditorium Design

Project 2: Group Music Venue

PRIMARY THEMES

SECONDARY THEMES

Human Perception

Aesthetics

Geometry

Materiality

Functionality

Acoustics

Sound is spatial and ephemeral. It’s amazingly powerful. It exists in architecture with a mutual interaction. The built environment that we hear can shape emotions and change perceptions. Sound is a dynamic medium for delivering elegant, rich and connected experiences.

This studio challenges students to explore the architectural and acoustical principles of designing a music venue featuring an auditorium for music performance that offers a live space with acceptable level of music clarity and provides even sound distribution over the audience area. It engages students with the Victorian government proposal of ”Transforming Melbourne’s Arts Precinct”, with the aim of bringing visitors from interstate and overseas, reinforcing Melbourne’s position as Australia’s cultural capital and giving families a new public place to enjoy and explore. Students are expected to design a music venue in the Melbourne CBD area, in 1 City Road Southbank, one of the only available parcels of land in the area, allocated to full cultural and public use as part of the first phase of the Australia’s largest cultural infrastructure project.

PRIMARY THEMES

SECONDARY THEMES

Human Perception

Aesthetics

Geometry

Materiality

Functionality

Acoustics

Project 1 focuses on the secondary themes of the brief. This project aims to engage a performance driven design outcome using sound analysis as the design driver. The outcome is to create a 600-800 seat auditorium for the site in accordance with architectural and acoustic standards.

The purpose of this is to equip students with knowledge of Reverberation Time and Sound Pressure Level parameters.

The geometry of the design will be driven by these parameters as well as visualization tools to achieve both a acoustically and architectural design solution.

Auditorium Precedent Study

The precedent studies show the aesthetic and internal form of the auditorium. The larger audience spaces have multiple levels usually ranging from 2-3 to enable everyone to see and hear what is happening on stage. For the design task we need to create an auditorium with 600-800 seats therefore multiple level will have to be used due to the site constraints.

One common visible design feature is the seating, many of which are red with aisles either side of a long row of seats. The auditoriums below have a style of proscenium/ end stage or multiple aisle, this is the style I would like to design with as it is very versatile and is multi use from orchestras, to dance and performance acts. It can also be seen that not many auditorium designs focus on geometric ceilings which are built into the form. I have tried to find the best examples to show this but it is more common to curve walls directing sound inwards towards the audience and angle the roof towards the audience.

1. Tokyo Opera City Concert Hall Japan

2. Cordoba Congress Centre

3. Queensland University Auditorium

4. Perth Modern School Multipurpose Auditorium

5. Carnegie Hall New York USA

6. Guangzhou Opera House China

7. Sydney Opera House

8. Perth Modern School Multipurpose Auditorium

9. Her Majesty’s Ballarat

10. The National Theatre Melbourne

11. George Jenkins Theatre Frankston

12. State Theatre Melbourne

13. Karralyka Centre Ringwood

There are many different shapes and sizes for auditoriums and theaters. The most popular styles are proscenium stage (end stage), continental (wide fan), arena, and multiple aisle. The different styles come into play for different uses of the space. A Proscenium is more performance and dance based, as the stage faces one direction, and the action happens towards one bulk audience. Where as an arena, is great for more people and less action on stage, where everyone can get a similar view.

In my design I strive to create a multi-purpose space, opening up possibilities for a range of small to medium sized performances.

HEXAGONAL ARRANGEMENT

(Lam, S 2019)

Theater Form: Wide Fan

Quantity of Seats: 208

Seat Area: 475m2

FAN/ CIRCULAR ARRANGEMENT

PENTAGONAL ARRANGEMENT

Theater Form: Wide Fan

Quantity of Seats: 208

Seat Area: 491m2

Space per Seat: 2.3m2

Theater Form: 3/4 Arena

Quantity of Seats: 259

Seat Area: 589m2

Space per Seat: 2.3m2

(Dejtiar, F 2017)

(Lam, S 2019)

(Lam, S 2019)

In section we can see the angles, curvature and arrangements of the auditoriums.

These examples were chosen following my design preference for a proscenium style theatre. The examples have a variety of roof curvature, angles and flat ceilings which would be great to test in the analysis phase of design.

