Case_study_on_Auditorium_(2)[1].pptx
- 1. IN A LARGE THEATRE AN AUDITORIUM INCLUDES A NUMBER OF FLOOR LEVELS FREQUENTLY DESIGNED AS STALLS, PRIVATE BOXES, DRESS CIRCLE, BALCONY OR UPPER CIRCLE, AND GALLERY. A SLOPING FLOOR ALLOWS THE SEATS TO BE ARRANGED TO GIVE A CLEAR VIEW OF THE STAGE. AUDITORIUM CASE STUDY ON AUDITORIUM ARCH 302 | DESIGN STUDIO V PROJECT 2 COURSE TEACHER: SHAJIB PAUL PRANJIB PAUL SUBMITTED BY: ID : 1906015
- 2. VIEW SIGHT AND RECOMMENDED AUDITORIUM SHAPE: PROPORTIONS OF AUDITORIUM THESE ARE OBTAINED FROM THE SPECTATOR'S PSYCHOLOGICAL PERCEPTION AND VIEWING ANGLE, AS WELL AS THE REQUIREMENT FOR A GOOD VIEW FROM ALL SEATS. HEAD MOVEMENT SHOULD BE ACCORDING TO FOLLOWING: 30 - NO MOVEMENT 60 - SLIGHT MOVEMENT 110→ SLIGHT EYE & SLIGHT SHOULDER MOVEMENT 360 FULL MOVEMENT AT A DEPTH OF 24M OF HOUSE→→ PROSCENIUM WIDTH-13M AT A DEPTH OF 32M OF HOUSE → PROSCENIUM WIDTH-17M 3'8"- 5"
- 3. STAGE AREA • MOBILE SET AREAS ARE FORMED FROM HEIGHT-ADJUSTABLE PLATFORMS OR LIFTING PODIA. • VARIABLE SHAPES ARE ACHIEVED BY SPLITTING THE AREA INTO INDIVIDUAL ELEMENTS. • BASIC DIMENSIONS 1 M X 2M • MEANS SHOULD BE PROVIDED FOR VENTILATING SMOKE AND HOT GASES RESULTING FROM THE FIRE ON THE STAGE, E.G. PROVISION OF HAYSTACK LANTERN LIGHT OR FIRE VENTILATOR SITED AT THE HIGHEST POINT IN THE ROOF OVER THE STAGE AND AS NEAR TO THE CENTER OF THE STAGE AS IS REASONABLY PRACTICABLE. • AN ADDITIONAL FRESH AIR INLET MAY PROVE EFFECTIVE.
- 4. ACESS FOR WHEELCHAIR USERS THE AUDITORIUM: THE STAGE, BACKSTAGE FACILITIES, CHANGING ROOMS, REHEARSAL ROOMS, DRESSING ROOMS. REST ROOMS, TOILETS, AND SHOWER ROOMS SHALL BE ACCESSIBLE TO WHEELCHAIR USERS. IF THERE IS AN ACCESS CONNECTING TWO OR MORE OF THEM. AN EQUIVALENT ACCESSIBLE ROUTE SHALL BE PROVIDED FOR WHEELCHAIR USERS BRAILLE AND TACTILE FIRE EXIT MAPS AND TACTILE WARNING STRIPS (1) BRAILLE AND TACTILE FIRE EXIT MAPS SHALL BE PROVIDED AT ALL ENTRANCES TO THE AUDITORIUM. (2) TACTILE WARNING STRIPS COMPLYING WITH PARAGRAPH 26 SHALL BE PROVIDED AT BOTH THE TOP AND BOTTOM ENDS OF THE STAIRCASES LEADING TO THE STAGE. VIEWING SCREENS SPACE AT FRON IS ALLOWED FOR BOTH CIRCULATION. ESCAPE AND FOR FRONT SEATING USERS TO VIEW ANY SCREENS WITHOUT UNNECESSSARY DISCOMFORT IN NECK
- 5. SEATING ERGONOMY AND ARRANGEMENTS:
- 6. SOUND, REVERBERATION TIME AND AUDITORIUM HEIGHT: THE BASIC ACOUSTIC CRITERIA ARE : MUST HAVE A LOW AMBIENT NOISE LEVEL FROM THE INTERNAL AND EXTERNAL SOURCES •PROVIDE A REASONABLE LEVEL OF ACOUSTIC GAIN • PROVIDE APPROPRIATE REVERBERATION TIME AVOID ARTIFACTS SUCH AS ECHOES. HEARING CONDITIONS IN ANY AUDITORIUM ARE CONSIDERABLY AFFECTED BY PURELY ARCHITECTURAL CONSIDERATIONS LIKE: 1.SHAPE 2. LAYOUT OF BOUNDARY SURFACES 3. DIMENSIONS 4. SEATING ARRANGEMENTS 5. VOLUME 6. AUDIENCE CAPACITY REVERBERATION A REVERBERATION IS CREATED WHEN A SOUND OR SIGNAL IS REFLECTED CAUSING A LARGE NUMBER OF REFLECTIONS TO BUILD UP AND THEN DECAY AS THE SOUND IS ABSORBED BY THE SURFACES OF OBJECTS IN THE SPACE WHICH COULD INCLUDE FURNIITURE, PEOPLE, AND AIR. REVERBERATION IS AN IMPORTANT PARAMETER THAT HELPS DEFINE THE SOUND QUALITY OF AN ACOUSTIC SPACE.
