SERVICES
ACOUSTICS
VI SEM B.ARCH
01FA15BAT044
K L E T U HUBBALLI
SHASHIDHAR HATTI

SERVECES ASSIGNMENT
SHASHIDHAR HATTI
VI SEM B.ARCH
01FA15BAT044
K L E T U HUBBALLI
REMARK SHEET NO
1
GREEK THEATER EPIDAURUS
STRUCTURE
Three Main Portions of Greek
Theatre:
Skene – Portion of stage where
actors performed (included 1-3
doors in and out)
Orchestra – “Dancing Place”
where chorus sang to the
audience
Theatron – Seating for audience
Greek plays were performed during
religious ceremonies held in honor of
Dionysus, the Greek god of wine and
revelry
ISSUES OF THEATRON
1Daylight 2Class issues 3Women
4Comfort 5Sound effects
Parodos: passageways (pl.paradoi)
1Ekkykleme: “the thing that rolls”
2the small wagon platform, was wheeled
in to show a corpse to the audience.
3All killing had to occur off stage and be
reported to the audience by the chorus or
a messenger.
4Mechane: crane used for special effect
IT is built open-air theatres where the public
could watch the performances of Greek
comedy, tragedy, and satyr plays. It became a
typical feature of the urban landscape in
all Greek cities.
One of the best preserved, and with
surviving paradoi, is at Epidaurus which was first
built in the 4th century BCE and which is the site
of an important annual festival of ancient Greek
Drama.it is constructed
On landscape countours.
Greek architects liked to site their theatres in
such places that gave the audience a spectacular
view not just of the actors on the stage but also
the landscape behind.
Located on the fertile plain of Argolida, in the
eastern part of Peloponnese .
Capacity 240000

SERVECES ASSIGNMENT
SHASHIDHAR HATTI
VI SEM B.ARCH
01FA15BAT044
K L E T U HUBBALLI
REMARK SHEET NO
2
Open amphitheatre acoustics for theatrical plays.
The open antique theatre signifies the initial
meeting point between architecture, acoustics
and the theatrical act. This simple structure
consists of the large truncated-cone shaped
stepped audience area, (the amphitheatrical in
Greek or “the flat stage area for the chorus
“orchestra” and the stage building “skene”with
the raised stage “proskenion” for the actors.
The acoustic quality of these ancient
theatres amazes visitors and experts alike, As a
test case, the classical / Hellenistic theatre of
Epidaurus in southern Greece is often studied
which is famous for its near-perfect speech
intelligibility. Recent measurements with
audience present confirm that intelligibility is
retained besides the increased audience sound
absorption.
ACOUSTICS
It is now clear that the “good acoustics” of these
amphitheatres and especially of Epidaurus, is
due to a number of parameters: sufficient
amplification of stage sound, uniform spatial
acoustic coverage, low reverberation,
enhancement of voice timbre, all contributing to
perfect intelligibility even at seats 60 meters
away, provided that environmental noise is low.
These acoustically important functions are
largely a result of the unique amphitheatrical
shape, the geometric shape and hard materials
of the theatre’s surfaces generate sufficient
reflected and scattered sound energy which
comes first from the stage building, then the
orchestra floor and finally from the surfaces at
the top and back of seat rows adjacent each
listener position and which is uniformly spread
to the audience area
VISIUAL AXSIS
The masks were worn for many
reason including:
1. Visibility
2. Acoustic
Assistance
3. Few Actors,
Many Roles
4.
Characterizatio
n

