MUSIC MUSEUM PERFORMING ARTS

HALL

A Thesis Proposal Submitted to

The College of Architecture
University of Santo Tomas

In Partial Fulfillment
of the Requirements
For the Degree of
Bachelor of Science in Architecture

Yap, Charles Wesley F.

5AR-18

September 3, 2019
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Table of Contents
CHAPTER I: INTRODUCTION ........................................................................................... 6
1.1. Background and Nature of the Project ........................................................................... 6
1.2. Statement of the Problem ............................................................................................... 7
1.3. Project Goals and Objectives ......................................................................................... 8
1.4. Significance of the Study ............................................................................................... 8
1.5. Scope and Limitation of the Study................................................................................. 8
1.6. Definition of Terms........................................................................................................ 9
1.6.1. Acronyms and Abbreviations .................................................................................... 9
CHAPTER II: REVIEW OF RELATED LITERATURE .................................................. 10
2.1. Music ........................................................................................................................... 10
2.2. Performing Arts ........................................................................................................... 13
2.3. Music and Performing Arts in the Philippines ............................................................. 16
2.4. Performing Arts Center ................................................................................................ 19
2.5. Music and Performing Arts Center Design .................................................................. 21
2.6. Training Center and Recording Studios Design .......................................................... 25
2.7. Acoustic Design ........................................................................................................... 28
CHAPTER III: RESEARCH METHODOLOGY .............................................................. 30
3.1. Historical Method ........................................................................................................ 30
3.2. Descriptive Method...................................................................................................... 30
3.3. Case Study Method ...................................................................................................... 30
3.4. Research Tools and Techniques................................................................................... 30
CHAPTER IV: SITE PROFILE AND ANALYSIS ............................................................ 32
4.1. Site Selection and Justification .................................................................................... 32
4.1.1. General Criteria (40%) ............................................................................................. 32
4.1.2. Specific Criteria (60%) ............................................................................................ 32
4.1.3. Site Location Profile ................................................................................................ 33
4.1.4. Socio-economic Location Profile............................................................................. 35
4.1.5. Comprehensive Land Use Plan ................................................................................ 45
4.1.6. Physical Environment .............................................................................................. 52
CHAPTER V: PROJECT PROFILE AND ANALYSIS..................................................... 54
5.1. Project Information ...................................................................................................... 54
5.1.1. Client Information.................................................................................................... 54
5.1.2. Mission, Vision and Goals ....................................................................................... 54
5.1.3. Historical Overview ................................................................................................. 55
5.2. User Profile .................................................................................................................. 55
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5.2.1. Organizational Chart ................................................................................................ 55

5.2.2. Number and Roles/Duties and Responsibilities from Director to Staff ................... 58
5.2.3. Significant Partners .................................................................................................. 62
5.3. Target Market............................................................................................................... 63
5.3.1. Primary Target Users ............................................................................................... 63
5.3.2. Secondary Target Users ........................................................................................... 63
5.3.3. Tertiary Target Users ............................................................................................... 64
5.4. Sample Calendar of Activities ..................................................................................... 64
5.5. Services Offered........................................................................................................... 65
5.6. Legal Framework ......................................................................................................... 75
5.7. Conclusion ................................................................................................................... 76
CHAPTER VI: DATA PRESENTATION ........................................................................... 77
6.1. Design Related Sources ............................................................................................... 77
6.1.1. P.D. 1096 – The National Building Code ................................................................ 77
6.1.2. B.P. 344 – Accessibility Law ................................................................................... 99
6.1.3. General and Specific Land Uses ............................................................................ 102
6.2. Design Focus.............................................................................................................. 104
6.2.1. Introduction ............................................................................................................ 104
6.2.2. Specific Details ...................................................................................................... 105
6.3. Output of Surveys ...................................................................................................... 109
6.3.1. Data Interpretation ................................................................................................. 109
6.4. Case Studies ............................................................................................................... 112
6.4.1. International ........................................................................................................... 112
6.4.2. Asian ...................................................................................................................... 116
6.4.3. Local ...................................................................................................................... 130
6.4.4. Case Study Assessment.......................................................................................... 134
CHAPTER VIII: SPACE PROGRAM .............................................................................. 135
7.1. List of Spaces ............................................................................................................. 135
7.2. Space Program ........................................................................................................... 137
Bibliography .......................................................................................................................... 140

List of Figures
Figure 1: Seating Area Units.................................................................................................... 25
Figure 2: All students in 2005 and commencing students in 2007 .......................................... 26
Figure 3: Learning history in music education ........................................................................ 26
Figure 4: Triple isolation shell in a weak domestic building ................................................... 27
Figure 5: Direct Sound Illustration .......................................................................................... 28
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Figure 7: Sound Rays in Rooms .............................................................................................. 28

Figure 6: Multiple Reflection within a room ........................................................................... 28
Figure 8: Absorption Coefficients of Porous and Panel Absorbers ......................................... 29
Figure 9: Map of Metro Manila ............................................................................................... 34
Figure 10: District Map of Makati City ................................................................................... 39
Figure 11: Barangay Boundary Map of Makati City ............................................................... 40
Figure 12: Cluster Map of Makati City.................................................................................... 40
Figure 13: Makati City ............................................................................................................. 42
Figure 14: Site A Location Map .............................................................................................. 43
Figure 15: Existing Land Use Map of Makati City ................................................................. 46
Figure 16: Official Zoning Map of Makati City ...................................................................... 47
Figure 17: Residential Subzones Map ..................................................................................... 48
Figure 18: Commercial Subzones Map.................................................................................... 49
Figure 19: Special Development Zones Map ........................................................................... 50
Figure 20: Institutional, Recreational, Open Space, Utility and Cemetery Subzones Map ..... 51
Figure 21: Flood Hazard Guide ............................................................................................... 52
Figure 22: 5 Year Flood Hazard Map ...................................................................................... 52
Figure 23: 25 Year Flood Hazard Map .................................................................................... 53
Figure 24: 100 Year Flood Hazard Map .................................................................................. 53
Figure 25: Organizational Chart of the new Music Museum Group ....................................... 55
Figure 26: Organizational Chart of the new Music Museum Group: Administration Sector .. 56
Figure 28: Organizational Chart of the new Music Museum Group: Facilities and Events
Sector ....................................................................................................................................... 57
Figure 27: Organizational Chart of the new Music Museum Group: Artistic Sector .............. 57
Figure 29: Auditorium Format ................................................................................................. 78
Figure 30: Row Spacing........................................................................................................... 79
Figure 31: Sightlines ................................................................................................................ 80
Figure 32:Designated Wheelchair, Required Dimensions ....................................................... 81
Figure 33: Stage Layout and Dimensions for a Medium-Size Theatre without Flytower ....... 82
Figure 34: Safety Curtain ......................................................................................................... 84
Figure 35: Control Room ......................................................................................................... 85
Figure 36: Dressing room layout ............................................................................................. 86
Figure 37: Dressing room for four layout ................................................................................ 87
Figure 38: Communal dressing room layout............................................................................ 87
Figure 39: Stage Area .............................................................................................................. 89
Figure 40: Sight Lines.............................................................................................................. 96
Figure 41: Types of Audience Arrangements .......................................................................... 98
Figure 42: V-shaped acoustic baffles section ........................................................................ 106
Figure 43: V-shaped acoustic baffles mode of application .................................................... 106
Figure 44: V-shaped acoustic baffles ..................................................................................... 106
Figure 45: Typical Convex Cloud Panel Section ................................................................... 107
Figure 46: Typical Flat Cloud Panel Section ......................................................................... 107
Figure 47: Typical Concave Cloud Panel Section ................................................................. 108
Figure 48: Types of live performances watched .................................................................... 109
Figure 49: Live performance ................................................................................................. 109
Figure 50: Time of year of watching performances ............................................................... 110
Figure 51: Factors that affect the quality of performances .................................................... 110
Figure 52: Consideration of elements in the facility’s design................................................ 111
Figure 53: Activities/facilities in a performance hall ............................................................. 111
Figure 54: Ground Floor Plan of G.W. Performing Arts Centre ........................................... 114
Figure 55: Second Floor Plan of G.W. Performing Arts Centre ............................................ 114
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Figure 56: Section 1 of G.W. Performing Arts Centre .......................................................... 115

Figure 58: Section 2 of G.W. Performing Arts Centre .......................................................... 115
Figure 57: Section 3 of G.W. Performing Arts Centre .......................................................... 115
Figure 59: Site Development Plan of Pingshan Performing Arts Center............................... 118
Figure 60: Ground Floor Plan of Pingshan Performing Arts Center ..................................... 119
Figure 61: Mezzanine Level Plan of Pingshan Performing Arts Center ................................ 120
Figure 62:Public Programme Level Plan of Pingshan Performing Arts Center .................... 121
Figure 63: Restaurant/Bar Level Plan of Pingshan Performing Arts Center ......................... 122
Figure 64: Auditorium Section of Pingshan Performing Arts Center .................................... 123
Figure 65: Perspective Section of Pingshan Performing Arts Center .................................... 123
Figure 66: Perspective Section 2 of Pingshan Performing Arts Center ................................ 124
Figure 67: Ground Floor Plan of Sejong Center for Performing Arts ................................... 127
Figure 68: Second Floor Plan of Sejong Center for Performing Arts .................................... 128
Figure 69: Perspective Section 1 Ground Floor Plan of Sejong Center for Performing Arts 129
Figure 70: Perspective Section 2 Ground Floor Plan of Sejong Center for Performing Arts 129
Figure 71: Theater Seating Plan of Music Museum .............................................................. 132
Figure 72: Bar Floor Plan of Music Museum ........................................................................ 133
Figure 73: Theater 2 Floor Plan of Music Museum ............................................................... 133

List of Tables
Table 1: Household Population, Number of Households and Average Household ................. 35
Table 2: NCR Population Density ........................................................................................... 36
Table 3: Population Distribution and Population Density by Barangay .................................. 37
Table 4: Land Area of NCR, Cities and Municipalities ........................................................... 38
Table 5: Barangay Clustering .................................................................................................. 39
Table 6: Land Area of Makati by Barangay ............................................................................ 41
Table 7: SWOT Analysis of Site ............................................................................................. 44
Table 8: Land Use Distribution................................................................................................ 45
Table 9: Daily Schedule of Music Training Center ................................................................. 62
Table 10: Daily schedule of Dance Training Center................................................................ 63
Table 11: Sample Calendar of Activities ................................................................................. 64
Table 12: Voice Course Programs ........................................................................................... 67
Table 13: Guitar Course Programs .......................................................................................... 68
Table 14: Piano Course Programs ............................................................................................ 69
Table 15: Drums Course Programs .......................................................................................... 70
Table 16: Violin Course Programs .......................................................................................... 71
Table 17: Wind Instrument Course Programs.......................................................................... 72
Table 18:Dance Sample Programs and Schedule .................................................................... 74
Table 19: Proscenium Stage..................................................................................................... 83
Table 20: Wheelchair Dimensions ........................................................................................... 99
Table 21: Curb Dimensions ................................................................................................... 100
Table 22: Slope Grade ........................................................................................................... 101
Table 23: Minimum Gradient ................................................................................................ 101
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CHAPTER I: INTRODUCTION

“Art doesn’t give rise to anything in us that isn’t already there.

It simply stirs our curious consciousness and sparks
a fire that illuminates who we have always wanted to be.”
- Kamand Kojouri
Performance has always been widely connected with our society. Collaborative,
participative or even public, artists have found ways to fuse this type of art on our
everyday life with engaging to different types of people, creating actions and
performances that even respond to activist movements throughout the past century, as
well as today. Since the dawn of time, humans started gathering to tell different stories
and represent scenes from everyday life in front of audiences, however big or small,
this left a need for space to perform such activities. Through this, theaters are made,
along with a new form of art.

The range of performing arts go beyond vocal and instrumental music, dance
and theatre and more. According to UNESCO, these include expressions from different
cultures which reflect different aspects of human creativity, which are found, to some
extent, in many intangible cultural heritage domains. Along with music, rituals,
festivals, oral chants and traditions are some of the intangible cultural heritage that are
found even in the most diverse context of history. (UNESCO, NA )

1.1. Background and Nature of the Project

The complex world of the Philippines, molded from different cultural

combinations of the East and West, managed to glean some of the most interesting
cultural traits from various invaders and colonizers. Music, dance, fashion,
sculpture and even architecture has different evidences of these. This leads to
assume that dance and music as a medium of artistic expression are the most popular
among Filipinos.
Filipinos love to sing and perform. According to Gideon Lasco from the
Philippine Daily Inquirer, music has its way in defining our culture. Even people
from around the world have the unexpected pleasures of singing with the locals in
a videoke bar, rather impressed by their talent and passion, as well as the enjoyment
people derive from such musical nights. Even Antonio de Morga, a high-ranking
colonial official in the Philippines back in 1594 stated that early Manileños were
“good singers” noting how the locals rowed their boats to the rhythm of their music.
The Philippines rooted the love for music and dance through chants and rituals.
Despite colonial regimes, creating vast cultural deficiencies that created vast
cultural deficiencies that created a Philippine society that was modeled after their
societal structures, the Philippines found ways for a unique perception for it. (Lasco,
2018)
Even Philippine music, which made its noise during the 60s era, has nurtured in
a nation in attempts to build its identity. In its own way, the movement of Original
Philippine Music has provided answers for the said matter. Such songs like
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Bamboo’s Noypi, have allowed a sense of nationalism to be in place with the

popular culture. Over time, OPM has garnered recognition for the masses to identify
with music, so much that even the majority of record stores around Metro Manila
have a separate section for the said genre– a statement that the nation has duly
accepted the genre as a distinct part of the Philippine identity. (Sayson, 2009)
Music, along with music performance has been a prevalent form of artistry in
the Philippines. Artists like Ray Valera made entrance to the Philippine music
scene, responsible for starting a noise in the Manila Sound and Pinoy Rock
movements around the 60s-70s era. Cayabyab, from musical director, to pianist, to
arranger, to a well-renowned composer, making not only songs, but film scores,
musicals, and even entire operas that paved the way to the music industry in the
Philippines. Even Lea Salonga had her breakthrough through the theater stage,
casting in Miss Saigon during the 80s (Donelson, NA)

1.2. Statement of the Problem

Back in the day, Philippine music was an impenetrable force. Such problems
did not break the movement enough to make Original Filipino Music to wither along
with time. But eventually, as the times change, problems of Philippine music have
changed as well. One of the better characteristics of Filipino music was its ability
to respond to new trends and technologies. Sadly, with the recent technology and
wide reach of the internet, although convenient, has seen the promotion of OPM
become underpowered by the western countries that dominate the international
music industry. But despite all this, there’s a recent thriving of the independent
music in the Philippines. According to the publication The Manila Review, Filipino
indie artists are the most active in the country’s recording industry. A growing
number of indie musicians are emerging through self- release services. Though a
few have managed to use the reach of the internet to cross the boundaries of indie
and mainstream, expanding the boundaries and redefining contemporary music in
the local setting. (Hambali, 2017)
To add to former statement, trends come and go within the culture of the
Philippines, but not all of them penetrate the Philippines like the South Korea did.
Despite the culture barrier between Korea and the Philippines, the recent cultural
trends of K-pop and K-drama reached the shores of the Philippines. Recent trends
of K-pop entailed a considerable number of audience—leading to a number of
insurmountable investments in the Philippine market, in regard to events,
merchandise, and eventually dominating a reasonable number in the performing arts
area.
These crucial conflicts regarding the industry can be utilized to enhance the
industry itself. This can provide an opportunity for aspiring performers and
musicians to enhance their skills, willfully and even professionally. A factor in the
enhancement of the skills and experiences of an artist is the time they put in on
training and on the performing space. With properly equipped facilities and spaces
where they can freely express themselves, an artist will be able to maximize their
learning experiences.
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From these issues, along with the vast opportunities that the recent trend of Pinoy
Music and other performing arts can offer, there is an outgrowing need for a facility
that can give a favorable opportunity for Filipino artists and performers to raise
awareness in the interests of Filipinos to enhance their own identity in the
performing arts.

1.3. Project Goals and Objectives

1.3.1. Project Goals
To produce a collaborative experience and continuity in the art
of performance in the Philippines, along with merging the historic and
popular performing arts in the industry, and to provide a training ground
for potential Filipino artists to be recognized in the Philippine setting, as
well as to eventually penetrate the world market.
1.3.2. Project Objectives
1. To provide a conducive environment for local, as well as
international artists to engage with local fans and enthusiasts.
2. To highlight the character of Filipinos, as well as their love for the
performing arts.
3. To provide relevant activities and events for people of all ages for
concerts, production, training, performances and others.

1.4. Significance of the Study

The innovation of media and new technology has revolutionized the way
consumers listen to music, and how artists make them. The recent technological
advancements, in a way, have benefits for the artists. One of the benefits is its open
nature, giving opportunities to small-time musicians a platform to be able to release
music and draw audiences, while the ones with larger fanbases get paid by their
listeners who would have otherwise resorted to pirating their content (Beltran,
2018). This leaves an opportunity to promote Filipino artists, big or small, and have
a venue to develop and promote their craft. With that being said, the support of
Filipino audiences contributes to the success of most Filipino music events, which
means support is very much needed to keep the Filipino and pop culture alive and
for it to thrive further throughout the next generations of Filipino culture. In line
with the increasing interests of foreign performances in the country, this draws
significance in creating a venue where Filipino artists and performers of all aspects
can cultivate the identity of Original Pinoy Music.

1.5. Scope and Limitation of the Study

The project shall include the planning and design for the music and
performing arts center, inclusive of the site development, along with the hardscapes
and softscapes, facilities for performance, training, production and innovation in the
area of music, dance, and theater as needed by the users, as well as the overall use
and function of its facilities.
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1.6. Definition of Terms

1. Amphitheatre - a round or oval building, typically unroofed, with a
central space for the presentation of dramatic or sporting events. Tiers
of seats for spectators surround the central space.
2. Arrangement - is a musical reconceptualization of a previously
composed work. It may differ from the original work by means of
reharmonization, melodic paraphrasing, orchestration, or development
of the formal structure.
3. Beat - a main accent or rhythmic unit in music or poetry.
4. Independent Music - is music produced independently from commercial
record labels or their subsidiaries, a process that may include an
autonomous, do-it yourself approach to recording and publishing.
5. Live Performance - Performances done in front of an audience.
6. Medium - an agency or means of doing something.
7. Music - vocal or instrumental sounds (or both) combined in such a way
as to produce beauty of form, harmony, and expression of emotion.
8. Studio - is a specialized facility for sound recording, mixing, and
production of physical, instrumental or vocal musical performances,
spoken words, and other sounds.
9. Original Pilipino Music - originally referred only to Philippine pop
songs, particularly ballads, such as those popular after the collapse of its
predecessor, the Manila Sound, in the late 1970s, up until the present.
10. Performing Arts- A form of arts that involves a person or a group of
people undertaking an action/actions within a particular timeframe in a
certain space or location for an audience
11. Recording Studio
12. Rhythm - a strong, regular, repeated pattern of movement or sound.
13. Sound Effects - a sound other than speech or music made artificially for
use in a play, movie, or other broadcast production.
14. Talent - natural aptitude or skill.
15. Theater- a building or area in which plays and other dramatic
performances are given.
16. Tone - a musical or vocal sound with reference to its pitch, quality, and
strength.
17. Training center - a space having flexible and technologically-advanced
learning environments that are safe, healthy, comfortable, aesthetically
pleasing, and accessible. It must be able to accommodate the specific
space and equipment needs of the training program and curriculum.

1.6.1. Acronyms and Abbreviations

CCP- Cultural Center of the Philippines
OPM- Original Philippine/Pinoy Music
PETA- Philippine Educational Theater Association
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CHAPTER II: REVIEW OF RELATED LITERATURE

The topics related to this study focus on Music and Performing Arts in the
Philippines, from its roots, types, genres and more. It also attempts to take into detail
the music and dance culture of the Philippines.