A common factor in designing secondary levels is to have them only a couple rows and usually on a steeper angle then the base floor level. This enables a greater view of the stage with interrupted views when the seats are full. The worst scenario is having a very tall person in front of you when the seats are not offset from each other or at a steep enough angle. I aim to find the best solution to this problem and create a welcoming and inviting space for all audience members.

Direct Sound Early Reflections

(Dejtiar, F 2017)

Direct Sound Early Reflections

(Dhrubajyoti, R 2020)

Precedent Study

Melbourne Recital Centre

The Melbourne Recital Centre is the first precedent study. This Centre has 2 auditorium spaces one with 100-200 seats and the other 1000 seats. The Elizabeth Murdoch hall has similar seating capacity to the design brief and is located a block away from our proposed site. The location provides a great insight to traffic, noise and proximity to the CBD that will effect the proposed design location.

The main purpose of this hall is ensembles, instrumental and orchestras rather than a multi-purpose space.

(Melbourne Recital Centre 2021)

SITE

MRC

This hall is the inner box to the acoustic architecture. A 250mm concrete shell floats on 38 spring assemblies (496 steel springs)reducing outside noise such as trams which are situated 16m away from the closest seats.

The most prominent material within the hall is Australian Hoop Pine. With walls being layered up to 75mm thick with the decorative pattern, acoustics work in a unique way creating an individual experience for the users. The high use of timber creates a reflective surface to maintain the required reverberation frequency of 1.9s.

(Orlowski, R 2008)

The form stems from the European ‘shoe-box arrangement which “guarantees and predicts acoustic perfection.”

“The geometry has been enhanced to provide acoustic intimacy” creating a deep connection with the sounds being produced on stage. This is done in conjugation with material choice and pattern creating a minimal colour pallet in the space, directing your vision towards the stage whilst creating a tranquil mindset.

The hall has a width of 20m and a length of 37m and a height of 17m allowing for sound to reach every seat. Acoustics are similar to most auditoriums with a volume of 9m2 per seat and 1.9s reverberation time.

‘Shoe box’ concert halls are usually rectangular with high ceilings. Using reflective materials such as timber, plaster and marble, impresses the guests to the space whilst also creating the required reverberation for historical use cathedrals and ballrooms. The shape uses flat and parallel walls to generate sound. In contemporary ‘shoe box’ concert halls walls are designed with 3d profiles which deflect sound to stop the flattering effect.

250mm gap

(Melbourne Recital Centre 2021)

Stalls

22 Rows

32-33 Seats per row

714 seats

Balcony

8 Rows

30-31 Seats per row

246 Seats Wings

4 Rows

15 Seats per row

60 Seats

Form- Shoe box

Seating- 1000 seats in stalls and balcony levels

Dimensions 37l x 20w x 17h

Volume- 9000m3

Reverberation Time- 1.9sec

Ceiling/ Wall Material- Australian Hoop Pine

Floor Material- Timber

Stage Area- 135m2

‘Shoe box’ shape in plan.

(Wulfrank 2019)

The ground floor foyer and ticketing area has a similar pattern as a theme that runs throughout the building. This space was made to look like the inside of a violin case, representing similar geometry and texture. This method brings users of the space closer to what they should expect when visiting the center.

(Melbourne Recital Centre 2021)

(Melbourne Recital Centre 2021)

3D SPACE

of the Elizabeth Murdoch Hall Available via https://my.matterport.com/show/?m=wu9kb1Z36jz

(Melbourne Recital Centre 2021) (Orlowski, R 2008)

Precedent Study

The Hexagon Theatre

The hexagon theatre was designed as a multiuse space for all types of entertainment. Compared with other theaters nearby at the time of construction (1977) is described as “architecturally and acoustically superior.”

Due to its low reverberation time of 0.9-1.1 seconds for some events a electronic assisted system was added however did not work great for stall seating.

The stretched hexagon is a geometry I would like to use in my iterations as the angular walls create many surfaces for sound to reflect back towards the audience.

(WhatsOn 2021)

Form- Hexagon

Seating- 950-1200 seated or 1986 standing

Dimensions- 30m diameter

Volume- 5720-8280m3 (seat dependent)

Reverberation Time- 0.9-1.1sec

Stage Dimensions- 10x12m

(WhatsOn 2021)

With 3 main areas of seating, arena, stalls and balcony the theatre can accommodate various events. Some of these different arrangements can be seen in the photos.

