1.
AUDITORIUM
DESIGN
LITERATURE STUDY AND DESIGN CONSIDERATION
SUBMITTED BY:
ALOK RANJAN
PRIYA SRIVASTAVA
AKSHITA KUKRETI
SONAKSHI TIWARI
B.B.D. UNIVERSITY, LUCKNOW

2.
AUDITORIUM
 An enclosure covered or open where people can
assemble for watching a performance given on
the stage.
 An auditorium is a room built to enable audience
to hear and watch performances at venues such
as theatres.
 An auditorium is a large space that is move of a
multipurpose facility.
 A theatRE is usually a large space that is built to
the needs and specifications of the
entertainment.

3.
HISTORY

4.
TYPES OF AUDITORIUMS
 ARENA THEATRE:
 AUDITORIUM WITH AUDIENCE
SURROUNDED ON ALL SIDES.
 PROSCENIUM THEATRE:
 AUDITORIUM WITH AUDIENCE ONLY
ON THE FRONT SIDE.

5.
TYPES OF AUDITORIUM
 THRUST THEATRE:
 AUDITORIUM WITH AUDIENCE
SURROUNDED ON THE THREE
SIDES.
 FLEXIBLE THEATRE:
 AUDITORIUM WITH FLEXIBLE
STAGE AND SEATING
ARRANGEMENT.

6.
TERMS USED IN AUDITORIUM
 Proscenium: A proscenium is the area of the theatre surrounding the stage opening. A
proscenium arch is the arch over this area. A proscenium plane divides the performer and
spectators.
 House: It is the main seating area.
 Gangways: A passage between two rows of seats. The minimum gangway should be 1100
mm.
 Aisle: the walkway between each area, row of seats to permit ease of passage,(>=45 mm).
 Drop stage: A stage floor that moves vertically on the elevator usually so that one set can
quickly replace another.
 Tormentor: A curtain or framed structure used directly behind the proscenium at each side
of the stage to screen the wings and sidelights from the audience.
 Apron: the part of the stage floor in front of the curtain line.

7.
 Orchestra pit: the space reserved for the musicians usually in front.
 Balcony: a gallery that projects over the main floor of a theatre.
 Wing: the platform adjacent to the stage for keeping props.
 Box office: where tickets are sold.
 Cyclorama: it is the exterior of the backdrop. It is basically a distinction between
backstage and main stage.
 Fire curtain: a curtain or asbestos or other fire-proof material that can be lowered
just inside the proscenium arch in the case of fire.
 Green room: the green room is the space in a theatre, studio or similar venue which
functions as a waiting room and lounge for performers before and after a performances
and during the show when they are not engaged on the stage.

8.
 CEILING MAY BE FLAT BUT IT PREFERABLE TO PROVIDE A SLIGHT INCREASE IN THE
HEIGHT NEAR THE CENTRE OF HALL.
 THE VOLUME PER PERSON REQUIRED TO BE PROVIDE SHOULD NORMALLY RANGE
BETWEEN 3.5 TO 5.5 CU.M.
 SUITABLE VOLUMES FOR DIFFERENT TYPES OF AUDITORIUM ARE GIVEN BELOW
BUT IT IS RECOMMENDED THAT HIGHER VALUES BE ADOPTED ONLY IN SPECIAL
CASE:
 CUBIC METRES PER PERSON
I. PUBLIC LECTURE HALLS 3.0 TO 4.5
II. CINEMAS OR THEATRE 4.0 TO 5.0
III. MUSICAL HALL OR CONCERT HALL 4.0 TO 5.5

