PROPOSED

AUDITORIUM
AT NU NAZARETH
(Research + Initial Plans)

Submitted by:
Mejia, Mica Ela
Morales, Johanna
Pantaleon, Theresa
Vivo, Beamarie

Submitted to:
Ar. Ervyne Henrikson D. Navarro
HISTORY

Auditorium is a large area that is typically used to gather people for many reasons, such as
performances, ceremonies, lectures, conferences etc. This space is not something new, it already
existed a long time ago since ancient civilizations. Can also be called “theater”, where it is used as
an open-air amphitheater where music, and other loud celebrations took place. It is often placed
on hillside with semicircular arrangements of seats around the performing area. Then with Roman
influence, The Colosseum found in Rome, was built that hosts contests for Rome’s fighter called
“gladiators. It is not used solely for that; it is also used for theatrical performances or other general
ceremonies. In Medieval and Renaissance Periods, being used for religious performances in
Europe. In 16th-century Teatro Olimpico in Vicenza, Italy, designed by Andrea Palladio, a purpose-
built type of theater began to emerge.
From then on, it continues to evolve. And in 19th century, the modern concept began to shape
“theater” to what we know today as “auditorium”. This is also the time when architects began their
experiment with using various elements and design such as balcony seating, stage rigging systems,
and acoustical treatments. Some of the most famous auditorium and the best example of
“architectural and acoustic excellence are the Carnegie Hall in New York City and Royal Albert
Hall in London.

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TYPES OF AUDITORIUMS
• Outdoor Auditoriums
Outdoor auditoriums are primarily situated in open spaces like squares,
parks, or gardens, leveraging the advantages of natural light and the ambiance of
their surroundings to enhance the experience for attendees. These spaces often
feature acoustic shells to enhance sound projection. In terms of technology, while
it's crucial for electronic equipment to withstand outdoor conditions, it's more
common for such equipment not to be permanently installed. Instead, the preferred
approach is to have the necessary infrastructure ready so that rented equipment can
be seamlessly integrated when needed for an event.

• School/University Auditoriums

Educational institutions, including schools, universities, and cultural

centers, feature academic auditoriums renowned for their versatility, hosting
scholarly talks to vibrant cultural and musical presentations. These spaces prioritize
ease of operation due to limited staff, necessitating automation for efficient
management, even by a single individual. Some are intuitively designed for
operation by educators and students, fostering autonomy and maximizing
utilization and benefits from the auditorium.

• Municipal/State/National Auditoriums

In public administration, municipal, state, and national auditoriums stand out for
their scale and significance, often hosting large-scale events due to governmental
support. Consequently, they require cutting-edge infrastructure and technology to
accommodate diverse functions effectively.

Given the intermittent nature of updates, emphasis is placed on integrating durable

technology that remains relevant over time. However, high turnover rates among
administrative and maintenance personnel pose a challenge, potentially
accelerating venue wear and tear. Thus, it's vital for these projects to incorporate
operational autonomy or establish long-term maintenance contracts to ensure
continued functionality despite bureaucratic changes.

• Private Auditoriums

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 Private auditoriums, housed within corporate or private buildings like
hotels, companies, and theaters, stand out for their adaptability and customization.
This flexibility enables them to deliver tailored and exclusive experiences tailored
to clients' needs and preferences.

A notable feature of these auditoriums is the use of mobile acoustic partitions,

allowing for dynamic space adjustments based on event size and type. To support
this flexibility, professional audio and video matrices are employed to minimize
equipment connection and disconnection, mitigating wear, operational errors, and
connection failures.

Automation emerges as a vital solution, particularly in auditoriums with movable

partitions. Automated systems facilitate equipment and space reconfiguration
without direct operator intervention, enhancing efficiency and reducing potential
errors. While advantageous, these automated solutions entail considerations
regarding cost, availability, and compliance, which are crucial when selecting a
private auditorium.

CHARACTERISTICS
1) ACOUSTICS
1. ISOLATION & CONDITIONING
• Acoustic Isolation- prevents sounds from being heard on different room/s.
• Acoustic Conditioning- the manipulation of sound inside the space (auditorium).

