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Views: 231 Author: Saijia Acoustic Publish Time: 2026-11-05 Origin: Site
Located in the new campus of Foshan Youth Cultural Palace in Beijiao, Shunde, Foshan—next to Beijiao Cultural Center, Beijiao Park and Heyuan—is a professional 395-seat art theatre. In its “former life,” it was simply an auditorium in a newly built venue, not yet given an acoustic identity. Today, it is a new performance space for young people, integrating theatre acoustic fit-out, seating, stage lighting, professional sound reinforcement, stage machinery and rigging, curtains, LED displays, video surveillance and power distribution.
On June 15, 2015, Guangzhou Saijia Acoustics & Lighting Engineering Co., Ltd. was awarded the specialist fit-out contract through a public tender. Construction began on March 18, 2016, and was completed on August 25. On November 10, the project passed the joint acceptance inspection conducted by the five parties: the owner, supervision consultant, contractor, surveyor and designer. Following the sequence of “design proposal → pre-construction → key construction activities → completion → acceptance,” this article revisits the project through 15 on-site photographs and provides a practical reference for cultural venues and project owners planning youth theatre or multipurpose theatre facilities.
Project Item |
Details |
Project Name |
Specialist Fit-Out Project for the Art Theatre at the New Campus of Foshan Youth Cultural Palace |
Project Owner |
Foshan Youth Cultural Palace (English abbreviation: FSAC; Beijiao Campus) |
Contractor |
Guangzhou Saijia Acoustics & Lighting Engineering Co., Ltd. |
Project Location |
Beijiao Town, Shunde District, Foshan, Guangdong Province (next to Beijiao Cultural Center, Beijiao Park and Heyuan) |
Procurement Method |
Public tender; contract award notice issued on June 15, 2015 |
Construction / Completion |
Started on March 18, 2016; completed on August 25, 2016 (approximately five months) |
Theatre Size |
395-seat professional art theatre; a core facility within the new campus, which has a gross floor area of approximately 4,000 m² |
Acceptance Date |
Passed final acceptance on November 10, 2016 |
Founded in 1957, Foshan Youth Cultural Palace is a public-benefit institution affiliated with the Foshan Municipal Committee of the Communist Youth League of China. For decades, it has served young people in Foshan through an approach centered on activities, supported by training and complementary services. The new campus has a gross floor area of approximately 4,000 m² and more than 30 activity spaces, serving tens of thousands of visits each year. Its key facility is this theatre, which must accommodate youth performances, showcases of arts-training outcomes, small variety shows, conferences and presentations.
The frequent transitions between performances, meetings, training sessions and other activities mean that the venue cannot be designed as an ordinary assembly hall. An assembly hall may simply need to make sound audible; a theatre must make speech intelligible, provide a good visual experience and allow fast scene changes. Professional criteria such as reverberation time, speech intelligibility, stage-machinery efficiency and lighting-scene changeover capability are difficult to rectify after construction if they are overlooked at the outset. That is why this project was organized to professional theatre standards from the tendering stage.
The first step in the design was not to choose a visual style, but to establish the acoustic targets. A dedicated performance theatre generally uses a longer reverberation time to enhance musical ambience, while a conference hall uses a shorter one to ensure speech clarity. This 395-seat multipurpose theatre needed to strike a balance between the two. The design brief specified the following reverberation-time targets: mid frequencies (500–1,000 Hz), 1.1 seconds with a tolerance of ±10%; low frequencies, 1.0–1.2 seconds at 125 Hz and 1.0–1.1 seconds at 250 Hz; high frequencies, 0.9–1.0 seconds at 2,000 Hz and 0.8–1.0 seconds at 4,000 Hz. The mid-frequency target provides a balanced environment for speech and music, a slight low-frequency lift retains musical warmth, and the high frequencies are allowed to decay naturally. Background noise was also controlled to NR35 or below, keeping the auditorium sufficiently quiet during intervals and for quieter productions.
To achieve these targets, the auditorium side walls use staggered acoustic diffusers combined with sound-absorbing finishes, creating a sound field treatment that integrates absorption and diffusion. As one of the largest sound-absorbing surfaces in the auditorium, the seating was included in the overall acoustic fit-out design, with its type and quantity considered to maintain consistent listening conditions in both occupied and unoccupied states. The design documents explicitly require that no echoes or sound focusing occur anywhere in the auditorium.
