Theatre Buildings - A Design Guide - J. Strong (Routledge, ) brocapazbebuh.ml Jawdat Dallal Bachi. Theatre Buildings The Association of British Theatre. Theatre Buildings The Association of British Theatre Technicians produced its first guide to the design and planning of. The Association of British Theatre Technicians produced its first guide to the design and planning of theatres in Revised in , it became the standard.
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Designing brand identity: an essential guide for the entire branding team by Alina Wheeler. Aiden Des Interior Design - The Whole Building Design Guide. Theatre Buildings. Association of British Theatre Technicians. Edited by Judith Strong. J Routledge Step 3 - Brief writing and design team selection. Theater and concert hall design is both artistically and functionally building types, performance facilities are set apart by sophisticated electro-mechanical them to assist design guide users in finding relevant information within the logical .
Sightlines ensure that every seat has an unobstructed line of sight to the performance, studying the distance and viewing angles from the most extreme seats both near and far. Again, the performance type informs the criteria for sightlines. The geometry of the room should be designed to naturally enhance the acoustics of the room, while also taking variable and enhanced acoustic materials like reflectors and applied wall materials into consideration.
Lastly, code requirements for egress and accessibility will determine the required aisle and path widths throughout the assembly space, which will be based primarily on the capacity of the auditorium. Considering Seat Distribution and Room Shape Intimacy, the shared experience, and audience enjoyment are significantly impacted by the relationship of seats not only to the stage, but also to each other.
Seat Distribution and Room Shape are concerned with the position and arrangement of seats within the audience chamber. In simple terms, Horizontal Seat Distribution studies the location of seats as related to the stage in plan view. Seated rows are often curved or angled toward the stage so that patrons are both facing forward in their seat and looking directly at the stage.
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That is, they should not have to shift sideways or turn their heads to watch the performance. The size and location of sections or groups of seats will have a subtler but equally impactful influence on the audience experience. Generally, the greater the physical distance from the stage, the greater potential for psychological distance from a performance.
With this goal in mind an actual physical and perceived psychological distance from the stage can be mitigated by enhancing the perceived collective experience of a particular section of seating. When it comes to auditorium design, there are an infinite number of ways to develop the shape of an auditorium.
Developing the Plan: Horizontal Sightlines Horizontal sightlines are a product of the extreme seats to the left and right of the auditorium.
As a rule of thumb, these seats should maintain a three-quarters view of the stage at the back wall of the stage house. Developing the Section: Vertical Sightlines Vertical Sightlines require the examination of line of sight in section view from every seated row of the auditorium to common targets at the stage edge and the proscenium opening.
Generally, a room should be designed for no less than an every-other-row sightline; that is, the eyes of the patrons in one row should have an unobstructed view to the stage over the head of the patrons seated two rows in front of them.
The obstruction of the row directly in front is resolved through the seating layout using variable chair widths to create a staggered seating pattern.
The Architecture of the National Theatre
In this way, the slope of an orchestra level floor or the height of risers in parterres, boxes, and balconies can be determined. Similarly, this process yields a variable run of risers at parterres and balconies. Occasionally, that which is stated follows accepted comfort or common sense guidelines. In these cases, the obvious choice would be the greater dimension, if only for the sake of comfort.
Most building codes differentiate between multiple-aisle and continental seating arrangements.
Some codes will also identify clearances as they are affected by such items as tablet arms, where their attachment may impede emergency areas. Minimum aisle widths may be greater for a continental seating plan compared to a multiple-aisle arrangement.
In all cases, the dimension increases proportionately to the distance traveled toward an exit door. In many areas the flammability of the room finishes, including the chair construction, is also covered. Besides regulations spelled out in building codes, there exist other general safety guidelines to be considered. This results when the chair leg and aisle steps are not parallel.
Aisle steps should always be extended to fall as close to the end chair as possible. A similar problem may develop where the maximum quantity of chairs cannot fill the available space.
