Multi-use of small performance halls - case studies of modern cultural facilities in Poland

Marcin Gierbienis, Magdalena Teresa Kozień-Woźniak

doi:10.37190/arc240208

Abstract

Contemporary architecture is expected to meet not only functional goals and high aesthetic quality, but also to take into account changing social needs, which is in line with the trend towards sustainable building. It is therefore important to consider the idea of multifunctionality when implementing new developments, especially in small towns. The subject of this paper is the analysis of three buildings in Wieliczka, Dąbrowa and Pszczyna, in which the aspect of multifunctionality was considered differently. At the same time, the discussed examples will benefit researchers, investors and designers alike, as they present specific architectural aesthetic and technological solutions related to the realization of small auditoriums – a subject that is rarely dealt with in scientific publications. The main aim of this paper was to draw attention to the need for an individual approach to the design process and a multi-criteria search for optimal design solutions for the hall, moving away from standardization. Finally, the realization of small multifunctional performance space fits in with the idea of sustainable development, which is based on combining the needs of the present generation with the ability to meet the needs of future generations.

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Marcin Gierbienis*, Magdalena Teresa Kozień-Woźniak**

Multi-use of small performance halls

– case studies of modern cultural facilities in Poland

Introduction

One of the simplest descriptions of modern times is its

mutability and the dynamic functioning of society, which

is completely dierent from the end of 20

century. At the

end of the 1980s, Zygmunt Bauman introduced a vivid

characterization of society as a consumerist one. Bauman

strongly emphasized the omnipresent praise of transience

and disdain for permanence. He noted that the short lifes-

pan of products was protable for the system, as it directly

led to their faster replacement with new ones and thus in-

creased market turnover and strengthened consumption [1].

Nowadays, the material durability of a given building is

understood in a dierent way. It is seen as susceptibility

for reconstructing form, function and often the structure

itself. That way, architecture ts in the existence of modern

DOI: 10.37190/arc240208

Published in open access. CC BY NC ND license

– consumer society in which the life cycle and processes of

reproduction happen more quickly. The quicker we exploit

certain objects, the quicker architecture should oer possi-

ble changes. The idea of building for the sake of durability

is a debatable matter and multi-use seems like a perfect

solution. In a period in which both tech nological evolution

and changes in the functioning of societies are visible, the

expectation that an object can serve in the long term and be

able to adapt to the needs of the recipient is very important.

The fact that many buildings seem unnecessary is start-

ing to become apparent in cities. New needs appear which

were not there before and they cannot always function in

an existing building. In this eld, it is desirable to apply the

idea of multi-use [2].

Multifunctionality is particularly important in public

architecture, which should be responsive and adaptable to

changing social needs. The aim of this paper is to present

contemporary cultural facilities with multifunctional spac-

es, highlighting the variety of possibilities for implement-

ing technological and architectural solutions. The case

study of Polish buildings in Wieliczka, Dąbrowa, Pszczyna

specically addresses the location and investment needs in

* ORCID: 0000-0003-2822-2695. Faculty of Architecture, Cra-

cow University of Technology, Poland, e-mail: marcin.gierbienis@

pk.edu.pl

** ORCID: 0000-0003-3102-4876. Faculty of Architecture, Cra-

cow University of Technology, Poland.

Abstract

Contemporary architecture is expected to meet not only functional goals and high aesthetic quality, but also to take into account changing social

needs, which is in line with the trend towards sustainable building. It is therefore important to consider the idea of multifunctionality when implement-

ing new developments, especially in small towns. The subject of this paper is the analysis of three buildings in Wieliczka, Dąbrowa and Pszczyna,

in which the aspect of multifunctionality was considered dierently. At the same time, the discussed examples will benet researchers, investors and

designers alike, as they present specic architectural aesthetic and technological solutions related to the realization of small auditoriums – a subject

that is rarely dealt with in scientic publications. The main aim of this paper was to draw attention to the need for an individual approach to the design

process and a multi-criteria search for optimal design solutions for the hall, moving away from standardization. Finally, the realization of small mul-

tifunctional performance space ts in with the idea of sustainable development, which is based on combining the needs of the present generation with

the ability to meet the needs of future generations.

Key words: performance hall, sustainability, multi-functional buildings, multi-purpose buildings

74 Marcin Gierbienis, Magdalena Teresa Kozień-Woźniak

relation to medium-size cities, where one building is likely

to full multiple purposes. The article identies examples

of spatial and aesthetic solutions, as well as technological,

electrotechnical and, nally, acoustic solutions, which are

closest to understanding the dierent approaches to the use

of the performance hall.

