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. . . . TO MY PARENTS AND INNU

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ACKNOWLEDGEMENT
True are the words of Berchtold Bert, “……there will be singing in dark
times……..” When the mission that conquered the heart and senses was felt
for a while as a distant dream, I did hear singing; some encouraging, some
uplifting, some enthralling. Yet, all conveyed the same point; it was only my
eyes that went blind. At the very moment of completion of this thesis, it is
those words that reverberate in my ears.

I express my sincere gratitude to Ar. Babu Cherian, for his guidance

throughout my thesis.
I also thank Dr.lizmol Mathew, Mr.Nazeer.M.A, Mr.Anilkumar.P.P and all my
teachers who have guided me all throughout.
I thank Ar.Sejush and Ar.Prasanth for providing me with all necessary
information during my thesis.
I am indebted to all my classmates who have rendered helping hands all
through out my tough times.
I am grateful to Ar.Shyam who has always stood with me and inspired me to
bring out the best in me.
I also thank Ajay, Sandeep, Naresh, Sujith, Aravind , Ravi and all my juniors
who have helped me through out.
I am short of words to express my gratitude to Abid, Vivek, Arun, Anish, Jaise
Inas, Tiji and Piya for being with me always.

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I N T R O D U C T I O N

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CONTENTS

1.0. INTRODUCTION

1.1. ABOUT THE PROJECT………………………. 2

1.2. AIMS AND OBJECTIVES …………………….. 3

1.3. METHODOLOGY ……………………………. 4

1.4. SCOPE AND FEASIBILITY ………………….. 5

1.5. SCOPE OF THE WORK ……………………… 7

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1.0 INTRODUCTION

The cinema is one of the newest building types. With only a little over a
century of history, it has rapidly become ingrained in our consciousness as one
of the dispensable places in our culture. It is also one of the new building types
that is truly universal — cinemas are accessible to and enjoyed by almost
everybody, regardless of class or culture. Unlike museums or theatres,
cinemas are cultural centers which exclude none. Each of us has a relationship
with certain cinema buildings which are redolent with memories of dates and
Saturday nights, of films that have engraved themselves on our minds and
become part of our lives. Perhaps more than any other building, the cinema is
a pository of nostalgia and of memories.

The roots of the picture house lie in traveling fairground booths and seedy,
run-down dives; in rented halls, semi-derelict shops and dark, dangerous
caverns with wooden benches. Within three decades of these unrespectable
and inauspicious beginnings, the cinema had become the fastest growing and
most recognizable new building type of the twentieth century. It became a new
focus in the urban landscape — as influential as the church, and more so than
the theatre or the vaudevillian music hall, which it replaced as the pivotal
centre of public entertainment. In a staggeringly short space of time the
cinema had become established as the undisputed everyman’s venue for a
night out.

Recently, however, the revival of city-centre cinemas and emergence of

multiplexes and ‘monster-plexes’ which includes multifunction has led to a
revival of interest in the architecture of cinemas.

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The unique nature of a multiplex lies in the fact that such a building
encompasses multi functions - shopping complex, entertainment parlours
and other commercial activities.

Multiplexes came into India 10 years back. The first ones began to be noticed
at the metros, mainly Delhi and Mumbai. They then began to shift towards
cities like Ahmedabad and Pune.
This concept took off in South India only a few years back, in Hyderabad,
Chennai and Bangalore. Kerala hasn’t seen state-of-the-art multiplexes as of
yet.
But all that is to change with the arrival of a multiplex in Calicut. Calicut is a
logical location for such an enterprise what with a large section of its
inhabitants being Gulf-based, being accustomed to large complexes having
seen it all in their sojourns abroad.

1.1 ABOUT THE PROJECT

The project consists of a

• Cineplex, with four theatres (total 1800 capacity)

Mini theatre of 200 capacity which can be used for private screenings.
• Food court , a restaurant and a bar.

• Shopping area, including net browsing area, showrooms, massage

centre etc.

• Gaming zone , billiards, bowling alley, game ports for children

• An exhibition area (temporary space for stalls rented for handicraft or

art exhibition)

• Toilets

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1.2 AIMS AND OBJECTIVES

Multiplexes play an important role in the context of urban fabric in the fact
that they become immediate landmarks by which people tend to define cities.

The proposed multiplex at Calicut is to be the first in Kerala, catering mainly

to the middle class and business circles.
The shopping area, restaurant and gaming zones are to provide a compact and
coherent space for commercial activities.

The proposed complex being the first in Kerala ought to be a magnet,

thus generating more activity into the urban fabric.

The complex is to have 4 theatres, food court, shopping area exhibition

spaces and gaming zones which the area at present lacks, and is sure to

pump in people and their activities.

Thus project aims to be a landmark building which will be one of the

major entertainment complexes in this area.

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1.3 METHODOLOGY

• Basic studies of the trend of the people

• Studies about General financial status of the present theatres in

Calicut - Feasibility study of the project

• Case studies of similar projects

1. Innovative multiplex, Bangalore

2. Prasad’s Imax and multiplex at Hyderabad

• Data collection, spatial standards, building bye laws and literature

survey.

• Preliminary sketch design and revisions

• Final design

• Special topic

• Design detailing

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1.4 SCOPE AND FEASIBILITY OF THE PROJECT

NEED OF THE PROJECT

CALICUT, THE PRESENT SCENARIO

Presently there is no multiplex in Kerala, and Mavoor road being the central
business district of Calicut, is explored by a lot of commercial activities and
business class people
Popularity of home theatres and t.v. channels has caused a steady decrease in
audience especially in large capacity theatres.
Only theatres which survive are those with high comfort, best projection and
sound systems.
Moreover the area lacks good recreational spaces, with proper parking areas
and other services

The proposed multiplex being a one stop entertainment complex is

expected to attract every class of people and moreover high comfort and
multiple choices of selecting movies.

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Theatre Apsara Crown Kairali/sree Bluediamond Davison

Time 1969 – 1971 1940 1978-1990 19831965 1965

Cost 30 lakhs - 1.5 – 3 crores - 20 lakhs

Capacity 1285 970 921 405 1196 1054

1. Balcony 263 154 295 211 347 184
2. First class 882 583 448 194 700 750
3. Second class 140 233 178 149 120
Income
(fullshow/day)

Screen 70mm 70mm 70mm,70mm 70mm 70mm

Sound dts Dts Dts - -

Parking 20 cars(paid) 15 cars(paid) Paid parking 25 cars 50 cars, 50 cycle,

100bikes
Generator 180KV,40KV 225KV,40KV 167 KV 165 KV 60 KV

a/c 100 tonnes 18 tonnes 120 tonne - Nil

Electricity 5000/- per day 3000/- per day 5300/-per day 3500/- per day 1000/- per day

Labourers 28 nos. 12 nos. 26 nos.

(monthly) (18000/- ) (10000/-)

Maintanence 10 lakhs 1.5 lakhs 1 lakh 2 lakhs 20000

( yearly)

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1.5 SCOPE OF THE WORK

The project being an introductory project in Kerala, demands feasibility

studies especially in the present scenario when the film industry is going
through a tough period.

The work will also include a general survey to obtain the news of the people
about the present theatres and expectation in the future.

Project needs to be thoroughly dealt with, since it is of a high entertainment

and recreational value, by properly designing and detailing the interior spaces,
proper choice of materials with due respect to climatic factors, building
byelaws and design standards

Design demands a lot of detailing including the services, fire escape and
acoustics detailing.

