A geometry-focused exploration of Verona’s amphitheatre: ellipse parameters, cavea tiers, and spatial logic for performance and movement.

The elliptical plan of the Verona Arena mediates visibility, acoustics, and movement. The ellipse balances major and minor axes to minimize sightline obstruction while compressing sound.
Let the semi-axes be $a$ and $b$. The approximate perimeter $P$ is:
$$ P approx pi left[ 3(a+b) - sqrt{(3a+b)(a+3b)} ight] $$
The area is $A = pi a b$, guiding capacity estimates when paired with cavea tier widths.

| Parameter | Intent | Effect |
|---|---|---|
| Minor axis | Proximity | Shorter distances to stage |
| Major axis | Capacity | Adds seats with minimal sightline loss |
| Rake | Visibility | Maintains overlap-free view cones |
| Tier | Avg. riser | Rake | Relative capacity |
|---|---|---|---|
| Lower | 14–16 cm | 20–24° | Medium |
| Middle | 15–17 cm | 24–28° | High |
| Upper | 16–18 cm | 28–32° | Medium |
The ellipse suppresses acoustic hot spots typical in circular plans, while maximizing equitable sightlines.
Geometry here isn’t decorative — it’s the operating system of performance.
[^geom]: Rakes and risers vary per sector; archaeological reconstructions refine the ellipse parameters.

ヴェローナを愛する旅の書き手として、アレーナの精神——ローマの技術と現代音楽の出会い——を、石と歌が抱き合う場所で感じてほしいと願っています。
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