Requirements for the design of higher education buildings educational institutions. Sizes and layout of classrooms.

Auditorium chairs nowadays mostly have a frame made of steel pipes; the seats and backs of the chairs are wooden. When demonstrating experiments, exhibits, etc., when individual students often have to go to the demonstration table, it is recommended to separate rows consisting of paired chairs with passages 50 -55 cm wide leading to the demonstration table; It is also possible to install rotating seats, allowing each student to freely leave the middle of the row without disturbing their neighbors (Fig. 4). Such seats take up no more space than chairs with folding seats (Fig. 3), and also than seats on a swivel console.

For one student sitting in the most comfortable position, a space of 70 x 85 cm is required;
for a student sitting in a normal position - 60 x 80 = 55 x 75 cm.

Area per 1 student, taking into account all passages: for the largest classrooms and the most closely spaced accommodation - 0.6 m2;

for small audiences, when sitting in a normal position - 0.8 -0.95 m2.

In the presence of small classrooms, the floor height should be ≥ 3.5 m, and in the presence of larger classrooms and, first of all, classrooms with steeply rising rows - much more.

With side lighting, in the place furthest from the window, located in the top row of chairs, the light should hit the music stand at an angle of 25°. The place for teachers, depending on its purpose, is equipped with a stationary demonstration table with built-in water and gas taps and electrical sockets or a movable table, with utility inputs and switches located on the front wall of the first row of chairs. The height of the elevation above the floor of the first row of chairs is, depending on the purpose of the audience, 20 -60 cm. The sizes of demonstration boards are different; Large boards with sliding glass with guides made of steel tubes, with counterweights on toothed chains, are preferred.

1. Graphical method for determining the audibility curve - see Fig. 2.	2. Schematic longitudinal section of the audience;
3. Seats with folding seats and music stands; 4. Places with fixed music stands and swivel seats (invention of E. Neufert).	5. Cross section of the site for installing the projection apparatus (see also Fig. 6). The level of vision in a sitting position is approximately 1.2, in a standing position - 1.7.
6. Platform for installing the projection apparatus. 1 - large apparatus; 2 - narrow-film device; 3 - small apparatus for filmstrips; 4 - working apparatus;	7. Airlocks to prevent light and noise from entering the auditorium. Plan. 8. Demonstration boards in the classroom. A - fixed, B - horizontally mobile, C - vertically mobile.

The requirements for school buildings also apply to higher education institutions. Modern buildings of higher educational institutions consist of a number of buildings located taking into account their subsequent expansion. They are grouped around the main building with the main auditorium, the premises of the administration, student public organizations, the main heating and power supply installations. In the institutes, during the training process, practical classes are conducted, linked to lectures and demonstrations of experiments in classrooms. The entrance to the classroom for students should be located near the top row (if the seats are arranged in an amphitheater), in very large classrooms it should be in the middle of their height. Lecturers must access the department directly from their classrooms.

Sometimes entrances are arranged from a recreational room that serves both the lecture hall and the entire institute (Fig. 4 -5).

In many cases, the institute building houses the premises of various faculties of related specialties, which, in addition to the general institute auditorium, require their own auditoriums of different capacities. The general institute auditorium can be located on the ground floor with the possibility of having an increased height and usually overhead lighting; the remaining classrooms should fit into the dimensions of the normal floors of the building (Fig. 5).

At the Institute of Optics of the University of Jena, the height of the auditorium is increased by using the height of the room above it (for storing the collections of the Institute of Mathematics), which allows for a reduced height. The small auditorium of this institute has a height equal to the height of a normal floor, while the largest auditorium of the Institute of Applied Mathematics rises above the roof of the building. Lecturers' entrances are in all cases next to the department; entrances for students - directly from the staircase to top rows chairs.

The dimensions of the passages are assigned depending on the size and shape of the classrooms; for example, for a small audience (when the window sashes are opened outwards), the passages near the windows can have a width of 60 -75 cm, internal passages 85 -100 cm, and passages at the rear wall of the audience -75 -85 cm.

For deeper audiences (Fig. 5), the aisles can be wider; for wider audiences, it is recommended to install a second middle aisle 75-100 cm wide, which can narrow closer to the front row of chairs (Fig. 7).