SERVECES ASSIGNMENT
SHASHIDHAR HATTI
VI SEM B.ARCH
01FA15BAT044
K L E T U HUBBALLI
REMARK SHEET NO
3
ROMAN THEATER MARCELLUS
STRUCTURE
Finished in 17 BC, the Theater of Marcellus was
an ancient open-air theater in Rome. At the
theater, locals and visitors alike were able to
watch performances of drama and song. The
inaugural performance was held in 12 BC. The
theatre could originally hold 11,000-12,000
seated spectators, with room for up to 14,000
people.
The roman theatre was semicircular in shape and
it was constituted by three parts:
the orchestra, with the seats reserved to the
senators;
the scene, where the actors performed;
the cavea, which consisted of broad steps.
General Characteristics
•Stage raised to five feet
• Stages were large –
20- 40 ft deep
100-300 ft long
•Theatre could seat 10-15,000 people
• dressing rooms :in side wings
• stage was :covered with a roof
Scaena
“stage house” joined with audience to form one
architectural unit
Scaena frons front/façade of the stage house
was painted and had columns, niches,
porticoes, statues
Orchestra becomes half-circle if entertainment
permitted, people were sat here could be used
for musicians
Vomitoria
corridors under the seats that lead onto the
orchestra
Pulpitum the stage
Cavea the auditorium
Features of a marcellus Theater
• canvas awning
•women spectators not allowed in front rows
•front seats reserved for senators
•all parts played by men
•masks to indicate stock characters
•3 doors for actors to enter and exit by
•½ circle “orchestra”

SERVECES ASSIGNMENT
SHASHIDHAR HATTI
VI SEM B.ARCH
01FA15BAT044
K L E T U HUBBALLI
REMARK SHEET NO
4
ACOUSTICS VISIUAL AXSIS
The masks were worn for many
reason including:
1. Visibility
2. Acoustic
Assistance
3. Few Actors,
Many Roles
4.
Characterization
ROMAN ADDITIONS
The Romans greatly admired Greek architecture and, in
typical fashion, they copied and enhanced the idea of
tightly-packed public spectacles. They enlarged the
permanent scenery behind the stages of Greek
theatres making it into a multi-story backdrop (scaenae
frons) that joined the sides of the cavea. Nero, for
example, added a monumental Roman-style stage
building to the Dionysos Eleuthereus theatre which
reduced the now marble stage area to its semi-circular
form still seen today. A low speaker’s platform (bema)
was added to the enlarged stage too in the 2nd or 3rd
century CE. The Romans also paved the orchestra,
sometimes added an awning roof (vela), built
substructures under the seating, and generally added
more decoration to theatres by adding monumental
statues, exotic marble columns, and relief carvings to
the stage area. With their high backstage and covered
roof, the enclosed and almost claustrophobic
atmosphere of the Roman theatre would more and
more come to resemble the modern theatres of today.
Evolution of the shape of open theatres. Roman
period theatres had semi-circular orchestra and
taller and more elaborate stage building.The red
lines indicate the koilon / orchestra design principle
as described by the ancient architect Vitruvius.
The acoustics of odeia for music performances
Although the form of ancient odeia broadly
followed the amphitheatric seating and stage /
orchestra design, they were covered by roofs
usually made from timber. This covered
amphitheatric form was also initially adopted by the
early Renaissance theatres, nearly 1000 years after
the demise of antique odeia .

SERVECES ASSIGNMENT
SHASHIDHAR HATTI
VI SEM B.ARCH
01FA15BAT044
K L E T U HUBBALLI
REMARK SHEET NO
5
ESPLANDE THEATER SINGAPORE
Esplanade – Theatres on the Bay, also known
as the Esplanade Theatre or simply The
Esplanade, is a 60,000 square metres
(6.0 ha) performing arts Centre located
in Marina Bay near the mouth of the Singapore
River. Named after the nearby Esplanade Park,
consists of a concert hall which seats about
1,600 and a theatre with a capacity of about
2,000 for the performing arts.
ARCHITECT –DP ARCHITECTS
The design consists of two rounded space frames
fitted with triangulated glass elements and
sunshades, which balance outward views with
solar shading
Situation
The complex is located in an area of four
hectares along the bay, limiting the civic center
and a historical district of Singapore. The site is
located at the Esplanade and Marina Bay end of
the tour.
Concept
The idea of the architects was to create a
complex with flexible rooms to receive the wide
variety of scenic eastern and western genres,
according to the multiethnic population of
Singapore.With the premise of raising a design
to represent past and future projects are
devoted to combine the most modern
techniques with local tradition.
From there came the design of the complex
with its two main audiences and shells of sea
urchins. It is also associated with the two
volumes with durian, an Asian fruit typical bright
yellow and spiny shell.
Spaces
The set consists of four theaters, a concert
hall, shops, rehearsal rooms and offices.
To add resistance to the ground, pilot plant.
The rooms are made of reinforced concrete structure. There are other
boxes within boxes. This helps to acoustic excellence achieved.
The roof is made up of panels lined the route as the sun, which due to its
proximity to the Equator, is practically the same throughout the year. These
aluminum panels are arranged in a grid structure that is based on curves
distorting the proportions of the diamond. Above the grid, a second layer
of aluminum panels creates a kind of bird beaks changing direction, it
flatten or rise, giving the cover that aspect scaly.

