Rashni Parichha | Auditorium Lighting | Group Project

1

ARCHITECTURAL DESIGN IV

RASHNI PARICHHA

SASWATA HALDAR

SOURAV DEY

UPASANA PAUL

DEPT. OF ARCHITECTURE, JADAVPUR UNIVERSITY

2

Introduction Inaugurated in 1967, Rabindra Sadan has been one of the greatest symbol of Bengal’s rich cultural heritage.

Apart from poetry, music, art, film and dance, the famous Kolkata Film Festival is showcased here, every year.

India

Map showing Rabindra Sadan complex

Entrance to Rabindra Sadan

Lighting is an integral part of auditorium design. The primary function of lighting in the theatre is to make the stage picture visible, but the way in which the stage is lit will have a major impact on the way the audience perceives the stage picture and therefore the show.

ARCHITECTURAL DESIGN IV

RASHNI PARICHHA

SASWATA HALDAR

SOURAV DEY

UPASANA PAUL

DEPT. OF ARCHITECTURE, JADAVPUR UNIVERSITY

3

Stage light 1.TOP LIGHTS Positions which run the width of the stage and are upstage of the proscenium are usually called “electrics.” If these are not pipes, but fully-accessible hanging positions with catwalks for the electricians to walk upon, they may be called “bridges”.

1.

2.

3.

In rabindra sadan there are no special lights allotted for house lighting, the lights from the balcony are used to light up the auditorium room.

Fixtures used : Fresnels , Profile spots , Soft spots 2.FOH Dead on FOH – They are the Catwalk lights.

Balcony Lights - this was one of the first front light positions ever invented Foot Lights - are on the edge of the apron going across the front of the stage.

Fixtures used : Fresnels

2.

ARCHITECTURAL DESIGN IV

RASHNI PARICHHA

SASWATA HALDAR

SOURAV DEY

UPASANA PAUL

DEPT. OF ARCHITECTURE, JADAVPUR UNIVERSITY

4

Stage light 3.SIDE LIGHT Lighting coming from the side is one of the most wonderful things in the world. It creates illumination with dimensionality. If I had my choice the majority of my lighting comes from the side.

Fixtures used : Profile spots 1.

2.

3.

4.SEAT LIGHT There are seat lighting in the alternate rows.

Fixtures used : incandescent bulbs 5.STEP LIGHT There are no step lights in Rabindra Sadan Auditorium.

6.ROVER SACNNER The DJ Rover LED Moonflower Stage Light uses LED Technology and a special glass optical system to produce sharp red, green and blue beams of light. Producing a spectacular light show that could not be produced with traditional halogen Moonflowers • Dimensions (LxWxH): 17 x 8 x 9 inches (432x203x229mm) • Weight: 25 kgs

2.

ARCHITECTURAL DESIGN IV

RASHNI PARICHHA

SASWATA HALDAR

SOURAV DEY

UPASANA PAUL

DEPT. OF ARCHITECTURE, JADAVPUR UNIVERSITY

5

Lighting Control - Rabindra Sadan Lighting Control Console A lighting control console (also called a lightboard, lighting board, or lighting desk) is an electronic device used in theatrical lighting design to control multiple lights at once. Here, this has been done by the use of intensity control.

The lighting control consoles can control dimmers which control the intensity of the lights.

Lighting console communicates with the dimmers and other devices in the lighting system via an electronic control protocol. Here, an outdated 0-10 V analog lighting control protocol is used.

Type of Lighting Console used Preset boards are the most basic lighting consoles—and also the most prevalent in smaller installations.

They consist of two or more identical fader banks, called scenes. The faders (control slides) on these scenes can be manually adjusted. Each scene has the same number of channels which control the same dimmers.

Generally, at least with a preset board, the operator has a cue sheet for each scene, which is a diagram of the board with the faders in their positions as determined by the lighting designer.

Preset boards are not as prevalent since the advent of digital memory consoles, which can store scenes digitally, and are generally much less cumbersome but more expensive than preset boards.

Location of Lighting Console Side of the stage, at stage level and an elevated perch. Lower level used by outside personnel. Upper level Patch Panel

is used by the Rabindra Sadan technicians.

