Republic of the Philippines

Polytechnic University of the Philippines

College of Architecture,
Design and the Built Environment

INSTRUCTIONAL MATERIALS

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for

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ACOUSTICS AND LIGHTS

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Module 2: acoustical
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requirements for auditorium

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design
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Prepared by
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LUISITA F. FRANCISCO – GEGAJO, UAP

Associate Professor V

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AUDITORIUM is a place for listening developed from the classical open – air theaters. It is a
room intended for listening to music including theaters, churches, classroom, meeting halls.
The design of various types of auditoriums has become a complex problem, because in
addition to its various, sometimes conflicting, aesthetics, functional, technical, artistic and
economical requirements, an auditorium often accommodate an unprecedentedly large
audience. (https://www.slideshare.net/mominzaki/auditorium-acoustics)

Acoustical Requirements for Auditorium Design

1. There should be adequate loudness in every part of the auditorium particularly the

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remote seats.

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2. Sound energy with in the room must be diffused. That is, there must be a uniform of

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sound.
3. The room must maintain optimum reverberation characteristics. The Reverberation

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Tune must allow favorable reception and efficient presentation.
4. The room should be free from acoustical defects such as echo, long delayed
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reflection, sound concentration, coupled spaces, etc.
5. Noise and vibrations which would interfere with listening or performing should be
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excluded or at least reasonably reduced to a minimum.

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Methods to Provide Adequate Loudness and Reduce Sound Energy

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Loss
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1. The auditorium should be shaped so that the audience is as close to the sound source
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as possible, thereby reducing the distance the sound must travel. Fan Shaped is
recommended direct sound can be achieved with 140 degrees.
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Figure 1. Fan shaped plan with 140 degrees received direct sound from
sound source.
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 2. The sound source must be raised as much as feasible in order to secure a free flow of
direct sound waves to every listener at least one (1) meter.(Figure 2)

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Figure 2. SOUND SOURCE should be raised from the finished floor line so that there will be free
flow of direct sound to the audience. The Floor is raked in the audience seating area.
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3. The floor where the audience seated should be properly RAMP OR RAKED. Because
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sound is more readily absorbed when it travels the audience at grazing incidence. As
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an empirical rule the angle of elevation of the inclined floor in the auditorium should
be not less than eight (8) degrees. (Figure 2)
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4. The sound source should be closely and abundantly surrounded with large sound
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reflective surfaces in order to supply additional reflected sound energy to every

portion of the audience.
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Figure 3. Auditorium audience area divided into three parts for the material specification.

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 5. The floor area and volume of auditorium should be kept at a reasonable minimum,
there by shortening the distance that direct and reflected sound must travel.
6. Parallelism between opposite sound reflective boundary surfaces should be avoided to
eliminate undesirable back reflections. Introduce rough surface so that sound waves
be diffused.
7. The audience should occupy those parts of the seating area which are advantageous
both for viewing and hearing. Provide window seating arrangement for every seat.

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Figure 4. Window type seating arrangement row 2 seating position must be located in between
the two seats of row 1.
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8. If besides the primary sound source, which is normally located at the front part of an
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auditorium, additional sound waves exists in the other parts of the room, then these
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sound sources must also be surrounded by sound reflecting sources.

Best Methods to create SOUND DIFFUSION

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1. Provide surface IRREGULARITIES.

2. Provide random distribution of sound absorbing material, or the alternate application
of reflective and sound absorptive treatment.

Control of Reverberation
Reverberation TIME (RT) must not be too short nor too long. Using the formula on
RT. the larger the room volume, the longer the RT the more absorption, the shorter
RT.

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Improving Acoustical Defects
There are different ways to eliminate various acoustical defects. Sound Absorbing materials
are still the best form of ACOUSTICAL TREATMENT.

Acoustical Requirements for the DESIGN of Auditoriums

I. THEATERS
Design and functional consideration which affect the acoustical conditions of theaters:
1. Shape
Like size, the shape of auditorium will play a important role in determining the
acoustics. Auditorium comes in many different shapes,. Generally avoid square rooms

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or narrow, rectangular room since parallel walls can cause sound waves to bounce back

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and forth. That is why many auditoriums have more of a FAN shape. Some auditoriums

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also feature curved walls, which helped diffuse sound. In addition to the general shape
of a room, other architectural features like ceiling pitch and structures in the room will

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affect the way sound waves behave in the shape. ( https://illuminated-integration.com/blog/7-
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auditorium-acoustics-considerations)

a. FAN SHAPE Plan gives satisfactory results without introducing

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complications in the acoustical treatment of the hall.

