5,000-SEATER PENTACOSTAL MEGA CHURCH AUDITORIUM,

JOS: INTEGRATING ACOUSTICS FOR SOUND INTELLIGIBILTY.

EMMANUEL JOSEPH MSHELIA

B. Tech. ARCHITECTURE
UJ/2018/PGEV/0012

A Thesis in the Department of ARCHITECTURE,

Faculty of Environmental Sciences,
Submitted to the School of Postgraduate Studies,
University of Jos, in partial fulfilment of the requirements for the award
of
the degree of MASTER OF SCIENCE in ARCHITECTURE of the
UNIVERSITY OF JOS.

MAY, 2023
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DECLARATION

I hereby declare that this work is the product of my own research efforts, undertaken
under the supervision of Prof. Evelyn L. A. Allu – Kangkum, FNIA and has not
been presented elsewhere for the award of a degree or certificate. All sources have
been duly distinguished and appropriately acknowledged.

__________________________________
EMMANUEL JOSEPH MSHELIA
UJ/2018/PGEV/0012
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CERTIFICATION

This is to certify that the research work for this thesis and the subsequent preparation of
this thesis by EMMANUEL JOSEPH MSHELIA (UJ/2018/PGEV/0012) were carried
out under my supervision.

……………………………………… …………………………………..
Prof. Arc. Evelyn L. A. Allu - Kangkum, FNIA Date
Supervisor

……………………………………… …………………………………..
Dr. Arc. Shem Ripnung Lekjep, MNIA Date
Head, Department of Architecture

……………………………………… …………………………………..
Prof. Gideon Baklit Date
Dean, Faculty of Environmental Sciences
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ACKNOWLEDGEMENT

I sincerely want to appreciate God Almighty for His grace and mercy throughout this
prolonged Master’s program. I deeply want to appreciate my supervisor Prof. Arc. Evelyn
L.A. Allu-Kangkum (FNIA, FIMC, JP) who pushed me through. I also want to appreciate
my family who were very supportive through this journey. My heartfelt appreciation also
goes to Arc. Mangden Y.P. Elijah, Arc. Olagunju Oluwaseun, Prof. Ogunsote, P. and Arc.
Audu Umar all of whose contributions to the richness of this work were quite timely and
invaluable. Finally, to my darling wife Joyce, and Son, Jason Emmanuel Mshelia (JEMs)
who stood by me through this entire work – sometimes sitting with me through the night as
I work and cheering me on, I am forever indebted to you two and I love you guys.
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DEDICATION

This work is dedicated to the Almighty God and in loving memory of my late father.
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TABLE OF CONTENTS

DECLARATION .................................................................................................................. ii

CERTIFICATION ............................................................................................................... iii

ACKNOWLEDGEMENT ................................................................................................... iv

DEDICATION ...................................................................................................................... v

TABLE OF CONTENTS ..................................................................................................... vi

LIST OF TABLES ............................................................................................................... xi

LIST OF FIGURES ............................................................................................................ xii

LIST OF PLATES .............................................................................................................. xv

ABSTRACT...................................................................................................................... xvii

CHAPTER ONE ................................................................................................................... 1

INTRODUCTION ................................................................................................................ 1

1.1 BACKGROUND OF THE STUDY ...................................................................... 2

1.2 STATEMENT OF ARCHITECTURAL PROBLEM ............................................ 3

1.3 RESEARCH QUESTIONS .................................................................................... 4

1.4 AIM & OBJECTIVES ........................................................................................... 4

1.5 ARCHITECTURAL SIGNIFICANCE/ JUSTIFICATION OF THE STUDY ..... 4

1.6 MOTIVATION ...................................................................................................... 5

1.7 SCOPE AND DELIMITATION ............................................................................ 6

1.8 RESEARCH METHODOLOGY ........................................................................... 6

1.9 CHAPTER SUMMARY ........................................................................................ 7

CHAPTER TWO .................................................................................................................. 8

LITERATURE REVIEW ..................................................................................................... 8

2.0 INTRODUCTION .................................................................................................. 8

2.1 HISTORICAL BACKGROUND OF THE CHRISTIAN CHURCH BUILDING 8

2.1.1 The Historical Evolution of the Christian Church .............................................. 10

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2.1.2 Evolution of Church Architectural Styles .......................................................... 12

2.1.3 Symbolism in Church Design ............................................................................. 18

2.2 CRITERIA FOR CHURCH BUILDING DESIGN ............................................. 21

2.2.1 Planning Considerations of a Church Building .................................................. 21

2.2.2 Plan Form (Room Shape) and Seating Arrangement ......................................... 22

2.2.3 Sightlines ............................................................................................................ 27

2.2.4 Lighting .............................................................................................................. 28

2.2.5 Ventilation .......................................................................................................... 29

2.2.6 Orientation .......................................................................................................... 31

2.2.7 Vegetation ........................................................................................................... 32

2.2.8 Landscaping ........................................................................................................ 33

2.2.9 Access and Parking ............................................................................................. 34

2.2.10 Physically Challenged ...................................................................................... 34

2.2.11 Security ............................................................................................................. 35

2.2.12 Circulation ........................................................................................................ 35

2.2.13 Aesthetics.......................................................................................................... 35

2.2.14 Construction and Building Materials ................................................................ 36

2.2.15 Fire Safety......................................................................................................... 37

2.3 ACOUSTICS ........................................................................................................ 37

2.3.1 Architectural Acoustics ...................................................................................... 38

2.3.2 The Physical Characteristics of Sound ............................................................... 38

2.3.3 Auditorium Acoustics ......................................................................................... 42

2.3.4 Noise Control ...................................................................................................... 55

2.3.5 Acoustic Parameters ........................................................................................... 63

2.3.6 Acoustical Classification of Churches ................................................................ 68

2.3.7 Modern Church Auditorium Design for Acoustics ............................................ 71

2.4 CHAPTER SUMMARY ...................................................................................... 77

CHAPTER THREE ............................................................................................................ 78

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CASE STUDIES ................................................................................................................. 78

3.0 INTRODUCTION ................................................................................................ 78

3.1 RESEARCH METHODOLOGY ......................................................................... 78

3.1.1 Sampling Technique ........................................................................................... 78

3.2 OUTLINE OF CASES STUDIED ....................................................................... 79

3.3 CASE STUDY SELECTION CRITERIA ........................................................... 79

3.4 CASE STUDIES .................................................................................................. 79

3.4.1 Local Case Studies.............................................................................................. 79

3.4.2 International Case Studies ................................................................................ 100

3.5 CHAPTER SUMMARY .................................................................................... 109

CHAPTER 4 ..................................................................................................................... 110

STUDY AREA ................................................................................................................. 110

4.0 INTRODUCTION .............................................................................................. 110

4.1 BACKGROUND INFORMATION OF PLATEAU STATE ............................ 110

4.2 GEOGRAPHIC INFORMATION OF PLATEAU STATE .............................. 112

4.2.1 Climate.............................................................................................................. 112

4.2.2 Topography ....................................................................................................... 114

4.2.3 Geology and Soil .............................................................................................. 114

4.3 SITE SELECTION ............................................................................................. 115

4.3.1 Reason for Selection ......................................................................................... 115

4.4 SITE LOCATION MAP .................................................................................... 116

4.5 SITE ANALYSIS ............................................................................................... 116

4.5.1 Macro Site Analysis.......................................................................................... 117

4.5.2 Micro Site Analysis .......................................................................................... 118

4.6 CHAPTER SUMMARY .................................................................................... 123

CHAPTER FIVE .............................................................................................................. 124

PLANNING PRINCIPLES ............................................................................................... 124

5.0 INTRODUCTION .............................................................................................. 124

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5.1 FUNCTIONAL COMPONENTS OF A CHURCH AUDITORIUM ................ 124

5.1.1 The Sanctuary ................................................................................................... 124

5.1.2 The Nave........................................................................................................... 125

5.1.3 The Ancillary .................................................................................................... 126

5.2 ARCHITECTURAL PROBLEMS OF DESIGNING LARGE CHURCH

AUDITORIUMS ........................................................................................................... 127

5.2.1 Accessibility ..................................................................................................... 127

5.2.2 Space Organization ........................................................................................... 127

5.2.3 Form.................................................................................................................. 128

5.2.4 Building Materials ............................................................................................ 129

5.2.5 Waste Disposal ................................................................................................. 129

5.2.6 Orientation ........................................................................................................ 129

5.2.7 Circulation ........................................................................................................ 130

5.2.8 Landscape ......................................................................................................... 130

5.2.9 Acoustics .......................................................................................................... 130

5.3 ANTHROPOMETRIC DATA FOR LARGE/MEGA CHURCHES ................ 131

5.3.1 Congregational Space ....................................................................................... 132

5.3.2 The Working Dimensions of an Auditorium .................................................... 132

5.3.3 Wheelchair Consideration ................................................................................ 135

5.4 CHAPTER SUMMARY .................................................................................... 136

CHAPTER SIX ................................................................................................................. 137

DESIGN PROGRAMMING, PLANNING AND DESIGN ............................................. 137

6.0 INTRODUCTION .............................................................................................. 137

6.1 DESIGN PROGRAMMING .............................................................................. 137

6.1.1 The Project Design Brief .................................................................................. 137

6.1.2 Client and Users................................................................................................ 137

6.1.3 Conceptual Drawings ....................................................................................... 139

6.1.4 Design Philosophy ............................................................................................ 139

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6.2 DESIGN PLANNING ........................................................................................ 139

6.2.1 Spatial Program ................................................................................................ 139

6.3 THE DESIGN .................................................................................................... 145

6.3.1 Schedule of Accommodation ...................................................................... 145

6.4 CHAPTER SUMMARY .................................................................................... 146

CHAPTER 7 ..................................................................................................................... 147

DESIGN REPORT, SUMMARY, CONCLUSION AND RECOMMENDATIONS ...... 147

7.0 INTRODUCTION .............................................................................................. 147

7.1 DESIGN REPORT ............................................................................................. 147

7.1.1 Design Concept................................................................................................. 147

7.1.2 Design Data ...................................................................................................... 150

7.1.3 Material Properties ........................................................................................... 151

7.1.4 Noise Sources and Control ............................................................................... 154

7.1.5 Main Building Design ...................................................................................... 154

7.1.6 Other Design Considerations ............................................................................ 160

7.1.6 Materials and Construction ............................................................................... 162

7.2 SUMMARY ....................................................................................................... 165

7.3 CONCLUSION .................................................................................................. 166

7.4 RECOMMENDATIONS ................................................................................... 166

7.5 CONTRIBUTION TO KNOWLEDE ................................................................ 168

REFERENCE .................................................................................................................... 169

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LIST OF TABLES

Table 1 Churches and Temples (Religious Symbolism)……………………..................... 19

Table 2 Geometrical and Pictorial Symbolism in Church Architecture ............................. 20

Table 3 Shows the Recommended Frequency .................................................................... 39

Table 4 Selected sound-absorption coefficient of various building materials .................... 68

Table 5 Shows the dimensions of auditorium seats .......................................................... 134

Table 6 Space Requirements for the Main Church Auditorium ....................................... 145

Table 7 Space Requirements for the Auxiliary Facilities ................................................. 146

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LIST OF FIGURES

Figure 1 Shows Exterior and Interior of Santa Maria Maggiore in Rome.......................... 10

Figure 2 Shows Old St. Peter’s Basilica ............................................................................. 11

Figure 3 Early Centralized Building ................................................................................... 12

Figure 4 Shows Evolution of Church forms ....................................................................... 13

Figure 5 Shows Byzantine Style Church ............................................................................ 14

Figure 6 Shows the Romanesque Style ............................................................................... 15

Figure 7 Shows Cathedral of Notre Dame Amiens of the Gothic Style ............................. 16

Figure 8 Shows Saint Peter’s Basilica Rome (Renaissance Style) ..................................... 17

Figure 9 Showing the Jubilee Church, Rome ..................................................................... 18

Figure 10 Section drawings of sound focusing from concaved-shaped ceiling and convex

form ..................................................................................................................................... 22

Figure 11 Shows Rectangular Church Auditorium Layout ................................................ 23

Figure 12 Shows Cruciform Church Auditorium Layout ................................................... 24

Figure 13 Shows Central Plan............................................................................................. 25

Figure 14 Illustrates Fan Shape Church Form .................................................................... 26

Figure 15 Shows Hexagonal Church Auditorium Layout .................................................. 27

Figure 16 Shows Sightline in Auditorium .......................................................................... 28

Figure 17 Shows the Effect Natural Light in Church Interior ............................................ 29

Figure 18 Illustrates Wind Driven Ventilation ................................................................... 30

Figure 19 Illustrates Wind Pressure Zones in the Building ................................................ 31

Figure 20 Illustrates West-East Orientation ........................................................................ 32

Figure 21 Shows the Importance of Vegetation ................................................................. 33

Figure 22 Relationship between frequency f and wavelength of sound in air .................... 39

Figure 23 Amplitude illustration ......................................................................................... 40

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Figure 24 Pitch illustration.................................................................................................. 41

Figure 25 Graphical representation of various sound intensities in decibel ....................... 42

Figure 26 Geometry of Reflection ...................................................................................... 44

Figure 27 Reflections Within an Auditorium from a Source .............................................. 45

Figure 28 Level of Reflections ........................................................................................... 45

Figure 29 The Effect of Single Lateral Reflection to Sound Perception ............................ 46

Figure 30 Possible Paths for Early Sound Reflection ......................................................... 46

Figure 31 Optimum Reverberation Chart for Auditoriums and Similar Facilities ............. 48

Figure 32 The Effect of Absorption vs. Reflection vs. Diffusion ....................................... 49

Figure 33 Typical Absorption Behaviour ........................................................................... 50

Figure 34 Rate of Sound Decay .......................................................................................... 51

Figure 35 Basic Room Shape and Surface Geometry ......................................................... 52

Figure 36 Fan Shape Auditorium........................................................................................ 53

Figure 37 Circular Auditorium ........................................................................................... 53

Figure 38 Surface Geometry ............................................................................................... 53

Figure 39 Rectangle Shape Auditorium .............................................................................. 54

Figure 40 Reflection of Sound on Flat Surfaces ................................................................. 54

Figure 41 Reflections from Convex forms/surfaces ........................................................... 55

Figure 42 Reflections from Parabolic Surfaces .................................................................. 55

Figure 43 Different Wall Design Techniques Showing the Variation of Sound Attenuation

............................................................................................................................................. 57

Figure 44 Variety of Wall Types, Their Cost, Comparison and STC Values .................... 58

Figure 45 An illustration of before and after the Sealing of Cracks ................................... 59

Figure 46 Transition Corridor/Space in Buildings.............................................................. 60

Figure 47 Possible direct and flanking paths for sound transmission ................................. 61

Figure 48 Common Shapes That Promote Sound Diffusion .............................................. 66

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Figure 49 Illustrates Classic Auditorium Design ................................................................ 73

Figure 50 Classic Auditorium Shaped to Enhance Presence of Early Reflections ............. 75

Figure 51 Typical Room Plans for Worship Spaces ........................................................... 76

Figure 52 Approach View of Jubilee Church, Italy .......................................................... 101

Figure 53 Jubilee Church’s Exterior Views ...................................................................... 102

Figure 54 Jubilee Church’s Interior Views ....................................................................... 103

Figure 55 The Potter's House, Dallas Church ................................................................... 104

Figure 56 Interior View of The Potter's House ................................................................. 106

Figure 57 Interior Views of the Potter's House Church .................................................... 106

Figure 58 Interior Views of the Potter's House Church 2 ................................................. 107

Figure 59 Landscape of the Potter's House Church Premises .......................................... 107

Figure 60 Compartmentation of Structures on the Potter’s House Premises.................... 108

Figure 61 Map of Nigeria Showing Plateau State ............................................................ 111

Figure 62 Map Plateau State ............................................................................................. 111

Figure 63 Showing Jos Average Temperature and Precipitation...................................... 113

Figure 64 Showing Jos Wind Speed ................................................................................. 114

Figure 65 Site Location Map ............................................................................................ 116

Figure 66 Shows Pew Dimensions ................................................................................... 132

Figure 67 row-to-row dimension and clearway with fixed seating. b) Row to row

dimension and clearway with tipped –up seating. ............................................................ 133

Figure 68 Auditorium seating ........................................................................................... 134

Figure 69 Designated wheelchair area, required dimensions ........................................... 135

Figure 70 Plan of a box designed for a wheelchair plus loose chair................................. 135
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LIST OF PLATES

Plate 1 Approach View of Living Faith Church, Jos .......................................................... 80

Plate 2 Shows Ground Floor Plan of Living Faith Church, Jos .......................................... 81

Plate 3 Shows First Floor Plan of Living Faith Church, Jos ............................................... 82

Plate 4 Shows Right Side Elevation of Living Faith Church, Jos ...................................... 82

Plate 5 Church Interior and materials for Floor, Wall and Ceiling ..................................... 84

Plate 6 Shows Hose Reels and Dry Chemical Fire Extinguishers at LFC, Jos ................... 85

Plate 7 Shows Church Altar ................................................................................................ 87

Plate 8 Shows LFC Jos Gallery .......................................................................................... 87

Plate 9 Shows Admin Block/Pastors Offices ...................................................................... 88

Plate 10 Shows 500 Seats Capacity Youth Chapel ............................................................. 88

Plate 11 Dunamis Church Exterior Views .......................................................................... 89

Plate 12 Glory Dome Gallery showing Galleries and Acoustic Foams .............................. 90

Plate 13 Shows Exterior Views of Dunamis Glory Dome .................................................. 91

Plate 14 Artificial and Natural Lighting at DGIC ............................................................... 91

Plate 15 Shows Church Seating and Interior View ............................................................. 92

Plate 16 Rose of Sharon Garden, DGIC, Abuja.................................................................. 92

Plate 17 Shows Church’s Multipurpose Hall ...................................................................... 93

Plate 18 Front View of Family Worship Centre ................................................................. 95

Plate 19 Interior View of Family Worship Centre .............................................................. 97

Plate 20 Gallery and Foyer Views of Family Worship Centre ........................................... 97

Plate 21 Interior View of Family Worship Centre .............................................................. 98

Plate 22 Site Plan of Family Worship Centre ..................................................................... 99

Plate 23 Climatic Analysis of the Site .............................................................................. 118

Plate 24 Infrastructure Analysis of the Site 1 ................................................................... 119

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Plate 25 Infrastructure Analysis of the Site 2 ................................................................... 119

Plate 26 Vegetative Analysis of the Site ........................................................................... 120

Plate 27 Site Inventory ...................................................................................................... 122

Plate 28 Elevation Concept ............................................................................................... 148

Plate 29 Showing Site Plan of Proposed Church Auditorium .......................................... 155

Plate 30 Showing Floor Plan of Proposed Church Auditorium ........................................ 156

Plate 31 Showing First Floor Plan of Proposed Church Auditorium................................ 156

Plate 32 Roof Plan of Proposed Church Auditorium ........................................................ 157

Plate 33 Sections of Proposed Church Auditorium .......................................................... 158

Plate 34 Front Elevation of Proposed Church Auditorium ............................................... 158

Plate 35 Left-Side Elevation of Proposed Church Auditorium ........................................ 158

Plate 36 Back Elevation of Proposed Church Auditorium ............................................... 159

Plate 37 Right-Side Elevation of Proposed Church Auditorium ...................................... 159

Plate 38 Perspective View 1 ............................................................................................. 159

Plate 39 Perspective View 2 ............................................................................................. 160

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ABSTRACT

Acoustic shortfalls in the places of worship are unwanted disturbances, and as a matter of
necessity should be checked. Such acoustic shortfalls were discussed with regard to the
following issues: poor speech intelligibility and poor music quality which are commonly
experienced especially in mega Church auditoriums. However, the aim of this study is to
achieve good speech intelligibility and music quality thereby creating an acoustic
environment that is effective during Church worship. To achieve this, the following
objectives were considered: Application of appropriate passive and active noise defense
mechanisms in building design, appraisals of similar existing projects (post evaluation),
application of architectural acoustics design principles and criteria that impact the choice
of acoustical control technologies, and provision of sufficient room volume to allow the
natural development and support of sound. Investigations were done on five different
Churches in order to ascertain their levels of acoustics effectiveness and highlighting their
merits and demerits. The merits of each understudied Church were utilized while the
solutions for the demerits were proffered in the proposed 5,000-Seater Pentecostal Church
Auditorium. However, the research method used in this project is descriptive as it explored
and investigated specific areas of study in order to gain more insight into the particular
problem under investigation and provide solutions to it, usually the shape of the auditorium.
Based on the study carried out, it was found out that the rectangular and fan shapes were
commonly used and nearly the best in terms of acoustic efficiency, congregational unity and
sightline. Rectangular shape provided early lateral reflections, a desirable acoustics
characteristic, and minimized reflections from overhead, and hence, formed a basis for this
design.
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CHAPTER ONE

INTRODUCTION

This chapter introduces the research work carried out on integrating acoustics for

sound intelligibility in religious auditoriums with a focus on the Christian Pentecostal

Churches. Religion is a social-cultural system of designated behaviors and practices, morals,

beliefs, worldviews, texts, sanctified places, prophecies, ethics, or organizations, that relates

humanity to supernatural, transcendental, and spiritual elements; however, there is no

scholarly consensus over what precisely constitutes a religion (Williams, 2020). We humans

are troubling paradoxes. We intensely want our lives to be meaningful, to count for

something, to matter not only in individual or social ways, but in a “cosmic” way. Religion

is a system or pattern of life which articulates a community of faith and a world view that

shows reverence for the sacred and of what ultimately matters. Religious Architecture has

historically played a primary role in both the study and development of Architectural practices

and theories. Undoubtedly, this influence is tied to the position with which religious

institutions have historically held in shaping cultural values (Gil-Mastalercyzyk, 2016). To

be able to achieve this, a lot of communication goes on within a Church building.

The enormous increase of noise sources inside and outside our buildings, the

simultaneous shift from heavy, traditional building constructions to thin, light-weight

moveable and prefabricated building elements, in conjunction with the growing demand for

improved hearing conditions in Auditoria, have made architectural acoustics an essential

component in the environmental control of buildings. (Barron, 2009)

Good acoustical design is no longer a luxury in today's architectural context, such as

a Christian worship building. A Church is constructed on verbal, musical, and emotional

communication, as well as worship. Preaching, leading prayers, and announcing Church

activities are all ways that the Minister communicates with the congregation. Music attempts
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to communicate ideas and concepts while it simultaneously enhances the worship experience

through emotional involvement. Therefore, acoustics of the worship space have a profound

effect on all of these functions.

1.1 BACKGROUND OF THE STUDY

What is acoustics? Acoustics is a branch of physics that deals with the study of

mechanical waves in gases, liquids, and solids including topics such as vibration, sound,

ultrasound and infrasound (Barron, 2009). It is a science, governed by the laws of physics,

which helps us understand and predict the way that sound behaves in an environment.

Webster (2017) defined “acoustics as the science that deals with the production, transmission,

reception, effects and control of sound”. A space is said to have good acoustics if it provides

the sound in a conducive way that we want to use it. For a worship space to have good

acoustics it must allow good verbal and musical communication. It has poor acoustics if it

makes that communication difficult.

The acoustics of a space are determined by its architecture -- its geometric shape, the

way in which it is finished -- and by the number of people that occupy it at any given time.

Sound waves travel in approximately straight lines, bouncing off hard surfaces or being

absorbed or "soaked up" by soft ones before it dies out. Such a space is said to be reverberant

or "live", and the sound bouncing around the room is called reverberation (Umaru, 2017).

Similarly, the sound from a person speaking in a room with soft walls (curtains, carpets, seat

cushions, people, or acoustic tiles, etc.) will not bounce much at all before it dies out. It will

take a lot of vocal effort to be heard over an equivalent distance in this non-reverberant or

"dead" space, but the sound which does get through will be easier to understand. A good

worship Centre will have a good intelligibility rating. The set of minimum acoustic

requirements that are met by worship place starts with the direct sound from the speaker being

loud enough, that means it replicates conversational sound levels.

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Sound from a person speaking in a very reverberant space will consist of one sound

wave travelling in a straight line and a lot of sound waves that have bounced around the room

for a long time. All of these sound waves will take different lengths of time to get to the

listener, arriving at different times (Authur, 2014).

“Architectural acoustics is the process of managing how both airborne

and impact sound is transmitted and controlled within a building design.

While virtually every material within a room affects sound levels to one

degree or another, wall partitions, ceiling systems and floor/ceiling

assemblies are the primary elements that designers use to control sound”

(Umaru, 2017.p2).