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D A T A

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CONTENTS

2.0. DATA

2.1. KERALA MUNICIPALITY BUILDING RULES

2.1.1. HEIGHT OF THE BUILDING 8

2.1.2. PARKING SPACES 8
2.1.3. OFF- STREET PARKING SPACE 8
2.1.4. ACCESS 9
2.1.5. TRAVEL DISTANCE TO EMERGENCY
STAIRCASE 9
2.1.6. MINIMUM OPEN SPACE 9

2.2. BYE LAWS FOR CONSTRUCTION OF CINEMA

BUILDINGS THE KERALA CINEMA RULES,1975
2.2.1. OPEN SPACES 10
2.2.2. EXITS AND DOORS 10
2.2.3. STAIRCASES 10
2.2.4. RAMPS 11
2.2.5. AISLES 12
2.2.6. ACOUSTICAL REQUIREMENT 13
2.2.7. SEATING REQUIREMENTS 13
2.2.8. HEIGHT REGULATIONS 14
2.2.9. FIRE PRECAUTION 14

2.3. SPACE STANDARDS FOR THEATRES

2.3.1. PROJECTION SYSTEMS 15

2.3.2. REELS 15
2.3.3. LIGHT SOURCES 15
2.3.4. PROJECTION SYSTEMS 15
2.3.5. PROJECTION SUITES 15
2.3.6. CINEMA SCREENS 16
2.3.7. SCREEN POSITION 17
2.3.8. DIRECT PROJECTION 18
2.3.9. PROJECTOR RAKE 18
2.3.10. FLOOR SLOPES AND SEATING 19

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2.4. SKITTLE AND BOWLING ALLEYS 21

2.5. BILLIARDS 23

2.6. STANDARDS FOR RESTAURANTS

2.6.1. DINING AREAS 24

2.6.2. SNACK BARS 24
2.6.3. CAFE SERVICE 24
2.6.4. SELF-SERVICE CAFETERIA 25
2.6.5. COFFEE SHOP SERVICE 25
2.6.6. SPECIALTY RESTAURANT 25
2.6.7. TRADITIONAL RESTAURANT 25
2.6.8. CARVING TABLE RESTAURANT 25

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2.1 KERALA MUNICIPALITY BUILDING RULES, 1999

Multiplex, primarily meant for movie theatres are classified under group
D (assembly buildings)

Maximum permissible coverage (percentage of plot area) – 40 %

Maximum permissible F.A.R – 1.5 (2.5 max additional fee Rs.1000 per sq m
for area exceeding the permissible limit)

2.1.1 HEIGHT OF THE BUILDING

Max height shall be limited according to the width of the street as follows

a. Max ht. of the building shall not exceed 1.5 X width of street abutting the
plot + 1.5 times front yard.

b. If plot abuts on two or more streets of different width shall be deemed to

abut the street that has the greater width and the height of the building shall
be regulated by the width of that street and may be continued at this height
along the narrower street.

2.1.2 PARKING, LOADING AND UNLOADING SPACES

Each of street parking space provided for motor cars shall not be less than 15
sq. m. area (5.5 m X 2.7 m) and
For scooters and cycles the area of each parking space provided shall not be
less than 3 sq. m. and 1.5 sq. m respectively.

2.1.3 OFF- STREET PARKING SPACE

One parking space for every 25 seats of accommodation (1.5 sq m - one
seating accommodation)

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2.1.4 ACCESS
Provided that buildings under assembly occupancies having area above 300
sq. m. shall have a minimum access width of 7 m. leading to the plot.

2.1.5 TRAVEL DISTANCE TO EMERGENCY STAIRCASE

Located in such a way that the travel distance on each floor shall not exceed
30m for every occupant

2.1.6 MINIMUM OPEN SPACE

Total floor area exceeding 800 sq m -
1. Front yard avg. 10.5m with minimum 6m
2. Side yard (each side) avg. 5m with minimum 1.5m
3. Rear yard avg. 3m with minimum 1.5 m.
Height of room in assembly occupancy shall be 4m
Provided that in the case of air conditioned halls it shall be 3m.

Table 1
Extend of built up areas Nature of open space Dimensions

1. Built up area exceeding Front yard 6.0 m

100 sqm but below 300 Side yard each 3.0 m
sqm Rear yard 3.0 m

2. Built up area exceeding Front yard 7.5 m

300 sqm but below 600 Side yard 5.0 m on one side and 3.0 m one other side
sqm Rear yard 3.0 m

3. Built up area exceeding Front yard 10.5 m

600 sqm Side yard each 5.0 m
Rear yard 3.0 m

Table 2
Sl Fitments ASSEMBLY OCCUPANCIES ( theatre, auditoriums, restaurant, art galleries…. etc.)
no.
(1) (2) (3)

1. Water closet 1 per 200 males or part thereof and 1 per 100 females or part thereof

2. Urinals 1 per 50 persons part thereof

3. Wash basins 1 for every 200 males or part thereof and 1 for every 200 females or part thereof

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2.2 BYE LAWS FOR CONSTRUCTION OF CINEMA

BUILDINGS
THE KERALA CINEMA (REGULATION) RULES, 1975

2.2.1 OPEN SPACES

Building shall be provided with open spaces all sides with minimum width of
7.5 m of the front, 4m on the sides and
1.5 m on the rear

2.2.2 EXITS AND DOORS

In the auditorium there shall be one exit for every 250 persons accommodated
or part there of, provided that from every upper floor or gallery, there shall
not be less than two exits and further that an exit on or by way of stage or
platform shall not reckoned as one of the exits required by this sub
clause
Every exit from the auditorium shall provide a clear opening space of not less
than 1.5 m in width
No door which is required as exit shall be less than 1.5 m in clear width and
not less than 2.1 m in clear ht. the clear width shall be measured between
frames of a door.
All exit doors shall open outwards and shall flush with outside of the walls or
shall be so fitted that when they open they do not obstruct any gangway,
passage corridor, stairway or landing

2.2.3 STAIRCASES
There shall be at least two staircases of adequate width to provide exit in
gallery and up per floor of the building which is intended to be used for the
purposes.
Width of a passage serving a single staircase shall not be less than the width of
that staircase.

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The width of a passage serving more than one staircase shall not be less than
the width of the widest staircase it serves plus one half the sum of the width of
the remaining staircase.
The tread shall not be less than 30 cm wide and riser not more than 15 cm
high.
The treads and risers on each flight shall be of uniform width and height.
Each flight shall not have more than 15 or less than three steps.
No staircases shall have more than two flights of 15 steps without a turn and
the width of the landing between such flights shall be at least the same as the
width of the staircase.
No sta ircase shall be less than 1.5 m width which shall cater/suffice the
requirements for 100 persons and for every 15 persons the width shall be
increased by 2.5 cm divided over the number of staircase provided.
The farthest point in a cinema building from whe re the staircase affords access
shall not be more than 20m distant from such staircases.
The floors of all landings shall not be less than 15cm thick.
There shall be no recesses or projections on the walls of such staircase within
at least 2.0 m above the steps or landing.
The minimum headway of a passage if used by public under the landings shall
not be less than 2.1 m at any point between the top of the finished floor
surface and underside of landing immediately above it.
No stairways shall discharge into the passage or corridor against or across the
direction of exit.

2.2.4 RAMPS
The slope of the ramps should be such as to facilitate climbing without undue
strain. But not steeper than 1:6, at the same time it should not cause the user to
exert unnecessarily for climbing down.
All ramps shall be provided with a parapet at least 800 mm high or a suitable
hand rail of the same height to prevent falling of the user.

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2.2.5 AISLES
Clear aisles not less than 1.2 m in width shall be formed at the right angles to
the line of seating in such number and manner that no seat shall be more than
3.8 m away from an aisle, measured in the line of seating. The width of cross
aisle shall be 1m minimum.
Where possible gradients or inclined planes shall be used instead of steps, but
no gradient or inclined plane shall be steeper than 1 in 10.
If steps have to be inserted in a gangway or passage there shall be not less than
three steps at any one place. The treads shall not be less than 30 cm and risers
not more than 15 cm.