2.1. Music
2.1.1. Background
Music is an ancient, cross-cultural, and, with the unpredictable emergence
of songs, virtually universal. Moreover, we can immediately recognize it, even
when it comes to culture that is foreign to ours. (Davies, 2012)
2.1.2. Elements of Sound
From a musician’s perspective, anything capable of producing sound is a
potential instrument for music. What we distinguish as sound are vibrations, or
sound waves travelling through a medium that are captured by our ears and
converted into signals that are then sent into our brains to be processed (Allen,
Cohen, Hager, & Taylor, 2014).
 Frequency
Frequency is the element of sound that we evidently hear. These
are instances of being mesmerized hearing a singer reach a particularly
high note at the climax of the song, or expressing dark or somber
sentiments in very low notes. The ability to distinguish pitch varies
from one person to another, just like the capability of one person to
distinguish different colors. (Allen, Cohen, Hager, & Taylor, 2014)

 Amplitude
Amplitude is the energy contained in sound waves that can be
perceived as being either loud or soft. Amplitude can be measured in
decibels, but this perception of loud or soft can vary depending on the
sounds around us. (Allen, Cohen, Hager, & Taylor, 2014)
 Wave Form
The wave forms in sound determines the tone, or the timbre that
we are able to hear, and is how we can distinguish the sound produced
by voice or other specific instruments despite being played with the
same frequency and amplitude. (Allen, Cohen, Hager, & Taylor, 2014)
 Duration
Every event of sound has its unique duration, which we
recognize as either short or long, but this depends on the context. Some
durations, sequentially, can create the rhythm of a piece. (Allen,
Cohen, Hager, & Taylor, 2014)
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2.1.3. Elements of Music

 Rhythm
In both vocal and instrumental music, rhythm can be generated
by the onset of new sounds, and whether its progression from on word,
one syllable to another in a certain sound, the sequence of pitches of a
melody, the striking of percussions, or the strumming of chords on a
guitar. (Allen, Cohen, Hager, & Taylor, 2014)
 Meter
Recurring groupings of beats by two’s or three’s, or combination
of both, produces meter. Often the first beat of each group is described
as an accent to characterize its defining function in its flow. (Allen,
Cohen, Hager, & Taylor, 2014)
 Pitch
Pitch refers to the position of a musical sound, in the context of
high and low. It can be determined by the length and thickness of a
vibrating object. Generally, longer and thicker objects will vibrate and
a slower rate and produce lower pitches than shorter and thinner ones.
(Allen, Cohen, Hager, & Taylor, 2014)
 Melody
A succession of musical tones that constitutes to a meaningful
whole is called a melody. Naturally, melody is closely associated to
rhythm. A musical tone has two basic qualities, pitch and duration, and
both enter into the sequence of pitch and duration, which in turn
constitutes to a melody. (Allen, Cohen, Hager, & Taylor, 2014)
 Texture
Similar to fabric, music has texture, which can be perceived as
dense or transparent, thick or thin, heavy or light. Musical texture also
refers to the level of different layers of sound are heard simultaneously,
and how these layers relate to each other. (Allen, Cohen, Hager, &
Taylor, 2014)
 Tone color
Also defined as timbre, Tone color is the distinctive quality of a
voice or instrument. In addition to the fundamental frequency the can
be perceived as a sound’s pitch, musical tones contain patterns of much
higher frequencies. (Allen, Cohen, Hager, & Taylor, 2014)
 Form
The interaction of elements like melody, rhythm, texture and
harmony in unfolding a musical composition produces form. (Allen,
Cohen, Hager, & Taylor, 2014)

2.1.4. Role of Music in the Society

Music as Intimate and Social, Private and Public
According to Hesmondhalgh, Music represent a remarkable meeting point
of intimate and social realms. It provides a basis of self-identity, which is the
point of who I am and who I’m not, as well as the collective identity, which is
who we are and who we’re not. Most products can have this cultural asset–
films, television programs, shoes and even cars. All these may seem logical, yet
music’s somewhat special link to emotions make it an especially powerful asset
for bringing together of private and public experience. (Hesmondhalgh, 2003)
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These private and public dimensions of musical experience may support and
reinforce each other. Our excitement or sadness at listening to songs can be
heightened through the sense that these emotions in response to a particular
music are shared by others, or even just that the might be shared, such as
listening to a live performance. However, it is just as possible as listening to
someone perform on television or on YouTube, listening to music through
headphones, you might, however be able to quite consciously and fleetingly,
while imagining others – a particular person, or untold thousands – being able
to share that response. That sense of sharedness is one of the pleasures of pop
music, even though many are suspicious of it. (Hesmondhalgh, 2003)

2.1.5. Sociology in Music

In the basis of sociology, Kelly stated that learning about music involves as
well different human interactions that are influenced by varieties of cultural
variables that constantly change. Learning music also reflects a social
perspective, which involves the development of cognitive, psychomotor as well
as affective social skills. Concepts of music, as well as learning it vary greatly
in our society, as they can be learned both formally and informally. Although
many may think that direct learning occurs through formal lessons, our initial
ones actually begin informally, in home environments. As our first teachers, our
parents introduce us music, which leaves our homes as our initial performance
stages. We get to learn our first values in music, including our sense of
preferences and abilities, through our homes and families. (Gordon, 1971;
LeBlanc, 1982).

2.1.6. Music Education

What it is to be musically educated
As distinct from music-making, a definite proportion of our world today
listens to music. The differences between making from listening to music are
not really well defined. For instance, many people ‘sing along’ or even drum
the table while listing to the music or participating in karaoke, without
necessarily calling themselves ‘musicians’. Neither is music a passive activity
even when it does not involve such joining in. Although it is also reasonable to
draw distinctions between making and listening to music, in so far as making
music is geared mostly to music production, and listening mainly to its
reception. (Green, 2016)
With that being said, Music teaching has as well, exhibited little
fundamental change. Its history in the Western culture is the efforts of cultural
patrons, which is mainly the elite patrons of the fine arts, to bring distinct culture
towards the masses. During the late 19th century, virtually all educational
institutions—museums, theater associations, musical societies, and the like—
were established on such egalitarian premises, only to eventually weed out more
trouble by making such as to be prohibitive to all but the rich. As a consequence,
with the rise of the idea of universal and general education, the fine arts and
literature, and the culture assumed to go along with them, were relegated to
schools where they would be available to all regardless of the socioeconomic
class, wherein the audiences could be properly trained and developed. Thus, in
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most places, the school has become in effect the cultural center of a community
to attempt the spread of culture to the masses. (Regelski, 2006)

2.2. Performing Arts

2.2.1. Definition
According to Coogan, Performance Art is a Form of arts that involves a
person or a group of people undertaking an action/actions within a particular
timeframe in a certain space or location for an audience. In between its process
is the live presence of the artist and the real actions of his or her body, to present
a transient art experience to an audience. One of the defining characteristic of
Performance Art is the body, which is considered as the basic medium which
Performance Art is based. The other key components art time, space, and the
primary connection between the performer and the audience. Considered as an
interdisciplinary practice, Performance Art can use any discipline, some of
which include, Music, Dance, Literature, Poetry, Architecture, Fashion, Design
and Film. (Coogan, 2011)
On the other hand, Performance Art employs approaches like Recitation
and Improvisation, associated with Theatre and Drama, it rarely utilizes plot or
narrative. Performance art can all be spontaneous, occasional, durational,
improvisational or rehearsed and performed either with or without scripts.
Various performances can range from a small and intimate gestures to public
rallies or parades presented in solo or collaborative form. With comparison to
conventional methods of theatre production, the visual artist is usually the
performer, creator and may even be the sole director of the performance.
Performance Art can be situated from any place: Art museums, galleries as well
as art spaces or impromptu sites like cafes, bars of even the street, usually where
the site and more likely the audience can become an integral part of the work’s
meaning. (Coogan, 2011)
According to, Wuorenmaa, the appreciation of the arts is defined as:
creating, performing, responding to activities like dance, music, drama or
theatre and the visual arts. This does not mean that literature is not a form of art.
Which also does not mean that modern forms like film, computer generated
design, electronic music or combined arts known as performance art are not
valid as art forms. There are 3 distinct processes involved in appreciating the
arts. These are creating new works, performing works as an expression, and
responding to it. Each process is vital and mostly rely on others for further
understanding. The artists create and perform, then the audience responds. The
artist-audience connection is mutually beneficial to both. (Wuorenmaa, 2007)
The performing arts are fairly temporary; it takes actual time to
experience this form of art. Much like taking an amount of time to listen to a
sonata from beginning to end. A play or dance happens in time as well, and
audiences cannot take an instant snapshot of a scene, or note to understand the
meaning of a plat, dance, or even a symphony. Performances are made for a live
audience. The audience respond to the artistic expressions emotionally and
intellectually based on the meaning of the work. (Wuorenmaa, 2007)
 14

2.2.2. History of Performing Arts

The earliest influences of Performance Art can be traced through
medieval performances by poets, minstrels, troubadours, bards and court jesters
as well as masquerades during the Renaissance. Nevertheless, the origins
Performance Arts are usually connected with the activities of the early twentieth
century artists more specifically those who are associated with Futurism,
Constructivism, Agitprop, Surrealism and the Bauhaus. Celebrating everything
modern, Futurist artists formulated new forms of art and events related to it, like
repetitive actions, lectures, manifestos, mass demonstrations and live street
Tableaux, in order to express the dynamism of urban life. Artists drew different
inspirations from all forms of performances, which also include popular
entertainment formats, like variety shows, circus, cabarets and operas.
Engagement with the public was very crucial and performances involved
improvised, random and more often chaotic performances delivered by artists,
poets, actors and others, frequently accompanied by discussions as well as
debated to spread and initiate new ideas. (Coogan, 2011)

2.2.3. Types of Performing Arts

2.2.3.1. Dance
Dance occupies an important place in the social structure of every
human culture existing throughout history. Dance is one of the most
commonly defined art, as a way of human expression through movement.
But dance cannot simply be reduced to mere movement. While movement
can indeed be considered as a fundamental feature of dance, because dance
can also be defined as an art movement, based on the expressive movements
of the body, dance can be so much more. (Pusnik, 2010)
Popular Types of Dance
 Ballet
Ballet was originated during the 15th century, initially in Italy
then in France. As the centuries passed, ballet has influenced many
other styles of dance and eventually became a fine art form on its own.
There as essentially three basic styles, namely (Bedinghaus, 2019):
1. Classical
Reaching its peak during the 19th century in France and
Russia, classical ballet is often story-driven and orchestrated,
with sets and costumes based on fantasy. With its moving
having the emphasis on pointe work or dancing on toes,
graceful expressions, and symmetry. (Bedinghaus, 2019)
2. Neoclassical
An evolution of classical ballet which emerged during
the early-to-mid 20th century. Moves are faster and crucial,
having less emphasis on symmetry, and simple sets and
costumes. Usually, the plot is nonexistent, and orchestras,
bands and soloists can accompany the performers.
(Bedinghaus, 2019)
3. Contemporary
Just like neoclassical, the plot is neglected in favor of
pure movement as well as physical expression, which may not
appear like dance at all. Costumes are as well often simple or
 15

abstract. Music or sound is often contemporary or experimental

if ever they are even used. (Bedinghaus, 2019)
 Jazz
Jazz is a lively style of dance that is heavily reliant on originality
and through improvisation. This style includes bold, dramatic body
movements, with body isolations and contractions. The style is rooted
in Africa, kept alive by slaves brought to the U.S. in over time. This
style eventually evolved into a style of street dance that became famous
during the early 20th century. (Bedinghaus, 2019)
 Tap Dance
Much like jazz, tap evolved in Africa by slaves in the United
States. In this dance form, dancers wear special shoes which are
equipped with metal taps. Tap dancers use their feet like drums in
order create rhythmic patterns and timely beats. (Bedinghaus, 2019)
 Hip-Hop
Another descendant of jazz, hip-hop emerged from the streets of
New York around 1970s in the African-American and Puerto Rican
communities during the same time as the emergence of rap.
Breakdancing is perhaps one of the earliest forms of hip-hop.
As rap music flourished, different styles of hip-hop emerged.
Krumping was one of the added narratives and comic expressions in
the 90s. During the 2000s, jerkin’ and juking also became popular;
both take the movement of classic breakdancing and add wild fashions.
(Bedinghaus, 2019)
 Modern
Modern dance is a style that rejects most of the strict rules of
ballet, instead focusing on expressing the inner feelings. It emerged in
Europe and United States during the early 20th century as a rebellion
against ballet, emphasizing creativity in choreography and
performance. (Bedinghaus, 2019)
 Swing
Swing dance is another branch of traditional jazz that became
well known as swing bands became a famous form of popular
entertainment during the late 1930s and early 1940s. Unlike other
forms of jazz dance that emphasize the individual, swing is all about
partnership. Partners swing, spin and jump together in sync, usually
with a fixed number of steps repeated in a sequence. (Bedinghaus,
2019)
 Contra
Contra is a dance of American folk which dancers form two
parallel lines and perform a sequence of dance movements among
different partners down the length of a line. Its roots are similar in folk
dances from colonial-era Great Britain. Although the style is partner-
based, it’s an arrangement based on communication; you don’t need to
bring your own partner, because at some point you’ll be dancing in a
straight line.
 Country and Western
Country and western style is a broad category of a lot of styles.
Which incorporate different influences from different styles as well,
which were set to country or western-themed dance music. Waltzes
 16

and two-steps are among the more common forms of partner-style

dancing, but different variations will also be found on other folk dances
brought by the U.S. by German and Czech immigrants. (Bedinghaus,
2019)
 Belly Dancing
Belly dancing began from the folk traditions in the Middle East,
although its exact origins are unclear. Belly dancing is a solo
performance which focusing on the torso and hips, unlike most forms
of Western dancing, which emphasizes on complex footwork and
collaborative choreography. Dancers combine a mixture of fluid
movements to further rhythm, hip twists for percussive punctuation,
shimmies, spins, as well as torso vibrations to add more detail and
variety. (Bedinghaus, 2019)
 Flamenco
Flamenco is an expressive style of dance that mixes footwork
and intricate hand, arm and bodily movements. It started from the
Iberian Peninsula during the 1700s and 1800s, although its origins are
unclear. (Bedinghaus, 2019)
The style has three elements: cante, which is the song, baile,
which is the dance, and guitarra, the playing of the guitar. Each has
their own traditions, but the dancing is most associated with flamenco,
having its flamboyant gestures and foot stamping close to tap dancing.
(Bedinghaus, 2019)
 Latin
Latin dance is a term for a vast number if ballroom and street-
style form which evolved during the 19th and 20th centuries in the
Spanish-Western Hemisphere. These styles have different roots in the
European, African, as well as dance and ritual.
Many Latin styles have their origins specified in different
regions or countries. Tango originated in Argentina, Salsa evolved in
the Puerto Rican, Dominican and Cuban communities in the city of
New York during the ‘70s. (Bedinghaus, 2019)
 Folk
Folk is a generic term which can refer to different varieties of
dances that developed by groups or communities, compared to being
made by a choreographer. These forms often evolve over time and
even learned informally, usually at gatherings where dances are
performed. (Bedinghaus, 2019)

2.3. Music and Performing Arts in the Philippines

2.3.1. Original Philippine/Pinoy Music
2.3.1.1. What is OPM?
OPM, a term that refers to songs composed and performed by the
local Filipino artists, and became popular during the late ‘70s together with
the rise of Metro Manila Popular Music Festival/ Metropop in 1977, which
was an annual songwriting competition that made such classics like “Kay
Ganda ng Ating Musika” by Ryan Cayabyab and “Anak” by Freddie
Aguilar. (The Varsitarian, 2012)
 17

2.3.1.2. Background
The music of the Philippines is a combination of European, American
and indigenous sounds. Parts of the music from the Philippines have been
influenced by the 333 year-long colonial legacies and eras of Spain, Western
rock and roll, and pop music from the US, the indigenous Austronesian
population and Indo-Malayan music. (Alip, 1930)
With that in hand, texts, information, and archives about Philippine
music during the 20th-21st Century was rare and hard to find. The academe
pays small attention to the subject matter, hence only a handful of
information about music in the post-colonial is available. That being said,
research material about Philippine music as it is a recent and fresh
occurrence. (Sayson, 2009)
Philippine Music is an art that embodies the culture of Filipinos. This
comes from a wide range of forms, from different sources, basis of history
and geography, which represents more than 100 ethnolinguistic groups and
different social and cultural environments in the country. In this
embodiment of music in the Philippines, Filipino audiophiles were hugely
affected by the culture of this form of art. (Reyes, 2016)
2.3.2. Philippine Musical Styles and Genres
2.3.2.1. Traditional Music
According to Santos, there two distinct genres in the Philippine oral
traditions, namely:
 Indigenous music or forms that evolved from the Southeast Asian
cultures
 Folk music or music that developed in Rural Christian communities
These may be categorized further into vocal, instrumental, or a
combination of both, and these forms may also be integrated with physical
movement, space, dance and theater. (Santos, NA)
Vocal genres among the indigenous communities can be classified
according to their uses the following are some examples of vocal music for
the respective style(Santos, NA):
 Owiwi (Kalinga)  Bua (Subanen)
 Dagdagay (Kalinga)  Kawayanna (Kalinga)
 Langanbata-bata(Tausug)  Daeing (Kankana-ey)
 Bayok (Mandaya)  Tarasul (Tausug)

Vocal music among rural Christians may be classified into the

religious and secular forms. Majority of the religious forms of music
consist of hymns related to the different periods of the liturgical year,
some examples are(Santos, NA):
 Pasyon  Dung-aw
 Awit  Aurora
 Tagulaylay  Kristiyanong turog
 18

 Dalit  Dotok

2.3.2.2. The Kundiman is a lyrical style made popular in the Philippines

during the early 19th century, but having origins during the pre-
colonial era. Its lyric depict a romantic love, which usually portrays
the forlorn pleadings of a lover who is willing to sacrifice everything
for his love. In many others, it is a call of the rejected lover or the
broken-hearted, while in others it is a story of unrequited love.
Almost all traditional Filipino love songs during this time are heavy
with poetic emotion. During the 1920s, the genres became a much
more mainstream style, with various popular performers including
Diomedes Maturan and Ruben Tagalog singing in the style. (Hill,
1926)

2.3.2.3. The Philippine Rock and origins OPM

Up until the 70s, popular rock music had always been written in
English. During the 1970s, rock music began to be written using local
languages, with bands like Juan Dela Cruz Band being among the first bands
to do so. Mixing both English and Tagalog lyrics were popularly utilized
within the same song, like the songs “Ang Miss Universe ng Buhay Ko” by
the Hotdogs which contributed to innovate the Manila sound. The mix of
two languages (known as “Taglish”), while used as a casual speech in the
Philippines, was considered as a bold move, but the success of the mix in
popular songs, including Sharon Cuneta’s first hit “Mr. Dj” broke the
barrier eventually. (Clewley, 2000)
Soon enough, Filipino rock musicians added other influences, folk
music being one of them, contributing to the 1978 breakthrough success of
the like of Freddie Aguilar. His song “Anak” his debut recording at the time,
is the most commercially successful Filipino recording in history, was also
popular throughout Asia and Europe, and was translated into different
languages worldwide. Asin also broke into the scene at the same time and
were quite popular as well. (Clewley, 2000)
San Juan’s provided insights and information about the beginnings
of Philippine Rock Music. He claims that Philippine rock music made rise
during the seventies as a propaganda against the Martial Law government.
Furthermore, the book also highlights the significance of music against
opposing leadership, and how it can bring people together to go against a
ruling class. The book also mentions Freddie Aguilar, New Society, and
Coritha as the instigators of the movement during the seventies. This
provides a sociological context to Philippine music as a form of opposition
to political powers, while giving a slight overview of Philippine music
during the seventies. (San Juan, 1991)
Caruncho mentioned a collection of memoirs of opinions about
Philippine rock music. This covers the decades of eighties and nineties. This
provides microscopic views of Philippine music, which means various
artists and trends were specifically written about in great detail. Some of the
topics include the relationship of the surge of Satanic cults and hardcore
 19

music in 1987, the impact of Eraserheads with regards to Filipino music,

and even subjective definitions of Alternative Filipino music dating back
from the nineties. Despite the careful detail and compilation of Filipino
rock’s history from the following decades, the book is only limited by the
chosen genre, leaving Filipino hip-hop and pop music undiscussed.
Nevertheless, the book provides the study with detailed accounts about
Philippine Music during the eighties and nineties, which made it easier to
pinpoint timeframes and trends regarding the following decades. (Caruncho,
1996)
Tikman ang Langit: An Anthology on the Easerheads, is a collection
of essays about Eraserheads, one of the highly influential bands in the
nineties, and pioneer of Original Philippine Music. This book includes
personal reflections of the Eraserheads’ impact on certain individuals–
writers, journalists and music fans. The book also put into context the band
in line with nineties music phenomena like the Grunge Rock movement in
Seattle. This will contextualize and allow the reader to understand the status
quo during the nineties where how the band belonged in that context. (Ho,
Calimag, & Garcia, 2007)

2.4. Performing Arts Center

2.4.1. Background
The area of the performing arts covers different forms of music
(orchestral, choral, pop, rock, jazz), operas, musicals, dance as well as drama.
It is also recognized that the performing arts cover music-theatre, comedies,
musicals, puppet shows, cabaret, live art, street performances, and even
experimental theatre. Though the performing arts are concerned with spaces for
a live performance experienced by an audience within a period of time. The
space is essentially defined by specified technical and spatial demands and also
requires a conducive atmosphere for the audience and performer. (Appleton,
2008)
The categories of the different types of buildings can follow the
conventional names like concert halls, opera houses or theatre. This however,
can have different variations and interpretations. A more real definition of it
should consider the following (Appleton, 2008):
 Location: defined by area, numbers in the population and the rate of
accessibility:
o metropolitan centre
o town centre
o specialist centre – one-off event
o metropolitan centre
 Owner and/or occupier:
o local government
o educational institution
o commercial organization
o private trust
o voluntary organization
o community organization
 20

 Type of production:
o Predominant types of production: classical music, opera,
musicals, jazz, pop/rock music and drams
o combination of compatible productions and/or other
activities such as sports, in a multipurpose auditorium
 Auditorium form:
o theater stage format
o open stage format: single direction, partially or fully
surrounding the performance area by the audience
o combination of formats
 Seating capacity, standard and scale of auditorium:
o under 250
o 250–500
o 500–1000
o 1000–1500
o 1500–2000
o 2000+
 Role of facility:
o hosting touring professional companies or groups
o for community use
o for teaching purposes
o for festival use
o housing resident professional company
 Production selection:
o new works
o established works
o experimental
 Pattern of use:
o repertoire
o repertory seasonal
o one-off event
 Audience type and numbers:
o open to all
o restricted to particular sections of the public, e.g. children
o targeted towards a particular section of the public
o tourists
 Financial policy:
o profit making
o non-profit making
 Building policy:
o Permanent/temporary
o Indoor/outdoor
o Formal/informal
o Degree/adaptation
o Provision standards, such including space allocation,
finishes and fittings, environmental factors such as
ventilation, acoustics, sound isolation to the auditorium
 Associated activities:
o complementary functions e.g. conferences
 21

o production facilities
o public facilities e.g. bars and restaurant
o other arts facilities
o other activities
 Building complex:
o more than one auditorium and support facilities
o larger complex, along with an educational institution

