II.4 B U I L D I N G L A W S

National Building Code (PD 1096)

(3) Spacing Seats

(3.1) Row spacingThe minimum spacing of rows of seatsmeasured from back-to-back shall be:600 millimeters for seats without backrests in open air stands; 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.(3.2)Rise Between RowsThe maximum rise from one row of seats to the next shall not exceed 400 millimeters.(3.3)Seating CapacityFor determining the seating capacity of a stand the width of any seat shall not be less than 450 millimeters nor more than 480 millimeters.(3.4)Number of Seats Between AislesThe number of seats between any seat and an aisle shall not be greater than 15 for open air stands with seats without backrests in buildings.(4) Aisles(4.1)Aisles RequiredAisles shall be provided in all stands: except, that aisles may be omitted when all the following conditions exists; Seats are without backrests; the rise from row to row does not exceed 300 millimeters per row; the number of rows does not exceed 11 in height; the top seating board is not over 3.00 meters above grade; and the first seating board is not more than 500 millimeters above grade.(4.2) ObstructionsNo obstruction shall be placed in the required width of any aisle or exit way.(4.3) Stairs RequiredWhen an aisle is elevated more than 200 millimeters above grade, the aisle shall be provided with a stairway or ramp whose width is not less than the width of the aisle.(4.4) Dead EndNo vertical aisle shall have a dead end more than 16 rows in depth regardless of the number of exits required.(4.5) WidthAisles shall have a minimum width of 1.10 meters.(5) Stairs and Ramps(5.1) Stair Rise and RunThe maximum rise of treads shall not exceed 200 millimeters and the minimum width of the run shall be 280 millimeters. (5.2)Ramp SlopeThe slope of a ramp shall not exceed 1 in 8. Ramps shall be roughened or shall be of approved nonslip material.(5.3) HandrailsA ramp with a slope exceeding 1 in 10 shall have handrails. Stairs for stands shall have handrails. (6) Guardrail(6.1) Guardrails shall be required in all locations where the top of a seat plank is more than 1.20 meters above the grade and at the front of stands elevated more than 600 millimeters above grade. W(6.2) Railings shall be 1.10 meters above the rear of a seat plank or 1.10 meters above the rear of the steps in the aisle when the guardrail is parallel and adjacent to the aisle: Except, that the height may be reduced to 900 millimeters for guardrails located in front of the grandstand.(6.3) A midrail shall be placed adjacent to any seat to limit the open distance above the top of any part of a seat to 250 millimeters where the seat is at the extreme end or at the extreme rear of the bleachers or grandstand. (7) Foot BoardsFootboards shall be provided for all rows of seats above the third row or beginning at such point where the seating plank is more than 600 millimeters above grade.(8) Exits(8.1) Distance to ExitThe line of travel to an exit shall not be more than 45.00 meters. For stands with seats without backseats this distance may be measured by direct line from a seat to the exit from the stand.(8.2) Aisle Used as ExitAn aisle may be considered as only one exit unless it is continuous at both ends to a legal building exit or to a safe dispersal area.(8.5) Four Exits RequiredFour exits shall be required when a stand or section of a stand accommodates more than 1000 occupants.(8.6) WidthThe total width of exits in meters shall not be less than the total occupant load served divided by 165: No exit shall be less than 1.10 meters in width. Exits shall be located at a reasonable distance apart. When only two exits are provided, they shall be spaced not less than one-fifth of the perimeter apart.(9) Securing of ChairsChairs and benches used on raised stands shall be secured to the platforms upon which they are placed: Except, that when less than 25 chairs are used upon single raised platform the fastening of seat to the platform may be omitted. When more than 500 loose chairs are used in connection with athletic events, chairs shall be fasten together in groups of not less than three, and shall be tied or staked to the ground. (10) Safe Dispersal AreaEach safe dispersal area shall have at least two exits. The aggregate clear width of exits from a safe dispersal area shall be determined on the bases of not less than one exit unit of 600 millimeters for each 500 persons to be accommodated and not exit shall be less than 1.10 meters in width, a reasonable distance apart that shall be spaced not less than one-fifth of the perimeter of the area apart from each other.Section 1213. Stages and Platform.(a) Stage Ventilators. There shall be one or more ventilators 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. (b) Rooms Accessory to Stage. In a building having a stage, the dressing room sections, workshops, and store rooms shall be located on the stage side of the proscenium wall and shall be separated from each other and from the stage by not less than a One-hour Fire Resistive Occupancy Separation.(c) Proscenium Walls.A stage shall be completely separated from the auditorium by a proscenium wall or not less than two-hour incombustible construction. The proscenium wall shall 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. All openings in the proscenium walls of stage shall 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