Performance halls in the need of multi-use

It can be argued that the future of the performance halls

lies in extending their usability with multi-use, as one of the

basic issues in contemporary architectural design. In mod-

ern cities, there have been many cultural venues, as well

as several independent ones for concerts and other events.

These were usually large buildings with very specic pa-

rameters based on the main purpose, i.e., the organization of

a conference meetings, theatrical performances or cinema

screenings. Nowadays, we notice a greater emphasis on uni-

versal and at the same time varied use, which is due to both

economic and practical factors – allowing their eciency.

Multi-use is thus becoming one of the principles of the cur-

rent needs of cities, especially small and medium-sized ones

in which cultural facility is also the only place where resi-

dents can participate in various types of shows.

The authors of this paper introduce separate denitions

of multi-use of performance halls design, as multi-func-

tionality and multi-purpose. Multi-purpose is the ability to

use a room for specic functions by adapting it through

appropriate design. Whereas in multi-functionality, design

solutions aim to achieve a high degree of exibility. There-

fore, the approach to the design strategy must be dierent,

taking into account economic factors and the potential for

introducing variable acoustics.

The notion of multi-use of performance halls is current-

ly discussed in the broad context of sustainable develop-

ment, both in the study of the landscape and the city and

understood as creating a project that could undergo mod-

ications in the future [3]. Sarah Taylor Lovell and John

R. Taylor compared the concept of the sustainable devel-

opment with that of the multi-functionality. The sustain-

ability is represented by the overlapping of environmental,

economic and social pillars, whereas multi-functionality

is envisioned as the stacking of ecological, production

and cultural functions to achieve greater overall perfor-

mance. In this perspective, the concept of multi-function-

ality means a space that allows dierent forms of use at

dierent times. This approach diers from the concept of

multi-purpose, which denotes spaces designed for dier-

ent activities, denoting the functional exibility of a space.

The design of multi-functional performance halls requires

a new approach that includes both a focus on economic

performance and the specicity of social needs [4].

The most challenging part of multi-use halls is the con-

cept of making them optimal and suitable for every audi-

ence while keeping the expenses at the level that is prot-

able for the investor. Executing a good performance design

requires the right strategy to operate in many elds. In terms

of architecture, the project requires a exible approach and

creative solutions, allowing changes in layout, for instance

moving walls, folding audience stands, moveable cladding

and other specic elements. Preparing the stage in a small-

er hall always needs a specic approach with regard to

the limited area, while in larger spaces the solutions seem

mostly universal. A very important matter is the attention

to details and consideration of lighting, speakers, reectors

– elements that are potentially mobile. Various types of po-

tential functions are also connected to a dierent approach

to acoustics. Creation of modied acoustics is possible

thanks to its proper design, starting from the cubature,

construction, placement of the audience, together with the

usage of specic linings, for instance, sound-absorbing

panels or curtains. Changing acoustic conditions are a cru-

cial element for any multi-functional hall. Important issue

is also nding compromising solutions, connected to the

principles of utility, general functionality, and economic

conditions [5].

Jerald R. Hyde pays attention to the signicant mean-

ing of Leo Beranek’s concept of the performance space that

could be on the one hand, technical, and on the other, inti-

mate with an attempt to specify objective attributes that can

inuence the quality of an architecture. One of the author’s

ideas is to dene the sensation of intimacy in the context

of acoustics, introducing the idea of experiencing, for ex-

ample, music as an intimate and personal phenomenon.

Beranek referred to the origins of music, to the times when

it was performed by a small group of musicians in front of

a small audience in a small room. Such a venue can evoke

a sense of acoustic and visual intimacy; while a large hall

can only aspire to a achieve a similar eect if surfaces and

spotlights can provide impression of a smaller space [6].

When designing a multi-use space, the need for an au di -

torium must be determined, the specic and form of which

must be related to the main function of the hall, in accor-

dance with the principles of sound reception and visibility.

Concepts connected to the form and the character of the

audience can be found in numerous exemplary researches

of Jin Yong Jeon et al. who analysed the co-dependency

between the size and the form of stage and the acoustics

in the audience, based on various examples included in

their research. The surface of the stage oor and the walls

changes, depending on the general volume that the stage

takes in the concert hall, which impacts the overall sound

absorption of the room. The factor of sound absorption

of the internal nishing of the hall is a critical indicator,

that estimates the sound-absorbing possibilities of a given

room. The size and the shape of the stage also have a major

inuence on the acoustic parameters of a performance hall.

The factor of sound absorption, together with the room

surface being enlarged, has the most signicant inuence

on reverberation, clarity, and volume of sound [7].