2.5. Music and Performing Arts Center Design

Guyer stated that theater and concert hall design is both artistically and
functionally mixed. As in all architectural design, the making of effective and
technically functional space at a profitable cost is of prime importance, but in
comparison to other architectural building typologies, performance facilities are
allocated with sophisticated electro-mechanical equipment and technology to
support its performance. (Guyer, 2014)
2.5.1. Room Characteristics
1. External Relationships
The heart and soul of any performance facility is its Room, the venue
of its performance. The Room fundamentally includes the seating and
stage. The definition of all other activities and spaces within the facility
directly associates to the relates to the activity of performance and its
room, directly or indirectly. Audience-centric facilities are related in terms
of its capacity and access, and indirectly by its desired ambience and the
image to be created. Backstage facilities are also associated in terms of
scene handling, stage form and its requirements, and indirectly by the use
of the room for rehearsals and assembling the set. (Guyer, 2014)

2. Internal Relationships
There are three fundamental variables which affect the physical
characteristics of the room, namely: size, shape and arrangement of
participants. All these interact in different ways. Size is implied by seating
capacity and by the assumed use of the stage. These factors differ from the
formal connection of the seating to is stage. Shape is implied by
criteria for vision and hearing, which interacts with size, but is mostly
interpreted by the arrangement of the people in the room. Consequently,
the relationship between the audience and performer is physically and
conceptually the initial choice to be made. (Guyer, 2014)

3. Basic Choices
Major differences between music and drama initially appear in Room
design. But there are certain important choices related to its uses, both
corresponding to the three primary variables stated before. These are
(Guyer, 2014):
 22

 Use of the Room for music, drama or both

 Relationship of audience and performers in Frontal, Thrust or Surround
form
 Estimated seating capacity

4. Room Qualities
Performance is directly associated to communication, though drama
rooms differ from Music rooms based on the medium of communication
between the audience and performers. Drama mainly works with visual
illusion, movement, gesture and articulation of spoken words; while Music
works with aural illusion, rhythmic patterns, tonal variations and subtle
interactions of sound. (Guyer, 2014)

2.5.2. Drama Room Qualities

 Vision Factors
o Ability to See Stage
The best rooms permit a clear view of the entire performance
area and the surrounding scene space. (Guyer, 2014)
o Ability to See Action
One of the primary elements of Drama is movement, which is
mostly perceived across the line of vision. (Guyer, 2014)
o Ability to See Detail
Dramatic performances emphasize the perception of actors’
expressions, gestures and body movements. The recognition of
detail is associated with the view distance and the angle of address.
Distorted perspective, which is the usual result of close quarters,
and foreshortening due to the elevation of the viewer, should be
avoided. (Guyer, 2014)
o Uniformity
The quality of “intimacy” is more commonly associated with the
Thrust and Surround configurations that create the sense of
audience and performers altogether in a single space. The frontal
room can also be intimate, which can be because it is small enough
to induce eye-contact or because the audience is aware it shares a
mutual experience with the said space. (Guyer, 2014)
o Actor’s Ability to Orient
In the Frontal form, actors orient to the stage set, and gauge their
movements with proper accordance. The shape and arrangement of
the acting space can be used as well to differentiate regions within
the world which are created within the play. (Guyer, 2014)
o Actor’s Ability to See the Audience
 23

The actors play for the satisfaction of the audience. In turn, they
need to see their response. This is also a factor for the proximity of
the audience. (Guyer, 2014)
o Functional Technical Support
Vision factors enter into the placing and in selecting the right
accessory equipment. Lighting angles affect the field of coverage
in an instrument as well as the uniformity of intensity, while the
distance accounts for the required power. (Guyer, 2014)
o Overall Influence of Vision Factors, Drama
The geometric and the psychological aspects of vision are
determined by many point-to-point relationships the room. Vision
criteria are important to setting the mood and positions of which
the audience sits, points in space where equipment is placed, and
the placement of the stage dressing all in association to the acting
area. (Guyer, 2014)
 Vision Factors
o Ability to Comprehend Speech
Articulation and accessibility are essential. The voice of the
actors should now be disturbed by reverberations and the echoes.
(Guyer, 2014)
o Ability to Hear
As a direct source, the human voice is not as powerful, not
without careful training at least. In turn, the levels of sound must
be high in every part of the place, relative to its background noise.
(Guyer, 2014)
o Freedom from Distraction
While the recurrence of noise sets the levels against which
speech is heard, sound which have no direct relation to the event
draw attention to themselves and make distractions and
annoyances. (Guyer, 2014)
o Ability to Asses Projection and Hear Cues
Like the audiences, actors have hearing requirements as well.
They need to hear audio cues in order to coordinate their actions.
They also need to estimate the level of voice perceived by their
audience. (Guyer, 2014)
o Ability to Asses Projection and Hear Cues
Musical accompanists need to be able to hear the actors or
singers, in relation to their own sound as the audience hears it. At
the very least, the conductor must have the ability to coordinate
musical accompaniment with other sound leaving the stage.
(Guyer, 2014)
 24

o Ability to Adjust Sound Levels

Technicians must be able to hear what the audience hears to
make the right adjustments in the produced sound levels, or to
signal actors or musicians in case an imbalance occurs. (Guyer,
2014)
o Other Factors
Other desirable room qualities branch out from functional needs
that have to do more with the convenience of use, economy, safety
and comfort that with the performance experience. (Guyer, 2014)
2.5.3. Drama Room Qualities
 Hearing Factors
o Ability to Hear all Levels of Sound
This is mostly conceptualized in terms of the dynamic range of
music that can be heard in the space. (Guyer, 2014)
o Appropriate Reverberation
An important measure of the fitness of music in a room is the
decay of reverberation over time, or the persistence of perceivable
sound after its source has stopped. (Guyer, 2014)
o The Relationship of Direct(Source) Sound
The association of direct sound to reverberant sound influences
many of the subjective sense of quality. Altering the “sending end”
can increase the portion of sound administered to this volume,
against that sent the listener. (Guyer, 2014)
o Musicians’ Needs
Musicians are very sensitive when it comes to hearing
themselves. Two qualities are essential: “ensemble”, the ability to
hear others while playing in unison, and “attack”, the immediacy
with which initial reflections return to the producer, which is the
musician. Both are functions of the space and the nearby portions
of the room. (Guyer, 2014)
o Limiting of Noise
Noise can be originated from either inside or outside the room.
Continuous noise generated within the room caused by the
audience and other operations form the reference baseline of
perception and the dynamic range. These noises that can be louder
than this ambient level can be annoying and disturbing. (Guyer,
2014)
 25

 Vision Factors
o Performers’ Ability to Read Music
Musicians constantly look away from the score and back again.
For accurate reading lighting levels, angles, evenness and contrast
must be carefully considered. (Guyer, 2014)
o Ability to See Each Other
The best performance is one in which the performers and
audiences respond to each other. As said in the former, relative
illumination and arrangement are important. (Guyer, 2014)
o Functional Technical Support
Broadcasting, recording, sound reinforcement and lighting crew
need to be able to see the performance, preferably as well as the
audience does. (Guyer, 2014)
o Audience Ability to See Musicians
The finest sound systems cannot duplicate the experience of a
concert’s added dimensions of anticipation and participation.
(Guyer, 2014)

Figure 1: Seating Area Units

2.6. Training Center and Recording Studios Design

2.6.1. Training Center Design
Musical clinics and workshops
Musical clinics are informal workshops with a guest artist. From a
capacity of small to medium, audiences ask questions with regards to
styles and techniques as well as how to improve their respective skills
when it comes to playing. The guest might perform just a portion, or even
an entire piece to demonstrate the techniques that can help develop and
even enhance the creativity of the audience. Sometimes, the guests even
 26

ask the audience to play and observe how he can improve their respective
styles. Some of these clinics are usually held by music stores and music
centers. ( Burton & Snell, 2015)
Partial research findings
Past survey results show that respondents can be broadly described as
being self-directed learners who engage in interdependent activities that
often involve more than one involvement; they solely rely on self-
assessment, but will engage with numerous sources of feedback. The study
shows about twice the amount of males as there are females, with most
students being under twenty-five years old. (Lebler, 2007)

Figure 2: All students in 2005 and

commencing students in 2007

Figure 3: Learning history in music education

 27

2.6.2. Recording Studios Design

A recording studio is a place where musical pieces are recorded and
mixed into a track or album. It is also a place where performers/musicians
practice. The place usually has two main parts: The mixing room and
rehearsal room. The mixing room contains all the sound mixers and
computers wherein the producer uses for engineering the sound. While the
rehearsal room contains the instruments which the band will use for
practice or even for recording. The studios can be renter for either
recording or rehearsal. (Newell P. , 1988)

In most cases, prospective studio owners purchase or lease premises

which they deem as suitable for their studio right before calling in a studio
designer or even an acoustical expert. They often realize that there could
be leading potential problems, but mostly believe that they can talk their
way out of any conflicts and difficulties with neighbors. They invest a
considerable amount of money which they think is suitable for their needs,
and they only call in specialists once the whole thing has been completed
but the neighbors refuse to ‘see reason’. (Newell P. , 1988)

Acoustics is not an intuitive science, and not many people can appreciate
just how many ‘obvious’ things are, which in reality, is not that obvious at
all. It is not the most pleasant experience for acoustics engineers to have
to tell other people, who often have invested in their hearts, souls and every
last of their money in a studio, that the building is not suitable. This
happens more often than not, unfortunately. The problem in most cases is
that the buildings are used with lightweight construction and the neighbors
are too close. The three most important things in providing good sound
isolation are rigidity, mass and distance. Lightweight buildings are not
really rigid, so if the neighbors are too close, you can already tell that the
building is cheap. Even if there is space to build massive, floated
structures, the floors may not be durable enough to support their own
weigh because the buildings are only of weak and lightweight
construction. In most cases, such premises will have been purchased
precisely, because they are mostly cheap; perhaps they were all that could
be afforded at the time, which often means that the money to invest for
expensive isolation is not available. The cost of massive isolation work in
a cheap building will be a greater than a simple isolation work, and usually
the overall cost of the building and isolation work will be cheaper than the
latter. (Newell P. , 1988)

Height
Making a good quality studio is not east, free from problems and
compromises, in a space with enough height. Control rooms require height
in order to avoid parallelism between the floor and ceiling. At low
frequencies, most suitable floors are reflective, so ceilings must be
Figure 4: Triple isolation shell in a weak domestic building
 28

properly designed to the extent that monitor response problems will not be
created by the vertical room modes. (Newell P. , 1988)

2.7. Acoustic Design

 Sound in Rooms
It is known
that it is important
in auditorium
acoustics to be
discussed in terms
of the response in
the position of the
listener to a short
sound produced
on stage. The
respond to a Figure 5: Direct Sound Illustration
longer musical
note can be determined from the response to a short impulse. Being a
listener, the first thing someone usually hears is the direct sound, which
travels directly, or straight from the source. This is followed by early
reflections from the walls on the side, ceiling, etc. Reflected sounds
have to travel further, so it will arrive at a later time; though it will not
be as loud as its direct component. (Barron, 2010)

Figure 7: Multiple Reflection within a room Figure 6: Sound Rays in Rooms

 Acoustic Absorption
Acoustic absorption eliminates acoustic energy. There are 3
possible factors: porous absorption, panel absorption and Helmholtz
resonance. Porous absorption, occurs with any permeable material. In
auditorium design, the major absorbent surface is the audience, whose
clothes usually act as effective absorbers. (Barron, 2010)
 29

Figure 8: Absorption Coefficients of Porous and Panel Absorbers

 Scattering
Textured surfaces usually provide some scattering of sound, but the
degree of texture must be high for it to scatter effectively. The general
concept is that the deeper the treatment is, the lower the frequency will be,
to the extent which the surface will be able to scatter sound. (Barron, 2010)
 Acoustic defects
a. Echoes
Echoes are reflection which can be heard as a distinct occurrence. For a
reflection to be considered as an echo, it must arrive at least 50ms later that
its direct source. The reflection also has to be more distinguishable than its
neighbours. In every room there will be numerous reflections that will arrive
at more than 50ms after its direct sound. To be considered as an echo, it
should either be reflected from a massive surface by a path simpler than
other reflections of the same delay, or reflection that involves focusing.
(Barron, 2010)
b. Background noise
One of the factors to background noise is usually the ventilation system.
Ventilation systems usually generate noise due to the noise of its fans and
the air-flow itself. Noise-control usually involves adequate attenuation
between the AHUs and the auditorium itself. (Barron, 2010)
 30

CHAPTER III: RESEARCH METHODOLOGY

The research will be conducted to go into detail with the country’s situation
in the music and performing arts aspect. The research shall follow a logical and
rational approach on gathering data in order to arrive with a significant, reliable and
a factual basis for analyzing and completing the study for the proposed project.

3.1. Historical Method

This method was used in gathering data from sources that is related to, as
well as to improve the project, its significance, comprehensiveness, relevance and
historical background of the project. This method will also help in archiving case
studies. This method will be primarily achieved by gathering resources from
libraries, the internet, and requesting data from private and public offices.

3.2. Descriptive Method

The descriptive method gathered relevant information through a thorough
analysis of the variables relevant to the subject of the performing arts. This method
is vital in establishing basis by carefully analyzing the present conditions of the site,
and it determined future trends in the performing arts industry.

3.3. Case Study Method

Research collection from a different standpoint was useful in gathering data
that is vital for the project. It is important to research about different projects related
to the study to further understand the basis of a good design with relation to the
subject matter, and it was used in order to discover different trends and strategies
relating to the project.

3.4. Research Tools and Techniques

3.4.1. Survey
Survey questionnaires was given out to different sets of participants
according to their functions and contributions to the music and performing arts
center. The questionnaires will be formulated and divided in accordance to its
main respondents, mostly involving various age groups.
3.4.1.1. Participants
Research sets were for students, music fans, and amateur
performers, who are the direct users and stakeholders of the project;
with the consideration of the new trends, particularly the indie music
in the local scene and other developments that is vital for the project.
3.4.1.2. Procedure
Contents of the survey questionnaires were derived from the
information collected by the research regarding the state of Philippine Music
and performing arts. Such information was drawn from different book and
article sources, educational materials, and other related media resources.
Gathered information was critically analyzed to formulate questions in line
with the present objectives of the following project, which are presented in
 31

the previous chapters. With further analysis, the questions were grouped and
divided with accordance to the targeted participants. The survey
questionnaires were handed to out to the respective participants, and
returned to the researcher.
3.4.2. Interviews
Interviews were conducted in order to gather more relevant data from the
potential users. Questions were derived from the survey questionnaires, but
more extensive. The interviews included standardized questions to be used with
other correspondents, and questions specifically catered to each correspondent.

3.4.2.1. Participants
Participants entailed past developers of various music facilities,
employees at various local music industries, and performers. Data gathered
from the participants encompassed the situation of OPM and Performing Arts
culture and different opportunities for the project. Aside from this, questions
regarding the proper planning as well as the needed facilities for the project
were asked, to pave way to a design properly catering the needs of the
immediate and possibly the future users.

3.4.3. Observation and Site Visit

The researcher conducted a site visit and observed the existing
environment of the site. This included, but limiting to roads, pedestrians,
neighborhood, the existing community which helped in identifying
problems that needs to be addressed in the study.
3.4.4. Observation of Similar Facilities and Activities
Similar from the Case Study Method, the researcher visited facilities
similar and relevant to the project. Through this, data was gathered and more
data will be gathered with a similar basis connected to the project.
 32

CHAPTER IV: SITE PROFILE AND ANALYSIS

This chapter will describe possible site locations for the said project. The
researcher will determine its strengths, weaknesses, opportunities, and its strengths
and combine it together for the project.

4.1. Site Selection and Justification

The chosen site should be able to garner a good rating on the criteria for
choosing the ideal site. The site will be evaluated to contribute to the feasibility of
the project.

4.1.1. General Criteria (40%)

4.1.1.1. Accessibility (15%)
The access to the facility will be through walking and land
transportation. The project must be accessible to visitors and future
investors as well.
4.1.1.2. Environment (5%)
The site must be able to reduce the negative impacts towards the
environment and be sustainable as well as having plenty of vegetation
to reduce heat as well as reduce floods and potential calamities.
4.1.1.3. Land Use and Zoning (5%)
The site must be in accordance with the Comprehensive Land Use Plan
of the municipality. Zoning preferences will be sites offering opportunities
to be able to accommodate to the public viewers.

4.1.1.4. Pedestrian Access and Circulation (10%)

The presence of sidewalks, pedestrian lanes/crossings and other
pedestrian friendly measures ensures that the people walking to, from, in
and around the project can walk safely.
4.1.1.5. Safety and Security (5%)
The site must ensure the safety and security of the project’s
development, taking into consideration potential hazards and possible
calamities that can compromise the development of the project.

4.1.2. Specific Criteria (60%)

4.1.2.1. Marketability (10%)
The location must preferably have an active lifestyle, to accommodate
its target market while having a money generating asset at any time of the
day.
4.1.2.2. Orientation (5%)
The site should be oriented properly to be able to minimize natural
elements from intervening from the users like the sun and wind, as well as
to have good sources of vista.
4.1.2.3. Surrounding institutions (20%)
 33

The site must preferably ne situated with the sufficient target clients,
with institutions such like schools, commercial areas or communities that
will be involved in the development of the project.
4.1.2.4. Must be distant from noise distractions (15%)
Considering that the site must be proficient in acoustics, the site must be
distant from areas that produce too much noise and can cause possible
distractions for the project.
4.1.2.5. Capability for future developments (10%)
The site must be located in an area that can accommodate future
developments as the projects progresses.

4.1.3. Site Location Profile

The chosen site should preferably be situated around Metro Manila, to
accommodate performers and possible viewers as well as enthusiasts around Metro
Manila.
 34

4.1.3.1. Macro Location Profile

Figure 9: Map of Metro Manila

Source: Google Maps

 35

The Greater Manila, made up of 11 cities, as well as 5 towns, is

where the country’s most prestigious business addresses and leisure
establishments are located. Fashionable hotels, restaurants, discos, music
bars, boutiques, and specialty shops converge around sleek Ayala and
Ortigas Centers. Other major cities include Quezon City, an entertainment
hub and a government center, Marikina City, the shoe center of the
Philippines; Paranaque, well known for its dry goods and seafood; and Las
Pinas, which houses the world’s only bamboo organ located at St. Joseph’s
Parish. (Department of Tourism Philippines, 2019)

4.1.4. Socio-economic Location Profile

4.1.4.1. Demographic Characteristics
Population Size and Structure

Table 1: Household Population, Number of Households and Average Household

With a total of of 582,602, Makati city ranked ninth (9th) in terms of

population size among the whole of Metro Manila, based on the 2015
Census of Population as well as Housing. It has a total of 154,095
households with an average size of 3.8.
 36

NCR Population Density (2007, 2010 and 2015)

Table 2: NCR Population Density

The population and land distrubution, presented above illustrates the

huge disparities in population concentration across different barangays. In
totality, 41.7% of the city’s population during 2015 were residing in District
I, which accounts for the 61.8% of the city’s total land area. The remaining
38.2% of the city’s total land area, that being District II, was being occupied
by the 58.3% of its total population. Overall, the average population density
of the city was estimated t an average of 21 persons oer 1,000 square meters,
as of 2015
 37

Population Distribution and Population Density by Barangay, 2015

Table 3: Population Distribution and Population Density by Barangay

 38

4.1.4.2. Geographic Location and Features

A. Location
Makati City is location within the quadrangle of 1210 011
latitude north and 140 331 longitudes east. Located along the center of
the National Capital Region (NCR), Makati is bounded by the north by
Pasig River, which faces Mandaluyong and Pasig City, the Municipality
of Pateros on the east, Manila by the Northwest and on its southeast,
Taguig City. Makati is one of the 17 local government units (LGU) the
comprise Metro Manila.
B. Land Area
Makati City has a total land area of 27.36 sq.m, or 2,736 hectares.
It constitutes the 4.3% of NCR’s total land area, which is bigger that its
neighboring cities of, Pasay and Mandaluyong.
For the purpose of planning and better coordination of service
delivery, the City was clustered into six Planning Areas namely, Central,

Table 4: Land Area of NCR, Cities and Municipalities

 39

Table 5: Barangay Clustering

Northwest, Westside, North Central, Eastside, and Northeast.

Clustering is based on the commonality of the barangays such as
geographical location, challenges/issues, income, resources, land use
and the like.

District Map

Figure 10: District Map of Makati City

 40

Barangay Boundary Map

Figure 11: Barangay Boundary Map of Makati City

Cluster Map

Figure 12: Cluster Map of Makati City

 41

Table 6: Land Area of Makati by Barangay

 42

4.1.4.3. Micro Site Location Profile

Makati City

Figure 13: Makati City

Source: Google Maps

Makati started to emerge as one of the center of business as well as

commercial activities during the 60s. it was also during the same period that
its growth of population became very significant at 8.75% per annum, but
tapered off in the following decades as Makati’s role as a central business
district of the country began to mature. Because of this, the significance of
Makati extends well beyond its resident population. (Makati CLUP, 2010)
 43

A. 2670 A. Reyes Ave, Makati, 1200 Metro Manila (14°34’25.7”N

121°01’01.6”E)

Figure 14: Site A Location Map

Source: Google Maps

The proposed site is located in A. Reyes Ave, Makati. It is bound by A.