- 7. PJ LIVE ART CENTRE VENUE : PJ LIVE ARTS CENTRE LOCATION : 2A-3, BLOCK K, JAYA ONE, SECTION 13, NO.72A, JALAN UNIVERSITI, 46200, PETALING JAYA, SELANGOR D.E, MALAYSIA FUNCTION : THEATRE, STUDIO YEAR BUILT : SINCE AUGUST 2009 TOTAL SEAT : 450 SEAT CAPACITY (302 PAX-TIERED SEATINGS + 148 PAX STADIUM SEATING BALCONY) HISTORY: • AN ACCLAIMED PERFORMING ARTS CENTRE IN KLANG VALLEY OF MALAYSIA • . BUILT AS A CENTER FOR THE NEIGHBORHOOD WHICH BECAME AN ATTRACTION THROUGH SUCCESS OF POPULAR SHOWS IT HOSTED • SHOWS, PERFORMANCES, DANCE AND DRAMA AND MOST NOTABLY COMEDY FESTS • PJ LIVE ARTS HOUSES ITS OWN STUDIO, SPACES FOR PRODUCT LAUNCHES, WORKSHOP, SEMINARS REHEARSALS AND CABARET N
- 8. PJ LIVE ART CENTRE PLAN 1 1 2 3 4 5 6 8 7 8 9 1 0 1 1 • STAGE • FLOOR SLOPE • FEMALE TOILET • MALE TOILET • LOBBY • BALCONY • BACKSTAGE • CHANGING ROOM • FUNCTION ROOM • LIFT N N
- 9. CEILING REFLECTOR PANELS • A SERIES OF FLAT-STEPPED REFLECTOR PANELS ARE INSTALLED BELOW THE CEILING TO PROVIDE REFLECTION OF SOUND ENERGY FROM THE STAGE TO THE SEATING AREAS. • . THE DIMENSIONS OF THE CEILING REFLECTOR PANEL SHOULD BE 5 TIMES THE WAVELENGTH OF THE LOWEST FREQUENCY TO BE REFLECTED. • .THE HEIGHT OF THE CEILING IS CONSIDERABLY LOW, FEWER ECHOES ARE FORMED, SOUND ECHO AND REVERB ARE CAUSED BY SOUND BOUNCING OFF VARIOUS ROOM SURFACES. HOWEVER, THE EXPERIENCE OF REPETITION OF SOUND (ECHO) IS DISTURBING AND DOES NOT HELP IN SOUND PROPAGATION. ABSORPTION OR DIFFUSION IS USED TO REMOVE ECHO CONTAINED WITHIN A SPACE. IN A THEATRE DESIGN, A TIME DELAY OF 40MSEC FOR SPEECH-ORIENTED THEATRE AND A TIME DELAY OF 100MSEC FOR PERFORMANCE-ORIENTED THEATRE IS DEEMED AS ECHO. THEY ARE THE DISTINCT REPETITION OF THE ORIGINAL SOUND. SHORT RANGE 7.8M 8.4M 3.6M TIME DELAY =(7.8M+8.4M-3.6M)/0.34S = 37.1MS REFLECTED CEILING AND SECTION:
- 10. SHAPING AND MASSING • END STAGE HALLS WITH RECTANGULAR PLAN ENSURE SHORT FIRST REFERENCE • . LARGE PARALLEL WALLS OFTEN RESULT IN ACOUSTIC DEFECT • DEAD CORNER OF THE PLAN IS CUT OFF TO • PREVENT EXCESSIVE REFLECTION. LEVELLING OF SEATS A RAKED FLOOR ALONG WITH A RAISED PLATFORM FOR THE PERFORMER, AIDS IN USEFUL REFLECTIONS AND REDUCES GRAZING ACOUSTIC ATTENUATIONS. . BALCONIES ARE USED TO INCREASE SEATING CAPACITY AND TO REDUCE THE DISTANCE TO THE FARTHEST ROW OF SEATS TO INCREASE SIGHT LINES AND SOUND RECEIVED THE BALCONY UNDERSIDE SHOULD BE TWICE THE DEPTH OF THE BALCONY OVERHANG. REFLECTING SURFACES ON THE CEILING AND SIDE WALLS, UNDERSIDE OF BALCONY SHOULD BE DESIGNED TO ADD MAXIMUM REFLECTED SOUND TO THE SEATING AREA ON THE BALCONY AND UNDER IT SEATING ARRANGEMENTS . CONTINENTAL SEATING ARRANGEMENT WITH AISLEWAYS WHICH ARE ACCESSIBLE AT BOTH ENDS SEATINGS ARE CONTAINED WITHIN A 140 ANGLE FROM THE CENTER OF THE PLATFORM TO PRESERVE HIGH FREQUENCY SOUND FROM THE PERFORMER WHICH ALLOWS FOR OPTIMUM ACOUSTIC QUALITY WITHIN THE SMALL THEATRE. SHAPE , MASSING AND SEATING ARRANGEMENT:
- 11. 2 VERTICAL • REFLECTORS HELP IN DIVERTING SOUND WAVES TO THE BACK OF THE AUDIENCE. • ADSORBENT MATERIAL NEEDS TO BE USED TO AVOID UNNECESSARY ECHO. SOUND REFLECTION 1.HORIZONTALLY • PARALLEL WALLS ALLOW SOUND WAVES TO BE DIRECTED AT A PERPENDICULAR ANGLE • SOUND INTENSITY IS HIGHER IN THE MIDDLE PART WHICH EXPLAINS THE HIGHER SIL IN THE MIDDLE AREA.
- 12. 1. OUTDOOR NOISE SOURCES • OPENING AND CLOSURE OF GROUND FLOOR DOOR DUE TO ABSENCE OF SOUND PROOFING • SOUND LOCK SUCH AS RUBBER STRIPS REDUCES NOISE OF BANGING DOORS ON THE FIRST FLOOR. • NOISE FROM PEOPLE IN THE LOBBY AREA. • SEATS NEAR THE EXITS ARE MOSTLY AFFECTED BY THE DISTURBANCE 2. INDOOR NOISE SOURCES • AIR CONDITIONING DIFFUSERS AND DUCTING SYSTEM WITHIN TH INTERIOR SPACES SUCH AS BACKSTAGE, ABOVE THE STAGE AND ARE UNDER BALCONY • FOOTSTEPS ON CARPET AND STAGE FLOOR AND BACKSTAGE ARE PRODUCES IMPULSIVE NOISES SOUND AND NOISE SOURCE
- 13. • STAGE AREA IS MADE OF POLYVINYL FLOORING UNDERLINED BY FOAM WHICH FACILITATES IN SOUND REDUCTION • FLOORING IN AUDIENCE AREA IS FINISHED WITH LAYER OF TIMBER VENEER THEATRE STAGE FLOOR • POLYVINYL PROVIDES CUSHIONING EFFECT REDUCING SOUND TRANSMISSION • ABSORBS SOUND VIBRATION SUCH AS INCOMING SOUND ENERGY • ADDS A LAYER OF SOFTNESS REDUCING FOOT IMPACTS AND ARE TYPICALLY BLACK • . HIGHER FREQUENCY NOISE IS CONTROLLED BY MASS OF FLOOR SYSTEM COMPRISING OF CONCRETE • POLYVINYL HAS ROUGH SURFACE WHICH IS HIGHLY RESISTANT AND OVERCOMES LOWER FREQUENCIES Flooring(Timber Veneer Flooring) • Reduces noise transmission to a certain level • Acoustic underlay is present to absorb lower-frequency sound • Percussive sound of footfalls is absorbed while providing a feeling of solidarity ACOUSTIC WALL PANELS ((ACOUSTIC FABRIC WRAPPED PANELS) • FIRST LAYER ABSORBS ONLY A TINY AMOUNT OF SOUND • UNDERLYING HIGH-DENSITY FOAM IS USED TO CONTROL AND REDUCE THE REVERBERATION TIME. • PREVENTS ECHOES FROM OCCURRING AFTER SOUND PASSAGE FROM AUDIENCE MATERIALS:
- 14. SITE LOCATION: • SECTOR 16, VASHI, NAVI • THE SITE OCCUPIES AN AREA OF • 51,000 SQ. FT. OF BUILT-UP SPACE. • VASHI RAILWAY STATION : 1.5KM. CONTEXT: • VASHI BUS DEPOT: OPPOSITE TO VISHNUDAS BHAVE. • THE SITE LIES IN A RESIDENTIAL CUM COMMERCIAL AREA. VISHNUDAS BHAVE AUDITORIUM
- 15. PLAN 1. ROTATING STAGE 2. GREEN ROOM 3. VIP ROOM 4. LADIES TOILET 5. SERVICE ENTRY 6. STAGE OPERATING AREA 7. BACKSTAGE ENTRY FOR LOBBY. N