(f) Platforms. The type of construction for platforms shall depend upon the requirements based on then type of Occupancy and corresponding fire-resistive requirements. Enclosed platforms shall 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, they shall be so spaced as to provide proper exhaust ventilation. Ventilators shall not be required for enclosed platform having a floor area of 45.00 square meters or less.(g) Stage Exits. At least one exit not less than 900 millimeters wide shall be provided from each side of the 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.Accessibility Law (BP 344)STANDARD OF ACCESSIBILITY FOR SPECIAL TYPE OF FACILITIES1. The provision of this section shall apply to the specified type of facilities and identified specific requirements for accessibility and usability which shall be provided for each of the listed occupancy uses. Auditoriums, assembly halls, theaters, and related facilities:1. Seating for the disabled shall be accessible from the main lobby to primary entrances, together with related toilet facilities.2. In all assembly places where seating accommodation is provided, there shall be spaces for the disabled persons as provided.

SeatingWheelchairSeating

Capacity4 - 50Space2

51 - 3004

301 - 5006

3. When the seating capacity exceeds 500 an additional wheelchair seating space shall be provided for each total seating capacity increase of 100 seats4. Readily removable seats may be installed in these spaces when such spaces are not required to accommodate wheelchair users.

Fire Code of the Philippines

B. Illumination of SignsInternally illuminated signs shall be provided in all occupancies where reduction of normal illumination is permitted, such as in motion picture theaters.D. Wet StandpipesLocationb. In theaters, auditoriums and other assembly occupancies where the occupant load is more than one thousand (1,000), outlets shall be located on each side of any stage, on each side of the rear of the auditorium and on each side of the balcony.DIVISION 8. PLACES OF ASSEMBLY SECTION 10.2.8.1 OCCUPANT LOADIn theaters and similar places of assembly where person are admitted to the building at times when seats are not available for them and are allowed to wait in a lobby or similar space until seats are available, such use of lobby or similar spaces shall not encroach upon the required clear width of exits. Such waiting spaces shall be restricted to areas other than the required means of egress. Exits shall be provided for such waiting spaces on the basis of one person for each one-fourth (0.25) square meters of waiting space area. Such exits shall be in addition to the exits specified for the main auditorium area and shall conform in construction and arrangement to the general rules for exits given in this division.Capacity of Exits 1. The capacity of means of egress shall be in accordance with Section 10.2.5.2 paragraph C or shall be in accordance with succeeding paragraph for means of egress serving theater-type seating or similar seating arranged in rows. 2. Minimum clear width of aisles and other means of egress serving theater-type seating, or similar seating arranged in rows, shall be in accordance with CAPACITY FACTORS FOR THEATER TYPE SEATING

AislesNo dead-end aisle shall be greater than six and one-tenth meters (6.1 m) in length. In arena or thrust stage theaters, dead-end aisles at the stage shall not exceed five rows beyond a cross aisle.

SECTION 10.2.8.3 STAGE AND ENCLOSED PLATFORM

Every stage equipped with fly galleries, gridirons, and rigging for movable theater-type scenery, and every enclosed platform larger than forty six and a half square meters (46.5 m2) in area shall be protected with the automatic fire suppression system at the ceiling, under the gridiron, in usable spaces under the stage or platform and in auxiliary spaces and dressing rooms, storerooms, and workshops.RULE 11. PROHIBITED ACTS SECTION 11.0.0.1PROHIBITED ACTS AND OMISSIONSOvercrowding or admission of persons beyond the authorized capacity in movie houses, theaters, coliseums, auditoriums or other public assembly buildings, except in other assembly areas on the ground floor with open sides or open doors sufficient to provide safe exits;II.5 C A S E S T U D Y (Standard Design)

SIGHT LINESIf the patron is to see satisfactorily, plan and section must conform to a number of limitations which are set forth in the following list .To design an auditorium is to determine a seating area within these limitations and to establish position (not shape) of walls and shape of floors the reform.

