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2019

SPACES AND
ACOUSTICAL
REQUIREMENT IN
DANCE SCHOOL
To design a place where people can live in their emotions and feelings
which they want to express it with dance.
DISSERTATION
“SPACES AND ACOUSTICAL REQUIREMENT IN DANCE SCHOOL!”

SUBMITTED BY:
MAHIMA VERMA
ROLL NO.-1569581016

GUIDED BY: -
AR. VIBHOR GUPTA

IN PARTIAL FULFILLMENT FOR THE AWARD OF THE DEGREE


OF
BACHELOR OF ARCHITECTURE IN ARCHITECTURE

SHRI RAM SCHOOL OF ARCHITECTURE


(MUZAFFARNAGAR)
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SHRI RAM SCHOOL OF ARCHITECTURE

MUZAFFARNAGAR

CERTIFICATE

This is to certify that the Dissertation titled “SPACES AND ACOUSTICAL


REQUIREMENT IN DANCE SCHOOL!” submitted by “MAHIMA VERMA” as a part
of 5 years Undergraduate Program in Architecture at SHRI RAM SCHOOL OF
ARCHITECTURE is a record of bonafide work carried out by her under our guidance.

The content included in the Thesis has not been submitted to any other University or institution
for accord of any other degree or diploma.

Ar. VIBHOR GUPTA Ar. VIBHOR GUPTA

(Dissertation Guide) (H.O.D.)


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SHRI RAM SCHOOL OF ARCHITECTURE

MUZAFFARNAGAR

DECLARATION

I MAHIMA VERMA hereby declare that the dissertation entitled “SPACES AND

ACOUSTICAL REQUIREMENT IN DANCE SCHOOL” submitted in the partial

fulfillment of the requirements for the award of the degree of B. Arch is my


original research work and that the information taken from secondary sources is
given due citations and references.

MAHIMA VERMA

8th Semester

B. Arch

2018-19
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ACKNOWLEDGEMENT

I take this opportunity to acknowledge all those who have helped me in getting this
study to a successful present status.

I would like to express my deep sense of gratitude to my guide , Ar. VIBHOR


GUPTA for his valuable suggestions and criticism. He made this possible.

I extend my sincere thanks to my parents; they accompanied me to all my sites for


the study and survey.

I dedicate this work to my parents ,sister Lovy verma, friends Arjuna maheshwari,
Hitesh kumar pal and faculty etc.

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Table of Contents:

ABSTRACT

Chapter 1

INTRODUCTION……………………………………………………………………….. 12-14

1.1 INTRODUCTION TO DANCE ……….…………………………………….. 12

1.1.1. why dance is important

1.1.2. what is dance school

1.2. AIM ………………………………………………………………………………13

1.3. OBJECTIVE ………………………………………………………………………13

1.4. LIMITATION ………………………………………………………………… 13-14

1.5. METHODOLOGY……………………………………………………………… 14

Chapter 2

HISTORY AND EVOLUTION OF THE DANCE………………………………………….15-22

2.1. HISTORY OF DANCE………………………………………………………. 15-17

2.1.1. Early 20th century: from ballet to contemporary dance

2.1.2. The late 20th and early 21st century

2.3. IN INDIAN CONTEXT : HISTORY OF DANCE IN INDIA ………………….19-20

2.4. EVOLUTION OF DANCE IN INDIA………………………………………….20-21

2.5. IMPORTANCE OF DANCE IN INDIA……………………………………… 21-22


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Chapter 3

ACOUSTICS AND MATERIALS………………………………………………………… 23-37

3.1. WHAT IS ACOUSTICS……………………………………………………………23

3.1.1. architectural acoustics……………………………………………… 24-27

3.1.1.1. building skin envelope

3.1.1.2. inter space noise control

3.2. REVERBERATION TIME………………………………………………………….28-31

3.2.1 what is RT

3.2.2. how is reverberation time defined

3.2.3. why is reverberation time is important

3.2.4. what is the RT for a room

3.2.5. how can RT be reduced

3.3. HOW PLANNING AND SPACE EFFECTS THE ACOUSTICAL PROPERTIES…..31-35

3.3.1 distance

3.3.2. layout

3.3.3. soft treatments

3.3.4. open plan in atrium and circulation spaces

3.4. AUDITORIUM ACOUSTICS………………………………………………………..35-37

Chapter 4

PLANNING AND VIEW ANGLES…………………………………………………………38-65

4.1. DIFFERENT TYPE OF LAYOUT………………………………………………………38-50

4.1.1. dance school in llíria


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4.1.2. dance school in oleiros

4.1.3. tallinn music high school, ballet school and georg otsa music school

4.2. VIEW AND ANGLES……………………………………………………………..51

4.2.1. the viewer

4.3 AUDITORIUM DESIGN…………………………………………………………51-54

4.3.1. aural limitations

4.3.2. visual limitations

4.3.3. sightlines

4.3.3.1 seated sightline

4.3.3.2 vertical sightline

4.4 DANCE STUDIO SPECIFICATION…………………………………………….55-65

4.4.1. floor area

4.4.2. floor surface

4.4.3. Studio height

4.4.4. ventilation and heating

4.4.5. sound

4.4.6. light sources; daylight/blackout

4.4.7. lighting

4.4.8. interior design

4.4.9. seating, mirror, dance bars

Chapter 5

LITERATURE STUDY: Y BALLET SCHOOL………………………………………….67-73


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5.1. INTRODUCTION AND LAYOUT……………………………………………….68-69

5.2. CONCEPT……………………………………………………………………….69-70

5.3. ARCHITECTURAL FEATURES……………………………………………………71

5.4. MATERIAL………………………………………………………………………71-72

5.5. CONCLUSION ………………………………………………………………….73

Chapter 6

CASE STUDY : TRIVENI KALA SANGAM ………………………………………….74-88

Chapter 7

CONCLUSION ……………………………………………………………………….89-90

References………………………………………………………………………….91-92

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CHAPTER-1 INTRODUCTION

1.1 INTRODUCTON TO DANCE

Dance is a performing art form consisting of purposefully selected sequences of human


movement. This movement has aesthetic and symbolic value, and is acknowledged as
dance by performers and observers within a particular culture. Dance can be categorized
and described by its choreography, by its repertoire of movements, or by its historical
period or place of origin. Dance is more than the exploring of different ways to make a
shape or learning a series of steps to music; it is a way of moving that uses the body as
an instrument of expression and communication. ... Dance also enables students to
better understand themselves and the world in which they live.

1.1.1.Why Dance is Important? In order to absorb math, science, English, and all core
subject areas, students must learn how to listen, communicate, and process in effective
and healthy ways. Dance is a physical interpretation of what the music says. It is a great
way to release energy, shed inhibitions and let your emotions out. When you dance you
sweat, and you release feel good' endorphins that make you happy. ... This is the most
important health benefit of dance -- it aligns the mind, body and spirit. Dance teaches
the importance of movement and fitness in a variety of ways through a variety of
disciplines. As well, dancers learn to coordinate muscles to move through proper
positions. Dancing is a great activity to pursue at almost any age provided you are in
proper health to handle the rigors of dancing for life.

1.1.2 What is Dance SCHOOL?

A dance school is more than only a place for people learn how to dance, it is a place to
experience dance, socialize and engage to each other through the energy of this art. It is
a place where young can feel two opposite sides of dance. One which can be considered
the base for all other kinds of dances, highly technical and with a specific vocabulary,
requiring much practice, and other which is based on the experience of body
movements, allowing the student to use the creativity to explore the rhythm of the
music and to create expressive bodily possibilities Form of the dances have the power to
inspire and feed the soul, enliven the mind and body, as well as provide fun and interior
happiness. Through all these qualities, the school makes the students grow their
personal and artistic maturity, making art and engendering knowledge.
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In other words dance school a place where a dancer can learn more then itself .
Moreover people may learn various types of dance to explore their emotions . In dance
academy during your study of dance you will find out three aspects: the dancer, the
choreographer, and the viewer. You will explore more about your body's limits and
abilities. You will investigate not only physical but also social, emotional, and spiritual
facets of yourself.

