Cinema hall

project title:

presented by:Frehiwot Nigussie

sumitted to:Mr.Tadele
Content List figures.....................................................................v
Acknowledgement.......................................................vi
Executive summery....................................................vii
1.ProjectTitle :Cinema hall........................................1
1.1.Introduction............................................................1
1.2. Back ground of the study...................................2
1.3.Statement of problems.........................................3
1.4.Project objective.....................................................4
1.4.1.General objective..........................................4
1.4.2.Specific objective...........................................4
1.5.Research questions ...............................................4
1.6. Literature review ................................................4
1.7. Significance of the project ................................8
1.8.Scope of the study.................................................9
1.9.Limitation of the study........................................9
1.10.Reference.............................................................10

List figures

1.fig01..............................................................................2
2.fig02..............................................................................2
3.fig03..............................................................................2
4.fig04..............................................................................2
5.fig05..............................................................................3
6.fig06..............................................................................3
7.fig07..............................................................................3
8.fig08..............................................................................7
9.fig09..............................................................................7
10.fig09............................................................................8
fdv
Acknowledgement

Accomplishment of our life product requires the blessing of God.so

first and foremost I would like to thank God, for making this re-
search study possible.

vi
Executive summery

Cinema hall project, the research study on this project most importantly
focused on how to solve problems occurred based on acoustic, to create
better environment for the viewer, through architectural design.

According to classic acoustics theory there are five requirements, when

we achieve them, resulted good acoustics: which are; appropriate rever-
beration time, Uniform sound distribution, appropriate sound level and
No echo or flutter echoes must occur for the acoustics to be good.

vii
1.ProjectTitle :Cinema hall
1.1.Introduction

What is cinema hall ???

Movie theater (American English, cinema (British English).or cinema hall (Indian
English),also known as a picture house, the pictures, or the movies, is a building
that contains auditoria for viewing films (also called movies) for entertainment.
Most, but not all, theaters are commercial operations catering to the general pub-
lic, who attend by purchasing a ticket. Some movie theaters, however, are operated
by non-profit organizations or societies that charge members a membership fee to
view films.

The film is projected with a movie projector onto a large projection screen at the
front of the auditorium while the dialogue, sounds and music are played through
a number of wall-mounted speakers. Since the 1970s, subwoofers have been used
for low-pitched sounds.

In the 2010s, most movie theaters are equipped for digital cinema projection, re-
moving the need to create and transport a physical film print on a heavy reel.

Contemporary drama production constantly searches for new space forms and
for new drama plays’ framework. Stage spaces’ changes had occurred through
avant-garde theatre movements and theatre arts in the twentieth century.

This was a theatre that had wished to destroy both social and spatial boundaries,
thereby requiring a dedicated viewer, who often becomes a participant in the crea-
tive theatre act. Such a theatre seeks a cleaned, demystified and emptied space for
its play in which it would insert energy.

This type of demand is the opposite of the oral traditional theatres built for the
elite. The most direct result of these trends is the occurrence of drama plays that
were played outside the institutionalized theatre buildings, because the artists had
regarded them as inappropriate due to their classical space form
1.ProjectTitle :Cinema hall
1.2. Back ground of the study

History of cinema

Mechanisms for producing moving images had been demonstrated from the 1860s.
- zeotropes ,praxinoscopes kineoscopes
These relied on the “persistence of vision” to provide an illusion of movement if
the images were moved at sufficient speed past the viewer.

fig 01

The development of the motion picture projector and film stock allowed the de-
velopment of film.
Early motion pictures were static shots showing an event or action with no editing
or other cinematic techniques as this series showing a nude walking demonstrates.

The Seven Ages of Film

Pioneering Age The Silent Age

1913 - 1927
1896 - 1912
The emergence of Hollywood
fig 02 World War I and the exodus from
Europe fig 03

The Transition Age

1928-32

From Silent to Sound

fig 04
2
 The Hollywood Studio Age
1932 - 1946

Domination by the Studio

Genre movies
World War II

fig 05

The Internationalist Age

1947 - 1959

Hollywood Studio decline

The challenge of TV

fig 06

The New Wave Age The Mass Media Age

1960 - 1980 1980 - present

From France to the Film & movies as part of

world the global entertainment
Technological innova- / communications media
tion Digital production
Small scale productions
Strong social / political
value to film.

fig 07

The changing process of cinema

1.The changes in film process involve several factors.

2.George Huaco indentifies four factors:
3.Current events & achievements. (political climate)
4.The creativity of the film-makers who influenced the team of
crafts-people involed in the films.
5.The technical developments that could be exploited.
6.The capacity of a sufficient audience to appreciate the results.