2. INVESTMENT EFFICIENCY
• By sufficiently investing in acoustics, an opportunity for cost savings arises. Well-
treated auditoriums require less amplification, resulting in reduced spending on
equipment and its ongoing maintenance.

3. DIVERSITY IN ACOUSTIC TREATMENT

• Every element in an auditorium affects its acoustics. Chairs absorb sound, carpets
reduce sound bounce, and curtains and structural materials have acoustic properties
crucial for design.

2) LIGHTING
1. Architectural Lighting & Artistic Lighting

• Auditorium lighting diverges into two primary categories. Architectural lighting

accentuates the structure and layout, while artistic lighting, traditionally associated
with theaters, adds ambiance and drama to presentations and events.

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 2. Control Systems & Light Dimming

• Flexibility in lighting is crucial to accommodate diverse events. A lighting control

system enables the creation of tailored lighting scenarios, including dimming
options, ensuring audience comfort and optimal visibility.

3. Efficiency and Comfort with Recognized Brands

• The choice of lighting brand impacts durability, quality, and efficiency. Renowned
brands not only ensure long-lasting performance but also reduce the need for
excessive fixtures and minimize glare, enhancing the audience's visual experience.

3) FURNITURES

Selecting and arranging chairs in an auditorium significantly impact attendee comfort and
space utilization efficiency. Alongside ergonomic and aesthetic considerations, adhering to
regulations and capacity guidelines is essential for optimal seating arrangements.

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FACTORS TO CONSIDER
1. Ventilation/s

Ventilation, the process of air renewal, is critical for maintaining optimal temperature and
air quality in an auditorium, ensuring comfort for both the audience and performers. Factors
such as air system, flow, direction, and filtration influence air regulation and circulation,
impacting ventilation positively (e.g., freshness) or negatively (e.g., dryness).

2. Accessibility

Accessibility, the degree of ease for all individuals to use a space, is paramount in an
auditorium for facilitating entry, exit, and accommodation of those with mobility or sensory
impairments. Considerations like ramps, elevators, corridors, adapted facilities, and seating
help eliminate barriers, fostering inclusivity and reducing exclusion.

3. Safety

Safety encompasses measures to prevent accidents and address emergencies or threats,

ensuring the protection and peace of mind of auditorium occupants. Standards, protocols,
fire alarm systems, and civil protection equipment contribute to preventing, detecting,
and managing potential risks, fostering confidence, and mitigating panic.

4. Aesthetics

Aesthetics, guiding principles of beauty and taste, significantly influence an auditorium's

appearance, style, and visitor impression. Factors such as architectural design, furnishings,
decor, and color scheme shape the space's identity, prestige, and overall harmony, eliciting
positive reactions (e.g., admiration) or negative ones (e.g., rejection) in aesthetics.

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RECOMMENDED SIZE
The dimensions of an auditorium stand as a critical factor in event planning or venue
selection. It should align with the anticipated attendance and the nature and format of the event
or presentation.

Key Factors to consider:

• PURPOSE - Tailoring the auditorium to its intended purpose and the nature of scheduled events is
crucial. For instance, the requirements for a conference room differ from those of a concert hall or
theater.

• NUMBER OF USER - Considering the anticipated audience size and seating arrangements is
paramount. Adequate space should be allocated for each attendee to sit comfortably and enjoy an
unobstructed view of the stage. Additionally, factors such as aisles, exits, and accessibility features
should be considered.

• ACOUSTIC AND LIGHTING - Prioritizing acoustics and lighting design enhances the overall
auditorium experience. Measures should be taken to optimize sound quality, minimize noise, and
reduce echoes. Moreover, ensuring sufficient lighting for both the stage and audience, along with
the implementation of control systems and equipment, is essential.

• STAGE AND BACKSTAGE AREA - Careful consideration of the stage and backstage areas is
necessary. Determining the appropriate size and shape of the stage, as well as providing necessary
equipment and facilities for performers and staff, is vital. Additionally, provisions for storage,
dressing rooms, and rehearsal spaces should be included in the planning process.