A large number of researches refers to the adaptation

possibilities of already existing facilities, that despite being

in use, cannot be called multi-functional. An example of

such research is the Halil Z. Alibaba and Mesut B. Özdeniz

analysis of the Lala Mustafa Pasa building. Its classical-

ly built auditorium (in terms of form) has faced problems

with acoustics and listeners’ comfort, that were caused by

dierent ways of space usage. Excessive timing of rever-

beration does not provide proper conditions for listening

to music, and in reality, it makes the music sound indis-

Multi-use of small performance halls – case studies of modern cultural facilities in Poland 75

tinct. Research preparations, measuring of parameters, and

acoustic simulations have allowed the researchers to create

optimal solutions that could be applied. At the same time,

it was established that there is no possibility of changing

the placements of seats because only when they are perma-

nently in place, the acoustics can work properly [8].

Designing small performance halls

– case studies

The implementation of architectural and technical solu-

tions in the process of designing small performance hall

as multi-use space is presented on the example of three

case studies – facilities located in Poland and designed by

Kozień Architekci, architectural oce, whose activities

are focused on public utility architecture. Each of the ob-

jects has the character of a cultural facility with a multi-use

space of similar size reaching 550 m

. At the same time,

each represents a dierent example of implementation in

terms of functional program, form and aesthetics.

Overall architectural concept

and the accessibility of the performance hall

The rst case is a replacement interior design for the

Mediateka in Wieliczka (1

oor plan with cross-section

is visible in Fig. 1), which was built in 2017 according to

strict architectural conservation guidelines as a two-sto

ry corner building with a classicist-style character, meant

to supplement the square of the Konopka Family Palace.

The client

wanted to preserve the existing structure of the

hall, which was planned as a cinema, improving its architec

tural and acoustic properties. The project aims at evaluating

multi-purpose aspects of the hall by presenting it in two vari

ants – cinema layout option and conference layout option.

The hall occupies the western wing of the building and

was designed to be accessible both from the ground-oor

hall and the rst-oor foyer, which link both of the build-

ing’s wings – the hall and the library. When the hall is to be

used as a cinema, the audience enters through the ground

oor and leaves through exits that lead directly outside.

During other performances, the ground-oor entrance can

be used by performers, who enter through a vestibule that

is the foyer for the artists. The audience enters the hall

through the 1

oor.

The second case is the Intangible Cultural Heritage

Centre

(ICHC) in Dąbrowa (underground oor plan with

cross-section are visible in Fig. 2). The compositional lay-

out of the building is composed of a sloping surface divided

into “quarters”, which is a sort of a continuation of the ex-

tant form of the park. The facility combines a multi-func-

tional hall with exhibition space, library, educational rooms

and workshops. The main foyer is a space that directs visi-

tors to the workshop space on the upper level, including the

multipurpose room and educational halls. The hall’s back-

room is accessible from the lower level.

Third case is the Cultural Centre in Pszczyna (1

oor

plan with cross-section is visible in Fig. 3), the facility opens

in January 2024. The architectural concept is inscribed with

its mass in the composition of the green park complex. The

space under a suspended green roof leads us into the homo-

geneous space of the object’s lobby – an access to the main

hall, cinema hall and checkrooms. Audience access to the

hall is possible through doors at the level of the lower hall

and the upper hall (in line with the roof garden level).

The stage-auditorium layout,

flexibility and visibility assumptions

The Wieliczka Mediateka hall (Fig. 1) due to its im-

plementation in an already existing structure had its lim-

itations, which did not allow for the expected diversity.

Finally, the hall has a xed, monodirectional stage-audito-

rium layout – the eect of a modied design for an already

existing stand. The auditorium features 184 permanent

seats and 2 spaces for special needs persons. The entrance

to the auditorium from the ground oor leads along two

symmetrical vomitoria and one central passage. The sec-

ond entrances lead from the vestibule located underneath

the projector booth on the 1

oor. The stage, measuring

12 × 6 m, does not have a raised deck.

The replacement design introduced a change to the vis-

ibility of the stage. In the original version, the layout of

the auditorium seats only provided proper visibility of the

cinema screen. It did not meet visibility criteria for perfor-

mances (stage oor visibility). The change to the elevation

of the auditorium seats included making its lower section

atter, while elevating its upper section (based on the log-

arithmic visibility curve).

The change of the design of the existing hall meant there

were limitations as to how the backstage section could be

designed. The building’s envelope had already been built,

and the stage section was located at the back end of its

functional layout. A solution was to create a small space

for the performers underneath the auditorium deck (the

space was obtained by changing the support structure of

the auditorium from a steel one to a concrete slab), with

entrance onto the stage through side vomitoria. This made

it possible to separate the circulation of the audience from

that of the performers. The entrance on the ground oor

could be used as a waiting room for performers, while the

audience would enter through the entrance on the 1

oor.