9.
DIFFERENT SHAPES OF HALLS
 FLOOR PLANS OF VARIOUS SHAPES ARE USED BUT THE ONE WHICH IS
CONSIDERED TO GIVE SATISFACTORY RESULT WITHOUT
INTRODUCING COMPLICATIONS IN THE ACOUSTICAL TREATMENT OF
THE HALL IS FAN-SHAPED PLAN.
 THE PROSCENIUM MAY BEAR ANY SUITABLE RATIO WITH THE HEIGHT
OF THE HALL TO SUIT STAGE REQUIREMENTS AND CONSIDERATIONS
OF VISIBILITY.
 THE SIDE WALLS SHOULD BE ARRANGED TO HAVE AN ANGLE OF NOT
MORE THAN 100 DEGREES WITH THE CURTAIN LINE. IN THE CASE OF
TALKING PICTURES SYCHRONISATION OF SOUND WITH LIP MOVEMENT
IS MOST ESSENTIAL.
 ALSO, IN THE CASE OF THEATRES APERSON WITH NORMAL VISIONS
SHOULD BE ABLE TO DISCERN FACIAL EXPRESSIONS OF THE
PERFORMERS.
 IN ORDER TO SATISFY THESE CONDITIONS, IT IS RECOMMENDED THAT
THE DISTANCE OF THE FARTHEST SEAT FRON THE CURTAIN LINE
SHOULD NOT NORMALLY EXCEED 23 METRES.

10.
DIFFERENT SEATING ARRANGEMENTS
IN AUDITORIUM

11.
DIFFERENT SEATING ARRANGEMENTS
IN AUDITORIUM

12.
GENERAL PRINCIPLES OF DESIGN:
 SITE SELECTION AND PLANNING
 THE CHOICE OF THE SITE OF AN AUDITORIUM IS
GOVERN BY SEVERAL FACTORS, WHICH MAY BE
MUTUALLY CONFLICTING, BUT A COMPROMISE HAS TO
BE STUCK BETWEEN THE VARIOUS CONSIDERATIONS
INVOLVED. THE PROBLEMS OF THE NOISE IS AN
IMPORTANT CONSIDERATION.
 IN FACT, THE QUITEST POSSIBLE CONDITION SHOULD
BE PROVIDED SO THAT INTELLIGIBILY OF SPEECH
DOES NOT SUFFER ANDEVEN SOFT PASSAGE OF
MUSIC ARE HEARD.
 WHEN AIR-CONDITIONING IS PROVIDED SPECIAL CARE
SHOULD BE TAKEN TO ATTENUATE THE PLANTS NOISE
AND THE GRILL NOISE. FOR THIS PURPOSE PLANTS
SHOULD BE SUITABLY ISOLATED AND DUCTS AS WELL
AS THE PLENUM SHOULD BE SO DESIGNED THAT
NOISE GETS ADEQUATELY REDUCED SO AS TO BE
WITHIN THE PERMISSIBLE LIMITS.

13.
PROPERTIES OF AN AUDITORIUM
 THESE ARE ERCEPTION AND VIEWING ANGLESOBTAINED FROM SPECTATORS’S
PSYCHOLOGICAL PERCEPTION AND VIEWING ANGLES, AS WELL AS REQUIRED FOR
GOOD VIEW FROM ALL SEATS.
 HEAD MOVEMENT SHOULD BE ACCORDING TO FOLLOWING:-
 30°- NO MOVEMENT
 60°- SLIGHT MOVEMENT
 110°- MORE EYE MOVEMENT
 360°-FULL HEAD AND SHOULDER
 MOVEMENT

14.
SIZE AND SHAPE OF THE AUDITORIM
 THE SIZE SHOULD BE FIXED IN THE RELATION
TO THE AUDIENCE REQUIRED TO BE SEATED.
 THE FLOOR AREA OF THE HALL INCLUDING
GANGWAYS (EXCLUDING THE STAGE) SHOULD
BE CALCULATED ON THE BASIS OF 0.6 TO 0.9
SQ.M. PER PERSON.
 THE HEIGHT OF THE HALL IS DETERMINED BY
SUCH CONSIDERATIONS AS VENTILATION,
PRESENCE (OR ABSENCE) OF BALCONY AND
THE TYPE OF PERFORMANCE.

15.
AUDITORIUM SEATING
 THE SEATS SHOULD BE ARRANGED IN CONCENTRIC ARCS OF CIRCLES DRAWN
WITH THE CENTRE LOCATED AS MUCH BEHIND THE CENTRE OF THE CURTAIN LINE
AS ITS DISTANCE FROM THE AUDITORIUM REAR WALL

16.
STAGGERED SEATING
 IMPORTANT FACTORS IN THE AUDITORIUM
DESIGN ARE CLEAR AND UNOBSTRUCTED
SIGHT LINES TO THE SCREEN BEING ONE
OF THE CONTROLLING FACTORS.
 TO PROVIDE BEST VISIBILITY FROM ANY
SEAT, NO PATRON SHOULD SIT EXACTLY IN
FRONT OF ANY OTHER PATRON.
 STAGGERING IS A ACCOMPLISHED BY THE
NON- UNIFORM PLACEMENT OF SEATS
VARYING WIDTH IN SUCCEDIND ROWS.

