DESIGN FOR MUSIC

New Zealand Listener, Volume 37, Issue 932, 21 June 1957, Page 11

DESIGN FOR MUSIC

Sir,-It was with considerable interest that I read Mr Raymond Boyce’s letter on "Theatre Design," wherein he makes reference to my article "Design for Music." I am sure if Mr Boyce would read my article again, he will realise that at no time was it stated or implied that I was responsible for the planning or for the acoustics of the Town Hall. As stated, I was requested by the City Council and the Architects to design a setting for the National Orchestra, and fit up the stage within the physical limits imposed. I agree with Mr Boyce that the acoustics of the Town Hall are good, I also, however, think that they could be improved by a slight increase in the reverberation time. This opinion is based on listening to the National Orchestra, both with and without an audience being present. My article was primarily written to explain to the average listener or audience member how good acoustics are achieved. Secondly, I made a plea to those responsible for planning, that as much attention should be given to the design of the stage and its facilities as is normally given to the auditorium. This plea was not made in reference to the traditional theatre, but in terms of our present day, flat-floored, generalpurpose community auditoriums. From the remarks in Mr Boyce’s letter, may I rightly assume that he concurs? In my article, I also suggested that the greatest flexibility of planning in relation to function should be aimed at by the introduction of a flexible proscenium. Such an element of design would result in a very adaptable auditorium, permitting a variety of closed and open stage shapes. It could, in fact, lead to the development of a new type of auditorium best suited to our allpurpose community requirements. If for financial reasons it is not possible to incorporate a proper stage when planning an auditorium, never compromise, build the auditorium first with a planning provision for the later development of a proper stage. In such an auditorium, a temporary open cais type stage can be erected at one end of the hall, permitting flexibility in shape to suit varying stage and seating arrangements. It was such a simple stage shape that was used by Dr Richard Southern as a starting point in the design of his now world-famous Dramatic Studio at the University of Bristol.

R. GILLESPIE

MELDRUM

(Well ellington).