In summary, a good worship auditorium is designed to eliminate unwanted reflections

and echoes and to optimize the quality of the sound heard by the audience. This is done by

engineering the shape of the auditorium and the walls, as well as including sound absorbing

materials in areas that may cause echoes to assure clear intelligibility for the spoken elements

of the liturgy.

1.2 STATEMENT OF ARCHITECTURAL PROBLEM

The consideration of acoustics in mega-auditorium designs is a major factor that is

seemingly undermined right from the conceptualization to the design stage, which reduces

the functionality of the building and the overall productivity of the users. Poor speech

intelligibility, music quality, and bad room acoustics are some of the obvious problems

associated with mega Pentecostal church buildings and auditoriums. This could be attributed

to the flexibility in the nature of Pentecostal church service procession, making it difficult to

achieve good acoustical design.

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1.3 RESEARCH QUESTIONS

The main questions of this research are:

i. How can good speech intelligibility and music quality be achieved through

architectural design in a Mega Church auditorium?

ii. What are the criteria to consider in designing a large/mega Church auditorium?

iii. How are typical contemporary Mega Churches designed?

1.4 AIM & OBJECTIVES

The aim of this study is to integrate acoustic principles for good sound intelligibility

and music quality in a Mega Pentecostal Church auditorium thereby creating an acoustic

environment that is effective during worship activities.

To achieve the aforementioned aim, the following objectives will be considered:

1. To explore through robust literature, the concept of auditorium acoustics, its impact

and application in large Church buildings;

2. To identify and adopt the design criteria for good acoustics in large auditoriums and

relate it to the proposed Mega Pentecostal Church building design;

3. To propose a design of a modern 5,000-seater Pentecostal Mega Church in Jos,

Plateau State.

1.5 ARCHITECTURAL SIGNIFICANCE/ JUSTIFICATION OF THE STUDY

The Architectural significance of this study is derived from the need to improve the

existing knowledge-base of acoustics of the space of Christian worship. This is because a

comfortable worship environment stimulates productivity of congregants for which the

architect is aimed at providing for users of the auditorium (Baker & Steemens, 2002). The

study focuses on improving the knowledge of acoustics in Christian worship spaces, with a
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specific aim to meet the acoustic requirements for a new Pentecostal Christian worship center.

The study seeks to create an optimal worship atmosphere by integrating proper design

principles and criteria, which would make hearing effective and participation sublime in the

mega auditorium. The study is significant as it would provide a practical solution to acoustic

problems in large Nigerian Churches and public buildings through effective integration of

acoustic principles, materials, and technology in providing an architectural masterpiece

design of a Pentecostal Church in Plateau State.

The rapid numerical increase of worshippers that The Latterhouse Christian Center

(TLCC) has experienced in the last 6 years in Jos, coupled with the enormous amount of

money it has spent on renting halls for her worship Services – and the fact that these rented

halls never really meet her needs in terms of acoustics, fire safety and for other auxiliary

spaces the Church needs to operate, has necessitated the need to own her Church building.

1.6 MOTIVATION

The identity of every true work of architecture is usually expressed in its uniqueness both

in terms of content and function in addition to its aesthetic values, but most importantly is its

contribution to contemporary technical issues (Fisher, 2015). These contributions are usually

in terms of the design, technology and specifications of materials used.

The primary contributions to knowledge of this research work are:

• To provide insight and knowledge and establish the importance and use of

acoustic principles in large congregational buildings;

• To solve the problems and challenges of Mega Church buildings with regards to

acoustic shortfalls;

• To provide solution to the need of The Latterhouse Christian Centre to build a

5,000-Seater Mega Church in Jos.

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1.7 SCOPE AND DELIMITATION

This project is limited to designing a proposed 5,000-seater modern Mega Church

auditorium for The Latterhouse Christian Centre with its other supporting facilities to include:

a. Administrative offices

b. Teenage Church

c. Junior Church

d. Creche

e. Meeting rooms

f. Guest house accommodation

g. Accommodation for a few key staff

h. Bookshop

i. Sports/Recreation facilities

j. Tuck shops

k. Dispensary/Clinic

1.8 RESEARCH METHODOLOGY

Research design denotes the art of putting together in place the research strategies that

will ensure that the study provides answers to the fundamental questions raised in the research

(Uji, 2009). The research method adopts the primary and secondary sources for data

collection. The research method is aimed at exploring and investigating specific areas of

phenomenon in order to gain more insight into the particular problems under investigation

and solutions to posing problems from primary and secondary data.

Primary data includes information from direct sources and include:

a. Direct interviews from people;

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b. Site visits and case studies investigations and direct observation on the proposed

project; and

c. Visits to existing facilities and producing diagrams for illustrative purposes (Uji,

2009).

Secondary data or information method of collection is also employed and include:

a. Existing literature from textbooks, publications, magazines, unpublished materials;

b. Use of the internet for further information and data collection (Uji, 2009).

To be able to gather all these data, some materials will be used. They include, but not

limited to:

a. Cameras

b. Sketchpads

c. Tape recorders

d. Laptop computer

e. Smart phone

f. GPS trackers

1.9 CHAPTER SUMMARY

Integrating acoustics for sound intelligibility in design will minimize the need for

expensive acoustic treatments in a Mega auditorium. This chapter gives a background on the

choice of topic. The aim, objectives and justification about the project to obtain a clear

understanding of how good sound intelligibility and music quality can be achieved, the most

feasible and sustainable technique(s) needs to be identified and used in the proposed design

for a 5,000-seater Pentecostal Church Design.

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CHAPTER TWO

LITERATURE REVIEW

2.0 INTRODUCTION

In this chapter, the relevant literature and publications used in the study are discussed.

The chapter covers a broad discussion on designing a Christian worship Centre with a

particular focus on the acoustics of the building. The first part of this section deals with the

evolution and designing of a Christian worship Centre, from their unique styles to

contemporary/modern times. The second part focuses on the acoustics of large worship

auditoriums and explores design principles and criteria that impact the choice of acoustic

control technologies and applications. The importance of critical acoustic considerations in

Architecture is demonstrated in this research and practical applications are exemplified.

2.1 HISTORICAL BACKGROUND OF THE CHRISTIAN CHURCH BUILDING

From the first to the early fourth centuries most Christian communities worshipped in

their private homes, often secretly (Collins, 2009). Originally, Jewish Christians met in

synagogues and in each another's homes. Some Roman Churches, such as the Basilica of San

Clemente in Rome, are built directly over the houses where early Christians worshipped.

Other early Roman Churches are built on the sites of Christian martyrdom or at the entrance

to catacombs where Christians were buried (Fahlbush & Bromiley, 2013). As Christianity

grew and became more accepted by governments, rooms and eventually, entire buildings

were set aside for the explicit purpose of Christian worship. Traditional Church buildings

were often in the shape of a cross and frequently characterized by a tower or a dome.

Nowadays though, modern Church buildings have a variety of architectural styles and

layouts; many buildings that were designed for other purposes have now been converted for
 9

Church use, and, similarly, many original Church buildings have been put to other uses

(Collins, 2009).

Christianity became a lawful, and then the privileged religion of the Roman Empire

with the victory of the Roman emperor Constantine in 312 AD. This implies that Christian

architecture must be seen within the context of the Roman-Hellenistic world. The early

Christian believers had neither the means nor the interest in evolving ecclesiastical

architecture. They normally met in whatever place that suited the occasion (Ward-Perkins,

2004). The faith, already spread around the Mediterranean, and strongly expressed itself in

architecture. Christian architecture did not and could not exist until A.D. 200, only the state

religion erected temples in the tradition of Greek and Roman architecture. Christian

congregations prior to 200 A.D. were limited to the realm of domestic architecture. This

limitation and evasion of the architecture of official worship became the decisive factor for

the early development of Christian architecture (Gwynn & Bangert, 2010).

Christian buildings were made to correspond to civic and imperial forms, and so the

basilica – a large rectangular meeting hall - became general in east and west, as the model for

Churches, with a nave and aisles and sometimes galleries and clerestories. The first very large

Christian Churches were built in Rome and have their origins in the early 4th century - for

example Santa Maria Maggiore in Rome. Across Europe, the process by which Church

architecture developed and individual Churches were designed and built was different in

different regions, and sometimes differed from Church to Church in the same region and

within the same historic period (Kostof & Spiro, 2011).

 10

Figure 1 Shows Exterior and Interior of Santa Maria Maggiore in Rome

Source: Gwynn & Bangert (2010)

Most of the early representatives in painting and sculpture were derived from Roman

art, appropriately stylized to suit the spirituality of the religion. An iconography was devised

to visualize Christian concepts (Gwynn & Bangert, 2010). Early Church buildings adapted

the existing common form of the Roman Basilica. Early Christian architecture was plain in

the exterior treatment, but the inside was luxuriously ornamented. The interior being so

decorated symbolized the Christian soul which should be directed towards the inner life. It

gives the faithful an impression of a supernatural place.

2.1.1 The Historical Evolution of the Christian Church

The buildings were of two types: the longitudinal hall (or basilica) and the centralized

building. The two could be compared as follows:

• The Basilica

Christian worship, being congregational, requires a hall, and the Roman basilica - a

civic hall became the model for both large and small Churches. The plan often included an

atrium, or forecourt; a narthex, or porch along nave (central hall) flanked by side aisles; a

transept hall crossing the nave; and a semicircular or polygonal apse (east end of a chapel,
 11

reserved for clergy) opposite the nave. In front of the apse, the altar was set directly over the

shrine. Columns, decorative panels, masonry, and bronze roof tiles from imperial buildings

were incorporated in the new structures (Banister, 2017).

Figure 2 Shows Old St. Peter’s Basilica

Source: Banister (2017)

• The Centralized Building

Baptisteries, Mausoleums, and martyria (martyr shrines) were built in centralized

form. They were either circular or polygonal, with the object or veneration - the baptismal

font, the sarcophagus, or the holy place - visible to the faithful from the aisle circling the site.

But entirely of spoils, the elegant circular building has massive bronze doors and for the font,

a huge porphyry (very beautiful and hard rock) basin, both from the Baths of Caracalla

(Collins, 2009).
 12

Figure 3 Early Centralized Building

Source: Collins (2009)

2.1.2 Evolution of Church Architectural Styles

 13

Figure 4 Shows Evolution of Church forms

Source: Collins (2009)

There are 5 main styles of Church architecture which have evolved from antiquity to

this modern time which include the following Architectural styles.

[Link] The Byzantine Church

Byzantine architecture is the architecture of the Byzantine, or Eastern Roman Empire.

The character of Byzantine architecture, which dated from the 5th century to the present day,

is determined by the novel development of the dome to cover polygonal and square plans for

Churches, tombs and also baptisteries. This system of using dome for roof construction is in

contrast to the early Christian timber trusses and the Romanesque system of stone vaults. It

may be stated that the basilica type of plan belongs to Early Christian architecture and the

domed, centralized type of plan to the Byzantine (Collins, 2009).

While the outside of the Byzantine building showed only a naked structure, the

interior was richly finished in marble slabs, mosaics or fresco. This Church style forbade the

use of statues, and so brightly coloured paintings and mosaics were used as a means of

expression. These were portraits of religious figures, often depicted frontally and rendered in

a highly stylized manner. Although any type of pictorial representation - a wall painting or a

mosaic, for instance could serve as an icon, it generally took the form of a small painted panel.

Mosaics were the favoured medium for the interior adornment of Byzantine Churches.

Consisting of small cubes, or tesserae, made of coloured glass or glass overlaid with gold
 14

leaf, and spread over the walls and vaults of interiors, mosaics produced a luminous effect,

well suited to expressing the mystic character of orthodox Christianity (MacLeod, 2008).

Figure 5 Shows Byzantine Style Church

Source: Collins (2009)

[Link] Romanesque Church

The Romanesque period was characterized by diversity of styles so immense that it's

sometimes regarded as a conglomeration of related styles. Circular or polygonal dome

Churches inspired by Byzantine architecture were also built during the pre-Romanesque

period. An outstanding achievement of Romanesque architecture was the development or

stone-vaulted buildings. A major reason for the development of stone-vaulting was the need

to find an alternative to the highly flammable wooden roofs of pre-Romanesque structures.

Attempts to solve new structural problems resulting from the use of vaults, especially barrel

vaults, were endlessly varied. The dome, round and pointed vaults, and plain and ribbed

grained vaulting were used (Gil-Mastalercyzyk, 2016)

An aisle nave was almost universal in large Romanesque Churches, with a chancery

of presbytery between this and the east end to accommodate the larger numbers of clergy and

monks. At the junction of nave and chancel, transepts were added, producing a cruciform plan

shape. Thus, circulation space for processions made the ambulatory a necessary feature. Also,

round apse was added to the choir and stepped chapels. The Romanesque Church was thus a
 15

harmonious combination of the Basilican plan with the radiating plan (Gwynn & Bangert,

2010).

Figure 6 Shows the Romanesque Style

Source: Gil-Mastalercyzyk (2016)

[Link] The Gothic Church

Gothic style found its greatest expression in architecture. Emerging in the first half of

the 12th century from Romanesque antecedents, Gothic architecture is characterized by

pointed arches, soaring spires, large tracery windows, and delicacy of structure. These

aesthetic qualities depended on a structural innovation: the ribbed vault. Medieval Churches

had solid stone vaults (the structure that supports the ceiling or roof). Being extremely heavy,

solid stone vaulting tended to push the walls outward, which could lead to the collapse of the

building. In turn, walls had to be thick and heavy enough to bear the weight which consists

of thin arches of stone, running diagonally, transversely, and longitudinally. The new vault,

which was thinner, lighter and more versatile, allowed a number of architectural

developments to take place (Kostof & Spiro, 2011).

With the Gothic vault, a ground plan could take a variety of shapes. The general plan

of Gothic Cathedrals, however, consisting of a long three-aisled nave, transept and a choir

and sanctuary, differs little from that of Romanesque Churches. On the other hand, the tall
 16

attenuated piers of the ground-storey arcade, the pencil - thin vaulting shafts rising through

the clerestory to the springing of the ribs, and the use or the pointed arch throughout the whole

edifice all contribute to the loftiness and soaring effects that constitute Gothic architecture’s

most dynamic expression. The primary purpose of the outer walls of the Gothic Cathedral,

with their tall buttresses and elegant flying buttresses, was to support the vaults (Gil-

Mastalercyzyk, 2016).

Figure 7 Shows Cathedral of Notre Dame Amiens of the Gothic Style

Source: Wikipedia (2022)

[Link] The Renaissance Church

In the Renaissance Cathedral, beauty prevailed over demands of liturgy. The counter

Reformation within the Roman Catholic Church also encouraged the spread of the Baroque

Hall type preaching Church which was closely associated with the Jesuits, in which the domed

cruciform plan had contracted, reducing the side aisles to series of small Chapels and the

sanctuary to a low platform. Renaissance Cathedrals wielded symbolic value; the strict

geometry of the centripetal form, the serenity coupled with the sphere of the dome echoed

and revealed the omnipotence, perfection, truth and goodness of God (Gooding, 2014).
 17

Figure 8 Shows Saint Peter’s Basilica Rome (Renaissance Style)

Source: Collins (2009)

[Link] The Modern Church

At a time in the early 20th century, Architects all over the world had to question the

rationale behind the continued style which had bedeviled Church buildings for almost 200

years. There was evidence of imminent change and this change was mainly precipitated by

two major factors: a reassessment of the basic relationship between the clergy and the

congregation, and revolutionary new materials of steel, glass and reinforced concrete (Gil-

Mastalercyzyk, 2016).

During this period, a more compact planning of Church buildings evolved. This was

possible because the customary precise divisions of nave, transept, chancel and sanctuary,

started giving way to a more open and intimate interior. Many new forms like egg-shaped,

fan-shaped, circles, ellipses and octagons were experienced. Although the obvious changes

in appearance of modern Churches were brought by changes in liturgical relationships, even

greater changes occurred through the use of new techniques or construction and new materials

such as reinforced concrete, steel, laminated wood and new forms of glass.

Concrete, which was introduced in the 19th century was fully used and expressed in

Church buildings in 1923. The first steel and glass Church, Stahlkirche - was built by Otto

Bartning, Cologne in 1928.

 18

Figure 9 Showing the Jubilee Church, Rome

Source: Arch Daily (2021)

2.1.3 Symbolism in Church Design

Symbolism in Architecture is regarded as that conceptual idea which brings together

various strands of emotions, sentiment, wishes, hopes and recollections into a united whole

(Collins, 2009). It is described as a comparison of the visible forms for the showing forth of

the invisible. It refers to the classical view of the architecture of the mind. In this approach,

the mind is viewed as a process in which symbols are manipulated. Symbols are moved

between memory stories such as long term and short-term memory and are acted upon by an

explicit set of rules in a particular sequence. The symbolic architecture is the manner in which

memory stories are related and the set of rules applied to the system (Andrew, 2004).

Symbols have been used in various ways in Church design to depict divine realities.

They provide a kind of sign language representing that which cannot be portrayed in visible

form. In other words, they provide a kind of shortcut in making statements especially of

historic events. For instance, the dove is a symbol of the Holy Spirit which obviously cannot

be depicted in a visible form (Andrew, 2004). The Cross is a symbol of redemption and

salvation of mankind, which otherwise, would have been very difficult to portray. These
 19

symbols serve as a means of quickening imaginations, and should not be used merely as

decorations. They should be used intelligently to enrich and enable the Church achieve its

aims (Tjorhom, 2004)

Table 1 Churches and Temples (Religious Symbolism)

Source: Tjorhom (2004)

 20

Table 2 Geometrical and Pictorial Symbolism in Church Architecture

Source: Tjorhom (2004)

 21

2.2 CRITERIA FOR CHURCH BUILDING DESIGN

The articulate composition of spaces to create shelter for man against weather hazards

is paramount in the considerations of design and planning. If not well designed, the outdoor

environment may, as well be more comfortable and safer than the indoor environment

(William, Ryan, & Clancy, 2014). Inadequate planning and designing of spaces would end

up confusing visitors, put their lives at risk and affect the functioning of the spaces and

consequently the functioning of individuals within a particular space. It is therefore necessary

for a Church building and the activities housed in it to function efficiently given the existing

outdoor conditions to aid the effectiveness of worship within the auditorium.

2.2.1 Planning Considerations of a Church Building

The basic determinant of the plan is the programmed relationship between the

congregation and the altar area. The emphasis of all faiths is on the involvement of the

congregation in the action of the worship service. Since Churches are places of worship, the

form of the building should be derived from the worship and liturgy. Plans which suggest an

auditorium, with the altar platform viewed through a proscenium arch, have an unfortunate

"performance" aspect (Gil-Mastalercyzyk, 2016).

Various considerations are important when designing a Church building. The need to

maintain a sense of oneness among the congregation, allowing for eye contact between the

preacher and worshippers, and avoiding obstructions like columns or piers that may obstruct

sightlines. While there is no requirement for seating, it is necessary to consider the needs of

the congregation in terms of seating arrangements. Movable altar platforms and chairs can

allow for greater flexibility in seating arrangements. Ultimately, all elements of the Church

building should be related to the worship area.

 22

2.2.2 Plan Form (Room Shape) and Seating Arrangement

In Church design, fundamental room shape and volume must be primary design

considerations to provide an optimum acoustic environment (Barron, 2009). Some shapes are

more beneficial than others to project early speech sound energy which is important for

optimum speech intelligibility. Some of them, however, may cause serious acoustical

problems such as standing waves, flutter echo, sound focusing and intensive late reflections

(greater than 100m/s). Concave shapes that concentrate reflected sound should be avoided if

it is not well treated in terms of sound diffusing materials

Long and flat parallel walls cause undesirable flutter echo, which decrease speech

intelligibility seriously. Spatial separation by alcoves, archways, and objects, which are seen

in many older Churches, will diminish the effectiveness of early arriving sound energy and

weaken the speech intelligibility. This geometrical consideration must be given not only in

design of the building floor plan but also in design of the section as well. Therefore, the ratios

of the room’s length to its width as well as the ratios of room’s height to width are the

important considerations that must be made (Barron, 2009).

Figure 10 Section drawings of sound focusing from concaved-shaped ceiling and convex
form
Source: Egan (2016)

[Link] Rectangular Form

The most commonly utilized plan form is the rectangular, with the altar platform at

one end and the seating oriented in rows looking toward the single focal point a central aisle.
 23

This plan is simple, and as long as the altar platform is within the congregational volume,

there is no excessive "performance" quality. The primary difficulty arises when the seating

capacity exceeds 500, because the viewing distance becomes overly long and worshipers in

the rear seats experience a diminished sense of participation and lateral sound reflections

crossing from wall to wall which produce standing wave resonance and echoes, unless the

side walls are made diffusive or absorbent. (Egan, 2016) This arrangement has some aesthetic

impact as well as counteracting the tendency for worshipers to concentrate at the usually more

convenient rear seats.

Figure 11 Shows Rectangular Church Auditorium Layout

Source: Egan (2016)

[Link] Cruciform Plan Form

Plans which have symbolic significance are not unusual. The altar area is often in the

head of the cross or at the crossing, depending on the seating arrangement within the arms of

the cruciform plan; there may be a loss of a sense of congregational unity. Many times, the

cruciform plan is chosen less for the inherent symbolism than for the smaller scale imparted

to the building exterior. The plan form breaks the law of unity of the Church (Gil-

Mastalercyzyk, 2016).
 24

Figure 12 Shows Cruciform Church Auditorium Layout

Source: Egan (2016)

[Link] Central Plan (Circular) Form

Plans based on the concept of an encircling congregation are to be found in quite

ancient Churches. Liturgical re-evaluation has generated renewed interest in this concept.

Here, the altar is centrally located and surrounded by the congregation. The nave could take

any geometric shape. This type of plan expresses a continuity of space in which the

architectural space does not end at the altar but continues around it. The alter automatically

becomes the center of attraction since it is situated at the geometric center of the form (Egan,

2016). Problems associated with this kind of plan form is loss of eye contact by the preacher,

certain non-religious activities taking place in the Church may also suffer and also the plan

form does not present a proper ritual accommodation for the clergy and laity. Not all the seats

will have good viewing angles for motion pictures or slides. Nevertheless, the sense of

intimacy and oneness is very great and may overcome all objections.
 25

Figure 13 Shows Central Plan

Source: Egan (2016)

[Link] Fan/Trapezoidal Form

This shape plan enables the maximum numbers of seat to be concentrated within the

arcs giving the best viewing conditions (MacLeod, 2008). Here, rows of seats are set in

concentric curves to provide each with a forward-facing view of the stage or if dividing aisles

are provided the side rows may be set at an angle to the longitudinal axis. The walls here can

add to sound reinforcement by not allowing the angle of splay of each wall exceed 25°. In a

wide hall these side sections of seating may also be separated and raised to a higher level than

those in the center, in order to create variety in seating as well as more even lateral distribution

of sound. The rear of the wall can be straight or concave to conform to the seating layout. The

fan shaped plan is mostly used for lecture theatres. Fan-shaped form brings the worshipers

close to the sound source, permits construction of balconies, makes good sightlines, but are

likely to create echoes or sound concentration if the curved rear wall and the curved balcony

are not acoustically treated or rendered properly.

 26

Figure 14 Illustrates Fan Shape Church Form

Source: Egan (2016)

[Link] Hexagonal Form

This plan form and its extended or modified forms, has been used extensively as the

basic plan shape for multipurpose halls because it provides compromise, giving good direct

sound, controlling ceiling and lateral reflections and scope of variations in seating

arrangements and levels within the auditorium. To allow for a more flexible arrangement, the

main floor is usually flat with retractable seating around the perimeter. By using loose chairs

in the central area, this can be arranged to suit different occasions and stage formations. This

plan form is however faced with losing sight lines from the side sections as the framed width

of the stage reduces. This is overcome by modifying the building geometry to that of a

horseshoe shape (Barron, 2009).

 27

Figure 15 Shows Hexagonal Church Auditorium Layout

Source: Egan (2016)

2.2.3 Sightlines

Good sightlines also establish good sound lines. Insofar as possible, provide direct

line-of sight between and among the three major liturgical areas: (1) the assembly, (2) the

altar platform, presiders and readers, and (3) the music Centre. The focus of an auditorium,

hall, Church Hall or lecture theatre is always the stage or altar, whether it is located centrally

or at an end. To achieve a good auditorium design, each seated person must have a clear view

of the altar or stage, projection screen and other visual aids, which may be the focus. The

design of the space to ensure it functions involves the adjustment of a number of variables

but not all of them are within the designer’s power to control. The usually accepted maximum

is 20m from the geometrical center. An open stage or from the setting line of a proscenium

stage, for lectures, music etc., in which facial expression are less important, the distance can

be increased up to 30m (Lawson, 2013)

In designing Church auditoriums, there is a variable, which is beyond the designer,

which is man. The variable within the influence of regulation of the designer has to do with
 28

the design of the sitting layout. The following are viewing angles required for good view from

all seats:

1. Good view without head movement, but slight eye movement of about 30 degrees.

2. Good view with slight head movement and slight eye movement approximately

60 degrees.