Reyes Ave, Hippodromo, Theater Dr, with Ayala Malls as well as Circuit
Makati Transport Terminal adjacent to it.
The total area of the site is approximately 3.07 hectares, allowing a large,
flexible space for the facility. The site poses an advantage due to its capacity to
accommodate a huge variety of activities and amenities, which can also allow
the project to have a vertical development, or a sprawling design, or both. The
site is also beside Ayala Malls Circuit Makati which can contribute to the site’s
marketability.
 44

SWOT Analysis
Table 7: SWOT Analysis of Site

Strengths Weaknesses

 Close to public establishments like  Located in Makati, a possible traffic-

Ayala Malls and other food heavy location.
establishments like Mang Inasal,  Near residential areas on 2 sides of the
McDonalds, a Sports complex and site.
more.  Possibility of being too far for its target
 Nearby point-to-point bus stations, audiences based on its location.
along with other tricycle terminals
along the site.
 Suitable location for walking, with
pedestrian-friendly areas nearby, as
well as having the Ayala Malls beside
it, according to sources.
Opportunities Threats

 With the proximity to crucial  Possibility of vehicular traffic can hurt

establishments like the Ayala Malls, the
site can have close locations that are 
suitable for the project’s target market.
 Proximity to tricycle terminals can help
in the area’s ease of traffic within its 
radius.
 Less trouble with sustainable ideas,
considering as well the size of the lot
along with it pedestrian-friendly
environment.
its marketability in the area.
Having a few residential areas, can
cause difficulty to contextualize with
the basis of its project.
With reference to its possible target
market, the site’s marketability might
be compromised based on its location.
 45

4.1.5. Comprehensive Land Use Plan

4.1.5.1. Existing Land Use

Table 8: Land Use Distribution

Makati has been widely regarded as Metro Manila’s Financial

Center. Although it is well-known for many financial institutions,
headquarters and shopping complexes, the City’s major land use, based on
land area is still residential. The two other major land uses are special
mixed-use and commercial.
 46

4.1.5.2. Existing Land Use Map

Figure 15: Existing Land Use Map of Makati City

 47

4.1.5.3. Official Zoning Maps of Makati City

Figure 16: Official Zoning Map of Makati City

 48

Figure 17: Residential Subzones Map

 49

Figure 18: Commercial Subzones Map

 50

Figure 19: Special Development Zones Map

 51

Figure 20: Institutional, Recreational, Open Space, Utility and Cemetery Subzones Map
 52

4.1.6. Physical Environment

4.1.6.1. Flood Map

5 Year Flood Hazard Map

Figure 21: Flood Hazard Guide

Figure 22: 5 Year Flood Hazard Map

 53

25 Year Flood Hazard Map

Figure 23: 25 Year Flood Hazard Map

100 Year Flood Hazard Map

Figure 24: 100 Year Flood Hazard Map

 54

CHAPTER V: PROJECT PROFILE AND ANALYSIS

This chapter will explain in detail the overall profile of the project. It will start by
giving an overview of the project along with its target market, followed by the programs
and a brief discussion of design standards and guidelines that will help the feasibility
of the project.

5.1. Project Information

5.1.1. Client Information

Precy M. Florentino, the president and CEO of Music Museum Group,
Inc., took over from the original owner of the then Music Museum, Kuh
Ledesma in 1990. Precy Florentino is a gifted entrepreneur with excellent
management skills, who lead the creation of the most exciting destinations in
San Juan city.
The Music Museum–now the Music Museum Group, is a complex of
shops, dining places, lifestyle, services and moviehouses that made Greenhills
a must-experience destination for theaters, concerts, movies and more. This is
the group that reinvented the Greenhills into the most anticipated areas in the
city of San Juan–all thanks to Precy Florentino.
From this accomplishment of the Music Museum, Florentino sees an
opportunity to expand from San Juan City. Initially, Music Museum us a theater
gallery for music lovers to enjoy leisure and dining while watching theater, all
while appreciating accomplishments from different artists and musicians.
Although this provides a wide range of entertainment, but Florentino wants to
provide a new venue that will focus on the performing arts aspect, but still
retaining the culture of Music Museum that made it famous from the start.

5.1.2. Mission, Vision and Goals

Mission
We are committed to entertain, inform, and educate the Filipinos
through the performing arts, therefore enriching the cultural life of those
who live, work and play in Metro Manila.
Vision
Music Museum inspires our community through the performing
arts, inviting people of all ages, cultures and all backgrounds, inspiring
them to learn, teach, grow and to freely express themselves in a creative
and supportive environment.
Goals
To achieve the cultural status of the music and performing arts
center, the project aims to produce quality performances that provide
entertainment, promote an environment that encourages respect while
fostering friendships, while educating and developing performers in all
aspects, and inspiring creativity and artistic expression.
 55

5.1.3. Historical Overview

The concept of Music Museum was a them way ahead of its time. Kuh
Ledesma–the famous diva and its founder–wanted a venue that will give its
audience a “Taste of New York and Las Vegas”, with a flair of history thrown
along with it. Kuh wanted a theater-restaurant venue wherein people would be
able to listen to music, watch theater and enjoy, as well as appreciating the
wealth of Filipino artistry, whilst being world-class quality. On August 8, 1988,
the Music Museum was built. It was a music-themed restaurant with a theater
gallery built around its stage. The walls of the venue were ensconced
memorabilia from recent performances by the country’s best artists.
In 1990, Kuh Ledesma thought of bringing her act abroad, so she sold the
Music Museum to a friend, Precy Florentino. Although changes were in store,
after a few months of her taking over, the Music Museum was struck by fire;
almost every valuable memorabilia went up in smoke. Though things looked
desperate for a while, letters from friends, patrons, music enthusiasts theater
devotees and fans poured in, and eventually asked–or begged for the owners to
bring back the theater that made the popular arts come alive in the city of San
Juan.
After only a year, Music Museum eventually reopened and resumed is
activities within its walls. Except the Music Museum is no longer just the Music
Museum. It has grown into a more active venue for entertainment–leisure,
shopping, dining, gaming and more. the old mall was transformed into new state
if the art cinemas, with added shops, dining places for every age and gender, as
well as Teatrino, which joined the group in 2006 that made the place a more
irresistible destination for leisure and entertainment.

5.2. User Profile

5.2.1. Organizational Chart

Figure 25: Organizational Chart of the new Music Museum Group

 56

The board of trustees holds the initiative for running the service. Under the
Board of Trustees is the Facilities Management Department, who is responsible for the
daily management of the building’s everyday activities within the facilities, the Artistic
Department, who’s responsibility is the selection of the works performed by the theater.
The Managing Director deals with the directorate and regulates the execution of the
business, which then reports back to the board.

Figure 26: Organizational Chart of the new Music Museum Group: Administration Sector
 57

Figure 28: Organizational Chart of the new Music Museum Group: Artistic Sector

Figure 27: Organizational Chart of the new Music Museum Group: Facilities and Events Sector
 58

5.2.2. Number and Roles/Duties and Responsibilities from Director to Staff

1. Board of Directors
 Director/s
The directors establish the department’s pace for its
current operations and future developments, review the
company’s goals, which eventually sets the strategies and
structure of the department and exercise accountability to
shareholders while being responsible to its relevant
stakeholders.
2. Administration Sector
Administrative Services Department
The Administrative Services Department is responsible
for directing, planning and coordinating supportive services of
an organization. Their specific responsibilities vary by the type
of organization, which may include keeping records, distributing
mail, as well as planning and maintaining facilities.
 General Services Division
The General Services Division’s mission is to provide
leadership and the best practices when it comes to managing
facilities, supplies, securities, and other support services to
its elected staff and officials in a reliable and efficient
manner.

 Management Division
The Management Division’s task is to plan, organize,
lead certain tasks to achieve its organizational goals. It
involves the implementation, evaluation, and maintenance of
the process of work within its organization for efficient and
productive workflow.
 Property and Division
This part of the admin is responsible for the general
processing of procurement requests for supplies as well as
equipment and their corresponding acquisitions. This
division is also responsible for the maintenance of inventory
stocks of the supplies and their following issuances to
various requesting units.
 Maintenance and Engineering Services
The maintenance and engineering services ensure that
the machinery and equipment runs smooth and reliable. This
involves the scheduling of maintenance, responding to
repairs and breakdowns, supervising engineering and
technical staff and more.
Financial Services Department
The financial services department is the part of the
organization that manages its expenses. Its functions typically
 59

include the planning, organizing, auditing, accounting the

company’s finances.
 Accounting Division
The accounting division is responsible for recording, as
well as reporting the cash flow transactions of the company.
Its roles include accounts receivable, accounts payable,
payroll, financial reporting, and maintaining its financial
controls.
 Treasury Division
 Budget Division
 Property and Division
Human Resources Department
 Human Resource Services Division
 Training and Development Division
 Budget Division
3. Artistic Sector
Playwright
The playwright is responsible for writing the dramatic
material for the purposes of performances within the theatre. The
script is the blueprint for the creation of a dramatic production.
Director
The director oversees all aspects of the artistic production
of the organization, such as assessing and selecting
performances that will be shown, along with recruitment of the
actors and performers, setting production schedules and
managing its budget.
 Scenic Designer
The scenic designer is in charge of the visual appearance
and capacity of the scenic and property components utilized
in the production.
 Costume Designer
The costume designer is in charge of the visual
appearance of the performers. This job incorporates the
structure of the garments, adornments and cosmetics worn
by the on-screen characters during the act.
 Lighting Designer
The lighting designer is in charge of the structure,
establishment and activity of the lighting and unique lighting
effects utilized in the production.
 Sound Designer
Is in charge of the structure, recording, equipment and
playback of any sound in the play. The sound design can
change in complexity from basic recorded music used during
interludes to a meticulously designed special effects sound
to underscore the whole act.
 60

 Property Master
The property master is a one of a kind craftsman in the
theater. This individual must be proficient in an assortment
of aptitudes extending from design to painting, sculpting,
furniture development and upholstery, welding and
electronics. He or she is likewise in charge of the plan and
development of the decorative and utilitarian props that are
used in a production.
 Scenic Artist
The scenic artist which is under the supervision of the
scenic designer is in charge of the make-up of the scenery.
The individual should be an incredible craftsman fit for
working in an assortment of media and styles.
 Technical Director
The technical director is in charge of building the scenery
properties, mounting them on the stage and supervising the
work and property teams during practices and performances.
The main activity of the technical director is managing the
construction of all scenery and properties.
 Costumer
The costumer oversees the making of all costumes. The
costumer must have the option to read and translate the
costume designer’s portrayals into working pieces of
clothing.
 Master Electrician
Executes the lighting plan. This person is legitimately in
charge of the securing, establishment and support of all
lighting equipment.
 Sound Crew
Recording and regulating all sound on set or all location
is the responsibilities of the Sound Crew which includes
Sound Mixers, Boom Operators, and Sound Assistants.
 Prop Crew
The prop crew is responsible for keeping the props and
furniture stored properly organized and in usable condition.
The crew is responsible for maintaining an inventory of
properties of the props on loan or rented. The crew is also
responsible for the physical process of the props in stage and
out the stage.
 Paint Crew
The paint crew paints the sets and in some cases the
properties. This difficult job includes painting the set
(dividers, floor, background, properties) for it to mirror the
character of the plan or design.
 Scene Shop Foreman
The scene shop foreman is in charge of the development,
mounting and rigging of the scenery.
 61

 Master Seamer
The Master seamer is responsible for the maintenance
and support of seamers, fillers, and other equipment. This
may include adjustments, testing, and preventive
maintenance, and major overhauls.
 Electricians
The electrician installs, maintains, and repairs electrical
control, wiring and lighting systems. He/she inspects
transformers and circuit breakers and other electrical
components. He/she troubleshoots all electrical issues using
appropriate devices, along with repair and replacement of the
equipment, wirings or fixtures.
 Technical Director
The technical directors for a production is responsible for
working closely with the scenic designer as well as the
director. It is their responsibility to determine how the
scenery will be built and out of which material.
 Costume Crew
The costume crew has the responsibility of the
construction of all the costumes for a production.
Production Manager
The Production Manager ensures the manufacturing
processes will be able to run reliably. Some of these
responsibilities include the assessment of the project and
resource requirements, determining quality control standards,
and overseeing production processes.
Stage Manager
Stage managers usually provide support to the director,
actors, designers, stage crew as well as other technicians
throughout its production process. They are also the director’s
representative during the performances, ensuring smooth
production and operation of the events/performances.
 Stage Crew
Stage crew members work behind the scenes during
theatrical, music or other live performances to ensure scene
changers, along with other tasks, are done correctly at the
right times. Stage crew members may even work with many
different positions at the back of the stage, including the
assisting of the props, costume changes, etc. The position
may as well require general labor like sweeping and cleaning
the stage.
Actors
An actor/actress is responsible for translating a
writer/director’s ideas into a full-blown character with its given
set of gestures, accent, body language, movement and even
dialogues.
 62

4. Administration Sector
Events Department
 Events Director
o Equipment Coordinator
o Venue Coordinator
o Program Coordinator
o Food Coordinator
Training Center Department
 Music, Dance, and Theater Training Center
 Rehearsal Facilities Division
 Maintenance Division
 Archives Division
Commercial Department
 Accounts Division
 Revenue Division
 Marketing Division
 Customer Relations Division
Food Services Department
 Registered Dietician
o Warehouse Food Service Drivers
o Food Services Assistants
 Food Services Manager
o Kitchen Managers
o Kitchen Staff

5.2.3. Significant Partners

A music training center will be partnered within the project. This program
will offer individual and group courses from piano, music theory, voice, guitar,
drums and violin for 30 minutes of lesson each. Other than that, it also has
summer programs and recitals for students to showcase whatever they’ve
learned throughout their respective individual courses. Its mission is to educate,
develop and inspire students in order to achieve their full potential in music as
well as to provided them the skills for the lifelong enjoyment of music.
Weekly Schedule
Table 9: Daily Schedule of Music Training Center

Day Operating Hours

Monday 10am-9pm
Tuesday 10am-9pm
Wednesday 10am-9pm
Thursday 10am-9pm
Friday 10am-9pm
Saturday 10am-9pm
Sunday 10am-7pm
 63

A dance training studio will be partnered as well. The studio is a collective

idea of offering dance classes of different genres in order to reach out and to
share the gift of dance started by its homegrown choreographers. The group is
made up of people from different colleges and institutions that are dedicated in
bringing a wide variety of dance styles to all that has progressed and developed
their abilities in dance, with its primary mission is to instill a love for dance
whilst inspiring self-confidence, discipline and respect for the performing arts,
as well as to provide a solid technical foundation for its developing dancers.

Weekly Schedule
Table 10: Daily schedule of Dance Training Center

Day Operating Hours

Monday 10am-9pm
Tuesday 10am-9pm
Wednesday 10am-9pm
Thursday 10am-9pm
Friday 10am-9pm
Saturday 10am-9pm
Sunday 10am-7pm

5.3. Target Market

5.3.1. Primary Target Users

The primary target users of the project will be the clients, which are mainly
the audiences, performers and trainees. These performers usually have musical
equipment and extra clothes which can take up space in the building. They can
come and go depending on the time slot of their selected programs. Other than
that, some can stay because of various activities that can be used as collaborative
spaces and facilities offered by the project, which will allow people to gather
around and exchanges ideas. These performers can come together in small to
medium and even large sized crowds for different events. Performers and
musicians who will rent the studios are part of the primary users of the building
as well.

5.3.2. Secondary Target Users

The secondary target users of the project will be the instructors, guest
instructors, service officers and the employees of the building. This number can
increase but will depend on the space that will be used. In some cases, joint
lectures and performances may be conducted, which will also in turn have more
mentors inside, as well as music events where more instructors or mentors will
be required to facilitate the event.
Service officers will also have varying time slots, wherein janitors and
guards will have most hours of active work. Guards will have 2 batches having
different hour shifts. Janitors will also have shifts but will only get to work once
 64

the establishment opens. Maintenance crews will also work whenever they are
requested for, like assistance for lighting, technical managements, stage
management and equipment assembly and transfer.
Guest instructors also won’t spend a lot of time in the building, but they
should still be provided a space where they can rest and store their equipment,
if there will be any. Guest instructors often host clinics, talks, or judge concerts,
they can also have training rooms, studios, and other spaces the performers
have.

5.3.3. Tertiary Target Users

The tertiary target users will be the administration, head of the building,
and the employees who will manage the rentable and commercial spaces of the
facility. The administrator will spend the day working in a major area and will
only go out upon request. The employees will also stay in their stations and
manage the commercial stations or booths. However, the manager of the studio
will only stay in the area if there is, or are reservations or people who will rent
the space.

5.4. Sample Calendar of Activities

Table 11: Sample Calendar of Activities

Month Events Activities

January Tanghalang Pilipino’s Mabining Theater Musical

Mandirigma, A Steampunk Musical

February The Phantom of the Opera Theater Musical

March Summer Dance Workshop Annual Summer

Workshop

Rama Hari (Ballet Philippines 50th Ballet Recital

Season)

April Philippine Dance Hip Hop Dance Dance Competition

Championship

May Dance academy Recital Day 1 & 2 Two-day Dance Recital

June Ang Huling El Bimbo (Rerun) Theater Musical

July Gary V, Mr. Pure Energy Fund Raising Beneficiary Concert

Concert

Summer Intensive Dance program Advanced level dance

workshop
 65

Triple Threat Camp Musical theater workshop

camp

Princess Dance Camp Princess dance

camp/workshop

August Ballet Philippines’ Swan Lake Ballet Recital

Tumbling workshops Two-day tumbling

workshop

Ballet Intensive Three-day intensive

ballet workshop

September Rak of Aegis Music Festival

Ibong Adarna: Gantimpala Theater Educational Theater

Foundation Musical

October UP Dharma Down Stage Sessions: Night Gig/ Night

Ground Gig at the Sessions
Performance Park

The OPM Hitmen: Magkakaibigan Concert performance

The OPM Hitmen: Concert Series Concert performance

November Cats Musical Performance Theater Musical

December Richard Poon: The Repeat Concert performance

Bamboo Una Mas: Christmas Edition Christmas Concert

performance
Coke Studio Concert: The Home
Coming Music Christmas Beneficiary
Concert

5.5. Services Offered

5.5.1. Seasonal Programs
A. Music/Dance Competitions
Seasonal competitions will be held, hosted by various organizations like
Philpop, The Voice, CCP and others that will promote music and dance
performers, as well as performances.
B. Recitals
Recitals will be held, which will highlight individual or groups of
learning performers to showcase what they learned, as well as to showcase
other cultural performances from various learning organizations.
C. Theater Musicals
Musicals will be held, hosted by organizations like PETA, to showcase
the local, as well as international performances to engage with the local
audiences.
D. Concerts
 66

Concerts will also be hosted by the venue in collaboration with other

producers. All are invited to such concerts, with a certain fee.
E. Workshops
Workshops will be offered in collaboration with various guest
performers, with different performances and examples offered as well,
with certain audiences invited.
5.5.2. Other activities
A. Music Lessons
Private Lessons
The facility offers one-on-one lessons at its studios, with lessons taught by
qualified instructions who are music performers as well, which places an emphasis
on performance with annual recitals and other performance opportunities. This
lessons are available for all ages at beginner, intermediate and advance levels of
proficiency, and musical styles taught on different genres.
Group Lessons
Group lessons are offered for the training course as well, which mainly include:
 Art of Recording—Ears Only
This course will be essentially for middle and high-school students, with
a minimum of two students and a maximum of four.
 Rock Ensemble
Mostly for high-school students, this course is an offering for 3 to 5
students and can include 100-minute sessions.