SERVECES ASSIGNMENT
SHASHIDHAR HATTI
VI SEM B.ARCH
01FA15BAT044
K L E T U HUBBALLI
REMARK SHEET NO
6
ESPLANDE THEATER SINGAPORE
A Hallfor Music of 1,600-seat Hall, is designed primarily for music, though it's flexible
enough to host other events such as speeches, company functions and multi-media
shows.
The predominant colours are a bluish green and sandstone with for a light a relaxed
feel with wood accents and a wood floor. A wood screen lends a feeling of intimacy
and enclosure in what can be, with the reverberation chamber doors open, quite a
large acoustic volume. With operable concrete walls fronting one of the largest
reverberation chambers Artec's Russell Johnson has specified to date, a very large
three part acoustic canopy and sound absorbent curtains that can be retracted or
drawn out as desired, this is one of the more flexible venues in the world. Indeed, the
options are so extensive that it would be hard not to find a setting that would be
adequate for any given style of music.
It has Hall has of the facilities, a stage that can accommodate orchestra risers or
simply present a large flat stage. The chorus seats behind the stage, which provide
an additional 200 seats in the absence of a chorus, are also removable.
CONCERT HALL

SERVECES ASSIGNMENT
SHASHIDHAR HATTI
VI SEM B.ARCH
01FA15BAT044
K L E T U HUBBALLI
REMARK SHEET NO
7
ESPLANDE THEATER SINGAPORE
THEATER
The 2,800-seat Theatre, is designed for a variety of
performances: major drama productions, ballet and
dance, Asian and Western opera, amplified musical
productions and events, etc.
The predominant colours are red and gold, evoking
a rich, warm and enveloping atmosphere that builds
on the intimacy and relative small size afforded by
the traditional horseshoe form of the room.
It has state of the art production facilities, a stage
with an adjustable proscenium, two ancillary stages
and a 30m high fly tower. The orchestra pit can be
raised to either provide 200 additional seats or
raised further to provide a large forestage area.
It has a main stage with an adjustable proscenium
arch, two full-sized ancillary stages, a 30m high fly
tower, and an adjustable orchestra pit that can hold
up to 95 musicians.
THEATER STUDIO
RECTAL STUDIO
Esplanade's 1800-seat Concert Hall features acoustics control
chambers that surround most of the audience areas, a 3-
segment adjustable acoustical canopy over the concert
platform, and remote-controlled acoustical curtains, which are
placed at strategic locations. This enables the hall to provide
ideal acoustics for a wide range of performances from solo
recitals, to concerts with full orchestra, organ, and chorus. The
flexibility of performance production systems and adjustable
acoustic systems also allows the hall to provide both Asian
music and traditional Western performing arts ensembles with
the same level of acoustic quality. Its flexible performance
platform is designed for a maximum of 170 musicians and 200
chorus members. The concert hall features a Klaus
Orgelbau pipe organ.
Both performance venues are constructed as "boxes-within-
boxes" to insure protection from outside noises and vibrations.
The isolation techniques include wide structural air gaps to
further insure that vibrations generated in "noisy" areas will not
be transmitted to the acoustically critical performer and
audience areas. Solid, dense construction materials were used
to insure that acoustic sounds from the lowest organ pedal
notes, to the highest overtones of string and percussion
instruments, are preserved and distributed to the listeners.
ACOUSTICS