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2.2.6 ACOUSTICAL REQUIREMENT

The size of the auditorium shall be fixed in relation to the number of audience
to be seated. No part of the auditorium shall provide accommodation exclusive
of passages at a scale higher than 0.45 sq m per person.
The maximum slope of the balcony or gallery shall not exceed 350 .
Where a balcony is provided its projection into the hall should not be more
than three times the free height of the opening of the balcony recess.

2.2.7 SEATING REQUIREMENTS

The width of the seats should be between 45 and 56 cm.
The back to back distance of chairs shall be at least 85 cm. if extra comfort is
required, higher spacing may be provided which shall vary 85 to 106 cm.
In all cases there shall be an intervening space of at least 35 cm between the
back of one seat and the front of the seat immediately behind measured
between perpendiculars.

P3

P4

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2.2.8 HEIGHT REGULATIONS

The minimum height of the auditorium shall be 6m. The volume per person
required to be provided should be 3.5 to 4.5 m per person.
There shall be a minimum distance of 4m from the screen to the front edge of
the first row of seating.
The screen shall be fixed in such a way that its bottom shall not be at a height
of more than 2.1 m above the ground level of the front row of accommodation.
Where the first tier of balcony extends over the tier below the soffit of the
balcony shall not, in any part be less than 3m. the height between floor of the
highest part of the seating and the lowest part of the ceiling over the same
shall not in any part be less than 3.7 m. the height between the soffit of any
intermediate tier and the floor below shall in no case be less than 2.4 m.

2.2.9 FIRE PRECAUTION

The following fire extinguishing app liances shall be provided in the
enclosures: a bucket of water, a blanket, and a bucket of dry sand and a
portable fire extinguisher of ISI standard.
In the auditorium: four portable fire extinguishers of ISI standard and a supply
of not less than 20 litres of water per 10 sq m of the floor area stored.
Thirty three percent of the supply of 250 litres which is greater stored in
buckets of 10 to 15 litres capacity each inside the auditorium and the balance
stored in tanks or cisterns or buckets of any capacity so arranged as to be
easily accessible.
At least 8 buckets filled with water if there is no gallery or first floor in the
premises; and at least 12 buckets filled with water if there is gallery or first
floor in premises.

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2.3 SPACE STANDARDS FOR THEATRES

2.3.1 PROJECTION SYSTEMS

Four standard types of films are described by their width
8mm (home movies), 16mm, 35mm, 70mm

2.3.2 REELS
Present day standard spool contains 600m of film which passes through a
projector in about twenty minutes. Commercial 35mm cinema projectors now
usually have standard 1800m spool capacity which allows the make up of the
film to run for 66 minutes. Now a days towers and platters are used which will
permit between 2.5 to 4 hours running time.

2.3.3 LIGHT SOURCES

The various types of light sources-tungsten- halogen, xenon or carbon arc have
different requirement for supply (power), ventilation and water cooling.

2.3.4 PROJECTION SYSTEMS

At present three methods may be used for film projection: Direct, indirect and
back projection the first is by far the most commonly used.

2.3.5 PROJECTION SUITES

A projection room, rewinding, a dimmer and switch room, a work room and a
lavatory. Convenient size - 3 X 4 m (basic), 5.5X3.9 (if additional equipment
such as slide projector, large screen video projector. Projectors are kept 1.5 m
c/c
Essential items are – two projectors, sound amplifiers and controls, ancillary
equipment may include an effects lantern, a non-synchronous music desk, a
rewind bench, rectifiers and screen masking controls.

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2.3.6 CINEMA SCREENS

For 16mm film, picture is projected on to a flat, matte white screen with an
aspect ratio of 1.375 to 1. With a large picture a flat screen, the distance from
the optical centre of the lens to the edge of the screen is appreciably greater
than the distance from the lens to the screen centre. Either the outer parts of
the projected pictures are out of focus, o vice versa, so the screen is curved so
that its surface is reasonably equid istant from the centre of the lens. The
surface of screen should really be a part of a sphere. A broader aspect ratio
permits screen to be curved in one plane only.

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2.3.7 SCREEN POSITION

Screens are placed on the centre lines of the auditoria and normal to them in
case of curved screens centre lines are normal to the chord of the screen arc.
Masking is normally adjustable at the sides and sometimes at the top.
Screens are generally made from a flame – resistant material such as PVC or
metalised fabric st retched into position by cord lacing to hooks on a special
frame, usually made of steel or aluminium lattice construction.
Lighter construction is possible when the frame is supported by brackets fixed
to the rear wall, ceiling and floor the size is determined by the largest type of
picture that will be shown.

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2.3.8 DIRECT PROJECTION

The ratio of height W: H is known as the
aspect ratio
Standard 1.375: 1
Wide screen 1.750: 1
Cinemascope 2.350: 1
70mm 2.200: 1

2.3.9 PROJECTOR RAKE

In film the projection, the projector axis is put at an angle to the horizontal.
This angle is known as the projector rake.
Limits of deviation of the projector axis from the horizontals are 18 0 for 16mm
film and 15 0 for 35mm.distortion can be reduced by tilting the screen for the
vertical so that it is at right angles or nearly so to the projector axis.

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2.3.10 FLOOR SLOPES AND SEATING

In the design of floor slopes and upper level stepping for cinema seating, it is
necessary to establish the physical dimensions of the seated patron and
standards for vision of the screen image. Most important is elimination of
objection able screen obstruction caused by persons seated in front of the
viewer. For best dramatic impact, the bottom of the projected picture should
be as close as possible to the floor under the first row of seats. This in turn will
require a more steeply pitched floor slope under the seats, and will eliminate
the possibility of an upper tier of seats, whic h would have to be too steep in
pitch.

The slope of the main-floor seating would also be increased for one -row
vision. One -row vision provides unobstructed vision over the heads of persons
in the row immediately ahead. Two-row vision is not ideal, but it is acceptable
and permits milder slopes and the inclusion of an upper level of seats. Two-
row vision is made more acceptable by staggering the seats to permit a view
between the heads of the persons in the row immediately in front. With two-
row vision the heads of all persons two or more rows in front will not obstruct
any view of the screen. Two-row vision is further improved by using the
widest chairs (and therefore the widest space between heads) in the rows
nearest the screen. The view between heads is usually too narrow in the front
rows where two-row vision s used. Minimum seat widths should be 20 in. for
the rows farthest from screen.

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2.4 SKITTLE AND BOWLING ALLEYS

Skittle and bowling alleys can be divided into the following areas:
(1) The run-up, in which the ball is bowled after a few approach steps;
(2) The lane, the surface along which the ball rolls;
(3)The catching pit, in which the fallen skittles/pins and balls are collected. (It
is also where skittles/pins can be stored.)
An asphalt alley puts the highest demands on the skittle players. The lane is
19.50m long and the width is 1.50m (with side boundary batten) or 1.34m
(with side boundary channels). The lane surface is made from asphalt or
plastic .
An important feature of some alternative wooden (or plastic) skittle alleys is
the gradient of the lanes. From the edge of the run-up to the front pin of the
skittle stand, a distance of 23.50m, the lane rises through 100mm.
The scissor skittle alley also has wooden (or plastic) lanes. The lanes are
0.35m wide until 9.5m beyond the end of the run-up, after which they widen
up to 1.25m at the mid-point of the skittles.
In bowling alleys — the run-up area is made from cleanly sanded parquet and
the lanes are of polished or varnished parquet. In contrast to skittles the pins
are arranged in a triangular forma on and there are ten of them.
Bowling ball re 21.8cm in diameter and have a range of weights up to 7257g.
They have three finger holes. For asphalt and scissor alleys, the balls have a
diameter of 16cm and weigh 2800—2900g. Other balls in use are 16.5 cm in
diameter, with weights between 3050g and 3150g. Most modern balls are
made of a composite plastic mixture. Skittles are usually made from hardwood
(white. beech wood); pins are also made of wood but are covered with plastic.
All pins and skittles have standardized dimensions.

