a very good study

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.