Due to the multi-use nature of the theatre, stall and arena seating can be moved to accommodate more floorspace for standing events. The volume of space can be raised from 5720m3 up to 8280m3.

Stalls- Seats fold into wall (Image 3) Arena- Seats able to be bought out of storeroom for seated events (Image 1 & 2)

(WhatsOn 2021)

(Ticketmaster 2021)

(@Thehexagon 2021)

(WhatsOn 2021)

Auditorium Standards

Volume Calculations

7.1m3 per seat

600 Seats = 4360m3

700 Seats = 4970m3

800 Seats = 5680m3

Working with 5000m3 Volume of Space as comfortably fits the required seat numbers and allows for plenty of room to move within the auditorium space.

(Neufort, E & Neufort, P 2019)

(Wulfrank 2019)

Auditorium plans and their common name.

Each seat is 500x500mm. The following options are the most common seat placements for auditoriums. These are the minimum values for aisles and seats for comfort.

(Neufort, E & Neufort, P 2019)

Reflection Characteristics for various materials. Hard surfaces are the best for long reverberation, whereas soft materials are used to absorb some of the sound. The most prominent materials which will be used are diffusers, acoustic materials, drapes, concrete.

Interesting materials to use and test

Reverberation Relationships & Aim

(Neufort, E & Neufort, P 2019)

Different Reverberation times are needed for different acoustic performances. The aim of this studio is to build a multipurpose hall therefore the Reverberation time needs to work for multiple performances. The chosen RT(30) is between 1.2-2.2 seconds.

olume Calculations V

7.1m3 per seat

600 Seats = 4360m3

700 Seats = 4970m3

800 Seats = 5680m3

Working with 5000m3 Volume of Space as comfortably fits the required seat numbers and allows for plenty of room to move within the auditorium space.

rea A

600 Seats = 270m2

700 Seats = 315m2

800 Seats = 360m2

Add Gangways/ Walkways/ Extra +200m2

600 Seats = 470m2

700 Seats = 515m2

800 Seats = 560m2

everberation Time R

The chosen RT(30) is between 1.2-2.2 seconds.

pproximate Level Area A

1 Level = 500m2

2 Level = 350 + 150m2

3 Level = 300 + 150 + 50m2

eat Dimension S

0.5x0.9m (includes aisles in rows) 0.45m2 per seat

Materials

Ceiling: Schroeder Diffuser

Walls: Acoustic Plaster

Floor: Occupied Upholstered Seating (All materials as above unless stated else ware)

isles / Clearways A

Gangways 1.1m

Clearways .3-.5m

Inclines 1:8

everberation Time R Stage 10x9m

1.2-2.2 seconds.

tage Dimensions S

Height 2.7m

Average Area 200m2

Stages

Matrix of Iterations

ARENA (CENTRE STAGE)

SPLA: 36.21-50.59

RT: 2.05-3.39

ARENA/ COFFIN (END STAGE)

SPLA: 33.87-50.91

RT: 1.99-3.28

FAN

SPLA: 35.41-51.58

RT: 2.09-2.99

HORSE SHOE

SPLA: 36.02-48.56

RT: 2.06-3.15

SHOE BOX

SPLA: 33.75-52.81

RT: 1.92-3.28

SPLA 36 dBA

RT(30) 2 Sec

CHOSEN GEOMETRY: ARENA/COFFIN

The tests were run using a volume of 5000m3.

The chosen typology to move forward with is an arena/coffin shape with the stage at one end rather than in the center alike traditional arenas. This geometry was chosen as it is not seen often and I would like to see why there are not more auditoriums like this. This will persuade the next matrix to test the most beneficial number of sides for an arena stage.

SPLA: 33.87-50.91 dBA

RT: 1.99-3.28 Sec

TEST GEOMETRY (H=10M)

GEOMETRY

1 SIDES

SPLA: 40.37-56.31

RT: 1.96-3.08

5 SIDES

SPLA: 40.36-51.1

RT: 2.07-3.1

6 SIDES

SPLA: 33.96-52.32

RT: 2.02-3.32

7 SIDES

SPLA: 38.17-50.44

RT: 2.28-3.33

8 SIDES

SPLA: 36.78-51.77

RT: 1.82-3.23

CHOSEN GEOMETRY: 6 SIDES

The tests were run using a volume of 5000m3.