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2.5 BILLIARDS
Requirements for billiard rooms depend on the various billiard table sizes
involved —p®. For normal private purposes, sizes IV, V and VI are used; in
bars and clubs, sizes IV and V are most common, while in billiard halls sizes
II and III will be required.
Billiard halls are usually on upper floors or in a bright basement, rarely on the
ground floor. Where there is more than one table the distance between them
should be at least 1.70m for sizes I and II and 1.60m or more for sizes III to V.
The distance from walls should, if possible, be slightly more. A clear playing
space is required all around the table and, if matches are to be televised, extra
space must be provided for cameras.
A clear wall space is needed for cue - holders (1.50 x 0.75m for 12 cues), score
boards and rule sheets.
The smallest possible light fittings should be used to give full and even
lighting of the playing surface. The normal height of the light above the table
is 800 mm.
In the UK the Billiards and Snooker Control Council (B&SCC) introduced
(with world agreement) the ‘B&SCC 3.50m standard table’ and for the first
time the actual playing a size (3.50 x 1.75m) was specified within the cushion
faces instead of the overall table size. However, these metric recommendations
are still not often utilised, even in major competitions.

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2.6 RESTAURANTS, EATING PLACES AND FOOD

2.6.1 DINING AREAS

Calculating the space requirements for dining areas can be difficult because of
the many choices available. For example, the final space required for a dining
room is dependent upon the following variables:

• types of seating to be provided:

• table sizes required
• table shapes desired
• pattern of table arrangements
• aisle space desired
• number of service stations needed

A suggested approach that allows the planner to evaluate these variables and
their effect on the dining space per seat is the modular concept. For this
situation, the module contains space for the table, the seats, and the
appropriate share of the service and access aisles. The modular concept
enables designers first to evaluate the space requirements for different choices
that may be made before reaching their final decisions.

2.6.2 SNACK BARS

Usually restricted to light meals, served at the counter or taken by customer to
table. Food is normally cooked within the counter area but back-up
preparation, wash- up and storage required. The space requirements are about
1.5 -2.2 square meters per person.

2.6.3 CAFE SERVICE

Usually family type of business, designed on traditional lines with kitchen
separate from dining room. Food may be collected by waitress from small
service counter or hatch to kitchen.

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2.6.4 SELF-SERVICE CAFETERIA

The area required per person is about 1.4-1.7 square meters. It usually has a
long service counter which also provides for good circulation space. Space for
cleaning trolleys required.

2.6.5 COFFEE SHOP SERVICE

It is usually waitress served, often from forward cooking areas with counter
which may be decoratively screened. Main preparation and wash-up is at the
rear. Counter service is sometimes included.

2.6.6 SPECIALTY RESTAURANT

The space requirements vary widely. Display cooking, grill, dance floor,
special décor effects may be required. Bar may be included within the
restaurant.

2.6.7 TRADITIONAL RESTAURANT

The area needed per person will vary as per the type of business. Should have
space for display table, flambé work, generous seating and spacing of tables.

2.6.8 CARVING TABLE RESTAURANT

Need for display table with hot and cold positions for self-service of joints,
vegetables and sweets.

• Restaurants should be planned so that variety of seating arrangements

can be achieved. Also consider banquette and booth seating but these
should be supplemented by normal tables to give flexibility.
• Waiter stations should be located as to not disturb guests: numbers will
vary as per the standard of service.
• Ambience is an important factor in restaurant design; decoration and
lighting should be an integral part. Large open spaces should be broken
up into smaller more intimate areas.

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L I T E R A T U R E
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CONTENTS

3.0. LITERATURE STUDY

3.1.THE PICTURE HOUSE

- A NEW BUILDING TYPE 26
3.2.ESPLANADE – THEATRES ON BAY 29
3.3.STAR CITY COMPLEX 30

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3.0 THE PICTURE HOUSE - A NEW BUILDING TYPE

The roots of the picture house lie in traveling fairground booths and seedy,
run-down dives; in rented halls, semi- derelict shops and dark, dangerous
caverns with wooden benches. These darkened rooms were prone to burst into
flame due to the notorious instability of early film materials and equipment.
Within three decades of these unrespectable and inauspicious beginnings, the
cinema had become the fastest growing and most recognisable new building
type of the twentieth century. It became a new focus in the urban landscape —
as influential as the church, and more so than the theatre, which it replaced as
the pivotal centre of public entertainment. In a staggeringly short space of time
the cinema had become established as the undisputed everyman’s venue for a
night out.

However, between the early years of the fairground at the end of the
nineteenth century and the years of the super-sheds in the late twentieth and
early twenty- first centuries, there was an age when the cinema became a
dream palace, a building which embodied escape and fantasy, a temporary
relief from the mundane and repetitive world of work. Cinemas, every bit as
much as films, are the physical embodiment of their eras. The extravagant
choreographed musicals of Busby Berkeley and the glittering Art Deco picture
palaces of the 1930s encapsulate the urge to escape from the depression and
the insecurity which plagued the decade following the 1929 financial crash.
The B- movie horror of aliens and radiation, and the drive- in theatres of the
1950s represented both the fear of Communism and the pioneering spirit of the
USA with its self- mythologising love of freedom (the car) and the frontier
spirit (open cinemas in the wilderness). The emergence of the art- house fleapit
in the 1 950s and 60s reflected a rebellion against Hollywood escapism and a
belated response to Italian Neo-Realism (itself a response to the tragedy of the
war).

But it also denoted an acceptance of cinema as an avant- garde art form

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The intellectuals wrenched glamour away from the cinema and replaced it
with angst. The emergence of the super-cinemas, anonymous out-of-town
complexes exclusively showing big studio blockbusters, echoed the laissez-
faire and self-satisfaction of the Reagan/Thatcher era, an age of increasing
corporate domination and decreasing acceptance of the avant-garde. The
arrival of that even more overblown concept, the megaplex, coincided with the
collapse of opposition to international capitalism, signaling the victory of
corporate, global economics.

The popular roots of cinema initially agitated against its acceptance as an

important art form. When film itself became recognised as the definitive
twentieth-century art form, indeed the only truly popular modern art form, the
cinemas were somehow left behind. As film was becoming credible, the Art
Deco dream palaces were being destroyed. The frothy, shallow, tacked-on
buildings that housed the defining years of film were never really regarded by
the architectural establishment as part of their world. Cinemas were seen as
every bit as ephemeral and disposable as the film sets that lit up their screens.
In the 1930s, cinemas appeared in virtually every prosperous city, translating
into built form the love of luxury that defined the decade, expressed in the
detailing and streamlining of ocean liners and the glamour of Hollywood.
With the incursions of television and, even more signif icantly, video in the
1970s and 80s, the cinemas were seen as redundant behemoths. Some were
converted, many others demolished.

Perhaps no film better illustrates this demise than Cinema Paradiso, Giuseppe
Tornatore’s paean to the influence not just of film but of the physical fabric of
the cinema. As the film’s central character returns to his little town for the
funeral of his beloved projectionist, the cinema is being torn down while a few
old-timers who he remembers from his childhood look on sadly. The
demolition of the cinema seems to indicate the destruction of community — it
is being replaced by a car park — but also the abandonment of the communal
dreams and fantasies which the cinema embodied.

