ADVANCED DESIGN STUDIO

16ID4015

LITERATURE STUDY (MINOR PROJECT)

MATERIALS USED IN AUDITORIUM

DONE BY-
• Vijay
• Bhooma
• Ridhi
• Siddi
• Devyani
 MATERIALS USED FOR WALLS IN AN AUDITORIUM
WALLS OF AN AUDITORIUM COVER A CONSIDERABLE AMOUNT OF SURFACE AREA AND IT PLAYS AN IMPORTANT ROLE
IN THE ACOUSTICS OF THE AUDITORIUM MAKING IT IMPORTANT TO TREAT IT WITH THE RIGHT KIND OF MATERIALS.
THERE ARE A VARIETY OF MATERIALS USED FOR THE TREATMENT OF WALLS WHICH HELP IN THE SAME.

TYPES OF MATERIALS:

• Timber acoustic panel • Mineral/compressed glass wool • Compressed cane or wood

• Fibreglass acoustic panel
• Acoustic plaster
• Composite units of perforated
board (hardboard, asbestos
board or metal sheet) backed by
mineral or glass wool quilt or
slab.
tiles fibreboard,
perforated/unperforated
• Fabrics/curtains
• Compressed wood wool
• Rough plaster
• Composite units of perforated
• Special absorbers constructed of hardboard backed by perforated
hardboard, teak ply, etc, backed fibreboard
by air.
• Mineral/glass wool quilts and mats
 HARD ACOUSTICAL WALL-TIMBER ACOUSTIC PANEL
Timber acoustic panels provide a great sound absorbing
surface which are installed not only for aesthetic purposes.
the distance between the grooves can be altered with
smaller widths generally increasing acoustic performance.
besides, there are air gap in between each panel to absorb
redundant low frequency through panel vibration. the solid
back of the timber acoustic panel is smooth plaster as for a
standard acoustic panel the back solid structure, plaster or
gypsum board must be used as base.

HARD ACOUSTICAL WALL-ROUGH PLASTER

Acoustic plaster is plaster which contains fibers or aggregate
so that it absorbs sound. A first finishing layer is then applied
on top of the substrate panels, and sometimes a second
finishing layer is added for greater sound attenuation.
Besides, rough plaster walls are layered above smooth
concrete solid back to prevent vibration and reflect sound
effectively.
 SOFT ACOUSTICAL WALL-FIBERGLASS ACOUSTIC PANEL
These are sealed airtight with high sound absorption
coefficient in a wide range of frequencies, they have
excellent performance when attaching it directly against the
rear surface. the acoustic panel function as controlling
echoes, and sound foci from different places. a good
placement of soft acoustic panel can achieve proper sound
distribution diffusion, envelopment, intimacy and
reverberation.

FABRICS AND CURTAINS

Fabric Panels are the ideal choice for controlling excessive
reverberations in an Auditorium setting and delivering back
premium sound quality. The acoustic panels are class A fire
rated, decorative, durable, portable, and easy to self install. They
come in 100s of color options, or as an upgrade, we can wrap
them the graphics and imagery. Acoustical curtains will reduce
reverberation and echo in a large room, as well as reduce
interference from outside noise. They are a powerful sound
blocking lining to provide maximum sound protection and can
be used to cover windows, doorways and as room dividers.
 MINERAL/COMPRESSED GLASS WOOL TILES
These tiles are made from recycled newspaper, perlite, fiberglass,
mineral wool, and binding agents, making them a highly reliable
sound-absorbing solution. They are also light in weight and easy
to install with less number of layers and pre layering done. Best
part of these tiles are that they can be painted and are easy to
maintain than it’s other counterparts. They are also fire and
humidity resistant and are affordable than other options available
in the market. Not to forget, because they are made of recyclable
materials like paper, etc. they are highly ecofriendly.

COMPOSITE UNITS OF PERFORATED HARDBOARD BACKED BY PERFORATED

FIBREBOARD
Materials which are perforated are versatile. They are easily bent &
configured to the design, it can be used as a lightweight decorative
element or as a structural component in buildings. Perforated panel
has a structural strength many other materials do not have. They
can withstand harsh weather environments, with the ability to
control or equalize pressure due to its high strength-to-weight
ratio. They also let in a lot of light into the buildings if not used with
the backing of fiberboard and make the space better.
 HOW THE SHAPE OF WALLS AFFECT THE ACOUSTICS
The walls of the auditorium can have different forms like concave which might be advantageous when used in the context
of our building. concave surfaces have the tendency to reflect and concentrate sound waves to the centre of it's
projection, such as the seating areas in case of an auditorium.