3. Maximum perception angle without head movement is about 110 degrees, i.e., in

this field everything which takes place between the corners of the eyes is

perceived. There is uncertainty beyond this field because something may be

missed from the field of vision.

4. With full head and shoulder movement, a perception field of 360 degrees is

possible (Neufert, Ernst; Neufert, Peter, 2000).

Figure 16 Shows Sightline in Auditorium

Source: Neufert, Ernst; Neufert, Peter (2000)

2.2.4 Lighting

Lighting is an integral part of architectural design of buildings. It determines, in a

large part, the utilitarian as well as the aesthetic environment provided by the designer.

Consequently, it calls for the most careful planning and the highest skill of the Architect. As

with all aspects of architecture, lighting may be analyzed and its relative importance changed
 29

depending upon time, the building’s function and its location. The perception of a building

space is dependent first and foremost by how lit the space is. Lighting primarily is seen as

letting in light into a space to aid vision. Because light does more than its primary function of

brightening up a building space for the purpose of clarity in vision, extra care must be given

in lighting design to achieve the desired effect of a space. It is a matter of common observation

that up to a point, the more light that is available, the better we see. Different building types

and different area of buildings require varying degree of light, some demand day lighting

while others demand artificial lighting; meaning that we have two basic ways to illuminate a

space. The sun is the natural source of light while electricity from the city mains is the major

source of artificial lighting in Nigeria (Umaru, 2017).

Figure 17 Shows the Effect Natural Light in Church Interior

Source: Wikipedia (2019)

2.2.5 Ventilation

This could either be natural or artificial.

[Link] Natural ventilation

This occurs when advantages of air movement in nature are made use of. The

prevailing winds over the site are admitted into the building through windows or other air
 30

inlets and released through the provided outlets. The resultant in-equilibrium in air pressure

outside the building allows for the extraction or suction of the air mass that was inside

previously. It occurs by stack effect, cross ventilation, or by air passage through adjacent

walls. To achieve this, the building is oriented taking into cognizance of the prevailing south-

west north-east winds. Because ventilation is not the only factor in determining orientation,

other means of inducing ventilation should be provided (Umaru, 2017).

The desired effect of ventilation within a space can be achieved by the manipulation

of certain determining factors like the size, position, and type of window openings, unlike a

fan-forced ventilation, uses the natural forces of wind and buoyancy to deliver fresh air into

buildings. Fresh air is required in buildings to alleviate odors, to provide oxygen for

respiration, and to increase thermal comfort (Baker & Steemens, 2002). However, unlike an

air-conditioning system, natural ventilation is ineffective at reducing the humidity of

incoming air. This places a limit on the application of natural ventilation in humid climates.

Figure 18 Illustrates Wind Driven Ventilation

Source: Baker & Steemens (2002)
 31

Figure 19 Illustrates Wind Pressure Zones in the Building

Source: Baker & Steemens (2002)

[Link] Artificial Ventilation

This involves the use of mechanical devices such as air conditioners, exhaust fans,

ceiling fans, etc. to effect or force the removal of air from a space. The use of these devices

is to make effective what natural ventilation could not achieve on its own. Engineers estimate

that for adequate ventilation the air in a room should be changed completely from one and a

half to three times each hour, or that about 280 to 850 liters of outside air per minute should

be supplied for each occupant. Providing this amount of ventilation in a large auditorium

usually requires mechanical devices to augment the natural flow of air.

2.2.6 Orientation

Orientation is the way the building is located in relation to the prevailing wind and

geographical North direction on site. In the past, the normal orientation of the Church is the

East - West. But with time, it came to be phased out (Banister, 2017). The significance of this

custom was variously interpreted, firstly as the turning of the soul to its ancient home in

paradise through Christ, and secondly as the coming of the Son of God like the lightening

that cometh out of the East and shines unto the West. This custom is not so essential today in
 32

the design of Churches. This tradition has been overshadowed by the climatic factors of wind

and solar radiation as well as by the view, noise and requirements of city layout. Also, the

interpretation of son of God coming from the East has been annulled by the fact that God is

omnipresent. Therefore, climatic factors such as wind, radiation, view, noise and urban

imagery among other things now tend to influence the orientation of buildings.

Figure 20 Illustrates West-East Orientation

Source: Baker & Steemens (2002)

In Nigeria, the prevailing wind direction is NE/SW direction. Thus, buildings oriented

WE will reasonably capture the prevailing wind, while those in the NW/SE direction would

maximally make use of the prevailing wind, other factors which include the direction of the

sun’s movement, noise source and intensity, also come into play, these factors should also be

taken into good consideration.

2.2.7 Vegetation

Trees and vegetation have been found to be effective in alleviating discomfort

associated with extreme temperature and heating effect in urbanized areas (Egan, 2016).

Vegetation on site can be used to condition the air that enters a building and filter dust from

the micro atmosphere. It can also be used to redirect the air passing across a building. Thus,

trees can help moderate the spread with which the wind enters the building interior. Trees
 33

also break wind velocity. Without shading, the average ground temperature in West Africa

remains higher than the maximum air temperature of the surrounding rural areas.

Figure 21 Shows the Importance of Vegetation

Source: Baker & Steemens (2002)

The temperature of an un-shaded pavement can easily be 43ºC on a day when the air

temperature is 34ºC (Michael, 2010). For this reason, the treatment of the ground surface is

very important. More shaded grass must replace concrete pavement to reduce ground surface

heat. Vegetation will delay afternoon solar heating of structures, thereby reducing energy

demands during peak demand periods. It has been shown that the shading of a building by

tall vegetation, for example palm trees can drastically reduce and, in some cases, eliminate

the need for supplementary cooling of structures during warmer seasons.

2.2.8 Landscaping

Another important element of Church architecture which must not be avoided is the

landscape. Enough space should be devoted to gardens and a considerable attention will be

given to the landscape around the buildings. Natural elements like trees, rocks, rivers,

streams, hills, and others play a very important role in the spiritual upliftment of man.
 34

In Church architecture, provisions for outdoor worships areas serves as an atmosphere

for private and quiet times. Such exterior spaces would be properly landscaped to give man

spiritual upliftment and serenity of the mind (Egan, 2016). Trees and flowers will not only

serve as landscape elements but will also serve to filter sound and noise from adjoining roads

and provide shade in hot weather. Apart from outdoor worships, use would also be made of

the landscape for such other outdoor activities like picnics, games, wedding receptions, etc.

2.2.9 Access and Parking

Access and parking spaces are major considerations in a Church design. Well defined

and adequate parking areas and circulation spaces are all functional requirements. There are

various problems associated with off- the -street parking. This is evident in some existing

Churches, which poses difficult problems with the functional requirements of the Church.

Adequate parking with adequate turning radius for vehicular circulation are considered (Egan,

2016).

2.2.10 Physically Challenged

The physically challenged persons ae also a major consideration in the planning of a

worship Centre. The congregation of the Church is made up of the healthy and unhealthy

persons, the able and disabled alike. From data collected, people mostly tend to seek God

more when they are faced with problems and hopeless situations (Egan, 2016). Therefore,

more often than not, the disabled come to the house of God to worship and seek spiritual and

physical well-being. In this regard, provisions for them to access the worship Centre easily

and conveniently such as ramps with a reasonable slope to conveniently allow for wheel-chair

users are incorporated. In the exterior spaces, walkways are wide enough so that the incoming

wheel-chair can give way to the out-going.

 35

2.2.11 Security

Security is an essential and paramount consideration in a Church design of

contemporary times (Gooding, 2014). Security in this regard may not only be the physical

and policing action. This is also integrated with the design of the church, and not necessarily

for theft but to avoid profanation. The design should be well articulated so that the property

of the Church is secured through the logical organization of space an avoiding blind spots

within and around the building.

2.2.12 Circulation

The Church worship activities involve movement of a large number of people at a

particular time (MacLeod, 2008). Control should therefore be established since it is a Holy

place where the congregation gathers for both public worship and private prayers. Care should

therefore be taken to control any activity in the form of movement since they would distract

the congregation. Good circulation network should be created through the organization of

aisles to avoid indiscriminate movement of the faithful. Aisles should be properly

dimensioned with ample spaces to accommodate movements and processions in the Church.

2.2.13 Aesthetics

Apart from being liturgically functional, Churches should be aesthetically pleasing.

Aesthetics in the Church would be attained through the design, and anything which cannot be

achieved through design, would be achieved through art works which complements the design

(Egan, 2016). Aesthetics plays significant role in worship system, and therefore this should

be a pre-requisite to a successful worship. It is only a thing of beauty that gives joy. Therefore,

the house of God should be able to give joy to the congregation. A place well adorned also

arouses spiritual interest.

 36

2.2.14 Construction and Building Materials

The choice of building materials is very important in evolving a structure. Materials

should be chosen not only because of the excitement they create, but in addition, should be

chosen based on their durability, fire resistance, serviceability, safety, aesthetics and cost

effectiveness.

The following will be the criteria for selecting materials for the different components of

the building.

a. Floors: The floors shall be made of materials which have good resistance to wear and are

of high-density grade. It should be able to be cleaned and maintained easily. The floors

should also be attractive to the users of the building.

b. Walls: The materials used for the walls would possess the qualities already listed above.

The walls of the church building shall possess high acoustic qualities in order to absorb

sounds.

c. Roofs: The roof should be very strong and resist very high wind speeds. The roof will

cover very large spaces in the church auditorium; therefore, the roof system will be such

that it can span large distances and the use of columns in the interior space will be

neglected or reduced to the barest minimum (Egan, 2016).

For modifying the reverberations, the architect has two types of materials, sound-

absorbent and sound-reflecting, to coat the surfaces of ceilings, walls, and floors. Soft

materials such as cork and felt absorb most of the sound that strikes them, although they may

reflect some of the low-frequency sounds. Hard materials such as stone and metals reflect

most of the sound that strikes them. The acoustics of a large auditorium may be very different

when it is full from when it is empty; empty seats reflect sound, whereas an audience absorbs

sound.
 37

2.2.15 Fire Safety

Fire safety in buildings is evaluated by careful examination of the design of the

building to determine whether the building meets the criteria set forth in the building code.

The circulation, construction type, and materials must meet standards for fire exits, fire

resistivity, flame spread, and amount of smoke produced. Failure to comply in this area can

cause fires. However well buildings are evaluated before and during construction, the use of

some buildings may, in fact, change over their useful lives (Stollard & Abrahams, 2009). Fire

exits and corridors may sometimes be used for storage or activities instead, and wall coverings

with a high flame spread can cover original and safer surfaces. Fire doors are sometimes

closed and locked for security reasons, creating a most dangerous situation. These issues

should be critically looked into and addressed.

2.3 ACOUSTICS

According to Salvato (2010) in the Science and Engineering Encyclopedia, acoustics

(Greek word derived from “akouein” to hear), is a general term used for the scientific

discipline of sound. It is defined as the science of sound, including its production,

transmission, and effects. The “theory of sound” placed the discipline of acoustics on a solid

scientific foundation within the interval of 1898 and 1990 (Barron, 2009). The study of

acoustics revolves around the generation, propagation and reception of mechanical waves and

vibrations. Many people mistakenly think that acoustics is strictly musical or architectural in

nature but it also covers a vast of range of topics, including: noise control, SONAR for

submarine navigation, ultrasounds for medical imaging, thermoacoustic refrigeration,

seismology, bioacoustics and electroacoustic communication (Umaru, 2017).

 38

2.3.1 Architectural Acoustics

Architectural acoustic is defined as the study of sound in a space. It is the process of

managing how both airborne and impact sounds are transmitted and controlled within a

building design (Janning, 2016). It is the science and engineering of achieving a good sound

within a building for example, achieving good speech intelligibility in an auditorium,

restaurant, theatre or railway station, enhancing the quality of music in a concert hall or

recording studio, or suppressing noise to make offices and homes more productive and

pleasant places to work and live in. Design of spaces, structures and mechanical systems must

include acoustic considerations to create a space that is pleasing in sound quality to suit the

mood of the space. The acoustic mood designed for a space is also highly affected by the

buffer from the building exterior that blocks the outdoor noise and building interior design

that buffers the indoor noise.

2.3.2 The Physical Characteristics of Sound

The attribute or features of sound that can be detected by the human ear comprises the

following:

[Link] Frequency: The frequency of a sound wave is simply the number of complete

vibrations occurring per unit of time and it is measured in decibels (dB) (Liang & Hofer,

2015). The decibel scale is a logarithmic scale based on the logarithm of the ratio of a sound

pressure to a reference sound pressure (the threshold of audibility), while the frequency of

sound waves is measured in Hertz (HZ, also known as cycles per second) and grouped into

octaves (an octave band is labeled by its geometric center frequency). Human hearing is most

acute in the 1000 to 4000 HZ octave bands (Binggeli & Greichen, 2011).
 39

Table 3 Shows the Recommended Frequency

Source: Ramsey, Ghan, & Pete (2000)

[Link] The Wavelength: This is the perpendicular distance between the maximum two

successive wave fronts at a given instant time. It is measured in meters (m) and represented

with the Greek alphabet (lambda). The wavelength of a sound is related to frequency in Hertz

and the speed of sound in meter per second. For convenience, the relationship between

frequency of a sound and wavelength is given graphically as in the figure below.

Figure 22 Relationship between frequency f and wavelength of sound in air

Source: Ramsey, Ghan, & Pete (2000)

[Link] Period: This simply means the time taken for one complete cycle or oscillation and

measured in seconds (Authur, 2014).

 40

[Link] Amplitude: We perceive amplitude as volume and this is known as the maximum

displacement a wave travels from the normal or zero position, as shown in Figure 23

Amplitude illustration below. This distance corresponds to the level of motion in the air

molecules of a wave. As the level of motion in the molecules increases, its strike the ear drums

with greater force progressively and as a result causes the ear to react to a louder sound. The

amplitude of a sound wave is ascertained by the magnitude of the pressure fluctuation

(Barron, 2009). Therefore, the greater the amplitude of the wave, the harder the molecules

strike the eardrum and the louder the sound that is perceived. However, the range of pressure

to which our ears can react exceeds a ratio of one to million and response is not linear.

Figure 23 Amplitude illustration

Source: Authur (2014)

[Link] Pitch: This is the subjective response of human hearing mechanism to changing

frequency. All musical instruments produce complex sounds which are made up of several

frequencies, although the lowest is normally determined by the pitch, the name given to the

perceived frequency (Barron, 2009). A difference in the frequency at which a sound wave

vibrates is caused by changes in the pitch, measured in cycles per second (cps). Samples of

four notes of different pitch are shown in below with their wave patterns, and as the frequency

increases, the pitch also increases, and the note sounds higher. Pitch determines the placement
 41

of a note on a musical scale, corresponding to a standard, specified frequency and intensity.

It is often used to tune both instruments and voices to one another. Some people have the

inborn ability, known as ‘perfect pitch’ to recognize or sing a given note without reference to

any other pitch.

Figure 24 Pitch illustration

Source: Egan (2016)
[Link] Sound Quality (Tone): This is the characteristic of sound that allows the ear to

differentiate between tones produced by various instruments, even when the sound waves are

indistinguishable in amplitude and frequency. Overtones are supplemental components in the

wave that vibrate in simple multiples of the base frequency, causing the distinction in quality,

or timbre. The ear of humans perceives distinctly different qualities in the same note when it

is produced by a tuning fork, a violin, or a piano (CBSE, 2010).

[Link] Sound Intensity: Sound wave always goes along with the flow of sound energy. The

intensity of a sound wave is the energy transferred per unit time through a unit area normal

to the direction of propagation, with a metric unit as and measured in decibels (dB). In

practical sense, the intensity of the threshold of hearing is always 0 dB, while that of

whispering is about 10 dB, and rustling leaves reaches virtually 20 dB (Authur, 2014). The

displacements at which a sound can be heard strongly depend on its intensity.

 42

Figure 25 Graphical representation of various sound intensities in decibel

Source: Authur (2014)
[Link] Threshold of Hearing and Threshold of Pain: The Institute for Quality and

Efficiency in Health Care (2017) described threshold of hearing as the weakest sound an

average human ear can detect. It is remarkably low and occurs when a distance less than the

diameter of a single atom deflects the membrane in the ear. The value of the threshold varies

slightly from person to person but for reference purposes it is defined to have the following

values at 1000HZ. Threshold of pain as described by College Physics, (2014) is the strongest

sound a human ear can tolerate. Very strong sounds become painful to the ear mechanism and

very large pressure will have other harmful physical effect, such as those experienced in an

explosion, for instance a bomb blast.

2.3.3 Auditorium Acoustics

(Beranek, 2004) states that the modern age of auditorium acoustics was established

with the development of the empirical reverberation equation proposed by Wallace C. Sabine

in 1895. Until World War II, very few remarkable developments were made in designing of

halls. After World War II, the development of broadcasting studios, the evaluation methods

of halls with computer systems and the production of many acoustical materials reflected to

the field of acoustics, and with the help of various researches, many acoustically satisfactory

halls were constructed.

 43

Acoustics is both an objective and subjective phenomenon, and consist of several

qualitative and quantitative parameters necessary to be understood. (Barron, 2009) describes

the objective parameters as: reverberation time, early decay time, early-to-late sound index,

early lateral energy fraction and total sound level. Fullness of tone, definition of clarity,

fullness and definition, intimacy, timbre, tone color and brilliance are stated as subjective

parameters by (Beranek, 2004). All these parameters are involved in the nature of acoustics

to establish the most pleasant performances in halls and auditoriums.

Generally, as it regards acoustics in an auditorium, there are two viewpoints:

a. Room acoustics as experienced by the audience

b. Room acoustics as experienced by the performer

Auditorium Acoustics as Experienced by the Audience: For the audience, it is important

to have useful sound reflections from the performer to the audience. The requirements for this

however, vary with the purpose for which it is meant (Beranek, 2004).

Auditorium Acoustics as Experienced by the Performer: For the performer, it is important

that the stage acoustics supports the performer`s activity for instance, in a movie theater,

hearing the sound track in the way the movie makers have intended it to be heard. The same

way in a concert hall, good spatial impression (sound surrounds the listener) creates a sense

of intimacy, warmth, sound color, adequate clarity, etc. (Beranek, 2004).

[Link] Factors That Affect Auditorium Acoustics

There are various factors that determine the acoustics of a room. They are varied

depending on the purpose of the room and the functions carried out therein. These factors are

examined in brief detail below in order to proffer an Architectural design that will be optimal

for acoustics for worship activities in the proposed Pentecostal Church building.
 44

i. Reflection of Sound

Sound reflects in a similar way as light; this is when the angle of incidence is equal to

the angle of reflection (specular reflection). This applies when the sound wavelength is

adequately smaller than the dimensions of the object causing the reflection and the reflecting

surface is even (not sound scattering) and hard (not sound absorbing). Sound reflection is a

complicated phenomenon and depends greatly on the frequency and the properties of the

reflective surface(s) (Umaru, 2017).

For instance, if sound suddenly stops in a large concert hall and the number of

reflections occurring within the first 1 second is about 8000, as the number of reflections

increases, there is a reverberant sound field in the space in which the listener cannot

distinguish single reflections from one another; in large spaces this occurs after about 100m/s.

Figure 26 Geometry of Reflection

Source: Umaru (2017)

Hence, the sound field in a space comprises of three distinguishable parts:

• Direct sound

• Early reflections

• Reverberant sound field

 45

Figure 27 Reflections Within an Auditorium from a Source

Source: Beranek (2004)
Direct sound, early reflections and reverberant sound and their relations determine

how sound is perceived in a space (Kutovic, 2015).

Figure 28 Level of Reflections

Source: Bistafa & Bradley (2000)
Sound perception is affected by the level of reflections, their delay in relation to direct

sound and the direction from which they reach the listener. Strong reflections with adequate

delay are heard as separate echoes (disturbance) and if the delay between direct sound and

early reflections is appropriate (about 50 to 80 m/s), the reflections increase the loudness of

sound (perceived sound level). This is a very important factor in the design of speech and

music spaces as lateral reflections (reaching the listener`s ears from the sides) add to the sense

spatial impression and broadening of the sound source.

 46

Figure 29 The Effect of Single Lateral Reflection to Sound Perception

Source: Barron (2009)
In addition to lateral reflections, sound reflections arriving from the ceiling and stage

area (orchestra shell or other acoustical enclosures) shortly after the arrival of the direct sound

contribute to presence, spaciousness and intelligibility. The figure below depicts the most

common paths of early sound reflections to a listener.

Figure 30 Possible Paths for Early Sound Reflection

Source: Umaru (2017)
Therefore, the width of a performance hall should be as narrow as possible to avoid

delayed reflections from the side walls being perceived as echoes, especially to those at the

center seating sections. Provision should also be made to accommodate the maximum number

of audience seats while avoiding delayed reflections and poor sightlines. In this vein, it is
 47

often necessary for the width of the side walls to be very narrow (not much wider than the

proscenium opening or stage platform width) in the front of the room and gradually increase

to a wider rectangular form one-third to one-half of the distance toward the rear of the

audience seating area (Umaru, 2017).

ii. Reverberation Time

Authur (2014) defines Reverberation time as the time taken for the intensity or the

sound pressure level to fall to 60 dB of its initial value. This is the property of sound that

explains the rate at which sound decays in a room as dependent on the total absorption and

volume of the room. Reverberation time is associated with the idea of how long it takes for

sound to decay to a level where it is no longer noticeable. Hence, the reverberation time in a

space correlate rather well with the perceived clarity of speech or music. When there is a long

reverberation the syllables in speech or separate musical notes attenuate slowly and mask

each other.

Reverberation time increases proportionally with the cubic volume of the room and

decreases proportionally with the quantity of sound-absorbing surfaces in the room. Too short

a reverberation time is not desirable because in an overly damped space there are no useful

reflections (Authur, 2014). In addition to appropriate reverberation time, good room acoustics

provides that the space has appropriate size and shape as well as sound absorbing and

reflecting surfaces which are positioned correctly. Hence, below is a diagrammatic summary

of the reverberation time requirement for various facilities.

 48

Figure 31 Optimum Reverberation Chart for Auditoriums and Similar Facilities

Source: Barron (2009)
In the same vein, high ceilings are required for concerts, musicals and opera,

providing longer reverberation time: typical hall volume - 20.5m3 – 35 m3/audience seats.

Lower ceilings should be used for drama and speech - 7.5 m3 – 14 m3/audience seats. Acoustic

requirements may dictate that reflective surface at the ceiling of the orchestra enclosure

extend out above audience seating. In contemporary auditoriums, ceilings are movable with

large paneling in segments that can be opened and closed on systems of winches and flying

grids. These variables allow for the widely diverging acoustic requirements of electronic and

live orchestral music as opposed to speech and drama (Authur, 2014).

Different programs have different acoustic requirements: Speech, drama and

amplified music require shorter reverberation times typically less than 1.2 seconds.

Symphonic, opera and organ music all require longer reverberation times typically greater

than 1.6 seconds.

 49

iii. Sound Absorption and Diffusion

Successful room acoustics is a combination of the geometry of the space and the

absorptive and reflective properties of materials (Beranek, 2004). A room with low absorption

has a high reverberation time and is described as being ―live. Any sound source will sound

relatively loud in such a room. On the other hand, a room with high absorption has a low

reverberation time and is described as being dead. The same source will appear much quieter

in a dead room than in a live room.

Figure 32 The Effect of Absorption vs. Reflection vs. Diffusion

Source: Barron (2009)

There are basically three absorption mechanisms:

• Porous materials (P)

• Resonant absorbers(R)

• Membrane/ panel absorbers (M)

Typical absorption behavior is represented in the figure below:

 50

Figure 33 Typical Absorption Behaviour

Source: Barron (2009)

In order to achieve an acoustic variation in a performance hall, increasing/decreasing

the amount of sound absorbing materials through the use of draperies, banners, panels that

can be either fully exposed, partially exposed, or concealed depending on the requirements

of the event will suffice. For optimal intelligibility of music and speech, it must be ensured

that wall and ceiling surfaces in the stage or ―sending end of the room are sound-reflective

and somewhat diffusive to both project sounds out to an audience and to enhance performer’s

abilities to hear themselves and blend with one another (Beranek, 2004).