The distance from the first row of seats to the demonstration board is 2.5 -3 m. In the largest auditoriums, the rows of seats should rise towards the rear wall (Fig. 3); The steepest rise should be in classrooms with demonstrations on a table (Fig. 4) (for example, surgical clinics). To enable students to observe operations on internal organs, in the USA, inspection holes are provided in the overlap area located above the operating table (Fig. 4).

1. Standard auditorium with 76 seats. Plan and cross section.	4. Plan of the Abbenaum buildings of the University of Jena (built in 1929) Architect E. Neufert.
2. Normal audience shape;	3. Audience for demonstrating operations (in a surgical clinic). 1 – Zeiss lantern 1.65 m high, diameter 70; 2 – places for students observing the operation;
5. Auditorium with an adjacent operating room. It is possible to project the progress of the operation onto a screen (frosted glass).	6. Physical auditorium with double fences that prevent the penetration of noise and transmission of vibrations. M 1:400. Higher Technical School in Darmstadt. Section and plan.
7. The auditorium of the University of Freiburg. Plans of the standard (above) and 1st (below) floors. The lobby and main auditorium are double-height. Typical floors contain administration rooms and seminar rooms. Architect O. Schweitzer;	10. Auditorium of the Swiss Higher Technical School in Zurich. Architects Steiner and Gehry. 1 - audience; 2 - room for the projector: 3 - dressing room.
8. Auditorium of the Higher Technical School in Delft. Architects Breck and Bakema. 1 - main audience; 2 - platform for the projector; 3 - audience; 4 - meeting room of the academic council; 5 - dressing room;	9. Academic building in Dusseldorf. Architect Pfau. 1 - audience; 2 - room for preparing for lectures; 3 - entrance;

Ernst Neufert. "Structural design" / Ernst Neufert "BAUENTWURFSLEHRE"

Way	Schematic illustration	A comment
1.Classroom placement		Separates the speaker from the audience. Feedback is difficult. Large number of participants
2. "Conference"		Officially. May cause confrontation, opposition of opinions
3. "Horseshoe"		Promotes interaction. Available visual contact. Good control capabilities
4. V-shaped arrangement		Allows you to create an atmosphere of cooperation between those communicating with the leading role of the speaker
5. "Round table"		Unites people, democratizes the environment for discussing problems.
6. "Cabaret"		For working in small groups. Possible difficulty focusing attention

To establish contact, it is important to consider spatial norms business communication - distance between interlocutors, volume of communication space. To conduct a constructive dialogue, you need to set a distance of approximately 1.5 m, and it is appropriate to position yourself relative to your interlocutor.

The options for arranging conversation participants in a work office with a standard rectangular table are as follows:

The shape of the table significantly influences the creation of a psychological climate. A square table promotes the creation of competitive relations between people of equal status; a round table creates a relaxed, informal atmosphere.

The status of an office visitor is reduced if there is a large long table between him and the boss, or if the manager has a huge chair with a high back.

It should be remembered that a person experiences strong tension if he sits with his back to a door, window, or open space, so the visitor should be asked to sit with his back to the wall.

How to establish contact in the least amount of time when communicating with another person? One of the conditions is to please him. How to make people like you ? To do this, it is recommended to follow six rules:

1. Be genuinely interested in other people. Why should people be interested in you if you don't become interested in them first?

2. Smile.

3. Remember that person's name- this is the sweetest and most important sound for him in any language.

4. Be a good listener. Encourage others to talk about themselves. Ask questions that the other person will enjoy answering. Encourage him to talk about himself and his achievements. Remember that the person you are talking to is a hundred times more interested in himself, his needs and his problems than you and your problems.

5. Talk about what interests your interlocutor. Everyone who visited Theodore Roosevelt was amazed by the scope and versatility of his knowledge. Roosevelt knew how to talk to everyone. How did he achieve this? Whenever Roosevelt expected a visitor, he would sit late into the night the night before, reading materials on a subject that he knew would particularly interest his guest. For Roosevelt knew that the surest way to a person’s heart is to talk with him about what he values ​​above all else. He talked about things that he knew would interest and occupy the other person. It is important to find out what your interlocutor is interested in and what he likes to talk about.

6. Make your interlocutor aware of his importance and do it sincerely. Always and in everything treat other people, act towards them the way you would like others to treat and act towards you.