The proposal adopted an integrated audio, lighting and video approach to equip the theatre as a complete facility. The theatre acoustic fit-out and seating establish the room's acoustic foundation; the sound reinforcement and portable sound systems meet both fixed and flexible amplification needs; and the stage lighting system uses layered front, overhead, side and followspot lighting. The stage flying and curtain system (stage machinery) enables rapid scene changes and curtain operation. LED displays, video surveillance and power distribution support modern performances and venue operations. The project also incorporates projection, internal communications and simultaneous interpretation systems, together with supporting facilities such as a stage acoustic shell, choral risers and acoustic HVAC, providing comprehensive support for a wide range of performances and activities.
For sound reinforcement, the design selected a Soundcraft Vi1 digital mixing console as the main mixing platform, paired with a BSS SoundWeb London BLU160 digital audio matrix for signal processing and zone distribution. The loudspeaker system uses professional JBL products: AM7215/64/95 full-range line-array-class loudspeakers for the main system; ASB4128 dual 18-inch subwoofers for low-frequency impact; AM5215/64, AC16 and 8320 models for auxiliary and surround fill; and STX812M stage monitors for foldback. Amplification is provided by the CROWN series, while microphones include professional condenser models such as the SHURE KSM32/SL. For stage machinery, the motorized battens were designed for a load capacity in the 10 kN class and configured with two operating speeds (approximately 0.35 m/s and 0.2 m/s), balancing scene-change efficiency with smooth operation. The stage-lighting design is based primarily on high-power professional LED fixtures, with a color rendering index controlled at approximately Ra 85 to reduce color shifts in video recordings of youth performances.
In the design renderings, the staggered side-wall diffusers and wood-grain finishes form the theatre's defining visual language. Acoustic elements are no longer concealed behind decorative finishes; they become an integral part of the visual experience. The diffusers' three-dimensional rhythm helps create a uniform sound field while giving the theatre an identity distinct from an ordinary assembly hall. The proscenium, curtain layers and wood-toned auditorium palette were coordinated at the rendering stage, providing a clear basis for subsequent detailed design and construction.
Figure 2. Design rendering, auditorium view: staggered acoustic diffusers on the side walls, wood-grain finishes and seating layout
Figure 3. Design rendering: overall relationship between the proscenium, curtain system and auditorium acoustic elements
A theatre is a highly coordinated space in which acoustics, lighting, sound, machinery, LED, power distribution and interior finishes intersect. The ceiling must accommodate sound-absorbing and diffusing elements while allowing for stage battens and lighting suspension points; the walls must meet acoustic requirements while also supporting surround-fill loudspeakers. The project therefore began with coordinated detailed design, defining elevations, suspension points and cable routes for each system. Potential clashes were resolved before construction, avoiding conflicts between suspension points and costly on-site rework. This preparatory work is often underestimated on multipurpose theatre projects, yet it delivers some of the greatest returns.
Theatre spaces have substantial heights, so full-area scaffolding and work at height continue throughout the construction period. Before work begins, safety and technical briefings are completed for each work package, clarifying requirements for scaffold erection and inspection, edge protection and access walkways. Scaffolding may only be used after it has been inspected and accepted; appropriate fall protection must be implemented for work at height; and dedicated access routes and fall-prevention measures must be provided in rigging areas. For large-volume, high-clearance projects such as theatres, scaffold and structural-steel safety management is not an add-on—it is a prerequisite for all specialist work.
During construction planning, the project team identified four major challenges and developed countermeasures for each. First, the visual quality of wood-grain panel joints: alignment of patterns requires precision, and defects may include discontinuous grain, uneven color and visible joints. Second, safety and quality control for scaffolding and structural-steel work: work-at-height risks and steel installation accuracy directly affect subsequent equipment installation and structural safety. Third, the high standards for sound-system commissioning and piano-room construction: the theatre audio system must deliver professional performance quality, while the piano room must meet acoustic requirements and maintain stable temperature and humidity for the instrument. Fourth, coordination of the HVAC installation: routing air-conditioning services through a large theatre while coordinating with the interior design is challenging. Documenting these challenges before mobilization is essential to avoiding rework during a five-month schedule.