CONCAVE WALL THAT ALLOWS EVEN CONCAVE AND CONVEX TRIANGULAR PANEL AT EQUAL
DISTRIBUTION OF SOUND DISTANCE TO ALLOW EVEN DISTRIBUTION OF SOUND
 MATERIALS USED FOR CEILING IN AN AUDITORIUM
A suspended acoustic ceiling is a secondary ceiling, hung below the structural ceiling both to treat room acoustics and to look
attractive. Suspended ceilings have the added advantage of hiding the mechanical, electrical, and plumbing installations from view
while maintaining some level of access to these utilities. Coming slides will explain the wide range of suspended acoustical ceiling
types, with a focus on the acoustic characteristics rather than access, installation, or cost.

TYPES OF MATERIALS:

• Mineral Fiber • Specialty materials

• Fiberglass
-Cementitious wood fiber
• Metal -Reinforced Gypsum tiles (GFRG)
-Polyethylene felts
• Wood
-PVC stretch
• Gypsum Plaster
-Acoustic foams
 How do suspended acoustic ceilings affect sound performance?
Suspended acoustic ceilings, then, are installed for one
purpose, or a combination of acoustical purposes (here
slightly oversimplified).

1. Sound absorption: Wave energy is taken in when an

absorbing material encounters sound; part of the energy
is transformed into heat and part of it is transmitted
through the material.

2. Sound reflection: Wave energy bounces back when it

strikes a material; part of the energy bounces back
directly and part of it indirectly as reverberation.

3. Sound diffusion: Wave energy bounces back evenly in a

room. In a perfectly diffusive sound, space reverberation
times are the same at any listening position.
 MINERAL FIBRES
Mineral Fibers typically sell as fissured suspended ceiling tiles. They are
the entry-level product in terms of price and performance and
remain the most mass-produced type of suspended acoustic ceiling
product. They are perfectly suitable for many environments, including
offices and retail spaces. They are made from a blend of mineral
fibers, perlite, clay, and even recycled newsprint.

METAL
Metals used in ceilings are typically aluminum, with a big effort put
into recycling.
Panned ceilings are made of tin and other alloys.
In addition to absorbing low frequencies, diaphragmatic movement
of metal materials might also cause rattles , so they too should be
laminated to a solid core material.
 FIBERGLASS PANELS

Faced Fiberglass panels come in a variety of products.

• Polyurethane or PVC bagged fiberglass is

sometimes used directly as “faces,” though
rarely for public spaces. They are most
often placed behind, in the role of absorptive
“body.”

• Woven fabric is wrapped around rigid fiberglass

panels and offers designers a rich color pallet.

• Painted PVC faced fiberglass (known as

Nubby) and latex faced fiberglass simulate the
look of painted drywall.

• Special acoustic plasters are also used to face

fiberglass panels. Once installed, the panel edges
are filled and coated with acoustic plaster. The
Rigid faced fiberglass panels installed above a wood grille ceiling.
effect is a drywall or plaster look, but with
acoustic properties.
 WOOD
Wood gives designers hundreds of species to select from,
though less than 100 are used commercially—and of those, less than
20 are used regularly in commercial ceilings.

Wood, often used in auditorium design for aesthetic reasons, must

be installed with care. Thin wood panelling with air space behind it
will allow unwanted low frequency absorption through panel
vibration like thin plaster and gypsum board.

GYPSUM PLASTER
The ceiling is an important factor for sound isolation. Gypsum plaster
ceiling panels are used as they have smooth surfaces that aid sound
reflection.
They also provide for acoustical intimacy, clarity, and strength of the
overall room's sound.
Suspended from the ceiling to provide short delayed, reflective sound
energy the reflector panels can provide the correct "ceiling shape 'for
early reflections that help avoid reverberation
 SPECIALITY MATERIAL

Specialty ceiling materials can be used together, such as wood and fabric acoustical panels

•Cementitious wood fiber: Fine wood fibers cemented together into an aerated acoustic pad.