Capacity per Square Feet (According to Standard Regulations):

• Fixed seats- 2 people per 10 sq.ft

• Area per person:
 Basic Auditorium: 7.5 to 11 sq.ft
 For shows: Additional of 8.5 sq.ft

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PLAN

Auditorium Size (To be updated for future changes):

Length: 28.70 meters

Width: 20.64 meters
Area: (28.7) (20.64) = 592.386 sq.m

Capacity:
Minimum: 100 persons
Maximum: 150 persons
Space Programming:

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Total Space: (Considering that speaker/hosts are already included)
Furniture/Fixtures/Movements: 244.07 sq.m
If 11 sq.ft per person: (11 sq.ft) (150) = 1650 sq.ft = 153.29 sq.m
Overall total: 397.36

PROPOSED FLOORPLAN

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CASE STUDY

Local

1. Far Eastern University Auditorium

Brief History:

FEU's Auditorium was designed by Pablo Antonio Sr., National Artist for Architecture, in 1949. It was regarded as
the first "cultural center of the Philippines", and, the very first fully air-conditioned auditorium in the country which
can accommodate 1000 spectators. The Auditorium was home to renowned orchestras. It featured dances from
Manila Ballet Academy, New York City Center Ballet, and Martha Graham – an American dancer and one of the
twentieth century revolutionary artists. It also became the venue of major theatrical productions like Bastien and
Bastienne – created by two National Artists, Nick Joaquin (on words) and Cesar Legaspi (on scenic designs). To this
date, the Auditorium upholds this legacy by accommodating more notable performances from local and international
names.

Architectural:

The FEU Auditorium is the Administration Building’s centerpiece. It houses 1040 seats and occupies three floors of
the four-story building.

Art Deco features abound in the design of the Auditorium and include the gradual curves, the ribbed piers and
geometric volumes and patterns. Above the orchestra section are star or diamond like patterns which also serve as
lighting fixtures. Above the balcony are triangles which also serve as air conditioning ducts. These, together with the
green and gold theme, and the subtle lettering of FEU under the boxes were all combined in a regal manner. The
interior was restored in 2002-2003 and was also infused with new lighting, sound, and video equipment.

On the 3rd floor corridor hangs another masterpiece of Antonio Dumlao, his stained-glass rendition of the
Sarimanok, Prow and Tail on 3 panels, which the University purchased and restored in 2009 to celebrate the 60th
anniversary of the Administration Building, the FEU Auditorium, and the Dumlao mural.

Architectural elements suitable for application in proposed auditorium:

This auditorium in FEU covers 3 floors of a building giving it the impression of high ceiling design with a
good acoustical and lighting treatment, it can also accommodate more than a thousand people inside. Our project on
the 7th floor, NU Nazareth building holds a challenge of how we can heighten the existing ceiling in order to give it
a proper feel and form of an auditorium that can accommodate 100-150 people. So, this auditorium’s ceiling height,
form and design could give us an idea how we can heighten it in some ways though without occupying the
proceeding floors. Their acoustic and lighting design was also very good so it would be great to integrate those
elements and principles into our final design.

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2. Cultural Center of the Philippines

Architect: Leandro V. Locsin

Brief History: Located at CCP Complex, Roxas Boulevard in Malate Pasay, the Cultural Center of the Philippines is
the vital sanctuary of the rich arts and culture in the Philippines. Founded in 1969, it has long been preserving,
developing and promoting by serving as a venue to showcase diverse performance and exhibition, further hosting
grand national troupes’ performances of the Philippine Ballet Theater, the UST Symphony Orchestra, the Philippine
Philharmonic Orchestra, and the Ramon Obusan Folkloric Group.

Architecture: Cultural Center of the Philippines or CCP was designed in Brutalist architectural style. The massive
and rough concrete edifice was envisioned to make CCP a historical architectural landmark. Curved cantilever beam
entirely made of marble and seashells cladded by concrete, the floating element for its exterior concept, a giant
chandelier at the main entrance and a seating capacity of 8,458 in 10 sections, it was a remarkable cultural center
complex.

