Proscenium Theatre _ Literature study by Hafsa Rafi

Submitted to : Ar. Sanjeev Maheshwari

ARC- 3660

Architectural Design VI

Data Collection from Standards and Analysis of Examples of Proscenium Theatre

Proscenium Theatre HAFSA RAFI | 17 ARB 551

ARC - 3660

Architectural Design VI

Submitted to : Ar. Sanjeev Maheshwari

Submitted By : Hafsa RaďŹ

17 ARB 551

01 Table of Contents

Introduction Proscenium Theatre Types of Stage

Seating Arrangement

Fire Fighting and Parking Regulations

Method of Sighting Line of Sight Methid in details Establishing Stalls Rake Relationship between rake, stagger, row curvature.

05 08

Climate Analysis Application of climate study in auditorium Suggested measures based on ASHRAE guidelines

Terminologies The House The Backstaage and front of the House The Stage

Auditorium Lighting Types of luminaires and their application Stage lighting position of ďŹ xtures Equipment required

HVAC HVAC supply and return ducts position Noise levels Ventilation on stage- challenges

Case Study - Virtual Apple Park, California

03 06 09 12

Spaces Spaces in an auditorium and their areas as stated ii time saver standards.

Auditorium Acoustics Acoustic requirements Acoustic Decfects, InďŹ&#x201A;uence of shape and volume of rom

Site Analysis Location, Topography Accessibility, Site existing features Site Surroundigns

Case Study- Live Kennedy Auditorium, AMU Siri Fort Auditorium- New Delhi

Proscenium Theatre In the proscenium theatre model the stagehouse and the audience chamber are separate but interlinked volumes. The scenery and action are contained on the stage and the audience views the performance through the proscenium opening. The proscenium format retains a key advantage which ensures its continued relevance: It remains the primary format for the presentation of large-scale and elaborate scenic effects.

Proscenium Type The proscenium format retains a key advantage which ensures its continued relevance: it remains the primary format for the presentation of large-scale and elaborate scenic effects.

Corner Stage Setting the stage in a corner of the room creates, broadly speaking, a 90o arc arrangement. It is set somewhere between an end stage and an amphitheatre.

Wide Fan format Extending the encirclement of the stage by the audience to around 135° brings to the fore the idea of the actor’s ‘point of command’. at any given time some actors are facing away from large sections of the audience. Allied to this, the extreme side sightlines limit the amount of stage setting that can be viewed by the audience as a whole.

Amphitheatre Setting the stage in a corner of the room creates, broadly speaking, a 90o arc arrangement. It is set somewhere between an end stage and an amphitheatre.

Thrust stage The audience is positioned around three sides.The format is often associated with single, fairly steeply raked spaces. Larger capacities have shallower rakes. There are also two-level auditoria

In round/ Arena Stage There is no scenic backdrop and sets and props have to be fairly minimal to ensure the actors remain in view from any angle. Performers enter through the body of the audie audience, often sharing entry routes.

End Stage The audience is oriented end-on directly in front of the stage. There is no encirclement. all four corners of the acting area can be visible which means that it is well suited to contemporary dance and some forms of physical theatre – particularly those that combine multimedia projection with live action.

seigolonimreT Terminologies saera Stage, egatskhouse, cab dnfront a egaof tsstage fo tnoand r f ,esbackstage uoh ,egatS areas

For designing an auditorium, getting acquainted with terms used is equally important. The proscenium theatre is broadly divided into the following categories :

The Stage

Apron The area of a proscenium stage located downstage of the proscenium wall and upstage of the orchestra pit. An extension of front stage into the house. The part of the stage ﬂoor in front of the curtain line. Stage house is the part of a theatre building upstage of the proscenium wall which includes the stage, wings, galleries, gridirons, and associated areas Backdrop is a painted cloth hung at the back of a theatre stage as part of the scenery. Cyclorama is the exterior of the backdrop, basically an distinction between backstage and front stage, usually semicircular or curved. Legs are tall, narrow drapes hung parallel to the proscenium at the sides of the stage. They're used to frame the sides of the acting space as well as to mask the wings, where actors and set pieces may be preparing to enter the stage. Borders are short drapes hung above the stage, spanning its width. They're used to mask equipment and hidden scenery above. Borders hung close to lights are backed with heat and ﬂame-resistant material. Legs and borders are typically made from a heavy, light-absorbing material similar to that of other stage drapes. One border downstage of a pair of legs forms a complete masking frame around the stage. Tormentor is a curtain or framed structure used directly behind the proscenium at the each side of the stage to screen the wings and sidelights from the audience Wing is the platform adjacent to stage for keeping the drops.

The BackStage

The House

Backstage is the area of a theatre not open to the public, where the performance is prepared

House is the seating area or audience chamber of a performance space; auditorium.

Catwalk is a raised walkway, usually above the auditorium, with operating and mounting positions for stage spotlights.

Aisles is a a passage between rows of seats in a building

Control Room is a room, usually at the rear of the auditorium, from which lighting, sound, and other control equipment is operated during the performanc

Balcony is a raised seating area within an auditorium that extends over the seating area below

Rake is a slope in the performance space (stage), rising away from the audience.

Projection Room is an elevated and enclosed room in which projection equipment is housed and operated

Orchestra Pit ia depressed ﬂoor area immediately downstage of (or partly under) the apron, where the orchestra plays during performances.

Fire curtain is a curtain of asbestos or any other ﬁre proof material that can be inserted just inside the proscenium arch in case of ﬁre.

Proscenium the frame from which audience views the performances.

Green Room is a room behind the scenes, which happens to be painted green and where the actors waited to go on stage. Workshop is a room where scenes for displaying are prepared along with other props. Fly Loft is the upper part of the stage house where scenery, drapery, and equipment can be suspended out of the view of the audience Bridge is a gallery or catwalk, sometimes suspended from overhead rigging to allow it to be raised, lowered, or repositioned Crossover is a hallway, room, or catwalk designed to allow actors in a theater to move from wings on one side of a stage to wings on the other side without being seen by the audience

Spaces in an Auditorium Stage, House and the Secondary Spaces

images may be subjected to copyright ; courtesy credits : Pinterest, Adobe Stock Images

Backstage Entry

Relational Diagram and Secondary Spaces This block consists of Manager’s rooms, maintenance rooms, reception. Area for these is ﬂexible and depends on availability of space.