•Reinforced Gypsum tiles (GFRG): Like wood or metal, the density of Glass Fiber Reinforced Gypsum requires holes to make
them.

•Polyethylene felts: Made from recycled bottles, these plastic felts share the acoustics of fiberglass, and come in a variety
of colors.

•PVC stretch materials: These elastic films stretch across a bay or an entire ceiling. Fiberglass can be placed behind to improve
acoustics, or the PVC films can be micro-perforated.

•Acoustic foams: Made of urethane and melamine plastics, open and closed cell construction provides acousticians different
sound attenuation properties. Some can be painted.
 AUDITORIUM FLOORING
Floors in Auditoriums of all sizes, whether built for a
small performance company or a large urban
symphony, get their share of high foot traffic.
Such spaces need to present a clean, safe and
comfortable environment for every audience to enjoy.
MAIN REQUIREMENTS-
When selecting a floor for auditoriums, make
sure you consider the following requirements
• Colors that stimulate concentration
• Sound reduction
• Contributes to indoor air quality
• Resistant to traffic

PROPERTIES OF AN IDEAL AUDITORIUM FLOOR-

• Front-of-the-house durability
• Décor and safety
• Heavy-duty properties for back-of-the-house
endurance
• Slip-resistant surface
• Low odor flooring
FLOORING FOR SEATING AREAS-
Whether sitting in orchestra sections, mezzanine levels or luxury box seats, patrons
deserve sanitary surroundings in which they can enjoy the performance. Flooring that’s
in keeping with venue décor, is non-absorptive of odors and is formaldehyde free with no
outgassing after installation, is ideal. Individuals with mobility limitations or requiring
wheelchair accommodation safely maneuver without concern.

FLOORING IN THE WINGS-

The less-seen areas of theaters and auditoriums also need protective floor coatings to
ensure long-lasting durability and safety. Behind the curtain, theater members drag
props and scenery around, haul and wheel equipment—and sometimes drop it. Costume
shops, scene shops, theater studios and dressing rooms can benefit from long-lasting
finished concrete flooring in neutral colors or inspiration-sparking bright. Theater and
auditorium floor coatings foster the ideal slip-resistance actors and stagehands need to
safely rush from dressing room to stage.
 CARPET FLOORING
Aesthetics and acoustics are one of the most commanding rules in the process of
designing an auditorium. Due to the anticipated presence of a large gathering of people, it
is necessary to make sure that the flooring is comfortable and prevents any accidents. It
works alongside stair nosing in making sure there is very little risk of accidents and/ or
injuries transpiring on a dark cinema interior. Carpets are soft and mostly cushioned and
will definitely break a hard fall hence minimize any injury in case an unfortunate incident
occurs. Besides, it prevents sounds from reflecting echo.

Easy to clean and maintain even can tolerate bleach wash. Keeping in mind the usability of
the flooring, the carpets are made with the solution that resists friction, to become an
ideal product for high traffic environment. Comes with a wide range of variety, selection
and design. These are made to be fire-resistant. No other acoustical material performs the
dual role of a floor covering and a versatile acoustical aid like carpets. Acoustic Carpet Rolls
makes a significant contribution to any room’s reverberation time.
 HARDWOOD FLOORING

Hardwood flooring is usually the most common of stage flooring option. It’s an excellent
choice and people’s favorite for its finishing look. Hardwood can sometimes require more
investment to maintain on the long-run, but it is totally worth it.

Wood gives stages a beautiful finish that compliments lighting very well. A low-medium
gloss enables the lighting to pop off the staging floor, incorporating some depth and
saturation to the look but without adding the bad reflections on projection screens.

• Easy cleaning
• Strength
• Variety of choices
• Acoustic properties
• Better air quality
• Ecological alternative
• Damage resistant
• Warmth
 VINYL FLOORING
Vinyl flooring is a new type of resilient flooring. Installation of Vinyl sheets is easy
because it simply glues to your existing floor or underlayment.
Vinyl flooring that is backed with foam and has a flexible surface, makes it a good
choice for sound reduction. Vinyl sheet floor covering is generally available in either 6'
or 12' widths.

