ARCHITECTURAL

PLANNING
A.B.T.S. - II
Fo.Y. B.ARCH. 2021 - 2022

ZARINA P. TAHIR S. SHRADDHA S. MOHSIN B.

MOHAMMAD G.
INDEX
Points to cover
1. Parts of house
2. Parts of Stage
3. Services of Stage
4. Ancillary Activities

Case studies
1. Harbin opera house
2. Boston Symphony Hall
PARTS OF
HOUSE
An ORCHESTRA PIT is the area in a theater (usually
located in a lowered area in front of the stage) in which
musicians perform.

Orchestral pits are utilized in forms of theatre that

require music (such as opera and ballet) or in cases
when incidental music is required. The conductor is
typically positioned at the front of the orchestra pit
facing the stage.

In the pit, the walls are specially designed to provide the

best possible acoustics, ensuring that the sound of the
orchestra flows through the entire venue without
overwhelming the performance on stage.
The control booth, control room, lighting box,
technical booth, tech booth, used by theatrical
technicians is the area designated for the operation of
technical equipment, lighting controls and sound
board. In a theater, it is generally an enclosed space
with a large sliding window with a good view of the
stage centered in the back of the house. It may be on
the ground floor or at the balcony level.
It is designed to allow lighting and sound operators to
be able to see the performance, without being in the
auditorium itself. In some theatres, the control booth is
divided into a suite of rooms, allowing each of the
technical elements of a production its own
customized space.
SECTION OF ORCHESTRA PIT
SECTION OF CONTROL BOOTH
All theaters provide a space for an audience. The audience is usually
separated from the performers by the proscenium arch.
The seating areas can include some or all of the following:
● Stalls or arena the lower flat area, usually below or at the
same level as the stage. This is usually the rear seating
block beneath the gallery (see below) whereas in Britain it
can mean either the area in front near the orchestra pit, or
the whole of the stalls. The term can also refer to the side
stalls in some usages.
● Balconies or galleries: one or more raised seating platforms
towards the rear of the auditorium. In larger theaters,
multiple levels are stacked vertically above or behind the
stalls. The first level is usually called the dress circle or grand
circle. A second tier inserted beneath the main balcony may
be the mezzanine. The highest platform, or upper circle, is
sometimes known as "the gods", especially in large opera
houses, where the seats can be very high and a long
distance from the stage.
● Boxes (state box or stage box): typically placed immediately
to the front, side and above the level of the stage. They are
often separate rooms with an open viewing area which
typically seat up to five people. These seats are typically
considered the most prestigious of the house. A "state box"
or "royal box" is sometimes provided for dignitaries.
● House seats: these are "the best seats in the house", giving
the best view of the stage. Though each theater's layout is
different, these are usually in the center of the stalls. These
seats are traditionally reserved for the cast and crew to invite
family members, agents, and others. If they are not used,
they usually go on sale on the day of the performance.
Threshold capacity of theater without balcony (How do you divide the capacity of people on ground
and balcony)
How to calculate the distance between the first row and the Stage
 3
1

2
8
Spaces for Drama

● Drama is defined as a branch of theatre that essentially helps

illustrate an event or situation through acting.
● Originally derived from the Greek word ‘dran,’ which means “to do”
or “to act,” drama can be interpreted in different ways based on the
reader or viewer.
● Drama can also refer to an episode of life that involves some sort of
profound emotion or conflict.
● There are various people that contribute to bringing theatre to life,
from directors to actors, technicians, stagehands and costume
designers.

Types of Theatres for Drama

Thrust Theatre Endstage Theatre Black box Theatre Proscenium

Theatre
Spaces for Acoustic Music
(Unamplified)
● Concert and recital halls are theatres for the performance of music. The
requirements of acoustic (nonamplified) music determine the volume,
shape, and even the architectural detailing of the hall.
● At the same time, the hall must support the visual presentation of the
performance and provide an intimate patron experience.
● A universal characteristic of these buildings is that performers and
audience share the same space—there is no architectural separation
between stage and auditorium.
● Today, concert halls aren’t used exclusively for acoustic music. A new
hall must have enough flexibility to allow other uses, like popular
(amplified) and ethnic music, dance, lectures, meetings, and film
presentations.

Types of Theatres

Recital Hall Shoebox concert hall Vineyard concert hall, surround

hall
Spaces for Opera and Dance

● The opera house developed as a specific theatre form in the late Renaissance and persists to
this day.
● Historically, opera and ballet performances coexist in these spaces, but beginning in the
twentieth century, dedicated dance spaces began to appear.

Types of Theatres

Opera House Dance Theatre

Spaces for Multiple uses

● Almost every theatre will be put to many uses, but here we discuss two particular types of
multiuse theatres—the multipurpose theatre and the multiform theatre

Types of Theatres

Multipurpose theatre Multiform Auditorium

Spaces for Entertainment

Venues for popular entertainment can take many forms. Here we discuss two important
types—the multi-use commercial theatre and the showroom

Types of Theatres

Multi-use commercial theatre— a “Broadway Showroom

theatre” form (Oscars)
Spaces for Media Interaction
● These spaces are highly flexible, usually with no fixed seating, and almost always with a
high degree of acoustic adjustability.
● Other features may include extensive media recording and playback capability,
immersive environments, and electronic communication.
● These combine with remote spaces for distance learning, distributed ensembles,
remote performance, and other opportunities.