- 16. • VISHNUDAS BHAVE AUDITORIUM WAS DESIGNED WAS OPENED IN 1997. •MAJOR HUB FOR VARIOUS THEATRE AND OTHER CULTURAL ACTIVITIES. • IT WAS BUILT IN HONOR OF VISHNUDAS BHAVE. • IT IS A FAN SHAPED THEATER. • THE THEATRE HAS A ROTATING STAGE. IT HAS A CAPACITY OF 1072 VIEWERS IN TWO TIERS. • IT HAS EXCELLENT ACOUSTICS. • THE THEATER ALSO HAS A BALCONY LEVEL SEATING'S. • THE THEATRE IS CENTRALLY AIR- CONDITIONED. • THE HEIGHT OF THE AUDITORIUM IS 12M. VISHNUDAS BHAVE AUDITORIUM
- 17. • THE TOTAL SEATING CAPACITY OF THE THEATRE IS 1500. • THE THEATRE IS FAN SHAPED, HENCE THE SEATING ARRANGEMENTS ARE DIVIDED INTO FOUR EQUAL SEGMENTS. • THE 1ST ROW OF EACH SEGMENT HAS 7 SEATS AND THE LAST ROW HAS 11 SEATS. • THERE ARE TOTAL 13 ROWS. • THE FIVE AISLES DIVIDED THE SEGMENTS INTO FOUR PARTS 750MM 400MM SEATING STAGE • THE SEMI-CIRCULAR STAGE HAS PROPER CURTAINS AND FINS. • THE INNER PORTION( UP TO 7M DIAMETER) IS ROTATABLE. • THE OUTER PORTION OF THE STAGE IS FIXED. • IT ROTATES 180 DEGREES IN 75 SEC. • IT IS ELECTRONICALLY CONTROLLED. THE STAGE HAS FIXTURES TO HOLD FOCUS LIGHTS. SIZE: • THE RADIUS OF THE SEMI-CIRCULAR STAGE IS 7MM. FLOOR: • HARDWOOD TIMBER FLOORING.
- 18. WALLS AND CEILING • THE WALLS WERE PREPARED IN A SIMPLE MANNER. • THE MATERIALS USED FOR THE WALLS ARE STONE(MARBLES), P.O.P ETC. • THE SPECIAL ACOUSTIC FORMS ARE MADE UP OF HIGH-DENSITY COMPRESSED PLASTER (P.O.P) FOR THE CEILING. • WOODEN PANELS ARE ALSO USED IN THE AUDITORIUM. THESE PANELS ARE FILLED WITH COCONUT HAIR AS WHICH IS A GOOD REFLECTOR. FUCTIONING OF THE REVOLVING STAGE •WHEN THE MACHINE IS TURNED ON, THE WHEEL REVOLVES AROUND THE CIRCULAR TRACK. LIGHTING • NO CATWALK WAS PROVIDED. •EVERYTHING WAS OPERATED USING THE MACHINES. • HALOGEN LIGHTS WERE PLACED IN ROWS. • IT WAS BROUGHT DOWN USING THE SWITCHES. • FOCUS LIGHT STANDS WERE PROVIDED ON THE AUDITORIUM WALLS.
- 19. STANDARD DEVIATION PJ LVE ART THEATRE VISHNUDAS BHABE AUDITORIUM • THE BACKSTAGE SHOULD HAVE BEEN DOUBLE OF THE STAGE , BUT HERE IT,S HALF OF THE STAGE. • SIMILAR PHENOMENON IS NOTICED HERE. THE BACKSTAGE IS SMALLER THAN THE HALF OF THE STAGE. • THE CEILING HEIGHT HERE IS 30FT , WHICH SHOULD HAVE BEEN 2.5X OF THE PROCENIUM WIDTH. • HERE THE CEILING HEIGHT IS 40FT , WHICH IS ALSO LESSER THAN THE STANDARD. • FOR A GENERAL USE OF A THEATRE CATERING FOR SPEECH AND PERFORMANCE PURPOSES, A REVERBERATION TIME OF 1.5-2S IS OPTIMUM. WHILE IN PJ LIVE ARTS, THE REVERBERATION TIME IS CONSIDERED AS LOW, AS ONLY SUITABLE FOR A RECORDING STUDIO, OR EVEN AS A CLASSROOM (<1S). DESIGN CONSIDERATIONS SHOULD BE TAKEN CARE OF TO INCREASE THE REVERBERATION TIME WITHIN THE THEATRE, SUCH AS TO REPLACE SOME OF THE ABSORBANCE MATERIAL WITH REFLECTIVE MATERIALS. • THE SOUND SYSTEM IS QUITE DISARUPTED HERE.