Architectural elements suitable for application in proposed auditorium:

There is a seamless harmonious design of the building itself with the environment where it's built without losing a
unique and interesting design character. Moreover, the interior design of the building was strategically sectioned,
ensuring that everything has a distinct look while still looking fit with the other performance venues. The use of
lighting improved the senses and emotions of the users as it plays with the shadows and how it emphasizes the
texture of the walls and the other furniture and fixtures. The grand stages also were seen even at a distance and can
be heard clearly which are elevating the overall performance.

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Foreign

1. Fogg Lecture Hall, Harvard University (U.S.A.)

Architect: Ar. Richard Morris Hunt

Brief History:

Since the completion in 1895 of The Fogg Lecture Hall, a part of the Fogg’s Museum Complex of the university
situated in Cambridge, Massachusetts, it has served as a venue for lectures, performances, and other academic
events that have enriched the cultural and educational heritage of Harvard. However, it was criticized for having
problems with acoustic distortion during lectures, during which Wallace Clement Sabine, an assistant professor of
physics, intervened to address and correct the acoustics by year 1898.

Architecture:

Before Sabine’s acoustic treatment, the major design elements that affected the acoustics of the lecture hall were the
arched and curved ceiling over the podium, the domed ceiling over seating, creating arched alcoves in the dome, and
the semicircular plan, which was classified as following a parabolic or elliptical shape layout. In contrast to the
architect's plan, Sabine’s leans more on a circular pattern and integrating acoustic treatment on the basis of
absorption coefficient 1-inch felt; in particular, hair-felt 1 inch thick was glued to the walls in the rectangular spaces
between the windows and on the recessed lunettes in the ceiling, and a hair-felt ¾ inch thick was glued to the walls
in the rectangular spaces in between windows, apart from redesigning the seating area and modifying the ceiling
curvature of the lecture hall.

Architectural elements suitable for application in proposed auditorium:

Due to existing structural considerations, the proposed auditorium needs careful analysis in terms of acoustic
treatment from walls, windows, and ceilings, possibly including the installation of soundproof system materials and
spatial planning or seating arrangements. The type of glass used in windows to reduce outdoor noise, the interior

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wall building materials that best regulate and modulate the sound distribution, and the type of ceiling to be applied
in the design plan.

Katz, B. F. (2005). Jussieu. Fogg Art Museum Lecture Room : Fogg Art Museum Lecture Room : A calibrated recreation of A
calibrated recreation of the birthplace of Room Acoustics the birthplace of Room Acoustics.
http://www.lam.jussieu.fr/EspacesSonores/FoggArtMuseumLectureHall/FA2005KatzWetherill.pdf

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2. Sheldonian Theatre, University of Oxford (U.K.)

Architect: Ar. Christopher Wren

Brief History:

Located in Oxford, England, the Sheldonian Theatre was named after its principal donor, Gilbert Sheldon, the
archbishop of Canterbury, and was inaugurated in 1669 to be used for the university's ceremonies, concerts, and
lectures.

Architecture:

Roman theatres inspired the design of the Sheldonian theatre of Architect Christopher Wren by adopting their D-
shaped plan. On one hand, as the climate of England is different to Rome, instead of open arena, he covered it by
designing a 70-foot roof truss without load-bearing columns. The painted ceiling, designed by Robert Streater,
adapted Wren's vision of the building as a Roman theatre open to the sky. The Chancellor's chair in the center of the
semicircular end reverses the functions of the auditorium and stage, showcasing the triumph of the Arts and Sciences
over Envy, Rapine, and 'brutish scoffing Ignorance'. Depending on the kind of event, the main theater may hold up
to 726 viewers, and it can hold up to 250 people for a reception. Underneath lies the Cecil Jackson Room, a perfect
place for breakout sessions or meetings for up to 60 people.

Architectural elements suitable for application in proposed auditorium:

In designing an auditorium, it is important to consider the capacity the space can accommodate to have a clear view
on how to make it ergonomically pleasing. Aside from this, the lighting system should make the space look
harmonious to stimulate a better feeling when using it. Lastly, it should be able to make the viewers feel engaged
during the utilization of space through better acoustic and lighting, especially the type of lighting and how it casts
shadows on the center stage, as this enhances the overall design.

History of the building. Sheldonian Theatre. (n.d.-a). https://www.sheldonian.ox.ac.uk/building-history

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