Dance education is a highly effective tool for instilling social-emotional wellness by


teaching: self-awareness, self-management, social-awareness, relationship building, and
responsible decision making. In addition, community arts programs bring families and
community stakeholders together through live performance and build empathy through
authentic expressions of shared experiences.

1.2. AIM –
The main goal of this research is being to go through how to design a dance academy
for dancers and those people who want to learn dance, more attractive by using of
dancing elements like emotions of a being, movements of the body and expressions of
different moods .
Moreover this research paper will go through the anthropometry study to create
convenient space for movement and investigate what should be spatial and acoustical
aspects in a dance academy.

1.3. OBJECTIVE –
To design a place where people can live in their emotions and feelings which they want
to express it with dance , there is important to having a good environment ,convenient
circulation, attractive elements , proper ventilation and acoustical approaches . So for
getting this the dance academy will be designed under the specification of
anthropometry, study of materials and some spatial approaches.

LIMITATIONS –
This study is limited to design the space by using of anthropometry/standards and for
spatial & acoustical approaches basically it will go through the study of materials,
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lightning ,ventilation etc. on the other hand this research will not go through the any
research on acoustical calculation and analysis.

1.4. METHODOLOGY –

HISTORY AND
DIFFERENT
EVOLUTION OF
PROJECT'S STUDIES
• IMPORTANCE OF DANCE • VIEWING ANGLES
DANCE • LAYOUT OF
• HISTORY OF • LITERATURE
• BREIF DANCE SCHOOL
DANCE • DANCE STUDIO STUDIES
• AIM & OBJECTIVE
• IN INDIA SPECIFICATIONS • CASE STUDIES
CONTEXT
STUDY OF
INTRODUCTION DIFFERENT LAYOUT
AND VIEW ANGLES

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CHAPTER-2 HISTORY AND EVOLUTION OF THE
DANCE

2.1. HISTORY OF DANCE

The history of dance is difficult to access because dance does not often leave
behind clearly identifiable physical artifacts that last over millennia, such as stone
tools hunting implements or cave paintings. It is not possible to identify with
exact precision when dance became part of human culture.

Dance has been an important part of ceremony, rituals, celebrations and


entertainment since before the birth of the earliest
human civilizations. Archaeology delivers traces of dance from prehistoric
times such as the 30,000-year-old Bhimbetka rock shelter paintings
in India and Egyptian tomb paintings depicting dancing figures from c. 3300 BC.
Many contemporary dance forms can be traced back to historical, traditional,
ceremonial, and ethnic dances of the ancient period.

From the earliest moments of known human history, dance accompanied ancient
rituals, spiritual gatherings and social events. As a conduit of trance, spiritual
force, pleasure, expression, performance and interaction, dance became infused
into our nature from the earliest moments of our existence - from the moment
when first African tribes covered themselves in war-paint to the to the spreading
of music and dance across all four corners of the world. Without a doubt, dancing
remains one of the most expressive forms of communications that we know.

The oldest proof of existence of dancing comes from the 9000 year old cave
paintings that were found in India, which depicts various scenes of hunting,
childbirth, religious rites, burials and most importantly, communal drinking and
dancing. Since dancing itself cannot leave clearly identifiable archeological
artifacts that can be found today, scientist looked for secondary clues, written
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word, stone carvings, paintings and similar artifacts. Period when dancing became
widespread can be traced to the third millennia BC, when Egyptians started using
dance as integral parts of their religious ceremonies. Judging by the many tomb
paintings that survived the tooth of time, Egyptian priests used musical
instruments and dancers to mimic important events - stories of gods and cosmic
patterns of moving stars and sun.

Means of social communication and bonding

Dance may have been used as a tool of social interaction that promoted
cooperation essential for survival among early humans. Studies found that
today's best dancers share two specific genes associated with a predisposition for
being good social communicators.

As folk celebrations

Many dances of the early periods were performed to celebrate festivals, on


important or seasonal occasions such as crop harvest, or births and weddings.
Such danced all over the world.

In ceremonies and rituals

Dance may be performed in religious or shamanic rituals, for example in rain


dance performed in times of drought. Shamans dancing for rain is mentioned in
ancient Chinese texts. Dance is an important aspect of some religious rites in
ancient Egypt, similarly dance is also integral to many ceremonies and rites
among African people. Ritual dances may also be performed in temples and
during religious festivals, for example the Rasa ritual dances of India (a number
of Indian classical dances may have their origin in ritual dances), and the Cham
dances of Tibet.

As a method of healing

Another early use of dance may have been as a precursor to ecstatic trance
states in healing rituals. Dance is used for this purpose by many cultures from the
Brazilian rainforest to the Kalahari Desert. Medieval European danses
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macabres were thought to have protected participants from disease; however; the
hysteria and duration of these dances sometimes led to death due to exhaustion.

According to a Sinhalese legend, Kandyan dances originated 2500 years ago,


from a magic dance ritual that broke the spell on a bewitched king to cure the
king of a mysterious illness.

As a method of expression

One of the earliest structured uses of dances may have been in the performance
and in the telling of myths. It was also sometimes used to show feelings for one
of the opposite gender. It is also linked to the origin of "love making." Before the
production of written languages, dance was one of the methods of passing these
stories down from generation to generation.

In European culture, one of the earliest records of dancing is by Homer,


whose Iliad describes chorea (χορεία khoreia). The early Greeks made the art of
dancing into a system, expressive of all the different passions. For example, the
dance of the Furies, so represented, would create complete terror among those
who witnessed them. The Greek philosopher, Aristotle, ranked dancing
with poetry and said that certain dancers, with rhythm applied to gesture, could
express manners, passions, and actions. The most eminent Greek sculptors
studied the attitude of the dancers for their art of imitating the passion.

2.1.1. Early 20th century: from ballet to contemporary dance

Since the Ballets Russes began revolutionizing ballet in the early 20th century,
there have been continued attempts to break the mold of classical ballet.
Currently the artistic scope of ballet technique (and its accompanying music,
jumper, and multimedia) is more all-encompassing than ever. The boundaries
that classify a work of classical ballet are constantly being stretched, muddied
and blurred until perhaps all that remains today are traces of technique idioms
such as turnout.
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It was during the explosion of new thinking and exploration in the early 20th
century that dance artists began to appreciate the qualities of the individual, the
necessities of ritual and religion, the primitive, the expressive and the emotional.
In this atmosphere modern dance began an explosion of growth. There was
suddenly a new freedom in what was considered acceptable, what was
considered art, and what people wanted to create. All kinds of other things were
suddenly valued as much as, or beyond, the costumes and tricks of the ballet.

2.1.2. The late 20th and early 21st centuries

After the explosion of modern dance in the early 20th century, the 1960s saw the
growth of postmodernism. Postmodernism veered towards simplicity, the beauty
of small things, the beauty of untrained body, and unsophisticated movement.
The famous "No" manifesto rejecting all costumes, stories and outer trappings in
favour of raw and unpolished movement was perhaps the extreme of this wave of
thinking. Unfortunately lack of costumes, stories and outer trappings do not
make a good dance show, and it was not long before sets, décor and shock value
re-entered the vocabulary of modern choreographers.

By the 1980s dance had come full circle and modern dance (or, by this time,
"contemporary dance") was clearly still a highly technical and political vehicle for
many practitioners. Existing alongside classical ballet, the two art-forms were by
now living peacefully next door to one another with little of the rivalry and
antipathy of previous eras. In a cleverly designed comment on this ongoing
rivalry the brilliant collaboration of Twyla Tharp (one of the 20th century's cutting
edge Dance avant-gardist/contemporary) and Ballet dance was ultimately
achieved.

The present time sees us still in the very competitive artistic atmosphere where
choreographers compete to produce the most shocking work, however, there are
still glimpses of beauty to be had, and much incredible dancing in an age where
dance technique has progressed further in expertise, strength and flexibility than
ever before in history.
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2.2. HISTORY OF INDIAN DANCE

Dances performed in India are said to have their origins in dances and rituals of
the period of the Vedas, which date back to around 1000 B.C. The earliest Indian
religious texts describe creation in terms of dance. In Hindu mythology, a dance
by Shiva creates and destroys the universe. Caves in the Vindhya Hill region of
Mardya Pradesh are filled with images made by hunter-gatherers of dancers in a
rich array of positions, many of them sexual.