ARCHITECTURAL DESIGN IV

RASHNI PARICHHA

SASWATA HALDAR

SOURAV DEY

UPASANA PAUL

DEPT. OF ARCHITECTURE, JADAVPUR UNIVERSITY

6

Lighting Control - Rabindra Sadan Dimmer Dimmers are devices used to vary the brightness of a light. By decreasing or increasing the RMS voltage and, hence, the mean power to the lamp, it is possible to vary the intensity of the light output.

The lighting control consoles can control dimmers which control the intensity of the lights.

Type of Dimmer used RHEOSTAT DIMMER : Dimmers based on rheostats are inefficient since they would dissipate a significant portion of the power rating of the load as heat. They are large and required plenty of cooling air. Because their dimming effect depends a great deal on the total load applied to each rheostat, the load needs to be matched fairly carefully to the power rating of the rheostat. Finally, as they rely on mechanical control they are slow and it is difficult to change many channels at a time.

Location of Dimmer Side of the stage, at stage level and an elevated perch. Lower level used by outside personnel. Upper level is used by the Rabindra Sadan technicians.

Patch Panel Instead of the circuits going directly to the dimmer they are connected to a patch bay. The patch bay sits next to the dimmers enabling the dimmers to be connected to specific circuits via a patch cable. The patch bay may also enable many circuits to be connected to one dimmer and even series connection for low-voltage lamps.

ARCHITECTURAL DESIGN IV

RASHNI PARICHHA

SASWATA HALDAR

SOURAV DEY

UPASANA PAUL

DEPT. OF ARCHITECTURE, JADAVPUR UNIVERSITY

7

Lighting Control - Ideal Situation Lighting Control Console Many modern consoles can also control Intelligent lighting (lights that can move, change colors and gobo patterns), fog machines and hazers, and other special effects devices.

The most common protocol used in the entertainment industry today is DMX512, and newer protocols such as ACN and DMX-512-A are evolving to meet the demands of ever increasing device sophistication.

Types of Lighting Console available • • • • •

Preset boards Memory consoles Moving light controllers Personal computer-based controllers Remote focus unit

Preferred location of Lighting Console Normally placed at the Front of House (FOH) position or in a control booth which has a direct view of the stage.

DMX

ARCHITECTURAL DESIGN IV

RASHNI PARICHHA

SASWATA HALDAR

SOURAV DEY

UPASANA PAUL

DEPT. OF ARCHITECTURE, JADAVPUR UNIVERSITY

8

Lighting Control - Ideal Situation Dimmer Modern dimmers are built from silicon-controlled rectifiers (SCR) instead of variable resistors, because they have higher efficiency. A variable resistor would dissipate power as heat and acts as a voltage divider. Since a silicon controlled rectifier switches between a low resistance “on” state and a high resistance “off” state, it dissipates very little power compared with the controlled load. Modern dimmer designs use microprocessors to convert the digital signal directly into a control signal for the switches. This has many advantages, giving closer control over the dimming, and giving the opportunity for diagnostic feedback to be sent digitally back to the lighting controller.

Types of Dimmer • • • • •

Rheostat dimmer Saltwater dimmer Coil-rotation transformer Autotransformer dimmer Thyristor dimmer

Ideal location of Dimmer The lighting controller is connected to the dimmers (or directly to automated luminaires) using a control cable or wireless link (e.g.

DMX512) or network, allowing the dimmers which are bulky, hot and sometimes noisy, to be positioned away from the stage and audience and allowing automated luminaires to be positioned wherever necessary. Ideally, dimmer racks are positioned in the dimmer room, backstage.

Patch Panel Most modern fixed installations do not have patch bays, instead they have a dimmer-per-circuit and patch dimmers into channels using a computerised control consoles Soft Patch (virtual).

ARCHITECTURAL DESIGN IV

RASHNI PARICHHA

SASWATA HALDAR

SOURAV DEY

UPASANA PAUL

DEPT. OF ARCHITECTURE, JADAVPUR UNIVERSITY

9

Secondary Case Study National Theatre , Melbourne

ARCHITECTURAL DESIGN IV

RASHNI PARICHHA

SASWATA HALDAR

SOURAV DEY

UPASANA PAUL

DEPT. OF ARCHITECTURE, JADAVPUR UNIVERSITY

National Theatre LOCATION Approximately 5Km from the Melbourne CBDP AUDITORIUM Auditorium steeply raked. Good sightlines throughout, divided by gangway between eighth and ninth row at entrance level.264 Front lounge armchairsand 519 Rear lounge tip up seats TOTAL CAPACITY 783 patrons