3
1.ProjectTitle :Cinema hall
1.3. Problem Statement
which are;

1. An appropriate, background noise

2. Being affected by External noise
3. No Coat and Bag Space
4. Not having better Air Conditioning
5. No Decent Waiting Area
6. Existence of echo or echoes

Description about the problems

1 An appropriate, background noise

Most of cinema building design affected by an appropriate back ground noise.

The background noise, may come from technical installations or ventilation sys-
tems. So creating appropriate, low background noise is one of the most important
acoustic criteria.
2 Being affected by External noise

Can be a serious problem for halls in urban areas or near airports or highways.
One technique often used for avoiding external noise is to construct the audito-
rium as a smaller room within a larger room. Noise from air blowers or other
mechanical vibrations can be reduced using techniques involving impedance and
by isolating air handlers.

3. No Coat and Bag Space

Most of cinema hall design not consider functional activities, that why we don’t
see spaces that are created for simple function such as spaces for bag and coat.

4 No Decent Waiting Area

Most of cinema hall design does not have decent wiatting area,as buliding space
with integration of cinema hall.

5. Existence of echo or echoes

No eco or flutter echoes must occur for the acoustics to be good. It is easy to pre-
vent echo by installing a little sound-absorbing material on the wall.
In addition, ensuring that the sound field in the room is diffuse is another funda-
mental rule. This can be achieved by distributing the sound absorbers on several
non-parallel surfaces, by avoiding spherical, cuboid or cylinder shapes in for the
room and by using as many sound-spreading elements as possible. In addition, it
must be ensured that control rooms, listening rooms and cinemas in particular are
built up symmetrically around a vertical plane bisecting the central space

4
In addition, ensuring that the sound field in the room is diffuse is another funda-
mental rule. This can be achieved by distributing the sound absorbers on several
non-parallel surfaces, by avoiding spherical, cuboid or cylinder shapes in for the
room and by using as many sound-spreading elements as possible. In addition, it
must be ensured that control rooms, listening rooms and cinemas in particular are
built up symmetrically around a vertical plane bisecting the central space
1.4.Project objective

1.4.1.General objective

Design cinema hall building with Good acoustic ,According to classic acoustics
theory.

1.4.2.Specific objective

. To create Uniform sound distribution, which is important in large rooms and

halls, where the sound must be able to be heard equally well everywhere
.to solve External noise to ward cinema hall building; can be a serious problem for
halls in urban areas or near airports or highways
.create Appropriate, low background noise
.No echo or flutter echoes must occur for the acoustics to be good.
1.5.Research questions

This research questionery are mostly pin point acoustic problems, that occur on
cinema hall design.

1. How to avoid Existence of echo or echoes in cinema hall??

2. What eco on the context of cinema hall?
3. What is appropriate sound level in cinema hall?
4. What are absorptive materials on the wall for cinema noise?

1.6. Literature review

Acostics for cinema hall

The conventional movie theatre is giving way to a huge mall, with plenty of retail
outlets, and the top floors of such places are usually dedicated to a number of
small halls replacing the conventional movie theatre experience. The large the-
atre had a very different acoustical characteristic and small halls require a fairly
different approach for acoustical treatment.

Sound Isolation
The successful design of theatres of any size involves several aspects of acoustic
expertise, including mechanical noise control, interior acoustics and geometry
and the design and specification of AV equipment.

Distracting noise breaks audience concentration and enjoyment on cinema halls.

Cinemas typically require high levels of isolation to prevent noise leaking be-
tween 5
screens and from public areas. Cinema sound insulation and acoustic arrange-
ment is a little different to insulation other areas; It is very important to ensure
the insulation is designed correctly to ensure the movie experience is maintained.
Acoustics and sound insulation are very important for Cinema Halls established
in Shopping Malls or private cinema halls

Why are there soft materials on the walls of cinemas?

The sound waves coming from the instruments would get reflected by the walls
and because a concert hall is mostly really big it would take some time for the
sound waves to travel to the wall and back to your ear. If that happens you would
hear echoes of the instrument because you hear two sounds, one being the sound
waves directly traveling to your ear and the other being the ones reflected by
the walls. If you put soft material or really odd shaped, pointed materials on the
walls these reflections will get broken and wont return to your ear.

Thus you will just hear the pure sound of the instrument. Reverberation.The
sound waves coming from the instruments would get reflected by the walls and
because a concert hall is mostly really big it would take some time for the sound
waves to travel to the wall and back to your ear.

If that happens you would hear echoes of the instrument because you hear two
sounds, one being the sound waves directly traveling to your ear and the other
being the ones reflected by the walls.

If you put soft material or really odd shaped, pointed materials on the walls these
reflections will get broken and wont return to your ear. Thus you will just hear
the pure sound of the instrument.