“The earliest known permanent settlements in India appeared approximately 9


000 years ago. They gradually developed into one of the earliest pre-urban
civilisations in the world, the so-called Indus Valley Civilisation, which flourished

in approx. 2700–1800 B.C. Its centres were Harappa and Mohenjodaro in the
Indus River Valley, in present-day Pakistan. The Indus Culture had its own writing
system, which has not yet been deciphered. Two small sculptures give some
information about dance of the period.

The oldest hard evidence of Indian dance are bas-relief depictions of dance
found in Barhut, Sanhi and Amaravati, which date from the 2nd century B.C. to
A.D. third century, and Natyasastra of Bharata, a treatise on drama and dance
written between the A.D. 2nd and 4th century and sometimes referred to as the
fifth Veda. Dance in India is guided by the elaborate codes in the Natya Shastra
and by mythology, legend and classical literature.

Sculptures from all over India and from many different historical periods, many
before A.D. 1000, illustrates the importance of dance in Indian cultural history and
the richness of its traditions. Many classical forms of dancers are based on
ancient sculptures. Dance is believed to have evolved from religious rituals and
shamanist practices. Even today religious rituals often have drama and dance as
elements in them. They are often associated with a particular Hindu god or a
story or episode from the Ramayana and Mahabharata and are done n
conjunction with music and art.
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2.3. EVOLUTION OF DANCE IN INDIA

Dance has traditionally been an important part of religion and culture in India.
According to Indian legend, the gods invented dance. Dancing is one of the most
revered Hindu arts because it incorporates melody, drama, form and line.
Gestures, body positions and head movements are emphasized in Indian dance.
The use of the hands, fingers and eyes are of primary importance. There are
almost a thousand specific hand movements and signs ( mudras). Often bells are
worn around the ankles.

The four abhinovas are essential to understanding Indian dance. They are 1) the
technique of movement, which includes facial expressions, head movements and
body movements; 2) all types of vocal and instrumental sounds linked with
dance; 3) involuntary actions such as perspiration, trembling and blushing; and 4)
make-up, costumes and sets. Some dancers are capable of changing their skin
color voluntarily by consciously pumping blood into the capillaries on the face.

Gestures play an important role in India dance. Some dances feature more 600
gestures, each with a specific meanings. They often have a codified meaning that
are known to the audiences that watch the dances. It have been suggested the
codified developed as way convey a single message by dance troupes traveling
through areas where different languages are spoken or they developed out
mnemonic devises used by storytellers to convey and remember their stories.
Colors are also rich in symbolism and meaning. Heavy eye make up is often worn
to highlight the expressive of the eyes.

Indian Classical Dances

India has thousands of year old tradition of fine arts and classical and folk music
and dances. Some of the world-famous dance forms that originated and evolved
in India are Bharatnatyam, Kathak, Kathakali, Kuchipudi, Manipuri, Mohiniattam
and Odissi. All these dance forms use basically the same 'mudras' or signs of
hand as a common language of expression and were originally performed in the
temples to entertain various Gods and Goddesses.
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Indian Folk Dances

India is a land of varied cultures and traditions. Diversities in all spheres make the
Indian culture quite unique. Indian folk and tribal dances are product of different
socio-economic set up and traditions. Indian folk and tribal dances are simple
and are performed to express joy. In India we have festivals and celebrations
virtually every day. This has added to the richness of Indian culture. Since every
festival is accompanied by celebration, folk dances have become an integral part
of our social milieu.

2.4. IMPORTANCE OF DANCE IN INDIA

Nataraja (a depiction of Shiva) is the divine, cosmic dancer and a classic image in
Indian art. He is often depicted in old bronze statues with four arms and one
legged raised and the other crushing Apasmara, a dwarf-demon associated with
confusion and ignorance. One hand assumes the gesture of protection, one
points to a raised foot, one hold the drum that keeps the beat of the rhythm of
creation. The forth holds the fire of dissolution.

The ancient treatise on sculpture, the Silpashastra, offers a telling story about
dance and art. In the old days a devout king from Vajra asked a sage Markandeya
to teach him the art of sculpture. The sage handed the king a lump of metal and
asked him, “Do you know how to paint? The king said he didn’t but he was ready
to learn. The sage then said, “Do you know how to dance?” The king said he
didn’t but he had a basic knowledge of instrumental music. The sage then told
him to learn more about music and use that to understand dance better and with
that knowledge advance up the scale to painting and the sculpture. It is no
wonder also that dancers and gods associated with dancing are the subjects of
some of India’s greatest works, the Chola sculptures.
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Dancers have traditionally been members of certain entertainer castes. They
ranked low in the caste system and purity scale and supported themselves by
working in traveling troupes or working for specific temples. It was not unusual
for female temple dancers and troupe dancers to work as prostitutes. When the
girls started leaving the temples to please local landlords a law was passed
prohibiting the practice of dedicating girls to temples. To this day no mother in
India wants her daughter to be dancer, because of its association with
promiscuity.

The man who is regarded as being the first dancer to introduce the West to the
“real” Indian dance tradition was Ram Gopal (1917–2003). In fact, his creations
were only based on real Indian dance techniques, such as kathakali,
bharatanatyam, and kathak, while the dance numbers themselves were mostly his
own creations. Nonetheless, Ram Gopal was a remarkable dancer. He toured the
world with his own company, for which he created short spectacular pieces. While
they were based on Indian techniques he stripped them, at the same time, of
their original costuming and make-up and gave them the fashionable
“orientalistic” outlook, so popular in the West and by that time in India too.
[Source: Dr. Jukka O. Miettinen,Asian Traditional Theater and Dance website,
Theatre Academy Helsinki /=/]

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CHAPTER-3 ACOUSTIC AND MATERIAL

3.1. ACOUSTICS - Acoustics is the branch of physics that deals with the study of
all mechanical waves in gases, liquids, and solids including topics such
as vibration, sound, ultrasoundand infrasound. A scientist who works in the field
of acoustics is an acoustician while someone working in the field of acoustics
technology may be called an acoustical engineer. The application of acoustics is
present in almost all aspects of modern society with the most obvious being the
audio and noise control industries.

Hearing is one of the most crucial means of survival in the animal world, and
speech is one of the most distinctive characteristics of human development and
culture. Accordingly, the science of acoustics spreads across many facets of
human society—music, medicine, architecture, industrial production, warfare and
more. Likewise, animal species such as songbirds and frogs use sound and
hearing as a key element of mating rituals or marking territories. Art, craft,
science and technology have provoked one another to advance the whole, as in
many other fields of knowledge.

Robert Bruce Lindsay's 'Wheel of Acoustics' is a well accepted overview of the


various fields in acoustics.[1] Acoustic music is a genre of music that comes from
the use of instruments that primarily produce a sound solely through acoustic
means. Common usage of the term generally means that the music was
produced with instruments that produce sound with no electric help. Meaning
that the music does not need to electronically amplified to produce a distinct
sound. Most instruments are considered acoustic except for the electric guitar,
electric keyboard, and electric drums.
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3.1.1 Architectural Acoustic –

Architectural acoustics (also known as room acoustics and building acoustics)


is the science and engineering of achieving a good sound within a building and is
a branch of acoustical engineering.[1] The first application of modern scientific
methods to architectural acoustics was carried out by Wallace Sabine in the Fogg
Museum lecture room who then applied his new found knowledge to the design
of Symphony Hall, Boston.[2]

Symphony Hall, Birmingham, an example of the application of architectural acoustics.