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Recently, however, the revival of city-centre cinemas and a few, lavish and
enjoyably kitsch out-of-town monsterplexes has led to a revival of interest in
the architecture of cinemas.

3.1 ESPLANADE - THEATRES ON THE BAY

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Esplanade - Theatres on the Bay is located on 6 hectares of prime waterfront

land by Marina Bay. There are over 5,000 world class hotel rooms, 2 major
convention centres, 7,500 car parking spaces, 1,000 shops, 300 restaurants and
150 bars in its immediate vicinity.
Esplanade- theatres on the bay features
• Esplanade Shop
• Shops
• Cafés, restaurants and bars
• Special services
• Library
• Happy Child Learning Centre

With over 8,000 sq m of exciting, retail and entertainment outlets on three

levels, Esplanade Mall offers an exciting and diverse retail mix from fashion
to flowers, home decorations to handmade pottery, giving a superb arts-related
shopping experience.

• Concert Hall (Symphony and Choral Music, Recitals, Light Classical

and Chamber Music, Live Recording, Popular Artists, Groups and
Bands, Western Opera and Dance )
• Theatre
• Recital Studio (The Recital Studio is an ideal space for intimate
chamber music and solo recitals.)
• Theatre Studio
• Rehearsal Studio
• Jendela (The main exhibition space for visual arts within Esplanade is
Jendela, a 216 sq m gallery which features dramatic views of Marina
Bay from its second -storey location.)
• Outdoor Theatre (With its circular design and tiered seating, this is an
ideal space for outdoor performances.)
• Forecourt/Concourse (The Esplanade Forecourt leads to the center’s
Concourse, which in turns guides visitors to the Theatre and Concert
Hall.)
• The Waterfront (The 300m-long Waterfront along Marina Bay
recreates the nostalgic ambience synonymous with the Esplanade.)
• The Edge
• Roof Terrace

Esplanade is a very good example for a multipurpose entertainment complex.

It does not have any movie theatres. The study is included to have a close look
at the functional aspects of a multipurpose entertainment complex.

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3.2 THE STAR CITY COMPLEX In conjunction with Warner

Village and UK architects

American architect Jon Jerde made his international reputation with a few
huge schemes that blend urbanism with entertainment, creating whole quarters
devoted to retail and commerce.
Jerde also introduced both complexity and contradiction into his corporate
meta-worlds, which have an undeniable vibrancy.
Jerde creates a holistic environment for the cinema: a world that feeds off
corporate recognition and familiar images, but nevertheless a world in which
the architecture and the spaces count.

• Features thirty screens

• Huge array of retail and leisure facilities
Aims to cater for cinema-goers of all ages and tastes.
• Bookshops
• Fast food
• Screens Hollywood art-house
Alongside blockbusters still unfamiliar in the UK.

Jerde claims that the steel and masonry elevations of the new cinema were
inspired by the industria l buildings and warehouses around the site. The
enormous lobby, however, takes its inspiration from West Coast, USA. It is
adorned with a sprawling mural painting, sets up the semi-mythical
Hollywood story using images from films and the kind of dark, non-specific
metropolis backdrop familiar in films.
This is blended with unconventional images of studios and stars adds a
fascinating tromped effect of backlighting windows and signs.

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The mélange with projections and trailers creates most original and lively
lobbies of recent years.
Another of the complex’s cavernous lobbies, set within a tapering cylinder-
sprawling, neon-decked exterior blends images from Las Vegas with the
streamlined, neon- lit towers familiar from the Modern theatres of the 1930s
and 40s.
Star City aim to create an urban atmosphere, with public spaces where
walking and mingling is enjoyable and colourful: and car-free plazas for a
state suffocating under the weight of its traffic and the ensuing smog.
In these terms Jerde is accepting the megaplex not merely as a giant mall: a
climate-controlled box of franchises, but as a tool to recondition an entire
culture into the pleasures of strolling and, as if encouragement were needed:
His paradoxical mix of commercialism and art may well save the megaplex
from extinction and entirely alter the way that the out-of-town entertainment
centre is viewed.

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C A S E S T U D Y

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CONTENTS

4.0. CASE STUDIES

4.1. INNOVATIVE MULTIPLEX, BANGALORE

4.1.1. LOCATION 32
4.1.2. GENERAL LAYOUT 33
4.1.3. DETAILS 33
4.1.4. SERVICES 33
4.1.5. ACTIVITY STUDY 35
4.1.6. USER SATISFACTION 35

4.2. PRASAD’S IMAX, HYDERABAD

4.2.1. LOCATION 36
4.2.2. SITE LAYOUT AND ACCESS 36
4.2.3. PARKING 37
4.2.4. GENERAL LAYOUT 37
4.2.5. DETAILS 38
4.2.6. SERVICES 38

4.3. CASE STUDY COMPARISON 39

4.4. CASE STUDY INFERENCES 40

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4.1 INNOVATIVE MULTIPLEX, BANGALORE

It is planned to lure viewers through “a complete entertainment package”
Project started in 2002 and opened for public 2003 including a food court,
shopping and games. A small, 90-seat theatre is being constructed in the
basement, which can be hired for private screenings. Innovative features four
screens with the latest in projection and sound.

4.1.1 LOCATION
Outer Ring Road, Varathur Hobli, Bangalore South, Bangalore.It is located at
some distance from the heart of the city.

Project period : 2002-2003

Cost of the project : 12 crores
Total area : 17000 sq ft

4 theatres : 350 capacity each (including 120 balcony seats)

Food stalls : 6 nos.
Food court : 50 capacities
Shops : 4 nos.
Lobby : food court is incorporated in the lobby space
Box office : 6 counters and a manager’s room
Projector room : 80’X25’ (common for 4 theatres) Xenon Projectors,
platters
Office : 2 nos. with a conference hall (20 capacities)
Conference hall: 20 persons
Toilets

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4.1.2 GENERAL LAYOUT

The whole building is divided into three blocks

Theatre block Interior lobby snacks counter

Commercial block Lobby, Ticket counters and office
Food court - 6 counters
4 shops including a net café and
Textile showrooms
Service block Toilets
Water tank
Main office
Fire escape stairs

4.1.3 DETAILS
Innovative features four screens (350 seats each) with the latest in projection
and sound: Christie Xenon Projectors, Platters, and JBL speakers.
Projector room - 80’X 25’each projector with three ports
Screen size - 30’ 6” X 13” at 8” high
Acoustics - 50mm glass wool up to 8’ high
Toilets - 18 urinals 8 WC and 12 W B for theatres in one floor

4.1.4 SERVICES
Parking - 1000 cars (no covered parking area)
Electrical room
Generator (240 KV)
a/c : to ensure maximum comfort they have used split windows so
that the temperature inside can be adjusted separately

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front view

food court

entrance

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g
first floor plan round floor plan

Additions….
1 mini theatre : 90 capacity private screenings
Entertainment block – bowling alleys, and other gaming areas

4.1.5 ACTIVITY STUDY

The movie timings are so adjusted so as to ensure a full day activity

going on.
Food courts and shops keeps the crowd fully entertained during the
waiting time.
Ticket counters are placed in the entrance lobby, advance booking
facilities are also available; about 60% of people used to buy tickets on
the spot.
They used to get an average of 25% crowd during the weekdays and
90% during the weekends.
There are also special shows during afternoons for school students
with reduction in ticket rates up to 30/-

4.1.6 USERS SATISFACTION

• Very Good seats, picture quality and sound system

• Expensive when compared to other Cinema Hall
• Ambience and Decor created inside were well appreciated
• Trendy Crowd
• Main draw backs were the acoustical treatment and the uncovered
parking area which causes trouble during rainy seasons.

