Acoustics and lighting (Case Study: Smart Araneta Coliseum)

STADIUMS
Technological University of the Philippines

Stadium?
FIRST, WHAT IS A
[ sta·di·um | ˈstā-dē-əm ]

Stadium?
BUT FIRST, WHAT IS A
[ sta·di·um | ˈstā-dē-əm ]
- A large structure where sports and/or
entertainments (concerts, religious
gatherings..etc) events are held.

Like these...

FOR THIS DISCUSSION, WE WILL BE USING THE
SMART Araneta Coliseum AS A CASE STUDY

BRIEF OVERVIEW OF THE
SMART Araneta Coliseum
Don Jorge Amado Araneta purchased 35 hectares of land in Cubao, Quezon City from Radio Corporation of America. J Amado Araneta was
inspired and fascinated on Colosseum in Italy.
The construction years of Araneta Coliseum. The venue was designed and built by Architect Dominador Lacson Lugtu and
Engineer Leonardo Onjunco Lugtu.
The coliseum underwent its first major renovation at the cost of ₱200 million.
Additional improvements for the renovation of the coliseum were made in 2012, including the renovation of the Red Gate entrance and the Green
Gate side facade, landscaped surroundings, and the replacement of Upper Box level seats, thus increasing its seating capacity
The Coliseum was used as a Mega Vaccination Center for the rollout of the Quezon City Vaccination Drive against the COVID-19 pandemic,
capable of vaccinating 1,000 to 1,500 people daily. The vaccination center is also one of the largest vaccination sites in the country, following the
opening of The Galeón vaccination center, located at the SM Mall of Asia in Pasay City.
1952
1957
1999
2012
2021
Araneta Coliseum Turned 60: Iconic Events at the Big Dome. (2020).

Technological University of the Philippines Araneta Coliseum Turned 60: Iconic Events at the Big Dome. (2020).

TECHNICAL FEATURES OF THE
LOCATION
Araneta City, Quezon City
TICKETING AGENCY
TicketNet Inc.
CONSULTANTS
Denzil E. Skinner CFE
International Facility Consultant Acoustic
Engineer: Jose Hermano
Sound Engineer: Martin Galan, Acoustic
Analysis Inc.
BUILDING
Dome-type with no post or any kind of obstruction at any viewing angle of the
audience area
LAND AREA
3.6 hectares
FLOOR AREA
9,660 square meters
DOME
Diameter: 354 ft. and 3 in.
Height: 140 ft.
CATWALK/GRID
Height: 70 ft.
Area: 80 ft. x 180 ft.
MAXIMUM LIVE LOAD
74,000 lbs.

ARENA SPECIFICATION OF THE
ARENA
15,400 square ft. clear area
ARENA AREA
1,400 sqm.
ACCESS & STAGING AREA
South Gate, Freight & Service
FREIGHT DOORS
12 ft. x 12 ft.
STANDARD STAGE
size: 32 ft. x 56 ft.
height: 4 ft. 4 in. (maximium)
STAGE GRID
Manufacturer: Mountain Productions, USA
Size: 180 ft. x 80 ft.
Height: 70 ft. from arena ﬂoor
Load: 74,000 pounds
ICE RINK SIZE
62 ft. x 105 ft
ON-SITE PARKING
1000 slots (total 7000 within Araneta City)
DRESSING ROOMS
4 Locker Rooms with Shower and
Toilets; 4 Dormitory Type Dressing
Rooms with Toilet; 4 Dressing Room
Suites
OTHER ROOMS
1 Press Room
1 TV Press Room
1 Utility Room
1 Promoter's Room
BASKETBALL FLOOR
Size: 112 ft x 64 ft.
Floor Type: All-Star Plus Portable
Wood Type: U.S. Maple Wood
Manufacturer: Horner Pro-King USA
ILLUMINATION
200 Foot Candles
SOUND P.A. SYSTEM
Manufacturer: Acoustic Analysis
Sound System: Array Type JB Tech Sound
COMPUTERIZED SCOREBOARD
Adsystem 4-Sided Center Hung
(LED SCREEN SIZE: 4.48 meters x 4.96 meters) P10
pixels

Floorplan of the
LAND AREA
3.6 hectares
FLOOR AREA
9,660 square meters
DOME
Diameter: 354 ft. and 3 in.
Height: 140 ft.