• Excellent sound absorption

• Good sound insulation qualities
• Clean floors (Anti-bacterial and Fungicidal treatment)
• Water-impervious
• Fairly durable
• Adjustably resilient and insulating
• Easy to install
• Available with a variety of appearances
• Inexpensive
 GLASS WOOL FLOORING
Glass wool (originally known also as fiberglass) is an insulating material made
from fibers of glass arranged using a binder into a texture similar to wool.
It is produced in in rolls or in slabs, with different thermal and mechanical properties.
The manufacturing process traps many small pockets of air between the glass, and
these small air pockets result in thermal insulation properties.

• Lightweight
• Flexible
• Thermal insulation
• Acoustical insulation
• Environment friendly
• Water and fire resistant
 OTHER FLOORING TYPES

• Rubber Event Flooring

• No Glare Theatre Vinyl Flooring
• Epoxy flooring
• Polished concrete flooring
• Pine Flooring for Stage Floors
• Hardwood Maple for Stage Floors
• Tiled flooring
 MATERIALS USED FOR FURNITURE IN AN AUDITORIUM
AS FOR FURNITURE DESIGN MATERIAL, WOOD, LEATHER COTTON AND LINEN MAY BE USED AS MAIN MATERIALS,
WRAPPING MATERIALS, FILLER ETC. SUCH MATERIALS ARE MAINLY SOFT AND POROUS AND CAN EFFICIENTLY BLOCK ,
ABSORB OR WEAKEN ACOUSTIC WAVES AND THUS ACHIEVE ACOUSTIC INSULATION AND NOISE REDUCTION.

MATERIALS TO USE : PORUS MATERIALS TYPES OF SEATING:

IN GENERAL, SOFT, PLIABLE, OR POROUS
• Wood MATERIALS (LIKE CLOTHS) SERVE AS GOOD • Atlantic • MBS
ACOUSTIC INSULATORS
• Polypropylene fabric • Pacific • ISI
NON - PORUS MATERIALS
• Cotton • Riviera • Nex
DENSE, HARD, IMPENETRABLE MATERIALS
• Linen (SUCH AS METALS) REFLECT MOST. • Mos • Arc

• Polyurethane foam MATERIALS NOT TO USE : • Beaufort • Arc Max

• Polyester • Metal • Plastic • Caspian • Arc Vip

 CHARECTERISTICS OF FURNITURE MATERIALS USED IN AUDITORIUMS
Upholstery fabrics in concert or theater halls should properly mute noise and reduce reverb. Thus, they should significantly improve the
comfort of participating in a show or concert.
Additionally , upholstery fabrics for theater seats should stand out with their high abrasion resistance, be easy to maintain and keep clean
It should be comfortable in a way that the users can make use of them without getting tired or suffering from any discomfort for the entire
period they will in the facility.
It should be damp resistant to avoid dampness due to sweat
It should be adjustable to some extent and highly durable

PROS: POLYESTER
Wrinkle and abrasion resistant Polyester fibers resist liquid droplets, meaning that
Strong and lightweight the fabric will wick away moisture rather than soak it
Quick drying up

Easy to clean It helps create an excellent noise free environment as

No need to laminate
CONS:
Tends to stick to perspiring skin
Not as breathable
it has excellent sound absorption and noise reduction
properties
Moisture proof properties and weather resistant
durabilility .
PROS:
Strength and durability
Ease of maintenance
CONS:
Uncomfortable to sit on
Wood Is susceptible to water
Furniture Damaged
Can be affected by fire
WOOD
Wood is a light material, so as such its sound insulation
performance is not particularly good. Neither does a thick,
dense-surfaced and smooth wooden structure dampen sound
particularly well, so wood alone is not a good absorption
material. Wood conducts sound better in the longitudinal
direction of the grain than perpendicular to it. A dense wooden
structure reflects sound, and can easily be made into surfaces
that channel sound reflections.
POLYPROPYLENE FABRIC PROS:
Absorbs moisture
Polypropylene (PP) fabric refers to any textile product that is
derived from the thermoplastic polymer. Resistant to tearing
Thermal properties
As a fiber, polypropylene is strong, fade-resistant, and
inherently stain resistant. This is because polypropylene has no
active dye sites after it is synthesized. CONS:
Difficult to dye after manufacturing
If something spills or soils the fabric then the stain is sitting
between the fibers. This makes it extremely easy to clean Highly flammable
May oxidize or rust over time
 PROS: LINEN UPHOLSTERY
Eco-friendly Linen upholstery is eco-friendly, naturally antibacterial and
Ease of maintenance hypoallergenic which makes it an excellent natural fabric.
Because the ingredients used for making linen are grown
Comfortable and breathable
without the use of fertilizers and without irrigation, the fabric
Strength is not damaging to the environment.
CONS: The moisture resistance of linen helps to negate any bacterial
Wrinkles easily growth that could occur because of dampness.
Not stain resistant
It’s 30 percent stronger than cotton
Hot water can weaken the fibre