Architectural acoustics can be about achieving good speech intelligibility in a


theatre, restaurant or railway station, enhancing the quality of music in a concert
hall or recording studio, or suppressing noise to make offices and homes more
productive and pleasant places to work and live in.[3] Architectural acoustic design
is usually done by acoustic consultants.[4]

3.1.1.1Building skin envelope

This science analyzes noise transmission from building exterior envelope to


interior and vice versa. The main noise paths
are roofs, eaves, walls, windows, door and penetrations. Sufficient control ensures
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space functionality and is often required based on building use and local
municipal codes. An example would be providing a suitable design for a home
which is to be constructed close to a high volume roadway, or under the flight
path of a major airport, or of the airport itself.

3.1.1.2. Inter-space noise control

The science of limiting and/or controlling noise transmission from one building
space to another to ensure space functionality and speech privacy. The typical
sound paths are ceilings, room partitions, acoustic ceiling panels (such as
wood dropped ceiling panels), doors, windows, flanking, ducting and other
penetrations. Technical solutions depend on the source of the noise and the path
of acoustic transmission, for example noise by steps or noise by (air, water) flow
vibrations. An example would be providing suitable party wall design in
an apartment complex to minimize the mutual disturbance due to noise by
residents in adjacent apartments.

Interior space acoustics.

Diffusers which scatter sound are used in some rooms to improve the acoustics

This is the science of controlling a room's surfaces based on sound absorbing


and reflecting properties. Excessive reverberation time, which can be calculated,
can lead to poor speech intelligibility.
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Ceiling of Culture Palace (Tel Aviv) concert hall is covered with perforated metal panels

Sound reflections create standing waves that produce natural resonances that
can be heard as a pleasant sensation or an annoying one. Reflective surfaces can
be angled and coordinated to provide good coverage of sound for a listener in a
concert hall or music recital space. To illustrate this concept consider the
difference between a modern large office meeting room or lecture theater and a
traditional classroom with all hard surfaces.

An anechoic chamber, using acoustic absorption to create a "dead" space.

Interior building surfaces can be constructed of many different materials and


finishes. Ideal acoustical panels are those without a face or finish material that
interferes with the acoustical infill or substrate. Fabric covered panels are one way
to heighten acoustical absorption. Perforated metal also shows sound absorbing
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qualities.Finish material is used to cover over the acoustical substrate. Mineral
fiber board, or Micore, is a commonly used acoustical substrate. Finish materials
often consist of fabric, wood or acoustical tile. Fabric can be wrapped around
substrates to create what is referred to as a "pre-fabricated panel" and often
provides good noise absorption if laid onto a wall.

Prefabricated panels are limited to the size of the substrate ranging from 2 by 4
feet (0.61 m × 1.22 m) to 4 by 10 feet (1.2 m × 3.0 m). Fabric retained in a wall-
mounted perimeter track system, is referred to as "on-site acoustical wall panels".
This is constructed by framing the perimeter track into shape, infilling the
acoustical substrate and then stretching and tucking the fabric into the perimeter
frame system. On-site wall panels can be constructed to accommodate door
frames, baseboard, or any other intrusion. Large panels (generally, greater than
50 square feet (4.6 m2)) can be created on walls and ceilings with this method.
Wood finishes can consist of punched or routed slots and provide a natural look
to the interior space, although acoustical absorption may not be great.

There are four ways to improve workplace acoustics and solve workplace sound
problems – the ABCDs.

 A = Absorb (via drapes, carpets, ceiling tiles, etc.)

 B = Block (via panels, walls, floors, ceilings and layout)

 C = Cover-up (via sound masking)

 D = Diffuse (cause the sound energy to spread by radiating in many


directions)
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3.2. REVERBERATION TIME

3.2.1. What is RT?

Sound produced in a room will repeatedly bounce off reflective surfaces


such as the floor, walls, ceiling, windows or tables while gradually losing
energy. When these reflections mix with each other, the phenomena
known as reverberation is created. Reverberation is thus a collection of
many reflections of sound.

Reverberation time is a measure of the time required for reflecting


sound to "fade away" in an enclosed area after the source of the sound has
stopped.

Reverberation time is important in defining how a room will respond to


acoustic sound.

Reverberation time reduces when the reflections hit absorbent surfaces


such as curtains, padded chairs and even people, or exit the room through
the walls, drop ceilings, doors, window glass, etc.

3.2.2. How is Reverberation Time defined?

The Reverberation Time (RT) is the time the sound pressure level takes to
decrease by 60dB, after a sound source is abruptly switched off. RT60 is
thus a commonly-used abbreviation for Reverberation Time.

RT60 values vary in different positions within a room. Therefore, an average


reading is most often taken across the space being measured.
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Visualization of the basic principle of an RT60 measurement.

Rooms with an RT60 of < 0.3 seconds are called acoustically "dead".

Rooms with an RT60 of > 2 seconds are considered to be "echoic".

3.2.3. Why is reverberation important?

Too much reverberation has a negative impact on the intelligibility of


speech. This can, for example, make it hard to hear what a class teacher is
saying.

Reverberation is also particularly noticeable in a place of worship where the


sound may be heard for several seconds while it fades away. The main
reason religious leaders pronounce their words clearly and talk slowly,
leaving small gaps between sentences, is to overcome this reverberation
and make their speech clear (such a manner of speaking also has a
beneficial side-effect of sounding reverent).
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Conference rooms are an especially challenging acoustic environment.
Collaborative white boards, stylish glass walls and the obligatory large
table are all highly-reflective surfaces for sound. This tends to increase the
reverberation time of the room which impacts speech intelligibility.

On the other hand, too little reverberation will reduce the rich, warm
acoustic sound from an orchestra in a concert hall.

3.2.4. What is the reverberation time of a room?

Reverberation time is the time required for the sound to “fade away” or
decay in a closed space. Sound in a room will repeatedly bounce off
surfaces such as the floor, walls, ceiling, windows or tables.

When these reflections mix, a phenomeon known as reverberation is


created. Reverberation reduces when the reflections hit surfaces that can
absorb sound such as curtains, chairs and even people.

The reverberation time of a room or space is defined as the time it takes


for sound to decay by 60dB. For example, if the sound in a room took 10
seconds to decay from 100dB to 40dB, the reverberation time would be 10
seconds. This can also be written as the T60 time.

However, it is often very difficult to accurately measure the T60 time as it


may not be possible to generate a sound level that is consistent and stable
enough, especially in large rooms or spaces.

To get around this problem, it is more common to measure


the T20 and T30 times and to then multiply these by 3 and 2 respectively to
obtain the overall T60 time.

The T20 and T30 values are usually called “late reverberation times” as they
are measured a short period of time after the noise source has been
switched off or has ended.
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3.2.5. How can reverberation be reduced?

Consider, a source produces sound which gets scattered in all directions in a


closed room. ... Under these circumstances, repeated reflection of sound causes
source to stop the producing sound. Reverberation can be reduced if we
can place some sound absorbing materials inside the room like curtains, plastic
fireboard etc.

3.3. HOW PLANNING AND SPACE EFFECTS THE ACOUSTICAL PROPERTIES

More and more schools and colleges are focussing on the immense
benefits offered by open plan teaching. The promise of a flexible learning
environment, with all the stimulation and innovation possible in a less
codified design arrangement is very attractive to both teachers and
students alike. Shared teaching resources and flexible breakout spaces for
students are seen as the ideal in modern educational facilities.

However, open plan design has often failed to fulfil the promise of an
exciting and efficient learning environment. For open plan arrangements to
work effectively, the specific educational needs and the day to day
operation of the space must be considered. Future needs must also be
factored into design goals. Finally, architecture, services, acoustics and
design must be integrated to meet the design goals.
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By working and liaising with teachers, it is clear that this type of teaching
environment can work very well providing the specific educational
requirements are fully understood and the correct design goals are set. In
Acoustics’ experience, effective education environments need a diverse
range of learning zones: designated teaching areas, group tables for
supervised and unsupervised studies, individual learning spaces, creative
spaces, media zones and so on. All of these zones must be sympathetically
integrated into one space for open plan teaching to fulfil its exciting
potential.

One of the criticisms leveled at open plan educatjonal environments centers on


poor acoustics. However, there are some key tools design techniques which can
be used to enhance the acoustic performance of these spaces and avoid potential
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problems. These tools are introduced below and then covered in more depth
throughout this chapter.