1.) The horizontal angle of polychromatic vision (no eye movement) is approximately 4002.) The horizontal angle to the center line at which objects onstage, upstage of the curtain line, cease to bear the intended relationship to other objects onstage and to the background is approximately 60 ' .3.) The horizontal angle to a flat projection sheet at which distortion on the screen becomes substantially intolerable is 60' measured to the far side of the projected image. Curvature introduced into the screen may render the distortion less from the extreme seats on the opposite side of the center line of the house but will increase distortion from the seats on the same side of the center line4.) Judged by the audience's ability to recognize shapes, and confirmed by free audience choice of seats, the following is the order of desirability of locations :a.front center (except when the screen is close to the front row)b. middle centerc . middle sided. front sidee . rear centerf. rear side

5.) Audiences will not choose locations beyond a line approximately 100" to the curtain at the side of the proscenium .6.) The vertical angle beyond which ability to recognize standard shapes falls off very rapidly is approximately 30' 7.) The recommended maximum angle of motion picture projection to the horizontal is 12`.

PLANIf the foregoing limitations are applied in the horizontal plane for any given proscenium opening, they will limit an area of maximum value as seating space which is approximately elliptical. It is interesting to note that this shape for an auditorium plan was pioneered by the late Joseph Urban who had little of the present data to work with and may safely be assumed to have chosen the shape largely on esthetic grounds. A fan shape provides additional seating space at minimum sacrifice of sight lines, but nobody wants the seats in the extreme rear corners.

SeatingOccupants of all seats are visually related to the performance when the seats are oriented toward the stage. This necessitates curving the rows of seats . The center of curvature is located on the center line of the auditorium approximately the depth of the house behind the proscenium. Budgetary limitations may dictate that seats be in straight rows to simplify construction; these rows can at least be related to the center of attention on stage by being placed on chords of the optimum row curvature.StaggerTo provide best visibility from any seat, no patron should sit exactly in front of any other patron unless more than one row distant. This requirement makes it necessary to stagger seats. Staggering is accomplished by the no uniform placement of seats of varying widths in succeeding rows. Unless the walls of the theatre are parallel (which is acoustically hazardous), it is extremely unlikely that more than a very few rows can be made up of seats of uniform width. The lack of uniformity thereby introduced provides the means by which staggering can be accomplished. Seats are made with uniform standards and interchangeable backs and seats so that a wide variation of seat width is possible ; a variation from seat to seat of an inch or two, cumulative enough to accomplish satisfactory stagger and make rows even, is not noticed by the patron . Various seating companies have their own schemes and formulas for seat stagger, some of them patented. The client may ask a seating company for a seating plan and should examine it critically for (1) insufficient stagger in occasional areas of the house and (2) the introduction of seats narrower than the acceptable minimum.

AislesAisles are of questionable desirability except in the largest houses. They must, however, be employed in many localities because of building laws which make no provision for continuous- row or so-called continental seating in which all rows are widely spaced and serve as transverse aisles . Many a bad sight line has resulted from putting the maximum legal number of seats, usually 14, into each row in every section. Obviously, for purposes of seeing, radial aisles are best, with curved aisles only slightly less efficient. Aisles perpendicular to the curtain line often have the accidental result of making side section seats undesirable because people using the aisles interrupt the view toward the stage. The box office would like a theatre with all seats in the center section. A center aisle wastes the most desirable seating area in the theater and inevitably causes the objectionable condition of seats near the aisle being directly in front of each other.

There are many formulas used to determine the depth of the house, or more accurately, to determine the relationship between depth of house, width of house, and width of screen or proscenium. They vary considerably and are all empirically derived on the basis of existing theaters, with too little reference to whether such theaters are good or not . Typical are the following:

Optimum depth equals 4 times screen width. Maximum depth equals 6 times screen width. Depth equals 1 .25 to 2 .35 times house width when house width is 2 .5 to 3 .5 times screen width. Practically. There are only two significant considerations in planning the depth of the house :

1.) Visual acuity. Normal human vision can perceive a minimum dimension or separation equal to 1 minute of visual arc. Translated into space measurement this means that at 10 It a normal eye can perceive a dimension of 0 .035 in., at 50 ft, 0 .175 in., and at 100 ft, 0 .35 in . Details of actors' make-up and facial expression are not plainly recognizable at distances of more than 50 ft from the stage.2.) Capacity. The larger the house, the lower can be the price per seat or the greater the gross. If the box office is not to be considered, capacity may be limited by optimum seeing requirements, and the last rows kept within 50 ft of the stage.