In this light, balcony fascia and under-balcony ceilings need to be shaped like a sound

diffuser or treated with limited amounts of sound absorption to avoid long, delayed reflections

and echoes. The walls of a performance space must also be a minimum of one course of

masonry or a multilayer/multi-stud drywall construction depending on surrounding

conditions. This construction may or may not incorporate the interior finish materials and

wall shaping required for appropriate room acoustics (Authur, 2014).

 51

iv. Sound Decay

This refers to the rate at which sound decays in a room once the source has stopped

radiating direct sound energy and this is greatly cardinal in providing a useful numerical

description of the acoustic properties of the room (Sabine, 2012, 2016)

Figure 34 Rate of Sound Decay

Source: Umaru (2017)

v. Basic Room Shape and Surface Geometry

In the historical progress of hall design, it is observed that there are basically five hall

types categorized according to their floor plans, namely; the classical rectangular hall; the

shoebox hall; the fan-shape hall; the reverse fan-shape hall and the arena type hall, which

supports large audience capacities with vineyard seat plans composed of elevated and

segmented plans for seats surrounding the stage to allow the optimization of distance between

audience and stage. These plans are directly related with the performance taken place in these

enclosed spaces and the social and cultural involvement of public to these performances

(Authur, 2014).

Today, these plan types which have curvilinear forms are also observed with their

successful acoustical design provided by simulation techniques. In addition of enhancing

objective parameters of acoustics, the subjective concepts were also satisfactory because of

this geometry. However, as they were designed as narrower and longer, it was quite difficult
 52

to provide for all the listeners to be close to the stage, and that was creating sightline problems

and poor conditions for the listeners, who were attending the performance from the rear seats

(Barron, 2009). The shape and surface geometry of a room greatly impacts the reflection of

sound within it. Room shape is very important for providing the necessary side wall

reflections that contribute to an accurate sense of spaciousness and fullness of sound in the

space. Rooms based on the rectangular form (with added wall shaping) often provide the

strongest coverage of side wall, or lateral, reflections. Wide fan shapes and semi-circular floor

plans focus sound very unevenly causing ―hot spots and ―dead zones of sound. Some of

the basic configurations typically used in the design of auditoria are:

Figure 35 Basic Room Shape and Surface Geometry

Source: Doelle (2012)

a. Fan-shape: Reflections scatter and are directed mainly to the rear part of the space

(not in the middle).

 53

Figure 36 Fan Shape Auditorium

Source: Umaru (2017)
b. Round: Reflections from concave surfaces cause sound to strongly focus on some
parts of the space.

Figure 37 Circular Auditorium

Source: Umaru (2017)
c. Curvilinear/Multilateral: Reflections from uneven surfaces cause sound to diffuse
and lack a strong point of concentration in the space.

Figure 38 Surface Geometry

Source: Umaru (2017)
d. Rectangle: Lateral reflections occur in the entire space.
 54

Figure 39 Rectangle Shape Auditorium

Source: Umaru (2017)
vi. Reflection on Flat Surfaces

If a sound is activated in a room, sound travels radially in all directions. As the sound

waves encounter obstacles or surfaces, such as walls, their direction of travel is changed, i.e.,

they are reflected (Beranek, 2004)

Figure 40 Reflection of Sound on Flat Surfaces

Source: Umaru (2017)
vii. Reflections from Convex forms/surfaces

Spherical wave fronts from a point source tend to become plane waves at greater

distance from the source. For this reason, impinging sound on the various surfaces to be

considered will be thought of as plane wave fronts (Beranek, 2004). Reflection of plane wave

fronts of sound from a solid convex surface tends to scatter the sound energy in many

directions as shown below. This leads to a diffusion of the impinging sound.

 55

Figure 41 Reflections from Convex forms/surfaces

Source: Umaru (2017)
viii. Reflections from Parabolic Surfaces

A very deep parabolic surface, exhibits far better directional properties than a shallow

one.

Figure 42 Reflections from Parabolic Surfaces

Source: Umaru (2017)
2.3.4 Noise Control

Freedom from noise is the most important requirement to be met for good acoustic

quality. Noise control inside a building can be achieved by following certain construction

techniques while constructing a building. The construction techniques of walls, windows,

doors and floors as well as the selection of appropriate building materials should be

considered for better acoustic control in buildings (Bistafa & Bradley, 2000).

The discomfort of noise within the building goes on increasing if the structural

elements within the building too doesn’t show any resistance against the noise. It is found
 56

that the noise transmission is intercepted when it passes through the walls, floors, windows,

ceilings and the building doors (Janning, 2016). Therefore, certain parameters must be put in

place, to achieve noise control in buildings such as those specifically designed for the church

auditorium. Some of them are discussed below:

[Link] Sound Transmission Class (STC)

This is a parameter that is used to compare the performance of different construction

materials. It is the numerical value equal to the number of decibels in terms of reduction of

sound when it passes through a material, which is intended to have some insulating property

(Barron, 2009).

Hence, a high value of STC implies the material possesses a high insulating property.

It basically works on the influence of external frequencies of the areas of the partition where

the sound originates and where the receiving of the sound takes place. The STC guides the

Architect to know which material would suit the most, to have an essential acoustic feature

by the reduction of noise.

[Link] Construction of Walls

Walls are an important structural element in all kinds of buildings, which provides

protection from the noise externally as well as internally. The usage of different wall materials

or the usage of different wall materials or the usage of different design for the wall would

bring variation in the insulating properties of the element. Different wall designs guarantee

varied sound attenuation (Authur, 2014). Hence, the methods employed for noise control in

buildings through the construction of walls are explained as follows:

a. Wall Mass and the Thickness: The massiveness of a material is an efficient

parameter that resists noise. Hence, concrete walls are more insulating than wooden

walls. Another way to increase insulation is to add more thickness to the walls, which

increases mass and in turn increase insulation. A reduction of 6 decibels happens by

 57

this method of construction, however, cost and economy must be considered (Egan,

2016).

Figure 43 Different Wall Design Techniques Showing the Variation of Sound Attenuation
Source: Egan (2016)
b. Use of Cavity in Buildings for Noise Control: Sound transmission can also be

impeded by the usage of airspace between the two partition walls. The air space can

also be placed in between two or more layers. This concept is more effective than a

single wall of equal weight, which is found to be more economical (Egan, 2016).

c. Increase Airspace Width of Walls: Increasing the airspace width of walls will

obviously increase the noise insulation property. But this huge increase in width of

airspace is difficult to design and consumes more space, leading to obsolete spaces.

d. Increasing the Stud Spacing: This is obtainable for buildings made of wood and it

has been found by study that increasing the spacing between the studs would increase

the sound transmission capacity of the room. Say an increase of 2 to 5 decibels STC

is determined for a stud spaced 24 inches than those spaced in 16 inches (Authur,

2014).
 58

e. Usage of Studs in a Staggered Manner: The staggered arrangement of studs placed

alternatively would help in noise absorption, hence, reducing noise intensity.

Figure 44 Variety of Wall Types, Their Cost, Comparison and STC Values
Source: Egan (2016)

f. Studs and Panels held together by Resilient Materials: Inexpensive resilient layers

like glass or fiber board or semi- resilient attachments which are inert in nature can be

used in reducing the STC rate by 2 to 5 decibels.

g. Using Dissimilar Panels: Using different thickness and materials for panels would

help in reduction of noise, thus increasing the sound insulating quality of walls (Egan,

2016).

h. Sound Absorbing Blankets used in the Airspace: Also known as isolation blankets,

they are placed in the airspace arrangement, that are provided between the panels. The

blankets also increase sound attenuation.

i. Cracks and Edges are sealed: Walls must be properly sealed and crack free in order

to take full advantage of a high-performance wall and preserve the insulation property

of the wall. This is because it has been observed that a hole of 1-inch square will result

in a reduction of the STC of the wall by 10.

 59

Figure 45 An illustration of before and after the Sealing of Cracks

Source: Egan (2016)
[Link] The Construction of Windows

Windows are one of the weakest elements of a building, as their open condition or

inappropriate position would affect greatly the performance of the insulating walls. Therefore,

acoustics should be considered in the arrangement and placement of windows (Janning,

2016).

The following measures can be employed to reduce the noise entering the building

through the windows:

a. Windows Can be Closed: Permanently sealing or closing of the windows is the best

measure to reduce the direct effect of noise. Permanent sealing becomes essential

when an air conditioning system must be enabled. So, sealing acts as a constant

solution for noise (Egan, 2016).

b. Windows Size can be reduced: Window sizes can be reduced to minimize the usage

of expensive acoustic windows and the usage of glass, although this will only bring

about a slight change in STC.

c. Increasing Glass Thickness: The greater the thickness the glass gains, the more

resistant it is towards noise. If sealing is not desired, the glass thickness can be
 60

increased. Furthermore, the glass can be laminated with a tough plastic, which is

transparent in nature. This is both shatter and noise resistant (Egan, 2016).

[Link] The Construction of Doors

Doors are considered more difficult to handle than windows acoustically. But

replacing a hollow core door by a solid door is a surefire solution but also a relatively

expensive option. The sound insulation can be increased if at the bottom and at the top, a drop

bar or gasket stops are installed. Another option is to reduce the use of doors in walls facing

noise directly. Install doors on the wall that is shielded (Janning, 2016).

Transition corridors can also be used as an effective noise buffer when handling doors.

The use of foyers are architecturally functional ways transition corridors can be incorporated

in large auditoriums. Transitional spaces are defined as spaces located in between outdoor

and indoor environments acting as both buffer spaces and physical links (Egan, 2016).

Figure 46 Transition Corridor/Space in Buildings

Source: Egan (2016)
[Link] The Construction of Floors

It is only through special acoustical treatment that the vibration of floors due to heavy

noise can be reduced. Installing a heavy concrete floor or using a floating floor can suffice.

A floating floor involves using a concrete or wooden slab over the existing one, which is

separated by resilient materials (Barron, 2009).

 61

[Link] Acoustical Isolation Joint

It is noteworthy that rarely is it the case where a performance space is located

completely remote from other noise and vibration producing rooms such as mechanical

equipment rooms, loading and receiving areas, public lobbies, and other performance and

rehearsal spaces. For this reason, it is often advisable to structurally separate the performance

space from these other areas through the use of an acoustical isolation joint (Beranek, 2004)

[Link] Flanking Path

This refers to the creation of a path between adjacent spaces other than through a

common partition through which sound or vibration is transferred (Barron, 2009). This is

shown in the illustration below:

Figure 47 Possible direct and flanking paths for sound transmission

Source: Umaru (2017)
[Link] Flutter Echo

Rapid series of reflections usually created when a sound is played between two hard

and parallel room surfaces. Flutter echo is often perceived as a buzzing or ringing sound and

can be detrimental to the clarity or intelligibility of a sound. Simple solutions for eliminating

this occurrence include: creating an offsetting angle of at least 5° between the two surfaces,

adding sound absorptive materials to one or both surfaces, or adding diffusive shaping to the

surfaces (Umaru, 2017).

 62

[Link] Sound Masking

This refers to an Acoustic condition in which the energy level of one sound source is

sufficiently greater than another and impairs one’s ability to hear the lower-level sound

(Kutovic, 2015). Masking noise is often related to the ambient noise level from the HVAC

systems or other continuously operating equipment in the space. The presence of audible

masking noise can be a positive attribute, such as in an open-plan office where the noise might

improve speech privacy by preventing nearby conversations from being intelligibly heard.

Where mechanical and other existing systems are too quiet to provide sound privacy,

distributed loudspeaker systems may be integrated into the ceilings of the spaces to artificially

generate the necessary noise to create positive masking. Masking noise, however, can also

create a negative condition in a symphony concert hall where low-level instrumental or vocal

passages might not be clearly heard over the ambient noise of the hall. For this reason,

acoustic designers of auditoriums or performance spaces strive to achieve very low

(inaudible) ambient sound levels for performance and other sound-critical spaces (Egan,

2016).

[Link] Mechanical Noise Control

The following issues have been identified by (Harris, 2001) as specific to performance

spaces:

Firstly, performance spaces are usually rated with a noise criterion around NC (or

PNC) 15-20 (British standard). Under special circumstances, the noise criterion rating will be

higher or lower than this range. Under no conditions should the noise rating be designed to

higher than NC 25, for this will significantly degrade the intelligibility and dynamic range of

the hall.

Secondly, supply and return ductwork serving a performance space must be kept at

low velocities and, therefore, will be quite large if the quantity of airflow (cfm) is substantial.
 63

As an example, the maximum velocity in a main supply duct located over a performance

space should be about 700 fpm. With airflow of 20,000 cfm, the equivalent duct diameter

would be 6 feet (1.8 m). Coordination of these large ducts with structure, catwalks, lighting,

and acoustical reflecting surfaces should occur throughout the entire design period.

Third, Spiral-round ductwork is recommended within the ceiling volume of a hall

because large, rectangular ductwork acts as a low-frequency sound absorbing material. The

most effective method of air distribution in a hall combines a low-velocity overhead supply

dump and a distributed return air system under the audience seating (or on the lower side

walls for a smaller room). Because of the low velocities required, diffusers on supply

openings do not function effectively and are best omitted, relying on the return air system to

pull the supply air over the audience.

2.3.5 Acoustic Parameters

Acoustic materials are used either during the construction phase or thereafter in order

to shape or alter the acoustics of an existing room. Treatment alternatively, is usually placed

on the boundaries, for example, if an office is too reverberant or lively, absorbent ceiling tiles

or carpet might be used to absorb and so remove some of the acoustic energy. In concert halls,

the sound can be altered by placing treatment on the walls and ceiling (the floor already has

the audience seating on it, and so is difficult to alter). There are three basic forms of

treatments: large flat surfaces, absorbers and diffusers. Absorbers, such as the ceiling tiles

and carpet mentioned already, are not used in large concert halls, because they remove sound

energy from the space. In a hall every bit of energy must be conserved because there is a limit

to how much energy must be conserved because there is a limit to how much energy an

orchestra can produce. Consequently, the designer must choose between flat surfaces or

diffusers (Cox & D'Antonio, 2004).

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It is not the acoustic treatments alone which affect hearing conditions in a room. The

acoustics of any Auditorium will be considerably affected by a series of seemingly purely

architectural considerations with regard to room shape, room proportions, layout of

enclosures, dimensions and distribution of exposed structural elements surface irregularities,

fixtures, seating layout and capacity decorations and so on. Practically, every detail within

the enclosed space contributes to a greater or lesser extent to the acoustical performance of a

particular Auditorium.

Beranek (2004), on materials opined that ―Architectural surfaces need to be designed

to reflect sound, absorb sound, or diffuse sound. Each type of surface has its own specific

criteria and applications for being incorporated into a space. They are broadly classified into

four (4) types:

[Link] Reflective Surfaces

These are considered to be essentially flat or slightly shaped planes of hard building

materials including gypsum board, wood, plywood, plaster, heavy metal, glass, masonry, and

concrete. Note the following on reflective surfaces:

i. They should be of sufficient mass, thickness, and stiffness to avoid becoming

absorbers of low frequency sound energy where this is not desired.

ii. Should be of sufficient dimension to reflect all frequencies of interest. Since

frequencies below 500 Hz are more omnidirectional in nature and not easily directed

towards a specific location.

iii. Can create problems by being located and oriented such that sound generated at a

certain distance away can reflect back to its point of origin if delayed in time and thus

cause a discernible and troublesome echo.

[Link] Absorptive Surfaces

These are primarily used for the following applications:

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i. Reverberation Control: reduction of reverberant sound energy to improve speech

intelligibility and source localization.

ii. Sound Level Control: reduction of sound or noise buildup in a room to maintain

appropriate listening levels and improve sound isolation to nearby spaces.

iii. Echo and Reflection Control: elimination of perceived single echoes, multiple flutter

echoes, or unwanted sound reflections from room surfaces.

iv. Diffusion Enhancement: mixing of sound in a room by alternating sound absorptive

and sound reflective materials.

[Link] Porous Materials

As enumerated by Harris (2001), porous materials include fibrous materials, foam,

carpet, acoustic ceiling tile, and draperies that convert sound energy into heat by friction.

Example: fabric-covered 1 inch (2.5 cm) thick fiberglass insulation panels mounted on a wall

or ceiling.

[Link] Vibrating Panels

Vibrating panels are thin sound-reflective materials rigidly or resiliently mounted over

an airspace that dissipates sound energy by converting it first to vibration energy. Example:

a 1/4-inch (6 mm) plywood sheet over an airspace (with or without fibrous materials in the

airspace) (Beranek, 2004).

These are the four broad classifications of acoustic materials for treatment of sound.

However, there are other hybrid materials which could be incorporated in auditoriums for

sound treatment such as:

[Link] Volume Resonators

These are materials containing openings leading to a hollow cavity in which sound

energy is dissipated by increasing airspace behind the materials. Example: slotted concrete

blocks (with or without fibrous materials in the cores). They are most efficient when applied
 66

in smaller panels distributed evenly on a room’s boundary surfaces versus large panel areas

concentrated on one or two surfaces (Umaru, 2017).

[Link] Diffusive Surfaces

These are materials having a non-planer shaping or random articulation that result in the

redirection and redistribution of sound energy impacting their surfaces (Egan, 2016). They

help to do the following:

i. Promote diffusion, or even distribution, of sound in a room which creates in a listener

the sense of being enveloped in a sound generated within the room.

ii. They are surfaces which can cause even focusing of sound energy.

Figure 48 Common Shapes That Promote Sound Diffusion

Source: Umaru (2017)
[Link] Acoustical Isolation Joint (AIJ)

The purpose of an AIJ is to create a complete structural break between two or more

parts of a building with vibration producing equipment housed on one side only. An AIJ is

formed by double lines of offset columns separated by a minimum of a 2 inches (5cm)

airspace extending all the way from the footings through the roof with nothing rigid bridging

the two structures. The double set of columns may also be separated by a corridor with the

corridor slab on each level cantilevered from one of the column lines (Barron, 2009).
 67

In general, an AIJ must begin and end at an exterior wall so that structure-borne

vibration cannot flank around the AIJ at an interior partition. Ductwork, piping, and other

services crossing the AIJ must not make rigid contact with either structure by the use of

neoprene compression seals at the point of penetration. It is also important that steel

reinforcement does not cross the AIJ. It is noteworthy that under certain specified conditions,

it is possible for the AIJ to also serve as a building expansion joint. Hence, it is advisable to

use the services of an experienced acoustical structural engineer (Umaru, 2017).

[Link] Acoustic Doors and Panels

Sound and light locks should be used for all entrances into a church hall, including

onto stage. These are basically two doors or two sets of doors in tandem separated by a

vestibule containing sound absorbing materials (carpeted floor, acoustic ceiling tile,

absorptive wall panels, etc.). Each door should either be a standard solid-core wood or hollow

metal door with specially chosen acoustic seals applied around its perimeter, or a factory

manufactured acoustical door guaranteed by laboratory testing to meet a certain sound-

isolation rating (Umaru, 2017). These doors are usually designated by their single number

STC rating. When determining the sound isolation rating of an acoustic door, however, the

one-third octave band transmission loss values should be provided by the door manufacturer

for a direct comparison of performance (Kang, 2002)

My deduction therefore, from the rich expository discuss above, is in order to achieve

the design of a Pentecostal Church auditorium with optimal acoustics, a balance of sound

reflecting, absorbing and diffusing surfaces must be designed to achieve reflection patterns

and reverberation time appropriate to the given program and function in each given space,

such as: sermons, music, dance, amplified events and so on, while noise control is paramount.
 68

[Link] Absorption Coefficient

According to (Bies & Hansen, 2009) the absorption coefficient of a material is used

to express the capacity of a particular material to absorb sound, although some of the materials

have low capacity and other have high capacity depending on the type of material Table 4

Selected sound-absorption coefficient of various building [Link] Energy is

transformed from kinetic energy of sound wave into thermal energy and some of the energy

is always reflected.

Table 4 Selected sound-absorption coefficient of various building materials

Source: Ramsey et al. (2000)

2.3.6 Acoustical Classification of Churches

Churches and synagogues resemble multiuse auditoriums in that both speech and

music are expected to have good acoustics. In these spaces, though, it is impractical to

constantly change movable acoustical panels and draperies during a service since speech

acoustics and music acoustics must coexist at all times. Speech intelligibility is important in

almost every worship space, but the proper environment for worship music will depend on

the type of music performed. An amplified gospel choir requires a relatively low reverberation
 69

time and high definition, while traditional Church music, and particularly choirs of men and

boys performing the music of English cathedrals, requires a relatively long reverberation

time, even longer than 3 seconds. Size is also an important consideration. Cathedral acoustics

in a small Church would sound unnatural, as would dry, lecture hall acoustics in a large

cathedral (Okah, 2013). A description of four very different architectural styles may point out

the degree of variation in the acoustical designs of worship spaces.

[Link] Cathedral Acoustics

Large cathedrals-type spaces usually house large pipe organs and large choirs, and the

music appropriate to such spaces was composed with large, reverberant spaces in mind. The

reverberant acoustics associated with the increasingly monumental Church architecture that

evolved from the Basilica Church could literally turn speech into music, and those highly

reverberant environments were responsible for the adoption of a musical liturgy as a

necessary alternative to a spoken liturgy (Okah, 2013).

Today, of course, speech must also be intelligible, but long reverberation times are

required for the musical potion of the service. The usual modern approach in reconciling these

seeming opposites is to design a spacious room with hard, sound reflecting surfaces that

effectively distribute the sound of music throughout the space, allow the congregation to hear

themselves sing, and produce ample reverberation and design a sophisticated sound

amplification system that can place amplified speech energy into the sound-absorbing

congregational seating area without directing large amounts of amplified energy at the wall

and ceilings surfaces.

[Link] Small Churches Acoustics

An opposite of the cathedral is the small, low, meeting- house style Church, which

may have a medium sized pipe organ or an electronic one. Music may be important, but the

style of architecture precludes a long reverberation time. Speech can be intelligible without
 70

electronic amplification because or short distances, and the music program should feature

music that has emotional impact in an intimate acoustical environment. The electronic

reverberation and surround systems referred to in the preceding paragraph are also being

successfully used to extend the music acoustics ranges of small and medium-sized Churches.

[Link] Medium-sized Churches Acoustics

Many Churches fall halfway between Cathedrals and small Churches. Cathedral

acoustics may not be possible in such spaces, but midsized Churches can possess good concert

hall acoustics, with the reverberation times in the 1.8- to 2.0 – seconds range. Surfaces should

be hard and sound reflecting. In certain cases, pew cushions may be applied to control the

difference between full and empty acoustical conditions (Okah, 2013). A moderate- to large-

size pipe organ will usually be present or planned for. A relatively simple sound system,

usually of the central cluster variety, can ensure good intelligibility, even for weak voiced

speakers. Most Cathedral-style music can still sound good in such a space, and the acoustics

will be appropriate to the size. Synagogues and mosques have acoustical design

characteristics related to this type of Church.

[Link] Evangelical Churches Acoustics

The large Evangelical Church will be quite different from the three (3) described

above. An electronic organ, a piano, and an amplified choir are the main music sound sources,

and the music is more similar to contemporary popular music than to traditional liturgical

music. Preachers employ a wide dynamic range of voice levels. The service is often televised,

and the entire Church can be considered a large TV sound studio. The acoustical design of

these large Evangelical Churches is basically similar to that of a large speech auditorium,

with reverberation times in the 1.0 to 1.5 seconds range. Rear walls should usually be sound

absorbing, and ceilings arranged so that reflections arrive at the listeners ears within 30m/sec

of the direct sound. The sound amplification systems often resemble the portable systems
 71

used for contemporary popular music concerts. The type of music and singing occurring in

each Church depend upon the liturgy, theology and worship style of the religions (Egan,

2016). Therefore, the location of choir, choral or praise band and its acoustical treatment must

be considered in different ways. The general consideration for the music performance group

is that all the sound they produce must travel through entire worship space. It is also important

for the choir and band member to hear sounds they produce, otherwise the members feel like

they are singing alone (Okah, 2013).

The listeners in the worship space have a dual function: they are not only sound

receivers but also sound sources. At first as sound receivers, it is essential for them to clearly

receive speech sound from the preacher and singing from the music performance group. This

helps the congregation feel more engaged in the service. As sound sources, the congregational

singing is the most important Church music, and the most important function of the

instruments such as organ and band is to lead and encourage the congregation in singing,

because congregational singing is the way they respond to the God’s message (Collins, 2009).

