ERATO Proceedings Istanbul 2006.pdf - Odeon

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interest, as to improve the hearing comfort of the public in old theatres. For acoustical reasons, and in order to take advantage of the design of the ancient theatres: • Restoration and anastylosis of the stage is recommended. • Restoration and anastylosis of the colonnade (portico) to improve the strength of sound in some cases is recommended. • The source positions sound preferably is on the proscenium near the scene wall – not in the orchestra. • Not to use the orchestra as seating area for the audience to improve the reflections from the orchestra floor. • To avoid echo problems, the best positions of loudspeakers are on the orchestra – but then the sound distribution is uneven, quite weak in remote seats [10]. 9 SUMMARY and CONCLUDING REMARKS As general approach for modern use of ancient theatres and odea must respect and deals with four main components: the site needs, visitor needs, audience needs, local community needs and the needs of theaters, odea and the whole site. As places of cultural significance ancient theatres and odea should achieve a compatible use, which means a use which respects the cultural significance of a place. Such use involves no, or minimal, impact on cultural significance through a balance between these four needs. New use of ancient theatres and odea should involve minimal change, to significant fabric and use; respect associations and meanings; and where appropriate should provide for continuation of practices which contribute to the cultural significance of the place. Technical studies must extract the old technologies that are found in theater and odea designs such as acoustic system, lighting and distribution of seats inside theaters. This because places and collections for heritage significance should be promoted and managed in ways which protect their authenticity and enhance the visitor experience by minimising fluctuation in arrival and avoiding excessive numbers of visitors at any one time [1] (principle 6.2). While the cultural significance of many theatres is not readily apparent, it should be explained by interpretation. Interpretation should enhance understanding and enjoyment, and be culturally appropriate by: 1. Serving the purpose for which they were originally designed the use to which they are put gives them all their meaning by updating their function; Whatever the type of event, it is essential to take account of the site's vulnerability and for also for performances to help enhance the heritage and arouse the audience's interest in the ancient site. 2. Manage the ancient theatres within the present &future perspective of development by contributing to local development. 3. To preserve places of authentic scientific information. Use of sites as a means of enhancement, restoring the stage to its original level and layout in ancient times; 4. To Infuse ancient theatres with their full role of places of artistic creation, shared enjoyment and emotion. 5. Enhancing the sites by using them. Modern use must achieve a Sustainable site with systematic site planning. The American Institute of Architects defines sustainability as the ability of society to continue functioning into the future without being forced into decline through exhaustion or overloading of the key resources on which that system depends. 80
References [1] ICOMOS - International Cultural Tourism Charter, Managing Tourism at Places of Heritage Significance, 1999. [2] Izenour, G. C., Roofed Theaters of Classical Antiquity, Yale University Press, London, 1992. [3] The Australia ICOMOS Charter, for the Conservation of Places of Cultural Significance: The Burra Charter, 1999. [4] ICOMOS - Principle for the Analysis, Conservation and Structural Restoration of Architectural Heritage, 2003. [5] ICOMOS - Charter for the Protection and Management of the Archaeological Heritage [6] Verona Charter on the Use of Ancient Places of Performance, adopted at the International Colloquy held in Verona, Italy, August 1997-98. [7] ICOMOS- Ename Charter, for the Interpretation of Cultural Heritage Sites, Third Draft, 23 August, 2004. [8] The Athens Charter, for the Restoration of Historic Monuments, 1931. [9].The Venice Charter, International Charter for the Conservation and Restoration of Monuments and Sites, 1966. [10] Vallet, M., Vincent, B., Nielsen, M. L., “Report on the Assessment of the Virtual Environments”, <strong>ERATO</strong> Deliverable 9.4., November 2005. ACKNOWLEDGEMENT <strong>ERATO</strong> -Identification, Evaluation and Revival of the Acoustical Heritage of Ancient Theatres and Odea- Research Project (ICA3-CT-2002-10031), is being supported by the European Commission, within the “Confirming of International Role of Community Research - INCO MED”. 81
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THE ERATO PROJECT AND ITS CONTRIBUT
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3 ROOM ACOUSTICAL PARAMETERS The fo
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4.2 Reverberation Time T 30 vs. Fre
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5.1 Aosta & Aphrodisias Odeon The A
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5.3 Strength G vs. Distance 16,00 1
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VITRUVIUS AND ANCIENT THEATRES: ANA
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Actually the colonnade (portico) im
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VIRTUAL REALITY AND ARCHITECTURAL C
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As a result, maybe the most critica
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The absorption and scattering prope
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Figure 3. Sound sources and receive
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In Figure 5 the reverberation time
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ACOUSTICAL MEASUREMENTS IN ANCIENT
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Page 79 and 80: ANCIENT THEATRES AND ODEA AND CRITE
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