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STUDY OF – THE PANTHEON, ROME

Location Rome
Built in 113–125 AD (current building)
Material Concrete and brick
Type of structure Temple-Catholic church

LOCATION PLAN

CONTEXT PLAN

DESIGN FOR SUPPLEMENTARY LIGHTNING AND ENVIRONMENTAL ACOUSTICS SNEHA CHATTERJEE SNEHA RAMDEO
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ACOUSTICS PROF.ARCHANA RATHORE
 Measuring 142 feet in diameter, the domed ceiling was the largest of its kind
when it was built. At to the top of the dome sits an opening, or oculus, 27 feet in
width. The oculus, which has no covering, lets light—as well as rain and other
weather—into the Pantheon. The walls are 4.5 feet thick, made in ring of bricks.
The walls and floor of the rotunda are decorated with marble and gilt and the
domed ceiling contains five rings of 28 rectangular coffers.

The dome’s internal geometry

makes it a perfect sphere
The materials used are bricks and
concrete.
Mortar mixed with small stones, mixed
with Limestones(travertine).

TYPOLOGY IN PLAN

bricks

THE GEOMETRY

DESIGN FOR SUPPLEMENTARY LIGHTNING AND ENVIRONMENTAL ACOUSTICS

SNEHA CHATTERJEE(21)

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SNEHA RAMDEO(22)

ACOUSTICS A.R RATHORE

ALI QAPU: PERSIAN HISTORICAL MUSIC ROOM

Location  Isfahan, Iran the reverberation time in Ali Qapu in the frequency range of
100-3500Hz is approximately constant with the amount of
Type : music room 0.85 s4 .

Activity: intimate music and

Iranian ballads

MATERIAL: mud bricks

cutouts on the surfaces of the

Muqarnas in the shapes of
ceramics and glassware have
created delicate and fine surfaces
which can also meet the
acoustical characteristics of a
complex and unique Helmholtz
cavity absorber due to their
various forms and disparate air
volumes behind them.

Ali Qapu the reverberation time is considerably low and

it ranges from around 1.5s in low frequencies to 0.7s in
high ones. There is one notable point that the RT in all
configurations except No Muqarnas which declines
moderately from low to high frequencies is nearly
constant between 125-4000 Hz 1/1 octave frequency
bands and it has happened mainly due to the cutouts
Muqarnas

DESIGN FOR SUPPLEMENTARY LIGHTNING AND ENVIRONMENTAL ACOUSTICS

SNEHA CHATTERJEE(21)
SNEHA RAMDEO(22)

ACOUSTICS
CLASS: 4TH YEAR
A.R RATHORE
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JOHNSON’S WAX BUILDING

View of inside office getting light from the
cornice Within this glass cornice placed
the installation of artificial light, seeking to
reach the minimal differences in the level
of illumination during the day and night.
Use of mushroom columns
initiated the concept of open
office and the mean time
provides light from the gaps.

 Wright sought to reach the light in a uniform

way to all corners, and two resources used
to achieve this, undo the ledges and take
the residual spaces between the circles that
generated columns in the ceiling. To achieve
break the cornice Wright had to create two 6M
separate structures, the facades and the
forged, leaving between them a break, a
TOP VIEW OF THE BUILDING gap that would be covered by a cornice
formed of glass Pyrex tubes placed on racks
about triangulares metálicos.

DESIGN FOR SUPPLEMENTARY LIGHTNING AND ENVIRONMENTAL ACOUSTICS SNEHA CHATTERJEE(21)

SNEHA RAMDEO(22)

ACOUSTICS
CLASS: 4TH YEAR
A.R RATHORE
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Open plan offices
Open plan offices form the arena for both individual and team work. Several zones fulfil various needs from
informal meetings to concentrated work. Flexible, energy saving lighting with individual control is the
cornerstone of modern office lighting.
Open plan offices vary a lot in their design. One common denominator is the line of desks occupied by
office workers, but the desk area may also be mixed with sitting groups, small meeting or work tables,
Coffee corners and the likes.

For the general lighting, a direct/indirect solution is recommended. Pendant luminaires add structure
to the room and provide a glare free work environment. Although modern computer screens have
anti‐glare finishes, care should be taken to select a lighting solution that prevents reflections from the screen.

DESIGN FOR SUPPLEMENTARY LIGHTNING AND ENVIRONMENTAL ACOUSTICS SNEHA CHATTERJEE(21)

SNEHA RAMDEO(22)
CLASS: 4TH YEAR
ACOUSTICS A.R RATHORE
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JOHNSON’S WAX BUILDING
ILLUMINATION STANDARDS

SNEHA CHATTERJEE(21)
SNEHA RAMDEO(22)

A.R RATHORE 7
KIMBELL ART MUSEUM
Multimillionaire Kay Kimbell wanted to create a public place
appropriate for his art collection, primarily consisting of paintings
of the seventeenth and eighteenth century.
Opening its doors to the public in 1972 marked a new milestone
in the work of Louis I. Kahn and introduced a new institution
with a considerable presence in Texas and in the art world in
general.