17.
 SEATING CAPACITY:
 IT DEPENDS ON THE FORMAT
SELECTED.
 LENGTH OF ROWS:
 MAX. NO. OF SEATS PER AISLE. 25
SEATS PER AISLE IS PERMISSIBLE IF
ONE SIDE EXIT DOOR OF 1M WIDTH IS
PROVIDED PER 3-4 ROWS.
 EXIT, ESCAPE ROUTES:
 1M WIDE PER 150 PEOPLE (MIN. WIDTH
0.8M)

18.
FLOOR PROPERTIES
 FOR GOOD VISIBILITY AS ALSO FOR GOOD
LISTENING CONDITIONS, THE SUCCESSIVE
ROWS OF SEATS HAVETO BE RAISED OVER
THE PRECEDING ONES WITH THE RESULTS
THAT THE FLOOR LEVEL RISES TOWARDS THE
REAR.
 THE ELEVATION IS BASED ON THE PRINCIPLES
THAT EACH LISTENER SHALL BE ELEVATED
WITH RESPECT TO THE PERSON IMMEDIATELY
IN FRONT OF HIM SO THAT THE LISTENER’S
HEAD IS ABOUT 12CM ABOVE THE PATH OF
SOUND WHICH WOULD PSS OVER THE HEAD
OF THE PERSON IN FRONT OF HIM. IT IS
POSSIBLE TO REDUCE THIS TO 8 CM, IF THE
SEATS ARE STAGGERED.
 AS AN EMPIRICAL RULE THE ANGLE OF
ELEVATION OF THE INCLINED FLOOR IN AN
AUDITORIUM SHOULD NOT BE LESS THAN 8
DEGREES.

19.
STAGE PROPERTIES
 THE SIZE OF THE STAGE DEPEND UPON THE TYPE OF PERFORMANCE THE HALL IS
TO CATER FOR. IT WOULD BE LAGE FOR THEATRES, WHILE IT WOULD BE
COMPARATIVELY SMALL FOR CINEMA HALLS WHICH AGAIN DEPENDS ON THE SIZE
OF THE SCREEN.

20.
SIGHT LINES
 A SIGHT LINE OR VISUAL AXIS IS A
NORMALLY UNOBSTRUCTED LINE OF SIGHT
BETWEEN AN INTENDED OBSERVER (OR
SPECTATOR) AND A STAGE, ARENA, OR
MONUMENTS.
 FOR EXAMPLE- SIGHTLINES ARE A
PARTICULARLY IMPORTANT
CONSIDERATION IN THEATRE AND STADIUM
DESIGN, ROAD JUCTION LAYOUT AND
URBAN PLANNING.
 IN CITIES SUCH AS LONDON,
CONSTRUCTION WITHIN SIGHTLINES IS
RESTRICTED TO PROTECT THE KEY VIEWS
OF THE FAMOUS LANDMARKS.