3.3.1. Distance –

Sound levels reduce over distance and this has consequences which to be
considered when designing open plan spaces.
Firstly, a teacher’s voice will decay over distance. As such it is vital that when
addressing pupils, the distance teacher and pupil is kept at a minimum. The
second beneficial consequence is that a degree of separation can be achieved
between two spaces by it-creasing the distance between the teaching zones.
when designing open plan spaces it is therefore vital to book at the effects of
sound decay over distance.

3.3.2. Layouts —

The Iayout of the space dictates the distance over which communication takes
place hence noise levels within the learning zone. Teachers addressing pupils
over long distances are required to raise their voices to be heard at the back-
which often results in raised voices therefore rise transfer between earning areas.
Clustering group tables promote random, unnecessary communication from one
table to another. which is not only disruptive to the educational process but
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significantly increases noise levels. Table layout must therefore be carefully
considered.

3.3.3. Soft Treatments-

Soft treatments provide a marked reduction occupancy noise levels as result of


the sound being absorbed by panels on walls and ceilings or even soft
furnishings. This is of great benefit to an open plan design, providing a quieter,
more flexible space. A reverberation time of 0.4 seconds is one of design goals
and amounts of soft treatments are required to meet this design target.

3.3.4. Open Plan in Atriums and Circulation spaces

Open plan spaces are often situated in atriums and circulation spaces. These
spaces can provide functional, open plan areas but often suffer from two
drawbacks. The first is disturbance from pupils moving through the circulation
space. This can be improved through careful consideration of layout and the use
of visual screens in and around the open plan area. The second difficulty is in
achieving the required level of soft treatment within these spaces. As per the
Reverberation and Room Acoustics Chapter, it is important to understand that
these treatments can take many forms. The four illustrations provide a range of
design options.

3 - The ceiling within the circulation zone has been acoustically treated.
Perforated plasterboard is often used in these instances. This finish is
unfortunately not particularly effective. Perforated wood/metal, wooden slats,
ceiling tiles and other high performance finishes are preferable. It is also
recommended that more surfaces, in addition to the ceiling be treated.

4 - Acoustic banners, wooden fins, cladding around beams, the backs of


cupboards exposed to atriums and other elements, are all effective methods of
adding acoustic treatment to spaces in atriums.

5 - Acoustic artwork can be added to balustrades and walls within an atrium.


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6 - An effective alternative to these forms of treatment is to suspend acoustic
absorption within atriums.

3.4. Auditorium acoustics:

The acoustic performance of the auditorium is a critical design requirement and


needs to be considered as part of the initial brief. Acoustic performance refers to
the quality of the sound–music or speech–heard by each member of the audience
,and also the performers on the platform/stage . Design considerations for the
acoustics of an auditorium , when the sound is not amplified, include:
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●Type of production : each type has its own requirements with different
characteristics for music and speech.

●Shape and size of the auditorium: the extent to which the audience surrounds
the platform/stage ; seating capacity ; number and depth of balconies; rake of the
seating; for concerts ,the proportion of length to width and height to width ;for
opera, dance and musicals ,the location of the orchestra pit; location of
performance lighting and sound equipment and lighting bridges.

●Setting for the performance: such as permanent architectural setting within


audience, proscenium stage and so on.

●Reverberation time the difference in time between direct sound to each


member of an audience and the reflected sound from all surfaces of the
auditorium ,which requires to be short for speech and long for music .
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CHAPTER-4 PLANNING AND VIEW ANGLES

4.1. DIFFERENT LAYOUT

4.1.1. Project: Dance School in Llíria


Location: Llíria, Spain
Architects: Hidalgomora Arquitectura

The building, which is solved in an only floor, is organized in two parts of different
volumetry, articulated between them by three glass boxes, two that connect the
wardrobes directly with two of the dance rooms, and the third one of bigger dimension
that leads a distributor, from where it is possible to accede to any of three dance rooms.

Behind this first body is placed the second one, of cubic character and of major height,
which following its need of intimacy, it is separated voluntarily of the thoroughfare to
shelter the dance rooms. There are three rooms, one in the center and two other in the
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wings, arranged symmetrical, of bigger size. The three possess large windows, which
look at the spectacular landscape, a vast plain of vegetable garden that spreads to the
feet of Llíria.

It is also possible to notice in the plan below the thickness of the walls at the dance
rooms to provide sound insulation and a good acoustic quality.

Latticeworks formed by tubular sloping profiles of oxidized steel protect the rooms from
the exterior looks and from the excess of solar light, at the same time that they
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incorporate into the interior space an interesting movement by subtle combination of
lights and shades.

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4.1.2. Project: Dance School in Oleiros
Location: Oleiros, Spain
Architects: NAOS Arquitectura

The Municipal Dance School in Oleiros is a building on ground floor, with a simple
volumetric configuration that responds to a clear program of needs. The program is
organized in two different volumes that separate the main functional areas. In plan, the
building is compact within the plot, optimizing surfaces and circulation.

On this basis, the orientation of the plot, and the fact that there are no adjacent
buildings that can generate shadows, allow the building to be south facing to take
maximum advantage of solar energy.

The first volume, lower in height, houses the public and transition areas into the dance
halls: hall and waiting area, administration, locker rooms and small classrooms. The
highest room houses the dance halls, which due to their use, require a larger interior
volume.
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The topography of the plot, with a slight dip to the south, favors the construction of a
basement which houses the building facilities and storage area that serves the dance
halls through an elevator. The interior layout of the building is planned so as not to mix
internal circulation for staff with users of the center, thus facilitating its operation.

Access is via the north facade through a lobby which houses a waiting area. The
common building has 2 dressing rooms for students, with access from the lobby to
allow the entry of parents, and direct connection to the dance hall area. Teachers also
have 2 dressing rooms, separated by gender. There are 4 teaching rooms for dance
practice. Along with these rooms, there are two smaller rooms, one for music and the
other for a music and media library.

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4.1.3. Project: Tallinn Music High School, Ballet School and Georg Otsa Music
School
Location: Tallinn, Estonia
Architect: Atelier Thomas Pucher

Project Area: 18,200 sqm

The key concept of this project was to create not only a building but also a new
meaningful city space connecting the people, the place, its history and their music. The
building delimits the boundaries of the plot, enclosing an expanse of green at its core: a
garden that is urban yet isolated from the hubbub of the city.

The garden is designed to be a magical and untouched space, a wild forest open to the
people but protected by the building. This fairytale atmosphere is reinforced by scenic
elements: by steps, trailing roses and hidden woodland paths. The garden also forms
part of the life of the building, offering the flexibility to host performances of various
sizes. The large staircase, reminiscent of the Malaparte house, leads from the garden up
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to roof level. It also provides a perfect place for sitting, relaxing or for seating people
during open-air performances.

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The structure also allows new interior configurations, thus accommodating the school’s
potential demands of the future. The spatial organization of the buildings emphasizes
the omnipresence of the garden, with glazed façades forging a strong connection
between the interior and nature.

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4.2. VIEWS AND ANGLES

4.2.1. THE VIEWER:

•The horizontal angle of polychromatic vision is generally 40 degree without eye


movements.

•The horizontal angle to the projector screen at witch distortion on the screen
becomes substantially intolerant is 60 degree measured to the far side of the
projected image .

4.3. AUDITORIUM DESIGN:

The three-dimensional volume of an auditorium is conditioned by the limitations


set by all members of the audience able to hear and see a performance, and for
the performers to be able to command the audience. Seating density, floor rake
and seating layout are covered by legislation to ensure a satisfactory means of
escape in case of fire, and by an appropriate level of comfort for the audience.
Performance organization requires lighting, sound and broadcasting positions
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within the auditorium and a view of the whole performance area from control
rooms.

Aural limitation

Visual limitation

4.3.1. Aural limitations: There are limits to the distance across which speech,
singing and music can be clearly heard in an auditorium, without the assistance
of amplification, and this has a bearing on the maximum distance from
performance to the rear row of seats. Beyond these limits the lack of audibility
gives the audience less than the basic requirement to clearly hear a performance.
The distance varies according to type of production. Other factors include the
articulation of the spoken work by an actor or the sound quality, including
loudness, from a musical instrument.