Extensive wood-grain finishes in the auditorium and stage area are central to the project's visual quality and represent its greatest aesthetic risk. The countermeasures can be summarized in three steps: same batch, dry fit and recheck. Panels from the same production batch with consistent grain and color were selected to minimize color variation at source. The full layout was dry-fitted before installation to align patterns and maintain a consistent grain direction. Specialist carpentry teams installed the panels, with joint widths strictly controlled. Once complete, the continuous wood-grain pattern and the three-dimensional acoustic diffusers together define the auditorium's visual character, allowing visual quality and acoustic function to work side by side.
Full-area scaffolding in the auditorium provided working platforms for the ceiling acoustic elements, front-light bridge and suspension points. The scaffolding was inspected and accepted before being put into use. Structural-steel work followed the design drawings strictly, with installation accuracy checked item by item. The positioning accuracy of the steelwork directly determines the installation references for the stage battens and suspended lighting equipment. Edge protection and safety-harness attachment were maintained throughout work at height, while access routes and walkways were kept clear. The construction photographs also show the auditorium seats and finishes protected with film and protective sheeting. Protecting completed work amid overlapping activities in a large space was another essential part of this challenge.
Figure 4. Construction in the theatre's high-volume space: full-area auditorium scaffolding, with seats and finishes protected
Figure 5. Work-at-height safety management: access walkways, rigging-area routes and edge protection
Figure 6. Protection of completed seating and floor finishes during multi-discipline construction
In addition to the theatre, the project included a dedicated piano room. Pianos are highly sensitive to their environment: humidity fluctuations can deform the soundboard and cause tuning instability, while sudden temperature changes can accelerate component deterioration. The room was built in accordance with acoustic requirements. Perforated sound-absorbing wall panels control reverberation, and sound-insulating doors and windows reduce external disturbance. A precision air-conditioning unit, typically used for equipment rooms, was also installed and professionally tested to maintain stable temperature and humidity, providing suitable conditions for piano storage and practice. The construction photographs show the perforated acoustic wall panels and precision air conditioner installed in place. This small room reflects careful attention to both the instrument and the young musicians who use it.
Figure 7. Temperature and humidity control in the piano room: installation and commissioning of precision air conditioning to meet piano-storage requirements
Figure 8. Completed piano-room acoustic fit-out: perforated sound-absorbing wall panels, sound-insulating doors and windows, and an acoustic ceiling
Eight disciplines—acoustic fit-out, interior finishes, lighting, sound reinforcement, stage machinery, LED, power distribution and HVAC—were working in the same theatre at the same time. If one discipline blocked a work area, all subsequent activities could be delayed. The project followed four sequencing principles: inside before outside, lower areas before higher areas, primary structures before secondary components, and prefabrication before installation. Substrates and concealed works were completed first, followed by equipment installation and finishes. At discipline interfaces, services were coordinated according to a defined priority sequence to avoid clashes. Rigging areas were divided into zones for front-light and overhead-light positions and suspension points so that work could proceed without interference. With construction running from March 18 to August 25, 2016, schedule risks had to be managed day by day, not week by week.
Figure 9. Work in the rigging area above the stage opening: installation of front-light and overhead-light positions and suspension points
After installation, commissioning proceeded in three stages: individual equipment testing, subsystem testing and integrated system testing. The digital mixing console and audio matrix were connected and verified step by step, and loudspeaker zones and groups were calibrated. Stage lighting circuits were programmed individually, while batten travel and limit settings were configured one by one. The LED display, video surveillance and power distribution systems were tested together. Audio commissioning was carried out by specialists with reference to the theatre's room-acoustic characteristics, with the aim of achieving professional theatre sound: clear speech, full-bodied music and even sound coverage. Simply powering up the equipment and producing sound was not considered sufficient.
The completion photographs show the 395-seat auditorium fully realizing the design concept. Red seats are arranged in orderly rows; staggered acoustic diffusers and wood-grain finishes create a continuous visual rhythm along the side walls; the front-light bridge and suspended lighting array are in place; and surround-fill loudspeakers are coordinated with the acoustic finishes. The stage curtains form distinct layers, while the front-light LED fixtures and side-wall LED screens create a complete performance and display environment. Acoustic elements are no longer hidden works behind decorative finishes—they are central to the theatre's visual identity.