If you feel uneasy while talking to another person, what should you do to maintain contact? It is recommended to answer the following questions:

1. What am I worried about right now?

2. What can I do?

3. What am I going to do to solve the problem?

4. When am I going to start doing what I want to do?

To solve business problems, ask yourself the following questions:

1. What is the problem?

2. What caused the problem?

3. What are the possible solutions to the problem?

4. What solution do you propose?

Gather the facts because anxiety most often occurs when decisions are attempted before sufficient information is available to support those decisions. After carefully analyzing the facts, draw a conclusion. When the decision is made, take action.

Introduction

In this course project, it is required to plan a given room in order to use it as a classroom. It is also necessary to calculate the acoustic treatment of the internal surfaces of the auditorium and the sound reinforcement system.

Premises of this type are subject to certain requirements, depending on the type of events being held. One of the requirements is high speech intelligibility, because The main purpose of such a room is to conduct lectures, seminars, i.e. only speech is present.

Acoustic calculation includes the following tasks:

room layout;

determining the optimal reverberation time;

calculation of the required sound absorption;

drawing up a sketch of the placement of sound-absorbing materials;

calculation of sound insulation of a room from noise;

calculation of sound reinforcement system.

Acoustic design of a sound reinforcement system includes:

calculation of the required acoustic power of the loudspeaker and the level of direct sound;

selection of sound reinforcement system and speaker type;

calculation of the sound field taking into account the placement of loudspeakers;

calculation of the maximum gain index and selection of microphone type;

selection of sound reinforcement equipment.

The intended audience must have good operational parameters, as well as meet safety requirements and conditions for a comfortable stay in it.

Auditorium layout

The size and shape of a room significantly influence its acoustic properties. If the dimensions are chosen incorrectly, both disturbances in the uniform distribution of sound energy in the room and many other operational inconveniences may occur. When designing and calculating a room, it is necessary to proceed from its specific purpose. In addition, the room is designed for a certain number of listeners.

In this case, the audience is designed. Based on many years of experience of design specialists, the optimal volume of air per viewer is 4 m 3 .

As for the area per listener, it is determined from sanitary and hygienic standards and for all types of halls it is 0.85 m2, taking into account aisles. The sound attenuation is most noticeable in the last rows of the auditorium, in which the seats are located on a horizontal plane of the floor. In order to achieve greater uniformity of the sound field, they usually resort to the following design solutions:

· sound sources are placed above the audience level (for which a lecture platform or department is arranged);

· the listeners' seats are located on an inclined plane.

So in classrooms, the height of the lectern is chosen within the range of 30-60 cm.

The floor is raised starting from the first row. In this case, each subsequent row is raised above the previous one in classrooms by 20 cm.

Both of these measures in combination not only improve audibility for the second half of the hall, but also improve visibility.

Determining the number of listeners who can be accommodated in the room

For this:

Let's determine the total floor area S p

Where l - hall length, m

b- hall width, m

Let's install a lectern with dimensions of 7x3x0.5 m in the classroom. Then the area of ​​the lectern will be equal to

Where l sc - length of the department, m, b To - width of the pulpit, m

Then the free floor area will be

We will determine the number of listeners based on the free floor area

The total volume of the room will be

Where h- audience height, m

Volume of space above the pulpit

Where h sc - height of the pulpit, m

The volume of the pulpit and the space above it

Free space volume

We will determine the number of listeners based on the volume of the room

Considering that we will count the audience on a smaller number of listeners, i.e. 830 people.

Location of listeners in the audience

The rows of seats will be arranged as follows:

we assume that one seat has dimensions of 0.6 x 1 m, taking into account the aisles between the rows;

in the middle of the audience, starting 1.0 m from the back wall, we will place 26 rows of 16 seats. The result will be 416 places;

along two walls, parallel to the central row, we will arrange 26 rows of 8 seats. There are a total of 416 places;

after this arrangement of seats, 832 people can be accommodated;

based on this location, between central rows and in rows located along the walls, stair passages 1.4 m wide are obtained;

between the pulpit and the first row there is a passage of 3.0 m.