General

10

DRESSING ROOMS Located directly behind the stage 2 240 sq ft 1 200 sq ft 1 65 sq ft LOADING DOCK Goods Lift - 4.1m (deep) x 2.9m (wide) x 2.9m (high) 3 Tonne Capacity 60 second travel time Doorway to stage - 2.1m (wide) x 4m (high) 5 steps up to stage (Ramp available)

FOYER Main entrance - corner position, 1600 sq ft with Box office Candy Bar and toilets Marble staircase leads Mezzanine Foyer of 1100 sq ft with access to the theatre; two large enclosed merchandising areas display areas or closed off work area.1 Diana Gibson Room - 600 sq ft (warm up / holding space) Toilets and showers

ARCHITECTURAL DESIGN IV

RASHNI PARICHHA

SASWATA HALDAR

SOURAV DEY

UPASANA PAUL

DEPT. OF ARCHITECTURE, JADAVPUR UNIVERSITY

National Theatre

ARCHITECTURAL DESIGN IV

RASHNI PARICHHA

Stage and backstage Plan and section

SASWATA HALDAR

SOURAV DEY

UPASANA PAUL

11

DEPT. OF ARCHITECTURE, JADAVPUR UNIVERSITY

National Theatre W

Seating Plan

NATIONAL THEATRE SEATING PLAN 1

V

2

3

4

5

6

2

3

4

5 V

7

8

9

10 11 12 13 14 15 16 17 18 19 20 21 22 23

CONTROL BOOTH

34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 V

W

48 49 50 51

V

U

1

2

3

4

5

U

6

7

8

9 10 11 12 13 14 15 16 17 U

20 21 22

31 32 33

U

36 37 38 39 40 41 42 43 44 45 46 47

U

48 49 50 51 52

U

T

1

2

3

4

5

T

6

7

8

9 10 11 12 13 14 15 16 17

T

20 21 22 23 24 25 26 27 28 29 30 31 32 33

T

36 37 38 39 40 41 42 43 44 45 46 47

T

48 49 50 51 52

T

S

1

2

3

4

5

S

6

7

8

9 10 11 12 13 14 15 16 17

S

20 21 22 23 24 25 26 27 28 29 30 31 32 33

S

36 37 38 39 40 41 42 43 44 45 46 47

S

48 49 50 51 52

S

R

2

3

4

5

R

6

7

8

9 10 11 12 13 14 15 16 17

R

20 21 22 23 24 25 26 27 28 29 30 31 32 33

R

36 37 38 39 40 41 42 43 44 45 46 47

R

48 49 50 51

R

P

2

3

4

5

P

6

7

8

9 10 11 12 13 14 15 16 17

P

20 21 22 23 24 25 26 27 28 29 30 31 32 33

P

36 37 38 39 40 41 42 43 44 45 46 47

P

48 49 50 51

P

2

3

4

5

O

6

7

8

9 10 11 12 13 14 15 16 17 O

20 21 22 23 24 25 26 27 28 29 30 31 32 33 O

36 37 38 39 40 41 42 43 44 45 46 47 O

48 49 50 51 52

O

N

6

7

8

9 10 11 12 13 14 15 16 17

20 21 22 23 24 25 26 27 28 29 30 31 32 33

36 37 38 39 40 41 42 43 44 45 46 47

M

M

6

7

8

9 10 11 12 13 14 15 16 17 M

20 21 22 23 24 25 26 27 28 29 30 31 32 33 M

36 37 38 39 40 41 42 43 44 45 46 47 M

M

L

L

6

7

8

9 10 11 12 13 14 15 16 17

L

20 21 22 23 24 25 26 27 28 29 30 31 32 33

L

36 37 38 39 40 41 42 43 44 45 46 47

L

L

K

K

6

7

8

9 10 11 12 13 14 15 16 17

K

20 21 22 23 24 25 26 27 28 29 30 31 32 33

K

36 37 38 39 40 41 42 43 44 45 46 47

K

K

J

J

6

7

8

9 10 11 12 13 14 15 16 17

J

20 21 22 23 24 25 26 27 28 29 30 31 32 33

J

36 37 38 39 40 41 42 43 44 45 46 47

J

J

O

1

N

EXIT

N

proposed disabled seating

N

N

EXIT

12

N

proposed disabled seating

CROSS-OVER

NATIONAL THEATRE SEATING PLAN - REAR LOUNGE CROSSOVER H

H

G 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29