The exibility of the layout is based on the use of black

curtains, which can aect the acoustics, as well as the char-

acter of the interior itself. In cinema layout curtains cover

the side walls. In performance layout curtains cover the

screen on the frontal wall, with side walls featuring wood-

en oak panels that are uncovered.

The multi-functional hall in ICHC Dąbrowa (Fig. 2) is

the space that was planned as a multi-functional at-oor

layout across the entirety of its area. The hall can accom-

modate an audience of 216 and 50 performers with the use

of telescopic stands that can be folded and retracted into

a prepared recess to achieve dierent stage-auditorium

layouts. The telescopic stands were designed so as to pro-

vide visibility of the entire stage oor. Technical galleries

were placed along the side and back walls of the audience

stands. Apart from the hall itself, the exhibition space and

rehearsal hall, both located in the immediate vicinity of the

multi-functional hall, are also multi-functional in character.

76 Marcin Gierbienis, Magdalena Teresa Kozień-Woźniak

They can be used during events held at the multi-functional

hall, for instance as its foyer or reception hall. The back-

stage section of the performance hall features a delivery

space, sta facilities, technical spaces and dressing rooms.

The Main Hall in Cultural Centre in Pszczyna (Fig. 3) is

divided by a diazoma into a xed auditorium in the upper

part and a movable folding seating in the lower part. The

diazoma, from which one can get to the rows of the low-

er space, is recessed to the level of the rst row of about

90 cm. This zone can be reduced by covering it with re-

movable stage tops with simultaneous dismantling of the

rst 2 rows (38 seats). This gives a chance for adjustable

enlargement. From the transverse diazomata there are also

wall mounted stairs leading to the upper part of the 1

oor

auditorium (capacity 245 seats + 4 for the disabled) lead-

ing to the upper foyer level and to the technical gallery

level. At this level it is proposed to increase the capacity of

the hall by installing a temporary double row auditorium

(second row elevated above the gallery level by approx.

60 cm) for max. 2 × 49 seats. Basic dimensions of the stage

in the walls of the hall 17.00 × 9.70–11.70 m with the pos-

sibility of increasing its depth by reducing the size of the

Fig. 1. The Wieliczka Mediateka, performance hall 1

floor plan with cross-section, designed by Kozień Architects (source: Kozień Architekci)

Il. 1. Mediateka w Wieliczce, sala widowiskowa – rzut pierwszego piętra z przekrojem, projekt Kozień Architects (źródło: Kozień Architekci)

Multi-use of small performance halls – case studies of modern cultural facilities in Poland 77

audience in the lower segment. Entrances to the stage for

artists and elements of show equipment in the side walls in

the area of the xed stage.

Interior acoustics, stage machinery, lighting

and electroacoustic system

The interior acoustics design in indicated halls was pre-

pared using the statistical method, while also using calcu-

lations and analysis based on the geometric method, refer-

ring to proven technological capabilities [9]–[14].

Acoustics in the case of the Mediateka in Wieliczka was

a challenge because it involved taking into account the al-

ready constructed structure. The parameter that describes

the acoustics of a given space is its reverberation time,

whose optimal value depends on the function of the space

and its internal volume. Reverberation time was calculated

using a specialist predictive program used to design inte-

rior acoustics.

The Mediateka hall is a space with a oor area of around

270 m

and an internal volume of around 1898 m

, with

a seating capacity of around 200 spectators. The volume

coecient is ca. 9 m

/person. The assumed reverberation

time for this interior is between 0.4 and 0.9 s, depending

on its conguration. The recommended reverberation time

for the cinema hall (with curtains): 0.4 s. The recommend-

ed reverberation time for the performance hall (without

curtains): 1.1 s. Reverberation time calculations were per -

formed using the statistical and geometric method. Figure 4

presents the reverberation time obtained using acoustic

curtains, while Figure 5 shows this value without acoustic

curtains.

To optimise the interior’s acoustics, the space of Me-

dia teka hall was tted with sound absorbing and scatter-

ing systems. The ceiling above the audience stands is

composed of single-sheet 18 mm-thick plywood panels

with a 5 cm thick layer of mineral wool with a density of

40–60 kg/m

. The ceiling above the remaining section of

Fig. 2. ICHC Dąbrowa, performance hall – underground floor plan with cross-section, designed by Kozień Architects (source: Kozień Architekci)

Il. 2. ICHC Dąbrowa, sala widowiskowa – rzut kondygnacji podziemnej z przekrojem, projekt Kozień Architekci (źródło: Kozień Architekci)

78 Marcin Gierbienis, Magdalena Teresa Kozień-Woźniak

Fig. 4. The Wieliczka Mediateka, reverberation time

in the performance hall – cinema option with the use of acoustic curtains

(source: Manufaktura Technologiczna)

