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Brief introduction
Design principles
Case study-
Ansal plaza(HUDCO PLACE)
Acoustics first became associated with architecture when men
began to assemble in groups to hear speeches, listen to music
and see and hear plays.
To create a favourable setting for such activities the Greek and Roman open-air
theatres and forums evolved, and many of them have survived to this day.
The typical open-air amphitheatre consists of steeply banked benches arranged in a
semicircle (in front of a platform).
Focus on
stage
The sound reflected from the tiers of benches produces a sustained echo
whose characteristic pitch is determined by the distance separating adjacent
risers.
In the simple model the seating area (cavea) is shaped as sloping surfaces and
the back wall (proscenium) behind the stage is modelled as a plane surface. In the
detailed model, the cavea is defined with seat rows and stairs, a colonnade behind
the last row and a more detailed proscenium.
One of the reasons for the detailed model to give better results is that definition of
the rows on the cavea horizontal reflections between cavea and proscenium.
The sound will in this case bounces back and forth between the vertical seat
rises and the proscenium wall. These reflections will arrive at a listener position
with large delay and attenuation but will nevertheless contribute to a long
reverberation time.
REFLECTION PATHS IN A SIMPLE AND
DETAILED CAVEA.
It has been shown that in simulations of open-air roman theatres the definition of the
seating area has a big impact on the acoustics of the room. When the cavea of the
theatre is modelled
1. AS SLOPED SURFACES