 Ensemble Performance
For high-school students as well, this course offers up to 3 to 5 students
and includes 90-minute sessions.
 Learn to Read Music/ Music Theory
This basic course can be offered to individuals and groups to learn the
basic mechanics of reading music, with 30 minute sessions per week.
 67

Programs Offered
Music
1. Voice
The singing lesson programs feature a group of skilled professionals and
coaches to ignite their passion for singing as well as to develop their voices
along the process. This will train students and equip them with the necessary
skills and help them with different aspects of vocals, form proper warm-ups, to
basic training, leading to the best vocal practices and how to sustain these skills.
Table 12: Voice Course Programs

Primary Level Intermediate Level Advance Level

Primary level is where This program helps
young singers and aspiring students learn how to sing
vocalists go to learn the effectively with proper
fundamentals like supervision. Singers
breathing, posture and improve through vocal
diction. training, proper warm ups,
and useful microphone
techniques.
24 sessions – Php 24 sessions – Php
15,000.00 17,500.00
36 sessions – Php 36 sessions - Php
22,000.00 26,500.00
48 sessions – Php 48 sessions – Php
29,000.00 35,000.00
72 sessions – Php 72 sessions - Php52,500.00
43,500.00
Advanced vocal lessons
offer professional voice
training and lessons that
will help the students reach
their highest potential
24 sessions - Php
20,500.00
36 sessions - Php
30,000.00
48 sessions – Php
40,000.00
72 sessions Php -
59,500.00
 68

2. Guitar
This program offers both electric and acoustic guitar lessons for students
at all skill levels. The instructor guides students where every skill levels are
comfortable and gearing them towards lasting proficiency on playing the guitar.
Table 13: Guitar Course Programs

Primary Level Intermediate Level Advance Level

This program teaches guitar This programs will train
Advanced guitar lessons
lessons to beginners, students to play the guitar
are geared to build on the
starting from the effectively, and train them
proper skills that students
fundamentals, which in a safe and friendlydeveloped through their
include scales, chords, environment, which starts
previous programs. This
proper tuning, arpeggios with private and public
will pair private lessons and
and rhythm. lessons and group
full band rehearsals and
rehearsals. performances which will
allow them to showcase
their skills at the
professional level.
24 sessions - Php 15,000.00 24 sessions - Php 17,500.00 24 sessions-Php 20,500.00

36 sessions - Php 22,000.00 36 sessions - Php 26,500.00 36 sessions- Php 30,000.00

48 sessions - Php 29,000.00 48 sessions – Php 48 sessions- Php 40,000.00

35,000.00
72 sessions - Php 43,500.00 72 sessions - Php52,500.00 72 sessions-Php 59,500.00
 69

3. Piano
This program offers piano lessons from well-staffed and highly trained
piano and keyboard instructors who are prepared to take students to the next
level in playing the piano.
Table 14: Piano Course Programs

Primary Level Intermediate Level Advance Level

These programs are very
different from traditional
primary lessons, wherein
instructors teach their
students to love playing the
piano by teaching them how
to play notable songs, while
implementing basic skills
such as finger placement,
scales, and more.
24 sessions- Php 15,000.00
This programs helps As students start to
students acquire the progress from beginner
necessary skills to gain skill level, this program
and confidence of playing identifies the progress and
the piano while developing eventually move them up to
the tools they need to work intermediate techniques.
collaboratively. This is where students
develop their skills and
immense themselves into
learning the ins-and-outs in
playing the piano.
24 sessions- Php 17,500.00 24 sessions-Php 20,500.00

36 sessions- Php 22,000.00 36 sessions - Php 26,500.00 36 sessions- Php 30,000.00

48 sessions- Php 29,000.00 48 sessions - Php 35,000.00 48 sessions- Php 40,000.00

72 sessions - Php 43,500.00 72 sessions - Php52,500.00 72 sessions Php- 59,500.00

 70

4. Drums
From private lessons to group rehearsals, this programs will help you
keep the beat and progressing on the drums right from the start of the lessons.
This will provide lessons that will equip every student the skills at every level
to help them excel in playing the drums.
Table 15: Drums Course Programs

Primary Level Intermediate Level Advance Level

This course offers simple, As a student progress This course level shows the
yet effective lessons for the
beyond the beginner level, student’s progress and
primary level that go they move on to the allow them to justify their
through the entry-level pad intermediate level, putting level if they want to enter
training. Each student gets them on the path to mastery. the professional level in
behind a drum kit right fromDuring these private playing the drums.
the start to begin learning to
sessions and group
play the drums. rehearsals, the instructors
guide students through
advanced techniques and
training methods to further
hone their skills.
24 sessions - Php 15,000.00 24 sessions - Php 17,500.00 24 sessions-Php 20,500.00

36 sessions - Php 22,000.00 36 sessions - Php 26,500.00 36 sessions- Php 30,000.00

48 sessions - Php 29,000.00 48 sessions - Php 35,000.00 48 sessions- Php 40,000.00

72 sessions - Php 43,500.00 72 sessions - Php52,500.00 72 sessions Php- 59,500.00

 71

5. Violin
This course offers violin lessons from experts who play the violin from
classical to contemporary genres. This will guide you with different skills from
the beginner level to the advanced level of proficiency in playing the violin.
Table 16: Violin Course Programs

Primary Level Intermediate Level Advance Level

Begin your violin Progress your basic Enhance your skills at the
proficiency by learning the knowledge towards playing professional level by
basic playing and bowing the violin by enhancing you engaging high-quality
techniques like learning its technical skills and studying practices with technical
basic parts, proper different classical to detail and further focus of
positioning, learning to play modern styles. the basics of violin.
different bowing techniques
and more.
24 sessions- Php 18,500.00 24 sessions- Php 22,000.00 24 sessions-Php 28,000.00

36 sessions- Php 29,000.00 36 sessions- Php 32,500.00 36 sessions-Php 39,600.00

48 sessions- Php 37,900.00 48 sessions- Php 43,500.00 48 sessions-Php 48,000.00

72 sessions- Php 57,000.00 72 sessions- Php65,500.00 72 sessions Php-70,000.00

 72

6. Wind
This course offers lessons in playing different wind instruments like
flute, saxophone, clarinet, trombone and more. This course equips you with
different methods and tips on how to play the different wind instruments
properly.
Table 17: Wind Instrument Course Programs

Primary Level Intermediate Level Advance Level

This course offers basic Progress your knowledge This course level teaches
wind techniques along with towards basic wind you how to play different
learning the basic parts of instruments by learning wind instruments on
the instruments and proper how to play expressively different genres and how to
basic techniques on how to with different dynamics and play collaboratively with
play different wind vibratos and learning how other instruments at the
instruments. to play for longer periods of professional level of style.
time.
24 sessions - Php 15,000.00 24 sessions - Php 17,500.00 24 sessions -Php 20,500.00

36 sessions - Php 22,000.00 36 sessions - Php 26,500.00 36 sessions- Php 30,000.00

48 sessions - Php 29,000.00 48 sessions - Php 35,000.00 48 sessions- Php 40,000.00

72 sessions - Php 43,500.00 72 sessions - Php52,500.00 72 sessions Php- 59,500.00

Theater and Dance

1. Toddlers Dance
Toddler dance classes are offered for students around the ages 2½-3 years old.
Classes are offered multiple days a week and are mainly focused on the foundations
of Ballet and Creative movement.

2. Preschool Dance
Preschool dance classes are offered mainly for students at the ages 3-5 years
old. Classes are offered all week long and are mainly focused on teaching Ballet,
and Jazz.

3. Mini Dance
Mini dance classes are offered for students ages 5-8 years old. Beginner,
intermediate and advanced level classes are offered with genres Jazz, Ballet, Hip
Hop, K-pop, Acro, Musical Theater, Lyrical and Boys Crew.
4. Junior Dance
Junior dance classes are offered for students ages 9-11 years old. Beginner,
intermediate and advanced level classes are offered with genres Jazz, Ballet, Hip
Hop, K-pop, Acro, Musical Theater, Lyrical and Boys Crew.
 73

5. Teen & Senior Dance

From ages 12-18 years old, teen/senior dance classes are offered with
beginner, intermediate and advanced level classes, offered with Jazz, Pre-Pointe,
Hip Hop, K-pop, Arco, Musical Theater, Lyrical, Fusion & Skills.

6. Performance Company
Performance Company is also available for students at ages 5-18 year olds
who want more opportunities and growth within a close-knit community of
dancers. Students are placed in one of four levels, both based on age and ability.
Performance company members are required to take a set amount of hours per
week, participate in conventions, outside performances and weekly rehearsals.

7. Competition Company
Competition company is for students from ages 4-18 years old who desire a
challenging and competitive team collaborative experience. These are the most
driven and talented dancers who are handpicked based on hard-work and
commitment. Competition company members are required to take a set amount of
hours per week, participate in conventions, outside performances and weekly
rehearsals.
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Sample Summer Program Schedule

Table 18:Dance Sample Programs and Schedule

Time Monday Tuesday Wednesday Thursday Friday Saturday Sunday

10:00 Toddler Preschool I Toddler Toddler Preschool Toddler Toddler

am Ballet Ballet Ballet I Ballet Ballet

11:00 Preschool I Mini Preschool I Preschool Preschool Preschool Preschool

am Ballet II II II I I

12:00 Preschool II Junior Preschool II Junior Acro I Preschool Preschool

pm Ballet III Ballet III (Junior & II II
up)

1:00 Lunch Lunch Lunch Lunch Lunch Preschool Preschool

pm Break Break Break Break Break III III

2:00 Mini Mini Mini Mini Mini Company

pm Musical Musical Musical Musical Musical Rehearsal
Theater Theater Theater Theater Theater

3:00 Junior Junior Junior Junior Junior

pm Musical Musical Musical Musical Musical
Theater Theater Theater Theater Theater

Junior Junior Mini Hip Hop Teen/ Mini Hip

4:00 Contempora Skills III II Senior Hop I
pm ry Jazz II Skills IV

5:00 Company Junior Company Junior Company

pm Rehearsal Ballet I Rehearsal Ballet II Rehearsal

6:00 Acro I Teen/Senior Teen/Senior Teen/ Junior

pm (Junior & Ballet III Hip Hop II Senior Hip Hop I
up) Ballet II

7:00 K-pop Teen/Senior K-pop Teen/ K-pop

pm Dance Ballet II Dance Senior Dance
Contemp-
orary Jazz

8:00 Teen/Senior Teen/Senior Junior Teen/ Junior

pm Musical Contemporary Contemporar Senior Contempo
Theater Jazz III y Jazz I Ballet III rary Jazz I

9:00 Adult Adult Adult Adult Adult

pm Zumba Zumba Zumba Zumba Zumba
 75

B. Rentable Spaces
1. Recording and Rehearsal Studios
These studios can be rented by bands and musicians who want to
practice as well as record music covers or even original compositions.
Rental Rates- 500 per hour, 1,000 2 hours
Recording Rates- 800 per hour
2. Dance Studios
These studios can be rented by dancers, group or individuals, who want
to practice their dance performances with at least a minimum rent of 2 hours
Main Studio- 1,200 per hour
Studio # 2- 600 per hour
3. Rehearsal Hall
The rehearsal hall can be utilized for rehearsals, workshops and recitals.
4. Performance Hall
The Auditorium can be used for orchestra rehearsals, musical theatre
performances, dance and music performances of all sizes.
5. Mini Stages
The stages can be used for small performances, open mics, and gigs.
C. Establishments
1. Music Stores
Music stores will be provided in the commercial area of the
establishment. This will cater to musicians, artists, and fans of all aspects that
can provide to their best interests. The store will be open from 10:00 a.m. –
10:00 p.m. everyday except on certain holidays.
2. Listening/Study Lounge
The project will also provide lounges for people to sit and even read
books about music, dance and theater. The lounge will also be provided with
listening areas to people can sit and relax while listening to music.
3. Cafes and Bars
The cafes and bars will serve as the common eating area and additional
lounge for the primary users of the establishment. It can also host small
performances and gigs every week.

5.6. Legal Framework

P.D. 1096 – National Building Code of the Philippines
The provisions of this code shall be applied to the design, location, sitting,
construction, alteration, repair, conversion, use, occupancy, maintenance,
moving, and demolition of, and addition to, public and private buildings and
structures.
Additions, alterations, repairs, as well as changes of use or occupancy in all
buildings and structures shall be able to comply with the requirements for new
buildings and structures except as otherwise provided. Only such portion/s of
the existing building or structure which have to be altered in order to affect the
addition, alteration, or even repairs shall be made to conform to the
requirements for new buildings or structures. Alterations should preserve the
aesthetic value of the building to be altered.
 76

In any specific case, a different section of this code specify different

materials, methods of construction, as well as other requirements, the most
restrictive shall govern.
B.P. 344 – Accessibility Law
The Accessibility law will enhance the mobility off the disabled by
requiring certain buildings, institutions, establishments as well as public utilities
in order to install devices and facilities. The project will strictly follow this in
order to provide a comfortable experience for its disabled users.
R.A. 9514 – Fire Code of the Philippines
The Fire Code is a set of rules and requirements in order to prevent fire as
well as explosions and other hazards arising from storage, handling, or use of
dangerous materials, or even from other specific hazardous conditions.
P.D. No. 856 – Code of Sanitation
The primary objective of this was to improve the way the Filipinos by
directing public health services towards the protection and promotion of the
health of our people. There is also a need for codifying as well as updating the
scattered sanitary laws in order to ensure the provision of references and guide
for quick reinforcement.
Makati City Ordinance
The purpose of this ordinance is to determine the design requirements, scope
and limitations, and boundaries of Pasay City. This will help the designer
understand the own requirements of Pasay City in designing and building a
structure. The ordinance will help in identifying the buildable boundaries of the
project.
Design Standards and Principles on Acoustics
The design standards for acoustics will determine the requirements as well
as materials for the acoustic design of the performing arts facilities. It will
discuss computations, diagrams as well as layouts which will guide the designer
understand the fundamentals of acoustic design. These design standards should
be strictly applied to the project to successfully maximize the function of its
spaces.

5.7. Conclusion
The Music and Performing Arts Center, to be erected in Makati City, will be an
avenue for both professional and non-professional artists to make impacts on the
performing arts industry. Along with its architecture and programs provided for, the project
will not only be a solution, but an opportunity for Filipinos to enjoy the different performing
arts.
 77

CHAPTER VI: DATA PRESENTATION

This chapter shall consist of the presentation, interpretation and analysis of

the data gathered. The project entails the current status of the performing arts
and the awareness of the people towards it in the Philippines. Ideas, as well as
theories with regards the project must be validated in order to create an effective
project outcome. To gather data, archives were utilized, interviews and surveys
were conducted and events connected to the project were attended.

6.1. Design Related Sources

6.1.1. P.D. 1096 – The National Building Code

1) SECTION 1213. Stages and Platform
Stage Ventilators — Three or more ventilators are needed and must
be constructed of metal or other incombustible material near the center
and above the highest part of any working stage raised above the stage
roof and having a total ventilation area equal to at least five percent of
the floor area within the stage walls. The entire equipment shall
conform to the following requirements:
 Gridirons — Must be constructed of incombustible
materials and fire protection of steel and iron may be
omitted. It is designed to support a live load of not less than
367 kilograms per square meter. Each loft block well shall
be designed to support 373 kilograms per linear meter and
the head block well shall be designed to support the
aggregate weight of all the loft block wells. It must support
a horizontal and vertical uniformly distributed live load
sufficient to accommodate the weight imposed by the total
number of loft blocks in the gridiron.
 Proscenium Walls — The wall that separates the auditorium
and stage which must not be less than two-hour
incombustible construction. It must extend not less than 1.20
meters above the roof over the auditorium. Proscenium walls
may have the addition to the main proscenium openings, one
opening at the orchestra pit level and not more than two
openings at the stage floor level, each of which shall be not
more than 2.00 square meters in area. It must be protected by
a fire assembly having a one and one-half fire-resistive
rating. The proscenium opening, which shall be the main
opening for viewing performances, shall be provided with a
self-closing fire-resistive curtain as specified in this Code

The proscenium form is a conventional arrangement

placing the audience facing the stage, viewing the
performance through an architectural opening. The
traditional position is for the orchestra to be located in a pit
between audience and stage, with the conductor in a
pivotable location controlling orchestra and singers. The end
 78

stage is similar to the proscenium format but without the

architectural opening, placing audience and performance in
the same space and suitable for small scale productions.

Auditorium Format for opera, dance and musicals on proscenium stages

Horse-shoe form, shallow rear and side balconies
a) Fan shape with 90 deg. Arc, with or without rear balconies
b) Courtyard consists of shallow balconies of no more than three rows around three
sides of the auditorium.

 Stage Floor — Construction depend upon the requirements

Figure 29: Auditorium Format

based on the type of Occupancy and the corresponding fire-

resistive requirements. It is designed to support not less than
620 kilograms per square meters. All openings shall be
equipped with tight-fitting trap doors of wood not less than
5 millimeters nominal thickness.
 Platforms — Platforms shall depend upon the requirements
based on the type of occupancy and corresponding fire-
resistive requirements. If enclose, platforms must be
provided with one or more ventilators conforming to the
requirements of stage ventilators. Except, that the total area
shall be equal to five percent of the area of the platform.
When more than one ventilator is provided, that they shall be
so spaced as to provide proper exhaust ventilation.
Ventilators shall not be required for enclosed platform
having a floor area if 45.00 square meters or less.
 Stage Exits — One exit is required not less than 900
millimeters wide shall be provided from each side of the
 79

stage opening directly or by means of a passageway not less

than 900 millimeters in width to a street or exit court. An exit
stair not less than 750 millimeters wide shall be provided for
egress from each fly gallery. Each tier of dressing rooms
shall be provided with at least two means of egress each not
less than 750 millimeters wide and all such stairs shall be
constructed in accordance with the requirement specified in
this Code. The stairs required in this sub-section need not be
enclosed.

2) SECTION 811. Artificial Ventilation.

Not less than 0.03 cubic meter of air per minute shall be supplied
for each person for auditorium and other rooms used for assembly
purposes.
3) SECTION 1207. Stair, Exits and Occupant Loads. – (m) Seats
Seat Spacing
The spacing of rows of continental seating shall provide a clear
width measured horizontally, as follows: 450 millimeters clear for
rows of 18 seats or less; 500 millimeters clear for rows of 35 seats or
less; 525 millimeters clear for rows of 45 seats or less; and 550
millimeters clear for rows of 46 seats or more.
Row Spacing
600 millimeters spacing for seats without backrests in open air
stands is needed from back-to-back; 750 millimeters for seats with
backrests, and 850 millimeters for chair seating. There shall be a space
of not less than 300 millimeters between the back of each seat and the
front of the seat immediately behind it.

Figure 30: Row Spacing

 80

Rise Between Rows

Not more than 400 millimeters rise from one row of seats
to the next.
Seating Capacity
The width of any seat shall not be less than 450 millimeters nor
more than 480 millimeters for determining the seating capacity.

4) Sightlines for a Seated Audience

For every member of the audience to have an uninterrupted view
of the platform or stage over the heads in front and clear of overhangs
the section and plan of the auditorium need to conform to certain
limitations set by vertical and horizontal sightlines.
 P Lowest and nearest point of sight on the platform or stage
for the audience to see clearly
 HD Horizontal distance between the eyes of the seated
members of the audience, which relates to the row spacing
and can vary from 760mm to 1150mm and more.
 EH Average eye height at 1120mm above the theoretical
floor level: the actual eye point will depend on seat
dimensions.
 E Distance from the centre of the eye to the top of the head,
taken as 100mm as a minimum dimension for the
calculations of sightlines. For assurance that there is a clear
view over the heads of those in the row in front this
dimension should be at least 125mm.
 D Front row of seats: the distance from point P to the edge
of the average member of the audience in the front row.

Figure 31: Sightlines

 81

5) Wheelchair Location
Wheelchairs are located as discrete areas, which can be at the
rear, front, side or within the seating. A wheelchair user should be able
to sit with a party of friends not in wheelchairs.

Figure 32:Designated Wheelchair, Required Dimensions

6) Visual Limitations
Visual limitations determine the maximum distance from
platform or stage at which the audience is able to appreciate the
performance and for the performers or speaker to command an
audience.
For opera and musicals discerning facial expressions is less
critical and the distance can be 30 m.
 82

Parts of the Stage:

a) Proscenium stage without flytower
For the smaller auditorium without a flytower, suspension of
scenery, curtains, pelmets, borders and lighting barrels above the
stage is necessary.
 Lines can be fitted to pulleys hung on a grid, with flying from
a side gallery above the stage, or from the stage level.
 Side stages are required for stacking spaces for flats,
properties and rostra, as well as circulation routes within the
stage.

Figure 33: Stage Layout and Dimensions for a Medium-Size Theatre without Flytower
 83

b) Proscenium stage with flytower

dimensions and shape of the performance area are determined
by the recommended proscenium opening. Ideally, the depth of the
performance area front to rear should be equal to the proscenium
opening.

c) Raised Stage
The height of the stage can be between 600mm and 1100mm
with a straight, angled or curved front edge. The floor to the

Table 19: Proscenium Stage

performance area, in part or total, may be a series of traps, that is

modular sections usually 1200mm square which can be removed
selectively.
d) Side and Rear Stages
Sizes should relate to the size of the performance area. These
areas may need to hold sets as on the performance area, with
circulation all round. The clear height required to be the highest
scenery plus 1 m.

e) Stage Basement
The space under the stage should be fully accessible with a
minimum headroom of 4.5 m.
f) Safety Curtain
In the case of fire on the stage it must be separated from the
auditorium, with the proscenium opening being closed off by a
safety curtain.
a. Simple flat design. A rigid curtain suspended immediately
behind the proscenium opening and dropping on the stage
from the flytower. (Most common type of safety curtain)
b. Cranked design for when orchestra pit is covered to make a
forestage.
 84

c. Flat design where scenery and properties on forestage are

fully incombustible

Figure 34: Safety Curtain

7) Visual Limitations
a. Lighting control room
A room centrally at the rear of the auditorium fully
enclosed and soundproofed with an observation window and
space for the lighting control console.