Figure 10. Completed auditorium: staggered side-wall acoustic diffusers, wood-grain finishes and surround-fill loudspeakers
Figure 11. Completed auditorium side wall: coordinated arrangement of surround-fill loudspeakers and acoustic finishes
Figure 12. Completed venue: panoramic view of the 395-seat auditorium, with red seating, acoustic diffuser walls and front-light bridge
Figure 13. Completed venue: stage curtains, front-light LED fixture array and side-wall LED display
According to the final acceptance report, an inspection team comprising representatives from quality supervision, project supervision, design, the project owner and the contractor conducted the final inspection on November 10, 2016. After hearing the project briefing, asking questions, reviewing documents and carrying out an on-site inspection, the team concluded that the works complied with applicable laws and regulations and relevant design codes, and that the equipment was operating normally. The project was therefore accepted as qualified. The report was signed and sealed by representatives of all five parties: the owner, supervision consultant, contractor, surveyor and designer. A theatre project does not pass simply because its equipment powers on. A complete final acceptance process must examine acoustic construction, rigging safety, electrical safety and system functions item by item.
The acceptance criteria had already been defined during the design stage. Reverberation time was controlled within the specified tolerance for each frequency band, and background noise was limited to NR35 or below. The sound reinforcement system was checked against the applicable venue sound-reinforcement standards for parameters including maximum sound pressure level, transmission frequency response, sound transmission gain, sound-field uniformity and total system noise. Stage machinery was checked for batten load capacity, operating speed and safety protection, while the lighting system was checked for lighting functions and color rendering performance. The criteria were incorporated into the drawings at the design stage, implemented through construction procedures and verified one by one at acceptance. Only when each criterion has been followed through the entire process is the loop truly closed.
After passing acceptance, the art theatre became the new campus's central performing arts venue. Youth performances, showcases of arts-training outcomes and public-benefit events are regularly held here. Portable sound equipment, projection and simultaneous interpretation extend its functions to meetings, lectures and external exchanges. For the new campus, the theatre completes a vital link in presenting learning outcomes: young performers now have a professional stage for the productions they rehearse, extending the Youth Cultural Palace's educational services from training rooms to the stage.
First, establish acoustic targets early. Reverberation time, background noise and other criteria should be quantified during design, with diffusers, sound-absorbing construction and seating coordinated around those targets—not left to chance after the finishes are complete. Second, use integrated contracting for audio, lighting, video and stage machinery. A single party should coordinate and integrate acoustics, lighting, sound, machinery, LED and power distribution, resolving suspension points, cable routes and loads at the drawing stage to avoid interface conflicts and gaps in responsibility. Third, execute specialist details to specialist standards. The piano room should meet acoustic and temperature/humidity-control requirements, while scaffolding and structural steel should be managed through formal inspection and acceptance. These three lessons can be directly incorporated into the next tender for a youth theatre, cultural palace performance venue or multipurpose theatre.
Q: What is the acoustic difference between a youth cultural palace theatre and an ordinary assembly hall?
A: An ordinary assembly hall may only need to make speech audible, and its acoustic treatment is often based mainly on basic sound absorption. A youth cultural palace theatre is a typical multipurpose venue, accommodating performances, meetings, training and other activities. Its reverberation time must be set at a balanced level that supports both speech clarity and musical fullness. Echoes and sound focusing must be avoided, and background noise must be kept low (for example, at or below NR35). The Foshan Youth Cultural Palace Art Theatre specifies a mid-frequency reverberation time of 1.1 seconds ±10%, reflecting this multipurpose positioning.
Q: How should the reverberation time be determined for a 395-seat multipurpose theatre?
A: The target should be determined according to the theatre's size and primary uses. The design brief for this project specifies frequency-dependent targets: 1.1 seconds ±10% at mid frequencies of 500–1,000 Hz; 1.0–1.2 seconds at 125 Hz to retain musical warmth; 0.9–1.0 seconds at 2,000 Hz; and 0.8–1.0 seconds at 4,000 Hz, allowing the high frequencies to decay naturally. The design reference is GB/T 50356, Code for Architectural Acoustical Design of Theatres, Cinemas and Multipurpose Auditoria. Once the reverberation-time targets are established, they are achieved through coordinated sound-absorbing and diffusing elements and the acoustic properties of the seating.
