Theatre Design & Technology - Fall 1980 - 13

points to control airborne mechanical noise as well as carryover of exterior space noise. Air speeds within the ducts are
kept below 400 ft./min. (123m./min.). The resultant levels
within the space fall in the range of NC (Noise Criteria) 20-25.
Reverberation times in the concert hall vary from 1.3 seconds full to 1.7 seconds empty at the middle and high frequency ranges. Bass response of the hall yields reverberation
times which are about 1.3 times longer than the middle and
high ranges, contributing to acoustical "warmth."

Recital Hall
Immediately above the concert hall is the recital hall. The
hall is a multipurpose space for recitals, lectures, rehearsals
(it is used by the New York Philharmonic Chamber Ensemble)
and recordings. The floor is flat. All seating is movable to any
number of configurations. For this reason, the ceiling was designed to be non-directional and to be uniformly diffusing. It
consists of square planes of gypsum board joined vertically at
the edges and set at a total of four different elevations above
the floor. This continuous ceiling has no volume coupling to
the plenum space above (see drawing of Recital Hall Ceiling
Plan and Recital Hall Section; see also interior photo). The
raised wooden floor is resiliently isolated from the concrete
slab by the use of neoprene pads. This adds further to the
sound isolation between the recital hall and the concert hall
beneath as well as providing resiliency for dance (see detail
section of Acoustic Isolation Floor). The walls are faced with
multiple layers of gypsum board (for sound reflection without
sound absorption at the lower frequencies). As a means of
controling reverberation for different activities and levels of
occupancy, sound-absorbing draw draperies are provided
along one long wall. These draperies also serve to control potential flutter echoes between the long parallel walls. At one
end of the hall is a control room for lights, projection, CCTV
and recording equipment. Reverberation within the recital hall
varies from 0.9 seconds full to 2.5 seconds empty. The wide
range is due to the lack of absorption of the empty seats. Variable absorption is provided by the operable draperies and by
the room occupants.

An Architectural Evaluation

by Francis Booth
The Abraham Goodman House, discussed in its various aspects elsewhere in this article, is an object lesson for all those
who design buildings for the arts. The work is based upon certain assumptions which guide, rather than control, the architect. Ashok Bhavnani, the architect of Abraham Goodman
House, has assumed, for instance, that the stated purposes of
the building should generate the plan, and thus the form; he
has assumed a responsibility to the neighborhood, that the exterior of his building should be harmonious with, and yet clarify and elevate its environment; and he has built within a budget which, while a bit thin, was basically appropriate to its
purpose. While the Abraham Goodman House seems, at first
glance, a building "a la mode," it is founded on design principles which are the antithesis of many current modes, modes
perceived by Mr. Bhavnani as "Mannerist".
The architect was given a most difficult brief: he had to accommodate a cultural center with a concert hall, library, practice and teaching studios for the performing arts, reception
and administration areas, and all the impedimentia of a modern building-fire stairs, toilets, heating and ventilating systems, and so on-within an area and volume of limited dimensions, while still permitting further expansion. Yet Bhavnani
never imposed a rigid, preconceived formal pattern onto this
structure, but instead brought order to the complexity of uses
through the simple device of a clear structural grid-post,
beams, and floor slabs. The unifying and clarifying matrix of

Studios
There are two full floors containing twenty-five studios,
twenty-three for music and two for dance. In order to control
sound between these spaces (horizontally and vertically) the
walls and ceiling are constructed as shown in the following
detail drawings: 1. Detail of Dance Floor; 2. Detail to Acoustic
Isolation Floor; 3. Detail of Sound Isolation Ceiling; 4. Detail of
Sound Isolated Partition. The sound isolation floors are used
in the music studios. The dance floor, a variation of the sound
isolation floor, is used in the dance studios and also at the
concert hall stage. These built-up wooden floors combined
with the sound isolation ceiling reduce horizontal and vertical
transmission of structure-borne sound from instruments which
touch the floor, such as piano, double bass, and percussion.
To obtain "live" music spaces as desired by the client, the
only absorption within each studio is provided by a large panel
consisting of a rug mounted over framed fiberglass, hung
upon one of the long walls. Movable draperies also are used
(see photo). One important requirement of the director of the
music school was that the hallways leading to the music studios should be full of the sound of music emanating from the
studios, expressing thereby the special character of a music
school. For this purpose each music studio has a STC 42
acoustic door which permits the sounds of music to enter into
the hallway. 0

Peter George is head of Peter George Associates of New York City,
formerly known as Acoustics Noise Control Consultants. The firm
does acoustic and theatre design.
USITT /Fall, 1980

Interior of Concert Hall Lobby
Theatre Design & Technology

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