21.
WALL PROPERTEIS
 REAR WALL
 THE AUDITORIUM REAR WALLS SHOULD BE EITHER FLAT OR CONVEX IN SHAPE.
 THIS SHOULD NOT BE CONCAVE IN SHAPE, BUT WHERE IT CANNOT BE AVOIDED, THE
ACOUSTICAL DESIGN SHALL INDICATE EITHER THE SURFACE TO BE SPLAYED OR
CONVEX CORRUGATIONS GIVEN IN ORDER TO AVOID ANY TENDENCY FOR THE SOUND
TO FOCUS INTO THE HALL.
 SIDE WALL
 WHERE THE SIDE WALLS ARE NON-PARALLEL SA IN THE CASE OF A FAN-SHAPED HALL,
THE WALLS MAY REMAIN REFLECTIVE AND MAY BE ARCHITECTURALLY FINISHED IN ANY
MANNER REQUIRED, IF SOUND ABSORBING MATERIALS IS NOT REQUIRED FROM OTHER
CONSIDERARIONS.
 WHERE THE SIDE WALLS ARE PARALLEL THEY MAY BE LEFT UNTREATED TO A LENGTH
OF ABOUT 7.5 M FROM THE PROSCENIUM END. IN ADDITION, ANY OF THE
SURFACES,LIKELY TO CAUSE A DELAYED ECHO OR FLUTTER ECHO SHOULD BE
APPROPRIATELY TREATED WITH A SOUND ABSORBING MATERIAL. DIFFERENCE
BETWEEN THE DIRECT PATH AND THE REFLECTED PATH REFLECTED FROM AIDE WALL,
SHALL NOT EXCEDD 15 M.

22.
CINEMA HALL

23.
BACKSTAGE
 THE AREA OF THE THEATRE NOT
OPEN TO THE PUBLIC, WHERE THE
PERFORMANCE IS PREPARED.
 IT MAINLY INCLUDES GREEN ROOM
WITH ATTACHED TOILETS, REHERSAL
ROOMS, WORKSHOPS AND A STORE
ROOM.
 ITS SIZE IS BASED ON THE SCALE OF
STAGE AND HOW MANY
PERFORMANCES HAVE TO BE
ACCOMMODATED.

24.
SERVICES IN AUDITORIUM
 STAGE LIGHTING
 LIGHT CONTROL
 CURTAIN SYSTEM- MOTORISED AND VERTICAL SYSTEM
 CYCLORAMA SCREEN
 DIMMERS
 ESCAPE AND EXIT ROUTE
 PARKING
 CIRCULATION
 AIR CONDITIONING

25.
FIRE PROTECTION
 STAGE FIRE PROTECTION
 A FIRE CURTAIN OR WATER CURTAIN IS TO BE PROVIDED TO CONTAIN SMOKE/FIRE
WITHIN THE STAGE.
 THE FIRE CURTAIN IS REQUIRED TO BE DESIGNED AND INSTALLED TO PREVENT A
GLOW FROM A FIRE BEING VISIBLE TO THE AUDIENCE.
 THE AURTAIN IS REQUIRED TO BE ACTIVATED BY RATE OF RISE HEAT DETECTORS
OPERATIND AT A TEMPETATURE OF 15 TO 20 F PER MINUTE(9 TO 11 C PER MINUTE)
AND BY MANUAL OPERATION.
 SPRINKLERS
 SPRINKLERS ARE REQUIRED TO BE PROVIDED UNDER A ROOF. IF GALLERIES OVER
THE STAGE ARE MORE THAN 4 FEET IN WIDTH, THE SPRINKLERS MUST BE
PROVIDED OVER THE STAGE.
 IT IS NOTED THAT THESE REQUIREMENTS ARE NOT REQUIRED FOR THE STAGES IN
WHICH THE STAGE AREA IS 1000 SQ. FT. (93 SQ.M.) OR LESS, THE STAGE HEIGHT IS
50 FT OR LESS, AND CURTAINS, SCENERY, OR OTHER COMBUSTIBLE HANGINGS
ARE NOT RETRACTABLE VERTICALLY.

26.
 FIRE AND LIFE SAFETY PROPERTIES:
 NOTIFICATION SYSTEMS, LIGHTING AND SIGNAGE ARE REQUIRED TO FACILITATE
SAFE AND SPEEDY EVATUATIONS DURING AN EMERGENCYIN THE AUDITORIUM
SPACES. STEP LIGHTS RECESSED INTO SIDE WALLS ARE TYPICAL. SPRINKLERS
SHOULD BE PROVIDED PER CODE AND UNDER STAGE PLATFORMS TO SUPPRESS
FIRES.
 RAISED FLOOR
 THE RECOMMENDED SYSTEM FOR DISTRIBUTION OF HVAC IN AUDITORIUM SPACE
IS DUCTED SUPPLY THROUGH FLOOR VENTS WITH DUCTED CEILING RETUTN AIR
VENTS IN AUDITORIUM AND LOBBY. IN OTHER SPACES, DUCTED CEILING SUPPLY
WITH RETURN AIR CEILING PLENUM IS RECOMMENDED. NOTE THAT THERE SHOULD
BE TRANSFER DUCTS AT ALL ACOUSTICALLY RATED PARTITIONS.

