I'd wondered how much this project was purely a visual form making exercise by a famous (infamous yet?!) architect, and what acoustic qualities the space had. This article written before the recitals and this video make for interesting viewing. Artistically, it is (in my opinion) undeniably beautiful, but reviews of the space in concert give generally high praise of the acoustics too, to my surprise.
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I remember my girlfriend showed me this "sound installation" from a press publication for the festival over the summer. I have to say I was skeptical over its form vs. acoustic function... Without reading the review my initial impressions would be that its form doesn't seem to follow an all-round acoustic agenda.
Having watched the video (the kid is pretty cute) and read the review I still remain unconvinced of the integrity of it's acoustic agenda. Though certainly it must have been a very intriguing setting to experience live solo classical music.
Whether it is a perfect environment to experience Bach's works, I'd like the experts decide. :)
I would imagine that the aesthetic agenda was the initial driver, with acoustics a secondary thought. I think the 'ribbon' does have acoustic elements to it - a large reflective surface behind the stage to reflect the sound for example.
I think it opens up an interesting 'architecture vs. acoustic' debate. Were peoples positive reactions based on feelings created visually, more than through the acoustic?
Has anybody experienced the space in concert who could give us a view?
Just read this from the Acoustician...
"For optimum conditions for chamber music it is important to ensure that the reverberation time is not too long as this blurs individual notes so music can lose its intricacy. Equally it should not be too short as this provides a lack of response for the performer and causes the music to sound overly dry. The designers therefore looked at achieving a reverberation time of 1.4 to 1.7 s at mid-frequencies (500-1000 Hz) with a higher reverberation at lower (bass) frequencies to provide a warm room response.
The shape of the frame and fabric acts to scatter sound reflections between parallel walls within the gallery to eliminate flutter echoes and provide a more even diffuse sound for audience members. Around the stage, specially shaped acrylic reflector panels have been carefully positioned and hidden within the fabric of the installation. These are designed to reflect sound with a short delay back towards the performer and out towards the audience to increase the clarity and strength of the music while maintaining the reverberant response of the room."
Sounds like justification for an aesthetic rather than a true integrated design to me!
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