LUMINOUS

PRESENTATOI
N
MD. IBRAHIM KHALIL
ID NO : 1801511600286
 AUDITORIUM
For movie theatres, the number of
auditoriums is expressed as the
number of screens.

An auditorium is a room built to enable an

audience to hear and watch performances at
venues such as theatres.
Acoustics - A huge part of the audience's experience in your auditorium design will be the acoustics.
The ideal acoustic environment in an auditorium is one where the visual and auditory experiences are
both captivating, intimate, and efficient. The auditory experience is uniquely shaped by the acoustics of
each room.

AUDITORIUM
AUDITORIUM

Architectural Coordination

When considering auditorium design, good lighting design is always in step with a venue’s interior
design. They are symbiotic.

The auditorium, as a place for listening developed from the

classical open-air theaters. ... Reverberation is an important
parameter that helps define the sound quality of an acoustic space.
 ACOUSTIC DESIGN PRINCIPALS

Auditorium Acoustics

A huge part of the audience’s experience in your auditorium design will be the acoustics. The ideal
acoustic environment in an auditorium is one where the visual and auditory experiences are both
captivating, intimate, and efficient. The auditory experience is uniquely shaped by the acoustics of
each room. This brief overview of natural acoustics is aimed at giving designers some basic
fundamentals on how the room acoustics of a space are effected by design choices that an architect
would make. We will start off with a brief description of how our ear works in the context of
listening.
AUDITORIUM(SEATING)
When it comes to seating widths, the most common chair widths are 20 inches, 21 inches, and 22
inches. That being said, available seat widths can range anywhere from 18 inches to 24 inches. You’ll
also want to consider the row spacing. An average minimum dimension might be 30″
 ACOUSTIC DESIGN PRINCIPALS(SOUND)

The main driver behind acoustic design in auditoriums comes down to the phenomenon above: Strive
to keep and enhance ‘early’ reflections to arrive at the listener no more than 50 milliseconds after the
direct sound; and dampen and reduce ‘late’ reflections that would arrive at the listener more than 50ms
after the direct sound. At a given listener location, if there is more early acoustic energy than late,
speech will be intelligible. To that end, surfaces should be provided and shaped to provide such early
reflections, and reflection paths that provide late acoustic energy should be made acoustically
absorptive.
 ACOUSTIC DESIGN PRINCIPALS(LIGHT)

Accent Lighting
Getting a quality, even illumination in the main areas of a venue is a priority, but so too is accent
lighting. Depending on the goal and resources available, this component of a lighting scheme can vary
greatly. And even on a shoe-string budget, a few nice touches can go a long way to make an auditorium
more inviting. For example, flood uplighters in a venue with an architecturally interesting ceiling will
make the venue infinitely more inviting, and dimmable units can be used during performances.

Downlight and general illumination

Downlight for general illumination is not only necessary for public safety, wayfinding and
reading, it serves a crucial role in creating excitement and eliciting emotion. Top quality dimming
control is fundamental to achieve this effect through even fades. High resolution dimming using
DMX control and good quality electronics in lighting fixtures can achieve this as they almost
eliminate the “steps” that can be seen in lower quality power supplies and alternative signal
protocols.
Objectives(Light)

The Goal and Approach

An auditorium lighting design needs to provide two fundamental components.

The first part is the illumination needs of the public who work in and enjoy
the space. The more difficult part is to convey the intended feeling and
emotion that fits the program and the attitude of the space. A successful design
elicits an emotional human connection to the space, and lighting plays a
crucial role in accomplishing this goal.
 Design Objectives (Room)

CONSIDERING SEAT DISTRIBUTION AND ROOM SHAPE

Intimacy, the shared experience, and audience enjoyment are significantly impacted by the
relationship of seats not only to the stage, but also to each other. Seat distribution and room shape
are concerned with the position and arrangement of seats within the audience chamber.

Planning the Room

Once the performance type and general room
function have been identified, the process of
conceptually developing the room can begin.
Objectives
• According to Bangladesh National Building Code, BNBC (2012):
 Design Objectives
•According to bangladesh national building code, BNBC (2012), a space, involving either of the acoustical types
must achieve few design targets. Some of these important design targets are mentioned below:

A) noise exceeding allowable limit should be controlled.

B) speech intelligibility should be satisfactory.
D) the desired sound level must be optimum to be heard properly.
E) diffusion of sound throughout the whole space.
F) there should be no defects such as echoes, flutter echoes etc.
 Design Objectives

ACOUSTICAL GOAL FOR AUDITORIUM

NOISE LEVEL
REVERBERATION TIME
High Speech Intelligibility
SOUND LEVEL
SIGNAL TO NOISE RATIO (SNR)
DIFFUSION
 Noise Level
TYPES OF NOISE
Depending on Depending on
Location of source Transportation Path

1. Outdoor Noise 1. Airborne Noise

(e.g. traffic noises, machinery, appliances,
construction
activity, loudspeakers, people, animals etc.
2 Indoor Noise
(e.g. appliances, machinery, footsteps on
floor, air conditioner duct, Activities performed
by occupants, like people, pets etc.)
(e.g. Noise from appliances, car horn,
telephone ring etc.)
2. Structure-borne Noise
(e.g. Footsteps, slamming of door,
furniture movement, vibrating
mechanical equipments etc.)
In order to achieve noise control effectively, measures should be taken
in the following order:

a) Suppression of noise generation at its source

b) Layout planning
c) Insulation design
d) Absorption design
Layout planning
 Design Strategies- Noise Level

Sound Travels over the partition

wall, through lay-in ceiling.
Partitions must continue all the
way to structural deck to be
effective sound barriers.
 Reverberation Time
Standards:

Source: Bangladesh National Building Code (2012)

Design Strategies-Reverberation Time
Increase the amount of soft, rough, or porous surfaces (e.g.,
acoustical paneling, bulletin boards, carpeting, bookcases) and
decrease the amount of smooth, hard surfaces (e.g., exposed
concrete walls, glass) to reduce room reverberation times and
overall noise levels.

Position large reflective surfaces (e. g.blackboards, glazing) at

non-parallel angles to the walls to reduce echoes.

(Crandell & Smaldino, 1999a).

Place sound-absorbing materials on the rear wall of classrooms

to prevent sounds from echoing back to the front of the
classroom, eliminating discrete echoes and improving classroom
speech intelligibility (Seep et al.,2000).
 Sound Pressure Level
Standards:

a) In a space with a low background noise (<20 dBA) and a minimum Reverberation Time
(close to 0.0 s), a maximum Percentage Syllable Articulation (PSA), and thus Speech
Intelligibility can be achieved at sound pressure level of speech ranging from 60 dBA to 70
dBA .

b) For speech halls with higher background noise (>20 dBA), the recommended Signal-to-
Noise Ratio (SNR) is +15 dBA for children and at least +6 dBA for adults.

Source: Bangladesh National Building Code (2012)

 Diffusion
Standards:

a) Diffusion of sound should be achieved in any space, so that certain

key acoustical properties, like sound pressure level, reverberation
time etc. are the same anywhere in the space.

b) There shall not be a difference greater than 6 dBA between sound

pressure levels of any two points in the audience area.

c) Appropriate room geometry should be chosen to achieve diffusion

of sound.

Source: Bangladesh National Building Code (2012)

Design Strategies- Diffusion
Design Strategies- Diffusion
 Design
Strategies
Design Strategies
 Case Study
Veer savarkar auditorium, shivaji
park - ACOUSTICS -
AUDITORIUM - MUMBAI
Case Study
Case Study
Case Study
Case Study
Thank You