Restrooms

Restrooms are required for the patrons and the crew and the actors. Min of 1 ﬁxture per 25 people is required. Of this, 65 percent should be allotted for women and the rest to men. Provisions must be made for the handicapped.

Workshops The space where sceneries and props are perpared. Located close to the backstage entry.

Preparation Area

Costume Directory

Workshop

Backstage

Administrative Block

Washrooms Crew Green Room

04 07 10

Box Oﬃce This will one of the ﬁrst places approached by a patron. This would require multiple windows and computer workstatons. Located in the lobby just near the entrance.

Recreational Spaces These spaces consists of the lobby and the circulation area which must be 18-22 sq. ft / patron. Along with this, eating joints or secondary sitting spaces can be provided.

Stage Area Reasonable proscenium width for draama is between 26-40 feet (26 being min. and 40 being max.) The stage area consists of the performing area and the working area which is divided by the cyclorama.

05 08 11

Lounge Area Lounge area are resting spaces provided for the recreation of chief guests.

Crew Standby Area This space is provided for the support crew and the technicians. These spaces will consist of locker room areas, restrooms.

Green Room Backstage space where actors wait for their green signal to come onto the stage.

06 09 12

Storage Areas

Rehersal Area

Stage Area

Control Panel

Optional to provide in a theatre.

Crew Standby

Storage Area

The House

Storage area is located cose to the backstage entrance where loading and unloading of props take place.

Lounge Eating Joints

Entrance Lobby

Control Panel Located beside the stage performing area.

Ticket Counter

VIP Entry Administrative block

Public Entrance

Sightlines_Developing a seating plan

Seating Arrangement Analysing seat clearances and arrangements

Stage, house, front of stage and backstage areas

Circulation Area Required Curvature, Stagger and Rake

01 Seating Arrangement 02 03 04

Sightlines_Developing a seating plan Analysing seat clearances and arrangements

Stage, house, front of stage and backstage areas

Circulation Area Required

Curvature, Stagger and Rake

Angles at diﬀerent rows

Seating Arrrangement

The vertical section of 30 deg at the spectator’s position establishes distance from the closest seat to the highest seat significant object on the stage. The lowest seat must be located where the patron can just see the stage floor. The highest seat must be on a line which is not more than 30 deg to the horizontal from stage floor to curtain line.

Sightlines ensure that every seat has an unobstructed line of sight to the performance, studying the distance and viewing angles from the most extreme seats both near and far. The performance type informs the criteria for sightlines. While it is critical to be able to see a dancer’s feet at the very edge of the stage, the sightline criteria of an orchestra hall can be less rigid.

The height of stage mustalways be less than the line of sight of the ﬁrst row spectator. Rasiisng the stage will make it possible to reduce the slope but it would also produce an uncomfortable level of upwards sight for the ﬁrst row spectators.

Ho Horizontal Seat Distribution studies the location of seats as related to the stage in plan view. Seated rows are often curved or angled toward the stage so that patrons are both facing forward in their seat and looking directly at the stage. That is, they should not have to shift sideways or turn their heads to watch the performance. This direct-view orientation allows for the audience to be “in conversation” with the pe performance.

Drama audiences should be located not far than 65 feet. (never more than 110 feet)

01 Distances

Width of house is related to width of proscenium in the ratio of 1.16:1.

The rows are curved in plan for providing an intimate experience. the centre of curvature lies in the centre of stage.

The minimum width of seats with arms is 500mm centre of arm to centre of arm. A good practice minimum is between 525mm–550mm. The minimum width of seats withwith out arms is 450mm. A good practice minimum is 500mm.

A multiple-aisle arrangement will have a maximum of 14-16 chairs per row with access to an aisle-way at both ends.

Horizontal Seat Distribution

Staggering is accomplished by non uniform placement of seats of varying width.

The rise of 5”- 6” is required at every level. The aisle must be sloped with a slope of 1:10 min.

30 deg vertically 40 deg horizontally is the normal cone of vision.

02 House Width 03 Row Curvature 04 Stagger 05 Floor Rake 06 Cone of Vision

The number and arrangement of seats define the net floor area of the house. The area for seating may be expressed in terms of square feet per seat. This criterion includes an allowance for circulation aisles inside the house and may vary from 6 to 10 sq ft/person. This variation is caused less by differing seat dimensions than by the efficiency of the seating layout and aisles.

One row vision

The unobstructed vertical space between rows (seatway or clearway) should be a minimum of 300mm. Min distance between rows of seats with backs is 760mm. A good practice minimum is between 850mm–900mm.

Horizontal sightlines are a product of the extreme seats to the left and right of the auditorium. As a rule of thumb, these seats should maintain a three-quarters view of the stage at the back wall of the stage house. Any seats beyond this 3/4 range of view will have a considerably diminished experience. The horizontal seat distribution is done in two ways by one row vision and by two row vision.

Vertical Seat Distribution Vertical Sightlines require the examination of line of sight in section view from every seated row of the auditorium to common targets at the stage edge and the proscenium opening. Generally, a room should be designed for no less than an every-other-row sightline; that is, the eyes of the patrons in one row should have an unobstructed view to the stage over the head of the patrons seated two rows in front of them. t (The obstruction of the row directly in front is resolved through the seating layout using variable chair widths to create a staggered seating pattern.) In this way, the slope of an orchestra level floor or the height of risers in parterres, boxes, and balconies can be determined. It’s important to note that this results in a parabolic sloping floor at an orchestra level, not a single line slope as with accessible ramps. Similarly, this process yields a variable run of risers at parterres and balconies. Though the variation in floor elevations may seem insignificant, these “slight” dimensional shifts can make a significant cumulative difference of inches and feet by the last row of the auditorium When studying the sightlines for parterre and balcony levels, the geometric requirements dictated by sightlines must be understood alongside the steepness of the risers. Balcony risers that are too steep, or rows that are not sufficiently enveloped by adjacent rows can feel dangerous, exposed, and unsettling to patrons. The addition of railings within rows can solve the security and safety issue, but it can also psychologically distance patrons from the performance..