Acoustic and Lighting
NOW, HOW DO WORK ON STADIUMS?

Performance Spaces are rooms in which good hearing conditions are particularly critical to the
use of the space and exchange of aural information. Such spaces include classrooms, lecture halls,
recital halls. theaters. cinemas. concert halls, churches, and synagogues. (Architectural Graphic
Standards, 10th ed.)
The SMART Araneta Coliseum is mostly used as a
venue for the Philippine Basketball Association
(PBA), but is also used for local & international
concerts, religious gatherings, beauty pagents, and
more. (Corporate - Smart Araneta Coliseum, 2011).
Acoustics
ON PERFORMANCE SPACES
(Corporate - Smart Araneta Coliseum,
2011).

CONSIDER?
WHAT TO

• Loudness
• Quiet
• Spaciousness
• Reverberation
• Articulation
• Other Factors (Seats, Balconies, Orchesta Pits, and Sound Systems)
Acoustics
ON PERFORMANCE SPACES
(Architectural Graphic Standards, 10th ed.)

• Loudness
• Quiet
• Spaciousness
• Reverberation
• Articulation
Audience and performers should be in the same space, and
any sound generated by a speaker or musician should be
projected efficiently to the audience and captured within the
space. The "sending end" of the room (i.e., the stage)
should be acoustically hard. Walls near the performer should
be angled or splayed to enhance projection and prevent
"flutter echoes" at the stage.
Technological University of the Philippines (Architectural Graphic Standards, 10th ed.)
Acoustics ON PERFORMANCE SPACES

• Loudness
• Quiet
• Spaciousness
• Reverberation
• Articulation
Good hearing environments should maximize the signal-to-
noise ratio. In addition to the desired signal being well
projected, unwanted noise should be eliminated. Sound-lock
vestibules eliminate intrusive noise from a lobby and allow
latecomers to enter without acoustic interference to the
show. Noise from exterior environmental sources should
also be considered. Avoid lightweight roofs, which will
transmit rain noise.
Technological University of the Philippines (Architectural Graphic Standards (Ramsey/Sleeper), 12th
ed.)

• Loudness
• Quiet
• Spaciousness
• Reverberation
• Articulation
Because of the lateral configuration of the human ear, sound
signals that are slightly different in each ear allow the
listener to hear an acoustic quality called spaciousness.
This sense of spaciousness can be enhanced if the distribution
of sound through a large hall is diffused, enabling the ear to
hear reflections from many facets of the side and rear walls.
This diffusion can be enhanced by protrusions and angled
surfaces on the side walls.Sometimes spaciousness is also
referred to as envelopment.
(Architectural Graphic Standards (Ramsey/Sleeper), 12th
ed.)

• Loudness
• Quiet
• Spaciousness
• Reverberation
• Articulation
Reverberation comprises very rapid, repeated, jumbled
echoes, blending into an indistinct but continuing sound
after the source that created them has ceased. Usually,
reverberation is one of the major causes of poor
intelligibility of speech within a room; but, within limits, it
may actually enhance the sound of music within a space.
Reverberation control is a necessary and important aspect
of good acoustic design, but it is often greatly
overemphasized.
Technological University of the Philippines (Building Design and Construction Handbook, 6th
ed).

• Loudness
• Quiet
• Spaciousness
• Reverberation
• Articulation
Much of the clarity of sound that audiences need for speech
intelligibility and clear musical attacks comes from the sound
reflected off hard surfaces that reaches listeners within 50
to 80 milliseconds of the direct sound (which always reaches
the listener first). To enhance articulation of acoustics in a
hall, the design must ensure there are enough surfaces to
reduce the time gap between the initial (direct) sound and
these early reflections; the initial time delay gap should be
less than 50 milliseconds.