POLYURETHANE FOAM Pros:

Polyurethane foam is made by introducing various Soft and comfortable to sit on
blowing agents during the process of making
polyurethane. These blowing agents cause a chemical Durable
reaction inside the material, causing pockets of gas to No wear and tear
form within, giving the foam an open cell structure.

DIFFUSER To maximise the sound absorption in an auditorium Cons:

polyurethane foam with a high porosity allows Emits chemicals
effective sound absorption coefficient
Cost
The chairs , with air diffuser pedestals help to absorb
sound efficiently Flammable

BEAUFORT
With its clean lines and simple
design, the Beaufort is the ideal
choice for a stylish,
contemporary aesthetic. Having
a small closed depth it can be
incorporated into small spaces
and tiers of 800mm depth
without having to compromise
on comfort or access. Wooden
finish available for acoustic
properties.
TYPES OF SEATING
CASPIAN
In any parliamentary style venue it is
necessary for audience members to
command the attention of a large
quantity of people across a wide open
space. It was therefore an option to
incorporate a microphone / translation
system for each seating space.
Finished in wood with sumptious
padding and a high back, it is
customisable with an concealed tablet
which stows neatly into the armrest
PACIFIC
Cold cure moulded foam
ensures long lasting comfort
while the polyurethane
armrests will outlast all those in
fabric. The moulded foam
cushions wrap the support
springs in an airtight cocoon
preventing both noise and
corrosion. Its compact envelope
allows for ease of access and
egress.
ARC VIP
the ARC VIP was designed
with maximum comfort
for conscionable guests at
the forefront of the design
brief. Its high back rest,
wide seat and deluxe
padding make it the ideal
chair for projects of note.
TYPES OF STAGES
Parts of stage-
MATERIALS OF STAGE-
• Curtains
• Stairs
• Podium
• Stage flooring material
• Walls
• Ceiling
Curtains-

Manufactured as luxurious front curtains, borders,

legs, valances and stage backdrops, they serve a
decorative purpose on stage while improving lighting
and sound conditions.

• Masking and blackout curtains used as acoustic

drapes
• Cotton curtains
• Synthetic or polyester curtains
• Mohair velvet curtains
• Fire rated theatre curtains
STAIRS-

• Concrete- fire rated, doesn’t do anything to

reduce noise pollution

• Carpet- easily be replaced, requites

maintenance and good for sound
absorbance, used to cover staircase in
auditoriums

• Metal- fire-rated, require substantial

maintenance to prevent corrosion, can create
noise, used for temporary low height stages

• Wood- easily damaged, tough to maintain,

aesthetically pleasing in theatres

• Rubber or resilient staircase- easy to clean,

quiet, comfortable underfoot, used in flexible
theatre
PODIUM-

• Acrylic podium- easy to install and

dismantle, lightweight, good for
temporary or found stages.

• Wooden podium- most common,

flexibility of shelves, height, size, style,
finish and design. Engineered wood,
laminate or veneer finish