Seating arrangements in an auditorium seating layout (or assembly space) will either be identiﬁed as “multiple-aisle” or “continental.” A continental arrangement can frequently accommodate more seating within the same space. However, in order to compensate for the greater length of rows allowed, building codes will require wider row spacing, wider aisles, and strategically located exit doors.

Two row vision continental seating

Aisles are of questionable desirability in auditorium. They must, however, be employed in many localities because of building laws which make no provision for continuous- row or so-called continental seating in which all rows are widely spaced and serve as transverse aisles. For purposes of seeing, radial aisles are best, with curved aisles only slightly less efﬁcient. Aisles perpendicular to the curtain line often have the accidental result of making side section seats undesirable because people using the aisles interrupt the view toward the stage. The box ofﬁce would like a theatre with all seats in the centre section. A centre aisle wastes the most desirable seating area in the theatre and inevitably causes the objectionable condition of seats near the aisle being directly in front of each other.

Regular Rise method In regular rise method each tier of the hall has equal rise. Seats are elevated at equal risers. Used mostly in balconies/ upper level seating.

Line of Sight method Draw a sight line from the eye position to downstage edge of stage, and extend it back of the eye position for the front row, step off horizontal sent spacing (back to back), and draw vertical lines at the points thus established. Establish a point 5 in. Above the intersection of the extended sight line and the next vertical line. This is the eye position for the second row end the ﬂoor level at the front edge of the second row seat is 3 ft. 8 in. Below and 18 in. In front of the eye position. Repeat steps (1), (2), and (3) to the back of the house and draw in the ﬂoor slope. Where the slope exceeds 1'/, in. Per foot, platforms are required under the seats, end steps in the aisles

Reference : Time Saver Standards for Building types

17 The sightline criteria need to be established by the auditorium designer, deﬁning how much of the stage ﬂoor, back and sides of the acting area must be seen. From this starting point it is possible to develop the geometrical volume within which the required number of seats can be contained. The seating rakes, disposition of audience members and integration of tiers or balconies are all determined by acceptable visual limits and the lateral and vertical parameters for viewing the performance. The ultimate form of an auditorium is therefore a blend of anthropomorphic limitations, structural possibilities and performance imperatives.

Dimensions of House Optimum depth equals 4 times screen width. Maximum depth equals 6 times screen width. The house width = 2.5 to 3.5 times the screen width According to CAPACITY: Details of actors make-up and facial expressions a are not plainly recognizable at distances of more than 50 ft. From the stage. According to VISUALS: A normal eye can perceive a dimension of 0.035 in., at 50 ft., 0.175 in., and at 100 ft., 0.35 in.

Length of Rows A maximum of 16 seats per aisle. 25 seats per aisle is permissible, if one side exit door of 1m width is provided per 3 to 4 rows

The Line of Sight Method The view between heads

D : Distance to front row DP : depth of the stage PH : proscenium height HP: clear visible height P2 : point of sight P1 : point of sight

To reduce the degree of rake in the stalls seating, an assumption can be made that point P is seen between heads. Sightlines on this basis can be developed graphically or with an assumption of distance between the eyeline and the top of the head reduced to 65mm. When working with between-heads sightline criteria, it should be on a basis that the seating is set

HD : horizontal distance O : offset EH : average eye height TH : top of head D : distance front row eye position to Point P

In a staggered/offset arrangement. This is normally established on the auditorium centre line. As the rows extend to the side, particularly in curved auditoria, seats invariably come into line again; however audiences to the side of the auditorium are more likely to be looking diagonally towards the stage.

P: point of sight This is the lowest point to be clearly visible on the stage or acting area HD: horizontal distance This is horizontal linear distance between the eye positions of the audience members in consecutive rows. O: offset While HD is determined by the back-to-back dimensions of the individual rows, it does not normally coincide with the tread or risers. For early planning, 100mm offset allows for an assumption of the ultimate eye position in relation to the riser. EH: average eye height A theoretical working height of 1120mm TH: top of head Distance taken from the centre line of eye to the top of the head – normally 100mm for the basis of the sightline calculation. Enhanced allowances can be made up to 125mm D: distance front row eye position to Point P The closer this distance the steeper the resulting rake will be. Using the above guidance, working from Point P back through the auditorium establishes the theoretical rake of the stalls seating. This gives a parabolic curve to the seating proﬁle, getting steeper as the distance from Point P increases. Each member of the audience achieves a similar viewing condition. BF: balcony front height For the sake of calculation 790mm should be assumed, but take cognisance of any requirements for raised 1100mm rails at aisle intersections

Sketch showing the view of the stage between heads

Components considered to design the House There are three basic components that must be considered for the room to function properly: sightlines, acoustic requirements for room shaping and isolation, and accessibility and egress. Sightlines ensure that every seat has an unobstructed line of sight to the performance, studying the distance and viewing angles from the most extreme seats both near and far. The performance type informs the criteria for sightlines. While it is critical to be able to see a dancer’s feet at the very edge of the stage, the sightline criteria of an orchestra hall can be less rigid. The geometry of the room should be designed to naturally enhance the acoustics of the room, while also taking variable and enhanced acoustic materials like reﬂectors and applied wall materials into consideration. Lastly, code requirements for egress and accessibility will determine the required aisle and path widths throughout the assembly space, which will be based primarily on the capacity of the auditorium.