2.3.7 Modern Church Auditorium Design for Acoustics

Today's Church auditorium is generally quite different from those built early in the

last century. Both types use loudspeakers, but that's where the similarity ends (Collins, 2009).

We will consider both types here and the transition auditoriums built within the last few

decades has undergone. We start with the traditional auditorium, made out of heavy rock

blocks or pour-in-place concrete walls with ceilings made out of wood or concrete beams.

We end up simplifying construction to reduce costs. Today, concrete block or tilt-up concrete

walls are used to outline the space and roofs are made out of corrugated metal supported by

exposed metal trusses. The shell of today's Church auditorium is built not much different from

an industrial space (Okah, 2013).

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Fundamentally, the old-world auditorium is a "what you see is what you get" type of

building (Egan, 2016). The interior surfaces of the building are what manage the sound. The

seating, the height and the interior architecture all work in unison to produce the required

intelligible acoustic condition for reasonable listening. The reflecting surfaces of the hall

provides for some early reflections but not much. The sheer volume of the hall helps to avoid

generating late reflections and the multifaceted ceiling and upper wall surfaces further act to

diffuse the late reflections. The audience provides the acoustic materials that act to control

the reverb time.

Architects are flocking to the new design trend in auditorium design and it's very

different from the classical auditorium. These new spaces are large concrete boxes that have

been decked out with sculpted wooden, plastic, metal, sheetrock and sometimes even glass

panels (Egan, 2016). The hall is full of big, curved panels that are suspended off the walls

and again high overhead. The new look and sound in auditorium, Church and music hall

design is one of acoustic clouds, lots of acoustic clouds hanging in midair, below a completely

blacked out high bay ceiling. Although efficient to build and outfit, to the traditionalist, these

halls, sporting their marching arrays of flying sound panels seem a little strained, possibly too

technical, if not somewhat contrived. The acoustic clouds however are intended to adjust the

signal to noise ratio in a direct and effective way. They provide for early reflections, diffuse

and weaken the late reflections and regulate the reverb level and decay rate. The audience

provides some acoustic absorption and the rest is located way up out of sight, behind the

acoustic clouds. In between these two styles we find built in the recent past, large sweeping

rooms with padded seats and carpet, topped off with the largest expanse of an acoustic tile

ceiling one could ever imagine (Okah, 2013).

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[Link] The Classic Auditorium

This is the type of auditorium that was widely built during the WPA years to help

bring relief to the grips of the great depression in the early 1930's. The features of this hall

are well documented in older architectural and acoustic design books. It is tall, a little longer

than wide and has balcony seats running on the two sidewalls and the back wall. The ceiling

has a deeply coffered design and the sidewalls are lined with pillars or rounded pilasters. This

hall uses a central speaker cluster elevated high over the proscenium of the raised stage (Egan,

2016).

This hall is a classic example of minimalist design. It employs an elevated, central

speaker position to provide fairly uniform sound levels to every seat in the audience. The

room is a high-volume hall, with ceilings 40 to 50 feet high over the main floor. From the

viewpoint of the speaker cluster, the main floor, two sidewalls and rear wall is nearly

completely absorptive when the hall is fully occupied. The only remaining surface that the

speakers can see is the ceiling and it appears to be a very diffusive surface acting to scatter

sound in all directions (Beranek, 2004).

Figure 49 Illustrates Classic Auditorium Design

Source: Okah (2013)

It is instructive to run through the basic acoustic calculations for the large classic

auditorium design. Here are some basic ratios: Each seated person occupies about 7 square
 74

feet of floor space and provides about 3 square feet of sound absorptive surface. A hall that

is 200 feet wide and 300 feet long will provide about 7,000 seats on the main floor. The rear

balcony section will be about 50 feet deep and provide about 1250 seats. The sidewall

balconies will be about 30' deep and provide 1000 seats each. The total seating of the hall is

9250 seats. Occupied hall calculations are based on the hall being 2/3rds full, just over 6000

people (Okah, 2013).

The audience provides about 18,500 square feet of absorption distributed over the

floor, side and back walls. The hall has a volume of 3 million cubic feet. Empty it will have

a reverberation time of about 7 seconds. This means in all its complexity; it has a physical

acoustic surface equivalent of about 21,400 square feet. The hall has a floor and ceiling

surface area of 60,000sqft, surface area each. The walls have a surface area of 50,000sqft.

The average absorption coefficient of the surface of the hall is already about 12.5%, including

atmospheric absorption effects.

When the audience arrives, they bring into the hall their additional component of

sound absorption (Authur, 2014). Bringing the total absorption up to about 40,000 square

feet. The reverb time for the hall will now be about 3¾ seconds, far from the "required 1

second". To be able to meet the desirable 1 second reverb time it would take a total of 150,000

square feet of absorption in the hall. This means that nearly 100% of the 170,000 square feet

of total surface area of the hall would have to be covered with sound absorption.

But there is more than "reverb time" to hall acoustics. There are the good early

reflections and the bad late reflections. The early reflections need to be cultivated. The late

reflections need to be weeded out. The balcony facing is sculpted to provide early reflections

back down to the main floor. The back wall of the balcony and ceiling is sculpted to provide

early reflections into the balcony seats (Okah, 2013).

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Figure 50 Classic Auditorium Shaped to Enhance Presence of Early Reflections

Source: Okah (2013)

The late reflections are mainly dealt with by combining two features. It begins with

having a heavily coffered ceiling. Any sound that is heading upwards eventually hits the

coffered ceiling, only to be splintered into a cascade of tiny and off angled reflections. The

second factor is the height of the ceiling. A 70' ceiling with a loudspeaker mounted some 35'

off the floor starts splashing sound back onto the main floor at about 40ms after the direct

signal has passed through the audience. The coffering of the ceiling breaks this reflection up

into dozens of low-level reflections with a variety of additional time delays. The high coffered

ceiling acts to diffuse and randomize the only possible late reflections in the hall. Other

sounds that are traveling upward that went over the heads of the balcony seating continue

upwards after the wall bounce and are also intercepted by the deeply coffered ceiling

scattering grid ceiling. The low level of time-delayed backfill continues until it is

overwhelmed with the rise and decay of the reverberant part of the hall sound (Baker &

Steemens, 2002).

The classic auditorium of the early 1900's was almost, nearly a perfectly balanced

system of people, space, speakers and surfaces. It was a symphony in sound and architecture.

Cremer’s design schemes since the philharmonie continue to employ intriguing ways of

providing reflections in larger halls (Cremer & Muller, 2002). The early reflections now tend

to be lateral. Two theory schemes discussed in this chapter, have both been exploited in real
 76

halls. The hexagonal and trapezium terraced halls. These halls inevitably rely on reflections

from quite shallow surfaces between seating blocks, from which low frequencies are unlikely

to be reflected. Cremer & Muller (2002) were less concerned than some who consider low

frequencies crucial to the sense of spatial impression. This matter has yet to be conclusively

resolved by research (Okah, 2013).

According to Michael (Jarzabkowski, 2000), he says when a building planning begins,

a new facility, the quality of the listening environment should be given high priority. Its

scientific investigation should begin during the preliminary design stage before plans are

committed to blueprints. At the same time seating capacity is being decided, acoustic design

of the auditorium should begin taking a lead position in determining the layout and shape of

the building. Apart from dimensional ratios, the Plan shape of the auditorium also needs to

be considered in the preliminary design stage. Numerous Plan shapes have been used in

auditorium design, from the traditional cruciform to rectangles, squares, circles, fans,

pentagons, hexagons, other polygons and various irregular shapes. (Okah, 2013)

Figure 51 Typical Room Plans for Worship Spaces

Source: Jarzabkowski (2000)
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Of these, the most solid choices are fans, rectangles and diamond. Square is acceptable

if the auditorium is large enough; while cruciform and round shapes are the hardest to design

for good acoustics. After all, the cruciform is actually four rooms joined together in the form

of a cross, so sound from each section affects hearing in other sections. The problem with

round or partially round rooms is that the walls will reflect the sound waves to focus on a

particular point. This is similar to the way a semicircular reflector in a flashlight focuses light

rays into a narrow beam (Jarzabkowski, 2000).

The most obvious problem with the fan shape is that the rear auditorium wall is

automatically generated as a concave curved surface, which produces a focused echo back to

the stage. There is a simple remedy for this in tilting it to reflect sound down on to the

audience. Fragmenting the rear wall surface to make it diffusing or placing absorbent on it

have often been used but if the degree of focusing is too great, echoes may still be audible.

Of these remedies, only by rendering the surface diffusing is the rear wall retained as

reflecting. As a major bounding surface, it is desirable that it should not absorb acoustic

energy.

2.4 CHAPTER SUMMARY

The deduction therefore from the rich expository discuss above is that in order to

achieve the design of a Mega Pentecostal Church with good sound intelligibility and music

quality, a balance of sound reflecting, absorbing, and diffusing surfaces must be designed to

attain the desired sound patterns and reverberation time appropriate for Church services.

These are greatly affected right from the design stage, as the auditorium shape, size, volume

and acoustic treatments, furniture, room occupancy, etc. proposed all impacts them.
 78

CHAPTER THREE

CASE STUDIES

3.0 INTRODUCTION

This chapter considers the methods and techniques examined in achieving the

objectives of optimal acoustics in Mega buildings. Similar existing Mega Church auditoriums

are understudied to give insight on how and why they are designed the way they are, and their

performance is appraised.

3.1 RESEARCH METHODOLOGY

The research methodology and methods of data collection in conducting this thesis is

qualitative analysis of case studies and review of some relevant literature from documented

past work of published and unpublished literature. A case study approach allows in-depth,

multiple explorations of complex issues in their real-life settings. This approach can be used

to explain, describe or explore events or phenomena in the everyday contexts in which they

occur (Akko, 2017).

Case study research in Architecture goes beyond the documentation and description

of the physical characteristics of the built environment (Akko, 2017). In architectural

research, a case study is the most prepared mode of assessing a particular phenomenon or

group of phenomena which enables the research to see the situation of a particular sample of

the similar phenomenon thereby assessing and analyzing it. The case studies selected for this

thesis were sampled purposively.

3.1.1 Sampling Technique

Purposive sampling technique is adopted in this research work. However, variants of

this sampling technique are also applied at different levels of the study. Sample survey of
 79

related and relevant Pentecostal Church buildings are carried out. Case Studies have always

been an important means to bring a sense of reality to a design process. It is helpful to be able

to study example of buildings that are known to perform well and to see how and why they

do so. It is also helpful to be able to see where certain strategies will produce limitations to

the design in other ways.

3.2 OUTLINE OF CASES STUDIED

A. Living Faith Church, British-America Junction, Jos (Local)

B. Dunamis International Christian Center (Glory Dome), Abuja (Local)

C. Family Worship Centre, Abuja (Local)

D. Jubilee Church, Rome, Italy (International)

E. The Potter’s House Church, Texas (International)

3.3 CASE STUDY SELECTION CRITERIA

The case studies were purposely selected on two bases which are:

i. For being a mega Church building of at least 4,000 seating capacity; and

ii. For having a good blend of acoustic design methods and treatment materials

considerations in design.

3.4 CASE STUDIES

3.4.1 Local Case Studies

This section covers the existing Mega Church buildings within and around Plateau

State visited for the purpose of this research work to gain more insight on typical Pentecostal

Church settings and designs localized to Nigeria.

 80

[Link] Living Faith Church (LFC), British-America Junction, Jos

Client: Living Faith Church, Jos Headquarters

Construction Firm: Unknown
Location: No. 1, Richards Street, Murtala Muhammed Way, Jos
Capacity: 4,500 worshipers.
Site Area: 32,938m2 (3.3 Hectares)
Completed: 2002

Plate 1 Approach View of Living Faith Church, Jos

Source: Researcher’s Field Work (2022)

a) Brief History

Living Faith Church Worldwide (also known as Winners Chapel) is an Evangelical

charismatic Christian denomination and a megachurch. The headquarters is located in Ota,

Nigeria. The organization has since become a global network of churches with congregations

in 65 countries. The British-American Junction Church, Jos (state Headquarter Church)

building commenced in the year 1999 when there was need for expansion as the current

Church at Bukuru Expressway, Jos building could not contain the over 2,000 members as at

then. The building was completed in the year 2002.

b) Architectural Composition
 81

The Church is built in a Contemporary Architectural style and is rectangular in shape,

about 50m in length and 60m wide. Major materials used are sandcrete blocks, concrete, steel

and glass which are the main materials used in the Modernist architecture. The altar is placed

in the middle of the northern end of the auditorium with the Pastors and Choir sitting on either

side of the altar. The auditorium has a gallery that carries about 1,200 congregants, while the

3-steped ground floor carries about 3,300 persons. From the exterior, the ground floor has

large verandas on either sides of the auditoriums, and a wide foyer at the 3 main entrances on

the south side of the hall.

Natural lighting is achieved in the interior via large windows on the walls and so there

is less need for mechanical ventilation. The auditorium has a floor to ceiling headroom of

about 10m. the suspended ceiling layout is constructed in a way that the center is raised

higher, for acoustics and ventilation purposes. The hall lacks acoustic materials in building;

hence a lot of echoes is heard within it.

Plate 2 Shows Ground Floor Plan of Living Faith Church, Jos

Source: Researcher’s Field Work (2022)
 82

Plate 3 Shows First Floor Plan of Living Faith Church, Jos

Source: Researcher’s Field Work (2022)

Plate 4 Shows Right Side Elevation of Living Faith Church, Jos

Source: Researcher’s Field Work (2022)

c) Facilities Provided

i. Church Auditorium: Altar, Pastoral area, Choir, Prayer rooms, Media and Sound

rooms, gallery, meeting rooms, storage, Ushers’ room, Security office, counting room.

ii. Ancillary Facilities: Offices and Admin Block, Conveniences, car park (500 cars),

Dominion bookshop block, Youth chapel (500 capacity), power house, Security

house, Sanctuary keepers (cleaner’s block), Primary and Secondary schools, snack

shops.
 83

d) Space Organization

The Church auditorium has 3 main entrance doors that are 1.8m wide each within the

entrance foyer on the south side of the building. There are six other exit doors on the 2 sides

of the building, each 1.8m wide too that opens into the 4m wide verandas. There are no

conveniences on the main Church building, but a toilet block is built fully detached from the

Church auditorium on the western side. The media and sound rooms are side-by-side in the

middle of the gallery with a clear sightline to the altar. The Choir seats on right side of the

altar and the Pastors/Ministers on the left directly facing each other. The counting room for

offerings is attached to the main auditorium, directly behind the Pastor’s sitting area, while

the same space on the other side serves as the choir changing room.

Two major stairwells on either side of the hall links the galley above with the ground

floor and is accessed from the main foyer. The gallery is raked and caries 5 rows of seats.

There is a good sightline to the 1m high altar from the gallery.

e) Materials and Construction

This building has its major construction materials originating from the Modernist

movement of architecture: sandcrete blocks for the walls, aluminum and glass for the large

windows, steel rafters overlaid with longspan aluminum sheets for the roof. The floor is made

of terrazzo floor, while the alter is finished in granite tiles. The ceiling is made with acoustic

suspended ceiling boards.

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Plate 5 Church Interior and materials for Floor, Wall and Ceiling
Source: Researcher’s Fieldwork (2022)

f) Site Planning

The Church premises is relatively well landscaped. There are about 500 paved

vehicular parking spaces, albeit grossly inadequate. Evergreen trees as-well-as decorative

shrubs, hedges and trees line the compound in an aesthetic manner.

g) Lighting

There is penetration of natural lighting into the Church auditorium. Day lighting

penetrates into the Church nave through large window openings. The windows are 3x1.2m in

size, and are made of aluminum sliding profiles fitting with 5mm thick clear glass and

burglaries. However, this natural light only illuminates around the perimeter wall areas as it

cannot reach the middle of the about 45m wide hall, hence artificial lighting complements it

when the auditorium is in use.

h) Ventilation

There is natural ventilation into the Church auditorium through the windows.

However, this is insufficient, especially when the hall is filled to capacity. Hence, artificial
 85

ventilation is provided by means of air conditioners and fans which are installed at the

strategic points within the c auditorium.

i) Fire Safety

Some fire safety measures are seen to be incorporated in the design. The passive fire

safety measures within the building include: a high ceiling which serves as a smoke

reserviour, the windows on the first-floor level serves as a vent, the sandcrete block walls and

terrazzo floor is excellent in retarding the spread of any fires. With 11 large doors in all, there

is a good means of escape out of the building in the event of an emergency. However, active

fire safety measures are almost non-existent within this premises as the only ones available

are a few dry chemical fire extinguishers sparsely hung on the wall and a single hose reel

which is over 50m away from the main church building.

Plate 6 Shows Hose Reels and Dry Chemical Fire Extinguishers at LFC, Jos
Source: Researcher’s Field Work (2022)

j) Critical Appraisal

Merits:

i. The rectangular plan form is effective for good acoustics, a great sightline to the altar,

avoids dark spots for security purposes and serves for easy circulation and escape.

ii. The galleries do not have columns in the interior which normally impair vision from

behind them.
 86

iii. Good compartmentation of the building – the wide verandas serve as buffers to a

potential spread of any fire to an adjourning structure.

iv. There auditorium has a good head room that serves as a smoke reserviour and very

effective for ventilation purposes.

v. The sandcrete block walls and terrazzo floor are important non-combustible

components of the building structure.

vi. The external vehicular circulation is quite effective to allow for fire trucks to go

around the building in the event of a fire outbreak.

Demerits:

i. So many hard surfaces within the building which makes it acoustically expensive to

treat as a lot of echo and strong reverberation of sound is heard.

ii. There are not much acoustic strategies employed in the design such as transition

spaces, acoustic doors, acoustic floors, etc.

iii. The acoustic suspended ceiling used form a huge fire load within the building.

iv. Non-existent Passive fire control measures: venting systems, fire doors and walls, and

no muster points.

v. Pastor’s offices are completely detached from the Church auditorium, and no covered

walkway provided; hence, they will have to use umbrellas to move between the 2

buildings when it is raining.

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Plate 7 Shows Church Altar

Source: Researcher’s Field Work (2022)

Plate 8 Shows LFC Jos Gallery

Source: Researcher’s Field Work (2022)
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Plate 9 Shows Admin Block/Pastors Offices

Source: Researchers’ Field Work (2022)

Plate 10 Shows 500 Seats Capacity Youth Chapel

Source: Researchers’ Field Work (2022)

[Link] Dunamis International Gospel Centre (DIGC), Abuja

Name: The Glory Dome Sanctuary

Client: Dunamis International Gospel Center

Architect: Geometrica Inc. Designs LTD

Location: Airport Road, Lugbe, Abuja, Nigeria

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Capacity: 100,000

Year of Completion: 2018

Plate 11 Dunamis Church Exterior Views

Source: Researcher’s fieldwork (2021)

a) Foundation

The Dome is about 43m high from the ground floor level (about 13-storey building)

with an average foundation depth of -10m. Four different foundation types were used for the

construction of the Sanctuary. The entrance porch was laid on a strip foundation; the columns

was done with pile foundation each minimum of 6 piles. The main Glory gate’s foundation

was laid on a pad foundation while the seat raking and toilets were done with raft foundation.

b) Roof

The roof spans about 228m in length and 97m in width, covering approximately

22,148m2 without any interior columns. Space frame dome span of 280 meters by 100m and

height of almost 18 meters. The roof deck is made up of knitted basket pieces of metals. The

roof system is made up of 222,000 pieces of tubular pipes, which were connected with a hub

and 21,000 spider pieces. These pieces were further interconnected to construct the space

deck. The roof is made up of double deck concave frame and a lagging with fiber glass.
 90

c) Gallery

There are 2-storey cantilevered galleries spanning 12m each. The galleries have a

capacity of 25,000 and 22,000 respectively. The galleries are raked with a slanted bracing on

the column to prevent vibration on the upper floor.

Plate 12 Glory Dome Gallery showing Galleries and Acoustic Foams

Source: Researcher’s fieldwork (2021)

d) Entrances and Exits

There are five (5) entrances into the Church auditorium named Glory Gate (main

entrance), Goodness Gate, Praise Gate, Power Gate and Grace Gate. There is a VIP entrance

which serves as a special reception for distinguished guests, the Clergymen and also leads to

the Pastors’ offices. There are several sizes of door in the building, some of them being 1.8m,

3.6m and 4.8m wide, while their heights range from 2.4m to 3m.
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Plate 13 Shows Exterior Views of Dunamis Glory Dome

Source: Researcher’s fieldwork (2021)

e) Altar and Choir

The Altar is 1.5m high, with congregational seating around the plain Altar wall. The

Choir seating is at the right-hand area of the auditorium with the musical instruments and

speakers. There is a Dunamis TV studio and projector room at the center of the gallery facing

the altar at 90 Degree.

Plate 14 Artificial and Natural Lighting at DGIC

Source: Researcher’s fieldwork (2021)
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Plate 15 Shows Church Seating and Interior View

Source: Researcher’s fieldwork (2021)

f) Designed Spaces

The designed spaces within the Dunamis Glory Dome complex are; Main Auditorium,

720 conveniences, Office complex and Conference rooms, a proposed 4000 multi-storey car

park, 4000+ existing car parks, Destiny Christian School, proposed 400 duplexes

accommodation, Rose of Sharon Garden, security outpost, proposed Bakery, proposed Police

station, proposed sports complex, shopping complexes.

Plate 16 Rose of Sharon Garden, DGIC, Abuja

Source: Researcher’s fieldwork (2021)
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Plate 17 Shows Church’s Multipurpose Hall

Source: Researcher’s fieldwork (2021)

g) Acoustic Considerations

i. The dome shape of the roof allows for good propagation of sound and limits early

reverberation of sound.

ii. Panel absorbers are vertically fitted intelligently within the space deck roof structure

to absorb any sound that goes above the sitting area and prevent reflection of sound

waves.

iii. Panel absorbers are fitted entirely on the wall behind the stage from top to bottom and

on the gallery walls around the halls to absorb the sound that hits the walls since it

travels for more than 50m from the closest speaker.

iv. Use of high-quality line-array speakers for sound.

v. Rugging of the entire floor of the church auditoriums.

vi. Use of upholstered padded chairs in the auditorium which also helps in absorbing

unwanted sound, especially when the auditorium is not filled to capacity.

h) Services

i. Central air conditioner, chiller stand and humidifiers.

ii. Heat extractors just below the roof area.

iii. Alternative off-grid power source

iv. Central sewer system with plumbing ducts.

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v. Roof and water drain of 6 inches (150mm) diameter pipes.

i) Critical Appraisal

Merits:

i. The rectangular plan form used is effective for good acoustics, a great sightline to the

altar, avoids dark spots for security purposes and serves for easy circulation and

escape.

ii. The 2-level galleries do not have columns in the interior which normally impair vision

from behind them.

iii. Lavish use of acoustic treatment materials such as panel and acoustic absorbers,

rugging of the entire church auditorium, use of upholstered padded chairs, etc.

iv. Impressive headroom that severs as a smoke reserviour.

v. Compartmentation of the building with double cavity walls and transition spaces

which could serve as fire barriers.

vi. Smoke venting of the auditorium was mechanically done.

vii. Beautiful landscaping of most parts of the premises which helps in reducing dust

within the micro environment.

viii. Non-combustible and fire retarding materials are used in the foyer, serving as a very

effective passive fire safety design measure.

Demerits:

i. The massive size of the building and varying occupancy of the auditorium for different

services has necessitated the need for lavish use of acoustic treatment materials to

cater for acoustics – especially when it is not filled to capacity, which is expensive.

ii. The lavish use of the acoustic treatment materials has greatly increased the fire load

of the building.
 95

iii. Rugging of the entire hall poses a huge maintenance challenge, as a large workforce

is needed to clean the auditorium with vacuum cleaners. However, the advantages of

rugging this auditorium for acoustics outweighs the disadvantages of cleaning.

iv. The mechanical venting systems needs to be powered 24/7 in the event of a fire

outbreak because of the volume of the space.

v. Due to its size, mechanical ventilation system will need to be powered hours before

any service within the Church.