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Figure 5: Sample FAN SHAPE PLAN

b. SHOE BOX or RECTANGULAR HALL with the stage across one

narrow end, may be excellent for music, where an audience can be seated
farther away and a greater ratio reverberant sound is desirable. However, a
rctangular geometry is suitable for small audience speech hall.

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Figure 6. Sample Plan of Box type or Rectangular Hall

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2. Seating Capacity
Auditorium seats are measured from “center to center”, significant from center of one

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armrest to the center of the other. Multiply that number of seats desired to fit the hall.
The amount of space required for each auditorium depends on a number of factors but
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the following guides, based on a modern seating design can give of the area needed:
For an auditorium with 300 seats needs 335 sq.m, 3600 sq.ft., for 200 seats; 270sq.m.
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2900 sq.ft, for 150 seats; 190 sq.m. 2000 sq. ft; for 75 seats; 125 sq.m. , 1350 sq. ft.
(https://www.google.com/search?q=seating+capacity+for+auditorium&client )
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There are two basic seating layouts can consider for an auditorium:
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1. Multiple aisle
This seating arrangement offers a formal setup, suitable for lecture
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halls and business conferences though the seat count can vary, the typical limit is
a maximum of 14 – 16 chairs per row.
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Figure 7: Sample of Multiple Aisle Seating Arrangement

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 2. Continental
This seating arrangement makes good use of space and is a preferred choice for
open space auditoriums and amphitheaters. Having all seats turned toward the
central arena in a concave fashion helps establish greater intimacy between the
performers an the viewers.(https://blog.capterra.com/9 -auditorium-plan-templates-to-inspire-your-
next-project)

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Figure 8. Sample of Continental seating Arrangements
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3. Size of Auditorium
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The size has an important influence on acoustics. Size includes the length, width and
height of the room. Larger and smaller auditoriums come with their own acoustical
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advantages.
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A small room generally won’t allow music to ring out at richly as it will in a large room.
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When it comes to volume, it is easier in getting the whole audience to hear clearly in a
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small room, while a larger auditorium there is a need to incorporate other aspects to
contribute good acoustics and good quality sound system.
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Another concern in the auditorium size is the REVERBERATION, larger rooms can
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cause longer reverberation times, which can become excessive. Smaller rooms can
cause shorter reverberation times that may seem too short, making the room feel
acoustically “dead” (https://www.google.com/search?q=seating+capacity+for+auditorium&client )

4. Audience Performer Relationship

The audience is one of the two essential features of a live theatrical performance, along
with the performer. The performing arts exist in a finite space and time; this means that

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 Performance, which is the work of art in theatre, has a finite existence in time. In non-
dramatic theatre that performer generally acknowledges the presence of the audience
and may even play directly to it. In dramatic theatre the actor may or may not do so. In
the illusionary world of theatre or in the arena of spectacle, architecture, lighting and
sound are united in a concentrated form and in limited space to satisfy a continuously
demanding audience with a maximized impressive and enduring experience in a very
restricted amount of time. It seems the stage design as an answer to this demand, could
be seen as a concentrated image of our built environment.
(http://www.interactivearchitecture.org/between-stage-and-audience-testing-new-relationships

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between-performer-and-audience.html)

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Types of stages used:

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1. PROSCENIUM Stage

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Proscenium stages have an architectural
Frame, known as the proscenium arch,
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although not always arched in shape.
Their stages are deep and sometimes
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raked, meaning the stage is gently sloped

rising away from the audience. Sometimes
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the front stage extends past the proscenium

into the auditorium. Figure 10. Sample Proscenium Stage
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Proscenium stage, in theatre, the frame

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Or arch separating the stage from the auditorium, through which the action of a play is
viewed. (https://www.britannica.com/art/proscenium)
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2. OPEN Stage

Open stage, also called thrust stage,

or platform stage, theatrical stage
without a proscenium, projecting into
the audience and surrounded on three
sides by the audience. The open stage /thrust stage area itself is not always
square but may be semi-circular
or half a polygon with any number
Figure 11. Image showing the Thrust Stage at the
Gulbenkian, University of Kent.

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 of sides. Such stages are often used to increase intimacy between actors
and the audience.