Spaces for Meeting and

Worship

Conference Center House of Worship

Spaces for Teaching

Almost any of the theatre forms described here might be part of an academic building—expecting maybe the casino
showroom. Additional considerations arise in the design of performance spaces for students, some of which we discuss
below.

● Single-purpose spaces Performing arts venues on a campus are more likely to be single purpose, since it is more
likely that the academic program tied to the space occupies it at least for the full school year. (A college theatre
department, for example, will likely keep their small drama space continuously in rehearsal or performance.)
● Instructional spaces Performing arts venues on campus must be designed as instructional spaces. Auditoriums
should be compact and intimate, scaled to, and supportive of, the student performer. Control rooms and other
support spaces must have appropriate equipment and sufficient room to serve as class labs.
● Stage technology The theatre and stage are also class labs. The theatre equipment must be suitable for the
productions, but also appropriate for teaching. Consideration should be given to who operates and maintains the
equipment. Economical, simple, and safe equipment is usually best.
Length of rows
● A maximum of 16 seats per aisle
● 25 seats per aisle is permissible if one side exit door of 1m width is provided per 3-4 rows

Number of seats in a row

● With traditional seating the maximum number is 22 if there are gangways at both ends of the row, and 11 for the
angway at one end

Row-to-Row spacing
● Traditional seating the minimum clearway for people to pass along the row is 300mm and this dimension increases
with the number of seats in a row
● Continental seats the clearway is not less than 400mm and not more than 500mm

Gangways
● The minimum is 1100mm
● They can be ramped up to 10%, but only 8.5% if likely to be used by people with wheelchairs
● If the seating rake is steeper, gangways must have steps extending the full width and these must have consistent
treads and risers in each run
HARBIN OPERA
HOUSE
 HARBIN OPERA HOUSE
PLAN

GROUND FLOOR FIRST FLOOR

AUDITORIUM
1

ORCHESTRA
PIT
STAGE

STALL
SEATING

CIRCULATION
AISLES

BALCONY
SEATING
9M

14.2 M
10.8 M
 20.2 M

28 M
14.2 M
AUDITORIUM 2

ENTRY/EXIT
POINTS
STAGE

STALL
SEATING
BOSTON SYMPHONY
HALL
 STAGE

ORCHESTRA
ENTRY/EXIT PIT
POINTS

STALL
SEATING

CIRCULATION
AISLES

BALCONY
SEATING
 ENTRY/EXIT
POINTS ENTRY/EXIT
POINTS

BALCONY
SEATING

STAGE
STALL
SEATING
PARTS OF
STAGE
 1. Apron - The flat wide part of the
stage projecting into the audience
and used as the main area
2. Proscenium - The part of a theatre
BACKDROP/CYCLORAMA
stage in front of the curtain.
3. Curtain - Theater drapes and stage
curtains are large pieces of cloth
that are designed to mask
backstage areas of a theater from
spectators.
4. Stage - is a designated space for
CURTAIN
PROSCENIU the performance of productions
M 5. Cyclorama/Backdrop -
background device employed to
cover the back and sometimes the
sides of the stage and used with
special lighting to create the illusion
of sky, open space, or great
distance at the rear of the stage
setting
6. Crossover - A crossover is a
hallway, room, or catwalk designed
to allow actors in a theater to move
from wings on one side of a stage
to wings on the other side without
being seen by the audience.
7. Wings and Offstage area - Areas
that are part of a stage deck but
offstage (out of sight of the
audience)
SECTION OF STAGE
 PROP STORES

ARTISTS TOILET

BACKSTAGE
DRESSING
ROOMS

CROSSOVER

OFFSTAG
E UNLOADING
(WINGS) AREA AREA

BACKDROP/CYCLORAMA

STAGE

CURTAI PLAN
N OF
APRON
STAGE
BACKSTAGE

MAIN
LEFT RIGHT
STAGE
WING WING

APRON

STAIRS STAIRS
AUDITORIUM 2

CROSSOVER

BACKDROP/CYCLORAM
A OFFSTAGE
AREA
(WINGS)

BACKSTAG
STAGE
E
DRESSING
ROOMS

ARTISTS
TOILET

PROP
STORES

PLAN OF
STAGE

ADJACENT
ADJACEN CORRIDOR
T STAG
CORRIDO E
R
 BACKSTAGE DRESSING
BOSTON SYMPHONY
ROOMS HALL
UNLOADIN
G
AREA
TOILETS
ARTIST
CYCLORAMA
BACKDROP/

PROSCENIUM
STAGE

APRON
CROSSOVER

CURTAIN

OFFSTAGE AREA (WINGS)