4.3.2. Visual limitations: There are visual limitations that determine the
maximum distance from the performance area beyond which the audience is
unable to appreciate the performance adequately and for the performers to
command an audience. The distance to the furthest seat varies according to the
type and scale of production:

● In order to discern facial expression – essential with drama – the maximum


distance from the point of command on the stage should not exceed 20 M. The
point of command is the geometric centre of an open stage or the setting line of
a proscenium stage.

● For opera and musicals, discerning facial expressions is less critical and the
distance to the rear row can be 30 M.

● For dance, the audience needs to appreciate the body and feet of the dancers,
and also to discern facial expressions: the maximum distance from the point of
command on the stage should not exceed 20M.
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4.3.3. SIGHTLINES:

4.3.3.1 seated audience

For the whole of the audience to have an uninterrupted view of the performance
and its setting over the heads in front and clear of overhangs, the section and
plan of the auditorium needs to conform to certain limitations set by vertical and
horizontal sightlines.
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4.3.3.2. Vertical sightlines

Vertical sightlines may be calculated by establishing:

Lowest and nearest point of sight on the platform/ stage for the audience to see
clearly. The platform/stage height, when raised, can range from 600 to 1100 mm
above the lowest level of the auditorium and point can be the leading edge, or
setting line for the performance, at or above the platform/stage level. If a
forestage is part of the proscenium or end stage formats then point needs to
relate to the forestage. If an orchestra pit is included between stage and seating
then point may be regarded as the conductor’s head. With a symphony orchestra
in a concert hall, the ability to see each musician at the front of the stage (who
partially masks the other musicians) may not be critical and point P may be taken
as over 600 mm above the platform level at the front edge.
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4.4. DANCE STUDIO SPECIFICATION

4.4.1 Floor area

The amount of floor area required depends on three variables: the number of
participants normally expected to take part in activities, the age of participants
and the type of activity envisaged.

Realistically, in a cost-conscious world, it would be unwise to envisage catering


for less than eighteen participants. In some teaching situations it is necessary to
cater for thirty. The opportunity for large group dance activities, festivals and the
like, is best catered for in spaces other than a dedicated dance studio.

Young children need to be able to jump and run about freely. This necessitates
more space than their physical size might warrant. Teenagers and adults might be
expected to be more disciplined, but nevertheless they need opportunities to
travel and jump.

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Different genres traditionally require varying amounts of space. South Asian and
African genres, for example, are mainly centred on one spot; ballet traditionally
makes frequent use of travelling on the diagonal. In dance technique classes a
substantial amount of time is likely to be spent on one spot, but for periods there
may be a need to travel unimpeded. Choreographic work has very diverse needs.
There may be the necessity to split into groups, for more than one activity to be
going on simultaneously, for individuals to stand back to have an outside view, or
for one group to watch another.

A useful rule of thumb is to provide a minimum of three square metres for each
participant of the primary school age range and five square metres for those in
the secondary and tertiary age range. A minimum space of 6 square metres per
student with an ideal of 9 square metres 1 . This will vary depending on the type
of dance. For example, about 4 square metres would be enough for salsa. The
space should be free from clutter, power cords etc., have sufficient height
clearance from overhead fans or beams and be big enough to allow for free and
safe movement.

Studios have been built with a variety of shapes, ovals, circular and with curving
walls. Such spaces impose limitations; for many dance activities it is necessary to
be able to locate front and for this reason a rectangular space is most useful.

Where secondary school class sizes are in the region of thirty, then 150sq.m are
required. In other circumstances 10m x 9m is a minimum size, providing space for
eighteen adults to take part in a modern dance technique class and providing
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appropriate dimensions for choreographic work without a feeling of being
cramped.

A Level dance examinations require 10m x 10m, that is a dance space of 10m x
7.5m with space for the examiner to sit 2.5M back in order to have a wide view.

4.4.2. Floor surface

The floor is the most important attribute for the dancer, and for the dance
teacher. Every step and jump is responded to by the quality of the floor
underfoot. Every dance step or jump on an unyielding surface wears down the
resilience of the body and brings the risk of injury, and the prospect of long term
damage, closer. Local planners and architects too readily believe that they don't
need expert advice. The dancer or dance teacher with an opportunity for
investment in a dance studio is well advised to have reputable floor specifications
to hand.

The ideal is a fully sprung floor permanently laid, and exclusively used, for the
purpose of dancing. There are a number of fully sprung floor systems described
in Foley, M Handbook for Dance Floors (London, Dance UK 1991).]

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What is described as a semi-sprung floor may be a necessary compromise, but it
may be wise to turn down such an offer and hold out for a fully sprung floor at a
later date. School gymnasiums of the 1960s and 70s often had semi-sprung
floors, and many of these have, by now, lost their resilience. There are also roll-
down floors, which have varying degrees of resilience, but most of these do not
provide the full resilience essential for safe dancing.

4.4.3. Studio height

The height of the studio relates to the circulation of fresh air and to the
opportunity to jump and lift. But the height requirement goes beyond the purely
physical.

A plentiful supply of fresh air is necessary for the dancer to replenish energy
quickly. But beyond the physiological need the dancer performs best with a sense
of being able to expand into the space. The dancer not only moulds lines and
shapes in personal space, but also creates implied lines, streaming out into the
space beyond. Height is important for the expression of aspiration. Physically it is
important to have headroom so that the dancer never feels inhibited in achieving
height. Acrobatics are not so frequent in the dance studio, but the opportunity
for one dancer to stand on the shoulders of another and raise her/his arms in the
air, makes a height of at least 3.5m ideal. This height gives an appropriate sense
of spaciousness.
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4.4.4. Ventilation and heating

It is essential in a dance studio that there is local, accessible and quickly


responsive control of ventilation and heating. The long-time practice of opening
and closing the windows provides too uneven a pattern to provide a safe
environment. 18 degrees Celsius is an absolute minimum, below which it is
unsafe to practice anything beyond small, sedentary, gestural movement. (The
Equity professional dancers agreement quotes 18.3ºC / 65ºF as the minimum.)
Many think it wise to maintain a temperature of around 24ºC and that 21ºC is the
minimum.

Extractor fans vary in their noise level, and this may interfere with concentration
and communication. The noise of the passage of air through an extractor is
related to the design and to the volume and speed of the movement of the air.
Additionally the actual mechanism may be noisy, and this needs to be rejected. If
there is an audience in the studio and stage lighting is being used there is a
maximum need for ventilation. Too often unwisely chosen extractors have to be
switched off at this crucial time because they are too noisy.

It is important that the heating system provides an even temperature throughout


the space rather than sources of localised heat. The control of this heating source
needs to be close at hand, but not where anyone can fiddle with it to meet
personal, and sometimes eccentric, needs. Noise is not usually such a problem
with heating systems as it is with ventilation, but it does need to be considered. It
is important that the heat of the studio, or of a summer day, is never regarded as
a substitute for a proper warm up before dance activity.
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4.4.5. Sound

It is important that sound accompaniment is heard crisply within the studio, but
it is essential that it does not contaminate adjoining workspaces.

Sound insulation is a primary structural consideration. Cavity walls are invaluable,


and these may have baffling material enclosed or on the surface.

Inner and outer doors should be close-fitting and solid, with spring closures, and
the space between such doors needs to be thoroughly baffled. Within the space
excessive reverberation from hard surfaces needs to be avoided. Partial wall
curtaining has acoustic as well as aesthetic value.

4.4.6. Light sources; daylight/blackout

A major consideration is the advantages and disadvantages of daylight or of


blackout. Where the main activity is dance training or recreational dance daylight
is invaluable. If the focus is on dance as a theatre form then blackout may be
essential. Windows at eye level rarely help concentration on dance activity. Views
provide a distraction for those inside and a temptation for people outside to
stare in.