Spatial Requirements for Various Types of Theatrical ProductionsGeneral characteristicsActing Area SizeShape

Pageant and symphonic dramaDramatic episodes processions, marches. dances, and crowd scenes . Masses of performers engaged in simple but expansive movements before very large audiences.From 2,000 to 5,000 sq ft, depending on the scale of the pageant .Rectangular with aspect ratio between 1 to 3 and 2 to 3.

Grand opera.Large numbers of performers on the be acting area at one time: often more than one hundred in big scenes and finales Movement is martial processions and group dances and the costumes are elaborate. Minimum: 1,000 sq. ft.Usual: About 2,500 sq. ft.Reasonable maximum: 4,000 sq. f.tQuadrilateral with an aspect ratio between 1 to 2 and 2 to 3. Sides converge toward the back of the stage, following the sight lines from the extreme lateral positions.

Vaudeville, revueVaudeville and revue emphasize the human scale.

Minimum: 350 sq. ft.Usual: About 450 sq. ft.Reasonable maximum: 700 sq. ft.Rhomboid with aspect ratio about 1 to 3. Sides converge toward back of stage following the sight lines from the extreme lateral seats.

DanceGraceful and expressive movements of human figures in designed patterns, chiefly in two dimensions but with the third dimension introduced by leaps and carriesAnything under 700 sq. ft. is constricting Reasonable maximum: 1,200 sq. ft.Rhomboid with aspect ratio about 3 to 4. May project into and be surrounded by audience (open stage or arena) since frontal aspect of performers has minimal and space-filling quality has maximal significance.

Musical: folk opera, operetta, musical comedy, musical dramaThese forms embody on a smaller scale the production elements of grand opera, us a certain freedom and a quest for novelty which encourage the development of new performance devices.Minimum: 600 sq. ft.Usual : About 1,200 sq. ft.Reasonable maximum: 1,800 sq. ft.Proscenium :

Rhomboid with aspect ratio between 1 to 2 and 2 to 3. Sides converge toward the back of the stage following the sight lines from the extreme lateral seats.

Arena:Circle, square, or rectangle (3 by 4 aspect ratio or ellipse (3 by 4 aspect ratio) .

III. C A S E S T U D Y(Theater Samples)

Architects:Moshe SafdieLocation:Kansas, Missouri,USAProject year:2011

The opportunity to design a major new performing arts center was precipitated by two significant decisions: the selection of an extraordinary site crowning the escarpment overlooking the historic warehouse district and the new entertainment district, affording a 180 view of the horizon; and the decision to construct two dedicated halls for symphony, ballet, opera, and theater.

1.) Site -- Downtown Kansas City, set upon a plateau, extends southwards towards an escarpment from where it descends, opening to an expansive view, which is further accentuated by the flat prairie landscape. To the north, one sees the drama of the downtown skyline with its grid of streets framing the property and the Kansas City Convention Center.

2.) The two performance halls facing south, integrated and connected by a single great lobbyan expansive glazed porch contained by a glass tent-like structure is to experience dramatic view to the south.3.) The drop in the land towards the south serves as the drop-off point and leads to a large underground parking garage on top of which sits a park. From the garage and the drop-off levels, the public ascends the grand stair to the great hall, with public gathering areas and the individual theaters on each side. 4.) Each hall reads as a distinct volume; metaphorically evoking a musical instrument and visible through the glass shell. As the natural light changes, so does the buildings transparency, reflecting the structures surroundings and, at the same time, hinting at its interior. At night, the entire building becomes inverted, displaying all of its interior activities to the community outside.5.) The halls are served by a series of access balconies fronting on the great hall, forming two conical stacked rings of white plaster. The thousands of people mingling before and after performances and intermissions are theatrically visible to one another. Thus, the great hall with its surrounding balconies is a counterpoint to the theaters within; the theater of the public realm, where the celebrating public are visible to the southern sweep of the city.