Determination of the area of ​​all reflective surfaces

To do this, we define:

The area of ​​the front and rear walls is calculated using the formula

Side wall area. These areas are equal

The area of ​​the ceiling and floor are equal

Now let's determine the total area of ​​the reflective surfaces

sound field radio broadcasting sound reinforcement

We have already noted that it is better for the speaker to stand in the audience. It should be clearly visible. You need to stand in front of the audience, not among it.

It must be remembered that a standing speaker:

demonstrates respect for the audience;

creates constant stress for oneself;

senses time better;

speaks more energetically.

All this speaks in favor of standing.

Tribunes, dais, and stage should be used as little as possible. By artificially rising above the audience, the speaker demonstrates to them his official superiority, which contradicts the rule of “intimacy of communication,” which is very effective in public speech influence. If you are speaking from a platform, approach the very edge. From time to time, come out from behind the pulpit and stand next to it, or generally stand next to the pulpit, and not behind it.

During the performance it is necessary to move. The audience does not trust immobile speakers and considers them conservative-minded. The speaker's movement around the audience increases his credibility and strengthens the audience's sympathy. It is necessary to walk not in front of the audience, but deep into the hall, and you should not go very deep and reach the last rows of listeners - in this case, those who sit in front feel uncomfortable, they are forced to turn around after the speaker. It is best to go deeper by a quarter - a third of the length of the hall, no more; at the same time, when returning back, you should not turn your back to the hall, you must move back “in reverse”.

The speaker’s gait should be smooth, measured, without acceleration, somewhat slower than a person’s usual gait - only in this case the gait will diversify the perception of the speech, and not distract from it.

Sight

The speaker's perspective is very important to the audience. Listeners believe that if the speaker is looking at them, then their opinion and assessment are important to him. And this makes them listen more actively and attentively.

The speaker should look at all listeners alternately, without singling out any of them personally. Otherwise, it may turn out like one lecturer, who was approached by listeners after the lecture, thanked and said: “But why did you give a lecture only for our Katya?”

You can look away from the audience for a short time - when formulating some thought, then you need to re-establish eye contact with the audience.

Not speaking while looking into “space” causes distrust and irritation among listeners.

4. During the performance, do not look at the floor, feet, window, ceiling, or examine foreign objects.

This leads to a loss of contact with the audience.

Looking around the audience, do it slowly.

Maintain eye contact with the audience throughout the speech.

Look at your listeners in a friendly way, the same way you greet friends. Pretend that you are happy to look at everyone, it will please you.

When looking at the listener, look him in the eyes.

Looking into the eyes is always considered as an expression of interest, sympathy, but under one condition: it must be short-term, short-lived. A long, intense gaze directed into the listener's eyes will cause him to feel uneasy and feel pressured.

9. In a large audience, you should divide all listeners into sectors and move your gaze during the speech from one sector to another, without leaving any of the sectors unattended.

Pose

If the speaker is standing, his feet should be slightly apart and his toes pointed out.

The emphasis on both legs should not be the same. In the most expressive places, the emphasis should be placed more on the toe than on the heel.

The chest should be slightly “exposed”, the stomach should be tucked.

The chin should never be lowered.

Hands should be slightly apart, they should not be motionless. You should not take closed poses (arms covering the chest, crossed on the chest, legs crossed); such a pose is perceived by listeners as an expression of distrust of the audience, a certain superiority over it.

If you stand with one leg forward, pay attention to which leg you put out. If a person puts his left leg forward, he demonstrates aggressiveness (as if he is preparing to strike his interlocutor with his right hand), but if he puts his right, “favorable” leg forward, then he is open to dialogue, cooperation, and is looking for contact. Listeners subconsciously perceive this information, which the speaker must take into account.

We have already noted that it is better for the speaker to stand in the audience. It should be clearly visible. You need to stand in front of the audience, not among it.

It must be remembered that a standing speaker:

Shows respect for the audience;

Creates constant tension for yourself;

Feels time better;

He speaks more energetically.

All this speaks in favor of standing.

Tribunes, dais, and stage should be used as little as possible. By artificially rising above the audience, the speaker demonstrates to them his official superiority, which contradicts the rule of “intimacy of communication,” which is very effective in public speech influence. “Wait-

those close to their listeners,” recommends D. Carnegie. If there are less than 75 listeners, then you should talk to them downstairs, and not from the stage, says P. Soper. You should get closer to the listeners. Go down to the hall, walk around the audience (slowly, and not overusing this technique), lean towards the audience. If you are speaking from a platform, approach the very edge. From time to time, come out from behind the pulpit and stand next to it, or generally stand next to the pulpit, and not behind it.