[Link] Family Worship Centre, Abuja

Client: Family Worship Centre

Architect: Unknown

Location: Idris Gidado Street, Wuye District, Abuja

Capacity: 5,000

Year of Completion: December 2001

Plate 18 Front View of Family Worship Centre

Source: Researcher’s fieldwork (2021)
 96

a) Brief History

Under God’s guidance, Pastors Ina and Sarah started Family Worship Centre on the

11th of April 1993 in the city of Abuja. 212 people attended that first meeting, and over the

years, the Church has grown to about 14,000 members. In its early days Sunday services were

held initially in the Sheraton Hotel before moving to the Nicon Hilton Hotel. Weekly

meetings were moved around different facilities like the Pilgrim’s Welfare Board,

Ecumenical Centre and the National Centre for Women Development. At a point the Church

got the tag, ‘the most mobile Church in the city’. By December 2001, the Church completed

and moved into its ultra-modern auditorium.

b) Architectural Composition

The rectangular shaped Church enjoys a modernist style of architecture. Sandcrete

blocks, concrete, steel and glass are the main materials used its construction. The altar is

placed in the middle of the northern end of the auditorium with the congregation sitting

around it. The auditorium also has a gallery around the left, rear and right sides of the hall.

The sound room directly faces the altar on the ground floor, while the media/audio-visual

room is directly above it. The elevations of the building look like raised hands in praises and

worship to God.

Acoustic treating materials are lavishly used in the auditorium. The floors are fully

rugged, the interior walls are fully padded with MDF boards and the walls of the first floor

are fully fitted with rug carpets overlaid on the wooden board. Acoustic ceiling boards are

creative patterned and used for the ceiling. There is no natural light into the auditorium; hence

both lighting and ventilation are fully mechanical. The auditorium has a floor to ceiling

headroom of about 8m.

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Plate 19 Interior View of Family Worship Centre

Source: Researcher’s fieldwork (2021)

c) Facilities Provided

i. Church auditorium: Altar, media and sound rooms, gallery, meeting rooms, storage,

Ushers’ room, Board room, Creche and Junior Church.

ii. Ancillary facilities: Teenage Church building; Admin Block and Pastors’ offices,

Conveniences, car park (about 2,000 cars), bookshop, power house, gate house, sports

arena, snack shops, Primary and Secondary schools.

Plate 20 Gallery and Foyer Views of Family Worship Centre

Source: Researcher’s fieldwork (2021)
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Plate 21 Interior View of Family Worship Centre

Source: Researcher’s fieldwork (2021)

d) Materials and Construction

This building has its major construction materials originating from the modernist

movement of architecture: Concrete, Glass and Steel. The interior is finished with Acoustic

materials like fully rugged floors, gypsum board acoustic ceilings, fully padded interior walls,

etc.

e) Site Planning

The Church premises is beautifully landscaped with ornamentations of art, craft and

evergreen vegetation right from the main gate into and around the main Church auditorium.

The gold cladding on the dome at the entrances of the main Church and teenage Church

auditorium stand out with its precision and detailing. The general parking area is to the left

of the site from the main entrance, while the sports arena is to the right.
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Plate 22 Site Plan of Family Worship Centre

Source: Google Earth (2021)

f) Fire Safety

Moderate fire safety measures are seen to be incorporated in the design. The passive

fire safety measures within the building include: a high ceiling which serves as a smoke

reserviour, though this may not be sufficiently high enough to adequately perform this

function. Active fire safety measures are also in place. The auditorium is well fitted with

smoke and heat detectors, water sprinklers and hose reels. Fire extinguishers are also found

within the corridors around the auditorium, a few fire hydrants are found just outside the

building.

g) Critical Appraisal

Merits:

i. The rectangular plan form used is effective for good acoustics, a great sightline to the

altar, avoids dark spots for security purposes and serves for easy circulation and

escape.

ii. Large multimedia screens are used for better view of the altar.
 100

iii. The galleries do not have columns in the interior which normally impair vision from

behind them.

iv. Lavish use of latest acoustic materials and finishes that gives an excellent sound

quality in the auditorium.

v. There is good compartmentation of the building into fire zones that are very helpful

in the event of a fire outbreak.

vi. The building has mechanical air conditioning and vent system in place.

vii. The external vehicular circulation is quite effective to allow for fire trucks to go

around the building in the event of a fire outbreak.

Demerits:

i. Heavy dependence on power for the auditorium to operate, as lighting and ventilation

are 100% dependent on electricity.

ii. Complete rugging and using of padded upholstered chairs are a huge fire load.

However, the advantages of this for acoustic reasons, outweighs the disadvantage.

iii. There are not sufficient active fire safety measures in place for such an expensive

auditorium.

iv. The parking areas are inadequate, forcing almost half of the vehicles on a Sunday

service park along the roads.

3.4.2 International Case Studies

This section explores existing Mega Church buildings around the world studied for

the purpose of this research work to gain more insight on a typical Pentecostal Church settings

in other climes.
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[Link] Jubilee Church, Rome, Italy

Location: Tor Teste, Rome, Italy.

Completion Date: 1995

Capacity: 4,500

Architectural style: Modernist architecture

Consultants: Architects Richard Meir

Figure 52 Approach View of Jubilee Church, Italy

Source: Arch Daily (2021)

a) Materials

Concrete shell, glass and steel

b) Facilities Provided

• Four-storey atrium

• Priest’s lodge

• Community meeting room

• Catechism class rooms

• Tower with five vertical placed bells

 102

Figure 53 Jubilee Church’s Exterior Views

Source: Arch Daily (2021)

c) Special Features

i. Combination of curvilinear and rectilinear shapes

ii. Entire building is white and bathed in light

iii. Symbolic free-standing sails designs – symbolizes that man is free to worship God.

iv. Spatial experience created by skylight

d) Structural Integrity

i. Concrete shells inclined in the atmosphere with sky lights above

ii. Shells built to withstand heat, strong winds and earthquakes

iii. Sky-lit roof makes the building sustainable

 103

Figure 54 Jubilee Church’s Interior Views

Source: Arch Daily (2021)

e) Critical Appraisal

Merits

i. It is an iconic landmark of contemporary architecture

ii. Church makes use of day lighting – making it sustainable

iii. The purpose of the Church was to weave the isolated residential fabric of Rome in its

design

iv. The Church provides residents a space for ritual, play and celebration

v. Interior of the Church gives a luminous spatial experience.

Demerits

i. The Church does not do well acoustically due to the lavish use of hard surfaces: tiled

floors, reinforced concrete walls and plain glass.

ii. Expensive mechanical acoustic control equipment is depended on almost 100% to

control the acoustics in the auditorium.

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iii. Site is small and tight with no room for future expansion

iv. Facility is too close to a residential building hub which creates some noise interference

in the neighborhood.

[Link] The Potter’s House Church, Texas

Client: T. D Jakes Ministries

Construction Firm: Unknown

Location: Southern Dallas, Texas, U.S.A

Capacity: Six thousand (6,000) worshipers.

Year Completed: 2012

Figure 55 The Potter's House, Dallas Church

Source: Google (2021)

a) Brief History

Founded in 1996, The Potter’s House is non-denominational, multicultural Church

led by Senior Pastor, T.D. Jakes. With more than 30,000 members on its rolls, The Potter’s

House is consistently ranked among the largest and most influential Churches in the U.S.

(Jakes, 2021). Accelerated growth and shifting demographics have necessitated expansion to

additional sites in North Dallas (Frisco, Texas,) Fort Worth, Texas and Denver. Deeply rooted

in the local and global communities, the Potter’s House charter is to extend a “hand of help
 105

to the needy, a heart of compassion to the hurting, and a message of empowerment to the

disenfranchised. The Church demographics show men comprise 45% of the total

congregation. The Church brings together the down-and-out, the homeless and other walks

of life to worship and serve together in one or more of the 59 different Ministries.

b) Architectural Composition

This state-of-the-art edifice is built in a contemporary style. It enjoys the materials

that characterizes modernism in architecture: concrete, glass and steel. Congregant are

welcomed in from the grand foyer that is luxuriously finished, before entering the Church

auditorium. The main Church auditorium is rectangular in shape, with an adjourning block of

auxiliary spaces like Church offices, Sunday school classes, meeting halls, Choir rehearsal

studio, etc. all on 3 floors. The Altar is placed in the middle of the northern end of the

auditorium with the Pastors and Choir sitting on either side of the altar. The altar is built in 2

layers – the Preacher’s pulpit, lead vocals and backup singers are on the first layer, while the

instrumentalist and stage consoles are on the 2nd layer. The auditorium has a gallery that

carries about 1,500 congregants. There is absolutely no natural light or ventilation into the

auditorium, all of which are mechanical.

Acoustics are handled by the floor, ceiling and wall finishes. The floor finish is of a

wooden laminate and is fully rugged, the pews are upholstered, the rear walls are padded with

acoustic foams and the ceiling is made of automated acoustic ceiling boards that can be

remotely controlled to soothe either music or speech activities in the auditorium operated by

closing or varying the size of the openings depending on the activity happening for suitable

reverberation time. Large screens on both sides of the altar help magnify the activities on the

altar for all congregants.

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Figure 56 Interior View of The Potter's House

Source: Jakes (2021)

c) Facilities Provided

i. Church auditorium: altar, Pastoral area, Choir and instrumental stands, Media and

sound rooms, gallery, meeting rooms, storage, Ushers’ room, Security office.

ii. Ancillary facilities: these are found on the adjourning block and around the church

building; Admin Block and Pastors’ offices, Conveniences, car park (over 3,000 cars),

bookshop, power house, Security house, and snack shops.

Figure 57 Interior Views of the Potter's House Church

Source: Jakes (2021)
 107

Figure 58 Interior Views of the Potter's House Church 2

Source: Jakes (2021)

d) Materials and Construction

This building has its major construction materials originating from the modernist

movement of architecture: Concrete, Glass and Steel.

e) Site Planning

The Church premises is relatively well landscaped. The about 4,000 vehicular parking

spaces are paved and well defined. Evergreen trees as-well-as decorative shrubs, hedges and

trees line the compound in an aesthetic manner.

Figure 59 Landscape of the Potter's House Church Premises

Source: Jakes (2021)
 108

f) Fire Safety

Commendable fire safety measures are seen to be incorporated in the design. The

passive fire safety measures within the building include: a high ceiling which serves as a

smoke reserviour, the building also has smoke and vents way up in the ceiling. Active fire

safety measures are also in place. The auditorium is well fitted with smoke and heat detectors,

water sprinklers and hose reels. Fire extinguishers are also found within the corridors around

the auditorium, and several fire hydrants are found just outside the building. There is a healthy

compartmentation of the various buildings on the site.

Figure 60 Compartmentation of Structures on the Potter’s House Premises

Source: Google Earth (2021)

g) Critical Appraisal

Merits:

i. The rectangular plan form used is effective for good acoustics, a great sightline to the

altar, avoids dark spots for security purposes and serves for easy circulation and

escape.

ii. The galleries do not have columns in the interior which normally impair vision from

behind them.
 109

iii. Lavish use of latest acoustic materials and finishes that gives an excellent sound

quality in the auditorium.

iv. There is good compartmentation of the building into fire zones that are very helpful

in the event of a fire outbreak.

v. There auditorium has a good head room that serves as a smoke reserviour and very

effective for ventilation purposes.

vi. The building has both natural and mechanical vent system in place.

vii. Several active fire prevention, detection and extinguishing systems in place.

viii. The external vehicular circulation is quite effective to allow for fire trucks to go

around the building in the event of a fire outbreak.

Demerits:

i. Heavy dependence on power for the auditorium to operate, as lighting and ventilation

are 100% dependent on electricity.

ii. Complete rugging and using of padded upholstered pews are a huge fire load.

3.5 CHAPTER SUMMARY

The chapter studies and analyze case studies of existing Mega Pentecostal Churches

to aid the proposed design process. Studies are taken of a couple of existing facilities with the

aim of having a general idea of functional requirements, auxiliary spaces and services that are

provided while considering the acoustic designs of Pentecostal Church auditoriums. This

informs the design process in this research work.

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CHAPTER 4

STUDY AREA

4.0 INTRODUCTION

This chapter discusses the study area in detail. The geographic information, climatic

data, demographics, site features, etc. of the proposed site are examined to give an

understanding of the area.

4.1 BACKGROUND INFORMATION OF PLATEAU STATE

Plateau State is the twelfth largest state in Nigeria, and is located in the middle-belt

region of the country. Nigeria is situated in West Africa and has a land mass of 923,768km2.

It is bordered by the Republics of Niger and Chad in the North, the Republic of Benin to the

West, the Republic of Cameroun to the East and the shores of the Atlantic Ocean to the South.

There is about 800km of coastline which gives it maritime potential for abundance

agricultural, industrial and commercial activities. Nigeria lies within the part of the world

described as the tropics. This region lies between the South of the earth's surface. Within this

area the sun is perpendicular at noon at least once a day of each year. For all the points in this

region, the sun is almost vertically overhead during the entire year. The peculiar

characteristics of the tropics include high amounts of sunshine, rainfall, high humidity levels,

almost uniform weather throughout the year and high temperatures. Architectural designs in

the tropics should normally take into consideration the peculiar climatic features of this

region.
 111

Figure 61 Map of Nigeria Showing Plateau State

Source: Goggle Images (2022)

The capital of Plateau State Jos City. It was created on the 3rd February 1976. Plateau

state is also known as “The Home of Peace and Tourism”, an image that has been fractured

in recent years by Ethno-religious clashes in the state. Plateau state gets its name from the Jos

plateau. It has a population of around 3.2 million people (National Population Commission,

2006).

Figure 62 Map Plateau State

Source: Google Images (2022)
 112

Plateau state has a land mass of about 53,600Km2 and is bounded by Kaduna,

Nasarawa, Bauchi, Benue, and Taraba states. It has 17 Local Government Areas. In some of

these local councils you can have about 2-4 ethnic groups. There are about 40 ethnic groups

that are indigenous to the state such as Berom, Mwangahvul, Taroh, Ngas, Amo, Afizere,

Anaguta, Iriggwe, Ron, Kulere, Mupum, Bache, Challa, etc. Each ethnic group has its own

distinct language in the State, although Hausa has gained acceptability as a medium of

communication.

Nigeria's foremost tourists' destination (Plateau State) is located beautifully at the

center of the Country. Located in the Middle-Belt Zone, it lies between latitude 80°24' North

and Longitude 80°32' and 100°38' East. The northern part of the State is mostly rocky and the

area contains within its infraction’s chains of hills and many captivating rock formations. Its

picturesque landscape ranges from bare rocks and artificial hillocks and deep gorges from

years of tin mining in Jos.

4.2 GEOGRAPHIC INFORMATION OF PLATEAU STATE

4.2.1 Climate

Jos, Plateau State is classified as a tropical climatic zone. The region is an attractive

place to live and work mostly influenced by the favourable climate and pleasant social

conditions. Its favourable climate is due to its high elevation above sea level, the

distinctiveness is measured in terms of temperature, evaporation or vapor-transpiration and

water balance. The Jos Plateau is cooler than the plains around it. It also experiences lower

rate of vapor-transpiration, and partly for this reason enjoys higher wet season and a lower

dry season water deficit (Plateau State Government, 2017).

 113

[Link] Average Temperature and Precipitation

With an altitude of 4,062 feet (1,217m) above sea level, it enjoys a more temperate

climate than much of the rest of Nigeria (average monthly temperatures range from 23°C to

31°C), from mid-November to late January. Night time temperatures drop as low as 16°C

resulting in chilly nights.

Figure 63 Showing Jos Average Temperature and Precipitation

Source: Meteoblue (2022)

The "mean daily maximum" (solid red line) shows the maximum temperature of an

average day for every month for Jos. Likewise, "mean daily minimum" (solid blue line) shows

the average minimum temperature. Hot days and cold nights (dashed red and blue lines) show

the average of the hottest day and coldest night of each month of the last 30 years.

[Link] Rainfall

The city of Jos receives about 1,400mm (55.1in) of rainfall annually, coming in

thunder storms reaching an intensity of 80km per hour. Wind speed is high because of the

open nature of the Jos area. About 90% of rainfall occurs between April and October, with

the heaviest being in July and August.

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[Link] Wind Speed

Two prevailing winds are experienced in Jos, the North-East and the South-West

winds. The North-East winds also known as the harmattan wind blows between Novembers

to February. They bring cold conditions, dryness and dust from the Sahara Desert where they

originate. The South-West wind originates from the Atlantic Ocean and brings along with it

warm pleasant conditions and rain. It is usually most active between July and August.

Figure 64 Showing Jos Wind Speed

Source: Meteoblue (2022)

4.2.2 Topography

Jos lays in the highest part of the high Plateau of the North Central area according to

the relief map of the Nigerian region. It is located on the altitude of around 4,000ft above sea

level. Jos, Plateau is probably the most striking morphological feature in Nigeria and it is also

an erosion relic, which lowers an area of about 3,000 square miles at an average elevation of

about 4,200ft above sea level. Their slopes are steep, rocky and intensely dissected, and also

large crates can be seen in some areas, some of them having been turned into artificial lakes

by water action as a result of tin mining activities.

4.2.3 Geology and Soil

The main division of soil found in Jos area is as follows:

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[Link] Entropic Brown Soil

These are rich organic matter, rich in plant nutrient and are formed on crystalline acid

basic rocks and alluvial young soil and very fertile.

[Link] Ferruginous Tropical Soil

They are normally found in crystalline acid rocks, have high quarts’ content, and are light

and often bleach with a moderate fertility range.

[Link] Litho-Soil

It is low for agricultural activities but has a light afforestation value.

4.3 SITE SELECTION

The site is located at the premises of the former Shincho Company, Shincho Road,

Gura Topp-Rayfield, Jos, Plateau State.

4.3.1 Reason for Selection

1. The Latterhouse Christian Center is in talks to acquire the about 49 hectares plot of

land at Shincho Road, Gura Topp, for her 5000-seating capacity Church and other

supporting facilities. In fact, negotiations are already at an advance stage, with some

paperwork remaining.

2. Quick and easy accessibility due to the availability of access road as it is located in

the city center, in close proximity to the New Government house.

3. Adequate land area for the proposed project, its auxillary services and other activities

the Church intends to venture into, such as building an accommodation complex, a

nursery and primary school and sports complex.

4. Availability of public utilities and infrastructure on site, such as pipe borne water,

power mains, etc.

 116

4.4 SITE LOCATION MAP

The proposed Church building is to be located at former Shincho Company

compound. It is a 49 hectare fenced property on the Shinco Road, Gura Topp-Rayfield,

adjacent Gate 2 of the New Government House, Jos, Plateau State of Nigeria as shown below.

Figure 65 Site Location Map

Source: Google Earth (2021)

4.5 SITE ANALYSIS

A site analysis is a study of the features of a site. It takes into consideration natural

and man-made components present above and beneath the site, as well as climatic conditions

present in and around the site (Baker & Steemens, 2002). For a comprehensive site study, a

macro and micro site analysis is carried out. The Macro site analysis takes into consideration

environmental factors affecting a larger area than the site, such as a region, state or zone. For

this study, the entire Jos region is considered. A micro site analysis takes into consideration

environmental factors affecting a specific site or area.

 117

4.5.1 Macro Site Analysis

[Link] Geography

The Plateau consists of deeply eroded remnant volcanic rock (mostly granite), and has

an average altitude of 1,300m (4,200 ft). It rises sharply out of the surrounding plains that are

between 600 and 900m (2,000 and 3,000 ft) above sea level. Temperatures on the Plateau

average 24°C, which is lower than at the coast, and average rainfall of 1,300 mm (50 in) is

considerably higher than in the surrounding lowland. The headwaters of several tributaries of

the Niger and Benue rivers rise in the Jos Plateau; other rivers drain into Lake Chad to the

north-east (Umaru, 2017). Hence, the site proves to be quite firm for deep stripe foundations

to be sufficient for the proposed auditorium, and the contours can be creatively utilized in

landscaping.

[Link] Geology

There are a number of rocks and minerals found in the state. The study of rock types

would definitely affect the design of the facility. The minerals found in the state is also

important because it will indicate the State’s economic viability in terms of solid minerals

development.

[Link] Relief and Topography

The average topography of the land is slightly undulating, and a gently slope of about

5 degrees from East – West of the site. The physical features comprise of the highlands which

rise 1,529m above sea level and the lowlands which are elevated to about 1,520m above sea

level. The Sherre hills range is perhaps the most rugged. Hence, all these will influence the

drainage pattern on the site, to flow along these slopes.

[Link] Vegetation

The Plateau is generally located within the tropical savannah region. It is characterized

by hard deciduous trees with mainly buttress roots. Some of the trees are evergreen while
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others shed their leaves during the dry season. Shrubs are generally hard within this region.

Shrub Savannah occurs extensively in rough terrain close to hilly parts and ridges in all parts

of the site.

[Link] Climate

On the average, the state is characterized by a near temperate climate. Temperatures

range from 18 degrees and 27 degrees. The temperature is higher on the lowlands; this is due

to the altitude of the area. The highlands generally have precipitation slightly higher than the

lowlands. Rainfall generally spans between the months of March and October. The months

of July and August record the highest amount of rainfall. Surface wind intensity within this

region ranges between 7m/s and 15m/s. Wind direction during the harmattan period is

averagely north-east, while the direction of wind during the rainy season is averagely south-

west. The relative humidity is highest between the months of May and September. January,

February, March, April, October, November, and December, record lower relative humidity.

4.5.2 Micro Site Analysis

Plate 23 Climatic Analysis of the Site

Source: Researcher’s Work (2022)
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Plate 24 Infrastructure Analysis of the Site 1

Source: Researcher’s Work (2022)

Plate 25 Infrastructure Analysis of the Site 2

Source: Researcher’s Work (2022)
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Plate 26 Vegetative Analysis of the Site

Source: Researcher’s Work (2022)

[Link] The Climate

The local (Gura-Topp, Rayfield) climatic conditions are generally the same as the

regional conditions. However, there are slight differences in the temperatures. The site’s local

temperature is considerably lower than the regional average. This is due to the presence of

pockets of water bodies and presence of very thick vegetation on the site. During the cold

season, temperatures have been recorded as low as 10 degrees Celsius. Maximum

temperatures around the site does not exceed 32 degrees Celsius. This is surely going to

influence the design in that the types and sizes of fenestrations, wind breakers and buffers

make the auditorium conducive.

[Link] Rainfall

Annual rainfalls are recorded for the site. This is the same as the annual regional

recorded. Hence, the type of roof, length and sizes of drainages take due cognizance of this.
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[Link] Vegetation

The local site can only boast of harsh shrubs and thick vegetation scattered all over the

site. Grasses are also of the wild species and help cover the totality of the site. It therefore

shows soft landscaping elements like carpet grasses, flowers, shrubs and trees will thrive with

little effort at maintenance.

[Link] Topography

The general topography of the local site is sloping towards the North-Eastern part. The

entire site slopes towards the river and empties all waters collected at precipitation into a

stream further North of the site. It is composed of rocks, hills and plateaus, these hills would

be an advantage in the construction of the Church auditorium. This guides the direction of

drainages and natural ground levels when considering foundation levels.

[Link] Solar Radiation

The sun rises practically behind the larger mountains on the Eastern part of the site.

However, it sets Westwards, causing glare. This means that the orientation of the vehicular

routes is designed to reduce this problem for vehicle users, and also in avoiding openings on

these sides that could cause glare in the major interior spaces of the auditorium.

[Link] Humidity

The humidity on site is a bit higher than that of Jos South. Of course, this is due to the

presence of water bodies that increase the water content level in the atmosphere by

evaporation. This is considered in planning for the air conditioning of the Church auditorium.

[Link] Wind

The local site is characterized by small rocks and undulating land. With the proper

orientation of the building, these serve as wind breakers, though largely complemented by the

deciduous and ever-green trees designed on the site. All these, are designed to break the wind

intensity on the site.

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[Link] Site Potentials

The site is located in close proximity to the new Government house, with a very good

access road adjacent the Gate 2 of the government house. The site therefore enjoys the sense

of security and prestige that comes from the Government house. Also, the 10 staff houses that

exists on the site is planned to be renovated and can still serve as staff quarters for some key

Church staff that will live on site. There electric power lines and boreholes on the site that

can still be utilized. The site is reasonably fenced with fence wire and concrete poles, reducing

the immediate need for fencing except for the broken parts. There is also telecommunication

and internet services on the site which this development will benefit from.

[Link] Site Inventory

These are the inventory of the site showing the views as well as buildings and

activities that happens in and around it.

Plate 27 Site Inventory

Source: Researcher’s Work (2022)
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[Link] Site Problems

The existence of undulating land forms requires a proper and adequate drainage system

to prevent flooding of the site, and the existence of old structures at the proposed location for

the auditorium will require a cost implication for a total demolition of the buildings to give

room for implementing the design of the proposed Church facility and its auxiliary facilities.

