Group 2:

Aya Abdel-Samad 1200131 Design analysis: Section A-A

Assignment 2 Basma Sherif
Julie Micheal
1200463
1200847

Teatro alla Scala, Milan, Italy

Khadija Mohamed 1200406
Mariam Mohamed 1200966
Nada Mahmoud 1200939
Salma Mahmoud 1190486

History:
The Teatro alla Scala was founded by Empress Maria Theresa of
Austria. Teatro alla Scala replaces the Royal Ducal Theatre, which
was destroyed by fire on 26 February 1776.
Designed by the great neoclassical architect Giuseppe
Piermarini, La Scala opened on 3 August 1778 and has become
one of the most important focal points for both Italian and
European culture
Royal Ducal Theatre

In 1943, during World War II, La Scala was severely damaged

by bombing. Between January 2002 and December 2004,
Design analysis: Main Elements
Mario Botta carried out the restoration and modernization of
La Scala.

Design analysis: Plan

Main Entrance
A A

Plan Analysis

Entrances for maestro/ music band Backstage Audience

Entrances for audience Stage Orchestra
Backstage entrances Stairs for balcony seats Main entrance area
 Acoustics
Acoustics
Is the acoustics satisfactory in the space?
Fig. 1.4 is a section of the famed opera house.
the section is of teatro alla scala, famed for its six-tier boxes
Ground-floor tier:
the closeness of the chairs to each other was inevitable with the design of the plan, but it
doesn’t change that it affects the listening experience
the chairs are horizontal, there is no inclination in the seating area, further away from
the stage, for more distance or a better hearing experience.
the stage is a little bit elevated, which may help the sound travel to the further seats
Elevated tiers:
the elevated tiers are a bit more spaciously distributed in seats , human absorbance
factor is less, sound is more heard.
the elevated tiers have a much more uninterrupted view and sound range , allowing for
better transmittance of acoustics
the curvature in the elevated tier-boxes allow for better immersive experience, better
acoustics
Conclusion:
The elevated tiers have excellent acoustics, the human absorbance factor for sound
has been somewhat accounted for, as this is a very old opera house, it may not be up to
the latest standards but it does attempt to meet them.
The ground-floor tier unfortunately does not have as good acoustics as the elevated
ones, it is more crowded, with no elevation in the back rows.
Current performance
current performance
Strength (loudness) Clarity
The figure above shows the strength and clarity index of the sound throughout the
opera.
it is clear that both the strength and clarity are highest towards the pit and the front
rows and lowest towards the rear end
Factors contributing to acoustical performance :
1-Shape and Layout: . The shoe box shape helps to distribute sound uniformly
throughout the space.
2-Materials: the walls, ceilings, and floors are made of specific materials that absorb
and reflect sound appropriately. For example,the floor was made up of parquet,and
the walls and ceiling are made of plaster and wood
3-Adjustable features: the theater has a system of adjustable panels located on the
ceiling and walls to help shape and direct the sound towards the audience.
Additionally, the stage floor can be raised or lowered to help adjust the balance of
sound between the orchestra pit and the stage.
4- A new floor was designed to provide sufficient vibration transmission to the
audience, actuating as a radiation box installed to direct sound vertically.
5-The orchestra pit is strategically placed to allow optimum balance between
musicians and a clear projection of sound throughout the auditorium.
However due to its size and number of balconies the sound isn’t as clear on the top
floors and rear ends of the balconies.Moreover, there is an uneven sound
distribution.In conclusion, the renovations heightened some of its acoustical
performances,however there could be other strategies that could enhance it
2. Suggestions:
elevate the crowded ground floor tier
install soundproof curtains around the pit to to control the sound levels from the area
to reduce echos an acoustic and diffusing panel could be placed in balconies as shown
the following figure.
 Vision
current Vision
Details
performance details:
2. Are the seats stage view satisfactory in the space?

The seats in the top back have the

worst views since it doesn’t see
the stage because of the
insufficient slope of the seats and
the interrupting columns.
Very far and sharp angled view
Very far and sharp angled view
Satisfactory view

Satisfactory view
Satisfactory view

Rail interrupting the view.

Rail interrupting the view. Sharp view
Sharp view

sharp-angled view.

sharp-angled view.

Sharp-angled view.
Satisfactory view except for the need to look Gives a side view of the
Sharp-angled view. upwards which can be painful to the neck. stage not front.
Gives a side view of the
stage not front. Conclusion:
The seat stage vision can be enhanced by :
Using transparent handrail or thinner cross
sections to reduce the vision interruptions.
Adjusting the slope to reduce the viewers’
need to lean forward or stand to see the
stage and avoid obstacles.
Increasing translation screens or picking
better locations for them.
 Group 2:
Aya Abdel-Samad 1200131
Basma Sherif 1200463

TEATRO ALLA SCALA

Julie Micheal 1200847
Khadija Mohamed 1200406
Mariam Mohamed 1200966
Nada Mahmoud 1200939
Salma Mahmoud 1190486

Location: Milan,Italy
Architect: Giuseppe Piermarini
PROPOSED SOLUTIONS
Year : 1778
Total seats:2030
Area : 7900 M2
History: Teatro alla Scala replaces the Royal Ducal Theatre, which was destroyed by fire on 26 February 1776.In 1943La Scala was severely
damaged by bombing. Between January 2002 and December 2004, Mario Botta carried out the restoration and modernization of La Scala.
IMAGE