• Steel podium- MS or SS, Comfortable,

Easily Usable, Easy To Carry, takes less
space
STAGE FLOORING MATERIAL –

• 3/8 Inch Rolled Rubber Event Flooring- easy to clean

and maintain, is stain resistant, resistant to mold and
mildew, and very durable
• Hardwood Maple for Stage Floors- used for the
apron or the front of the stage
• Tempered Hardboard for Stage Floors- used for
behind-the-curtain stage floors
• Stained Concrete- can have the stage poured just
after the foundation is laid, dense properties doesn’t
echo through the auditorium as much as a hollow,
traditional stage deck
• Other options- carpet, vinyl
 Found Stage
• Simplest stages available.
• Also referred to as Profile theatre.
• Non-theatrical areas that are
converted into theater spaces.
• These stages typically place
audiences on risers facing the
“stage.”
• They do not require staging such as
props, lighting or other theatrical
elements.
• They are most effective in long,
narrow spaces such as a store front,
alleyway or patch of green space
adjacent to a building.
Proscenium Stage
• Perhaps the most readily
recognizable.
• One of the traditional features of a
proscenium stage is the proscenium
arch — an architectural frame
around the stage which doesn’t
necessarily need to be in an arch
shape.
• The back of the stage may be raked
so the stage slightly inclines as it
moves away from the audience.
• The front of the stage may also
extend beyond the proscenium
frame into the audience, creating
what’s known as an apron or
forestage.
End Stage
• A type of setup in which the
audience sits opposite of the stage.
• The audience is faced in a single
direction and is usually rectangular
or square in shape.
• These stages could be round,
triangular or another irregular
shape.
• One benefit to an end stage theater
is that the entire audience is solely
focused on the events on stage.
• A proscenium arch theater can
feature an end stage, but that
doesn’t mean all end stages are
within proscenium theaters.
Thrust Stage
• The end stage and the thrust stage
are very similar.
• It features audience members on
three sides of the stage.
• While the audience is typically
looking “in” at the performance on a
proscenium stage, the performers
are effectively looking “out” at the
audience on a thrust stage.
• The thrust stage is a great option for
event spaces that want to prioritize
intimacy between those on stage
and those in the audience.
• William Shakespeare’s plays, for
example, were written for this type
of stage setup.
Arena Stage
• It features audiences on all
four sides.
• These types of stages are used
when no background is
required and when the
audience needs to engage with
the performance from all sides.
• Normally these setups also
feature tiered seating like you
would see in a football
stadium.
• Best suited for events like
concerts.
Theatre in the round
• A stage configuration in which an
audience surrounds the
performance area on all four sides.
• Difference from arena- arena
theaters are often built to
accommodate expansive crowds,
such as a sports arena, while
theaters in-the-round cater to a
much smaller audience.
• They use limited props and scenery
to avoid blocking the audience’s
view.
• Instead of arriving from backstage,
actors enter and exit through the
aisles between the audience’s
seating.
Flexible Theatre
• Also known as a studio theater or a
black box theater, it is designed to
accommodate a wide range of needs.
• Unlike other types of stages and
theaters, flexible theaters aren’t
fixed.
• It allows the creative team to design
both the stage and audience setup to
their specific desires.
• Within minutes, the stage and
seating configurations can be set up,
rearranged or taken down.
• Whether or not the performers use
the stage, they may opt to use few
set pieces or props, instead engaging
the audience’s imagination with their
actions and speech.
Platform Stages
• A platform stage is simply a raised
platform located at the end of a room
facing an audience.
• Platform stages are traditionally located
in areas that are not primarily used as
auditoriums theaters like- multipurpose
spaces in event halls, churches, colleges
and more.
• One benefit is that they usually don’t
need to follow the same International
Building Codes and fire codes that an
auditorium stage with curtains and
lighting would.
• This can make platform stages an
effective solution for venues that want a
performance area but don’t plan on
using it for elaborate events.
Hippodrome
• The hippodrome dates back to
ancient Greece and was an outdoor
arena used for chariot races and
horse races.
• Racers would run around an oval
track, which was surrounded by
spectators on tiered seating.
• The track and audience were
typically separated by a pit or
screen.
• They were typically dug into the side
of a hill.
• Today, these types of theaters don’t
serve a practical use and are not
newly constructed for any public or
private events.
Open Air Theatres
• It is an event space that hosts
performances in an open air setting,
meaning the venue is open to the sky.
• In many examples, an awning covers
part of the stage or audience to
protect them from wind, rain and
sunlight.
• They can include small platforms or
flexible stages, more permanent
proscenium stages, or thrust stages
located in a local park, fairground or
other event space.
• Lighting and other elements can be
integrated into the stage
configuration, or the stage could
operate with natural light to offer a
unique experience.
TYPES OF STAGE
ARRANGEMENTS