The masterful use of natural light in the Kimbell Art Museum was based on collaboration between Louis Kahn and Richard Kelly.
Kahn who designed a series of galleries oriented north to south with vaulted ceilings, which have a central slit of light.
Kelly designed the system of directional light through a sheet of aluminum dome.
Through the drill penetrates the daylight, in order to soften the contrast between the reflector and the cement vaulting.
It was left without perforating the central part of the aluminum foil, to block the direct daylight. In areas that did not require
protection against ultraviolet radiation, such as the lobby or the restaurant, used a reflector fully perforated.
To calculate the contour of the reflector and the properties of light were used and predictable software. At the bottom of the steering
system of daylight were integrated electrified rails and projectors.
For patios, Kelly proposed plants in order to soften the light they project to the interior spaces.

Vaults

The construction of the most famous American architect Louis Kahn was the Kimbell Art Museum, consisting of six parallel and great
vaults of concrete, like the ceiling, with lights on the ceiling all along its length to create intimate spaces and monumental at the same
time, contemporary in its nakedness and intemporal in their references to classical Roman architecture .

Design

The design of the Kimbell Museum of Fine Arts, built between 1967 and 1972, offers its linearity in the will of contact with the exterior:
the natural light and its treatment are the essential argument of the building, which is experiencing Kahn reflex zenith on curved
surfaces.

DESIGN FOR SUPPLEMENTARY LIGHTNING AND ENVIRONMENTAL ACOUSTICS SNEHA CHATTERJEE(21)

SNEHA RAMDEO(22)

ACOUSTICS
CLASS: 4TH YEAR
A.R RATHORE 8
Spaces
In addition to the galleries for exhibitions, installations include the museum’s library, an auditorium with capacity for 180
spectators, an art library, a laboratory for conservation of works of art and a restaurant. Although the creation of a space within,
through the light, is achieved by the particularity of the roof to beam the light. This peculiarity has become the most popular of
Kahn, distributors of natural light through a small slot into the sky and along the concrete vault.
Inside the galleries the architect included three yards, created from the vaults of the court in certain locations, which bring light
and a piece of the outside world to the most “interior” of the galleries. The museum is surrounded by a forest and a pond that add
a suitable environment to the whole ambience of the place.

Structure
A simple composition of concrete vaults parallel, is revealed to the visitor before stepping inside the building, with porches, which
seem to be an unnecessary continuation of the construction. The porches unnecessary, according to Kahn’s own words, define the
vocabulary of the entire structural museum: basically a beam of concrete 2.54 x0, 58 meters, horizontal and supported on four
square columns, which rely on the decks in the form of cycloidal vaults that meet the mission-covered roofs, and whose structure
is used, as in most of the buildings Kahn, in order to create an abstract order, a genesis for the creation of more complex.

Materials
The symmetry of design is enhanced by the use of natural materials like travertine and white oak, combined with glass, concrete,
stainless steel and aluminum. The narrow skylights that are along the vaults are on the inside of aluminum reflectors, while the
galleries provide a diffuse natural light
To express the differences and the inherent qualities of materials, the arc of the roof-deck concrete is separated radially from the
curve of the adjacent wall covered with travertine.

SNEHA CHATTERJEE(21)
DESIGN FOR SUPPLEMENTARY LIGHTNING AND ENVIRONMENTAL ACOUSTICS SNEHA RAMDEO(22)

9
CLASS: 4TH YEAR
ACOUSTICS A.R RATHORE
 SUMMARY

ACOUSTICS ILLUMINATION

Acoustics of a building depends upon the geometry and structure, sometimes
We neglect this fact.
We can see that in the Pantheon, Rome, the structure, material, and the geometry,
Designed in a way keeping in mind the reverberation of sound.
The materials used are bricks and
concrete. Mortar mixed with small stones, mixed
with Limestones(travertine).
It is better to use the source of natural light as the source of artificial light as
used in Johnson wax museum and Kimbell Art Gallery.
It increases the efficiency of day light as well as artificial lighting and creates better
ambiance.
The gap is generally covered by a cornice formed of
glass Pyrex tubes placed on racks about
triangulates metálicos.

Niches are used to increase

The reverberation time.
Also the dome creates a perfect
sphere with only 1 outlet for sound 6M
and also the inlet for light

JOHNSON WAX MUSEUM

Structural members can be used as source Of light in addition with electrical services
as used in Johnson wax museum.
The structure design helps the office to attain a barrier free well lit space with the
require amount of daylight and LUX level. Same concept is used in Kimbell Art
Gallery, as the vaults used in the building delivered light inside the gallery.

The location of the light source was kept in such a

way that it does not generate glare or reflection
cutouts on the surfaces of the towards the viewer.
Muqarnas in the shapes of
ceramics and glassware have
created delicate and fine surfaces
which can also meet the
acoustical characteristics of a
complex and unique Helmholtz
cavity absorber due to their
various forms and disparate air
volumes behind them.

KIMBELL ART GALLERY

SNEHA CHATTERJEE(21)

DESIGN FOR SUPPLEMENTARY LIGHTNING AND ENVIRONMENTAL ACOUSTICS SNEHA RAMDEO(22)

ACOUSTICS A.R RATHORE

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