• Other Factors (Focusing, Seats,
Balconies, Orchesta Pits, and
Sound Systems)
Focusing - concentrates sound waves in one area.
causing "hot spots" where the sound is louder or
unnatural in quality.
Seats - The largest area of sound-absorbinq surface
in a performance hall is the seating. If the seats are
made of a sound reflecting material (wood, vinyl.
plastic. etc.), their absorptive properties will change
dramatically when they are occupied.
Balconies - Balconies bring additional persons into a
given volume and create more intimacy between audience
and performer. However, seating under a balcony can be
cut off from the main volume of sound if the balcony
overhang is too great.
Orchestra Pits - The surface over the orchestra pit should
be angled to project sound out to the audience but diffuse
so that some energy is reflected back to the performers on
stage.
Sound Systems - Electronic sound systems may be used for
amplification (making the source louder for a big hall), for
playback or recorded material, or for both. Depending on
the source, the loudspeakers used to distribute the sound
should be located at the center slightly in front of the
speaker (for speech amplification) or on the left and right
sides (for musical stereo playback or amplification of the
orchestra pit).

Using Sound and Vibration Control
ed).

Sound and vibration sources are usually
speech and sounds of normal
humanactivity—music, mechanical
equipment sound and vibration, traffic, and
the like.
Using Sound and Vibration Control
ed).

This process consists of:
1. Acoustical analysis
a. Determining the use of the structure—the subjective needs
b. Establishing the desirable acoustical environment in each usable area
c. Determining noise and vibration sources inside and outside the structure
d. Studying the location and orientation of the structure and its interior spaces with regard to noise and noise sources
2. Acoustical design
a. Designing shapes, areas, volumes, and surfaces to accomplish what the analysis indicates
b. Choosing materials, systems, and constructions to achieve the desired result
(Building Design and Construction Handbook, 6th
ed).

(BUILDING DESIGN AND CONSTRUCTION HANDBOOK, 6TH
ED).
Sound control is accomplished by means of barriers
and enclosures, acoustically absorbent materials, and
other materials and systems properly shaped and
assembled. Vibration control is accomplished by means
of various resilient materials and assemblies, and by
damping materials (viscoelastic materials of various
types).
Airborne and structure-borne energy are controlled by
somewhat different techniques.

Noise reduction (NR) depends on the
properties of a room and is the actual
difference in sound pressure level between
two spaces. It is the amount of sound blocked
by all intervening sound paths between
rooms, including the common wall but also
the floor, ceiling, outside path, doors, and
other flanking paths.
Noise Reduction
Technological University of the Philippines (Architectural Graphic Standards (Ramsey/Sleeper), 12th ed.)

Noise reduction also depends on the relative
size of a room. If the noise source is in a small
room next to a large receiving room (e.g., an office
next to a gymnasium), the noise reduction will be
greater than the TL performance of the wall alone
because the sound radiating from the common
wall between office and gym will be dissipated in
such a large space.
Noise Reduction

Noise reduction also depends on the relative
size of a room. If the noise source is in a small
room next to a large receiving room (e.g., an office
next to a gymnasium), the noise reduction will be
greater than the TL performance of the wall alone
because the sound radiating from the common
wall between office and gym will be dissipated in
such a large space.
Noise Reduction
On the other hand, if the noise source is in a
large room next to a small one (as from a gym
to an office next door), the noise reduction will
be far less than the TL of the wall alone
because the common wall. An adjustment for
this ratio, plus the contribution of the
absorptive finishes in the receiving room,
enters into the calculation of actual noise
reduction between adjacent spaces.
(Architectural Graphic Standards (Ramsey/Sleeper), 12th ed.)

Technological University of the Philippines (Architectural Graphic Standards (Ramsey/Sleeper), 12th
ed.)

(NR), dB, provided by adding acoustical absorbents in a
space can be determined from:
Technological University of the Philippines (Building Design and Construction Handbook, 6th ed).

Acoustical absorption equals the sum of the
products of each area (in consistent units) in
the space times the absorption coefficient of
the material constituting the surface of the
area; for example, the floor area, ft2 its
absorption coefficient, plus ceiling area, ft2 ?
its absorption coefficient, plus total wall area,
ft2 ? its absorption coefficient
(NR), dB, provided by adding acoustical absorbents in a
space can be determined from:

(Building Design and Construction Handbook, 6th ed).
This equation indicates that the more absorption present originally - the less the improvement provided
by added absorption. Thus, in a very ‘‘hard,’’ bare room, addition of acoustical (sound-absorbent) tile to a full
ceiling significantly reduces the noise level. But addition of the same ceiling tile in a room with a thick carpet,
upholstered furniture, and heavy draperies would make little change.