G 30 31 32 33 34 35 36 37 38 39 40 41 42

G

9 10 11 12 13 14

F

15 16 17 18 19 20 21 22 23 24 25 26 27 28 29

F

F

8

9 10 11 12 13 14

E

15 16 17 18 19 20 21 22 23 24 25 26 27 28 29

E 30 31 32 33 34 35 36 37 38 39

E

8

9 10 11 12 13 14

D

15 16 17 18 19 20 21 22 23 24 25 26 27 28 29

D 30 31 32 33 34 35 36 37

D

8

9 10 11 12 13 14

C

15 16 17 18 19 20 21 22 23 24 25 26 27 28 29

C 30 31 32 33 34 35 36

C

B

10 11 12 13 14

B

15 16 17 18 19 20 21 22 23 24 25 26 27 28 29

B 30 31 32 33 34

B

A

11 12 13 14

A

15 16 17 18 19 20 21 22 23 24 25 26 27 28 29

A 30 31 32 33

F E

2

3

4

5

6

7

8

9 10 11 12 13 14

H

2

3

4

5

6

7

8

9 10 11 12 13 14

4

5

6

7

8

5

6

7 7

D C

15 16 17 18 19 20 21 22 23 24 25 26 27 28 29

CROSSOVER H 30 31 32 33 34 35 36 37 38 39 40 41 42 43

G

1

NATIONAL THEATRE SEATING PLAN - FRONT LOUNGE

EXIT

30 31 32 33 34 35 36 37 38 39 40

STAGE APRON

STAGE

A

EXIT

Shows preferred camera positions

Please note: not all seats will necessarily be available for sale on any particular performance owing to venue or promoter restrictions Please check with box office. Disabled access is now available.

ARCHITECTURAL DESIGN IV

RASHNI PARICHHA

SASWATA HALDAR

SOURAV DEY

UPASANA PAUL

DEPT. OF ARCHITECTURE, JADAVPUR UNIVERSITY

National Theatre CONTROL 1 Strand Palette VL 64 (1000 channels) 2 48 channel Jands Link Light DMX to analogue converters 1 Dual Isonode DMX 512 network – Inputs – Control, PR side of stage Outputs – FOH2, PR side of stage, 3x OP side of stage and dimmer room POWER 79 2Kw JTM analogue dimmers 17 5kw JTM analogue dimmers 204 lighting points to patch board and dimmers 1 40A 3-phase outlet in dimmer room 1 40A 3-phase outlet on prompt side of proscenium

Lighting

13

FIXTURES 2 Follow spots (2kW) 30 Pattern 23 6 Pattern 123 36 Pattern 743 18 Selecon Axial Zoomspot 24-44 12 Selecon Pacific 23-50 1k Profiles 5 Selecon Pacific 13-35 1k Profiles (Iris & B size gobo holder available) 6 Selecon 15-35 SPX’s (600W) 6 Prolite 1kW profiles 22-40 6 Prolite 1kW PC’s 12 Selecon Acclaim Fresnels 5 Selecon HUI CYC Floods (500W) 5 Selecon HUI Ground Row Floods (500W) 3 UV battens

HANGING POSITIONS 4 lighting bars 1 CYC lighting bar 8 movable booms on stage 2 lighting bars over auditorium 2 fixed perches in auditorium 1 3m bar with patch points over proscenium arch

ARCHITECTURAL DESIGN IV

RASHNI PARICHHA

SASWATA HALDAR

SOURAV DEY

UPASANA PAUL

DEPT. OF ARCHITECTURE, JADAVPUR UNIVERSITY

National Theatre

ARCHITECTURAL DESIGN IV

RASHNI PARICHHA

Lighting rig

SASWATA HALDAR

SOURAV DEY

UPASANA PAUL

14

DEPT. OF ARCHITECTURE, JADAVPUR UNIVERSITY

15

Bibliography - Official website of National Theatre , Melbourne - Theatre Project Consultants - Rabindra Sadan , Kolkata - www.archinomy.com - www.wikipedia.com

ARCHITECTURAL DESIGN IV

RASHNI PARICHHA

SASWATA HALDAR

SOURAV DEY

UPASANA PAUL

DEPT. OF ARCHITECTURE, JADAVPUR UNIVERSITY

Thank you