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4.2 PRASAD’S IMAX – THE EXPERIENCE

‘Prasad- The Experience’, an integrated Family Entertainment Center in

Hyderabad, a Part of the Buddha Purnima Project Area which is an initiative
of the Ministry of Tourism, Government of Andra Pradesh.

Prasad’s IMAX multiplex is spread across an area of 2, 35,000 sq ft. The

project cost is about 61.5 crores.

4.2.1 LOCATION
Strategically located in the heart of the city on the banks of Hussain Sagar
Lake, Off NTR Gardens, Hyderabad
South India’s First IMAX theater India’s 3rd IMAX theater World’s largest 3-
D IMAX screen
Prasad’s entertainment center also sports

• Four 70 mm screens 390 capacity each

One screen is reser ved for private shows. Capacity 220
• IMAX screen. 630 capacities
• Food courts multi-cuisine food interspersed (150 capacity) with fast
food outlets, coffee bars etc.
• Shopping malls spread over three floors of approximately
• 70,000 sq feet.
The entire multiplex is centrally air-conditioned one.

4.2.2 SITE LAYOUT AND ACCESS

Entry and exits are separated so as to avoid traffic problems, traffic is

controlled by security guards

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4.2.3 PARKING

Basement floor is provided with a 45000 sq ft car parking area with Rs.10/-
per car, approximately 200 cars can be parked. The aisles around the theatre
are used for two wheeler parking with an amount of Rs. 5/- per vehicle

4.2.4. GENERAL LAYOUT

Basement car parking area

Ground floor 15 shops, food court, showrooms, ATM

First floor restaurant, shopping area, IMAX theatre entry

Second floor pop corns, gaming zone and bank coming

Third floor entry to four screens

Fourth floor office, 2 conference halls

3 exits for each theatre 1 to lobby, staircase and to parking area

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4.2.5 DETAILS
Screens

5 perforations 70mm screens

15 perforated 70 mm screens for imax

Staggered seating

Lamp projectors

Projector room - 72’ X 20’, 4 projectors (Canadian)

Box office - 12 counters of which 6 are for on the booking

Toilets - every floor has toilets for gents and ladies with

3 WB, 2 WC and 3 urinals also drinking water is

provided

Sound - Dolby and dts

4.2.5. SERVICES

Parking - 200 cars (no covered parking area)

Electrical room 33 KV substation
Generator (620 KV)
a/c : centrally air conditioned for the whole building 900 tonne (3 chillers)

Additions….
1 mini theatre : 220 capacities
Gaming areas

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4.3 COMPARISON OF CASE STUDIES

Innovative multiplex, Bangalore Prasad’s entertainment , Hyderabad

Time 2002 -2003 2002 -2003

Cost 12 crores 61.5 crores
Total area

Proximity from city Located outer of city center Located in the heart of the city
15 km from main city area
Facilities 1.4 theatres – 1400 total capacity 1.five theatres ( 610 total capacity)
2.food court 50 capacity 2.IMAX 630 capacity
3.5 shops and food stalls 3.food court 150 capacity
4.6 counter box office 4.shopping area 70000 sq ft in three floors
5.gym 5.food stalls, showrooms, bank, restaurants on all
6.new gaming zones are coming up. floors
6.12 counter box office
7.new gaming zone coming up
Details Latest projections and sound( dts) Latest projection and sound (Dolby and dts)
70mm (30’ X 13’) screens Worlds largest screen IMAX
Natural lighting(day) for outer lobby and ambient Multiplex with 70mm screens
lighting inside Forecourt provided with natural lighting(day) and
Dark passages ambient lighting
Natural ventilation for all areas except theatres Well lit passages
split window a/c for theatres Centrally air conditioned( 900 tonnes)
interiors with poster collages, extensive use of colour Grand interiors with stainless steel railings and tile
patterns and sign boards on every landing and
lobby space
Services 500 car parking space 45000 sq ft car parking space in the basement
1.parking no covered parking space provided 620 KV generators
2.generator 240 KV generators manual fire extinguishers
3.fire safety manual fire extinguishers fire escape stairs
fire escape stairs escalators, two lifts and three staircases
two staircases
Activities Avg. 25% crowd during weekdays Avg of 90% crowd per show
Avg. 90% crowd during weekends Special shows for students with concession
Special shows and private screening facilities Usually comes early and enjoy the space provided
Usually comes one hour before the show starts inside

Users Mainly teenagers People of every class

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4.4 CASE STUDY INFERENCES

4.4.1 INNOVATIVE MULTIPLEX BANGALORE

Innovative multiplex is comparatively of a smaller scale is located away from

the city. It has not much to do with city centre theatres.
The whole building is divided into three parts, commercial block, a theatre
block and a service block. Spaces are well demarcated and help in controlling
the traffic.
Interiors are well treated with photo collage covered columns and the bright
colours together brings dramatic environment for the viewers.
Main draw backs are
Lack of covered parking spaces
Poor acoustical treatment

4.4.2 PRASAD’S IMAX

Prasad’s IMAX is located at the centre of city and has become a land mark
building. The huge lobby space with large show rooms, and shopping areas
and food court flowing to the lobby makes the spaces an experience.
Circulation and traffic control has been taken due care. Parking is at the
basement and connected to lobby.
Entry to the multiplex and IMAX are separated. Each theatre there is two
entries and separate exits to parking, staircase and lobby.

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S I T E S T U D Y

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CONTENTS

5.0. SITE STUDY AND ANALYSIS

5.1. LOCATION 41

5.2. DISTANCES 41

5.3. AREA AND POPULATION 42

5.4. SURROUNDING STRUCTURES 42

5.5. SOIL CONDITION 43

5.6. HYDROLOGY 43

5.7. TOPOGRAPHY AND VEGETATION 43

5.8. CLIMATE 44

5.9. SITE PLAN 45

5.10. SITE ANALYSIS 46

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5.0 SITE STUDY AND ANALYSIS

The site is located at the centre of Calicut city, potential area for commercial
development with good accessibility and linkages. There is an existing theatre
in the site which is going to be demolished.

5.1 LOCATION
• The site is located at Mavoor Road, Calicut.
• The south side of the site is abutting Mavoor Road
• Latitude of 11 degrees 15N and Longitude of 75 degrees 49E

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5.2 DISTANCES
The airport is 23 kms, the railway station 1.5 kms, KSRTC station 300m, fire
station 3kms and police station 1 km away.

5.3 AREA AND POPULATION

• The district area is 2345 sq. km.
• The district population is 2612897
• The city area is 30.61 sq. km.
• The city population is 419531.

5.4 SURROUNDING STRUCTURES

The buildings surrounding the structure are of conventional type. There isn’t
any building of note worthy architectural style except, single/double storied
buildings with the combination of flat and sloping roofs. Brick is the building
material used.

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5.5 SOIL CONDITION

The site level is -50 from the road level
and gets water locked in the rainy
season. The soil is clayey in nature and
has high moisture retaining capacity. It
is of low bearing capacity and pile
foundation is needed. The ground level
should be raised to the road level for
proper drainage.

5.6 HYDROLOGY
In the summer season, the water
table is almost near the ground level.
In summer season the water table is
3-4m deep and raises in rainy season.
The sun path is from east to west
along the south direction.

5.7 TOPOGRAPHY AND

VEGETATION

The site is fairly flat. There is no

prominent level difference and slope.
The site has natural drainage towards
the west side. The water locked area
in the site has water plants. The other
plants are ground covers. There are
no good trees on site but lots of
waste land trees, with thorny bushes
at places.