In theaters and auditoriums, the large
expanse of upholstered seating and aisle
carpets is normally adequate for most
noise control, but added absorption on
some wall surfaces may be required for
control of echoes.
ed).
Smart Araneta Coliseum: Seatings. (2019).
Basketball

In Smart Araneta Coliseum, the
number of seats available are
dictated by the type of event
happening on the venue.
Boxing

Concert

Center Stage

These different number of seats per event changes the amount of sound
absorption and reverberation happening inside the structure.

Sound-absorptive- materials (such as acoustic tile,
glass fiber, wall panels, carpet, curtains, etc.) can be
added to a room in order to control or reduce noise
levels or shorten reverberation time. Noise control is
especially helpful when the noise sources are
distributed around a room, as in a gymnasium,
classroom, or cafeteria.
While sound-absorptive materials can be added to any
surface in a room, the greatest area available for
coverage is usually the ceiling. Because many soft
porous materials are fragile, they should not be
located on surfaces that are susceptible to abuse. For
these reasons, sound-absorptive materials are often
installed on ceilings.

NOTE: The more sound absorption
(sabins) inside a room, the lower the
noise levels {approaching the drop-off
with distance outdoors)
NOTE:The more sound absorption
(sabins) inside a room, the shorter the
reverberation time

Technological University of the Philippines Smart Araneta Coliseum: Seatings. (2019).

Technological University of the Philippines Smart Araneta Coliseum: Seatings. (2019).
View from seat

AVERAGE COEFFICIENT
OF ABSORPTION
CALCULATION OF

One measure of the quality of sound in a room is the average coefficient of absorption (or average
noise reduction coefficient-NRC) for all surfaces combined, as determined by this formula:
AVERAGE COEFFICIENT OF ABSORPTION

CONTROL OF
Reflection &
Reverberation

Reverberation Time
Reverberation comprises
very rapid, repeated,
jumbled echoes, blending
into an indistinct but
continuing sound after the
source that created them
has ceased.
Reverberation Time. The
reverberation within a space
is usually expressed as the
time required for a sound
pulse to decay 60 dB (to one-
millionth of its original level).

For most purposes, reverberation time T, s, can be calculated from the simple Sabine formula:

For most purposes, reverberation time T, s, can be calculated from the simple Sabine formula:
Because the absorption of an
absorbent material varies with
frequency of sound, it is necessary
to calculate T for each significant
frequency. For most reverberation
calculations, determinations at 500
Hz are adequate. For concert halls,
and critical spaces, calculations are
usually made 2 octaves above and
2 octaves below 500 Hz as well.

To provide good sound coverage, loudspeakers must
be properly integrated into the architectural design of
a space. Most spaces have an optimum loudspeaker
configuration that should be examined before
exploring other options. Loudspeakers can be recessed
behind architectural elements. assuming a suitably
large opening with acoustically transparent grille cloth
is provided.
LOUDSPEAKER
INSTALLATIONS
LOUDSPEAKER SYSTEM TYPES The major loudspeaker
installations include central cluster, split cluster, and
distributed ceiling types.

Terms + Definitions
• Apparent Sound Transmission Class (ASTC): Field measurement
that covers all sound transfer paths between spaces. Previously
referred to as the Noise Isolation Class (NIC).
• Articulation index (AI): Measures how materials affect speech
intelligibility in offices.
• Average room absorption coefficient (average coefficient of
absorption): Total room absorption divided by total room surface
area.
• Coefficient of absorption (absorption coefficient): Percent of
sound energy absorbed by a material.
• Decibel (dB): Measures sound pressure (perceived as relative
loudness).
• Hertz (Hz): Measures frequency (perceived as high or low pitch).
• Impact Isolation Class (IIC): Measures impact sound transmissions
through floor assemblies.
• Noise criteria (NC): Standard spectrum curves used to describe
a given measured noise.
• Noise Isolation Class (NIC): Formerly used to estimate sound
isolation between two enclosed spaces; replaced by ASTC.
• Noise reduction (NR): Measures actual difference in sound pressure
levels at any two points along a sound path.
• Noise reduction coefficient: Average of sound absorption coefficients
at four frequency bands. Replaced by SAA, similar ratings
but less accurate.
• Sabin: Unit of sound absorption.
• Sound absorption average (SAA): Average of sound absorption
coefficients.
• Sound absorption coefficient: Measures absorptive property of
a material in a specified frequency band.
• Sound transmission class (STC): Provides an estimate of the
performance of a partition in certain common sound insulation
situations.
• Sound transmission loss (TL): Measures attenuation of airborne
sound through a construction assembly.
• Speech absorption coefficient (SAC): Tool for evaluating the
effectiveness of ceiling materials for sound absorption.

