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Seating capacity and space requirements

Auditorium at Derby QUAD

The amount of space required for each auditorium depends on a number of factors but the figures below provide an
approximate guide. The calculations are based on a modern design using 1.10–1.20 metres from seat back to seat
back and 550 – 600mm seat widths.
 200 seats: 270m² / 2,900 ft2
 150 seats: 190m² / 2,000 ft2
 75 seats: 125 m² / 1,350 ft2
The number of screens and the auditorium capacity depend on many factors ranging from audience potential
estimates and the programming range that is planned to the finance available and the characteristics and size of the
site or building. In general one medium or large auditorium seating at least 150 people is required. A more typical
capacity is around 200-230 seats. This auditorium should be able to accommodate the peak audiences at weekends
– people turned away from a full house may not return.
Additional auditoria should be graduated in size down to 70-100 seats for the smallest screen. The variation in
capacity allows films to be placed in auditoria that match their anticipated audience. Smaller capacity auditoria may
prove to be viable as outlined in the section about Digital cinemas. There are a few new community cinemas
beginning to buck the trend as cities gain small single screening rooms with unusual or luxury seating. It is, however,
advisable to carefully investigate the operational economics of operating such small auditoria before including them in
a new design or a refurbishment project.

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Auditorium Seating Layout &
Dimensions – The Complete
Guide.
Welcome to “The Complete Guide to an Auditorium Seating Layout and Dimensions”! At

least, that’s what we think of it as.

This will be an awesome guide for Architects, building owners, or anyone else needing to learn

about (and run) a fixed seating project.

We’ll cover everything from auditorium seating spacing, to design, auditorium seating

dimensions, standards, design guidelines, and more.

Before we get into it…

We’re experts at this, and we’d love to help you.

We’ve got decades of experience and have been blessed to work with some of the best architect

firms in the country and have designed seating solutions for Carnegie Hall, the Kodak Theatre,

and many, many more. So if you have questions about your auditorium seating layout or fixed

seating project, we can help.

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what you’re looking for… then check us out and view our auditorium seating, and learn what

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Jump to a section:
 General Seating Arrangement

 Theater Forms (How You’ll Lay The Space Out)

 Seat Widths

 Row Spacing

 Floor Design

 Building Code & Safety Guidelines

 Visibility

 Seating Layout Examples

 Infographic (Visual Summary You Can Add To Your Site)

If you’re not much of a reader or want a visual resource you can share on your own site, jump to

the infographic version we made of this article. Or, just keep reading to dive in to The Complete

Guide To An Auditorium Seating Layout…

General Seating Arrangement: 2 Basic Types

Seating arrangements in an auditorium seating layout (or assembly space) will either be

identified as “multiple-aisle” or “continental.”

These terms are commonly found in design standards manuals, building codes, and similar

architectural reference documents. Each size is unique, with specific guidelines governing row

size, row spacing, and exit ways.

Basically, a multiple-aisle arrangement will have a maximum of 14-16 chairs per row with

access to an aisle-way at both ends.

If an aisle can be reached from one end of a row only, the seat count may then be limited to 7

or 8.

It should be noted that the maximum quantities will always be established by the governing

building code.
In a continental arrangement, all seats are located in a central section. Here the maximum

quantity of chairs per row can greatly exceed the limits established in a multiple-aisle

arrangement.

In order to compensate for the greater length of rows allowed, building codes will require

wider row spacing, wider aisles, and strategically located exit doors.

Although it would seem like more space is called for, a continental seating plan is often not any

less efficient than a multiple-aisle arrangement. In fact, if it’s carefully planned, a continental

arrangement can frequently accommodate more seating within the same space.

For early planning, an average of 7.5 sq ft. per person may be used.
This will include both the seating area and space necessary for aisle-ways.

Theater Forms: What Form Will Your Area

Take?
While you’re evaluating the potential organization of an auditorium seating layout, you’ve got to

put some thought into what “form” you’d want that space to take.

“Form” is the result of planned relationships between spectators and performers

dictated by the anticipated function or use.

A carefully planned or programmed assembly space may demand a particular form to support the

function. This will often follow one of several basic theater forms…
The “End Stage”

Pros: Well suited to lecture, film or slide presentations.

Cons: Not very conducive to close relationship between performer and spectator.

Although a “proscenium” or “picture-frame” stage is very common and familiar to theater goers,

a variation of it… the “end stage” … satisfies the needs of many other general assembly

spaces.
This form is well suited to lecture, film, or slide presentations. In addition, it may lend itself

comfortably to rectangular areas which will fit many conventional new or renovated buildings.

