Lecture 25 : Introduction to Auditorium Design : Some Examples
Lecture 25 : Introduction to Auditorium Design : Some Examples

So, now, we are on lecture 25, which is the
last lecture of this module on Introduction to Auditorium Design. Here, after knowing all the concepts which
has been discussed in the earlier 4 lectures. I will try to show you the applications in
some very good halls, which are quite renowned and these are not made by individuals. Yes, the design architect is may be one, but
acoustical experts have designed the interior. And, even then after making it a number of
trials, number of changes, are still being done in some of the halls .
So, you will see how really the principles have been applied? And, yes whether they have made a good impact
or bad impact you can see it by yourself or understand. And, fortunately many of you maybe fortunately
visiting all these halls in later part of your life, and yes that time you may remember
or recall this particular course . So, this is the famous Symphony Hall Boston,
which was by which was the interior was done by clement Sabine . So, this was in, 1900. And, here you barely see lot of details, this
was a shoebox hall and the reverberation time achieved was target it was 1.8, seconds capacity
is 2 6 2 5 and height width length all are written over there. The flooring was is all of wood. And the balconies were not actually the way
we had planned or shown. So, that has come up with time. You can see the balconies here on the here
on the sides, you can see the balconies here .
So, these were very narrow balconies on the side to avoid any kind of trapping of sound
or muffling or sound so, of sound. So, sound cannot get trapped inside it keeping
that in mind, those were made very small projections at the sides, you can see a reach coffered
ceiling on top . So, it was spanning this 29.22.9 meters that is around 23 meters . And;
obviously, the single beams would have been very heavy. So, these coffered slab coffered beams were
planned. In which the side of the or the edges of the
beam allowed in diffusing sound and the flat slab areas actually helped in the slab areas
actually helped in reflected sound . So, these particular segmented areas helped in reflecting
sound into the audience. And, these projected soft beams all helped
in diffusing sound into the hall . There were lots of statues at different positions, you
can see one very faint over here. So, there were statues filled niches which
also helped in diffused sound into the hall .
So, these are studied, these were made, and these were checked, the seats were all made
of had leather upholsteries . So, these were all experimented and put in and it achieved
the RT of 1.8. And, this is one of the famous halls which
was designed by acoustically designed by clement [7 /sabine] sabine .
We come to the next [hall/hall] hall . The avery fisher hall, which has a capacity of
2738 and made in 1962 . Where you see here at the ends, you see a lot of convex surfaces
. These are all wooden surfaces to reflect sound these are maple wood convex surfaces,
but these were not initially there . These are all additions to help sound to be reflected
towards the people, because the hall was not receiving lot of much of first reflections
from the sidewalls . This is also a shoebox shape, but the sidewalls were far away . So,
the central part or the central part of the seating was not getting reflected sound from
the walls . And, the central audience were devoid of sound .
Same thing happened from the ceiling site the reflected path from the ceiling were too
long . So, these clouds these shaped surfaces on the ceiling were too high to reinforce
the basic the source sound and help in early reflections adequately .
So, lot of things where with time were added of which this maple wood covex surfaces were
one . And, in this hall because there was no other shape than straight flat things the
bass was weak that is the low frequency was lost. In that case it it, did not could not achieve
better sound quality for the that is the warmth was lacking in this particular hall, but yes
later lot of changes have been made and a lot of improvement has been done to achieve
a better quality . We moved to the next hall, which you all know,
Sidney opera house by john Anderson, it has multiple number of halls, it has a more than
the apart from this there are many other halls in this, but this hall is of particular importance
. This site is a world evenness co world heritage site .
So, inside this, the sound was really criticized. The quality of sound inside this particular
hall was really criticized , but a lot of improvement has been done and yes till date
it is being upgraded for acoustical quality. Here you can see the view from the view towards
the stage, you can see on the top here there are the number of clouds, which are convex
shape and allowing sound getting reflected back to the stage. So, that the players here can get the sound
from the top and get an ensemble sound . Here, if you observe it is a shell structure. You can see this saw toothed profile, which
helps in diffused sound inside the towards the audience . This is a view from the stage
side towards the seating. These acrylic rings, have can be adjusted
height wise to achieve a better sound quality or better ensemblement for the players over
here, the orchestra players over here. And also to send the sound in the towards
the audience . These clouds acrylic clouds were later changed
with say put with in fills rectangular reflectors were put in, various experiments were done
height was adjusted. And, things are still being tried out and
to get a to achieve a better sound quality . All the seats over here are upholstered
in wool . We see a further detailed improvised hall. These are taken from a paper which has been
referred at the end, this is the acrylic cloud and these are the reflected ceilings on the
stage, which has been added . You see here on the sides which is the detailed out here,
you can see in the stage area a lot of reflectors has been added to strengthen the first reflection. So, you can see MDF reflective boards which
was a which was a very cheap solution to cover up the sawtooth facade in nearby the stage
and the front of the hall . So, these reflectors were added to improve
the acoustical quality inside this hall. So, a lot of studies has been done you can