Il. 4. Mediateka w Wieliczce, czas pogłosu w sali widowiskowej

– opcja kinowa z zastosowaniem kurtyn akustycznych

(źródło: Manufaktura Technologiczna)

Fig. 5. The Wieliczka Mediateka, reverberation time

in the performance hall – performance option without the use

of acoustic curtains, designed by Manufaktura Technologiczna

(source: Kozień Architekci)

Il. 5. Mediateka Wieliczka, czas pogłosu w sali widowiskowej

– opcja spektaklu bez zastosowania kurtyn akustycznych,

projekt: Manufaktura Technologiczna (źródło: Kozień Architekci)

the hall was designed as a modular suspended ceiling with

a high-pass sound absorption property. The side walls were

tted out with sound reection systems laid out in an alter-

nating zigzagging pattern, made from laminated gypsum

bre boards lled with a 5 cm layer of mineral wool with

a density of 40–60 kg/m

. The frontal wall with the screen,

and the section of the side walls near the stage, along with

the back wall of the hall, were covered with

15 cm thick

slabs of mineral wool (density of 40–60 kg/m

)

and non-wo-

ven fabric. The extensible draped acoustic curtain was

made of a material with a density of 600 g/m

. In addition

to the acoustic importance, the use of black curtains also

inuenced the aesthetic perception of the room (see Fig. 6)

The main two functions cinema and performance, be-

cause of the character of the events it hosts, was designed

to feature the following stage mechanic solutions with the

installation of permanent supports. The structures of per-

manent battens are used to ax stage lighting. Support

structures are also used to distribute cable infrastructure

and power and signal outlets. The pipe grid is used to ax

elements such as speakers or elements of stage design. The

stage lights are axed to lighting bridges. Lights can also

be placed on the stage.

The cinema option will be a space predominantly pre-

pared for lm screenings, but also could be used to host

verbal and musical performances. On the frontal wall there

is a permanent screen with an in-built speaker set. A sepa-

rate electroacoustic system was designed to facilitate this.

In the music conguration, this system ensures an even

sound coverage of the entire audience (±3 dB) for 90%

of the hall’s area. The maximum sound pressure level is

to be no lower than 105 dB, with the speech transmission

Fig. 3. Cultural Centre in Pszczyna – 1

floor plan with cross-section, designed by Kozień Architects (source: Kozień Architekci)

Il. 3. Centrum Kultury w Pszczynie – rzut pierwszego piętra z przekrojem, projekt Kozień Architekci (źródło: Kozień Architekci)

Multi-use of small performance halls – case studies of modern cultural facilities in Poland 79

Fig. 6. The Wieliczka Mediateka, view of the performance hall: a) cinema option, b) performance option (photo by M. Turoń)

Il. 6. Mediateka w Wieliczce, widok na salę widowiskową: a) opcja kinowa, b) opcja spektaklu (fot. M. Turoń)

index being no lower than 0.6 for the entire audience area.

The elements of the sound system can be used to remotely

control signal parameters.

The technical and acoustic study in ICHC Dąbrowa was

prepared with two sub-options: theatre + lecture and concert

+ presentation (when the audio-visual system is used). This

is analogous to the situation in the case of the Wieliczka

Hall, where it was decided that the hall should be acous-

tically adapted to two main activities. The selection and

placement of the hall’s acoustic adaptation structures should

eliminate acoustic aws, including echo and utter echo.

A calculation model was built using the CATT-acoustic

v.8.0j computer program, based on the design and ongoing

consultations. Dierences in the reverberation time in the

hall with the stands set up and acoustic control structures

hidden or not, depending on the type of event, are shown in

Figures 7 and 8.

A sound scattering-absorbing structure was composed

with vertical panels with a width of 150 mm, axed to

a substructure mounted at a distance of 50 mm from the

wall surface, with an inll of mineral wool and vertical gaps

with a width of 1 mm. Fitted in the space behind a truss in

the form of a horizontal strip of cladding with a height of

300 cm, placed in the available space of the side walls along

the audience stands. Wall cladding was mounted to a sys-

tem-specic support structure as plasterboard with square-

shaped 12 × 12 mm 6% area perforation. Ceiling cladding

was composed of mineral wool slabs with a thickness of

50 mm and a density of 50 kg/m

, axed to a system-spe-

cic support structure. Mobile sound scattering and reect-

ing structure in the form of platforms enabling changes to

the arrangement of the stage and adapting its size to the

varied needs.

