ERATO Proceedings Istanbul 2006.pdf - Odeon

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2.2 Aphrodisias Roman Odeon, Antalya, Turkey The Aphrodisias Roman Odeon had a volume of 20190 m3 and a seating capacity of approximately 1700 people. The computer models of this odeon, shown on Figure 2, were based on the reconstructions suggested by Izenour [6] and the number of surfaces used was 5058. Changes on the shown parts were studied in the simulations. The roof was made of a timber structure hidden and decorated with a coffered ceiling. It was tested how the coffered structure influenced the acoustics by replacing it with a flat roof. The windows were usually open but had also wooden shutters that could be used depending on the weather conditions. The effect of closing the windows was studied. Coffered ceiling Windows Orchestra Audience Figure 2: Acoustical model of the Aphrodisias odeon in its Roman era with indication of geometries of acoustical interest 3 SIMULATION RESULTS The simulations in the Aspendos open-air theatre were made with 500000 rays and in the Aphrodisias Odeon with 100000 rays. The greater amount of rays in the open-air theatre was needed due to the simulated “open-air” effect (a totally absorptive roof was introduced representing one third of the total surface area). The theatre models have been simulated as fully occupied in order to be able to make comparisons with existing concert halls. Contrary to today’s halls, the acoustics of the Roman theatres differ dramatically when empty and full as the seats are not upholstered. In all the simulations the sound sources are omni directional and they are placed on the acting stage. There are 15 receivers distributed in two radial lines diverging from the orchestra as shown in the theatre model of Aspendos in Figure 3. 22
Figure 3. Sound sources and receivers in the Aspendos theatre. In the Aphrodisias Odeon the placement of sources/receivers follow the same distribution. As mentioned before, the parts judged to be of acoustical interest were subtracted one at the time from the reconstructed model. The reconstructed model is hereby mentioned in this paper as the Reference model. 3.1 Aspendos Open-Air Theatre 2,5 2 T30 (s) 1,5 1 0,5 0 Ref model No stage reflector Flat stage wall No colonnade No stage wall Absorptive Orchestra 63 125 250 500 1000 2000 4000 8000 Freq (Hz) Figure 4. Simulated reverberation time T 30 as a function of 1/1 octave frequency bands In the acoustical simulations of the reconstructed Aspendos Roman theatre, the reverberation time at mid-frequencies is shown in Figure 4 to be of 1,8 s. In all the configurations the simulations show that the reverberation time is around 0,5 s higher at low than at mid-frequencies. The tendency towards a lower reverberation time at higher frequencies for all configurations is mainly due to air and audience absorption. For being an open building it should be noticed that there is a considerable reverberation in the room. The stage wall and the colonnade seem to be the largest contributors to the reverberation time. By removal of these parts the reverberation time is seen to fall substantially, particularly at lower frequencies. 23
Page 1: RTD project in the EC 5th Framework
Page 7 and 8: THE ERATO PROJECT AND ITS CONTRIBUT
Page 9 and 10: 3 ROOM ACOUSTICAL PARAMETERS The fo
Page 11 and 12: 4.2 Reverberation Time T 30 vs. Fre
Page 13 and 14: 5.1 Aosta & Aphrodisias Odeon The A
Page 15 and 16: 5.3 Strength G vs. Distance 16,00 1
Page 17 and 18: VITRUVIUS AND ANCIENT THEATRES: ANA
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Page 21 and 22: Actually the colonnade (portico) im
Page 23 and 24: VIRTUAL REALITY AND ARCHITECTURAL C
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Page 27: The absorption and scattering prope
Page 31 and 32: In Figure 5 the reverberation time
Page 33 and 34: ACOUSTICAL MEASUREMENTS IN ANCIENT
Page 35 and 36: channels four different signals, on
Page 37 and 38: The clarity for music C80, whose pl
Page 39 and 40: References [1] EU Project ERATO - I
Page 41 and 42: 2.1 The Greek Theatre The GE theatr
Page 43 and 44: 4 MEASUREMENT SETUP A high frequenc
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Page 51 and 52: Table 1. Theaters and odea to work
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Page 59 and 60: Interactive visualization of the As
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Page 63 and 64: 3.5 Real-time Illumination with ‘
Page 65 and 66: correlation between the parameters
Page 67 and 68: Third, once the texturing and garme
Page 69 and 70: [19] Tecmath AG. Avilable from http
Page 71 and 72: 2 Crowd Engine Resume The crowd eng
Page 73 and 74: 3 Scenario Authoring Since the begi
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Page 77 and 78: 3.4 Results To conclude, Fig 6 illu
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ANCIENT THEATRES AND ODEA AND CRITE
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3. Conferences and Receptions: Oran
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6 CHARTERS and the USE of ANCIENT P
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7. Interpretation and presentation
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References [1] ICOMOS - Internation
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The measurements performed by UNIFE
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1.3 Assessment of acoustic preferen
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Distance 90,0 80,0 70,0 60,0 50,0 4
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Multiple Regression « Speech » R2
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References 1] Barron, M: 2004 The c
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YTU Theatre Club “Male Group Acto
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