During the performance it is necessary to move. The audience does not trust immobile speakers and considers them conservative-minded. The speaker's movement around the audience increases his credibility and strengthens the audience's sympathy. It is necessary to walk not in front of the audience, but deep into the hall, and you should not go very deep and reach the last rows of listeners - in this case, those who sit in front feel uncomfortable, they are forced to turn around after the speaker. It is best to go deeper by a quarter - a third of the length of the hall, no more; at the same time, when returning back, you should not turn your back to the hall, you must move back “in reverse”.

The speaker’s gait should be smooth, measured, without acceleration, somewhat slower than a person’s usual gait - only in this case the gait will diversify the perception of the speech, and not distract from it. Hands should not be static when walking, they should move. When walking, you should keep your chin up; this creates the impression of confidence in the speaker. You should not keep your hand or hands in your pockets while walking - this is perceived by the audience as evidence of the speaker’s secrecy, and in some cases, his insecurity.

When walking, you should never sway as this is very distracting to the listeners. Walking around the audience, the speaker should not fix his gaze on one thing; this forces the audience to shift their attention to what the speaker is looking at.

You should not twirl small objects, pens, keys, etc. in your hands during a performance - it is better to pick up a pointer or chalk.

Sight

The speaker's perspective is very important to the audience. Listeners believe that if the speaker is looking at them, then their opinion and assessment are important to him. And this makes them listen more actively and attentively.

In addition, if the interlocutor looks at us a little, we believe that he treats us poorly (“he didn’t even look!”) and neglects us.

If they look at us a lot, then this is considered by us either as some kind of challenge (this happens when we feel in opposition to the interlocutor), or as a demonstration of a good attitude towards us or at least interest. In the audience, the second option usually occurs, which the speaker must take into account.

1. The speaker should look at all listeners alternately, without singling out any of them personally. Otherwise, it may turn out like one lecturer, who was approached by listeners after the lecture, thanked and said: “But why did you give a lecture only for our Katya?”

2. You can look away from the audience for a short time - when formulating some thought, then you need to re-establish eye contact with the audience.

3. Do not speak while looking into “space”; this causes mistrust and irritation among listeners.

4. During the performance, do not look at the floor, feet, window, ceiling, or examine foreign objects.

This leads to a loss of contact with the audience.

5. When looking around the audience, do it slowly.

6. Maintain eye contact with the audience throughout the speech.

7. Look at your listeners in a friendly way, the same way you greet friends. Pretend that you are happy to look at everyone, it will please you.

8. When looking at the listener, look him in the eyes.

Looking into the eyes is always considered as an expression of interest, sympathy, but under one condition: it must be short-term, short-lived. A long, intense gaze directed into the listener's eyes will cause him to feel uneasy and feel pressured.

9. In a large audience, everyone should be separated

Lay on the sectors and move your gaze during the speech from one sector to another, without leaving any of the sectors without attention.

Pose

If the speaker is standing, his feet should be slightly apart and his toes pointed out.

The emphasis on both legs should not be the same. In the most expressive places, the emphasis should be placed more on the toe than on the heel.

The chest should be slightly “exposed”, the stomach should be tucked.

The chin should never be lowered.

Hands should be slightly apart, they should not be motionless. You should not take closed poses (arms covering the chest, crossed on the chest, legs crossed); such a pose is perceived by listeners as an expression of distrust of the audience, a certain superiority over it.

It's better to stand than sit. The higher a person is above the audience, the stronger his communicative position (the rule of “vertical dominance”), the more convincing he is.

You should not lean your hands on a low table, bending slightly over it - this is a dominance pose that is negatively assessed by the audience. This is a demonstration of aggressiveness; This pose is sometimes called the “male gorilla pose.”

If you stand with one leg forward, pay attention to which leg you put out. If a person puts his left leg forward, he demonstrates aggressiveness (as if he is preparing to strike his interlocutor with his right hand), but if he puts his right, “favorable” leg forward, then he is open to dialogue, cooperation, and is looking for contact. Listeners subconsciously perceive this information, which the speaker must take into account.

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