This condition will create gaps between end chairs at aisle steps or side walls as well as irregular aisle alignment.
In some cases, using wider chairs may help reduce the gap, but often the problem can be avoided by careful preliminary problem. One last detail should be mentioned…. Ideally, the char back serves as a protective railing.
The condition might be overlooked during early planning stages of your auditorium seating layout, resulting in an unacceptable row spacing where chairs abut a rear wall. Visibility in an assembly space is a function of seat location. One of the most crucial parts of your auditorium seating layout is visibility.
As we said earlier… building codes, comfort guidelines, floor design, and the overall form of an assembly space all play a part in seating arrangements. Perhaps film projection requires the most critical sightline analysis, since poor seat location will result in distorted images.
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For this activity, the seating parameters are established by the screen or image size. The minimum dimension or closest recommended seat will also be set by the screen height. The quality of sightlines in a horizontal plane may be a function of staggered seating. This staggered effect can be accomplished in several ways. The first and simplest approach would be to offset every other row by several inches, assuming straight rows. A second option would be to alternate odd and even quantities of chairs in successive rows.
However, if the resulting irregular aisle alignment from either solution is unacceptable, similar results can be achieved through other methods. For example, by varying seat widths in successive rows, aesthetic integrity of the aisles can be maintained.
With this arrangement, some spectators will enjoy the optimum benefit from seat staggering, while others will get only minimal improvement.
Optimum sightline requires both horizontal and vertical sightlines. However, this may still not guarantee a totally uninterrupted line of sight. Generally, seats farthest away may lose the lower portion of any presentation.
Perhaps for a simple lecture, this is not of major importance since the viewers need only see the upper portion of a speaker.
However, thought must be given to such items as a chalkboard or projection screen so that the lower edge is within view of the most distant spectator. Obviously, this can be done by simply raising the display wall or screen, or by elevating the entire presentation area in accordance with the results of the sightline study.
The pitch of a sloped floor need not be designed with a constant rise. Improved sightlines can also be achieved by designing a floor where the rise per row is increasing. The sightlines can often be further improved if a raised platform is included. Sightline Analysis — Approach 2 A second approach to vertical sightline analysis is every-other-row line of sight.
In contrast to that which was already discussed, this form of analysis assumes that heads of spectators in preceding rows will not obscure vision as a result of staggering seating. However, this assumption should be verified in the form of a horizontal sightline analysis. Not to be overlooked of course is the natural tendency for individuals to reposition themselves in their seats in order to improve sightlines.
Combined with the addition of a platform or varying floor scope, the overall rise in this assembly space can be kept to a minimum. Therefore, the architect or designer should study all aspects of the space requirements or program. They should establish a priority, and filter out those items that may tend to make the space too demanding or too flexible.
Seating Layout Examples This last section is devoted to an analysis of several actual auditorium seating projects and provides real auditorium seating layout examples.
Quantity of Seats — the actual quantity of fixed seats installed. Seating Area — includes all space directly occupied by the fixed seats, as well as the adjacent aisle-ways.Loose fit Foyers and the facilities available within them need to be adaptable to meet different tastes and changes of use. School theatres are likely to take the form either of a flexible studio or of a more conventional theatre space with a fixed stage and seating.
Where theatregoers are forced to park in when selecting a site for a new theatre as it can have a residential streets it will inevitably generate conflict significant impact on the cost of the building.
The narrative follows a course of gradually increasing the degree of audience encirclement and the preoccupation with theatrical intimacy. The stylised diagram in up to 6, Figure 1.
Theater Design : 7 Basic Rules for Designing a Good Theater
Those that remain are often attractive and can serve a useful role in their community. Behind the windows, there are areas for computer workstations.
Lighting walkways or grids, with appropriate fall arrest systems, should therefore be considered. Front of house design must be inviting for those with disabilities and inclusive to those who would not normally attend cultural events with: In this case it is often more difficult to handle the backstage elements, which take on greater visual significance.