Seating

Actually, the line-of-sight accuracy is all taken care of by the architects, and if
the raking is correct and the headrest is not too high, one can ensure there’s
good amount of direct sound reaching each row. But we’re more interested in the
seating in terms of upholstery. Usually, these places are carpeted, and the seating
provides a GOOD amount of absorption. It’s so significant, that the treatment
on the walls must be carefully calculated to ensure that the space doesn’t sound
dead after the furniture is moved in.

AV

The coverage of the speakers must be plotted to ensure that no place is receiv-
ing more than the intended amount of sound. The front seats have it the worst
usually. Using logarithmically curved line array speakers can help, but care needs
to be taken to add the right number of speakers in each array, else the sound
becomes too directional.

6
Basic theatre hall configurations

The main acoustic parameter of enclosed spaces is the reverberation time. For
halls based on rectangular and fan-shaped plans, the reverberation time found
theoretically is consistent with the acoustic measurements, whereas for halls
based on horseshoe plan the measurement results are lower than those deter-
mined theoretically. This is especially the case of opera houses with auditorium
capacities below 1000 seats, which are the most numerous.

Halls with a rectangular plan

Have side walls that ensure short frist reflection times, but the large parallel sur-
faces often result in acoustic defects, such as futter echoes and standing waves.

fig 08

Halls with a fan-shaped plan

Make it possible to accommodate a large audience while providing good visibility

and acoustics. The shape of the hall prevents the formation of flutter echo by side
walls, though the sound refected from the rear wall can reach the front of the
auditorium with a significant delay. This can be prevented by covering the rear
wall with a sound diffusing or absorbing structure.

fig 09

Halls with a horseshoe plan

Ensure good visibility, a sense of proximity to the sound source and mutual eye
contact between the spectators. A large number of boxes and rich interior décor
contribute to sound dispersion, which conceals possible acoustic defects and en-
sures the
7
 fig 010

Significance of the project

The most important Contribution of better acoustic design on cinema hall build-
ing is creating interactive relation between the user and the screen, by creating
space with good acoustic. According to classic acoustics theory there are five re-
quirements, when we achieve them, resulted good acoustics:

Uniform sound distribution

is important in large rooms and halls, where the sound must be able to be heard
equally well everywhere. It is important to take sound distribution into account
in the architecture. A variation of max. ±5 dB anywhere in the room is an appro-
priate requirement.

Appropriate sound level

for normal conversation is 60-65 dB, and in a busy street 70-85 dB In large gath-
erings, a public address system in a dampened room can be used to ensure an
appropriate sound level.

Appropriate, low background noise

is one of the most important acoustic criteria – especially in concert halls and
theatres. In a room, the background noise may come from technical installations
or ventilation systems.

No echo or flutter echoes

must occur for the acoustics to be good. It is easy to prevent echo by installing a
little sound-absorbing material on the wall.

So creating good acoustic is important for the space users or the viewers to serve
social cause and also to create Intimacy” refers to the feeling that listeners have
being physically close to the performing group.

8
Scope of the study

The project study mainly focused on cinema hall design and how this design in-
tegrated with acoustic design theory, to create better environment for the viewer.

The end deliverable result mostly based on, by solving problems occurred in cin-
ema halls, which is listed above. To create better environment the design must be
consider classic acoustics theory, which are:

Appropriate reverberation time

depends on the size of the room. W. Furrier’s recommendations can be used in

rooms which are between 200 and 20,000 cubic metres. Unless it concerns a con-
cert hall for classical music, the reverberation time must in so as far as possible be
the same throughout the entire frequency range.

Uniform sound distribution

is important in large rooms and halls, where the sound must be able to be heard
equally well everywhere. It is important to take sound distribution into account
in the architecture. A variation of max. ±5 dB anywhere in the room is an appro-
priate requirement.

Appropriate sound level

for normal conversation is 60-65 dB, and in a busy street 70-85 dB In large gath-
erings, a public address system in a dampened room can be used to ensure an
appropriate sound level.
Appropriate, low background noise is one of the most important acoustic criteria
– especially in concert halls and theatres. In a room, the background noise may
come from technical installations or ventilation systems.

No echo or flutter echoes

must occur for the acoustics to be good. It is easy to prevent echo by installing a
little sound-absorbing material on the wall.

By applying the above requirements on the new design ,we will going to achieve
better space for the users.

1.9.Limitation of the study

In this research study, I faced with two limitations

1. Not having more reference book or material to accommodate knowledge about

cinema hall, in particular based on acoustic design

2. Not having deep knowledge about how acoustic system work in different de-
sign projects, this make it difficult to choice a project with rational goal.

9
10
Reference

.Acoustic Simulation and Experi-

mental Studies of Movie Theatres
and Concert Halls pdf.

. Object-Viewer relation as a gen-

erator of cinema space pdf.

11
11