3. Theaters in THE ROUND OR ARENA

These have a central performance area
enclosed by the audience on all sides.
The arrangement is rarely ‘round’: more
usually the seating is in a square or
polygonal formation. The actors enter

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through aisles or passageway between
the seating. Scenery is minimal and

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carefully positioned to ensure it does not
obstruct the audience’s view. Figure 12. Image showing the in-the-round auditorium at

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the Stephen Joseph Theatre, Scarborough.

Arena theatres are large scale auditoria and have a central stage area with audiences
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on all sides, similar to theatres in-the-round. The stage area is usually rectangular,
more like a sports arena, with tiered seating.
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4. BLACK – BOX OR STUDIO THEATHERS

These are flexible performance spaces which
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when stripped to their basics are a single room

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painted black, the floor of the stage at the same

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level as the first audience row. Usually these

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spaces allow for the temporary setup of seating

in a number of different configurations to
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enable a wide variety of productions to be

Figure 13. Image showing the Studio at the Questors
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presented. Theatre, Ealing.

5. PLATFORM STAGES

These usually consist of a raised rectangular

platform at one end of a room. They can
either have a level or raked sloping floor.
The audience sit in rows facing the stage.
Platform stages are often used in multi-purpose

Ar.Luisita F. Francisco – Gegajo, MA Arch., MAED Figure 14 Sample of Platform stage

 halls where theatre is only one of the space’s uses. Where the stage is open and without
curtains, they are sometimes known as end stages or open stages.
6. HIPPODROME THEATERS

Hippodromes are similar to circuses and

have a central circular arena surrounded
by concentric tiered seating. Deep pits or
low screens often separate the audience
from the arena.

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Figure 16. Type of Hippodrome theater(Hulme
7. OPEN THEATERS Hippodrome theaterstust. org.uk.

These are outdoor theatres that do not

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have a roof, although sometimes parts

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of the stage or audience seating will be
covered. These stages may make use of
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the natural light as it changes during
the day, particularly sunset.
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Figure 17. OPEN theaters Athens

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(Shuttersstock.com)
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Figure 18. Regents Park Open air Outdoor stage Figure 19. Drive – in Movies in UK
(pinterest.com.)

8. SITE SPECIFIC THEATRE

Site-specific theatre is usually performed in a non-traditional theatre space such as a
pub, home or warehouse, often reflecting the history, atmosphere or experiences of a
particular location.

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 9. PROMENADE Theatre
This involves the audience moving from place to place following the actors and
performance. (http://www.theatrestrust.org.uk/discover-theatres/theatre-faqs/170-what-are-the-
types-of-theatre-stages-and-auditoria)

II. LECTURE HALLS AND CLASSROOM

 The most important requirements for lecture halls and classroom is the NOISE
CONTROL.
 The optimum REVERBERATION time in lecture halls and classroom is 0.4 to

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0.7 seconds.

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 Lecture halls with volume of 425 to 570 cu.m. or audience of 150 – 200 persons

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does not require a Sound Amplification System.

 Classrooms with rectangular shapes, level floors, and floor area normally between

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56-93 sq.m, seldom create any acoustical problems, even if rear wall is not treated
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acoustically.
 RECTANGULAR LECTURE ROOM, a diagonal seating layout is particularly
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recommended.
III. ROOM FOR MUSIC
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 No music hall is built for one specific type or style of music, therefore, must
always be a meticulously established compromise.
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 Investigation show that music requires a longer RT than speech basically because
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musical sounds last longer that the syllables of speech.

 Balconies should not protrude too deeply. As much a possible the height should
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be roughly equal to the depth.

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 The frequency range for music is much wider than that for speech.
 Floor Shapes of typical music halls:
1. Rectangular 2. Fan 3. Curvilinear 4. Horseshoe
 LIVE HALL an auditorium with a large volume relative to its audience capacity,
with predominantly sound reflective enclosure.
 DEAD or DRY HALL a hall with a relatively small volume compared to its
audience capacity, with enclosures which are highly sound absorptive.

Ar.Luisita F. Francisco – Gegajo, MA Arch., MAED

  WARMTH the fine acoustical quality of a room with a relatively long RT at the
lower frequency.
 FULLNESS OF TONE a pleasant, noticeable characteristics of a room with a
controlled RT over the entire audio frequency range.
 DEFINITION possessed by a room where the sounds of different musical
instruments played simultaneously are easily distinguishable.
 GOOD BLEND a musical sound well mixed before they reach the listener.