 The room needs a space for the operator who needs to sit by the console and
view the performance through the observation window which has an
unrestricted view of the stage.
 There should be a space for an assistant, a worktop for plans and scripts.
Minimum size: 3m wide 4.5m deep and 4.4m high.
 85

Figure 35: Control Room

b. Dimmer rooms
Space is required for the dimmer racks which are the
direct means of control for all the stage lighting instruments.
The dimmer room should be placed so that quick access may
be achieved either from the lighting control position or from
the stage area.
c. Sound Control Room
An open enclosure in a representative position within the
auditorium.
 The operator requires an interrupted view of the performance area as
well as being able to hear the performance. There should be a space for an
assistant, a worktop for plans and scripts.
 The room contains a control desk, equipment racks, monitor loudspeakers
and worktop for scripts.
Minimum size: 3m wide, 4.4m deep and 4.4m high.
d. Auditorium sound-mixing position
For the mixing of amplified sound from the stage by an
operator who requires to hear the same sound as the audience.
The area requires to be flat, set within the seating area
with mixer pad sound control desk and protective barrier.
Minimum area: 2m x 2m
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e. TV, radio and recording control

This is a separate soundproof control room, with
observation window and clear view of the stage
It will accommodate announcers, and staff for balancing
and directing transmissions and recording.
Minimum area: 2m x 2m, but should be larger
f. Observation Room
Those associated with production may need to check
activities on the stage from a room at the rear of the auditorium,
with a clear view of the stage through an observation window
Minimum area: 2m x 2m
Spaces for Actors, Singers and Dancers
a) Dressing Rooms

Figure 36: Dressing room layout

Single dressing room with piano and en-suite WC and shower

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Figure 37: Dressing room for four layout

Dressing room for four, area 17.4 m2

Figure 38: Communal dressing room layout

Communal dressing room, area of each bay 8.3 m2

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Spaces for Musicians

A. Changing rooms: at least two rooms.
B. Musical instruments store: large instruments and their cases.
C. Pre-performance practice room(s)
D. Musicians’ common room: 3.4 m2 per occupant.
E. Conductor’s room
F. Offices: orchestra manager, tour manager, etc.
G. Musicians’ assembly area: at point of entry to orchestra pit.
STAGE DIAGRAMS
Advantages or disadvantages of stadium houses versus balconies are
subject to much discussion. The best opinion seems to agree that a stadium
house for a capacity of over 800 or 1,000 will have a rear row of seats too
far from the stage for "comedies of errors," although satisfactory for
spectacle pieces.
Auditorium Lighting
The object of lighting in the auditorium is to concentrate
attention upon the stage, even before the curtain goes up . In most cases,
lights with reflectors, in coves hidden from view, will prove most
satisfactory. Fluorescent lighting, though efficient, is difficult to use
because it cannot be dimmed. The color of the light should be neutral
though warm. Chandeliers are usually considered objectionable
Stage Area
Space is the most vital consideration. It is necessary that the
stage be so arranged that up to five sets can be set up and stacked in
succession, without being seen during the performance; and that this be
done without acrobatics on the part of amateur stagehands. Furthermore,
open-air (plain-air) scenes require the appearance of great height. Again,
a high stage loft and an expanse of unimpeded wall space are desirable
for storing current sets. This means confining openings to one wall if
possible, or, at the most, two. It is also necessary that the stage provide
a "crossover," i.e., a passage for actors across the stage, either behind
the stage through a corridor, possibly through the stage shop, or behind
the cyclorama.
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Figure 39: Stage Area

Size of the Theater

An outdoor theater can be planned to seat as many as 3,000
spectators without the use of amplification for the actors' voices. What
is recommended, however, as an upper limit for the seating, is about
2,500. The suggestions in this outline are scaled for a structure of
between 1,5002,000 seats, which is nearer the ideal
Outside the Theater
i. Parking Lot (or Lots) should be
 Large enough to handle one car for every three spectators.
 Designed to permit convenient and speedy exit following the
performance, with good access from traffic routes.
 Surfaced with gravel or asphalt and provided with good
drainage under all conditions. Well lighted for ease and
security in parking and walking So arranged as to permit the
quick departure of any car in case of an emergency during
the performance.
 Convenient to the box office and the entrance to the theater.
 Located where the noises and lights of late-arriving cars will
not disturb the performance
 Well marked with signs.
ii. A Business Office
 If the theater is on or very near a main traffic route, the office
of the manager may be placed at the theater.
 Usual practice, however, is to have this office in the center
of the nearest town where it is readily accessible to patrons
stopping in hotels and motels.
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 In any case, the business office should have an information

center and display space in addition to work space for the
manager and promotion director and their assistants.
 Should include a place for the display of folders, a desk for
handling rooming accommodations, and the like.
iii. A Box Office
 Convenient to both the parking lot and the entrance to the
theater.
 With shelter for patrons buying tickets in bad weather.
 An Amphitheatre for Epic Drama, Institute of Outdoor
Drama, University of North Carolina, Chapel Hill, N.C.,
1966. Provided with windows for advanced sales, reserve
seats, and general-admission (if any), clearly marked with
prices.
 With telephone connections to the business office (if not in
the same building) and to the stage.
 Near toilet facilities and a water fountain.
iv. Other Facilities (Desirable Though Not Completely
Necessary
 A nursery for patron's children.
 A pay telephone.
 A concession stand/ house.
v. The Entrance to the Theater
 Well marked, simple, and attractive.
 Near enough to the parking lot to keep older people from
tiring themselves while getting to the theater.
 Far enough away from the lot to let patrons lose the sound of
traffic and fall under the quiet spell of the general setting
before stepping into the theater.
 Sometimes provision can be made for bringing very old or
crippled patrons by car along a separate path right to the
theater entrance.
vi. A Separate Entrance and Parking for Cast and Crew
The Auditorium
Of primary importance are good hearing and good sightlines to
every part of the performance areas. This means that an effective
compromise must be made between width and depth. A very
wide auditorium may have good acoustics but poor sight lines,
while a very narrow auditorium will tend toward the reverse.
 Effective acoustical planning depends on the correct
placement of reflective surfaces for all sounds involved in
the performance. Care must be taken, for instance, not to
place opposing walls backing the side stages exactly parallel
to each other (as they may cause a disturbing reverberation
in the lower part of the amphitheater). Remember that the
sound waves tend to bounce off mirror surfaces at the same
angles that light does.
 One of the first aids to good sightlines is an effective slope.
Seats may be set on a rising parabolic curve, or on two
different inclines, a fairly mild slope for the lower half of
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auditorium (the half near the main stage) and a steeper slope
for the upper (rear) half. The slope recommended for the
lower portion is 12` (that is, a rise of about t minute in 7),
and for the upper 24' (about 1 minute in 3'h) or steeper.
 There should be at least five aisles, two down the center, two
down the outside, and one cross aisle at the break between
the two slopes. It the central seating arse in the back section
of the auditorium is very wide, it can be broken by an
additional longitudinal aisle extending from the top down to
the cross aisle.
 All stepped sections should be illuminated by small hooded
aisle lights.
 The seating may be provided by sturdy wooden benches with
plank backs, by benches surmounted by clamped-on plastic
sport seats, or by individual metal seats with or without arms.
If single seats are used, they may be so mounted or racked
together that patrons will not shift them around.
 The most satisfactory seats seem to be either sturdy metal
and canvas folding chairs or chairs with tough, preformed
plastic seats. These can be lifted for cleaning, tilted to avoid
water puddles during a rain, and can be stored indoors when
not in use at the close of the season All seats should be clearly
numbered. The width of each seat should not be less than 18
in. and need not be more than 23 in. A comfortable width is
about 21 in. The distance between rows of seats should be 3
ft. Other details about the auditorium which need to be kept
in mind are:
1. Toilet facilities, placed and housed where they
are convenient to both sides of the auditorium
but are not noisy, and of sufficient number to
accommodate the peak requirements which
occur just before performance and during an
intermission.
2. Rain shelters on both sides of the seating area or
at the back, for use in case of sudden showers.
3. Concession booths on each side (walled in to
reduce the noise of refrigerators and the
handling of bottles).
4. Good paving (not loose gravel which is very
noisy) and good drainage everywhere.
5. Sufficient auditorium lighting to let patrons
read their programs easily, and high enough to
be out of their eyes.
6. Signs placed where they will indicate clearly to
the patrons where the various sections of seats
are, as well as the toilets and the refreshment
centers.
7. A public address system for announcements to
the audience on rainy nights.
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The Stages
The usual arrangement of acting areas in an outdoor theater is a
large main stage and two smaller side stages in front of the proscenium
wall and to the right and left of the main stage. This plan allows for
flexible and continuous action since, by taking a scene off to one of the
side stages, it permits the technical crew to change a setting on the main
stage. Thus the play does not have to be broken at any point, except for
the intermission. These features are recommended for the main (central)
stage:
1. A level 3 It above the base of the lowest row of seats in the
auditorium.
2. A proscenium opening of about 70 ft.
3. A depth of about 40 It from the line of the proscenium walls.
(The apron in front of this line should be as narrow as possible)
4. Plenty of wing space-at least 50 ft-at each side of the acting
areas.
5. A height for the proscenium wall on each side of the opening
of 16 to 18 ft and of a length sufficient to mask from the
audience all activity backstage.
6. An appearance for the proscenium well which is simple, fairly
neutral, and thoroughly in keeping with both the natural setting
of the theater and the style of the play being performed (log,
board, stone, or brick).
7. Level ground, well drained and preferably surfaced with either
cement or asphalt (where scene changing does not require a
smooth clear floor, the dancers can be helped by giving them
several inches of send as a dance cover).
8. Some amphitheaters have been built with a second, slightly
higher, level with one or two longitudinal steps leading up to
it, about 20 ft. upstage, in an effort to increase the variety of
acting spaces available Careful consideration should be given
to its effect on scene shifting, dancing, or other theater uses
before this is incorporated as part of the permanent design.
9. In some cases, it will be necessary to include anchoring devices
for jacks, flanges, and stage braces supporting heavy movable
scenery set directly and permanently into the hard surface of
the stage floor.
10. Electrical outlets for stage lighting and for the convenient
attachment of cable to special effects such as campfires.
11. Circuits for an intercommunication system between
departments.
12. Unless a steep embankment or a clump of tall trees can serve
as an acoustical background, a high wooden or masonry wall
should be erected behind the stage to provide a sounding board
at the rear of the acting areas. There should be masking wings
for side entrances on the main stage and for mounting of
lighting equipment and for convenient scene shifting space A
back wall for a 70-ft proscenium opening would be about 110
ft.
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These features are suggested for each of the two side stages (right
and left of the proscenium opening):
1. A level 2 ft above that of the main stage (5 ft above the base
of the lowest row of seats), with easy access from both
backstage and the main stage.
2. The area covering a quarter of a circle with a radial center on
the proscenium wall of the main stage, starting about 30 ft
back from the opening (giving a cut-of-pie shaped acting
space on the side stage of about 30 by 30 ft with the curve
toward the audience).
3. No proscenium frame of any kind is needed for this side
stage (the proscenium wall of the main stage forms the rear
wall for these side stages).
4. Three steps or a ramp at the front corner to connect the aide
stage with the apron of the main stage.
5. Level ground, drained and surfaced like the main stage.
6. A door or concealed passageway connecting this stage to the
wing of the main stage for the use of actors.
7. Considerable working space, right or left, beyond this acting
area for the manipulation, and possibly the storage, of
scenery and properties to be used on this stage (If these are
to be stored backstage in a wing of the main stage and
brought out front when needed an adequately concealed
passage should be provided for them).
Careful thought must be given to the fat background of
the three stages. The view of the stage and beyond it to
the trees or distant mountains should be attractive and
mood Cultural AMPHITHEATERS creating from the
moment the spectator first comes into the theater area.

The Backstage Area

1. There should be plenty of free space for the assembling of
actors, the organizing of groups, and the massing of crowd
voices for offstage effects.
2. Property tables should be placed in locations convenient to
both sides of the main stage and the entrances to the side
stages.
3. There should be adequate spaces for the storing and
sheltering of the portable scenery units and properties.
4. There should be proper drainage in every part.
5. All the permanent wiring should be run underground where
it cannot trip the actors or interfere with the movement of
scenery and properties.
6. Some controlled Illumination should be provided for
backstage operations, well shielded so no direct or reflected
lighting will be seen by the spectators.
7. There should be sufficient specs for the drying of scenery,
costumes, and properties the morning after a rain.
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8. A bulletin board for nightly directions to actors and

technicians should be set up in s free and convenient spot, a
little away from any of the main traffic lanes onto the stage.
9. There should be an efficient intercommunication system
over which messages can be sent from one side of the stage
to the other, from the stage manager to the electrician, the
organist, and the house manager.
The area behind the main stage should not be used for any large
operation. There should be no lighting here except what may be
planned for stage effects, and all trees should be left standing to
maintain a good background screening for the stage pictures.
A spacious passageway should be provided for the actors and
technicians who have to cross behind stage from one wing to the
other.
The Dressing Rooms
 The placement and size of the dressing rooms will depend to a great extent
on local topography and on the number of actors in the show.
 The dressing rooms should be put as near the wings as possible without
interfering in any way with the backstage movement of scenery and actors.
 At the same time, the dressing rooms should be completely out of view of
the audience. Care should be taken to see that no light shining through a
door or window finds its way directly or indirectly to the eyes of the
spectator, and that noises in the dressing rooms are not heard out front.
 The dressing rooms may be laid out as a group of small units to take care of
small groups of actors, or as larger rooms capable of taking care of big
groups of men or women.

The best arrangement has smaller dressing rooms for selected groups of
male and female actors; one for the leading men, one for female leaders, and
other rooms for groups of secondary players.

 If there are any in the show who have to use unusual makeup, like Indian
body wash and war paint, these should be given an area partitioned off
so that their body makeup will not rub against other actors' costumes.
They should have also their own shower facilities.
 A shelf-type makeup table of 18 in. width and 30 in. height should be
built around the walls of the dressing rooms with a 2 ft. 6 in. or 3-ft space
for each actor. In front of each actor will be a makeup mirror with a 75-
welt light on each side Benches or chairs 18 in. high, sufficient for all of
the makeup positions, should be provided.
 Ample space and equipment should be furnished each member of the
cast for dressing and for the hanging of costumes, especially if they are
of period design. Some permanent costume racks are recommended.
 It is desirable to have at least one full-length mirror in each dressing
room. Showers, lavatories end toilet facilities must be supplied for each
large dressing room or dressing room area. There should be at least o
One toilet for each six persons o One shower to each six persons o One
wash basin for each four persons o Several urinals for men o More
toilets for women o
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 If the production has only a few actors who use body makeup, the need
will be for fewer showers and more wash basins.
 Hot and cold running water must be furnished. It will be needed by the
actors in the evening end by the customer during the day. The hot water
heater must be large enough to furnish hot water to a large number of
actors in a short space of time There might be one 400- gal heater or two
200-gal heaters, one for each side. Oil, coal, or gas heaters are better
than electric since the electric require a longer warming-up period than
can usually be tolerated.
 The dressing rooms must be properly ventilated. Louvers and large
circulating fans are suggested Windows, if used, should be placed away
from the stage and the audience area to minimize light leaks.
 Light baffles for doors can be used to avoid these leaks The doors should
be placed in such a way as to be of convenience to the actors wanting to
reach the backstage areas, while keeping to a minimum the danger of
light spills.
Lighting Towers and other Lighting Stations
A special problem which will come into the architect's planning is that
concerned with the design of the lighting for the three stages. This should be
worked out carefully in consultation with a lighting expert.
 The first part of the problem involves the shape, size and placement of the
two lighting towers (for front illumination of the acting areas) on each side
of the auditorium. They should be close enough to the main stage to provide
it with maximum spotlighting, far enough in-toward the center of the
auditorium-to make the angling of the light lines to the corners of this stage
effective. At the same time the towers should be far enough up the hill away
from the side stages to permit getting good illumination down onto them.
(Some of the spotlighting for each stage will come from the near tower,
some from across the auditorium from the tower on the other side) Each
tower should be high enough to let the light fall on the near side stage at an
angle of about 45°, illuminating clearly figures on that stage without
spilling light onto the main stage beyond. If the side stage extends 30 ft out
from the proscenium wall and the tower is placed about 1 5 or 20 ft. up the
hill from this - that is, 45 or 50 ft. from the proscenium wall the tower may
have to rise 30 or 35 ft. above the level of the main stage.
 At least two banks of large spotlights will be hung in the top of each tower.
In the bottom of one tower might be placed the control board for all stage
lighting, and in the bottom of the other the console of the electric organ,
together with the control of any sound equipment (such as that for a
narrator) that may be employed in the play. Some theaters use space below
the lighting towers for restrooms for the audience, after providing separate
access for the lighting crew. While the towers are being placed for effective
illumination, they must be arranged in such e way as not to interfere with
the sight lines from the rear side corners of the auditorium to the acting
areas on the side stages. In order to keep the sight lines clear, the architect
will have to put the towers closely contiguous to the side aisles, and he may
have to modify the width of the auditorium at the back.
 Some of the smaller and newer theaters, concentrating on use of the Quartz
Iodine lamped long-throw spotlights, have minimized the use of lighting
towers by mounting a battery of spotlights on top of the rain shelter at the
 96

rear of the audience. A few years ago the spotlight cost would have been
too great, but new lens systems developed for quartz lights now allow this
type of mounting as an increasingly popular solution for lighting both main
and side stages. At present most theaters still use lighting towers as well as
the newer rain shelter mounting.
 Other stations for stage lighting will be on pipe framing just behind the
edge of the proscenium walls on both sides, end in narrow footlight troughs
at the front edges of the main end aide stages. The ploy will doubtless
require additional incidental stations, but since these will probably be on or
behind scenery units they will not involve the architect.
 All permanent wiring which is to be run in conduits under the ground from
the towers to the stages, between the towers and between the stages, and to
controls, should be laid before any paving is done.

Lighting Control Equipment

 The lighting control booth should allow the operator full vision of all acting
areas which are to be lighted. The best location in the 1,500-2,000 seat
theater is shove the rain shelter high over the rear of the audience.
 Some theaters use a booth built in the center of the auditorium, but this
causes a loss of valuable revenue seats. Others use space in the ticket office
building, or space at the base of one of the lighting towers.
 Location of lighting control consoles backstage is considered old fashioned
end inefficient.
 Many good lighting control systems are on the market and a number of them
should be investigated to determine the best possible choice for your
production situation. A minimum of 85,000 to 100,000 watts will be
required in any standard situation.

Sight Lines

Figure 40: Sight Lines

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The average human eyesight is usually focused on the motion of

performers and the spectator’s average eye level is around 1.6 meters hence
while sitting down it becomes around .92 meters, the proper raising of stage
will make it possible to reduce the sloping of the area but in turn, costs of
allowing the first three rows uncomfortable views and unnatural viewing of the
stage. It is also highly recommended to have the first row to make use of
excessive floor slope.
Floor Dish
The planning of the slope will be on centered depending on the
placement of the stage as well as the curve of the rows of seats. For every row,
it must be at same elevation if the seats are leveled. The floor is not the sloped
plane but a dished surface. The horizontal contours follow the slope of the curve
of the seats while in the section it can be seen the center line is rotated
horizontally about the center of the curvature. The row of seats will determine
the floor shape of the orchestra vestibule. Balconies are planned the same except
that the floors are terraced like for proper seating and viewer comfort.

If budget permits the building to have better visibility standards, wall

angles may be narrowed while increasing floor angles will be increased and
balconies will be omitted and seats moved back to a point of acceptable
visibility.

Standard Layout
If budget permits the building to have better visibility standards, wall
angles may be narrowed while increasing floor angles will be increased and
balconies will be omitted, and seats moved back to a point of acceptable
visibility. Theaters/Opera houses should be semicircular based that is based
from Greek amphitheater but not all spaces should be based from it due to the
Greek amphitheaters lacking proscenium and other desirable features. Stage
space and backstage should be accessible for all types of production such as
visual components that will be divided into two categories: Performers and
scenic performances. There is a functional relationship for the back of the stage
between the acting area, scenery space, working and storage space. The size and
space relationships vary depending on the need of the other spaces and
development.
Front and backstage are two major elements of the space zoning within
the theater. Spectators should have access to everything necessary before
entering the auditorium. Minimum spaces should be present but not limited to,
toilets, coatrooms, drinking fountains, lounges and smoking areas. The lobby
will provide waiting spaces and circulation where people can sit and relax
before entering the auditorium, the manager’s office is placed on the adjacent
to the box office and should be accessible from the lobby.
Service spaces such as control rooms will be placed on higher floors to prevent
any interruption from unauthorized personnel.
General Requirements for theaters/operas are divided into these categories:
i. Public Circulation
The area for holding audiences before and after a performance
and as well as for during breaks due to the social nature of a person
to socialize as well as a place for concessionaires and intermingle.
Areas such as Lobby, Ticketing office and vestibule.
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ii. Production Activity

Consists of preparation and backstage of the theater/opera
placement of props and other production needs are held within the
areas such as rehearsal spaces and separate lounges for the
performers as well as meeting rooms and lecture areas.
Access to Auditorium
Vestibules and buffer areas should be provided before and after
entering the theater opera in order to achieve acoustical rhythm and
privacy.

Types of Audience Arrangements

Figure 41: Types of Audience Arrangements

Audience facing the stage have the maximum confrontation of

performers. It establishes a limited orientation between the performers and
audience it presents a dramatic action and opposition it also maximizes
perceptibility.
Surrounding the stage is also a good design appri, it gained popularity
during the mid-century Essentially an old arrangement descended from
Greek, Roman, Renaissance, and Elizabethan theaters, it is said to produce
unity of experience between performers and audience allowing spectators
to be closer to the performance
The central staging approach or bandbox is primitive ritual sites, the
arrangement of the acting area in the center of a surrounding ring of
audience is both economy and expediency depending on the placement of
seats. The disadvantage to this is this restricts viewers in scenic views such
as if the seating is placed on the rear, it only gives users a rear view of the
performer and if placed in the side, only allows users to have a side view
of the performance.
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6.1.2. B.P. 344 – Accessibility Law

I. General
a. Seating for the disabled shall be accessible from the main lobby
to primary entrances, together with related toilet facilities.
b. In all assembly places where seating accommodation is
provided, there shall be spaces for the disabled persons as
provided.
c. When the seating capacity exceeds 500 an additional
wheelchair seating space shall be provided for each total
seating capacity increase of 100 seats.
d. Readily removable seats may be installed in these spaces when
such spaces are not required to accommodate wheelchair users.
II. Minimum requirements
1. Wheelchair Dimensions
Table 20: Wheelchair Dimensions

Length 1.10m – 1.30m

Width 0.60m – 0.75m
Turning Radius 1.50m
Reach Height from Floor 0.70m – 1.20m
Knee Clear under Tables 0.70m

2. Dropped Curb
Provided at changes of levels of walkways, pedestrian crossings and
end of walkways.
a. Changes in level walkways should be by a dropped curb.
b. Dropped curbs should be provided at pedestrian crossings
and at the end of walkways of a private street or access road.
c. Dropped curbs at crossings have a width corresponding to
the width of the crossing; otherwise, the minimum width is
0.90 m.
d. Dropped curbs shall be ramped towards adjoining curbs with
a gradient not more than 1:12.
e. Dropped curbs shall be sloped towards the road with a
maximum cross gradient of 1:20 to prevent water from
collecting at the walkway.
f. The lowest point of a dropped curb should not exceed 25 mm
from the road or gutter.
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Table 21: Curb Dimensions

Lowest Point of Dropped 0.25m from the road or

Curb gutter

Minimum Width 0.90m

Grade of Curb 1:12

Cross-Gradient of Drop 1:20

Curb

3. Dropped Curb
Allowed only when it will not obstruct a walkway or in any way
lessen the width of a walkway
a. Walkways should be kept as level as possible and provided
with slip-resistant material.
b. Whenever and wherever possible, walkways should have a
gradient no more than 1:20 or 5%.
c. Walkways should have a maximum cross gradient of 1:100.
d. Walkways should have a minimum width of 1.20 meters.
e. If possible, gratings should never be located along walkways.
When occurring along walkways, grating openings should
have a maximum dimension of 13 mm x 13 mm and shall not
project more than 6.5 mm above the level of the walkway.
f. Walkways should have a continuing surface without abrupt
pitches in angle or interruptions by cracks or breaks creating
edges above 6.50 mm.
g. In lengthy or busy walkways, spaces should be provided at
some point along the route so that a wheelchair may pass
another or turn around. These spaces should have a minimum
dimension of 1.50 m and should be spaced at a maximum
distance of 12:00 m between stops.
h. To guide the blind, walkways should as much as possible
follow straightforward routes with right angle turns.
i. Where planting is provided adjacent to the walkway, regular
maintenance is essential to ensure branches of trees or shrubs
do not overhang walkways or paths, as not only do these
present a particular danger to the blind, but they also reduce
the effective footways width available to pedestrians
generally.
j. Walkway headroom should not be less than 2.0m and
preferably higher.
k. Passageways for the disabled should not be obstructed by
street furniture, bollards, sign posts or columns along the
defined route, as they can be hazardous.
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Table 22: Slope Grade

Maximum 1:20 or 5%
Gradient
Maximum 1.20m
Gradient

4. Walkways and Passageways

Level and non-skid material
a. Walkways should be kept as level as possible and provided
with slip-resistant material
b. Whenever and wherever possible, walkways should have a
gradient no more than 1:20 or 5%.
c. Walkways should have a maximum cross gradient of 1:100.
d. Walkways should have a minimum width of 1.20 meters.
e. If possible, gratings should never be located along walkways.
When occurring along walkways, grating openings should
have a maximum dimension of 13 mm x 13 mm and shall not
project more than 6.5 mm above the level of the walkway.
f. Walkways should have a continuing surface without abrupt
pitches in angle or interruptions by cracks or breaks creating
edges above 6.50mm.
g. In lengthy or busy walkways, spaces should be provided at
some point along the route so that a wheelchair may pass
another or turn around. These spaces should have a minimum
dimension of 1.50m and should be spaced at a maximum
distance of 12:00m between stops.
h. To guide the blind, walkways should as much as possible
follow straightforward routes with right angle turns.
i. Where planting is provided adjacent to the walkway, regular
maintenance is essential to ensure branches of trees or shrubs
do not overhang walkways or paths, as not only do these
present a particular danger to the blind, but they also reduce
the effective footways width available to pedestrians
generally.
j. Walkway headroom should not be less than 2.0m and
preferably higher.
k. Passageways for the disabled should not be obstructed by
street furniture, bollards, sign posts or columns along the
defined route, as they can be hazardous.