Backstage Design Considerations

01 02

Storage of the space should be considered. Delivery access, wide internal passage ways/ doorways and storage space

03 04

outside delivery access for trucks Wide internal passageways and doorways to allow equipment to be moved quickly and efﬁciently.

Stage ﬂoors are subject to a minimum uniformly distributed live load of 150 pounds per square foot. hence the structure must be robut enough to withstand the huge load.

Reference Book : Design of Auditorium Buildings , WBDG website, TIme saver Standards for BUilding types

Auditorium Lighting Design Stage and illlumination lighting ďŹ xtures

images may be subjected to copyright ; courtesy credits : Pinterest, Adobe Stock Images

Stage Lighting

An auditorium lighting design needs to provide two fundamental components. The first part is the illumination needs of the public who work in and enjoy the space. The more difficult part is to convey the intended feeling and emotion that fits the program and the attitude of the space.

position and angle of ﬁxtures

Lighting Equipment and control stations Lighting requirements within the auditorium include boom boxes and slots, both of which are side lighting positions. The advance bar/ bridge, lighting bridges, tension wire grids, slips or side bridges, and follow spot platforms are all high-level lighting positions. Low-level front lighting is also often required and supported by circle fronts lighting bars, or bars located discretely under tiers. Rigging requirements for sound within the auditorium may include proscenium side booms, a central speaker cluster set above the proscenium and delay ‘under balcony’ speakers.

Position of ﬁxtures with respect to performers Lighting the actor’s face at around 45° above the horizontal is essential to avoid unﬂattering shadows, while a lower angle may cause unwanted shadows on the set. Spotlights are rarely directed straight at the actor and are more normally crossed. This means that setting positions out on a cross-section requires an angle in the order of 55 deg to achieve 45 deg when crossed. The diagram sets out the basic geometry of required lighting positions.

Lighting bridges require thoughtful integration into the ceiling design of an auditorium. While the basic diagram indicates a linear position, installation can be curved in form or treated as sculptural objects.

Downlight and General Illumination Downlight for general illumination is not only necessary for public safety, wayﬁnding and reading, it serves a crucial role in creating excitement and eliciting emotion. Top quality dimming control is fundamental to achieve this effect through even fades.

Accent Lighting

Getti Getting a quality, even illumination in the main areas of a venue is a priority, but so too is accent lighting. Depending on the goal and resources available, this component of a lighting scheme can vary greatly. And even on a shoe-string budget, a few nice touches can go a long way to make an auditorium more inviting. For example, ﬂood uplighters in a venue with an architecturally upligh interesting ceiling will make the venue inﬁnitely more inviting, and dimmable units can be used during performances

Task lighting : It can be provided by recessed and track lighting, pendant lighting, and portable lamps. Backlighting : A light source is placed on the opposite side of subject from the viewers' point (camera, audience). It is used to create special effects on the stage. Neon lights : Neon lights are a used to add special effects in theatres/auditoriums. They do not serve the purpose of lighting though, but they serve the decoration purpose and for directions. Spot lights: A spotlight is a powerful stage lighting instrument which projects a bright beam of light onto a performance space. Spotlights are controlled by a spotlight operator who tracks actors around the stage. Wash lights: A general lighting effect, where a broad beam is used to generally light up an area on a stage. Typically instruments known as ﬂoodlights are used to create wash and are not speciﬁcally focused. Dim Lights: These lights are provided in the house for the convenience of the spectators while walking down the auditorium in case it is dark in the house.

Utlisation of diﬀerent types of luminares

Explaination of diagram A luminaire at A will light the actor’s face at 55° on the edge of the stage and 45°–50° when crossing. As the actor moves away from the edge of the stage, this angle will decrease. At Q it will only be 40° and 35° when crossing which is the absolute minimum. It is therefore necessary to have another luminaire at position B – which covers the area between Q and R.

Control and Systems Integration Flexibility is the key when designing the control system. Normally, a venue will have a programmable lighting control console to operate the performance lighting, and then a separate architectural control system. Typically, it is best for the performance lighting system to control the auditorium lighting as it needs to be controlled in a comparable way to ensure the smooth transition from “pre-show” to performance.

Reference Book : Design of Auditorium Buildings , WBDG website, TIme saver Standards for BUilding types

Auditorium Acoustics factors responsible for enhancng sound in a room

The basic acoustic criteria are the same.

Must have a low ambient noise level from internal and external sources Provide a reasonable level of acoustic gain Provide appropriate reverberation time Avoid echoes. Hearing conditions in any auditorium are considerably affected by purely architectural considerations like: Shape - layout of boundary surfaces Dimensions - seating arrangements Volume - audience capacity

Defects:

Echo Delayed reﬂection Sound shadow Sou Sound concentration

Shape of auditorium and volume have a great influence on the acoustics of a room Shoebox-shaped rooms provide for strong early lateral reflections (even more important for music, but quite helpful for speech as well) Reflections down from a ceiling can often provide early reflections, and therefore should be made acoustically hard (reflective) The back walls of an auditorium have a risk of providing late reflections – both to the audience and to the stage: Providing acoustic absorption at such locations is usually helpful. This could be in the form of fabric panels, slatted wood finish, acoustic plaster or even acoustic drywall.The audience seats and the audience themselves are usually the biggest acoustic absorption in the room. The use of the right amount of acoustic absorption in the seats can serve as a great way to achieve the acoustic goals of the space.