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5.8 CLIMATE
Kozhikode has an annual temperature of 27.1° C. the monsoon is active from
May to October with an annual rainfall of 310.1 cm. The temperature goes
down in June – August, but the relative humidity goes up. The predominant
wind direction is westerly and south westerly.

35

30

25

20
max
min
15

10

0
jan feb mar apr may june july aug sep oct nov dec

100

90

80

70

60
max
50
min
40

30

20

10

0
jan feb mar apr may june july aug sep oct nov dec

900

800

700

600

500
monthly
400
rainfall
300

200

100

0
jan feb mar apr may june july aug sep oct nov dec

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5.9 SITE PLAN

Area – 10166.7 sq m (2.5 acres)

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5.10 SITE ANALYSIS

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P R O B L E M D E F E N I T I O N

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CONTENTS

6.0. PROBLEM DEFENITION

6.1. PROJECT REQUIREMENTS 47

6.2. GENERAL LAYOUT 48

6.3. AREA STATEMENTS 49

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6.0 PROBLEM DEFINITION

The proposed multiplex is to act as a one stop entertainment complex

incorporating shopping areas, food courts, gaming zones and other
recreational spaces. Kerala hasn’t seen state -of-the-art multiplexes as of yet.

The proposed complex being the first in Kerala ought to be a magnet,

thus generating more activity into the urban fabric.
The complex is to have 4 theatres, food court, shopping area exhibition
spaces and gaming zones which the area at present lacks, and is sure to
pump in people and their activities.
This complex ought to act as a landmark building, which will be one of
the major entertainment complexes in this area.

6.1 PROJECT REQUIREMENTS

1. Theatres with a combined capacity of 1600.

2. A mini screen of 90 capacities which can be used for private

screenings.
3. Food court of multi-cuisine food interspersed with fast food outlets,
coffee bars etc.

4. Shopping area, including showrooms, net browsing area, massage

centre etc.

5. Gaming zone , billiards, bowling alley, game ports.

6. An exhibition area (temporary space for stalls rented for handicraft or

art exhibition)

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6.2 GENERAL LAYOUT

• Forecourt
1. lobby
2. box office
3. food court
4. exhibition area
5. circulation

• Cineplex
1. theatres( 4 nos)
2. inner lobby
3. snack bar
4. toilets

• Shopping
1. show rooms
2. shops (on all floors)
3. restaurant

• Gaming zones
1. bowling alleys
2. snooker parlour
3. game ports

• Office

• Toilets(on all floors)

• Parking

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6.3 AREA STATEMENT

1. lobby 523.5 SQM

2. box office 25.0 SQM
3. food court 452.4 SQM
4. exhibition area 177.0 SQM
5. theatres( 4 nos) 1749.6 SQM
6. mini theatre 372.7 SQM
7. inner lobby (2nos.) 558.3 SQM
8. snack bar 27.4 SQM
9. toilets (2 NOS.) 56.5 SQM
10. toilets (2 NOS.) 73.24 SQM SHOPS
11. shops (on all floors) 1005.4 SQM
12. restaurant 429.34 SQM
13. bowling alleys 462.42 SQM
14. snooker parlour 163.13 SQM
15. game ports 229.3 SQM
16. Office 226.58 SQM

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C O N C E P T A N D D E S I G N
D E V E L O P M E N T

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CONTENTS

7.0. CONCEPT AND DESIGN DEVELOPMENT

7.1. SPATIAL ANALYSIS 50

7.2. CONCEPT 51

7.1.1. CONCEPTUAL SKETCHES 52

7.3. DESIGN 53

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7.1 SPATIAL ANALYSIS

PROXIMITY CHART

BUBBLE DIAGRAM

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7.2 CONCEPT
Design scheme mainly aim to blend urbanism
with entertainment, creating whole quarters
devoted to retail and commerce.
The project aims to create a vibrant, stimulating
development for Calicut’s biggest cinema
complex in the centre of city.
Broadly, there are two approaches to the modern
cinema — the out-of town box and the funkier,
more self-conscious, city-centre cinema — the
concept is to create a holistic environment for
the cinema: a world that feeds off corporate
recognition and familiar images.

The multiplex features five screens and a huge array of retail and leisure
facilities and aims to cater to cinema-goers of all ages and tastes, whereas
other theatres tend to cater to specific audiences. Multiplex provides art
exhibition areas along with the vast food courts and other recreational
facilities, and screens art-house alongside blockbusters in a way that is still
unfamiliar in the Calicut.
Structural glazing, stainless steel and masonry elevations of the new cinema
were in contrast with the neighborhood buildings around the site. The
enormous lobby with exposed steel sections, gaming zones penetrating into
the lobby area and collaged images of classical movie stars sets up grand
welcome to the movie lovers.

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7.1.1 CONCEPTUAL SKETCHES

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7.3. DESIGN

The whole design is conceived as three portions

A theatre block with five screens, theatre lobby, smokers lobby and with
controlled circulation.

A commercial block with huge array of shops and recreational zones

complemented by huge food court and restaurants. The public is made to walk
through the commercial block to the theatre block. Large circulation space,
collaged movie posters and movie trailers gives the walkways dynamic feel.

The third is the service block which includes the toilet blocks on every floor,
the A.H.U and other services.

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8.0 INTRODUCTION

The sound track of a film is complete in itself and ideal conditions for
listening to it would be a direct sound untrammeled by any acoustical
characteristics of the space in which it is played. The musical sound track of a
film is there not only to underline the dramatic mood but also to drown the
level of unwanted noise filtering from outside and caused by audience
coming in and leaving the auditorium.

8.1 INTRODUCTION TO ROOM ACOUSTICS

Room acoustic planning should ensure that optimum audible conditions are
created for listeners in rooms where speech and music are to be carried out.
Various factors should be considered, of which the two most important are
reverberation time, and reflections

8.1.1 REVERBERATION TIME

This is the time taken for the decay of a noise level of 60dB after the sound
source has been switched off
Evaluation is carried out over the range 5 to 35dB.

8.1.2 ABSORPTION SURFACE

The absorption surfa ce is determined by the amount of absorbing material,
expressed as an area having complete absorption (open window):
A=a
Where a is the degree of sound absorption from echo chamber measurements,
and S is the area of surface portion.
The reverberation time is calculated from the absorption surface from:
t = 0.163 x V ÷ a x S (after Sabine)

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8.1.3 ECHOES
When individual, subjectively recognisable peaks are superimposed on a
smoothly falling reverberation time curve - these are described as echoes.
Various values of time and intensity apply as the echo criterion for speech and
music. Rooms devoted to music should have a longer reverberation time, but
are usually regarded as less critical from the point of view of echoes.

8.2 REQUIREMENTS F OR A ROOM

8.2.1 REVERBERATION TIME

The optimum value for reverberation time is dependent on the particular use
and room volume. In general, reverberation time is frequency-dependent
(longer at low frequencies, shorter at high frequencies.)
For 500 Hz, surveys have shown that approximations may provide optimum
values

8.2.2 SPEECH INTELLIGIBILITY

This is used to judge the degree of audibility of the spoken word. It is not
standardised, so various terms — sentence intelligibility, syllable
intelligibility, evaluation with logatomes — are usual. In determining the
intelligibility of speech, a number of collectively heard individual syllables of
no significance (logatomes such as lin and ter) are noted; the correctness is
used to make an assessment — a score of more than 70% implies excellent
speech intelligibility. Newer, objective methods make use of modulated noise
signals (RASTI method) and lead to reproducible results at low expense.