Q: What are the benefits of using a digital mixing console and digital audio matrix in a theatre sound reinforcement system?
A: A digital mixing console, such as the Soundcraft Vi1 selected for this project, supports scene storage and instant recall. When a youth theatre frequently switches between performances, meetings and training sessions, operators can call up a preset scene to change the mixing configuration quickly. A digital audio matrix, such as the BSS BLU160, handles zone processing, routing and equalization. Together with the JBL loudspeaker range, it supports layered coverage for the main system, auxiliary speakers, fill speakers and stage monitors. This combination makes the system easier for non-specialist venue staff to operate.
Q: Why are the seats considered one of the largest sound-absorbing surfaces in an auditorium?
A: The total sound absorption in a fully occupied auditorium differs greatly from that in an empty one. If the seats have acoustic properties that differ significantly from those of the audience, the reverberation time during empty-room commissioning may be very different from that during a full-house performance. This project therefore incorporated seat type, quantity and layout into the overall acoustic design to maintain consistent listening conditions in both states. This is why finishes, seating and acoustics must be coordinated in one design. An unsuitable seat selection can directly undermine the room's acoustic quality.
Q: Why does a piano room require temperature and humidity control as well as acoustic treatment?
A: A piano's soundboard and wooden components are extremely sensitive to humidity. Fluctuations can cause tuning instability and component deformation, while sudden temperature changes can accelerate aging. The piano room in this project was equipped with precision air conditioning and professionally tested to provide stable temperature and humidity control. Acoustically, perforated sound-absorbing wall panels control reverberation in the small room, while sound-insulating doors and windows reduce disturbance from adjacent spaces, allowing practice without interfering with other activities. Although the room is small, its construction standards are no less demanding than those of the theatre itself.
Q: Why is integrated general contracting recommended for theatre audio, lighting and video projects instead of splitting the work among separate subcontractors?
A: Acoustics, lighting, sound, stage machinery, LED and power distribution are highly interdependent within a theatre. The ceiling must accommodate acoustic elements while reserving suspension points for battens and lighting fixtures; the walls must meet acoustic requirements while supporting loudspeakers. Separate subcontract packages can easily create conflicts in suspension locations, service routes and load allowances, resulting in rework and unclear responsibility. This project adopted a turnkey general-contracting model, with detailed design and integration coordinated by one party that took responsibility for the final result. This makes schedule, cost and quality easier to control.
Q: What does final acceptance of a theatre project generally involve?
A: For this project, the acceptance team on November 10, 2016 included representatives from quality supervision, project supervision, design, the owner and the contractor. The team first heard a project briefing, then checked the works item by item through questions, document reviews and an on-site inspection. After confirming compliance with applicable laws, regulations and design codes, and verifying that the equipment operated normally, the team issued a qualified acceptance conclusion. All five parties signed and sealed the records. Acceptance covered acoustic criteria, sound reinforcement performance, machinery safety, lighting functions and electrical safety. Final acceptance is the last link in the performance-criteria process, not a formality.
Pitfall: Prioritizing interior finishes while neglecting acoustics.
Solution: Focusing only on visual appearance while neglecting sound insulation and reverberation control can result in a noisy theatre and indistinct dialogue, preventing expensive lighting and sound systems from performing to their potential. Establish the acoustic criteria before developing the interior design, and coordinate sound absorption and diffusion with the decorative finishes from the outset. This project provides an example through its use of staggered diffusers to serve both acoustic and aesthetic purposes.
Pitfall: Designing a multipurpose theatre as if it were a dedicated performance venue.
Solution: Copying a long-reverberation design from a dedicated theatre may compromise speech clarity during conferences, while copying a short-reverberation conference-room design may make performances sound dry and lifeless. A multipurpose theatre should use a balanced reverberation-time target (such as the 1.1 seconds ±10% specified for this project) and allow for adjustment through variable acoustic measures.
Pitfall: Excluding seat absorption from the acoustic design.
