"Acoustic reconstruction of the Roman theatre of Cádiz," Á.
Álvarez-Corbacho, P.
Bustamante,
S.
Girón,
T.
Zamarreño, M. Galindo.
(published in SEA:
ASL-0
004).
ABSTRACT:
The Roman Theatre of Cadiz, commissioned by Lucio Cornelio
Balbo the Younger, was built
in
the 1st century BC. Since its discovery in 1980, excavations
ha
ve enabled the recovery of a major part of the cavea (ima
and media) and of the
proedria, as well as the orchestra and an annular
distribution gallery. Its construction date and its
120-metre d
iameter make it the oldest and the second-largest Roman
theatre in
the Iberian Peninsula, with an estimated capacity of more
than
10,000 spectators. In this paper, the creation process,
adjustment,
and validation of the 3D model of the theatre is analysed to
s
imulate its sound field.
"Measurement ans analysis of the acoustics of the Roman
theatre of Segóbriga (Spain)", Á. Álvarez-Corbacho, P.
Bustamante,
S. Girón, T. Zamarreño, M. Galindo (published in SEA:
1833).
ABSTRACT:
Segobriga (Cuenca) was the capital of the Celtiberia region.
The specular gypsum of its mines, used as glass in windows,
was exported across the whole Empire through the port of
Cartago Nova (Cartagena). Its Roman theatre has one of the
best conserved cavea of Hispania, although there is no
scaenae frons. Its construction dates back to the year 79
A.D. In this work, experimental results and analysis are
presented of impulse responses and of the values of the
monaural and binaural acoustic parameters recorded in situ.
These results correspond to the source-receiver combinations
of three positions of the source, located in the proscaenium
(2), and in the orchestra (1), and of 19 reception points,
distributed across the cavea, the proedria, and the
proscaenium. This theatre features as part of one of the
study cases of a research project that aims to evaluate and
revalue the acoustics of the principal Roman theatres of
Spain.
"Design of virtual manikins in spaces with complex topology
and high density of occupation", E. Conceição, J. Gomez, M.
Conceição, M. Lúcio and Á. Álvarez-Corbacho (Paper).
August 22-24, 2019
ABSTRACT:
This work presents a software developed to design virtual
manikins in spaces with complex topology and high density of
occupation. The software is used to design 330 typical
seated in a Roman theatre or in an adapted auditorium. These
virtual manikins are used by a numerical software in the
evaluation of the occupas' thermal comfort level. This
software simulates the human body and clothing thermal
responses and analyses simultaneously several persons inside
a sapce. the human body will be divided into 1 spherical and
34 cylindrical elements. These elements are designed
considering the height and the weight of the occupants and
have dimensions and angles similar to the human body. They
are placed spatially in order to define the human posture in
different positions and connected through articulations. In
the theatre and auditorium, all fundamental elements will be
considered.
"Sound perception in 3D virtual environments:
Application to a Roman theatre of Hispania",
J. Alayón, J. A. Romero, M.
Galindo, F. J. Nieves and S. Girón.
August 27-29, 2020
ABSTRACT:
The aim of this work is to present the methodology implemented
for the assessment of the human perception of sound and of the
degree of acoustic comfort of occupants in an ancient Roman theatre.
The evaluation is carried out through a visual and acoustic experience
in a virtu-al environment. The textured 3D visual model of the space,
and the binaural auralisations based on either on-site empirical
measurements or on acoustic simulations, are displayed in a listening
room designed with a very short reverberation time and low background
noise. By means of sophisticated equipment for 3D virtual environment
reproduction to groups of people, this lis-tening room enables the
physical ambience to be recreated of the Roman theatre of Cartagena,
which is located in the southeast of Hispania (Spain). Groups of people
can therefore subjec-tively assess the intelligibility of speech and
the clarity for music of this open-air performance venue. The results
accentuate the strong correlation between audio and visual perceptual
aspects and contribute towards a more comprehensive understanding of
the architectural aural experience.
"Acoustic characterisation of Roman theatre of Carthago Nova"
, J. A. Romero-Odero, J. Alayón, M. Galindo, F. J. Nieves,
L. Burridge and S. Girón.
ABSTRACT:
The southeast territory of the Iberian Peninsula has been recognized
since ancient times as having strategic value due to the richness of
its mineral deposits, which, together with the fertility of the region
and the presence of the coastline, enable the existence of natural
ports that make this location a strategic military and commercial hub.
Following the Carthaginian domination, the city (Qart Hadasht, which
means New City) was taken by the Roman general, Scipio the African, in
the year 209 BC, who renamed it Carthago Nova. The Roman theatre was
built in the time of Emperor Augustus who launched an ambitious
urbanization and Romanization plan for the city. With its original
capacity of 7,000 spectators, it is one of the largest in Roman
Hispania. It was built with limestone, local marble, and mortar and
its sculptural ornamentation was made in white pentelic marble. This
paper describes the experimental procedure for the measurement and
analysis of 3D impulse responses for a complete spatial analysis of
its sound field in terms of magnitude, time, and direction of
reflections together with a monaural and binaural parametric
characterisation of this classical performance space in accordance with
the ISO 3382-1: 2009 standard, by considering three source positions
and 20 reception points of microphones.
"Virtual acoustics of the Roman theatre of Malacca"
, F. J. Nieves, J. A. Romero-Odero, J. Alayón, M. Galindo,
J. Peral-López and S. Girón.
ABSTRACT:
In Hispania (present-day Spain), there are 22 structures documented of
classical Roman open-air theatres, of which 9 are in the south, in the
Roman Betica (Andalusia). The Betica embraced the progress of
urbanisation in the time of the Roman emperor Augustus where theatres
were built in stone as the foci of entertainment, performance, and
propaganda of the empire. The Roman theatre in Malaga presents the
archaeological remains of the main vestige of the Roman Malacca. It is
located in the historical centre of the city, at the foot of the hill
of the Muslim Alcazaba and was discovered in 1952. It is a medium-sized
theatre whose design corresponds to a mixed construction that combines
making use of the hillside for the stands, in the manner of Greek
theatres, with a major construction where rock is non-existent, thereby
creating the necessary space for the stands. In this paper, the
production process, adjustment, and validation of the 3D model of the
theatre is analysed for the creation of a numerical predictive model
of its sound field.