8.2.3 IMPRESSION OF A SPACE

This is determined by the reception of reflections with respect to time and
direction. For music, diffuse reflections are favourable for sound volume,
while early reflections with delays of up to 8Oms (corresponding to 27m path

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difference) with respect to the direct sound promote clarity. Speech requires
shorter delays (up to 50 ma) so as not to degrade the intelligibility.

For the music listener, early sideways reflections are better than ceiling
reflections, even at very low delay times (asymmetry of the acoustic
impression), since each ear receives a different signal. Narrow, high rooms
with geometrically reflecting walls with multiple angles and diffusely
reflecting ceilings are the simplest from the point of view of room acoustics.

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8.3 PRIMARY STRUCTURE OF ROOMS

Volume is application dependent. 122: 4m3/person for speech, 18m3/person
for concerts; too small a volume results in insufficient reverberation time.
Narrow, high rooms with walls with multiple angles (early sideways
reflections) are particularly suitable for music. For early initial reflections and
balance of the orchestra, reflection surfaces are needed in the vicinity of the
podium. The rear wall of the room should not cause any reflections in the
direction of the podium, since these can have the effect of echoes. Parallel,
planar surfaces should be avoided, to prevent directionally oscillating echoes
due to multiple reflections .
Providing projections in the walls, at angles greater than 5°, avoids parallel
surfaces and allows diffuse reflection to occur. The ceiling serves to conduct
the sound into the back part of the room and must be shaped accordingly. If
the ceiling shape is unfavorable, large differences in sound intensity occur due
to sound concentrations. Rooms where the walls are further apart at the back
than at the front of the room produce unfavourable effects, since the
reflections from the sides can be too weak; this disadvantage can be
compensated by the using additional reflection surfaces or the walls may be
provided with pronounced folding to guide the sound.
Providing an upward inclination of the seating levels, to obtain a uniform level
of direct sound at all seats gives better visibility and acoustics; the slope of the
seating levels should follow a logarithmic curve.

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8.4 SECONDARY STRUCTURE

Reflection surfaces can compensate for an unfavourable primary structure:

projections on the surface of walls which diverge, ceiling shapes produced by
hanging sails or the use of individual elements.
Absorbing surfaces avoid sound concentrations, and allow the reverberation
time to be matched to the required value. A suitable alternately reflecting and
absorbing surface has the same reflecting effect as that produced by making
the surfaces highly uneven, at strongly contrasting angles.
Curved surfaces can cause a focal point to develop (dome). Semi- circular
rooms are particularly unsuitable due to a 3D concentration of the sound, if the
centre of the circle is at the same height as the podium; however, this can be
avoided by shaping the ceiling curvature so as to achieve a very good sound
reflection characteristic . Surfaces from which echoes are anticipated must
produce diffuse reflections, i.e. they must scatter the incident sound.
Diffuse reflections le ad to smooth, uniform reverberation time curves due to
the uniform distribution of the resulting sound. Subdivision of the surface with
folds at angles greater than 5° is needed. Strong surface features, such as
breasting or recesses, are equally effective, due to the division of the sound
waves or non-simultaneous reflections.

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Reverberation time (based on the formula after Sabine) is given by:

0.163xVa
In halls, the degree of sound absorption, determined using standard methods
has a value between 0 and 1. Reverberation time is calculated for frequencies f
of 125Hz, 250Hz, 500Hz, 1000Hz, 2000Hz and 4000Hz, but assessments of
the mean reverberation time refer mostly to a value at 500Hz. The calculation
allows for all the specific values for individual surfaces, persons, seating and
decoration. Frequently, the attainable reverberation time is determined solely
from the absorption of the number of persons and of the seating. To make the
reverberation time more independent of the number of persons, the type of
seating material must exhibit the greatest possible absorption, both on the seat
and the back of the seat, so that the absorption characteristics of the seating are
the same when unoccupied as when occupied. Additional absorption surfaces
for high frequencies are then required only if the specific volume is
considerably exceeded. If the room volume and the seating are correctly
determined, it is usually then only necessary to correct the reverberation time
at low frequencies; adjustment is achieved through combining surfaces with
different characteristics, and these are determined from their structure:
Resonant surfaces absorb low frequencies. Surface area, separation and the
level of filling of cavities are varied for fine tuning.
Surfaces with openings in front of cavities mainly absorb medium frequencies
(Helmholtz Resonator). The proportion of the surface occupied by the hole,
the volume of the cavity and the attenuation of the cavity determine the
frequency, level and form of the maximum absorption.
Porous materials are used for the absorption of higher frequencies. Thickness
and porosity of finishing layers influence the absorption of lower frequencies.

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8.5 THEATRE ACOUSTICS

Theatre acoustics involves

Isolation from external sources
control of sound within a space

8.5.1 SOUND IN ROOMS

Direct sound
Early reflections
Late reverberant sound

When a sound source is placed within an enclosure , reflection of the sound

wave traveling outward from the sound source occurs at the boundaries
themselves and the sound waves continue to reflect between the boundaries
themselves.
If the sound source is continuous, this reflection of sound will establish
relatively constant levels within a normal sized room.
These built up or reverberant levels are dependent on the amount of absorption
of sound energy that takes place at each encounter at the sound wave with the
enclosing faces.
Most hard surfaces (concrete, plaster, glass etc) absorb very little sound
and are termed as sound reflecting surfaces. Other materials( usually
porous or thin panels) absorb appreciable amount of sound and are
termed sound absorbing material.

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8.6 SOUND ISOLATION

Control of the transmission of unwanted sound into any space within a

building is called sound isolation.
Involves reduction of sound level which are of greater orders of magnitude
that can be achieved by either absorption or separation of noise sources from
the listener.
These large reductions of sound level from one space ot another can be
achieved only by continuous and massive impervious barriers and if the
problem involves structure borne sound as well it may be necessary to
introduce discontinuities or resilient layers into the barrier also.

8.6.1 STRUCTURE BORNE NOISES

Structure born sound waves travel quite efficiently from one part of a rigid
structure to another .if the level of sound or vibration energy which excites
these waves are strong enough they may be radiated as air-borne noises from
the structure.

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8.6.2 SOUND ISOLATION FOR AIR CONDITIONING

SYSTEMS AND EMPLOYMENT

Noise due to air conditioners is air-borne and that due to mechanical systems
are structure borne. Ducts can carry noises to occupied spaces unless proper
mufflers and sound absorbing linings are used.
The walls floors and ceilings of mechanical equipment rooms should be of
heavy concrete and masonry construction with careful attention to air tight
seals at all openings and penetrations. Wherever ducts, pipes or conduits
penetrate a wall, floor or ceiling of a mechanical equipment room there should
be a clearance of 12" all around that is fitterd with a soft fibrous material.
Doors to these rooms should be heavy, solid construction without grills and
with complete air-tight gaskets. Heavy compressors and other large pieces of
floor mounted equipment should be located on slab on grade. If possible floor
mounted equipments are always placed on “house keeping “pads about 4”
high.

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REFERENCE

• Kevin lynch and Gary hack, site planning, 1984, The MIT press,
London.
• Ernst Neufert, Sethi e Tongue, Drug Abuse In India, Series 2.
• Joseph Chiara and John Calender, Time saver standards for Building
Types, 1983, McGraw Hill International Book Company.
• Knudsen and Harris, Architectural Acoustics.
• Roderick Ham, Theatres.
• Cinema Builders, Compilation work.
• Kerala Municipality Building rules, 1999.
• Bye Laws for Construction of Cinema Build ings, The Kerala Cinema
(regulations) Rules, 1997.
• Deconstruction in Architecture.

WEB

• www.theatres.com
• www.acoustics.com
• www.dts.com
• www.esplanade.com
• www.dierraworld.com
• www.thetarelightings.com
• www.inox.com
• www.e2.com

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