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Table of Contents

Chapter I - Introduction Objectives of the study Significance of the study Scope and Limitation

Chapter II - Review of Related Literature Ilonggo Culture Brief History of Iloilo Theater Performing Arts Groups in Iloilo City Case Studies Jackson Hole Center for the Arts Performing Arts Pavilion Margot and Bill Winspear Opera House The Cultural Center of the Philippines The New Artists Center & the New Performing Arts Theater Of CCP Situational Analysis West Visayas Cultural Center Rose Memorial Auditorium,CPU Chapter III Methodology Timetable Site Selection and Investigation Conceptual Framework Chapter IV - Presentation of Analysis and Results Chapter V - Presentation of Analysis and Results Site Analysis/ SWOT Analysis Design Consideration and Space analysis Space Programming Theories Conceptual Programming/ Evolution Recommendations/ Conclusions Theories Conceptual Programming/ Evolution

References

Acoustics (marshal long,2006,architectural acoustics) Reverberation the sound that remains in a room after the source is turned off. It is characterized by the reverberation time. Concert halls Reverberation times in the concert hall ranges from 1.5 to 2.2 seconds with preferred values between 1.8 to 2.0 seconds. To attain long reverberation times, the ceilings of concert halls are high, 15 m (50 ft) or more, and diffusive, with coffered patterns having deep (15 cm or 6 in ) fissures. Side walls are adorned with columns, caryatids, statury, and convex shapes that help diffuse the reflected energy. General design considerations 1. The source should be elevated above the seated audience so that sight lines are clear of obstruction. 2. A sound system capable of reproducing the full program frequency range must be incorporated into the design. The loudspeaker layout should be arranged so that the talker is the perceived origination point. 3. Where unamplified music is part of the program, the singers or musicians should be aided by nearby reflective surfaces both overhead and on either side. These can be integrated into the design of the structure, suspended above the players, or built into a moveable shell. Musical insruments supporting the singers should be located near them, so htere is no great time difference between the two. 4. The floor should be raked to provide every other row sight lines of the APS. 5. The room volume and absorption should be controlled to achieve reverberation time consistent with the program. Padded seating must be used to minimize the differneces between the empty and occupied conditions. Room reverberation must be controlled to limit the loudness of large groups. 6. Background noise levels should be limited to NC 25 in small (< 500 seats) auditoria and tio NC 20 in the opera houses and drama theaters. In large concert halls it should be limited to NC 15. (Long, 2006) Balcony Balconies allow more of the audience to be seated close to the stage and limit the slope of the orchestra seating. Balcony overhangs must be controlled to allow the reverberant sound to reach the seats beneath them. Beranek suggests a depth - to- opening ratio of one for concert halls and two for opera houses. For speech, balcony overhangs can be deeper without undue degredation. A two-to-one depth to opening ratio is acceptable. A slightly convex unde-balcony ceiling can help redirect sound into the shielded area. Likewise a rising leading edge at the front of the balcony is also helpful.

Ceiling design The ceiling of an auditorium is more complicated than those found in a lecture halls. A flat ceiling can yield excellent results for speech if it is not too high and and if the floor and lecture halls, particularly when the floor is flat or slightly raked, a shaped ceiling is helpful. The surface above the proscenium arch is particularly important. The first reflecting surface should be convex and horizontal at the proscenium wall. Such a shape aides in the reflecion of sound to the seats in the center of the orchestra section, which is most difficult to cover. Consequntly there is a scramble for he ceiling space in the third of the ceiling losest to the proscenium, which must include passive acoustical reflectors, loudspeakers, catwalks, and theatrical lighting. Ceiling reflectors can be flat or convex shaped but are not concave or coffered. Reflectors should be large enough that the frequencies of intrest scattered more or less specularly.

Visual surveillance refers to the security staffs ability to see and/or record events taking place in and near the perimeter area . Access Control are procedures for stopping, identifying, and/ or searching people attempting to gain entrance to a facility. Persons ot meeting the criteria for authorized access are denied entrance to the facility.

A good security design integrates the buildings purpose and operation with protection against real and likely threats through design, technology and operational actvities and procedure. Security personnel must have visual access to the perimeter area to detect events signaling an imminent attack. Futhermore, visibile security surveillance is a deterent to potential attackers, who may decide to choose a softer target. Effective surveillance is conducted by people on foot or in guard posts maintaining a constant view of the perimeter area. Cameras or other technological devices may be used to extend sexurity staffs view and record activities. In addition, members of the public can become a source of information about activities that are significantly out of the ordinary for a given area.

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