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Services acoustics

  2. 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 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
  3. 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
  4. 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”
  5. 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 .
  6. 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.
  7. 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
  8. 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