ICHC performance hall was to have a universal purpose

in terms of the variety of events, and thus also in terms of

technology. In order to meet the requirements laid out in the

conceptual proposal concerning the performance layouts of

the multi-functional hall, the design incorporates the use of

the stage mechanic elements as decorative batten hoists,

lighting bridge hoists, curtain system, stage platform sys-

tem and sound systems. The multi-functional hall will be

a space largely devoted to orchestral music concerts that

do not require an electroacoustic system. In addition, hall

will serve to host popular music concerts, theatrical perfor-

Fig. 7. ICHC Dąbrowa (theatre + lecture option),

reverberation time in the hall with the audience stands set up

and the acoustic control structures retracted

(elaborated by J. Rubacha, K. Baruch, K. Brawata)

Il. 7. ICHC Dąbrowa, (opcja teatralno-konferencyjna),

czas pogłosu w sali przy rozstawionych trybunach

i schowanych konstrukcjach kontroli akustycznej

(oprac. J. Rubacha, K. Baruch, K. Brawata)

Fig. 8. ICHC Dąbrowa (concert + presentation option),

reverberation time with the audience stands set up

and acoustic parameter control structures extended

(elaborated by J. Rubacha, K. Baruch, K. Brawata)

Il. 8. ICHC Dąbrowa (opcja koncertowo-muzyczna),

czas pogłosu przy rozstawionych trybunach i rozbudowanych

konstrukcjach kontroli parametrów akustycznych

(oprac. J. Rubacha, K. Baruch, K. Brawata)

a b

80 Marcin Gierbienis, Magdalena Teresa Kozień-Woźniak

mances, verbal and musical performances, presentations,

seminars and meetings (with use of a venue projector).

Acoustic design and stage technology for Cultural

Centre in Pszczyna was prepared as a multi-purpose

hall, so it must have a relatively short reverberation time

while maintaining adequate sound strength. The rever-

beration time (Fig. 9) and the speech transmission index

STI (Fig. 10) were calculated and used to assess the hall

acoustics with spectators. This will allow a high degree of

speech intelligibility to be achieved, which is necessary.

Therefore, based on literature recommendations, the as-

sumptions were made:

– the reverberation time of an empty auditorium at fre-

quencies from 125 to 4000 Hz will be about 1.3 s, with

a balanced characteristic for medium and high frequencies

– according to Table 1,

– achieving the values of the speech intelligibility index

recommended for auditoriums,

– with uniform distribution over the entire auditorium

and gallery area,

– eliminating acoustic defects,

– use of absorbing, dispersing and reecting structures

on walls and the ceiling.

Due to hall functionality, a low level of acoustic back-

ground is required in the hall. For this reason, it is rec-

ommended that all vertical partitions of the hall should

have acoustic insulation RA1 = 61 dB. The wall made of

reinforced concrete, 30 cm thick, has such a value. The

wall dividing the technical gallery and sanitary facilities

will be built in reinforced concrete technology and will

be 20 cm thick, which ensures acoustic insulation value

RA1 = 56 dB. The entrance to the auditorium leads through

vestibules, which serve as acoustic sluices. Surrounding

the audito rium with the sound engineer’s booths, store-

rooms and technical rooms, which do not generate high

levels of sound pressure, provides additional protection

against noise from outside the building and separates it

from the auditorium.

The Main hall in Cultural Centre in Pszczyna was mod-

elled in a prediction program that automatically calculates

the absorption balance for the interior. For the simulations,

an omnidirectional source emitting 1,759,000 sound beams

with a duration of 810 ms was placed at the centre of the

stage at a height of 1.5 m. The calculations were performed

on the auditorium surface at a distance of 1.2 m from the

ground, corresponding to an example seating arrangement.

The following solutions are used in order to achieve the

assumed parameters:

– on the back wall (behind the audience) UN-1 low fre-

quency panels made of wood-based board (MDF with ve-

neer on the face side or plywood) 15 mm thick with round

hole perforation on a 50 mm mineral wool layer; on the

central part, on both sides of the window, 400 mm wide

panels deviated from the axis by 19˚ and UN-2 low-fre-

quency panels made of wood-based board 15 mm thick

with round perforation,

– on side walls of mezzanine UN-1 low-frequency pan-

els made of wood-based board 15 mm thick with round

hole perforation on a layer of 50 mm mineral wool; total

construction height 100 mm; panels with total height 3 m

on the front wall of the Main Hall – full sound-proof UP-1

panels made of wood-based board, 15 mm thick, on a layer

of 50 mm mineral wool,

– on side walls full sound absorbing UP-1 panels made

of wood-based board 200 or 100 mm wide and 15 mm thick

on a 50 mm mineral wool layer; total construction height

varies from 100 to 150 mm from oor to door height; con-

struction height above door 150 mm,

– on the ceiling US-1 panels made of 100 mm rock wool

with glass bre lining, mounted directly to the ceiling,

–

US-2 sound-reecting panels made of plywood, 30 mm

thick, suspended under the ceiling, pre-sloped,

Fig. 9. Cultural Centre in Pszczyna – reverberation time diagram

(elaborated by T. Ruszczak, Ł. Gorczyca, M. Klimczuk)