However, this form may not be conducive to a close relationship between performer and

spectator. In some large-space auditorium seating layouts many seats are beyond a point where

un-reinforced speech would be intelligible.

If this type of direct contact is essential, perhaps a different form, as described below, may be

more appropriate.

Wide Fan Arrangement

Pros: Brings distant spectators closer to the performer.

Cons: Limits space usage to primarily speech related activities.

A wide fan arrangement with maximum limits of 130 degrees from a central focus or focal

point will bring the distant spectators closer to the performer, thereby promoting a more

intimate relationship.

At this angle of inclusion, film or slide presentation is still possible, however, the performing

area should be deep and the screen placed as far to the rear as is practical to minimize distortion

of the projected images.

A auditorium seating layout or seating area which exceeds 130 degrees begins to limit the

use of an assembly space primarily to speech related activities.

However, this doesn’t discount all film projection, since the actual position of the screen will

determine the extent of image distortion. This fact, coupled with an understanding of the physical

discomfort which develops when one’s head is turned to the side for an extended period, may

permit only brief film presentations.

The 3/4 Arena

Pros: Improves the hearing and visual contact between spectator and performer.

Cons: Film presentation is almost out of the question.

The 3/4 arena is a third form of assembly space, which traces it’s origins to the ancient Greek

open-air amphitheater.

This design approach is characterized by a 180 degree to 270 degree angle of inclusion and

can improve aural and visual contact between spectators and performers.
Conventional film presentation, in this format, is almost totally out of the question, but television

monitors or projection screens located throughout the assembly space may work OK.

Arena Stage

Pros: Offers 360 degree visuals, so you can bring more spectators closer to the performers.

Cons: This limits the arena physically, it allows very little (or no) expansion.

The last form we’ll take a look at here is the arena stage. This offers seating in a full 360

degree containment.
Obviously, this auditorium seating layout brings even more spectators closer to the performer,

but at the same time it creates certain restrictions. At any time during a presentation, a performer

will be facing only a portion of the audience. Additionally, the performing arena is physically

limited to the allocated space- allowing little to no expansion.

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Auditorium Seating Dimensions – Seat Widths

Seating comfort is initially established by individual chair widths.

Available sizes range from 18″ to 24″, however, all may not be produced by a single

manufacturer.
The most commonly used chair widths are 20″, 21″, and 22″.

It should be noted that these dimensions are nominal, being measured from center to center of

the support legs. If seating comfort is a high priority, thought must be given to a particular width

and the space taken up by chair arms to determine an actual size.

Usually, smaller sizes of 18″ and 19″ have limited application due to the minimum clear width

provided. Typically, all manufacturers size their chairs along an imaginary line which may be

referred to as a “datum line,” “char radius line” or something similar.

For accurate planning in an assembly area, this line must be identified so as not to over or

underestimate the potential of a row of chairs.

Row Spacing

Another consideration in v is row spacing.

Row spacing, or “back to back” spacing of seats is also very important in developing a

comfortable assembly area in your auditorium seating layout.

A minimum dimension occasionally used is 2′-6″ (30″).

This spacing provides marginal clearance between a seated person’s knees and the back of the

chair in the next forward row. At the same time, it will require that a seated person stand to

permit another person to get by them.

As you increase the row spacing to 36″, seating comfort is dramatically improved and passage

along a row of seated persons is accomplished with less disruption.

Floor Design
When it comes to your auditorium seating dimensions, seating comfort will also be affected by

the design of the assembly space floor.

Flat or less steeply sloped floors will usually allow a person to extend their knees and legs even

under minimum row spacing conditions. Here, an individual can take advantage of the open area

under a seat and the free space created by the pitched back of a chair.

As the floor slope is increased, this “free space” diminishes. The extreme condition exists

where a large elevation change between rows is combined with a minimum row spacing.

An example would be a 12″ high riser and a 32″ wide row spacing. At this point, it becomes

necessary to consider increasing the back to back dimension to provide more leg room.

The free space under a chair is also lost when a row of seats is located directly behind a low wall.

In this case, a recommended minimum clearance would be 11″ measured from seat edge in the

lowered position to face of wall.

The back to back dimension of a row of seats abutting a rear wall should also be carefully

studied. Normally, the pitched back of a chair will overlap a riser face, automatically reducing

the width of that row unless succeeding rows are similarly positioned.

Where a rear wall exists, the recommended procedure is to increase the dimension of the last row

sufficiently to accommodate any overlap plus a minimal space between the wall and top edge of

the chair back.