4.6 CHAPTER SUMMARY

This chapter gives a detailed report of the study area of the proposed 5,000-seater

Pentecostal Church. The site selection criteria, demographics, geography and a detailed

analysis of the site is given. All of these has critical effects on virtually all the design

parameters used, as the goal is to achieve a conducive acoustic Church auditorium that meets

the needs of a modern Mega Church.

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CHAPTER FIVE

PLANNING PRINCIPLES

5.0 INTRODUCTION

In designing a Pentecostal Church building, a systematic study of the activities,

operations and a clear understanding of the processes are very important and necessary to

achieve a good design that has a strong influence on congregational worship. This will help

create the framework to justify the design proposal of a Mega auditorium where specific

religious processions are carried out.

5.1 FUNCTIONAL COMPONENTS OF A CHURCH AUDITORIUM

The components of a Pentecostal worship auditorium could be grouped into three

main divisions for the purposes of functional relationships and conveniences. These divisions

are:

i. The sanctuary (Altar)

ii. The Nave (Congregational Space)

iii. The Ancillary (Auxiliary Facilities)

5.1.1 The Sanctuary

Derived from Latin which means holy, the sanctuary refers to the worship area in the

Church, particularly around the Altar. The shape of the Church determines where the

sanctuary should be. The sanctuary is an essential part of the Church reserved to

accommodate the Bishops, Pastors and Ministers during the service. This special area would

be of ample dimensions to allow easy circulation of the service leaders. Steps could be used

to mark out this place.

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The Altar usually forms the focal point of the Church interior and around it is arrayed

the various elements of liturgical significance. The altar should be related to worshippers'

seating in such a way that whatever is done on it should be seen from every corner of the

auditorium. The altar may be defined in the following ways:

• Giving it an isolated and raised position

• Making it free-standing

• Raising the roof and thereby defining it externally

• Giving it a bold character in relation to the rest or the interior spaces

• Skillfully initiating the lines of perspective towards it.

Other areas of the Sanctuary are:

[Link] The Ambo

The ambo or lectern is second place of importance in the Sanctuary. This is the right

side facing the people, a few steps from the altar. A shelf or cupboard may be built into the

ambo for books. A cantor, choir director, commentator or the Service leader should be able

to conveniently use the lectern by having ample space around it.

5.1.2 The Nave

The nave is the region reserved for the congregation during the worship service. In

Church design, one of the main problems is how to relate the nave to the sanctuary Altar. This

design encourages the collective participation of both the congregants and service Ministers.

An important consideration for the congregational seating area is the aisles.

The aisles, as circulation spaces, are adequately developed for the nave. Upholstered

single banquet chairs are provided for and arranged in rows, and at the end of each row (which

may contain up to ten or more chairs), an aisle is introduced to ease circulation. A central

aisle is also important. This central aisle is wide enough since it would also be used for
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processions (e.g., during weddings or Thanksgiving Services). Other congregational spaces

include:

[Link] Entry

The minimum function of the entry area is as a vestibule from the out-of-doors.

However, this space must be sized in relation to the number of occupants, as it will often time

act as a lobby.

[Link] Sacristy and Vestry

These are storage rooms. A place for storage of Vestments, vessels, records, etc. and

in which the Pastor and Choir robe for service. These should be properly located in relation

to both the sanctuary and main entrance. In the sacristy your find storage cupboards, sinks

and lavatory. In some situations, there is need to provide outside vestry located near the

entrance and position where the priest could dress if there would be an entrance procession

through the congregation to the sanctuary.

5.1.3 The Ancillary

This refers to the necessary auxiliary spaces that accompany any good Church

auditorium design. They complement the main auditorium for effective comfortability of

congregants. Some of them are:

[Link] Narthex (Foyer)

This is the main entrance foyer of a Church. auditorium It is a transition space into

which the main entrance opens. The narthex is well organized in design to ease circulation,

and also accommodate service processions such as for weddings, thanksgivings and other

activities. Links are provided from the foyer to the toilet facilities. Provision is also made for

notice boards, pamphlet racks and facilities for selling of Church publications and recorded

sermons. Many external doors open to the narthex to enable rapid exit in case of an
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emergency. Therefore, this space must be proportional to the number of congregants (usually,

should be able to accommodate about 1/3 of the congregants).

[Link] Media/Sound Room

In Modern Pentecostal Church auditoriums designs, the media and technical rooms

play a vital role as all audio-visual controls are done here, and services are now broadcasted

live over the internet and on cable networks. Therefore, ample consideration is given to the

sound and media room to ensure the smooth sailing of their activities and a clear line of sight

to the Altar.

5.2 ARCHITECTURAL PROBLEMS OF DESIGNING LARGE CHURCH

AUDITORIUMS

The Architectural problems that are associated with the design of large/mega Church

building are as outlined below:

5.2.1 Accessibility

The Church auditorium should be accessible from the minor road for vehicular and

human traffic. As much as possible, avoid entering the premises directly form a major road.

The access should also be of sufficient dimension to avoid crowding of vehicles when going

in or out of the premises.

5.2.2 Space Organization

This involves the arrangement of space and shaping it to achieve a design that would

be responsive to the objectives of the spaces. The design should be organized to achieve the

harmony of users of different functions and to ensure their comfort. This is expressed in a

general space organization principle which is intended to reinforce the faith, design and

concept of the Church building.

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[Link] Design on Site

i. This should relate to the size, shape and orientation of the site.

ii. Encompass passive fire safety measures in design.

iii. Fit into and preserve the natural topography.

iv. Benefit from natural warming and cooling effects.

v. Enhance efficient and convenient pedestrian and vehicular access.

vi. Provide simplicity of centralized visual surveillance.

[Link] Function

A functional Church auditorium design will:

i. Provide optimum adjacent relationships with auxiliary facilities depending on the size

and range of functions in the building.

ii. Establish a workable and convenient circulation flow as large number of people will

be moving per time.

iii. Ease the movement of the physically challenged persons.

iv. Be compact in design for economical purposes.

v. Have good acoustic.

vi. Be well designed to be considered as being fire-safe.

[Link] Safety

i. The design will need to consciously incorporate passive security features.

ii. Should give easy and safe evacuation of users during an emergency.

5.2.3 Form

The building form is an important feature of the design as it influences the choice of

building and construction materials and how they are applied. Where possible, a concept
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should guide the building form in plan, elevation or both. A symbolic form may also be

considered.

5.2.4 Building Materials

Building materials are to be a product of research as to their advantages, workability

and suitability for such construction. Particular attention is to be given to material innovations

in concrete, metal (steel), and glass.

5.2.5 Waste Disposal

The proposed design in itself does not generate any significant waste. However, a

waste management and/or recycling system should form part of the thinking behind the

design.

5.2.6 Orientation

Building façades oriented toward the predominant public view – usually the street

frontage, allows the public to more easily identifies it and provides a more attractive street

view. However, other factors which affects the orientation of the building will include:

1. North direction: which affects the orientation of the buildings on the site.

2. Sun path: Orientation of the building in relation to glare and the need for vegetation

on site to reduce the impact of the sun as well as enhance the passive cooling expected

from this design.

3. North-East Trade and South-West Monsoon Winds: the orientation of the building

in relation to wind to avoid the dust of the North-East trade wind allow the cooling

effect from the South-West monsoon.

4. Access to Site: With this the building should be easy to access should be able to work

in and find the access.

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5. Adjourning Facilities: Relationship of main Church auditorium to other building

and/or facilities on the site.

6. Noise Zones: The site should also be zoned based on noise. The noisy areas should,

as much as possible, be separated or shielded from the quiet zone by the use of

planting, courtyards, screens or lobbies. Alternatively, spaces that are closely related

could be separated by introducing semi noisy areas. Buffer zones may also be lavishly

used.

5.2.7 Circulation

Circulation is both internal and external as it relates to the various activities on the site

and their strength of relationship to one another. External circulation is of immense

importance in site planning as adequate analysis of movement patterns (vehicular and

pedestrian) is necessary for a good design of circulation planning. It is necessary to separate

pedestrian and vehicular circulation routes, and should as much as possible be short to reduce

fatigue. The large number of congregants may also influence the internal circulation within

the building, with a possibility of vertically staggering the entrances and exits levels.

5.2.8 Landscape

Generally, a very good landscape will greatly reduce the pollution and distraction

from noise as it serves as a screen. Large green areas also reduce dust in the micro

environment of the premises. A good landscape will give good aesthetics as well as may serve

as a psychological tool for mental calm.

5.2.9 Acoustics

In large auditoriums designed for music and speech, acoustics should normally play a

vital role in the design both in spatial arrangement of the plan, vertical section, type of

construction and materials to be used to finish the interior space. Passive acoustic concepts
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and strategies should influence the design process so as to reduce the excessive use of acoustic

treatments and gadgets in the finished space.

5.3 ANTHROPOMETRIC DATA FOR LARGE/MEGA CHURCHES

Anthropometries are the measurements of the various building elements in relation to

the human body (Umaru, 2017). Therefore, anthropometric data is a pre-requisite to design

any building structure. In the design of a worship Centre therefore, anthropometry is very

important as this makes both view and actions effective in the Church. There should be

proportion between the Minister and the Altar such that every action or activity on it will be

effectively carried out and viewed by the congregants.

The proportion of the altar should relate to the congregation in such a way that it

should neither be too high nor too low, so that what is done is seen to be a corporate action

of the whole assembly. Altars are being brought further forward in the sanctuary and with

congregations grouped around, there is less need for the altar to stand so high as in the past,

especially when the Pastor faces the congregation across the altar. For liturgical reasons, altars

can be less long but possibly slightly deeper than in the past. Average sizes are shown in the

anthropometric data in the figures.

In the arrangement of seating, the congregation should be continuous with the minister

with no strong dividing line between them. Equally, the congregation must be united with

one another and all must have good access to circulation space. Seats facing each other around

an altar should not be closer than about 6m, and nobody should look sideways on to anybody

else closer than 1.5 to 3.0m. In the spacing and dimension of seats, anthropometric details

specify minimum dimension of seat plus kneeling space front and back is 920mm. A space

of about 280mm should exist between the front edge of seat and back edge of kneeler. Allow

minimum width of 510mm per person.

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Figure 66 Shows Pew Dimensions

Source: Neufert, Ernst; Neufert, Peter (2000)

5.3.1 Congregational Space

The worshiping assembly should be situated so as to suggest their active role as

participants in worship. Worship is a corporate activity. It involves the Minister, choir, and

the congregation. It does not represent a performer-spectator relationship. The size, shape,

and arrangement of the room should emphasize the understanding that worship involves the

entire congregation in the service. This can be achieved by bringing the congregation closer

to the liturgical centers and by planning for a level floor.

5.3.2 The Working Dimensions of an Auditorium

i. Seat width, with or without arms: the minimum dimension with arms is 500mm and

without arms, 450mm as stipulated by legislation. For seats with arms, a width of

525mm may be regarded as a minimum to offer reasonable comfort.

ii. Seat height and inclination: height of 430mm - 450mm and angle to horizontal of 7-

90.

iii. Back height and inclination: height of 800-850mm above floor level (the height may

be increased for acoustic reasons), with a back angle of 15-200 to the vertical.
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iv. Seat depth: 600mm-720mm for seat and back depth reduce to 425mm-500mm when

the seat it tipped. The seat depth varies and depends on the thickness of upholstery

and backing and whether the rear of the seat contains the air-conditioning. For a

modest seat with arms, the dimensions can be as low as 520mm deep and 340mm

when the seat is tipped. Spacing is conditioned by the distance between the leading

edge of the seat and the rear of the back of the seat in front.

Figure 67 row-to-row dimension and clearway with fixed seating. b) Row to row dimension
and clearway with tipped –up seating.
Source: Akko (2017)

v. Gangways: The width of gangways within seating layouts at each level within an

auditorium is determined by their role as escape routes and the number of seats served.

The minimum width is 1100mm. Gangways can be ramped up to a ratio of 1:10 and

1:12 if used by persons in wheelchairs. Steps should have a consistent tread and riser

in each section of the gangway; the row to row spacing and row rise should be

compatible with a convenient ratio of tread to riser.

vi. Seating Geometry: Seating is usually laid out in straight or curved rows focused

toward the altar. Further forms are the angled row, the straight row with curved change

of direction. Curved rows are slightly more efficient in terms of numbers within a

given area but may increase construction cost.

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vii. Seating Density: Seats with arms can occupy an area as small as 500mm wide, and

less with seats without arms, with a row-to-row dimension of 760mm, but can be as

large as 750mm wide by 1400mm. This is a variation from 0.38m2 to 1.05m2.

Figure 68 Auditorium seating

Source: Akko (2017)

Table 5 Shows the dimensions of auditorium seats

Source: Akko (2017)

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5.3.3 Wheelchair Consideration

Regulations require a minimum of six places for wheelchair users, or 1/100th of the

audience capacity, whichever if the greater. Their location as discrete areas can be at the rear,

front, side or within the seating. Wheelchairs can be centrally positioned by forming a bay

off a cross-gangway. A wheelchair user should be able to sit with a party of friends not in

wheelchairs. Sightlines from the wheelchair should be checked, as should the sightlines of

those audience members behind. Some wheelchair users can transfer into auditorium seats.

Figure 69 Designated wheelchair area, required dimensions

Source: Akko (2017)

Figure 70 Plan of a box designed for a wheelchair plus loose chair

Source: Akko (2017)
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5.4 CHAPTER SUMMARY

This chapter presents the fundamentals of the design and formulation of principles

which are the basic architectural problems for the design considerations. This is otherwise

termed the design criteria which proffer solution to the identified problems in other to achieve

a functional Mega Church auditorium of the proposed development. The functional

components of Pentecostal Church auditorium (the Sanctuary, Nave and Ancillary), the

common design problems and anthropometrics of a Pentecostal Church are examined and

brought to bare. All of these forms the principles of planning of the Mega Church auditorium.

In the next chapter, the design programming, planning and design principles are brough

discussed.
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CHAPTER SIX

DESIGN PROGRAMMING, PLANNING AND DESIGN

6.0 INTRODUCTION

This chapter gives a general overview of the design programming, planning and actual

design process. Scientific deductions as to critical aspects of this project are analyzed to reach

logical conclusions on the different components of this research work and its practical

application in the design process.

6.1 DESIGN PROGRAMMING

6.1.1 The Project Design Brief

Congregational worship is a key feature of most religions. Hence, for a Pentecostal

Church, impeccable attention is often given to the Church building as it is seen as a reflection

of the sacred reverence for the supremacy of Christ on a Christian and his faith. The proposed

Church building is required to accommodate 5,000 worshippers and cater for the diverse

congregation that gathers to worship, and should appeal to the uniqueness and specific needs

of each congregant.

6.1.2 Client and Users

The client for this project is The Latterhouse Christian Centre (TLCC) Headquarters,

Jos. It is envisaged that Church building will provide a befitting state-of-the-art

congregational 5,000-seater Church auditorium, with its supporting facilities for the smooth

running of the Church. There are basically 3 main functional units which make up the Church

building complex. They are:

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a. The main Church auditorium

b. The administrative offices

c. The supporting facilities

Main Church Auditorium

i. Altar

ii. Congregational seating

iii. Gallery

iv. Media and sound rooms

v. Entrance foyer

vi. Conveniences

vii. Storage rooms

Administrative Offices

i. Reception

ii. Senior Pastor’s office

iii. Resident Pastor’s office

iv. Vestry

v. Rotunda

vi. 10 support Pastor’s offices

vii. Store

Ancillary (Supporting) Facilities

i. Toddler’s (Nursing mother’s) class

ii. Junior Church (ages 5 – 11 years)

iii. Bookshops

iv. Restaurants and tuck shops

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v. Accommodation facility

vi. Dispensary

vii. Parking areas

viii. Sports arena

ix. Garden(s)/Green areas

6.1.3 Conceptual Drawings

Conceptual drawings are embryonic design diagrams. These diagrams often begin

without a specific scale and reference of orientation (Andrew, 2004). They begin with simple

and abstract graphic notations of lines and symbols and slowly evolve into tangible images

that meet the design program. Because concept formulation and development deal with the

growth of an idea, conception drawings therefore bear the personality and characteristic of

every designer. These drawings are unique and special because of their individualized format

and expression.

6.1.4 Design Philosophy

This design is meant to reflect on proposed solutions to acoustic inadequacies and

control in a Mega Christian worship auditorium.

6.2 DESIGN PLANNING

The design planning process is highlighted below.

6.2.1 Spatial Program

[Link] Public Spaces

In planning religious buildings, particular attention must be given to the public spaces:

access, parking and reception requirements. Circulation planning too must consider different
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public and visitor’s needs. Public spaces are the common spaces that service other specific

function spaces. They include:

a. Parking Lots

Parking is external. The extensive use of shrubs and ornamental plants helps in

absorbing the carbon dioxide produced from combustion of the vehicle engines and for

aesthetic purposes. To this effect parking is decentralized. Provision is made for proper

kerbed footpaths to clearly identify routes to and from the car park and reception lobbies.

Sufficient parking in the ratio of 1:5 is provided to cater for the large number of people using

the facility. The minimum requirement provided for each parking lot is 5.5 m for length and

2.5m breadth.

b. Entrance and Reception Lobby

The entrance is clearly indicated and easily recognizable by strangers to the facility.

As a rule, a one-way system of traffic flow will is required and the width of the carriage way

accommodates at least two vehicle lanes. Ramps are provided for easy access for the

physically challenged. The reception lobby is the main hub of circulation and serves as an

assembling and meeting place and for providing information, directions and other services.

The reception is the first point of contact with guests or visitor and the impression created

tends to leave a considerable influence both on value and on attitude.

Though directional aids are helpful in circulation, the design of the routes to various

parts of the facility are self-directional, not relying on these aids. Circulation is easy and not

congested but they create an atmosphere of anticipation and excitement. Facilities within the

space and adjacent to the lobby include:

i. Information desk

ii. Media stand for messages

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iii. A Lounge

iv. Temporary exhibition spaces between free standing columns

c. Foyers

The foyer complements the exterior entrance design and flow smoothly into the

interior. It accommodates people into the reception lobby, auditorium, meeting rooms,

restaurant and other facilities. As a rule, the overall area of the foyer is about one third that of

the hall itself representing 0.3m2 per seat (Akko, 2017). The capacity is able to handle the

temporary overcrowding conditions which may arise before or immediately after meetings.

For easy circulation, access and safety in event of any mishaps, several entrances and exits at

strategic locations are provided.

d. Escape Routes

Staircases and landings satisfy the code requirements as a means of escape from the

building. Additional emergency escapes are designed in order to evacuate the large numbers

of occupants likely to be involved and to provide alternative routes of escape from the halls

and other parts of the building in the event of an emergency.

e. Conveniences

The demand on toilet facilities is usually at its peak at the beginning and end of

services and also during breaks at long programmes. The certainty in the calculation of

requirement with respect to proportions to be provided for both male and female users vary

in each event. The provision of toilet facilities as stated in the code of is treated as minimum

(1:100 for building with over 1,000 persons (Egan, 2016). This is achieved by providing

separate toilet accommodation for each main area of public use – restaurants, exhibition halls,

auditorium and meeting rooms. The toilets are distributed to ensure easy reach of various
 142

parts of the building used by the public. As a rule, a toilet should be provided for every 100

persons (Neufert, Ernst; Neufert, Peter, 2000).

f. Worship Auditorium

The main auditorium is designed for a large audience with racked seating to give good

sightlines and for acoustic quality. Factors considered in the auditorium design are the

acoustic and aesthetic unity of seating arrangement, its ease of cleaning and maintenance,

sightlines and orientation to the speaker and visual aids, and the need for subdivision and

rearrangement to accommodate different group sizes. The choice of the shape and form of the

auditorium is as a result of the desired effect which best suits the envisaged use of the

auditorium, its capacity, and the general composition of the entrance facility.

g. Committee/Meeting Rooms

For smaller group meetings, committee rooms are required for groups of about 20 to

50 people. When plenary sessions are divided into smaller committee groups during

conferences, meetings will be held in smaller committee groups. Also, weekly membership

classes are held within these rooms.

h. Media and Sound Control Rooms

Control rooms are located at the rear of the auditorium to provide a means of monitoring

proceedings and to operate the equipment without distracting the audience. Entrance ares

from outside the auditorium, separated from public circulation, but also giving access to

lighting and other control rooms. Both the multimedia and sound operators are able to see

and hear conditions in the hall.

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i. Administrative Offices

Office hierarchy and subsequent arrangement of office space in the Church administration

is not a complicated one. The following officers are to be provided for and accommodated in

the administrative section:

i. Senior Pastor

ii. Resident Pastor

iii. Secretary

iv. 10 Pastors

v. General Office (with Reception, Enquiries, etc.)

vi. Staff Conveniences

vii. Other technical officers (whose offices are in their respective areas of operations)

viii. Maintenance office

j. Sports Arena

To foster togetherness of the members of the Church, a sports arena is provided.

Annual sporting events organized mostly for the youths in the Church would hold here. The

proposed Nursery and Primary school will also make use of these facilities for Physical and

Health Education (PHE) classes. Some of the sporting activities that provided for includes

football, volleyball, basketball, and tracks for running. Neighbouring residents may also

benefit from the use of this sports arena as it also serves as a tool for evangelism and drawing

people closer to Church activities through sports.

[Link] Height of Buildings

a. The height of the covered part of the auditorium should be less than 12 meters, for

acoustic purposes (Authur, 2014).

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b. The height limit for any additional architectural elements (such as skylights, roof

elements, vertical connections to the roof, sunscreens, signals, etc. is 17 meters (Egan,

2016).

[Link] Building Setbacks

According to Egan (2016),

a. The setback from the main boulevard must be no less than 10 meters, in order to create

a small square.

b. The distance between buildings and the side street shall be no less than 3 meters; there

shall be no building concession directly to squares, green areas, streets or public

spaces, without the 3 meters’ setback.

c. The setback from the neighboring plot shall be no less than 3 meters.

d. The distance between buildings shall comply with fire control requirements.

[Link] Restaurants/Catering Space

Most congregants tend to not have breakfast before going to Church on Sunday

mornings, and require snack breaks during long hours at Church programmes. Hence, there

is a need to have restaurants, snack shops and catering spaces on the premises to meet this

need. Without these, the premises will end up being littered with hawkers and this also poses

a level of security threat. The space required for restaurant varies between 0.9 to 2.0m2 per

dinner.

[Link] Accommodation

There are considerable advantages in housing conference activities, inclusive of food

services and accommodation for delegates, under one establishment. This leads to better

cohesion between delegates, control over their location as well as savings in time and costs.

In cases where delegates attend conferences accompanied by other persons, a range of choices

should be offered. The accommodation facility should provide options in room type and
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description to enable delegates make choice on what best suits them. This keeps delegates in-

house and raises revenue for the Church. Guesthouse ratings of this nature will fall into the

three- star category.

6.3 THE DESIGN

6.3.1 Schedule of Accommodation

This involves the determination of spaces by comparing standard space requirements of

similar accommodations obtained from design standards and in case studies taken. The

provision of functional spaces is determined by:

i. Type and intended use of facility

ii. Number of occupants

iii. Number, type and sizes of machines, equipment, furniture and materials to be used in

the building

iv. Circulation space within and outside the building.

Table 6 Space Requirements for the Main Church Auditorium

FUNCTIONAL No. CAPACITY CRITERION UNIT TOTAL

SPACE AREA AREA
(m2) (m2)
Altar 1 - 1.5m2/person - 462
Nave/Congregational 1 3,500 0.65m2/person 2,275 2,275
Space
Choir 1 120 0.65m2/person 78 78
Gallery 1 1,500 0.65m2/person 975 975
Foyer 1 1,500 0.65m2/person 975 975
Prayer Room 1 100 0.7m2/person 70 70
Administrative 12 - 9m2/officer -
offices
Committee/Meeting 2 50 0.9m2/person 45 90
Room
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Conveniences 50 50 1.5m2/person 75 75
Storage 2 - - 150 300
Sound Room 1 5 1.5m2/person 7.5 7.5
Multimedia Room 1 10 1.5m2/person 15 15
Source: Researcher’s Work (2022)

Table 7 Space Requirements for the Auxiliary Facilities

FUNCTIONAL No. CAPACITY CRITERION UNIT TOTAL

SPACE AREA AREA
(m2) (m2)
Guest House 1 44 Rooms - 39.60 1,742.40
Dispensary 1 - - - 104.50
Restaurants 2 20 1.5m2/person 30 60
Tuck shops 3 - - 18 54
Parking 1 1,250 3X5.5m/vehicle 16.50 20,625.0
Waste Recycling 1 -
Plant
Source: Researcher’s Work (2022)

6.4 CHAPTER SUMMARY

This chapter discusses the design scheme and thereafter, the project brief statement

introduced. The chapter also identifies the client, prospective users, establishes the goals and

Schedule of Accommodation of the proposed project. This is vital, as in dictates the number

and sizes of functional space provided in the proposed project. In the next, and final chapter,

the design report, summary, conclusion and recommendations are discussed.