Reference Book : Design of Auditorium Buildings , WBDG website, TIme saver Standards for BUilding types

Fire norms for Auditoriums (A) Fire detection and alarm systems (automatic fire alarm systems) (B) Fixed fire extinguishing systems / installations and A fi A fire hydrant is a vertical steel pipe with an outlet, close to which two fire hoses are stored. During a fire, fire-fighters will go to the outlet, break open the hoses, attach one to the outlet, and manually open it so that water rushes out of the nozzle of the hose. A sp A sprinkler is a nozzle attached to a network of pipes, and installed just below the ceiling of a room. Every sprinkler has a small glass bulb with a liquid in it. This bulb normally blocks the flow of water. In a fire, the liquid in the bulb will become hot. It will then expand, and shatter the glass bulb, removing the obstacle and causing water to spray from the sprinkler. There are basically two types of distribution systems : Automatic wet systems are networks of pipes filled with water connected to the pumps and storage tanks, as described so far. Automatic dry systems are networks of pipes filled with pressurized air instead of water. The water is usually stored in concrete underground tanks. Fire pumps are usually housed in a pump room very close to the fire tanks. The key thing is that the pumps should be located at a level just below the bottom of the fire tank, so that all the water in the tanks can flow into the pumps by gravity. There shall be at least one exit from every tier, floor or gallery for every 150 persons, provided that from every upper floor or gallery there shall not be less than two exits. Provided further that an exit by way of a stage or platform shall not be reckoned as one of the exits.

Neuferts Architect’s Data

Car Parking The whole parking lot can be divided into 5 zones; VIP Zone, Performance Parking, Parking for Disabled, Staff Parking, Visitor’s parking. Public car parking: close to public entrance, with no. of car space as 25% of the seating capacity in the auditorium. Car turning circle radius for an entrance drive >= 5-6.5 m. Car parking for handicapped should be near the building and clearly marked. Disabled drives requires parking space minimum 4800 X 2700 mm² (ambulant) wheel chair user minimum 4800 X 3000 mm².

Fire Fighting and Parking Regulations

Ventilation and Air Conditioning

High-level supply can be from the ceiling alone or combined with delivery at the back of seating tiers in multi-level spaces. Auditoria are large-volume spaces with high ceilings. Warm air rises, through the stack effect, creating stratiﬁcation. Supplying air at high level means that the higher temperatures are adjacent to the point of delivery and the effect on the incoming air needs to be considered as it can increase the demands placed on mechanical plant. In top-down systems, balancing air velocity with low noise levels can result in insufﬁcient air distribution into parts of the auditorium. Therefore the return air system needs to draw the air downward to avoid uneven distribution. This is rarely effective. Jet-type diffusers, located at high level, can assist where a longer throw is required. Such systems give an increased sense of freshness as the air is being moved faster but the increased supply ve locity has the inherent danger of raising noise levels.

Air Distribution to the Stage

Noise levels

Air distribution on stage is notoriously difﬁcult, particularly in proscenium theatres, where the large volume of the ﬂytower is often exposed to the external elements. Also it has to assume that scenery may be stacked against any available wall space.

The target NR (Noise Rating) for theatre use should be NR 20, unless speciﬁcally required to be lower by the acoustic consultant. NR 25 can sometimes be acceptable with NR 30 as an absolute maximum. Achieving an NR 20 level is onerous. It means that le noise levels generated by mechanical plant cannot exceed NR 15, when the noise from adjacent areas or the external environment is taken into account. This can have a critical bearing on the basic planning of a building.

The stage floor plays a crucial role in performance. Supply grills or ducting is therefore not practicable on stage. Equally when there is a flytower, low-level extract is unlikely to be able to compete with the considerable stack effect occurring in the flytower. Provision for return air should be made. This is best achieved at high level, under the loading galac lery, tying up with exhaust air taken from the top of the flytower, together with any exhaust air from auditorium lighting bridges.

Site

Poultry Farm

Global City

Site Analysis Located on the outer ring road, (Aligarh-Etah Bye-pass)

Ro a

Global City, Engineers Colony, Aligarh, Uttar Pradesh

Tow a

rds D

hani

Site Dimensions : 120 m x 120 m Fronted by a 30 m road. Adjacent to Global City

pur M

andi

Climate Analysis might not prove to be that efficient for the auditorium but it is essential in terms of orientation of the building, provision of glazing in the building, for providing ventilation of the building in the direction of prevailing wind direction and most importantly for providing informal sitting spaces or open spaces around the main building. It may also prove to be beneficial in deciding the form of the building which will be most efficient in reducing the HVAC loads by reducing the total heat aains of the building.

1. OPTIMUM ORIENTATION-The best orientation from solar radiation point of view requires buildings ,as a whole, should receive solar radiation in winter and mininmum in summer. 2. The optimum orientation of building in india is with the longer facade facing north and south to avoid summer heat gain,and allow maximum winter radiation.The basic objectives is to minimize the building exposure along east and west 3. BUFFER SPACES OR THERMAL BUFFER ZONE-it is recommended tp design the internal layout of the building in such a manner that most of the living occupied spaces are placed along the nothern or southern fascades and away from the eastern and western. 4. LOCATION OF BUILDINGS OPENINGS-Building openings shoulkd be located on the facade with the least amount of insolation Thus it is always recommended to provide maximum openings on the northern and southern fascades to avoid openings on the eastern and western fascades to allow maximum daylight and minimum solar radiation inside the building. 5. SHADING DESIGN - It has been observed that maximum incident heat gain occurs through the roof,followed by walls to the west and east.The western and eastern walls of buildings are subjected to the wall surface.Therefore these walls are difﬁcult to shade with horizontal shading device,and these fascades require complete vertical shading or vertical screening 6. SOLAR HAET GAIN COFFIECIENT-The shgc is the fraction of incident solar radiation admitted through a window.It measures how well a fenestration blocks heat from the sun.The lower the shgc,better the productr in b locking unwanted heat gain.Shgc is expressed as a number between o and 1. 7. ADEQUATE DAYLIGHTING- In india,daylight is available in plenty under clear sky conditions, and can be used for satisfactory indoor illumination during the way.Direct sunlight is excluded from the deﬁnition of daylight factor ,as it is not desirable from the viwpoint of lighting quality

Climate Study For outdoor sitting spaces and other secondary areas Aligarh : Composite climate

Steve Jobs Theatre Apple Park, California

Virtual Case Study I

Underground Theatre at Apple Park , California Owner : Apple Inc.