Table 23: Minimum Gradient

Maximum 1:20 or 5%
Gradient
Minimum Width 1.20m
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5. Handrails
a. Handrails should be installed at both sides of ramps and
stairs and at the outer edges of dropped curbs. Handrails
at dropped curbs should not be installed beyond the width
of any crossing so as not to obstruct pedestrian flow.
b. Handrails shall be installed at 0.90 m and 0.70 m above
steps or ramps. Handrails for protection at great heights
may be installed at 1.0 m to 1.06 m.
c. A 0.30 m long extension of the handrail should be
provided at the start and end of ramps and stairs.
d. Handrails that require full grip should have a dimension
of 30 mm to 50 mm.
e. Handrails attached to walls should have a clearance no
less than 50 mm from the wall. Handrails on ledges
should be installed on both sides of ramps and stairs.

6. Signage

6.1.3. General and Specific Land Uses

 SECTION 7. Division into Zones and Subzones. To effectively carry
out the objectives of this Zoning Ordinance, the entirety if Makati City
is divided into Zones and Subzones. To effectively carry out the
objectives of this Ordinances, the City is divided into different zones
as shown in the Official Zoning Map (See Figure 16).

I. Residential Zones:
a. Low Density Residential Zone (R-1)
b. Medium Density Residential/Mixed-Use Zone (R-2)
c. High Density Residential/Mixed-Use Zones (R-3, composed of
R-3A, R-3B and R-3C subzones)
II. Commercial Zones:
a. Low Density Commercial/Mixed-Use Zone (C-1, composed of
C-1A and C-1B subzones)
b. Medium Density Commercial/Mixed-Use Zone (C-2,
composed of C-2A and C-2B subzones)
c. High Density Commercial/Mixed-Use Zone (C-3, composed of
C-3A and C-3B, C-3C and C-3D subzones)
d. Central Business District Zone (C-4, composed of C-4A and C-
4B, C-4C and C-4D, C-4E, C-4F, C-4G, C-4H, C-4I, C-4J and
C-4K subzones)

III. Planned Unit Development Zone (PUD)

IV. Special Mixed-Use Zone (SMU)
V. Special Precincts for Urban Redevelopment (SPUR) Zone
VI. Disaster Resiliency Initiative for Vulnerable Enclaves (DRIVE)
Zone
VII. Heritage Preservation Zone (HPZ)
VIII. Riverside Development Zone (RDZ)
IX. Government Center Zone (GCZ)
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X. Institutional Zone (INS)

XI. Recreational Zones:
a. General Park Zone (REC-1)
b. Institutional Recreational Zone (REC-2)
c. Sports Club Recreational Zone (REC-3)
d. Residential/Commercial Recreational (RCR)
XII. Open Space (OPN)
XIII. Utility Zone (UTL)
XIV. Cemetery Zone (CEM)
 SECTION 8. Zoning Map. It is hereby adopted as a crucial part of this
Ordinance, the New Official Zoning Map for Makati City, wherein the
designation, location, and boundaries of the zones as well as subzones
herein established are shown and indicated. Such Official Zoning Map
shall be signed by the City Mayor and duly authenticated by the
HLURB/Sangguniang Panlungsod. The Official Zoning Map has six
(6) components:

I. The New Makati City Zoning Map

II. The New Makati City Residential Subzones Map
III. The New Makati City Commercial Subzones Map
IV. The New Makati City Special Development Zones Map
V. The New Makati City Institutional, Recreational, Open Space,
Cemetery, Utility Zones/Subzones Map
VI. The New Makati City Overlay Map for Special Development
Zones

Based on Makati City Zoning Map, the Site is Located in a

Recreational Zone, REC-3 (See Figure 20).

 SECTION 29. Recreational Zones (REC-1, REC-2, and REC-3):

These zones shall be used primarily for recreational uses.
I. Principal Uses:
a. Rec-1: Parks, Pocket Parks, Parkway, Promenade,
Garden, Playground, Playlots, Aviary, Nature Center,
With Customary Park Structures Such as Park Office,
Gazebo, Clubhouse, And Sports Field/Court
b. REC-2 And REC-3
i. Parks, Pocket Parks, Parkway, Promenade, Garden,
Playground, Playlots, Aviary, Nature Center, With
Customary Park Structures Such As Park Office,
Gazebo, Clubhouse, And Sports Field/Court
ii. Specialty School/Training Facility
iii. Health Center/Clinic/Sports Club, Gym
iv. Clubhouse/Multi-Purpose Hall/Room
v. Dance/Voice/Music, Other Specialty Studio
vi. Sports/Recreation Facility
vii. Sports Stadium
II. Accessory Uses:
a. REC-1:
i. Community/Village Association Office
 104

ii. Fire/Security Station

iii. Place of Religious Worship
iv. Clubhouse, Multi-Purpose Hall/Room
v. Sports/Recreation Facility
vi. Day Care Center
vii. Utility Installation for Use Of Zone/Lot Occupants
viii. Public Utility Facility
ix. Government Facility
b. REC-2 and REC-3:
i. Accessory Uses Allowed in Rec-1 Zone
ii. Auditorium, Theater, Performance/Civic Center
iii. Library, Museum, Exhibit Area, Art Gallery
iv. Sporting Goods/ Souvenir Shop
v. Restaurant, Canteen, Other Food-serving
Establishment
vi. Personal Service/Repair
vii. Wellness Center
viii. Parking Structure
III. Maximum Floor Area Ratio: REC-3: four (4)
IV. Maximum Building Height
a. REC-1: ten (10) meters
b. REC-2: fourteen (14) meters
Exempted from the imposition of height
regulations in REC-1 and REC zones are church
structures, covered courts, utility and other structures
not covered by the height regulations of the NBC and/or
the CAAP.
V. Maximum Lot Coverage: REC-1 and REC-2: twenty-
five (25%). The 25% maximum lot coverage shall apply
to the total land area of a specific REC-1 or REC-2 zone.
However, a REC-1 or REC-2 zone that exceeds this
maximum lot coverage prior to August 20, 2001 shall be
allowed to maintain but not expand its lot coverage.

6.2. Design Focus

The topics related to this part of the study focus on the Design Focus in the
Performing Arts Center. The ideas for the design focus will tackle certain ideas
and materials that contribute to the quality of the room, and the Performing Arts
Center itself.

6.2.1. Introduction
Contemporary Architectural design is shifting. From a prescriptive
approach, it is shifting to a performance based approach, according to Anderson.
There is an intensive debate between two approach. The prescriptive restricts
creativity, and therefore cannot guarantee design quality or even performance;
while the performance based is using information technologies in order to
encourage design innovation and in turn, predict design performance. For the
focus of this design, Acoustics will be of special consideration.
 105

Acoustic Design has a significant impact in our intelligibility, as well as

our listening habits. In turn, this can have a fundamental effect on our health,
concentration, performance and even our sense of well-being. Architects and
acousticians calculate and simulate room acoustics with accordance to the
physical laws of acoustics and even through their own experiences.
Noise and vibration can have numerous negative impacts on people, and
must be controlled and monitored in order to produce more beneficial and
efficient production, to induce a working and living environment. Noise can be
a serious problem and one that can sometimes even make you sick. According
to World Health Organization (WHO), nice is the second largest environmental
cause of health problems, of course second to the impact of air quality.

6.2.2. Specific Details

The materials used for the Acoustic Panels are felted material made from
recycled plastic, in order to create customizable drop ceiling systems based on
a grid-layout configuration. The materials have a high proportion of recycled
content and can be recycled as well. These materials can be configured in
numerous ways to adapt to existing structural elements and design vision.
Variations of panels can be used as Acoustic design for the performing arts
center, requiring design versatility with the option of convenient sound
absorption. V-shaped baffles will be used as acoustic panels to create a scalable
way in order to add dimensionality and decrease acoustical reverberations
across different spaces.
 106

Figure 43: V-shaped acoustic baffles mode of application

Figure 42: V-shaped acoustic baffles section

Figure 44: V-shaped acoustic baffles

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Cloud Ceiling Panels will also be used for design versatility, with the feature of
sound absorption. The cloud panels can be conveniently installed and can be used
individually, or linked together with mending plates with various shapes and sizes to
form larger clouds, which can be backed with an acoustical backer.

Figure 45: Typical Convex Cloud Panel Section

Figure 46: Typical Flat Cloud Panel Section

 108

Figure 47: Typical Concave Cloud Panel Section

 109

6.3. Output of Surveys

6.3.1. Data Interpretation

1. Results of Surveys
The researcher conducted surveys and interviews to gather data and
information to support the feasibility of the project. Among the respondents
were people of all ages, although the majority of the respondents are determined
to be people from ages 18-25 (72.7%), as well as being College Undergraduates
(58.2%)
The first and second questions in the survey asked the respondents
whether they have already watched a live performance, garnering an obvious
100% from its respondents, but its pre-requisite question asked the respondents
as to what types of performances they’ve watched. This created a relative gap

Figure 49: Live performance

Figure 48: Types of live performances watched

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among its respondents, which will be very useful as to what types of

shows Filipinos get to watch, which can be incorporated in the project’s design.
According to the survey, the top answers are concerts, theatrical performances,
musical performances, and dance, respectively. This is a useful reference for the
project’s potential users and audiences.

Figure 50: Time of year of watching performances

The next question in the survey asked the respondents as to what time
of year they get to watched different live performances. This can be useful for
the project’s operational timeline, and as to what months to be considered as
peak seasons for the facility. The top results in the survey are the dates between
November-December and September-October. Although this is a very
subjective case, the answers can be used as reference of peak events and seasons
that can be used for marketing in the project.

Figure 51: Factors that affect the quality of performances

The next question in the survey asked the respondents about the factors
that affect the experiences in events like these. These will be fairly beneficial
 111

for the project’s considerations for the public, and its staff and workers as well.
According to the respondents, the performances and the sound systems are the
most important factors that affect the events, which can be very useful for the
consideration of the focus of the design.

This question will be useful for the project’s architectural

considerations, in context to the respondents who are merely potential audiences
for the design. The survey question asked its respondents regarding the
following considerations, and what elements will be crucial for the building’s
design.

Figure 52: Consideration of elements in the facility’s design

Figure 53: Activities/facilities in a performance hall

The final question is in the survey is an additional question, to be used

as reference to what the public want to see in the facility. This will be useful for
the spaces that can be used for beneficial flow and operations between the staff
and the audiences. The spaces resulted to a 94.5% for Concert Halls, which will
 112

be used for the design, the rest will be used as reference regarding the size of
the spaces to be used for the facility.

6.4. Case Studies

6.4.1. International
1) G.W. Anneberg Performing Arts Centre/Studio Seilern Architects
Lead Architect: Christina Seilern
Location: United Kingdom, United Kingdom
Area: 2,580 sq.m
Year Established: 2018

The design for Welling College’s new cultural quarter, is consisting of a new
900-seated, 1,200 in total capacity Performance Arts Centre as well as a ‘cultural
living room’, a space where students can be inspired, and their education can flourish,
through formal and spontaneous performances. (Pereira, 2018)
 113

The main auditorium’s circular shape is mainly inspired by historic Greek

amphitheatres, creating a building without edges and angles, a form perpetually
recessing into the landscape setting. The site is on the edge of Bracknell forest, which
is adjacent to some important listed building. The circular shape also contributes to
the integration of the building within its context, acting as a hinge connecting the
modern and historic campuses. (Pereira, 2018)
Upon entering the ‘cultural living room’, the heart of the Cultural Quarter,
students and audiences will be met with spontaneous exhibitions, performances or
even social gatherings, set within an inspiring forest backdrop. By allowing music,
dance as well as theatrical rehearsal to be integrated within its cultural living room,
it becomes spaces for artistic events, as well as a social hub for the creative
community for the college. (Pereira, 2018)
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Plans

Figure 54: Ground Floor Plan of G.W. Performing Arts Centre

Figure 55: Second Floor Plan of G.W. Performing Arts Centre

Sections
 115

Figure 56: Section 1 of G.W. Performing Arts Centre

Figure 58: Section 3 of G.W. Performing Arts Centre

Figure 57: Section 2 of G.W. Performing Arts Centre

 116

6.4.2. Asian
2) Pingshan Performing Arts Center
Architect: OPEN Architecture
Location: Shenzen, Beijing, China
Area: 23,542 sq.m
Year Established/Proposed: 2015

Pingshan’s first theater, the winning entry for Beijing-based OPEN

Architecture’s Pinghsan Performing Arts Center has commenced ground-
breaking in Shenzen. The 1350-capacity theatre is located in the city’s new
urban district, and was expected for completion by the end of 2015. (Arcilla,
2015)
Its multifunctional space abandons the “single function” typology as
being temporary, and instead arranging it with multiple programs within a
compact space, 23,542 sq.m to be exact. A square volume with sides having the
length of 80m is bordered by a curved road, with the intervening space
transformed into two outdoor plazas. (Arcilla, 2015)
 117

China’s continually expanding economy and rapid rate of urbanization having

seen an increased demand for cultural and recreational facilities, with a constant
moving, finance-driven market resulting in what the firm describes as “singular
unction and monotonous spaces” with “exaggerated formal appearances…far
detached from the public and urban life.” Such observations gave OPEN and idea
to adopt a critical stance to their proposal in Pingshan, allowing them to pursue a
“center that serves the public as well as achieving operational sustainability”.
(Arcilla, 2015)
 118

Plans

Figure 59: Site Development Plan of Pingshan Performing Arts Center

 119

Figure 60: Ground Floor Plan of Pingshan Performing Arts Center

 120

Figure 61: Mezzanine Level Plan of Pingshan Performing Arts Center

 121

Figure 62:Public Programme Level Plan of Pingshan Performing Arts Center

 122

Figure 63: Restaurant/Bar Level Plan of Pingshan Performing Arts Center

 123

Sections

Figure 64: Auditorium Section of Pingshan Performing Arts Center

Figure 65: Perspective Section of Pingshan Performing Arts Center

 124

Figure 66: Perspective Section 2 of Pingshan Performing Arts Center

 125

3) Sejong Center for Performing Arts

Architect: Asymptote Architecture
Location: Seoul, South Korea
Area: 53, 202 sq.m
Year Established: 2013

Asymptote Architecture, a New York based firm unveiled their designs for a
new Centre of Performing Arts in Sejong South Korea. Often described as celebrating
“the city’s emergence and growth as a place of statue and culture”, the venue is
designed to “seamlessly connect to the city fabric”. Containing two theaters, the
programs have been designed to create a unified experience, allowing for a “powerful
and ‘episodic’ interiority and experience”.
 126

According to architects, “notions of contemporary urbanism” are “expressed

through a distinctive unique envelope”. “By confronting different aspects of the site the
architecture sets out to capture the cities vitality and history by alluding tectonically to
the spirit and flavors of local Korean architectural traditions. The curved and
mathematically precise roofs of nearby pavilions and temples are quoted here and set
against the stoic solidity of traditional monumental buildings also part of the
surroundings”.
The new Sejong Performing Arts Center is “a centerpiece for the city, a gathering place
of history, contemporary culture, performance and spectacle”.
 127

Plans

Figure 67: Ground Floor Plan of Sejong Center for Performing Arts
 128

Figure 68: Second Floor Plan of Sejong Center for Performing Arts
 129

Sections

Figure 69: Perspective Section 1 Ground Floor Plan of Sejong Center for Performing Arts

Figure 70: Perspective Section 2 Ground Floor Plan of Sejong Center for Performing Arts
 130

6.4.3. Local
4) Music Museum
Architect: Olser Ladia
Location: Service Road, San Juan, Metro Manila
Area: 1,800 sq.m
Year Established: 1988

The Music Museum–now the Music Museum Group, is a complex of

shops, dining places, lifestyle, services and moviehouses that made Greenhills
a must-experience destination for theaters, concerts, movies and more. This is
the group that reinvented the Greenhills into the most anticipated areas in the
city of San Juan–all thanks to Precy Florentino. (Music Museum Group, NA)
 131

After a year of its establishment, Music Museum eventually reopened

and resumed is activities within its walls. Except the Music Museum is no
longer just the Music Museum. It has grown into a more active venue for
entertainment–leisure, shopping, dining, gaming and more. the old mall was
transformed into new state if the art cinemas, with added shops, dining places
for every age and gender, as well as Teatrino, which joined the group in 2006
that made the place a more irresistible destination for leisure and entertainment.
(Music Museum Group, NA)
 132

Plans

Figure 71: Theater Seating Plan of Music Museum

 133

Figure 72: Bar Floor Plan of Music Museum

Figure 73: Theater 2 Floor Plan of Music Museum

 134

6.4.4. Case Study Assessment

Architecture Performance Visitor Experience

Facilities

G.W. Anneberg Contemporary Contains a 1,400 The facilities offer

Performing Arts architecture; shape of capacity auditorium, intimacy and creative
Centre/Studio the auditorium was inspired by historic expression towards the
Seilern chosen to give intimacy historic Greek students, performers,
Architects to the performance. ampitheatres, with as well as audiences,
high quality acoustics with integration of
as well as efficient historic context with a
circulation for a modern touch.
creative environment.

Pingshan Contemporary Contains a 1200-seat Explores and

Performing Arts architecture; stands to opera house at its core negotiates different
Center challenge the “common with a black-box opposite elements,
architectural practices” theater, rehearsal which are the formal
in a market-driven rooms, educational and informal, the elite
China. facilities, restaurants and mass, the
and cafes surrounding traditional and the
the perimeter. avante –garde; the
venue also proposes to
reinforce the
connection between
the center and its
surrounding
environment.

Sejong Center Modern architecture; Contains spaces such The large plaza offers
for Performing The curved roofs are set as a Grand theater, a views into the
Arts against the stoic black box theater, building’s interior
solidity of traditional galleries, restaurants, from its façade,
monumental buildings. and more. creating a theatrical
interplay between the
performers and the
public; The louvers not
only perform as a
thermal role, but also
as a dramatic
backdrop.