6.) Working with Yasuhisa Toyota of Nagata Acoustics, a volumetric and geometric concept for the Helzberg Hall(First Hall)l evolved. It is intimate in which the public is engaged with the musicians in a feeling of embracethe performers surrounded by the public-- rather than the traditional frontal relationship of stage andaudience. The hall accommodates every person to experience the performance without a balcony or ceiling above them.

The fanning geometry of the northern faade is echoed within the interior, supporting the sculptural arrangement of the organ within it; as it reaches towards the ceiling it branches apart, forming skylights that allow the daylight and sun to penetrate and reflect upon the organ thus; creating a spatial experience.

7.) Muriel Kauffman Theater is festive and exuberant.

The three balconies envelop the hall in a horseshoe-like enclosure. Each balcony is broken down into a series of steps cascading from the center rear balcony to the individual boxes on either side of the stage. The stepping enhances sightlines and provides for a sense of intimacy and connection with the action on the stage. The balcony balustrades are a contemporary reinterpretation of the gilded, glittering, candle-lit balconies of 18th and 19th century theaters.The lights reflect through the glass-like enclosure to form an ever-changing chandelier-like surface. The halls acoustic enclosure is composed of undulating walls, shaped like vertical stacked barrels and designed by Toyota for optimal sound reflection.

To integrate these shapes into the whole, a series of slats provide a screen-like enclosure. A series of murals, conceived and designed by the students of the Kansas City Art Institute, are painted and illuminated directly on the acoustical structures. The overall effect is of a dynamic mural, rich in reds, greens, blues and yellows, fused into the geometry of the room.

Architects:Ateliers Jean NouvelLocation:Copenhagen, DenmarkProject year:2009

Nouvel's design encloses a series of volumes, housing a different program or function, in a 45 meter tall rectangular box with transparent blue "screen" walls. The building will be constantly changing depending on the lighting conditions and the time of day; both revealing and concealing the interior. At night the building lights up with images projected on the "screen.The architecture dematerializes and becomes a matter of light and surface effects.

The DR Concert Hall consists of four "studios," all very different in size and design, and thus well suited to all kinds of music.

The foyer is distributed over seven levels - from 2.5 meters underground to about 30 meters above ground level. From the Foyer the public can see the Concert Hall (Studio 1) "floating above the ground" and the musicians playing in studio 2, 3, and 4.The lower Foyer, with access to three smaller halls, is located below street level. Offices and other functions are located around the halls in the northern part of the complex.

There are no lamps but rather different color light volumes that simulate city lights.The walls are of concrete, a so-called "elephant skin," where the concrete is cast with intermediate plastic layers, producing the special folds in the concrete.

The Main Concert Hall, Studio 1, is raised ten meters above street level with the upper Foyer under its "belly", giving the impression of a big wooden sculpture. Escalators and elevators in the upper Foyer lead to the different levels of the Concert Hall.

The stage is in the middle of the Concert Hall, surrounded by 1800 seats on multi-level terracing. Nouvel refers to it like a vineyard with terracing. The ceiling and the wall surfaces are in stained plywood with milled surfaces in order to spread the highest audio frequencies. The characteristic "wave walls" are made of plaster products

As a minimum all the surfaces of the hall weigh 100 kg per square meter which insures the best possible reproduction of the lowest sounds. This means that most surfaces consist of up to six layers of plaster and plywood.When the Danish National Symphony Orchestra leaves the hall to other musical genres, large curtains are drawn out of the slots in the wave walls to optimize the acoustics of the hall as required.

Studio 2 is inspired by the big production studios in Hollywood. On the plywood walls hang large panels with portraits of selected soloists, conductors and composers printed on them as decoration.The portraits were processed with a special vector graphics technique, that turn the images into black and white contrasts, then stensiled on the plywood walls.

Studio 3, the smallest unit of the Concert Hall, can be customized for any event since there is no fixed stage or audience seating. The black walls, in alternating polished and matte panelling, is inspired by a grand piano. The floor is stained oak.

Studio 4 is also flexible and can be adapted to a wide variety of events. The walls and ceiling are in deep red shades. The metal coffers are aluminum, the absorbent surface is felt. The floors are stained oak.

Events at the Concert Hall will range widely in terms of size and genre: small-scale jazz concerts in the foyer, chamber music, choral, rock and pop concerts in the three smaller concert halls and symphony concerts, guest appearances and large scale rhythmic concerts in the large concert hall.