Project Details Owner of the Project : Apple Inc. Designed by : Fosters + partners “ The Steve Jobs Theatre is a 1000 seat underground auditorium, located at the top of a small hill within the Apple Park campus in California. It serves as the venue for all apple product launches.” Designed by British ﬁrm Foster + Partners as part of Apple Park, the Desig Steve Jobs Theater Pavilion is located at the top of a small hill among the tech giant's verdant and sprawling 175-acre (71-hectare) campus. It is an underground, 1,000-seat auditorium intended for Apple produ uct launches and press meets. It has a large above-ground cylinder-shaped lobby with stairs down to the auditorium. The theater has 350 parking spaces on North Tantau Avenue and a pedestrian path leading to the main campus located northwest of the theater.

The Carbon Fibre Ceiling To create the jewel, a lens-shaped roof rests gently on a transparent 6.6-meter tall and 41.1-meter diameter glass cylinder. While appearing to float effortlessly, it is in fact the largest carbon-fiber roof in the world, weighing 80.7 tons (73.2 metric tons). Pushing the limits of materiality even further, just four layers of glass form the structural support. The glass is all that holds up the roof – there is not a single column. As the theater's lobby has cylindrical-shaped glass walls and no support columns, it gives an unhindered 360-degree view of the surrounding gi campus. It is the largest all-glass-supported structure in the world. circle. The carbon fiber roof, made of 44 identical panels, Each panel is 70 ft (21 m) long and 11 ft (3.4 m) wide and locks in the middle with the other panels. The glass walls on which the carbon-fiber roof rests make it seem to float effortlessly above the open lobby. The panels were assembled on site and then lifted up to rest at the galss wall structure.

Data Collected from Arch daily newsletter and Norman Foster + Partners’ website

“

Positioned atop a small hill, some way into the park, the Theater is reached via a gentle, winding walk through verdant parkland. This oﬀers an opportunity to slow down before you begin a carefully choreographed sequence of architectural experiences.

“

Lobby Space Glass walls overlook the hills and the grenery of the surroundings. The semicirclar roof creates a visual focus. The minimalistic look of the glass complimented with beige coloured stone and flooring is appealing to the eyes. The Theater lobby draws inspiration from the technology of glass stairs and glass facades developed for Apple retail stores and takes it to a new level. It is the largest glass-supported structure in the world. Each 9.8-foot (3-meter) by 22-foot (6.7-meter) glass panel is a four-ply laminate and two inches thick. Sprinkler pipes, power, data, audio, and security run through conduits concealed in the 44 silicon joints between glass panels. The glazing features the first curved, laminated glass fittings in the world.

The Descend to the auditorium

A curved staircase leads visitors from the ground-level, serpeggiante castagna limestone lobby into the below-ground auditorium. This then leads to a stone wall. The stone wall takes only 11 seconds to open completely. When completely open, the entrance to the underground theater is 50 feet (15.2 meters) wide. In addition to this, there are two custom made elevators, with helical guiderails. The Steve Jobs Theater’s glass elevator stands at 42 feet (12.8 meters) high.The elevator uses three helical guide rails to rotate the elevator car 171 degrees, moving it from one level to the next. It is the ﬁrst passenger elevator in the world to rotate on helical guides and is believed to be the tallest free-standing, glass elevator in the world. The elevator uses extremely strong, chemically-tempered glass from Italy. Almost all the internal structure for the elevator cab was milled from solid aluminum, with all components arranged and tuned to create an ideal strength to weight ratio.

The Auditorium

The fan-shaped plan of the auditorium and the curving rows of seats were designed to create a feeling of intimate proximity with the person on stage as well as between members of the audience. Milled from solid domestic white oak, the wooden fins that line the auditorium’s interior help to dissipate sound and also contribute to the warmer interior characteristic of the auditorium. The intermittent fabric panels between each fin absorb amplified sound, limiting reflections back into the audience. They also conceal a network of more than 40 wall-speakers. Over two years and many mock-ups, the design team developed a unique process of curving the wood flooring planks and grain to match the arc of the seating rows. Straight domestic white oak boards are divided equally into five strips, and glued into the desired radius, resulting in a unique visual connection between floor and seating. The design’s attention to detail also required that the wood flooring planks and grain follow the arc of the seats. to combat this issue, the team developed to process to achieve the desired look. the straight, white oak boards are divided into five, equal strips and glued into a radial shape.

“

20-foot- (6.1-meter-) high movable wall panels that conceal the space upon entry are retracted to dramatically reveal the space. Each weigh 2,000lbs (one metric ton) and are clad in stainless steel from Japan.

“

Lower Lobby

The idea is very simple: a delicate hovering roof providing shelter in the middle of a beautiful californian landscape.

Data Collected from Arch daily newsletter and Norman Foster + Partners’ website

Technical drawings Plan and Section at a scale of 1:1000

Total area of building : 167000 sq. ft

Data Collected from Arch daily newsletter and Norman Foster + Partnersâ&#x20AC;&#x2122; website

Live Case Study I

Kennedy Auditorium, CEC Complex, AMU Owner : Aligarh Muslim University.

Project Details Owner of the Project : Aligarh Muslim University Designed by : Ar. Joseph Allen Stein

Seating Block Plan

The CEC complex is one of the most admired buildings of the university. Standing resolute in graceful exposed brickwork facade, the kennedy auditorium, is deemed to be one of the ﬁnest built auditoriums.

Foyer Level Plan

The auditorium has the seating capacity of 1362, distributed in two levels. Lobby Entrance

Other Features :

Entrance to the auditorium is through 3 public entrances and a backstage entrance. In addition to this, there is also a backstage entry for the actors and crew members. one entrance connects the auditorium to the Musa Dakri museum through a corridor. this entrance opens up in into a low heighted lobby with reastrooms which further opens up into the centre of the house. The second entrance a ramped entrance which opens up to the side of side of the auditorium. The VIP entrance opens up into the foyer which houses the Green rooms, Washroom and the Lounge.