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Building Code & Safety Guidelines
Before presenting an overview of building code guidelines as they apply to fixed seating and

your auditorium seating layout, it should be emphasized that this article is not intended to

interpret, judge, or decide code compliance in a particular seating arrangement.

We advise you to refer to current editions of:

 Life Safety Code 101

 National Fire Prevention Agency

 BOCA (Building Officials and Code)

 Administrators – Basic Building Code

 Southern Standard Building Code

 Uniform Building Code

 Or governing State and Local building codes

Generally, among the individual codes, regulations covering fixed seating tend to be

somewhat similar in nature.

Occasionally, that which is stated follows accepted comfort or common sense guidelines.

For example, seat width requirements may not be a particularly area, since most codes

require a 19″ or 20″ minimum. Also, one code may accept a 32″ row spacing, while another

will permit 30″.. In these cases, the obvious choice would be the greater dimension, if only for

the sake of comfort.

Most building codes differentiate between multiple-aisle and continental seating arrangements.

So…

be advised to carefully note the differences that exist with regard to “plumb-line

clearances” which may be measured with the seat up or down, and the maximum

quantity of chairs that may be permitted as a function of a particular dimension (row

spacing).

Some codes will also identify clearances as they are affected by such items as tablet arms, where

their attachment may impede emergency areas.

Aisle-ways & Code

Aisle-ways must be carefully studied in relation to the seating arrangement desired. Minimum

aisle widths may be greater for a continental seating plan compared to a multiple-aisle

arrangement.
In all cases, the dimension increases proportionately to the distance traveled toward

an exit door.

The aisle width in your auditorium seating layout must be measured perpendicular to side walls

or the direction of travel and not necessarily parallel to the angle of curve of a row of seats.

Exit Doors & More

Building codes also deal with such issues as the size and location of exit doors, emergency aisle

lighting, railings, floor slope at aisles and riser heights. In many areas the flammability of the

room finishes, including the chair construction, is also covered.

Besides regulations spelled out in building codes, there exist other general safety guidelines to be

considered.

Other Safety Considerations

A serious safety hazard frequently appears when voids are created between end of row

chairs and aisle steps. This results when the chair leg and aisle steps are not parallel. Aisle steps

should always be extended to fall as close to the end chair as possible.

A similar problem may develop where the maximum quantity of chairs cannot fill the available

space. This condition will create gaps between end chairs at aisle steps or side walls as well as

irregular aisle alignment. In some cases, using wider chairs may help reduce the gap, but often

the problem can be avoided by careful preliminary problem.

One last detail should be mentioned…. which occurs solely in assembly areas where risers or

steps are used:

The practice of allowing a chair back to overlap the edge of a riser is recommended

in order to avoid the likelihood of a person accidentally stepping over the riser’s edge

when entering or existing a row.

Ideally, the char back serves as a protective railing. The condition might be overlooked during

early planning stages of your auditorium seating layout, resulting in an unacceptable row spacing

where chairs abut a rear wall.

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Visibility: What (And How Much) Can

Audience Members See?
Visibility in an assembly space is a function of seat location.

One of the most crucial parts of your auditorium seating layout is visibility.

As we said earlier… building codes, comfort guidelines, floor design, and the overall form of an

assembly space all play a part in seating arrangements. This information, combined with a basic
understanding of sight-line analysis and related planning guidelines, can result in achieving an

acceptable (if not optimum) level of viewing for spectators.

Perhaps film projection requires the most critical sightline analysis, since poor seat location will

result in distorted images. For this activity, the seating parameters are established by the screen

or image size.

An angle of 30 degrees up to 45 degrees measured perpendicular to the far and near edges of the

screen can establish a side to side seating limit, while the screen or image height may determine

the maximum distance.

The minimum dimension or closest recommended seat will also be set by the screen height.

*Note that these images are approximate and apply principally to flat screen projection.
Whether or not film projection is part of the design program for your auditorium seating layout

or assembly space, analysis of the sight-lines (both horizontal AND vertical) is highly

recommended.

The quality of sightlines in a horizontal plane may be a function of staggered seating.

Staggered Seating

Staggering permits an individual’s view to pass between the heads of spectators in a

preceding row.

This staggered effect can be accomplished in several ways.

1. The first (and simplest) approach would be to offset every other row by several inches, assuming

straight rows.

2. A second option would be to alternate odd and even quantities of chairs in successive rows.

However, if the resulting irregular aisle alignment from either solution is unacceptable, similar

results can be achieved through other methods.