The most successful geometries are the 5 and 6 sided plans because of the consistency of the values. The 6 sided geometry will be explored further in changing heights to see how the SPLA and RT(30) are effected due to its resemblance to current auditorium typography.

SPLA: 33.96-52.32 dBA

RT: 2.02-3.32Sec

TEST CHANGING HEIGHT 6 SIDES

GEOMETRY

VOL: 3000m3

SPLA: 33.84-51.01

RT: 2.22-2.98

VOL: 4000m3

SPLA: 34.38-50.99

RT: 2.08-3.08

VOL: 5000m3

SPLA: 34.13-50.89

RT: 2.22-3.34 12M

VOL: 6000m3

SPLA: 34.31-50.96

RT: 2.08-3.36

VOL: 7500m3

SPLA: 33.69-50.86

RT: 1.87-3.33

CHOSEN HEIGHT: 15M

The change in height simulations returned similar low and high results of SPLA and RT(30) The most beneficial hight for a 6 sided geometry are the 6m and 15m geometry with low SPLA and RT(30) values. The 15m ceilings will allow for 1 or 2 levels of seating whilst maintaining low values therefore a 15m ceiling will be used for further iterations.

SPLA: 33.69-50.86 dBA

RT: 1.87-3.33 Sec

Wall Angles

CHOSEN WALL ANGLE: -10° ANGLE

Testing wall angles both from the top and bottom of the auditorium. The negative angles (tilted inwards) returned the best results as sound reflects in the direction of the audience. Further tests of SPLA and RT(30) will be conducted to prove this.

TEST WALL ANGLES H=15M

GEOMETRY SPLA

SPLA: 34.81-48.92

RT: 1.72-2.85

10° ANGLE

SPLA: 38.78-49.31

RT: 1.99-2.31

-10° ANGLE

SPLA: 38.49-47.38

SPLA 49 dBA RT(30)

CHOSEN WALL ANGLE: 0° ANGLE

The Ray Visualization tests showed there was a difference is sound reflections towards or away from the audience therefore both tests were simulated to see the difference in results. The results don’t show a large variation in SPLA or RT(30) values in comparison to each other but prove that non-angled walls return lower RT(30), but less consistency. For ease of construction the walls will be kept at no angle and could be developed to have panels to reflect and absorb sound.

SPLA: 34.82-48.92 dBA

RT: 1.72-2.85 Sec

Ceiling Angles

CHOSEN CEILING ANGLE: -10 & 10° MID

Testing ceiling angles both from the front to the back and front to mid of the auditorium. The angles from the middle at 10° returned the best results as sound reflects in the direction of the audience. Further tests of SPLA and RT(30) will be conducted to prove this.

TEST CEILING ANGLES H=15M

GEOMETRY SPLA

0° ANGLE

SPLA: 34.81-48.92

RT: 1.72-2.85

-10° ANGLE

SPLA: 32.77-47.52

RT:1.89-3.57

10° ANGLE

SPLA: 35.38-47.86

RT: 1.93-3.02

-10 & 10° ANGLE

SPLA: 33.48-47.73

RT: 1.9-2.9

CHOSEN CEILING ANGLE: -10° & 10° ANGLE

Testing ceiling angles both from the front to the back and front to mid of the auditorium. The 10° angles returned the lowest RT(30) as a range of all values. The SPLA was consistent for all tests for value and position. Overall roof positive angles do make a different in the sound distribution towards the audience therefore this will be tested further by adding more roof panels and adjusting their angle to propel sound to all members of the audience.

SPLA: 33.48-47.86 dBA

RT: 1.9-2.9 Sec

TEST EXTRUDING SHAPE (LENGTH)

22M LENGTH

SPLA: 35.33-49.49

RT: 1.93-2.57

24M LENGTH

SPLA: 32.81-49.02

RT: 1.9-4.15

26M LENGTH

SPLA: 31.53-48.71

RT: 1.75-3.44

28M LENGTH

SPLA: 35.34-49.07

RT: 1.76-2.72

30M LENGTH

SPLA: 35.83-49.22

RT: 1.9-2.97

32M LENGTH

SPLA: 35.46-49.42

RT: 1.84-3.19

SPLA 35 dBA