Il. 9. Centrum Kultury w Pszczynie – wykres czasu pogłosu

(oprac. T. Ruszczak, Ł. Gorczyca, M. Klimczuk)

Fig. 10. Cultural Centre in Pszczyna – STI schedule

(elaborated by T. Ruszczak, Ł. Gorczyca, M. Klimczuk)

Il. 10. Centrum Kultury w Pszczynie – harmonogram STI

(oprac. T. Ruszczak, Ł. Gorczyca, M. Klimczuk)

Parameter Recommended value

Reverberation time RT60, 500 Hz 1.3 s

Non-uniformity of the reverberation

time characteristics

63 Hz÷125 Hz +70/–20%

250 Hz÷500 Hz +40/–20%

1 kHz÷2 kHz +20/–20%

4 kHz÷8 kHz +20/–40%

Table 1. Cultural Centre in Pszczyna – the reverberation time

calculations (elaboreted by T. Ruszczak, Ł. Gorczyca, M. Klimczuk)

Tabela 1. Centrum Kultury w Pszczynie – obliczenia czasu pogłosu

(oprac. T. Ruszczak, Ł. Gorczyca, M. Klimczuk)

Multi-use of small performance halls – case studies of modern cultural facilities in Poland 81

– armchairs with medium upholstery,

– parquet ooring.

The Main Hall in Cultural Centre in Pszczyna is also

dis tinguished by its special rooms for electro-acousticians,

lighting technicians and interpreters, which are located on

the upper level on two technical galleries. From the side

galleries it is possible to operate stage lighting projectors,

acoustic equipment elements and projected wall banners for

reverberation time control. In order to meet the requirements

of the design assumptions in terms of staging arrangements,

the design includes the use of the stage mechanization ele-

ments as extractors for decorative stilettos exhausts, light-

ing bridge with side lighting structures, loudspeaker system,

curtain system. The oodlights will be mounted on lighting

bridges, balcony balustrades and the auditorium lighting

structure. In addition, spotlights will be able to be placed on

the stage oor.

Discussion

Due to the dierences in the specicity of the build-

ings, the needs of their users or local conditions, dierent

multi-use designs were prepared according to the deni tions

of multi-purpose (Wieliczka Mediateka, Cultural Centre

Pszczy na) and multi-function (ICHC Dąbrowa). Com pa-

rison of the basic parameters is presented in Table 2.

It can be seen that multi-purpose is a more targeted as-

sumption when considering client guidelines. This allows

architects to literally name the most relevant functions and

therefore also to precisely select design decisions. Further,

it can be noted that with multi-purpose there is a xed au-

ditorium, whereas with multi-purpose there is a more fa-

vourable design approach with an open plan and movable

auditorium. In this case, telescopic auditorium solutions are

popular, as they quickly allow the layout of the auditorium

Table 2. Comparison of the parameters of the halls (elaborated by M. Gierbienis)

Tabela 2. Porównanie parametrów sal (oprac. M. Gierbienis)

Building Wieliczka Mediateka

ICHC

Dąbrowa

Cultural Centre

Pszczyna

Qualification multi-purpose multi-functional multi-purpose

Function theatre, cinema, concert, conference

theatre, concert, dance,

conference

theatre, concert, dance,

conference

Hall floor area [m

] ~270 ~415 ~500

Number of seats fixed 186 variable, max 216

fixed 240 + removable 141 + 110

in technical galleries

Hall height [m] 3.40–9.20 7–8 6.5–11.2

Hall volume [m

] ~1900 ~3110 ~5100

Auditorium shape fixed auditorium

retractable

telescopic stands

fixed + moveable auditorium

Audience size [m] 12 × 6 2 parts: 12 × 10 18 × 14 (fixed + removable)

Reverberation time T500-1 kHz regulated 0.4–1.1 regulated 0.8–1.0 1.3

Stage mechanic systems – lower none stage platforms none

Stage mechanic systems – upper fixed lighting bridges, pipe grid

hoists, movable lighting bridges,

pipe grid, technical galleries

hoists, movable lighting bridges,

pipe grid, technical galleries

Curtains covering the screen/horizon stage curtain/horizon stage curtain/horizon

Electroacoustic systems independent cinema speaker system shared speaker system shared speaker system

Screening

fixed cinema screen + projector,

foldable screen

foldable screen none

Stage access from the audience, from outside

from the waiting room

near the stage

from the waiting room

near the stage

Auditorium access 2 levels 1 level 2 levels

Backstage none

storage spaces, dressing rooms,

recording studio

storage spaces, dressing rooms,

workshops,

Sliding walls none none none

Audience services hall, cloakroom, toilets, coffee shop hall, cloakroom, toilets hall, cloakroom, toilets

Accessibility to special needs provided provided provided

EA station projector booth technical gallery technical booth

82 Marcin Gierbienis, Magdalena Teresa Kozień-Woźniak

to be changed while being easily stored. A similar situation

to that of the audience operates in the topic of the stage.