For example, by varying seat widths in successive rows, aesthetic integrity of the aisles can be

maintained. With this arrangement, some spectators will enjoy the optimum benefit from seat

staggering, while others will get only minimal improvement.

When a fixed quantity of chairs of uniform width are arranged along an arc, staggering can be

achieved at the center of the seating area, but will diminish as the distance to the center is

increased.

Again, this will only afford some spectators an improved horizontal sightline. Unfortunately, it is

extremely difficult to achieve a 100% level of success solely with this form of analysis.

Optimum sightline requires both horizontal and vertical sightlines.

Sightline Analysis – Approach #1

When preparing a vertical sightline analysis for you auditorium seating layout, the minimum

clearance to raise a spectator’s view line over the head of a person directly in front of him

would be 4.5″ to 5″.

However, this may still not guarantee a totally uninterrupted line of sight. For example, if all

seats had a constant rise per row of 5″, all spectators still may not see the same point or be able

to view the entire area desired.

Generally, seats farthest away may lose the lower portion of any presentation.

Perhaps for a simple lecture, this is not of major importance since the viewers need only see the

upper portion of a speaker. However, thought must be given to such items as a chalkboard or

projection screen so that the lower edge is within view of the most distant spectator.

Obviously, this can be done by simply raising the display wall or screen, or by elevating the

entire presentation area in accordance with the results of the sightline study.

The pitch of a sloped floor need not be designed with a constant rise. Improved sightlines can

also be achieved by designing a floor where the rise per row is increasing. This method, referred

to as “iscidomal slope” can make more efficient use of the total available rise from front to rear

of a space.

The sightlines can often be further improved if a raised platform is included.

Sightline Analysis – Approach #2

A second approach to vertical sightline analysis is every-other-row line of sight. In contrast to

that which was already discussed, this form of analysis assumes that heads of spectators in

preceding rows will not obscure vision as a result of staggering seating.

However, this assumption should be verified in the form of a horizontal sightline analysis.

By staggering seats it is possible to maximize a spectator’s view line between the heads of

individuals seated in a preceding row.

Not to be overlooked of course is the natural tendency for individuals to reposition themselves in

their seats in order to improve sightlines. Combined with the addition of a platform or varying

floor scope, the overall rise in this assembly space can be kept to a minimum.

This is a precise business…

The planning of an assembly space or auditorium seating layout is much more

precise than most other building occupancy types.

Because of the extend of “built-ins” (ie. steps, slopes, platforms, etc.) problems are more difficult

to correct if the original plan is found to be faulty. Therefore, the architect or designer should

study all aspects of the space requirements or program. They should establish a priority, and

filter out those items that may tend to make the space too demanding or too flexible.

Seating Layout Examples

This last section is devoted to an analysis of several actual auditorium seating projects and

provides real auditorium seating layout examples.

Before we get into it, here’s an…

Explanation of terms:
 Basic Theater Form – that form as explained earlier in this article.

 Quantity of Seats – the actual quantity of fixed seats installed.

 Seating Area – includes all space directly occupied by the fixed seats, as well as the adjacent aisle-

ways.

 Space Per Seat – seating area divided by quantity of seats.

 Row Spacing – plumb-line dimension between rows measured from common reference point, i.e.,

chair back.

 Most Distant Seat – seat identified as being farthest from a projection screen or stage.

 Stage Elevation – height of stage above floor line at first row of seats.

 Floor Design – floor may be flat, sloped, or designed with risers or improved visibility.
Seating Layout Examples:
Below are 3 examples of seating layouts and their specs.

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Example #1:
 Basic Theater Form – End Stage.

 Quantity of Seats – 55.

 Seating Area – 450 Sq. Ft.

 Space Per Seat – 8.23 Sq. Ft.

 Row Spacing – 2′ 9″

 Most Distant Seat – 22′-0″

 Stage Elevation – None

 Floor Design – Flat / One Riser 8″

Example #2:
 Basic Theater Form – 3/4 Arena.

 Quantity of Seats – 56.

 Seating Area – 622 Sq. Ft.

 Space Per Seat – 11.1 Sq. Ft.

 Row Spacing – 3‘ 3″

 Most Distant Seat – 32′-0″

 Stage Elevation – None

 Floor Design – Risers 4“

Example #3:
 Basic Theater Form – End Stage.

 Quantity of Seats – 80.

 Seating Area – 700 Sq. Ft.

 Space Per Seat – 8.75 Sq. Ft.

 Row Spacing – 3‘ 6″
 Most Distant Seat – 25′-0″

 Stage Elevation – 3′-6″

 Floor Design – Risers 6″

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