IV. CONCERT HALLS

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 The floor area for the orchestra platform should be based on the space

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requirements of the musicians, their instruments, the conductor and soloist. Each

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musician requires a floor area of 1.1 to 1.4 sq.M, while each member of the
chorus requires 0.3 to 0.40 sq.M

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 Platform should be neither too deep nor too wide, a maximum depth of 9meters
and a width of 18 meters is recommended. If chorus space is necessary, 3meters
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on either side or at the back can be added.
 Surrounding enclosures should have reflective treatment.
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 The level of the platform should be elevated high enough above the audience
floor level to provide ample direct sound to the audience, and to have a resonant
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space underneath to enhance instrumental bass radiation and reduce overpowering

sounds of percussion instruments.
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V. OPERA HOUSES

 An OPERA HOUSES is defined as a combination of a theater and a concert

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hall.
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 Performance in Opera house relies heavily upon colorful settings and scenery,
thus proscenium stages are recommended.
 As opposed to orchestra platform, Opera House use ORCHESTRA PITS, located
at least 2.5 meters below the stage.

VI. CHURCHES and SYNAGOGUES

 One of the most difficult aspects in the acoustical considerations of Churches is RT
CONTROL

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  A LONG RT is preferred to enhance organ sounds, chorus singing and even the
chanting of words. However, speech intelligibility suffers.
 CHURCHES usually consist of several coupled spaces (nave, chapel, baptistery,
confessionals, etc.). Thus individual space must be provided with certain acoustical
requirements.)
 The CHANCEL AND PULPIT should be well elevated and surrounded by
reflective enclosures.
 Organ and Choir should also be surrounded with reflective enclosures.
 COUPLED SPACES need individual reverberation control.

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VII. MULTI – PURPOSE AUDITORIUMS AND COMMUNITY HALLS

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 The problem with most multi-purpose auditorium is the UNRAKED or LEVEL

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FLOOR.
 Level floors introduce the following:
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1. Difficulty in providing direct sound
2. Flutter Echoes between level ceiling and floor
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3. Lack of absorptive treatment

 Community Halls and Auditoriums found at the basement of large churches offer a
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lot of acoustical problems, primarily the existence of an excessively long RT (5-8

secs).
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VIII. MOTION PICTURE THEATERS

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 Motion Picture theaters represent an exclusively single purpose auditorium.

 The original sound source is not present but is a mere production, reflecting the
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acoustical character of the motion picture studio in which the films scene was shot.
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 Motion Picture theaters should have a relatively short RT.

 Boundary surfaces should be treated in a manner which is favorable to SOUND
DIFFUSSION.
 The room should be raked and fan shape, with the room length should not exceed 50
meters.
 Heavily upholstered seats should be used to counter act negative effects, defects
caused by fluctuating attendance.
 Projection Room should be acoustically treated because of the noise it produces.

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 IX. RECORDING STUDIOS

 Of all spaces which require acoustical attention, recording studios are the most
COMPLEX.
 The receiver of sound in studios are microphone, which can easily detect long RTs,
inadequate diffusion, all acoustical defects, and even the faintest noise or vibration.
 The frequency range considered in the acoustical design of studios is from 32 to
8000Hz.
 For rectangular studios certain room proportions are generally advocated:

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1. For SMALL STUDIOS recommended ratio is: 1:1.25:1.6 (H:W:L)

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2. For MEDIUM SIZE STUDIOS the ratio is : 1:1.5: 2.5 (H:W:L)
 The apparent RT in a studio, as eventually perceived by the listener, depends on the

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microphone pick up technology, different required RTs cannot be avoided so variable

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absorbers electronically controlled RT devices are used.
 To avoid noise and vibration detection, studios make use of structural isolation,
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sound locks, multi – leaf panels, and other acoustical technology.

SOUND STUDIOS ACOUSTICS

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I. RADIO STUDIOS
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Studios used for broadcasting purposes can be divided into several parts:
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1. ANNOUNCER BOOTH this is the smallest studio normally associated with larger
one. It is used for newscasts, narrators, commentaries, etc. and has a floor area of
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up to about 14 sq.M. It is visually linked to the associated studio with a large

insulating observations window.
2. TALK STUDIO used for newscasts, panel discussion, talks, it is a floor area of up
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to about 47 sq.M.
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3. DRAMA STUDIO the floor area usually from about 56 to 140 sq.M.
4. VERSATILE STUDIO the floor area varies from 140 to 370 sq.M. It is used
equally for spoken and musical presentation.
5. AUDIENCE STUDIO used for broadcasting orchestral and choral programs, this
large studio is, in fact, a regular concert hall: therefore the acoustical requirements
and design principles discussed with respect to concert halls should be strictly
adhered to. Besides other technical rooms, a control room and an announcer’s booth
are normally located adjacent to audience studio, linked to one another by large

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 insulating windows. A sound amplification system is usually required to provide
adequate sound and coverage for the audience.
II. TELEVISION STUDIOS

Acoustical conditions in television studios are not as critical as those in radio

studios because the settings, scenery, and properties installed for the program will
change the original acoustical environment of the studio anyway.