On the other hand during daylight hours windows provide an airy, open
atmosphere, which is conducive to concentration, though direct sunlight on the
dancer may be a distraction. If windows are to feature, they may be best in
opaque glass or located above eye height. If facilities for lighting the dance are
envisaged, then blackout is an important adjunct.
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There is nothing worse than working with a supposed blackout into which
tiresome shafts of daylight penetrate from ineffective blackout. And it is very
difficult to find effective and robust blackout, which can be readily closed and
opened without rapid deterioration. A studio without daylight can feel
oppressive, though this can be alleviated to a great extent by imaginative interior
decoration. It has the advantage of allowing lighting to be used without the
sometimes-tedious procedure of blacking out. For dance performance a black
box studio is ideal. For regular use in dance education and training daylight is a
boon. The decision about priorities is crucial.

4.4.7. Lighting

A decision needs to be made on whether, either immediately or in the future,


theatrical lighting may be installed. In any case good illumination for general
purposes needs to be planned. General light is usually by florescent tubes. These
should be behind frosted glass panels to provide mellow and complete coverage.

For the larger studio it is probably wise for these to be controlled in three or four
banks. It is tedious to have each florescent light source separately switched. For
the size of studio referred to above, two switches are sufficient, the first to
provide minimal light, sufficient to see around the space, and the second to add
full illumination.

Switches need to be close at hand inside the studio so that they may be
switched on during activity without interruption; they should not be outside a
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door. The vestibule is the ideal location. Appropriate theatrical illumination for
dance has developed rapidly in recent years. It should not be assumed that a rig
suitable for drama or other activities would be suitable for dance. Angles are
crucial, side sources are important and there should be provision for gobos and special
effects.

4.4.8. Interior design

It is important to realise that this plays both a functional role and an aesthetic
one. For many dance training contexts barres are necessary. These may need to
provide space for every member of a class to stand at the barre. As well as barres
along the walls, it may be necessary to have portable barres, which can be stored
away.

It is essential that barres are of a substantial, stable design, as they may receive
considerable force or weight. Two barres at different heights is the most versatile
arrangement in catering for dancers of differing heights. The top of the barres
should range between 900mm and 1200m from the floor, allowing the hand to
rest at arms length without raising the shoulder. Similarly, mirrors may be
considered important.

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A complete wall of mirror up to the height of 2200mm, in which all participants
can clearly observe their dance image, is ideal. There are, however, situations
where being able to see ones image while dancing is a hindrance. Mirrors should
have curtaining, which is independent of other curtaining, to cover them. With
regard to colour of surfaces, there is a dichotomy. Dark colours are best for
theatrical lighting effects as they absorb light, avoiding spill and maximising
localised definition. For everyday use light colours are best, creating a bright and
stimulating working ambience. Double-sided or duplicate curtains on heavy-duty
runners may provide a partial solution. It needs to be borne in mind that these
take up space and, in a studio of 10m width, it would be unwise to reduce this
further with curtains that stand away from the walls.

To have versatile use with theatrical lighting, black curtains are often thought to
be the only solution. Dark blue, dark green and brown are, in fact, serviceable
alternatives, which are less oppressive in daily use.

A working dance studio needs a generously proportioned display wall, which


should form an integral part of the design. This should not be for everyday
notices, which would tempt people to enter to read them wearing unsuitable
footwear, but for inspirational material: past dance performance publicity,
designs which have movement quality or cultural significance and, most
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importantly, health and safety charts and diagrams. To avoid distraction this
should not be on the wall in front of which a teacher habitually faces a class.

4.4.9. Seating

If the studio is to be used for performance then seating has to be provided. This
can be for as few as fifty, in two rows of twenty-five. To warrant large numbers a
larger performance space is necessary. Seating is most frequently provided on
retractable tiers. There are stringent national and local design and safety
requirements for this type of seating and for the access to it. If these are not met
the space will not be licensed for public performance.

Additionally it should be borne in mind that every row of seating provided cuts
down the performance space. Too often dancers who have rehearsed a work for
one size of stage find out too late that the stage dimensions have been reduced
by seating or other hazards.

4.4.9. Dance Barres:


Dance barres provide useful support during warm up and training, particularly for
ballet.Two barres at different heights is the most useful arrangement for dancers
of differing heights. The top of the barres should range between 0,9 m and 1,2 m
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from the floor, allowing the hand to rest at arms length without raising the
shoulder. Floor sockets may be required for portable dance barres .

4.4.9. Mirrors:
Wall mirrors assist in the teaching and practice of dance disciplines, that’s why,
one long wall of the studio should be fitted with glass mirrors along its length
from near floor level to a height of at least 2 m. Also a second mirrored wall can
help dancers to check their side view.

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CHAPTER-5 LITERATURE STUDY

Y Ballet School 66
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Architects - y+M
 Location - Tokushima, Tokushima Prefecture, Japan
 Category - Schools
 Area - 192.0 sqm
 Use - Ballet School
 Site Area - 204.22 ㎡

5.1. INTRODUCTION AND LAYOUT

Text description provided by the architects. We planned the classic ballet school in a quiet
residential area in Tokushima city. Scale of the site is same as house. So we planned
parking area for cars and bicycles outside and a few rooms for office and dressing inside
of the 1st floor. At the whole of 2nd floor, we planned classic ballet studio as much as
possibly widely.

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5.2. CONCEPT

 At the approaching student can change their mind in an effective manner. It can
uplift student’s mind for ballet lesson throughout the wide perimeter zone.
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 Architects designed the approach from the entrance to the studio as long as
possible to make a good interface between ordinary life and classic ballet school.

 DESIGNERS set a stair-shaped lounge space at the perimeter zone. The lounge is
for not only communication among students and their family but also PR filed
where people in the town can see there openly.

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5.3. ARCHITECTURAL FEATURES

 The studio is bright and ventilated well through natural sunshine and wind in
every season. It’s a very opening space that student can see the splendor of Bizan
mountains through the opening window at the big pointed roof.

 They designed the roof as a big pointed roof which is written by free-hand like.
The design fits with surroundings of residential area and ensures enough height
of the studio to be possible to ballet practice, such as lift movement.

 In terms of heat control, heat air which is generated by ballet practice is


exhausted through the window on top of the ceiling and the fan with
temperature sensor.

5.4. MATERIAL

 Architects tried to make the ballet school approachable, easy coming for the
town. For it they designed that pillar and beam structure-steel shaped ‘H’
character is uncovered and wood wool cement board is used for exterior wall to
give an offhand and organic impression.
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5.5. CONCLUSION-

the top heavy structure in a quiet neighbor in tokushima city is a


classic ballet school by y+M design office. characterized by a three
tier structural form, a mosaic glass wall plays with the degrees of
transparencies. the pointed roof form represents a free-hand and
fluid motion, giving enough height to allow lifted movements during
ballet practice. Simultaneously , the exaggerated eaves of the roof
canopy acts as a shade and cover for the car and bike parking
outside.

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CHAPTER-6 CASE STUDY

Triveni kala Sangam, Mandi house, New Delhi


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a) Introduction :
 The triveni kala sangam was established in 1950 as an academy of dance, music
and painting with an aim of reintroducing traditional forms of expression into
indian life.
 Confluence of arts, is an art complex and educational centre
 To provide a platform for creative artistic expression with an emphasis on
promoting classical forms of Dance, Music and also Painting and other arts
 Architect : Ar. Joseph Allen Stein
 Location - 205, Triveni Kala Sangam, Tansen Marg, Todermal Road Area, Mandi
House, New Delhi, Delhi 110001
 Building type : Instituition
 Site area: 7000 sq ft
 The centre is situated on a small plot of about one acre at tansen marg near
mandi house round about.
 The other institutes that surround it are the sangeet bharati, sri ram center,
rabindra bhawan, sapru house and the sri ram bharatiya kala kendra.

b) Access:

 Nearest metro station, mandi house


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 Buses access is available
 Indira Gandhi Airport, 21km.

c) Layout:
 2 main entries to the site
 60% ground coverage
 Site is divided into main building, exhibition space, oat , terrace café and
auditorium.