Music Museum: Contemporary Have certain facilities Good for a small

Greenhills architecture; went for the performing theater, with very good
through various arts; although spaces acoustics; the small
reconstructions contain minimal venue makes the
throughout recent capacity and focus is events more intimate
years. on leisure and and more memorable
intimacy, not entirely
on the performing arts.
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CHAPTER VIII: SPACE PROGRAM

7.1. List of Spaces

(1) Main Performance Hall
The main performance hall will not only host concerts and recitals, but it
will also be flexible enough to accommodate different setting of music
performances. The retractable seats will allow the user/s to dictate the
function of such a versatile space.
(a) Stage
(b) Auditorium
(c) Backstage
(d) Assembly room
(e) Equipment storage room
(f) Control room
(g) Artists’ room
(h) Restroom
(i) Technical room
(j) Dressing room
(2) Small Performance Hall
Being the most experimental space in the building, the small
performance hall will accommodate to a wide range of activities. From
small performances, live acoustic sessions, music workshops, seminars,
small recitals and more. Its informal setting will take advantage of the
wide flexibility of the space.
(a) Stage
(b) Seating Area
(c) Control room
(d) General storage
(3) Rehearsal Rooms
Specialized rooms for different types of performances will be provided
to give the artists quality, sound, acoustics and ambiance specifically
designed for any type of performance. These spaces will be specifically
designed according to their unique setting.
(a) Recording Studio
(b) Mixing room
(c) Orchestra room
(d) Vocalization room
(e) Dance Studio
(f) Theater Studio
(g) Individual practice room
(h) Conviviality area
(i) General storage
(4) Training Center
o General Offices
o General Storage
o Music
a) Rehearsal studios
b) Orchestra room
c) Storage
 136

o Dance
d) Rehearsal studios
e) Storage
o Theater
f) Rehearsal studios
g) Storage
(5) Leisure
Leisure spaces will be incorporated in order to allow the
appreciation of music and other performing arts to come through the
users. This will also become a valuable asset for the facility much like
how Music Museum used it for its own facility.
a) Exhibit Spaces
b) Outdoor performing spaces
c) Lounging area
d) Listening/Study Lounge
(6) Concessione
Much like the Leisure spaces, the commercial spaces will
complement the use with dining and shopping.
a) Cafés and Bars
b) Music Store
(7) Administration
The administration offices will be the ones in charge of operating the
entire building itself. It will address and entertain the concerns of its
main users, as well as promoting and market the facility’s programs and
events in order to reach out to the community.
a) Head office
b) Vice President’s Office
c) Secretary’s office
d) Events Department
e) Accounting Department
f) Marketing Department
g) Securtiy Department
h) Front Desk
(8) Utilities
Service spaces and facilities will support the technical operations of
the building. It will be mostly hidden to its main users, while being
accessible to the maintenance crew mainly for safety but also for
aesthetic reasons.
a) Electrical room
b) Pump room
c) AHU
d) Restrooms
e) Storages
f) Generator room
g) STP
 137

7.2. Space Program

Area Total Area

No. of Total Furnitures/ Dimensions Area Total Sub-total Circulation Grand
Space Per Qty. w/
Users Area Fixtures (m) (l*w) Area Area (30%) Total
User (sq.m) Circulation
Building Operations and Services
Security and Maintenance
Office Desk 1 1.2 2.1 2.52
Deputy Head's Office 1 1 1 Office Chair 1 0.6 0.6 0.36 3.54 4.54 1.362 5.902
Guest Chair 1 0.6 0.6 0.36
File Organizers 1 0.5 0.6 0.3
Office Desk 1 1.2 2.1 2.52
Office Chair 1 0.6 0.6 0.36
Security Head Office 6 1 6 3.54 9.54 2.862 12.402
Guest Chair 1 0.6 0.6 0.36
File Organizers 1 0.5 0.6 0.3
Showers 1 0.7 1.2 0.84
Toilet 1 0.9 0.65 0.585
Male Locker and Shower room 8 1 8 Urinals 1 0.7 0.45 0.315 4.28 12.28 3.684 15.964
Locker 8 0.5 0.5 2
Lavatory 2 0.6 0.45 0.54
Showers 1 0.7 1.2 0.84
Toilet 2 0.9 0.65 1.17 119.431
Female Locker and Shower room 8 1 8 4.55 12.55 3.765 16.315
Locker 8 0.5 0.5 2
Lavatory 2 0.6 0.45 0.54
Table 1 3.5 1.5 5.25
Conference room 12 1 12 9.57 21.57 6.471 28.041
Seats 12 0.6 0.6 4.32
Office Desk 1 1.2 2.1 2.52
Office Chair 1 0.6 0.6 0.36
First Aid Unit 5 1 5 5.88 10.88 3.264 14.144
Guest Chair 5 0.6 0.6 1.8
Medical Closet 4 0.5 0.6 1.2
Seats 3 0.6 0.6 1.08
Site CCTV room 3 1 3 Monitor Equipment 10 0.5 0.05 0.25 8.53 11.53 3.459 14.989
Control Desk 3 1.2 2 7.2
Kitchen Counter w/ Sink 1 0.6 2.4 1.44
Refrigirator 1 0.7 0.7 0.49
Lounge and Kitchenette 1 1 1 5.98 6.98 2.094 9.074
Table 1 1.8 1.8 3.24
Seats 4 0.45 0.45 0.81
Equipment Storage 2 1 2 No Furniture 0 0 0 0 0 2 0.6 2.6

Total Area of Building Operations and Services Area 119.431

Building Administration
Executive Offices
Office Desk 1 1.2 2.1 2.52
Office Chair 1 0.6 0.6 0.36
Board Member Office 1 1 1 3.54 4.54 1.362 5.902
Guest Chair 1 0.6 0.6 0.36
File Organizers 1 0.5 0.6 0.3
Table 1 3.5 1.5 5.25
Conference Room 12 1 12 9.57 21.57 6.471 28.041
Seats 12 0.6 0.6 4.32
Office Desk 1 1.2 2.1 2.52
Office Chair 1 0.6 0.6 0.36
Office of the President 1 1 1 3.54 4.54 1.362 5.902
Guest Chair 1 0.6 0.6 0.36
File Organizers 1 0.5 0.6 0.3
Office Desk 1 1.2 2.1 2.52
Office Chair 1 0.6 0.6 0.36
Office of the Internal V.P. 1 1 1 3.54 4.54 1.362 5.902
Guest Chair 1 0.6 0.6 0.36
File Organizers 1 0.5 0.6 0.3
Office Desk 1 1.2 2.1 2.52
Office Chair 1 0.6 0.6 0.36
Office of the External V.P. 1 1 1 3.54 4.54 1.362 5.902
Guest Chair 1 0.6 0.6 0.36
File Organizers 1 0.5 0.6 0.3
Office Desk 1 1.2 2.1 2.52
Office Chair 1 0.6 0.6 0.36
Admin Secretaty's Office 1 1 1 3.54 4.54 1.362 5.902
Guest Chair 1 0.6 0.6 0.36
File Organizers 1 0.5 0.6 0.3
Office Desk 1 1.2 2.1 2.52
Office Chair 1 0.6 0.6 0.36
Executive Director Office 1 1 1 3.54 4.54 1.362 5.902
Guest Chair 1 0.6 0.6 0.36 148.473
File Organizers 1 0.5 0.6 0.3
Office Desk 1 1.2 2.1 2.52
Office Chair 1 0.6 0.6 0.36
Production Director's Office 1 1 1 3.54 4.54 1.362 5.902
Guest Chair 1 0.6 0.6 0.36
File Organizers 1 0.5 0.6 0.3
Office Desk 1 1.2 2.1 2.52
Office Chair 1 0.6 0.6 0.36
Creative Manager's Office 1 1 1 3.54 4.54 1.362 5.902
Guest Chair 1 0.6 0.6 0.36
File Organizers 1 0.5 0.6 0.3
Office Desk 1 1.2 2.1 2.52
Office Chair 1 0.6 0.6 0.36
Music Production Office 1 1 1 3.54 4.54 1.362 5.902
Guest Chair 1 0.6 0.6 0.36
File Organizers 1 0.5 0.6 0.3
Lavatory 4 0.45 0.6 1.08
Male Toilet 6 0.65 3.9 Urinal 3 0.7 0.45 0.945 10.125 14.025 4.2075 18.2325
Water Closet 3 1.5 1.8 8.1
Lavatory 4 0.45 0.6 1.08
Female Toilet 6 0.65 3.9 9.18 13.08 3.924 17.004
Water Closet 3 1.5 1.8 8.1
Storage 1 0.66 0.66 File Organizers 8 1.2 0.6 5.76 5.76 6.42 1.926 8.346
Kitchen Counter w/ Sink 1 0.6 2.4 1.44
Refrigirator 1 0.7 0.7 0.49
Sofa Set 1 1 3 3
Lounge and Kitchenette 5 1 5 13.255 18.255 5.4765 23.7315
Table 2 1.2 2.4 5.76
Bar Seats 6 0.3 0.3 0.54
Seats 10 0.45 0.45 2.025
Public Relations and Communications
Office Desk 1 1.2 2.1 2.52
Office Chair 1 0.6 0.6 0.36
Marketing Director's Office 1 1 1 3.54 4.54 1.362 5.902
Guest Chair 1 0.6 0.6 0.36
File Organizers 1 0.5 0.6 0.3
Office Desk 1 1.2 2.1 2.52
Office Chair 1 0.6 0.6 0.36
Event Head's Office 1 1 1 3.54 4.54 1.362 5.902
Guest Chair 1 0.6 0.6 0.36
35.438
File Organizers 1 0.5 0.6 0.3
Office Desk 1 1.2 2.1 2.52
Social Media and Office Chair 1 0.6 0.6 0.36
1 1 1 3.54 4.54 1.362 5.902
Public Relations Guest Chair 1 0.6 0.6 0.36
File Organizers 1 0.5 0.6 0.3
Office Desk 3 1.2 2.1 7.56
Staff Office 3 1 3 Office Chair 3 0.6 0.6 1.08 10.64 13.64 4.092 17.732
File Organizers 1 2 1 2
Finance and Logistics
Office Desk 1 1.2 2.1 2.52
Office Chair 1 0.6 0.6 0.36
Chief Registration's Office 1 1 1 3.54 4.54 1.362 5.902
Guest Chair 1 0.6 0.6 0.36
File Organizers 1 0.5 0.6 0.3
Office Desk 1 1.2 2.1 2.52
Office Chair 1 0.6 0.6 0.36
Chief Accountant's Office 1 1 1 3.54 4.54 1.362 5.902
Guest Chair 1 0.6 0.6 0.36 40.612
File Organizers 1 0.5 0.6 0.3
Office Desk 4 1.2 2.1 10.08
Office Chair 4 0.6 0.6 1.44
Staff Room 4 1 4 14.16 18.16 5.448 23.608
 Office Desk 1 1.2 2.1 2.52
Office Chair 1 0.6 0.6 0.36
Event Head's Office 1 1 1 3.54 4.54 1.362 5.902
Guest Chair 1 0.6 0.6 0.36
35.438
File Organizers 1 0.5 0.6 0.3
Office Desk 1 1.2 2.1 2.52
Social Media and Office Chair 1 0.6 0.6 0.36
1 1 1 3.54 4.54 1.362 5.902
Public Relations Guest Chair
File Organizers
1
1
0.6
0.5
0.6
0.6
0.36
0.3
138
Office Desk 3 1.2 2.1 7.56
Staff Office 3 1 3 Office Chair 3 0.6 0.6 1.08 10.64 13.64 4.092 17.732
File Organizers 1 2 1 2
Finance and Logistics
Office Desk 1 1.2 2.1 2.52
Office Chair 1 0.6 0.6 0.36
Chief Registration's Office 1 1 1 3.54 4.54 1.362 5.902
Guest Chair 1 0.6 0.6 0.36
File Organizers 1 0.5 0.6 0.3
Office Desk 1 1.2 2.1 2.52
Office Chair 1 0.6 0.6 0.36
Chief Accountant's Office 1 1 1 3.54 4.54 1.362 5.902
Guest Chair 1 0.6 0.6 0.36 40.612
File Organizers 1 0.5 0.6 0.3
Office Desk 4 1.2 2.1 10.08
Office Chair 4 0.6 0.6 1.44
Staff Room 4 1 4 14.16 18.16 5.448 23.608
Guest Chair 4 0.6 0.6 1.44
File Organizers 4 0.5 0.6 1.2
Storage 2 1 2 Storage 0 0 0 0 0 2 0.6 2.6
Vault 2 1 2 Storage 0 0 0 0 0 2 0.6 2.6
Human Resource Department
Office Desk 1 1.2 2.1 2.52
Office Chair 1 0.6 0.6 0.36
Human Resource Manager 1 1 1 3.54 4.54 1.362 5.902
Guest Chair 1 0.6 0.6 0.36
File Organizers 1 0.5 0.6 0.3
Office Desk 1 1.2 2.1 2.52
22.763
Office Chair 1 0.6 0.6 0.36
Human Resource Assistant 1 1 1 3.54 4.54 1.362 5.902
Guest Chair 1 0.6 0.6 0.36
File Organizers 1 0.5 0.6 0.3
Office Desk 3 1.2 1 3.6
Staff Office 3 1 3 Office Chair 3 0.6 0.6 1.08 5.43 8.43 2.529 10.959
File Organizers 3 0.5 0.5 0.75
Total Area of Administrative Offices 247.286

Performance Center
Front of House
Concession Lobby w/ Reception 700 1.39 973 Varies 0 0 0 0 0 973 291.9 1264.9
Lobby 500 1.39 695 Varies 0 0 0 0 0 695 208.5 903.5
2nd Lobby 300 1.39 417 Varies 0 0 0 0 0 417 125.1 542.1
Lavatory 6 0.45 0.6 1.62
Male Toilet (Ground Floor) 11 0.65 7.15 Urinal 5 0.7 0.45 1.575 16.695 23.845 7.1535 30.9985
Water Closet 5 1.5 1.8 13.5
Lavatory 7 0.45 0.6 1.89
Female Toilet (Ground Floor) 15 0.65 9.75 22.41 32.16 9.648 41.808
Water Closet 7 1.5 1.8 18.9
Lavatory 6 0.45 0.6 1.62 2926.814
Male Toilet (Second Floor) 11 0.65 7.15 Urinal 5 0.7 0.45 1.575 16.695 23.845 7.1535 30.9985
Water Closet 5 1.5 1.8 13.5
Lavatory 7 0.45 0.6 1.89
Female Toilet (Second Floor) 15 0.65 9.75 22.41 32.16 9.648 41.808
Water Closet 7 1.5 1.8 18.9
Lavatory 6 0.45 0.6 1.62
Male Toilet (Third Floor) 11 0.65 7.15 Urinal 5 0.7 0.45 1.575 16.695 23.845 7.1535 30.9985
Water Closet 5 1.5 1.8 13.5
Lavatory 7 0.45 0.6 1.89
Female Toilet (Third Floor) 15 0.65 9.75 20.79 30.54 9.162 39.702
Water Closet 7 1.5 1.8 18.9
Theater Hall
Control Desk 1 0.6 4 2.4
Lighting Control Room 2 1.39 2.78 5.3 8.08 2.424 10.504
Seats 2 0.5 0.5 0.5
Control Desk 1 0.6 4 2.4
Lighting Control Room 2 2 1.39 2.78 7.1 9.88 2.964 12.844
Seats 2 0.5 0.5 0.5
2869.016
Control Desk 2 0.7 3 4.2
Mixing Area 2 0.65 1.3 285.75 287.05 86.115 373.165
Seats 2 0.5 0.5 0.5
Seating Area 700 1.39 973 Armchair 700 0.55 0.73 281.05 281.05 1254.05 376.215 1630.265
Balcony Seating Area 250 1.39 347.5 Armchair 250 0.55 0.73 100.375 100.375 447.875 134.3625 582.2375
Stage (including wing) 0 0 0 Stage 1 20 10 200 200 200 60 260
Backstage
Seats 5 0.6 0.6 1.8
Coffee Table 2 1.2 2.4 5.76
Bar Seats 6 0.3 0.3 0.54
Green Room 30 1.8 54 Bar Counter 1 0.6 6 3.6 27.91 81.91 24.573 106.483
Cabinets 8 0.6 2.4 11.52
Refrigirator 1 0.7 0.7 0.49
Couch 2 0.7 3 4.2
Staff Room 8 0.65 5.2 Lockers 8 0.45 0.45 1.62 1.62 6.82 2.046 8.866
Male Locker 7 0.5 0.5 1.75
Production Team/Crew Lockers 14 0.65 9.1 Female Locker 7 0.5 0.5 1.75 4.88 13.98 4.194 18.174
Benches 2 0.3 2.3 1.38
Backstage Lobby 50 1 50 No furniture 1 20 10 200 200 250 75 325
Desks 1 1.2 3 3.6
Dimmer room 2 1 2 11.04 13.04 3.912 16.952
Seats 2 0.6 0.6 0.72
Drum Set 1 2.4 2.8 6.72
Bass Guitar 1 1.2 0.3 0.36
Amplifiers 8 1 0.6 4.8
Instruments Storage 5 2 10 18.54 28.54 8.562 37.102
Grand Piano 1 1.5 2.4 3.6
Keyboard 2 1.4 0.45 1.26
Guitar 5 1.2 0.3 1.8
Technical Storage 2 1 2 Equipment boxes 5 1.2 2 12 12 14 4.2 18.2
Loading Dock 10 1 10 Platform 1 6 4 24 24 34 10.2 44.2
Tool Shelf 1 2 0.6 1.2
table 1 1.2 2 2.4
Workroom 3 2 6 chair 2 0.55 0.55 0.605 26.005 32.005 9.6015 41.6065
Working space 1 4 5 20
Parts storage 2 1.5 0.6 1.8
Dresser 3 0.7 0.4 0.84
Easy chair 2 0.6 0.6 0.72
Water Closet 1 1.52 0.91 1.3832
Lavatory 1 0.45 0.6 0.27
Shower 1 0.7 1.2 0.84
VIP dressing room 3 1.2 3.6 12.4503 16.0503 4.81509 20.86539 776.4338
Closet 1 0.6 1.8 1.08
Bed 2 2.03 0.91 3.6946
Piano 1 1.5 0.61 0.915
Chair 3 0.55 0.55 0.9075
Closets 2 0.6 1.5 1.8
Dresser 3 0.7 0.4 0.84
Easy chair 2 0.6 0.6 0.72
Water Closet 1 1.52 0.91 1.3832
Lavatory 1 0.45 0.6 0.27
Shower 1 0.7 1.2 0.84
VIP dressing room 2 3 1.2 3.6 12.4503 16.0503 4.81509 20.86539
Closet 1 0.6 1.8 1.08
Bed 2 2.03 0.91 3.6946
Piano 1 1.5 0.61 0.915
Chair 3 0.55 0.55 0.9075
Closets 2 0.6 1.5 1.8
Dresser 8 0.7 0.4 2.24
Male Dressing room 8 0.65 5.2 Seats 8 0.55 0.55 2.42 11.86 17.06 5.118 22.178
Closets 8 0.6 1.5 7.2
Lavatory 4 0.45 0.6 1.08
Urinal 3 0.7 0.45 0.945
Male Restroom 5 0.65 3.25 8.6946 11.9446 3.58338 15.52798
Water Closet 3 1.52 0.91 4.1496
Shower 3 0.7 1.2 2.52
 Water Closet 1 1.52 0.91 1.3832
Lavatory 1 0.45 0.6 0.27
Shower 1 0.7 1.2 0.84
VIP dressing room 3 1.2 3.6 12.4503 16.0503 4.81509 20.86539 776.4338
Closet 1 0.6 1.8 1.08
Bed 2 2.03 0.91 3.6946
Piano 1 1.5 0.61 0.915
Chair
Closets
3
2
0.55
0.6
0.55
1.5
0.9075
1.8
139
Dresser 3 0.7 0.4 0.84
Easy chair 2 0.6 0.6 0.72
Water Closet 1 1.52 0.91 1.3832
Lavatory 1 0.45 0.6 0.27
Shower 1 0.7 1.2 0.84
VIP dressing room 2 3 1.2 3.6 12.4503 16.0503 4.81509 20.86539
Closet 1 0.6 1.8 1.08
Bed 2 2.03 0.91 3.6946
Piano 1 1.5 0.61 0.915
Chair 3 0.55 0.55 0.9075
Closets 2 0.6 1.5 1.8
Dresser 8 0.7 0.4 2.24
Male Dressing room 8 0.65 5.2 Seats 8 0.55 0.55 2.42 11.86 17.06 5.118 22.178
Closets 8 0.6 1.5 7.2
Lavatory 4 0.45 0.6 1.08
Urinal 3 0.7 0.45 0.945
Male Restroom 5 0.65 3.25 8.6946 11.9446 3.58338 15.52798
Water Closet 3 1.52 0.91 4.1496
Shower 3 0.7 1.2 2.52
Dresser 8 0.7 0.4 2.24
Female Dressing room 8 0.65 5.2 Seats 8 0.55 0.55 2.42 11.86 17.06 5.118 22.178
Closets 8 0.6 1.5 7.2
Lavatory 4 0.45 0.6 1.08
Female Restroom 6 0.65 3.9 Water Closet 4 1.52 0.91 5.5328 9.9728 13.8728 4.16184 18.03464
Shower 4 0.7 1.2 3.36
Lavatory 3 0.45 0.6 0.81
Common Male Toilet 6 1.65 9.9 Urinal 3 0.7 0.45 0.945 5.9046 15.8046 4.74138 20.54598
Water Closet 3 1.52 0.91 4.1496
Lavatory 6 0.45 0.6 1.62
Common Female Toilet 8 0.65 5.2 9.9192 15.1192 4.53576 19.65496
Water Closet 6 1.52 0.91 8.2992
Black Box Studio
Seating Area 200 1 200 Modular Seating 200 0.55 0.73 80.3 80.3 280.3 84.09 364.39
Instruments Storage 3 1 3 Equipment 20 0.55 0.55 6.05 6.05 9.05 2.715 11.765
Technical Storage 2 1 2 Equipment 3 1.2 2 7.2 7.2 9.2 2.76 11.96
Workroom 2 1 2 Working space 1 4 5 20 20 22 6.6 28.6
Lavatory 3 0.45 0.6 0.81
Common Male Toilet 6 1.65 9.9 Urinal 3 0.7 0.45 0.945 5.9046 15.8046 4.74138 20.54598
Water Closet 3 1.52 0.91 4.1496
Lavatory 6 0.45 0.6 1.62
Common Female Toilet 8 0.65 5.2 9.9192 15.1192 4.53576 19.65496
Water Closet 6 1.52 0.91 8.2992
Staff Room 1 4 1 4 Lockers 4 0.45 0.45 0.81 0.81 4.81 1.443 6.253
Staff Room 2 4 1 4 Lockers 4 0.45 0.45 0.81 0.81 4.81 1.443 6.253
Dresser 5 0.7 0.4 1.4 515.9744
Male Dressing room 5 0.65 3.25 Seats 5 0.55 0.55 1.5125 7.4125 10.6625 3.19875 13.86125
Closets 5 0.6 1.5 4.5
Lavatory 2 0.45 0.6 0.54
Urinal 1 0.7 0.45 0.315
Male Restroom 3 0.65 1.95 4.7582 6.7082 2.01246 8.72066
Water Closet 1 1.52 0.91 1.3832
Shower 3 0.7 1.2 2.52
Dresser 5 0.7 0.4 1.4
Female Dressing room 5 0.65 3.25 Seats 5 0.55 0.55 1.5125 7.4125 10.6625 3.19875 13.86125
Closets 5 0.6 1.5 4.5
Lavatory 2 0.45 0.6 0.54
Female Restroom 3 0.65 1.95 Water Closet 2 1.52 0.91 2.7664 5.8264 7.7764 2.33292 10.10932
Shower 3 0.7 1.2 2.52
Total Area of Performance Hall 7088.237
 140

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