The Stage Stage Height : 1.4 m from ground. Proscenium Width : 14 metres. Proscenium Height : 11 metres. Depth of Stage : 7 metres. Width of Stage : 16 metres Apron width : Semicircular 4m deep at the centre. Cyclorama : 13 m wide temporarily movable screen. Shape : Octagonal on the back, semicircular in front

Entrance backstage

Explanation of the Plan

Balcony Level Plan

Ramped Entrance

VIP Entrance Backstage

• Wooden stage ensures a royal look along with reﬂective qualities to ensure proper acoustics. • Consists of rotating stage elemens for quick scenery change, mechanically operated by 4 people. • The stage is equipped with vertical moving curtains. • Two Spiral Stairways located opposite to each other. One of them houses the control room with lighting panel and sound check. The other is the way to the catwalk located above. • Adjustable wings serve as an efﬁcient connection with the green rooms, backstage etc. Consists of heavy curtains for absorption of echoes. The stage has been designed such that from the centre of the stage, the performer can view each and every spectator and vice versa.

The Backstage The Backstage Area consists of Green rooms for male and female actors, attached washroom and a lounge for guests. The backstage area and its components are connected by a foyer 2m wide. This foyer opens up to the area right behind the performing area. The stage consists of two curved staiways, each in one corner of the stage. The spiral staircases lead to the lighting and sound control panels and the other one leads to the catwalk above the stage performing area. It also consists of a ﬂexible canvas like cy cyclorama which segregates the performing area from the crossover. The space behind the cyclorama is used for storing miscellaneous items. This space is crowded and unorganised and used as a workshop as well at times which is a misuse of the space. It consists of 3 wings / entrance for actors. There used to be windows at the back of the stage for ventilation but now all of these have been closed and ducts have been laid which manage the air exchanges in the space. The backstage is poorly ventilated and still reeks of varnishes and t paints as these strong odours are unable to escape. There is a backstage entrance with a ramp but this has now been closed and AHU units have been placed in the empty space. The electrical wiring and ﬁttings are being worn out and arenot well organised.

The House Dimension of seats (b/b) : 900mm. Dimension of seats (clear path) : 550mm Aisle width : 1.2-2 m tapering No. of seating blocks : 8 + Balcony seating No. of aisles : 5 Slope of lower house: 1:8 (approx.) Balcony height from the ﬂoor: 2.8 m (varies) Balcony Rail height: 1.4m(including slab)

The shape of house is fan type, with sliced down sides. The Seating arrangement in the house is block arrangement with aisles. The seating blocks fan out in curvilinear direction. total 1360 seating capcity with 232 on upper level. Li Line of sight method has been employed in arranging the seats. The seats have been staggered according to the two row vision principle in such a manner that no row is similar in plan and every spectator is able to see the stage clearly. Vertically, the lower house follows the line of sight method while the balcony seating follows the regular rise method with each rise being eual to three steps each of 150mm. Slope is provided in the lower house aisles, while steps are provided in the balcony. The drawbck however is the absense of lighting in the blcony illuminating the steps. Unlike in the lower house where LED strip lighting illuminates the path of the aisles. Folding seats (back push ) are provded which gives a clear area to pass in between the seats. The seats are arranged in 13 rows one behind the other. Max no of seats have been provided in the centre which is the best position.

No. of exists : 7 Width of exits : 1.8m and 3.6m. Balcony Staircase width : 1500 mm. Farthest seat in the balcony is at a distance of about 26m, hence only large body movements are visible. (within the limit of 65’-110’ as given in standards) Control panel located in the centre of the auditorium. Compromises good centre seats. Projector room located in the balcony. Drawbacks in seating : The seats in the balcony close to the projector room have hinderence in vision of the entire stage. The seats below balcony have entrapment of sound frequencies. bafﬂes were installed on the roof of these to overcome the unwanted refections of sound waves. Positive Points: Adequate no. of exits and optimum aisle width. Efﬁcient seating arrangement. spectators can comfortably view the stage.

HVAC

Lighting Acoustics

Wooden panels have been installed in side walls. There are perforations within the walls. Behind the wooden panels, absorbent material possiby glasswool is installed. The walls patly reﬂect and partly absorb sund, therby facilitating and enhancing the sound propagation in the enclosed space. In addition to this, the carpet and the seat materials ans the curtains also absorb the excessive noise. Decorative bafﬂes have been installed under the balcony above the control panel to absorb the residual sound frequencies which get trapped under the cavity.

Stage lighting: spotlights : on the sides of the stage and in front of the stage mounted on a truss and hung from the ceiling.

Backlights on side walls, spotlights, wall washers on the back wall and tubelights underneath the balcony. Aisles lit by LED strips.

Secondary Spaces and Services

The Front of Stage This area is designed to appeal to the audience as welcoming. The Front of Stage area in the Kennedy Auditorium consists of a lobby area, with 4 washrooms, stairways to the balcony. This lobby is connected to the Musa Dakri Museum by a collonaded passage. The Lobby of the auditorium is a low heighted, long corridor which has a coffered ceiliing. The height of foyer is about 2.3m. On its one end, washrooms are located. A total of 6 fixtures are available which is insufficient for the capacity of the auditorium. Standards suggest 1 fixture for every 25 people. The lobby entrance gate however does not give a welcoming feeling with its unpleasant wired mesh attached to the doors’ surfaces. This opens up into the centre of the auditorium just below the control panel assembly. The lobby is well lit by sunlight but is insufficient in terms of artificial lighting. The balcony exists are well lit during the day but insuffiicient during the night which can prove to be a problem in case of an emergency.

Fire Fighting Fire hydrants have been provided at an interval of 15m . Fire exits have been labelled and provisions of emergency lighting have been made. All the exits are upto the mark of standards (more than 1500). Fire alarams and bells are also present.