Due to the variable nature of the interior, a xed stage does

not allow the layout to be exible. At the same time, even

in the case of the discussed case studies of multi-purpose

halls, the stage as we know it from typical theatre or phil-

harmonic buildings is abandoned. It is possible to use a mo-

bile stage, constructed from modules.

Based on the information presented in Table 2, it can be

observed that despite the comparable number of audience

seats and a rectangular oor plan shape, the halls substan-

tially dier in the nature of their stage-auditorium layout,

acoustic assumptions and technological ttings. The shape

of the hall depends on its location within the functional

and spatial structure of the building. However, it can be

assumed that it is the rectangular shape that is the simplest

and thus allows the space to adapt more easily to varied

use. In each case, the acousticians analyse specic design

assumptions and adapt their solutions to the situation with

use wall and ceiling cladding, or other elements to diuse

or reect sound.

In Wieliczka Mediateka, a xed auditorium was de-

signed, accessible from two levels, in addition to acous-

tic curtains on side walls, limited technological stage

equipment, with an independent cinema projection and

sound system. In this example there is no backstage sec-

tion behind the stage itself, which is a result of previous

design assumptions that placed a cinema in the back-end

section of the building, across its entire span. The diver-

sication of functions also changed the way the hall was

to be accessible to the public, allowing separate access to

the hall for spectators and performers. When combining

the functions of theatre and cinema, it is worth noting the

dierent nature of the visibility curve for the audience. In

the case of these shows, the viewer’s point is dierent, and

so the construction of the auditorium should follow suit

– so that the viewer can see everything that is happening

on stage, while at the same time, in the cinema option,

they can comfortably see the screen. Therefore, taking into

account the functioning of the auditorium for these two

purposes, it is necessary to analyse such a visibility curve

which will achieve the desired eect in both options. It

is also a challenge for acousticians, as the specicity of

cinema is a great sound system, and in the case of theatre

performances, the actor should be heard comfortably by

every participant of the event.

A hall without a xed auditorium, but with a at oor

and a height that allows comfortable use is a good choice

from the point of view of the exibility idea. The perfor-

mance hall in ICHC Dąbrowa was planned from the outset

as a multi-functional space with the decision to add mov-

able telescopic stands. The idea behind the creation of the

Cultural Centre in Pszczyna was to oer the community

a modern facility that could be active all year round, and in

which various events could take place, both those that hap-

pen less frequently in small towns, such as theatre perfor-

mances, and those popular – concerts or casual meetings.

The auditorium consists of a xed auditorium, but is also

partly demountable, allowing for minor rearrangements or

the widening of the stage.

Conclusions

The paper conrmed the complexity of the problem

of the design of modern performance halls as a multi-use

space. This complexity is not conned to high-capacity

halls, applying to small layouts as well. Designing smaller

performance spaces is a challenge related to economics

and budget, take into account compromises resulting from

combining, sometimes divergent, functions. Design deci-

sions are associated with a wide array of factors and there-

fore require that starting assumptions be precisely formu-

lated. The key element of the design of multi-use halls is to

precisely dene the main function and the supplementary

ones. Therefore, it is necessary that the design team co-

operates with future users during the stage of formulating

design assumptions. The compilation of suitable solutions,

adaptation to the capabilities, expectations of the client and

close cooperation with acousticians are the most important

tasks in the design of multi-functional facilities. The po-

tential for multi-functionality also has its limits, which are

mostly related to economic and technological factors. At

the same time, it is a contribution that pays o in terms of

achieving exible design.

To achieve exibility in the use of the rooms, it is recom-

mended to introduce a partially demountable auditorium or

foldable bleachers, which nowadays allow for a wide variety

of arrangements, enhancing the creativity of use. Movable

systems of electro and acoustic technology allow for dynam-

ic changes in the perception of space depending on whether

the event uses the spoken word or requires sound amplica-

tion. Some solutions, such as foldable walls and curtains, in

addition to separating and changing the acoustics, can also

signicantly inuence the aesthetics of the rooms.

Expanding the knowledge base in the design of small

performance halls that are versatile in use is an important

issue from both a research and architectural-implementa-

tion perspective, as a response to the needs of modern cities

and sustainable development.

Translated by

Krzystof Barnaś

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