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CHAPTER 7

DESIGN REPORT, SUMMARY, CONCLUSION AND

RECOMMENDATIONS

7.0 INTRODUCTION

This concluding chapter shows how the cumulative effort of the studies and

deductions from the beginning of this research, has led to the proffering of an Architectural

solution to the problem of acoustic shortfalls in Mega Pentecostal Church buildings in Plateau

State. It highlights the design report, summaries the work done, gives some recommendations

and also express the contributions this has made to knowledge in this area.

7.1 DESIGN REPORT

This is the synthesis of problems and ideas that have been discussed in the cause of

this research thereby translating into a practicable design solution. The researcher articulates

design issues raised and hence, proffering solutions to problems identified in order to produce

a the design of a Headquarter Church auditorium for The Latterhouse Christian Centre Jos.

7.1.1 Design Concept

A concept in Architecture is an idea, thought or notion that forms the backbone and

foundation of a design project and one that drives it forward. It is the only consistent element

that follows a project from beginning to end and remains as important at the start as it is at

the finish (Archi Soup, 2022).

[Link] Plan Concept

The main Church auditorium complex was conceived based on the age-long

architectural concept of function follows form. Postmodernism suggests the function or

purpose of a building or object should be determined by its form or appearance. The design
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or aesthetic of the object should come first, and the function or use should be derived from

that.

[Link] Elevation Concept

The Church auditorium is a common location for gathering of Christians sharing

similar doctrinal and denominational faith in unison for worship; hence, the elevation concept

for this design. Raising hands is a common posture of worship in Christianity, as it symbolizes

surrender and submission to God. This physical gesture is often accompanied by singing and

prayer and is a powerful expression of faith and devotion. The concept of raising hands as a

posture of worship is incorporated into the design of the Church's façade. By this, the façade

serves as a visual reminder of the Church's commitment to worship and devotion to God.

Plate 28 Elevation Concept

Source: Researcher’s Work (2023)
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[Link] The Site Layout

In a project design of this nature, it is imperative to harness the potentiality of the site.

The general planning of the main auditorium complex was influenced by the following

factors:

a. Circulation

b. Orientation

c. Zoning

Circulation: The complex is accessible through the road from the major spine of the

proposed road network so as to control vehicular movement since the complex will generate

a high volume of pedestrian and vehicular traffic. Hence a need to articulate movement

pattern for easy drive through. Pedestrian access is clearly defined and separated from the

vehicular routes. Adequate parking space is provided for using the ratio of one parking space

for every four (1:4) congregants.

Orientation: The Church auditorium complex is oriented such that the dusty North-East

trade winds is prevented from entering the auditorium, while the cools South-West monsoon

winds can gain access into it. Reflection and glare from the sunrise and sunset are also

eliminated from the auditorium by use of deep vertical and horizontal fins and lazer-cut aluco-

bond shading devices on the large window openings.

Zoning: The functional units within the complex were allotted based on the zoning

pattern identified in the site analysis. Three major zones were identified namely noisy zone,

semi noisy zone, and quiet zone which also corresponds with the 3 main functional

components of the auditorium respectively: the Altar, the Nave and the Ancillary. This factor

necessitated the zoning of the spatial units based on the attendant level of noise tolerance and

threshold.
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7.1.2 Design Data

[Link] Structural System

The structural system is a concrete framed structure. The basic method of construction

is the post and lintel with sandcrete hollow blocks as infill panels. Because of the large span

of the Church auditorium complex, steel lattice trusses are used for the roofing system, and

covered with 0.7mm thick longspan aluminum roofing sheets. The foundation type is strip.

Expansion joints are within a maximum span of 45m interval and also double as Acoustic

Insulation Joints (AIJ).

[Link] Circulation System

The internal circulation within the auditorium complex is carefully analyzed to ensure

easy movement of people vertically and horizontally. At the entrance lobby/main foyer, there

is a provision of six (6) entrances which are 3.6m wide and 2.7m wide to match the high

volume of movement during services. Within the foyer, there are two (2) large quarter-turn

staircases that are 2.7m wide for vertical movement to the gallery which is easily accessible

by even first-time congregants. Also, provision is made for the gallery to flow down to the

ground floor from every side of the auditorium for easy circulation between the Sanctuary

and congregants on the gallery. The ancillary spaces on the right side of the auditorium are

also easily assessable from either floor from the auditorium with connecting doors.

[Link] Auditorium Shape and Massing

The shape of the auditorium is a combination of a rectangle and a circle and the rear

end of the hall for acoustic purposes. The walls are flat and are finished with sound absorbing

materials of the right rating.

[Link] Volume

The optimum acoustics of the auditorium depends on the auditorium space and the

audience capacity. Larger volumes generally produce better acoustics for music productions
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as the reverberation time would be longer. The volume of the main Church auditorium is

approximately 60,000m3.

[Link] Leveling of Stages and Seats

Correct leveling of the auditorium seats ensures that sound waves reach all the

occupants of the auditorium without obstruction and optimum visual connectivity with the

Altar is achieved. Hence, 300mm high raked seating arrangement is designed. Raked seats

increase the volume and clarity of sound especially for audience members seating near the

back. This is due to the elimination of any interruptions of sound waves caused by diffusion

or absorption of the waves by the people of furniture in front.

[Link] Layout of Boundary Surface

The auditorium implements a combination of concave shaped and stepped ceiling

systems that reflect the sound back down to the audience. The concave shape also helps

concentrate the sound intensity and increases the volume of the sound as it travels towards

the audience.

7.1.3 Material Properties

[Link] Interior Materials

The materials recommended in the Church auditorium are of a wide range to achieve

the desired acoustic quality. The materials can be divided into absorbent or reflector,

depending on their noise reduction coefficient (NRC) rating, where the most reflective is 0

and most absorbent is 1. In order to achieve the desired level of reverberation time.

a. Stage Flooring

The stage uses timber veneer flooring to reduce the noise transmission to tolerable

levels. An acoustic layer is laid under the floor to absorb the sound waves to a certain degree.

The layer reduces vibrations of lower sound frequencies and prevents the vibration of slabs
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and walls. The depth of the floor slab and the perimeter of the floor affects the absorption of

low frequencies. This occurs because sound waves have the ability to travel through floors

and walls into adjacent spaces.

An acoustic underlayment material on timber veneer floor finishes usually causes a

sound attenuation of about 10db to 20db. It is able to effectively absorb the sound produced

by the sound of footsteps and moving equipment while giving a sense of solidity to the stage

floor. The acoustic underlay is fixed to the sub-floors of the timber veneer flooring.

b. Auditorium Flooring

There are two main types of noise that are relevant; the first being the higher frequency

noise coming from music, singing and speech. The second type of noise refers to lighter,

lower frequency noises such as footsteps of people walking around and also the sound that is

produced by the subwoofers and speaker system. Thick carpeted floors contribute to sound

absorption. Carpet is an outstanding sound absorber which serves as an acoustical aid, as well

as a floor cover. Carpet absorbs airborne noise as efficiently as other specialized acoustical

materials. A rubber underlay is also used to further improve absorption. Carpet it also

wrapped around all the steps along the aisles of the auditorium to reduce the noise produced

by the footsteps of people walking up and down.

c. Wall Panel

The walls of the auditorium feature a concave shape – a form that is advantageous

when used in the context of our building. Concave surfaces have the tendency to reflect and

concentrate sound waves to the center of its projection such as the seating areas in the case of

our auditorium. The rear wall is flat and fitted intermittently with acoustic wall panels which

not only reduces the reflection of sound but also absorbs the sound waves before they reach

the wall to prevent a second delayed wave or echo from occurring. The surface of the wall

paneling is the fabric, followed by the sponge that functions as a porous material that absorbs
 153

high frequency sounds. The free-standing columns are finished with plywood and Rockwool,

which is useful in absorbing the low frequency sound waves that hit the wall.

d. Gypsum Board Ceiling

The auditorium ceiling is another important factor affecting sound insulation. Ceiling

panels are made of gypsum board as their smooth surface help in sound reflection. They also

provide for acoustical intimacy, atmosphere, and strengthens the overall sound quality. The

boards are suspended from the ceiling to provide short delayed, reflective sound energy, the

reflector panels can provide the stepped ceiling shape that are crucial to avoid reverberation.

e. Seating

Fully padded upholstered seats are used in the Church auditorium. The cushioned

chairs not only provide viewers with comfort, but it is also an excellent sound absorbent,

which helps reduce the overall reverberation time in the auditorium. The chairs also serve as

sound absorbers in cases where the auditorium may not be filled to capacity. The hall is only

aided with acoustical taming through the room surface such as the wall and ceiling, but

additional sound control is also present in the form of the padded seats.

[Link] Exterior Materials and Aesthetics

The exterior materials used for the façade are predominantly structural, yet aesthetical.

These materials are:

a. Sandcrete hollow blocks

b. Stone-cut granite tiles

c. Glass curtain walls

d. Laser-cut aluminium composite boards

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7.1.4 Noise Sources and Control

[Link] External Noise

The external noise that can affect user experience in the auditorium are the activities

that go on at the entrance downstairs. The foyer of the auditorium is the circulation space

within the Church building complex which creates noise most times. Opening and closing of

the doors and conversation taking place in there are the main origin of noise outside the

auditorium. The noise from the waiting and reception lobby enters the auditorium through the

doors if there is no sound-proofing.

Therefore, a sound lock is present between the inner and outer door at the main

entrance foyer of the auditorium which serves to trap the sound waves, bringing the noise

level from the outside down. The main access road will potentially cause unwanted noises

from cars moving about, thus doubled paneled curtain walls and windows are used to insulate

sound coming from outside.

[Link] Internal Noises

Internal noise will majorly be from Heating, Ventilation and Air-conditioning

(HVAC) systems. Thus, the solutions are to invert the air-conditioning system by transmitting

cool air upwards rather than downwards. The front 2/3 of the auditorium employs this system

while the back 1/3 of the auditorium uses ceiling mounted system. This not only reduced the

noise posed from air-conditioning, but also reduced the energy usage of the building, making

the building more sustainable.

7.1.5 Main Building Design

The Main Church Auditorium Complex is designed in three major compartments

based on two criteria: the zoning of functions and compartmentation as a fire control and

safety measure. The first compartment is the worship auditorium which has a large entrance

foyer, the Main Church bowl, the altar, a gallery and the audio-visuals cubicle. The second
 155

compartment is the ancillary facilities which consists of the Nursing mother’s/toddler’s class,

a dispensary, a food store, a committee room, the Junior Church, a prayer room, staff lounge

and choir studio and changing rooms. Finally, the third compartment forms the Church

administrative section that houses offices of Pastors and Admin staff, two committee rooms,

vestry and rotunda for special guests.

Below are the presentation drawings for the proposed 5,000-Seater Pentecostal Mega

Church.

[Link] Site Plan

Plate 29 Showing Site Plan of Proposed Church Auditorium

Source: Researcher’s Work (2023)
 156

[Link] Floor Plan

Plate 30 Showing Floor Plan of Proposed Church Auditorium

Source: Researcher’s Work (2023)

[Link] First Floor Plan

Plate 31 Showing First Floor Plan of Proposed Church Auditorium

Source: Researcher’s Work (2023)
 157

[Link] Roof Plan

Plate 32 Roof Plan of Proposed Church Auditorium

Source: Researcher’s Work (2023)

[Link] Sections
 158

Plate 33 Sections of Proposed Church Auditorium

Source: Researcher’s Work (2023)

[Link] Front Elevation

Plate 34 Front Elevation of Proposed Church Auditorium

Source: Researcher’s Work (2023)

[Link] Left-Side Elevation

Plate
35 Left-Side Elevation of Proposed Church Auditorium
Source: Researcher’s Work (2023)
 159

[Link] Back Elevation

Plate 36 Back Elevation of Proposed Church Auditorium

Source: Researcher’s Work (2023)
[Link] Right-Side Elevation

Plate 37 Right-Side Elevation of Proposed Church Auditorium

Source: Researcher’s Work (2023)
[Link] Perspective 1

Plate 38 Perspective View 1

Source: Researcher’s Work (2023)
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[Link] Perspective 2

Plate 39 Perspective View 2

Source: Researcher’s Work (2023)

7.1.6 Other Design Considerations

Aside the obvious acoustic design considerations for this project which has been

extensively discussed, some other key design considerations incorporated for the proposed

mega Pentecostal Church Auditorium are:

i. Large Windows and Vents: When designing, bearing in mind natural lighting and

ventilation of the building passively to reduce the cooling load of the auditorium, the

curtain walls are 8.8m high, and 5.4m wide each to serve as an inlet of cool air.

Extractor fans are also provided, just below the ceiling level which serve as vents for

the outlet of heat through principle of stack effect.

ii. Double Volume Headroom: The double volume headroom of about 10m is very

good for acoustics in the auditorium as it gives a longer reverberation time that is

excellence for music and also serve as a collector of warm air and discharging it

through the vents just below the ceiling to the atmosphere outside the building.
 161

iii. Courtyard System: The courtyard system employed between the auditorium and the

ancillary facilities and within the administrative office space serves as a medium for

bringing in natural light and fresh air to the spaces around it and releasing the warm

air to the atmosphere and also as a space buffer between the activities in the separate

spaces.

iv. Building Orientation: The orientation of the building is another variable considered

when designing with passive cooling principles in mind. The longer sides face the

North-South direction to reduce the heat gain through solar radiation. The majority of

the openings are also on these sides to reduce the cost of shading the building from

the solar radiation intensity. The shorter sides face East-West direction with enough

shading devices to prevent the effect of solar radiation intensity.

v. Shading Devices: The shading devices not only serve as passive cooling design

features to shade the building from solar radiation heat gain through the openings, but

also as aesthetic elements. Three types of shading devices which include vertical and

horizontal (combination of the two) and screen elements made from lazer-cut

aluminium composite boards (aluco-board). The boards also helps to reflect direct

incident sun rays away from the building.

vi. Landscaping: The proposed Church Auditorium is surrounded by landscaping

ranging from the planted trees to shrubs. This landscape is also serving two purposes

in this design. The first purpose is that, it serves as solar radiation rays’ absorber where

the rays are absorbed thereby reducing the radiant heat gain to the immediate

surroundings. The second purpose is that, it serves as garden for leisure as well as

aesthetic value.

vii. Parking: Ample vehicular parking spaces for the large number of congregants are

provided based on design standards for public building. A total of about 1,250 parking

spaces are provided which relates to a ratio of approximately 1:4 for the expected
 162

number of congregants. Concrete kerbs are used to demarcate the hardscaped from

the landscaped areas within the parking areas and lush green vegetation and shrubs

and trees planted.

viii. Pedestrian Circulation: The walk ways are of adequate width (2.4m wide) and well

interconnected with different sections of the complex to ease pedestrian circulation

and safety. The walkways are made of interlocking tiles to enhance ease of

maintenance and durability.

ix. Sewage and Drainage System: This shall be as laid out on the Site plan document

for the disposal of surface run off water and sewage from lavatories to the central

sewage collection and processing plant the sewage water is recycled for reuse in

maintaining the large green areas especially during the dry season.

7.1.6 Materials and Construction

The construction method used for this project is the frame structure system. The

following materials and construction methods are employed:

[Link] Foundation

The type of foundation footing proposed here is the strip foundation. However, this is

subject to structural engineer who in conjunction with the geo-technician who will

recommend a more appropriate foundation type to be used in the event the strip will not serve

based on the nature of soil of the proposed site.

[Link] Walls

The wall is the building envelop that encloses the space; it is also the building

component which interacts with the environment. Therefore, the walls should be responsible

for the control of the interior climate and protecting it from harsh external conditions. The

external walls are constructed using 225mm thick sandcrete hollow blocks finished with

25mm thick rendering on the exterior side and 15mm thick rendering on the interior. The
 163

internal partition is made up of sandcrete block work with a 15mm thick rendering. The walls

are finished with a decorative light coloured paint.

[Link] Windows

The type of windows to be used in this proposed project is purpose made decorative

side-hung casement windows, fitted with 5mm thick double glass for sound proofing. The

reason for swinging casement window is that, it is the type of window that gives almost 100%

of ventilation. The sizes vary with the location and position of the window. However, the

main auditorium is finished with curtain walls and acoustic glass fabricated and installed to

the manufacturer’s specification.

[Link] Doors

The door type recommended for this proposed design is purpose-made acoustic doors

with high thermal resistance to prevent heat gain through the doors and also serve as a fire

containment barrier.

[Link] Roof

The roof is the building component that covers the highest level of the building

preventing the interior of the building from external harsh weather. Lattice steel roof trusses

made of 100x100x5mm thick mild steel at 6m center to center spacing and 1.5m depth are

used because of its durability and ability to cover large spans as in the case of this auditorium.

0.7mm thick long span aluminium roofing sheet is then used as the final roof covering on

steel Z-purlins at 1200mm center to center.

[Link] Ceiling

The ceiling type suitable for this project is 15mm thick acoustic gypsum board ceiling

for its excellent acoustic properties. Ceiling vents are also introduced at three (3) layers so

that excessive sound waves hitting the ceiling are absorbed into the space within the ceiling
 164

and the roof rather than have them reflected backed into the auditorium which would create

an echo.

[Link] Landscaping

The proposed Church auditorium complex is surrounded by landscaping ranging from

lush green areas, planted trees, shrubs and flowers. This landscaping servers three purposes

in this design: the first purpose is that, it serves as an absorber of solar radiation during hot

seasons, secondly it acts as a purifier of the environment by sucking up carbon dioxide gas

emission from vehicles and also prevents dust from rising during strong winds and finally, it

serves as an outdoor garden for leisure, events and a natural therapeutic element.

[Link] Services

The services provided in this senate building can be grouped into two i.e., Mechanical

and Electrical Engineering services.

The mechanical services provided in this building are:

i. Water Supply: This auditorium complex, guest accommodation and staff quarters are

all linked with the mains of water supply of the central water system plant on the

compound which are sourced from the several boreholes available for supply of water.

Sufficient water equal to at least 100% of the daily requirement is stored in reserviour

tanks located on the site to ensure continuity of supply and a suitable constant

pressure. All pumping equipment are duplicated with provision for isolation, drainage

and repairs.

ii. Heating, Ventilation and Air Conditioning (HVAC): the size of the projects has

necessitated the use of HVAC systems for a conducive internal environment.

Therefore, a comprehensive system for this will be designed and installed by a

reputable specialist firm.

iii. Fire hydrants.

 165

The electrical services provided are:

i. A comprehensive electrical design for lighting

ii. CCTV and security installations

7.2 SUMMARY

For any design to be effective in achieving the mandate for its commission and in

fulfilling the design brief, it must be tailored to effectively fit into its context and satisfy the

needs of its users (Nimzing, 2017, p. 150). However, globalization has posed a great challenge

to this cause. This is reflected in the desire for Euro-American space design in buildings such

as Modern Mega Pentecostal Church auditorium in Nigeria. Evidence of this can be seen in

many of the ‘modern’ Pentecostal Churches in Nigeria. The Dunamis International Gospel

Centre Headquarters Church in Abuja, being an iconic facility in the country, stands as good

example.

As was seen in the course of this discuss, the needs of the worshippers during a Church

worship service have evolved from just attending, but to actively participating in the service

procession by having an enabling environment that minimizes distractions from unwanted

noise from outside sources and having an ambient internal environment that fosters sound

intelligibility and music quality. This has led to the many Churches that realize this to invest

huge sums of money in an attempt to solve the problem of acoustics in large Church

auditorium buildings which were not designed using acoustic principles from the inception

of the design stage. Therefore, architectural design solutions to these are pertinent and cannot

be over-emphasized.

This study as a whole has gone ahead to prove that when adequate research is carried

out about the factors that enhance room acoustics and Architectural Construction methods for

the walls, floors, roof and ceiling which promote good acoustics employed in the design of

Church Auditoriums, optimal Auditorium acoustics are easily obtainable.

 166

7.3 CONCLUSION

In conclusion, a good Mega Church auditorium should be able to handle a wide range

of liturgical and music functions. It should be designed with good ventilation and lighting

systems, have acoustically treated walls and ceilings, and be technologically integrated and

easily maintained. A good Church auditorium should be able to satisfy the needs of its

assigned functions at reasonably high levels of performance. The acoustic issues need to be

addressed in the design stage to minimize some of obvious issues that can be anticipated.

They must also be improved upon to ensure pleasant environment for the occupants after

completion. It is clearly observed from the study that the major surfaces in an auditorium

have important implications on the acoustical quality of a place. As a result, acoustic balance

maintains desired characteristics of speech intelligibility, reverberation time, and echo to

mention but three factors only.

7.4 RECOMMENDATIONS

With the research conducted and the gap covered, this work stands in a better place to

make recommendations for future research that will be done on the subject matter of

integrating acoustic in mega Church auditoriums. Against this backdrop, this study proffers

the following recommendations:

i. From the conceptual stage of the architectural design for mega auditorium building,

optimal acoustic principles should be considered and not treated as an afterthought.

ii. In designing mega facilities like a 5,000-seater Church auditorium, care should be

given to the construction practices and use of materials that eliminate noise and

achieve optimal acoustics.

iii. Application of natural terrain such as vegetative buffers and artificial barriers such as

screens to provide additional shielding and prevent traffic noise from intruding into

the hall from the outside should be introduced.

 167

iv. Baffles such as ANC-600P premium ceiling baffles should be hanged freely from the

auditorium trusses to interrupt the path of noise and reduce the amount of sound

reverberation.

v. Wall diffusers such as double duty diffuser (polycylindrical fabric covered) should be

placed on side and rear wall to conserve or act to scatter high frequency sound and

trap bass in any location of the hall. This type of diffuser is also capable of increasing

absorption and prevents resonance.

vi. Acoustic carpet underlay such as silent step or impact barrier carpet underlayment

should be installed on the floors of the hall to minimize noise by providing superior

airborne noise transmission loss and excellent impact noise.

vii. Acoustic Insulation Joints (AIJ) and openings around conduits, pipes, or ducts should

be sealed by using ANC-WB42 Loaded Vinyl, Composite Noise Wrap Barrier. This

composite prevents noise that transmits through the walls of the pipe or duct as air or

other contents move through it. In addition, it also increases the sound absorption in

the cavity and provides sound absorption and thermal insulation around the pipe or

ductwork.

viii. Quality electronic sound reinforcement system should be used to reduce sound that

will mask speech intelligibility. Without good acoustic reinforcement from surfaces,

sound may dominate the room and might lead to unnatural sound. Windows are done

with insulated glass such as double glazing of 1/4” air space cavity with Standard

Transmission class (STC) rating of 51 should be used. This double glazing reduces a

60 dB outside traffic noise level to 40 dB within the auditorium and it also improves

the thermal performance of the auditorium.

ix. Upon completion of Mega auditorium buildings, acoustic tests should be carried out

to determine the actual specifications of acoustic treatment materials to be installed

for an excellent acoustic environment.

 168

x. Future research could be carried out on the impact of different types of building

construction materials and the acoustics of the space they envelop.

7.5 CONTRIBUTION TO KNOWLEDE

The present study attempts to address multiple gaps and in doing so makes important

contributions. The main focus has been on integrating acoustics to achieve impeccable sound

intelligibility and music quality in a mega Pentecostal Church building. The concepts of

passive and active acoustic design principles are used to design an auditorium with qualitative

acoustics. The contribution of this work to existing knowledge-base on the subject matter are:

i. The study extends the research on the understanding of achieving optimal acoustics

in large auditoria.

ii. The study assesses the framework for the provision of a deliberately crafted acoustic

environment in the spatial context of the design of Mega Pentecostal Church

Auditoriums.

iii. Construction methods and materials suitable for the accomplishment of good

acoustics are unearthed and applied, which serve as a guide to other researchers who

will seek to further work in this field.

iv. Existing research on Church acoustics has primarily focused the dynamics and

characteristics of sound (wavelength, reverberation, pitch, echo, etc), most of which

are now easily addressed with modern sound equipment. This is one of the earlier

studies to assess and deliberately focus on the architecture of the auditorium to address

acoustic shortfalls in Mega Church auditoriums.

 169

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