Auditorium design guidelines

“The design of various types of

auditoriums (theatres, lecture halls,
churches, concert halls, opera houses,
and cinemas) has become a complex
problem in contemporary architectural
practice because, in addition to
aesthetic, functional, technical, artistic
and economical requirements, an
auditorium often has to accommodate
an unprecedented large audience.”
 Requirements for Good Acoustics
The following points are fundamental to the provision of good
acoustics within a modern auditorium

There should be adequate loudness in every part of the

auditorium, especially in remote seats.
The sound energy should be uniformly distributed within the
room.

Optimum reverberation characteristics should be provided in

the auditorium to facilitate whatever function is required.

The room should be free from acoustical defects (distinct

echoes, flutter echoes, picket fence echo, sound shadowing,
room resonance, sound concentrations and excessive
reverberation).

Background noise and vibration should be sufficiently excluded

in order not to interfere in any way with the function of the
enclosure.
 Guidelines for adequate loudness
The auditorium should be shaped so that the audience is as
close to the sound source as possible.
In larger auditoria the use of a balcony brings more seats
closer to the sound source.

The sound source should be raised as much as is feasible in

order to secure a free flow of direct sound to every listener.
 Guidelines for adequate loudness

As a general rule, however, the gradient along

aisles of sloped auditoria should not be more than
1:8 in the interests of safety.
In addition, the
reflectors should
be positioned in
such a way that
the time-delay
between the direct
and reflected
sound is as short
as possible,
preferably not
exceeding 30 msec
and definitely not
more than 80
msec.
Recommended Volume-per-Seat
Values (m³) for Auditoria.
TYPE OF AUDITORIUM min opt max

for Speech 2.3m³ 3.1m³ 4.3m³

Concert Halls 6.2m³ 7.8m³ 10.8m³
Opera Houses 4.5m³ 5.7m³ 7.4m³
Catholic Churches 5.7m³ 8.5m³ 12.0m³
Other Churches 5.1m³ 7.2m³ 9.1m³
Multipurpose Halls 5.1m³ 7.1m³ 8.5m³
Cinemas 2.8m³ 3.5m³ 5.6m³
 Diffusion of Sound

In order to provide a high degree of sound

diffusion within in an enclosure an abundant
supply of surface irregularities, such as
exposed structural elements, offered
in small rooms, the application of surface
irregularities is often difficult.
In such cases a random distribution of absorbing
material of the alternate application of reflective-
absorptive materials provide an alternate, though
less effective means. ceilings, serrated enclosures,
protruding boxes, sculptured surface decorations,
and deep window reveals must be provided.
 Control of Reverberation
RT = (0.161V)/A

where:

V = the volume of the enclosure (m³) and

A = the total absorption within the enclosure (Sabine).

A look at this formula clearly shows that the larger the room, the
longer the reverberation time and the greater the absorption
required. Thus, the RT can be changed within the same auditorium
by enlarging or reducing it's volume (ex: raising or lowering the
ceiling, using more balconies, etc). It is often the case that the RT
at low frequencies is most troublesome as this is the area at which
porous absorbers are least effective. Thus, panel absorbers and
bass traps may have to be considered.
Control of Reverberation
The most effective (and most expensive)
compensation for low attendance is to use
upholstered seating with the same overall
absorption coefficient as a single person.
Some auditoria use absorber on the bottom of fold-
up seating.
when occupied, the absorption effect is reduced as
it faces the floor whilst unoccupied if is folded up
and faces the stage.
Better Placement of Reflectors:

The basic concern is the

availability of direct sound
to all the audience at the
same time. To maintain
this reflectors are best
used.
Also to correctly placing
these will enhance the
indirect rays to reach the
public at the earliest.
 Elimination of Defects

The basic defects attributable to room

geometry:
echoes
sound concentrations,
sound shadowing,
distortions,
coupled spaces and
room resonance.
SOUND CONCENTRATON
Sometime referred to as 'hot-spots', these are
caused by focused reflections off concave
surfaces. The intensity of the sound at the
focus point is unnaturally high and always
occurs at the expense of other listening
areas.
Solution:

Treat with absorber or diffusers, better still,

redesign it to focus the sound outside or
above the enclosure.
 ECHOES
These are probably the most serious and
most common defect. They occur when
sound is reflected off a boundary with
sufficient magnitude and delay to be
perceived as another sound, distinct from the
direct sound. As a rule, if the delay is greater
than 1/25 sec (14m) for speech and 1/12 sec
(34m) for music then that reflection will be a
problem.
Solution:

Either alter the geometry of the offending

surface or apply absorber or diffusion.
 SOUND SHADOWING
Most noticeable under a balcony, it is basically
the situation where a significant portion of the
reflected sound is blocked by a protrusion that
itself doesn't contribute to the reflected
component. In general, avoid balconies with a
depth exceeding twice their height as they will
cause problems for the rearmost seats beneath
them.

Solution:
Redesign the protruding surface to provide
reflected sound to the affected seats or get rid
of the protrusion.
 Coupled Spaces
When an auditorium is connected to an
adjacent space which has a substantially
different RT, the two rooms will form a
coupled space. As long as the airflow is
unrestricted between the two spaces, the
decay of the most reverberant space will
be noticeable within the least reverberant.
This will be particularly disturbing to those
closest to the interconnection.
Solution:

Add some form of acoustic separation (a

screen or a door) or match the RT of both
rooms.
 ROOM RESONANCE
Room resonance is similar to distortions in
that it causes an undesirable tone
colouration, however, room resonance results
from particularly emphasized standing waves,
usually within smaller rooms. This is a
significant concern when designing control
rooms and recording studios.
Solution:
Apply subtle changes in overall shape of the
room or find out which surfaces are
contributing and use large sound diffusers.
ELECTRO ACOUSTICS
System Specifications
Any such sound amplification system is expected to
meet the following criteria:
It should properly transmit a wide range of frequencies
(30 - 12000 Hz) in order to maintain the correct
balance between fundamentals and harmonic
frequencies.
It should possess a high dynamic range, reproducing
sounds from a whisper to a shout without distortion.
It should remain undetected. The illusion of a natural
sound source should be preserved in spite of the use
of amplification equipment.
It should be free from disturbing echoes and feedback.
 TYPES OF SYSTEM
ARRANGEMENTS
There are three types of
arrangements
Central
Distributed
stereophonic
 Centrally located
Also known as a high level system, this is essentially a
single cluster of loudspeakers located near the source.
Such a system gives maximum realism as the
amplified sound, whilst increasing loudness and clarity,
is still associated with the original source.
 Distributed system
Basically a number of
loudspeakers spaced throughout
the auditorium. This is also known
as a low level system as each
individual speaker operates at a
low amplification level to service
only a small part of the whole
audience.
 stereophonic
Two or more loudspeaker clusters at
strategic positions within the
auditorium. Such systems are used
when there are a number of different
sources to be amplified or the source is
quite mobile. By using two or more
microphones, each connected to their
own cluster of speakers, the spatial
relationship between the sources is
preserved in the amplified sound.
Guidelines for speaker placement
In placing loudspeakers, it must be remembered that:
Every listener must have a sight line to the particular speaker
designed to supply them with amplified sound.

A loudspeaker cluster (particularly the central type) may

require a great deal of space
.
Concealed loudspeakers must be hidden behind sound-
transparent materials such as thin cloth or gauze, never
behind a reflective panel.

Loudspeakers should always radiate sound energy wholly at

the audience, not at any sound-reflecting surfaces.

Loudspeakers should never be directed at the pickup

microphone as this will inevitable result in a feedback loop.
Guidelines for speaker placement