SERVICES OF
STAGE
 1. Choose your focal point. Most auditoriums are set
LIGHTING up so that the audience looks at a stage, pulpit,
or podium of some sort. Lighting can be used to
direct attention to this area.
2. Consider placement. While you want lights that
are made with the focus of directing attention,
you want to make sure they aren’t overpowering
to the people working underneath them.
3. Have three zones of lighting. A good rule of
thumb is to have three zones of lighting for an
auditorium. The first one would be the board
lights that project towards a screen on the stage
if needed. The second layer would be presenter
lights which shed illumination on the person
presenting or speaking. The third layer is the
audience lighting.
4. Don’t skimp on brightness. For the audience
lighting aspect, you want to make sure the
lighting is bright enough to allow for note taking if
needed.
5. Focus on artificial light more than natural light.
While most locations would benefit greatly from
incorporating both types of lighting into their
plan, auditoriums usually require a certain level of
low lighting to make projected screens more
visible.
 CURTAINS

Theatre
curtains can
be sewn flat
or with
pleats for
more
fullness.
Pleating is
commonly
used to
increase
opacity,
light and
sound
absorption,
or to add
more depth
to the
drape.

Stage masking draperies are used at the side limits of the performing space to conceal offstage areas and
equipment from the audience’s view. These so-called “borders” and “legs” of the theatre are made from light
masking fabrics that partially or completely block atmospheric light in order to create a black box on stage. They
also meet the most specific onstage demands for minimum light reflection.

Apart from absorbing light, some theatre masking curtains can also be used as acoustic drapes.
A FLY SYSTEM, or THEATRICAL RIGGING SYSTEM, is a
system of rope lines, blocks (pulleys), counterweights and
related devices within a theater that enables a stage crew
to fly (hoist) quickly, quietly and safely components such
as curtains, lights, scenery, stage effects and, sometimes,
people.

Systems are typically designed to fly components

between clear view of the audience and out of view, into
the large opening, known as the fly loft, above the stage.

A CATWALK is an elevated service platform from which many of the

technical functions of a theater, such as lighting and sound, may be
manipulated.

Catwalks are used to suspend lighting instruments and microphones

directed at the stage.For example, lights may need to be accessed
for maintenance

Typically, catwalks are located in positions hidden from audience

view or directly above an audience, and are considered
"behind-the-scenes". For example, many proscenium theaters have a
series of two or more catwalks running parallel to the proscenium
arch above a false ceiling.In modern theatres, many architects
design catwalks into the "look" of the theatre.
A catwalk may also be placed upstage of the proscenium as part of
the fly system. These may be fixed, or they may be able to be raised
and lowered.
THEATRICAL SCENERY is that which is used as a setting for
a theatrical production. Scenery may be just about anything,
from a single chair to an elaborately re-created street, no
matter how large or how small, whether the item was
custom-made or is the genuine item, appropriated for
theatrical use.

The construction of theatrical scenery will be frequently one

of the most time-consuming tasks when preparing for a
show. As a result, many theatres have a place for storing
scenery (such as a loft) so that it can be used for multiple
shows. Since future shows typically are not known far in
advance, theatres will often construct stock scenery that
can be easily adapted to fit a variety of shows.

Special Effect Apparatus

There are various effects to show smoke, rain,
wind,violence and blood, Gods and ghosts and spirits
etc.

The equipment used is usually divided into these four

subheadings
1. Mechanical
2. Pyrotechnical
3. Electrical
4. Hydro - Mechanical
ANCILLARY
ACTIVITIES
Ancillary Activities

An ancillary area of a building is an area that supports the function/s of the primary areas, that is, it is not part of the primary
purpose of the building, but is required in order that the primary purpose can function.
Whilst the size and shape of these spaces may vary widely depending upon the requirements of the auditorium.

ENTRANCE PORCH
TICKET SNACK BAR VIP ROOM
AND ENTRANCE
BOOTH
LOBBY
Typical plan
showing ancillary
areas of
Auditorium
NEUFERT’S AND NBC DATA:

The auditorium are reached

via common entrances and
sometimes stacked.

External access and emergency routes:

These are needed in accordance with
local requirements and will depend on
the location:
- Prestigious location in an urban
square.
- 48 sq ft for the first
- Location in a park or on a main
projection machine.
street
- 24 sq ft for each
- As part of large building.
additional projector.
 HARBIN OPERA HOUSE
PLAN

VIP
ROOM

ENTRANCE WAY TO
1st FLOOR
TICKET
LOBBY
BOOTH
ENTRANCE
TO MAIN
THEATRE

ENTRANCE
TO 2ND
THEATRE

ENTRANCE
STAIRCASE
TO PARKING

PORCH

GROUND FLOOR FIRST FLOOR

 TOILET

BOSTON
SYMPHON
Y
HALL

VIP ROOM

TOILET

TICKET
BOOTH ENTRANCE
LOBBY

ENTRANCE
PORCH