27.
STAGE VENTILATION
 THE REQUIREDMENTS WITH REGARD TO STAGE VENTILATION FOR STAGES
GREATER THAN 50 FT. IN HEIGHT OR LARGER IN AREA THAN 1000 SQ. FT. ARE AS
FOLLOWS:
 NATURAL MEANS OF EXHAUST
 TWO OR MORE ROOF VENTS ARE REQUIRED TO BE PROVIDED.
 AGGREGATE CLEAR AREA OF THE OPENING IS TO BE NO LESS THAN 5% OF THE
STAGE AREA.
 VENTS ARE REQUIRED TO BE LOCATED NEAR THE CENTRE AND ABOVE THE
HIGHEST PART OF THE STAGE AREA.
 THE VENTS ARE TO BE ACTIVATED BY HEAT-ACTIVATED DEVICES AND BY THE
MANUAL MEANS.
 MECHANICAL MEANS OF EXHAUST
 A MECHANICAL EXHAUST SYSTEM IS TO BE ACTIVATED BY THE OPERATION OF
SPRINKLER SYSTEM.
 PROTECTING THE STAGE AND MANUAL MEANS THAT ARE READILY ACCESSIBLE TO
THE FIRE DEPARTMENT.
 A SMOKE LAYER MUST BE MAINTAINED AT GREATER THAN 6 FT. ABOVE THE
HIGHEST LEVEL OF THE SEATING OR MAINTAINED ABOVE THE TOP OF THE
PROSCENIUM OPENING.

28.
SOUND INSULATION
 A HIGH QUALITY ACOUSTICAL TREATMENT OFFERS CLARITY
TO THE ORIGINAL SOUND THUS THE QUALITY OF SOUND
REMAINS UNIFORM THROUGHOUT THE AUDITORIUM AND
EVERY AUDIENCE SITTING THERE GET TO HEAR THE BEST
QUALITY SOUND REGARDLESS OF HIS OR HER SEATING
LOCATION.
 USE OF ACOUSTICAL PANEL FOR SOUNDPROOFING OF
AUDITORIUM
 SOUNDPROOFING IN AN AUDITORIUM CAN BE OBTAINED BY
WALL AND CEILING SOUND PANELS.ACOUSICAL PANEL
OFFER GREAT RESULTS BY ABSORBING THE REFLECTIONS
AND ECHOS WITHIN THE AUDITORIUM, THUS PRODUCING THE
BETTER QUALITY OF SOUND.
 ANOTHER SOUNDPROOFING PRODUCT THAT IS DIFFUSION
PANEL CAN ALSO PROVIDE A GREAT DEAL OF HELP IN
DISPERSING THE REFLECTED SOUND WAVES TO BRING OUT
A BALANCE AMONG THE LIVE AND DEAD SPOTS IN THE ROOM.

29.
SOUND INSULATION MATERIALS
USED IN AUDITORIUM
 THE MATERIALS GENERALLY USED MAY BE BROADLY
CLASSIFIED INTO THE FOLLOWING CATEGORIES:
 ACOUSTIC PLASTER( A PLASTER WHICH INCLUDES
GRANULATED INSULATION MATERIAL WITH CEMENT)
 COMPRESSED CANE OR WOOD FIBREBOARD,
UNPERFORATED AND PERFORATED.
 WOOD PARTICLE BOARD
 COMPRESSED WOOD WOO.
 MINERAL/GLASS WOLL QUITS AND MATS
 MNERAL/COMPRESSED GLASS WOOL TILES
 COMPOSITE UNITS OF PERFORATED BOARD(HARDBOARD,
ASBESTOS BOARD OR MENTAL SHEET) BACKED BY MINERAL
OR GLASS WOOL QUILT OR SLAB.
 SPECIAL ABSORBERS CONSTRUCTED OF HARDBOARD, TEAK
PLY, ETC. BACKED BY AIR.