Acoustical conditions are basically dead in a television studio.

REVERBARATION, if necessary, can be increased by using appropriate settings and

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properties, movable acoustical screens, and artificial reverberation, If more reverberant

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conditions are require for the sake of the performers themselves, the portion of the

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program requiring a longer RT can be produced in an adequately reverberant radio
studio, called a SATELLITE AUDIO STUDIO.

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Television studios are constructed in different sizes, according to the required floor
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area and height. There are four main types:
 AUDIENCE STUDIOS with permanent audience seating. There area
may be as large as 1400 sq.M. And their volume about 14,200 cu.M.
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 General purpose studios, for all types of programs.

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 SMALL ITERVIEW Studios

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 DUBBING SUITES
Television studios normally have most of the following auxiliary
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rooms: Production (video) control room, with a required of about 0.25

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seconds; sound (audio) control room; lighting control room; sound

effects room, announcer’s booth, with a required RT of about 0.30
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seconds and a number of storage rooms. The control rooms, usually

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grouped in suite, are often located one story high that the studio floor.
Occasionally sound control can take place in a studio on a portable
sound control console at a mixer carrying earphones.
In Television audience studios a sound amplification system is essential
in the audience is to received adequate coverage.
Simple and inexpensive acoustical treatment are usually applied in
television studios. Such as a mineral wood blankets, wood wool slabs,
etc. The required low frequency absorption can be obtained by using

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 plywood, hardboard or plasterboard panels, which simultaneously from
a suitable treatment for the lower portion of the wall up to a height 1.8
to 2.4 meter. Most of the wall treatment is eventually shielded by a
cyclorama curtain spaced away from the wall.

III. RECORDING STUDIOS

Recording studios, which are similar to radio studios, with a dead acoustical environment,
are usually connected with a control room and other auxiliary rooms. The floor area and

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shape depend on the furniture and technical equipment to be accommodated. Since the

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public is not admitted into recording studios, priority can be given to acoustical rather than
aesthetic requirements. TEMPORARY changes can be made in the acoustical treatment

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without regard to appearance and broad experimentation is possible.

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IV. CONTROL ROOMS AC
Every radio, television, or recording studio is linked with one or more control rooms,
where the control desk, that is, the nerve center of the broadcast or recording session
is located. All the sound sources are controlled and mixed here, before the signal finally
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leaves the transmitter. Visual contact between the studio and the control room is
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provided by a wide control window with an unobstructed view of the studio floor. As
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long as the studio can be in the same floor level. Control rooms linked with studios of larger
size must be elevated.
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The size and shape of the control room depend on how many people and how much
equipment it must accommodate, for example, audio console, monitoring and talkback
facilities, tape and disk reproducers, tape recorder, clock, reverberation control unit, video
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monitor, intercom key panel, and seats for the control personnel.
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In control rooms an RT of about 0.40 seconds is recommended at the mid-frequency

range.

V. MOTION PICTURES STUDIOS

The site for a motion picture studio is chosen generally as a compromise between quite
surrounding and reasonable accessibility.

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 Motion picture studios are usually built in a large halls with absorbents enclosures so
that the sets can contribute their own acoustical characteristics as required. Economy
in construction and efficiency of operation suggest that several large size motion-picture
studios be grouped together. This allows set construction and preparation to be carried
out in one or more studios while normal production continues in the adjacent ones.
Provision for the required short RT and for a high degree of noise and vibration
isolation within these studios is the main acoustical objective.

Recommended Volume per Seat Values

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Volume per Audience seat (cu.m.)

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Type of Studio
Minimum Optimum Maximum

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1. Room for speech 2.3 3.1 4.3

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2. Concert Halls 6.2 7.8 10.8

3. Roman Catholic Churches 5.7 8.5 12

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4. Multi - Purpose Auditoriom 5.1 7.1 8.5

5. Motion Pictures Theaters 2.8 3.5 5.1

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