CURRENT STATE edges

e
re shifted to th
RAY DIAGRAM corridor
s a

x3 x6
B1
x6
b2 A2

a2 x2
x4
A1 x1 x5
b1 a A3 x1
B2
d2 1 x4 x3
x5
x2
d1 Echo check 1: B3
then ( A1 + A2 ) - A3 = S X3
A2

(15.12 + 3.4)-13.3 = 5.22

And 5.22 < 17 m
fine Y1
X2
Echo check 2: Y3 Echo check: Echo check:
then ( B1 + B2 ) - B3 = x1= 26.8 ,x2=28.1 , x3= 19.6 x1= 12.48 ,x2=3.7 , x3= 26.4
(19.29 + 23)- 29 = 13.29 Y2 (x1+x2)-x3= 35.4 (x1+x2)-x3= -10.22
X1
And 13.29 < 17 m x4= 22.7 , x5= 38.1 , x6= 59.1 x4= 31.27 , x5= 53 , x6= 69.8
fine (x4+x5)-x6= 1.7 (x4+x5)-x6= 14.77

The choice of materials for walls and ceilings in opera houses typically involves a
Acoustic shell in backstage area combination of both absorbent and reflective materials to create an ideal acoustic
environment. Here are some common materials and their Absorption coefficients for
IMAGE Echo check 1: opera house walls and ceilings:
reflective material
Tangent then ( A1 + A2 ) - A3 =
polished oak
s IMAGE (18.15 +18.87)-12 = 25
i reflective material And 25 > 17 m Reflective materials Absorbent materials
polished oak
NOT fine
Echo check 2: Plywood Paneling(floors) Acoustic Drapery (pleated
B2

B5
B4 then ( B1 + B2 ) - B3 = Z2
(3mm) 50%, 476 g/m2)
B3 Y2 4m
a5 s (19.23 +3.02)-18 = 4.25 A1
Z1
125 Hz 0.28 125 Hz 0.07
a4 B B2 X2 Y1

d4 B2 i And 4.25 < 17 m B1 X1 250 Hz 0.2 250 Hz 0.31

a3 d3 1 s B3
B1
Z1
X1
X2 B3 500 Hz 0.1 500 Hz 0.49

8m
A2 A3
d2
s Echo check 3:
A1

a2 a i Y1
Z3 1 kHz 0.1 1 kHz 0.75
d1 Y2 Y3
Z2
X3
1 then ( X1 + X2 ) - X3 = 2 kHz 0.08 2 kHz 0.7
absorvative Y3
Z3 S X3
A3
(17.71 +20)-10.47 = 27.24 4 kHz 0.08 4 kHz 0.6
material red And 27.24 > 17 m
fabric
absorvative
NOT fine stepped balcony seats Plaster and Stucco (on Acoustic Panels/ Ceiling
SCETION 1 SCALE 1:400 SCETION 2 SCALE 1:400 material red masonry) Panels (12mm)
SCETION 1 SCALE Eco check 5:
fabric Echo check 5: 125 Hz 125 Hz
Echo check 4: 1:400 stepped ground floor seats then (B1 + B2 ) - B3 = 0.01 0.15
then ( Y1 + Y2 ) - Y3 = then ( Z1 + Z2 ) - Z3 = 250 Hz 0.02 250 Hz 0.11
(20+ 30.5)-46.5 = 4
(17.17+19.32)-3.94=33.08 SCETION 1 SCALE 1:400 500 Hz 0.02 500 Hz 0.04
(17.75 +20)-10.18 = 27.57 And 4 < 17 m 1 kHz 0.03 1 kHz 0.04
And 27.57 > 17 m And 33.08 >17 m
2 kHz 0.04 2 kHz 0.07
NOT fine NOT fine
Echo check 1: Echo check 2: Echo check 3: Echo check 4: 4 kHz 0.05 4 kHz 0.08
then (X1 + X2 ) - X3 = then (Y1 + Y2 ) - Y3 = then (Z1 + Z2 ) - Z3 = then (A1 + A2 ) - A3 =
COMMENTS: (10.5+ 23.7)-25 = 9.2 (13.3+ 35.3)-41.3 = 7.3 (15.04+ 36.6)-45.5 = 6.14 (17.7+ 32.7)-45.6 = 4.8 Decorative Molding and
Textured Wall Coverings
And 9.2 < 17 m And 7.3 < 17 m And 6.14 < 17 m And 4.8 < 17 m Ornamentation
Corridor in the middle of the seating area where acoustics is good 125 Hz 0.14
125 Hz
250 Hz
0.4
250 Hz 0.65
0.1
The horseshoe shape allows waves to be reflected towards the audience 500 Hz 0.06
500 Hz
1 kHz
0.85
0.75
1 kHz 0.05 2 kHz
presence of echos 2 kHz 0.04 4 kHz
0.65
0.6
4 kHz 0.04
Acoustic shell in
backstage area Acoustic Insulation (fiber
Glass (6mm)
MATERIALS FLOOR -OAK WOOD WALLS- VELVET FABRIC CEILING-PLASTER glass 50mm)
125 Hz 0.18 125 Hz
absorption coefficient 0.12 and 0.16 0.6 and 0.9 0.02 and 0.04 250 Hz
500 Hz
0.06 250 Hz
0.18
0.76
0.04 500 Hz 0.99
at frequencies 500-2500HZ stepped balcony seats 1 kHz
2 kHz
0.03
0.02
1 kHz 0.99
SCETION 2 SCALE 1:400 2 kHz 0.99
4 kHz 0.02 4 kHz 0.99