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d) Zoning:

 Building is divided into 3 zones:


 Public, administration and academic
 The ground floor has the public area like lounge, exhibition halls, art gallery,
library, conference rooms, administration room etc.
 On the first and the second floor are music, dance and art studios where
students are taught painting, dancing and singing.
 First and second floor includes academic purpose, studios where music, art and
dance are taught
 3 type of audience uses building
 Staff, audience and students
 Circulation linked to the zoning and has been segregated by separating them
through levels − ground floor for audience functions and first and second floor
for staff and students with a necessary degree of inter linking
.  Zoning has been separated through levels- ground floor for audience where
art galleries, café and oat is there
 First and second floor for students
 Third floor is for staff residence.

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e) Department :

 Department of Art - Painting | Sculpture | Photography | Glassworks 


Department of Dance - Bharatnatyam | Odissi | Chhau | Kuchipudi | Kathak
 Department of Music -Semi Classical & Light Classical Music | Hindustani Music
(Vocal) | Carnatic Music | Sitar | Tabla | Flute

F) Architecture elements:

 Extensive areas of jaalis and planting boxes arranged into vertical gardens are
prominent elements at the triveni.
 Jaali panel create a cool space of filtered light in the classroom buildings’
corridor.
 Use of jalis on the exterior to cope up with delhi’s hot weather.
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 The colours of the façade are of light grey concrete and have grit finsh on the
walls.
 The textures are rough and rugged.
 lack of bright colours is soothing as the abundant greenery adds brightness.

g) Finishes/surface articulation:

 the colours of the façade are of light grey concrete and have grit finsh on
the walls. the textures ar rough and rugged.
 lack of bright colours is soothing as the abundant greenery adds
brightness. concrete bands enhances the verticality of the curved walls of
the gallery precast concrete jaalis help in maintaining visual linkages.

h)Material

 the building is composed of a clad rcc framed structure with several infill material.
 indigenious jaali panels, concrete blocks.  plastered finish on most elevation,

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 rough cut stone facing on gallery facade, concrete planters and
concrete clad with gray chips for the pergolas.

Section through the site


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Section through the auditorium
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a) Entry:
 There are 2 main entries to triveni kala sangam
 One which is the main entry and also, excess to the main building
 Other entry is to the.

The main entry to triveni

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b) Triveni OAT:

c) Auditorium:

This fully air-conditioned premises has a seating capacity of 150 guests.


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 It has a direct entry from the road as well a connection from the lounge.

 There are two aisles situated at both the sides.

 The wooden flooring helps in sound absorption

 Wooden panels were provided to absorb sound and help in further


acoustic treatment

 The projection room is located at the rear end of the auditorium.

 Its broad and airy structure is aimed to provide an attractive venue for
dance & music performaces, talks, seminars and book launches.
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d) Architecture elements:

 The function of this stair is that it provides an egress point from the
auditorium.

 Fabricated from steel with minimal vertical support.

 The stair is attached to the side of the building on a blank façade.


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e) TRIVENI TERRACE CAFÉ:

 The Triveni Terrace Café overlooking the beautifully landscaped lawns of


the Open Air – Theatre is renowned for its delicious home-style food.

 The café is a popular converging point for artists and artist, students and
intellectuals, who get together to have lively conversations and refresh
themselves over unending cups of masala chai and innovative food.

 Divided into 2 spaces the inner has capacity of 15 people and outside
have a capacity of 20 people.

 The café overlooked an open landscaping courtyard.

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Area calculation chart

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Conclusion:

 Triveni Kala Sangam teaches classical Indian Dance, classical Indian


Music (Vocal & Instrumental), Contemporary Painting, Sculpture,
Photography and Glass Art, thus creating a confluence or ‘Sangam’ of
various art forms.
 It provides a beautiful working environment for artists to express
themselves through various forms of Visual and Performing arts.
 Good Green Cover.
 Orientation Is Favourable In Terms Of Wind Direction (North West)
And Sun Path.
 Nearest Metro Station Mandi House. Other Metro Stations
Barakhamba Road And Pragati Maidan.
 Nearest Market- Bangali Market.
 Good Connectivity Of Different Sections Of Building .

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CHAPTER-7 CONCLUSION

Dance is more than the exploring of different ways to make a shape or learning
a series of steps to music; it is a way of moving that uses the body as an
instrument of expression and communication. Through dance, students learn
teamwork, focus, and improvisational skills. Dance awakens new perceptions in
children which help them learn and think in new ways so that’s why there is a
need of that type of space to feel yourself ,that is dance school.

In other words dance school a place where a dancer can learn more then
itself . Moreover people may learn various types of dance to explore their
emotions . In dance academy during your study of dance you will find out three
aspects: the dancer, the choreographer, and the viewer. You will explore more
about your body's limits and abilities. You will investigate not only physical but
also social, emotional, and spiritual facets of yourself.

Dance has traditionally been an important part of religion and culture in India.
According to Indian legend, the gods invented dance. Dancing is one of the
most revered Hindu arts because it incorporates melody, drama, form and line.
Gestures, body positions and head movements are emphasized in Indian
dance. The use of the hands, fingers and eyes are of primary importance. There
are almost a thousand specific hand movements and signs ( mudras). Often
bells are worn around the ankles.

Dance education is a highly effective tool for instilling social-emotional wellness


by teaching: self-awareness, self-management, social-awareness, relationship
building, and responsible decision making. In addition, community arts programs
bring families and community stakeholders together through live performance
and build empathy through authentic expressions of shared experiences.

More and more schools and colleges are focussing on the immense benefits
offered by open plan teaching. The promise of a flexible learning environment,
with all the stimulation and innovation possible in a less codified design
arrangement is very attractive to both teachers and students alike. Shared
teaching resources and flexible breakout spaces for students are seen as the
ideal in modern educational facilities.
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However, open plan design has often failed to fulfill the promise of an exciting
and efficient learning environment. For open plan arrangements to work
effectively, the specific educational needs and the day to day operation of the
space must be considered. Future needs must also be factored into design
goals. Finally, architecture, services, acoustics and design must be integrated to
meet the design goals.

By studying literature and case study we were able to know how the space can
divided in a dance school according to their use. Different type of dance style
wants a place where it sets for the convenient movement. Moreover what kind
of spaces should have be in a dance school that also we can learn from these
studies.

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REFERENCES

URL1: https://en.wikipedia.org/wiki/History_of_dance

URL2: https://www.slideshare.net/shouryagoswami969/paniiir-report

URL3:
https://issuu.com/machacoustics/docs/mach_book_final_new_large
_web_content

URL4: https://www.slideshare.net/SougataDe1/auditorium-sightline

URL5: https://amandazambonmalta.weebly.com/project-4---
knowledge.html

URL6:
https://sportscotland.org.uk/documents/resources/secondaryschool
designnote04dancestudio.pdf

URL7: https://www.slideshare.net/SalehAhmed65/acoustic-and-
viewing-angle-analysis-of-an-auditorium-building

URL8: https://www.onedanceuk.org/wp-
content/uploads/2016/06/dance-studio-specification-1.pdf

URL9: https://en.wikipedia.org/wiki/Triveni_Kala_Sangam

URL10: https://www.slideshare.net/HarpreetBhatia17/triveni-kala-
sangam-105774494

URL11: https://www.slideshare.net/kamalgoyal11/triveni-kala-
sangam

URL12: https://www.slideshare.net/JYOTSNAMISHRA11/performing-
arts-centre-final
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URL13: https://www.archdaily.com/398725/dance-school-in-lliria-
hidalgomora-arquitectura

URL14: https://www.archdaily.com/419211/dance-school-in-oleiros-
naos-arquitectura

URL15: https://www.archdaily.com/772533/y-ballet-school-y-plus-m

URL16: https://www.archdaily.com/149451/tallinn-music-high-school-
ballet-school-and-georg-ots-music-school-atelier-thomas-pucher

URL17: https://in.pinterest.com/pin/537054324294597516/?lp=true

URL18: https://en.wikipedia.org/wiki/Dance_studio

URL19: https://issuu.com/sukrutijain/docs/dance___architecture_-
_choreographi

URL20: https://issuu.com/abiren/docs/designingwithdance

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