Lighting
HOW DO WORK ON STADIUMS?

Lighting Design
Lighting design involves selecting lighting fixtures (luminaires) and determining their
locations and control devices to realize the desired effects
The prime purpose of a lighting system is to provide good visibility for execution of the
tasks to be performed within the building. With good visibility, occupants can execute their
tasks comfortably, efficiently, and safely. Good lighting requires good quality of illumination,
proper color rendering, and an adequate quantity of light.
Because of the importance of good lighting, the need to control lighting costs and to
conserve energy, and the multiplicity of legal requirements affecting lighting design,
engagement of a specialist in lighting design is advisable for many types of buildings.
ed).

FUNCTIONS OF
LIGHTING

FUNCTIONS OF
LIGHTING
Performance of
tasks

FUNCTIONS OF
LIGHTING
Enhancement of space
and structure
Performance of
tasks

FUNCTIONS OF
LIGHTING
and structure
Focusing
attention
Performance of
tasks

FUNCTIONS OF
LIGHTING
and structure
Provision of
security
Focusing
attention
Performance of
tasks

METHOD
LUMEN

The lumen method is based on the definition of average footcandles over an area. The lumen method
requires the following information:
METHOD
LUMEN
A target illuminance level
02
03
01 Room dimensions (to compute wall area
and floor area)
Height of fixtures above work plane
Reflectance levels of major surfaces
(ceiling, walls, floor)
An estimate of the light loss factor (LLF)
05
06
04
Initial lamp lumens

METHOD
ed.)
LUMEN

METHOD
ed.)
The SMART Araneta Coliseum
has Illuminations of 200 Foot
Candles
2011).
LUMEN

Arena: Wide Lite Fixtures
Illumination: 200-foot candles
Type: 1000-watts Metal
Halide
Concourse: Targetti Lights
2011).
SMART Araneta Coliseum Lighting
System:

Arena: Wide Lite Fixtures
Illumination: 200-foot candles
Type: 1000-watts Metal Halide
Concourse: Targetti Lights
2011).
SMART Araneta Coliseum Lighting
System:

Terms + Definitions
• Ballast: Device providing a controlled electrical current, voltage,
and waveform to gas-discharge-type lamps. Ballasts provide the
energy necessary to start lamp operation, and limit the current
that flows through them during operation afterward.
• Blackbody: An idealized radiator of energy that is at a uniform
temperature and whose emitted color spectrum is the maximum
that can be emitted by any substance at the same temperature.
• Bulb or Tube: The glass envelope of a lamp.
• Color Rendering Index (CRI ): Measure of the color shift in the
appearance of objects when lit by a light source, as compared to
being lit by a reference light source of the same color temperature.
• Color Temperature: A standard of light source color that is also
referred to as correlated color temperature (CCT ). This is the
absolute temperature in degrees Kelvin required for a blackbody
to radiate a color spectrum most similar to that of a given
light source.
• Efficacy (LPW ): Lumens of light output for each watt of electricity
consumed. used to describe
• Illuminance: Density of light on a surface, measured as candela
per square foot or footcandles (fc), and represented by the
symbol “E.”
• Illumination: The common term for footcandles of illuminance,
but also used in a more general sense to describe the means of
lighting a space.
• Lamp: Lighting source used in a fixture to generate visible
energy. Many fixtures use more than one lamp.
• Luminaire: Lighting fixture including housing, lamp, ballast, lens,
reflectors, and louvers or baffles.
• Luminance: Brightness of light transmitted by, reflected from, or
transmitted through a surface.
• Luminous Flux: Flow of light from a source, measured in lumens
(lm). This is analogous to the flow rate of water through a garden
hose.
• Luminous Intensity: Radiant energy emitted by a source,
measured
in candela (cd), and represented with the symbol “I.” This
is analogous to water pressure in a hose.

Acoustics and lighting (Case Study: Smart Araneta Coliseum)

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