go through the internet and you can actually download papers, if you are if it is possible. Otherwise to know this much is enough to see
that within this hall even the first reflections for first reflections these MDF boards have
been added as an addition as a later stage of time. The capacity of this you can see here the
capacity of this hall is 2600 and 79 . Coming to that next hall the Meyerhoff Symphony
Hall Boston, here what you seen those hanging bulk hanging balconies not hanging, these
are segmented balconies . Where sound could flow through these these gaps. So, it is some are at a insight some are setting
some are projected out. So, sound could move in a different way, which
the architect has tried to achieve . You can see the convex wall surface here. So, this has been segmented and it is a wavy
kind of pattern, which is allowing sound to be reflected in a or diffused inside the entire
hall . And, you can see the stage here there is no
surround seating. So, this is the audience over here and this
is the stage the performers working and you can see the reflectors placed over here . So,
that these performers what this person is playing the person over here can the artists
from here can listening, what is going on there? So, this reflecting back of sound to each
other, within the stage helps them to perform in totality in an integrated fashion which
is very very important. At the same time, these are also reflecting
sound towards the audience. You can see the similar kind of profile, what
we had seen in our Kalidas auditorium, when we had discussed the stage area and the stage
area and the profiles . The capacity of this is 2 4 4 3. So, these are all under very big at big sizes. This was made in 1982 .
Now, coming to the Verizon hall in the Kimmel center, which is a which is of this century
that is 2001. Now, to as I have not touched upon noise and
vibration part, which will be taken I up by Professor Bhattacharya . Here I would like
to mention that the entire hall was set over 225 rubber isolation pads to cut down, the
vibration or the extraneous noise from the Broadway street just beside it .
The shape of this particular hall is like a violin or a cello . And, if you
see the balconies are all around it has 3 tiers of balcony . And, the stage is here
and some sittings around you as you can see in this picture .
So, all these surfaces you can see here are wavy . So, they are formed with such wavy
surfaces as you can see this is the larger part of the audience, you can you can see
pictures in the internet, but only this was the free picture available . So, you can see
a lot of curvatures within which again these are having curved profile . So, these are
all to diffuse sound into and this is the this is the audience .
Now, this hall what did it have further? These had acouse adjustable acoustical features
like retractable curtains to control the RT, it had operable doors on the sides. So, that they could open some doors to allow
some sound to go out and achieve ah different reverberation time. So, these kind of new innovations were really
added in this particular hall with a capacity of 2500 to achieve a better acoustical quality
. Large canopy above the stage was placed as
you have seen in the earlier. To get the that could be raised or lowered
depending on what kind of performance is happening, which is now tried out in Sidney opera house? Those acrylic donut kind of shapes clouds
which wherein Sidney opera house and now being changed with this kind of adjustable adjustable
reflector to create that ensemble quality .
Now, come we come to the Walt Disney hall which is of 2003. This is like a vineyard the plan, if you see
you will see it is kind of vineyard with here you can see all the sittings rows are concave
curves . Whereas, all the wall profiles, all these profiles, are convex towards the stage
. And this creates a drama. All surfaces reflected sound forming a transparent
mesh, it is an illusion the ceiling is made of convex surfaces, the sittings are made
of concave surfaces. So, sound actually it is a network of sound
moving, a transparent network of sound moving inside giving it a elusive feeling . It also
has similar to the [ver/verizon] verizon hall it also has 500 doors of which 200 are acoustical
doors . You see the capacity here is 2200 and 65 and the reverberation time is 2.2 seconds
. You can see the entire lining is of wood which is Douglas fir and and the flooring
is of oak wood . This is a very recent hall with a very small
capacity 8 842 made in 2013, where you can see on the sides there are a number of number
of convex towards the stage, wall surfaces and
the ceiling over is also a convex surface . So, the ceiling is looks like a kind is
very circular and on top of it where these all goes and merges the ceiling is hold over
there . So, it is the how the architect has designed
it? But, following if you think properly, if you
go to the earlier lectures you will see all the principles . The same principles are being
adopted in all these halls to achieve a good sound quality .
And so, we had started with the acoustical requirements of a good auditorium, with adequate
loudness diffused sound level optimum reverberation free from defects and isolation from noise
and vibration. The isolation from noise and vibration has
not been touched upon here much , but we have tried to cover all these particular requirements
which we started with . And, to conclude if you want a good quality
acoustical quality loudness special impression intimacy early decay time clarity warmth and
brilliance, background noise, volume, sight line, view seating plan. If you account for all these things together,
you will surely achieve a good sound quality at least better than, what you would have
done without doing this particular course or without doing this particular module? So, hopefully you will you have gained some
knowledge to start with an auditorium design .
So, here are some of the references for the particularly for the Sidney opera house you
can see or browse through the references given over here . And, you can always visit the
Wikipedia to get more of visuals that can help you in creating or developing the developing
the sense or sense; how you should treat your insight. With this I finish this module .

Leave a Reply

Your email address will not be published. Required fields are marked *