Solution: Seats are one of the largest sound-absorbing surfaces in an auditorium. If their acoustic properties are not included in the design, the listening experience may differ significantly between an empty and a full auditorium, making performance results inconsistent. Confirm seat selection together with the acoustic design and, where necessary, measure the seats' sound absorption coefficients in a reverberation room before placing a bulk order.
Pitfall: Splitting audio, lighting, electrical and stage-machinery work into disconnected subcontract packages.
Solution: Conflicts between suspension points and service routes can affect acoustic performance and restrict lighting flexibility, while causing repeated rework and disputes over responsibility. An integrated general-contracting approach is recommended, with coordinated detailed design, clearly defined interfaces and one party accountable for the final result.
Pitfall: Cutting corners on work-at-height and rigging safety provisions.
Solution: Theatre spaces have high clearances, and scaffolding, structural-steel and rigging work continue throughout construction. Reducing safety provisions creates risks to both quality and personnel safety. Scaffolding must pass inspection before use; structural-steel installation accuracy must be checked item by item; and rigging components should use dual protection, with a primary suspension and a safety backup. Safety is the prerequisite for performance.
Pitfall: Treating acceptance as a simple power-on test without checking performance criteria.
Solution: The final acceptance team should include quality-supervision, project-supervision and design representatives. Acoustic and system criteria should be checked item by item through questions, document reviews and on-site inspections, with written conclusions and signed records retained. If the venue is put into operation after only a basic power-on test, problems may emerge in clusters during operation, when rectification is far more costly than addressing them at acceptance.
During implementation, the project followed the editions of the standards then in force (including GB/T 50356-2005, JGJ 57-2000, GB 50371-2006 and GB/T 4959). The table below lists the editions referenced as general guidance for the design, construction and acceptance of similar theatre projects. Where a standard is updated, the latest applicable edition should be followed:
Category |
Standard No. |
Standard Title |
Building Acoustics |
GB/T 50356-2005 |
Code for Architectural Acoustical Design of Theatres, Cinemas and Multipurpose Auditoria |
Building Acoustics |
GB 50118-2010 |
Code for Design of Sound Insulation of Civil Buildings |
Building Acoustics |
GB/T 50076-2013 |
Code for Measurement of Reverberation Time in Rooms |
Sound Reinforcement for Auditoria |
GB 50371-2006 |
Code for Design of Sound Reinforcement Systems in Auditoria |
Sound Reinforcement for Auditoria |
GB/T 4959-2011 |
Methods of Measurement for Sound Reinforcement Characteristics in Auditoria |
Sound Reinforcement for Auditoria |
GB/T 28048-2011 |
Code for Acceptance of Sound Reinforcement Systems in Auditoria and Sports Venues |
Stage Machinery |
JGJ 57-2016 |
Code for Design of Theatre Buildings (including sections on stage machinery, stage lighting and stage sound) |
Stage Machinery |
WH/T 28-2007 |
Stage Machinery — Safety of Overstage Equipment |
Stage Machinery |
GB/T 36727-2018 |
Stage Machinery — Code for Acceptance Inspection and Testing |
Stage Lighting |
GB 50034-2013 |
Standard for Lighting Design of Buildings |
Electrical Engineering |
GB 50303-2015 |
Code for Acceptance of Construction Quality of Building Electrical Works |
Electrical Engineering |
GB 50169-2016 |
Code for Construction and Acceptance of Grounding Devices in Electrical Installation Works |
Air Conditioning |
GB 50243-2016 |
Code for Acceptance of Construction Quality of Ventilation and Air-Conditioning Works |
Structural Steel |
GB 50205-2020 |
Standard for Acceptance of Construction Quality of Steel Structures |
Guangzhou Saijia Acoustics & Lighting Engineering Co., Ltd. specializes in the design and implementation of architectural acoustics for auditoria, stage lighting, professional sound reinforcement and stage machinery systems. The company serves clients in China and overseas, with a focus on South, East, Central and Southwest China. For integrated consulting and proposal design for youth theatres, cultural palace performance venues, complete theatre projects or audio, lighting and video upgrades for multipurpose theatres, please feel free to contact us.
Guangzhou Saijia Acoustics & Lighting Engineering Co., Ltd. | Tel: +86 20 8629 9208 | Address: Room 615, Building 3, No. 135 Huangyuan Road, Baiyun District, Guangzhou, China