Split air conditioning units positioned at terraces ensure ventilation and optimum no. of air exchanges in the auditorium through ducts. total 5 of these units have been placed in different corners of the building. return ducts are attached into the windows which were earlier there. supply is throgh blowers attached on side walls. As the ducting was done in the recent renovations, the noise damping is less effective. also, the position of ducts is in the house just below the balcony. Du Ducts in the backstage and the below the balcony create noise. These are energy saving units which maintain an optimum temp. inside the building.

Structural details The stucture is a load bearing structure which consists of brick walls and arches. Later for acoustic panelling, glasswool and other sound absorbent material. The ceiling is made of a lightweight material which is rested upon a space frame of T and L frame trusses. Trusses are the main structural element in the building for suspended structures, especially balcony.

Live Case Study II

Siri Fort Auditorium, Siri Institutional Area, New Delhi Owner : Govt. of India

Project Details

Front of House Brief Study of Amennities

Year of opening : 1982 for Asiad Games Owner : Govt. of India Developed by : Delhi development authority The Siri Fort Auditorium is an auditorium complex is built in the Siri Fort Institutional Area. The complex houses 4 auditoriums of varying capacity. The one in concern is the largest one with 1865 seating capacity. The others are of 396 ,276 and 76 capacity making the collective seating equal to 2500.

The front of the house consits of an enormous lob space. This lobby features a decorative ceiling, made up of octagon.

Shape of Auditorium From the exterior facade it appears as a staggered form of block. The shape in plan is almost trapezoidal. The seating arrangement is fanned out. The stage is rectangular and has a trapezoidal apron attached to it.

The lobby space at the back is supported by wooden beams on th ceiling. Fire sprinkler systems, ﬁre hydants are provided in the building. In addition to this, portable extinguishers are kept at regular intervals. The Direction for evacuations are well guided through evacuation plan and proper signage.

The staircase leading to lobby on upper levels was decorated with wooden panels to compliment the matcing interior inside the auditorium. The staircase width was 2000mm in almost all of the cases if not more in some other ones. Entance lobby to the auditorium and the balcony exit overlooking it. Right after the main foyer, the lobby entrance housed a spiral staircase which creates a visual focus in the huge lobby space.

All ﬁre exists from the house open up into the lobby spaces. This also consists of washrooms at different intervals. The lobby space was well lit by daylight due to glazing on the front wall which let in diffused light.

The lux level was maintained with artiﬁcal lighting as well.

Proscenium Height : 2.8 m Proscenium Width : 12.3 m Proscenium Length : 28.3 m Stage Dimensions : 26.3 x 9.9 sq. m Apron Width : 2.3 m Stage ht from ground : 2.8 m Consists of semicircular orchestra pit No. of exits from the house : 9 Seating is distributed in lower house and in a VIP box and in two corner balconies Seating capapcity : 1865 Seating : Line of sight method along with two row vision and regular rise in balcony Toilet Facilities Ladies Toilet – 08 Nos. at difference location Gents Toilets – 08 Nos. at difference location Drinking Water Facilities Two water cooler available in difference location. vParking Facilities Out side free car-parking available on both side of Auditorium, complex, (Total 410 cars parking)

Fire Fighting and Evacuation Process Thebuilding it well equipped in terms of fire safetymeasure. Careful attention has been paid to fire prevention by use of firproof varnish and in terms of other materials. Evacuation has been clearly directed through plans and signage and fire extinguishers and water hydrants have been installed on very exit and also at regular interbals of 15m . The staircase opens up on three levels, first on the ground level, second on the mezzanine level and third on the balcony level. Some of the staircases led to the terrace as well. All corridors of egress were 1500mm and more and well lit.

The Control panel is just below the VIP box seating. Speakers are attached on walls and it is made sure that no two speakers are opposite one another. The lighting in the auditorium for stage is ﬁxed on a guiderail at the top of the VIP box, on the stage sides, on the side wall just close to the stage and on the top of the stage. The stage has ramps which makes it accessible for differently abled people.

The balcony exits are 1.5 m wide if not more at some places, fully equipped with portable fire extinguishers, fire hydrants, and fire resistant walls upto 2 h. 58 The auditorium has 8 washrooms each for men and women. it has drinking water and canteen facilities as well.

The backstage has 3 wings/legs, for entrnce of performers. It has a canvas cyclorama, a catwalk of 750 mm width. On one of the sides of backstage is th sound control the panel and the lighting controls (IC). On the other side is the exit to grren rooms. The backstage is well ventlated through air supplied through ducts.

The best part baout the auditorium is the selection of its location and developement of the complex in a manner which secludes it far away from the noise. The location in Siri Fort Institutional Area, maks it available for many events, both ofﬁcial conferences and cultural events. The area is best suited for the construction of an auditorium because it is the closet to the Directorate of Film festivals which is also a patron of the auditorium .

The lighting in the auditorium is concealed within the undulations of the the ceiling. These are spotlights, which illuminate the ceiling with diffused light but are not visible directly.

Other Features of the Building

In addition ot this, LED strips are ﬁxed on the edge of the stairs, LED lights are ﬁxed to denote seat numbers. The back wall is made to absorb all frequencies that get trapped. It is made of plywood with glasswool installed underneath it. The backwall has a decorate jaali pattern.

The interior os the complex is decorated well as evident in the phtotgraphs. but even the exterior is landscaped well with small gardens and benches. The tress also helped absorb noise coming from the road.

The house consists of 7 aisles and two cross aisles. The width of the aisles is 2 m and that of cross aisles is 5-7 m. The balcony seating is efficient in terms of sound propagation, but the first row of balcony seats has obstructed view due to high balcony rail. The Ceiling is undulated to facilitate and enhance sound reflections. The acoustics of the room is balanced so efficiently that a sound wave of intensity 50db can be heard from balcony upto the stage. The ceiling also contains concealed ducts for air conditioned supply. To damp the noise of air conditioning, baffles have been installed in the ceiling to absorb sound. The return ducts are installed on walls of the auditorium.

The seats are arranged in curvlinear two row vision, hence no seat ostruct view of other.

Inferences A comparison of case studies and formulation of requirements