Page 18

2015WinterShotcreteEMag

2014 Outstanding International Project Acoustic Shells By Jason Flanagan SAcoustic Shells act as a stage and shelter for parks across the country. Competing with newin South Kensington in 1861, bandstands becamevery popular, and were subsequently installed inited in a sunken garden beside the beach inLittlehampton, West Sussex, UK, these the local community. Designed by Flanagan media in the twentieth century, such as cinema Lawrence, a London-based architectural practice, and television, bandstands lost their appeal and the shells were prompted by a desire to reinvigo- fell into disuse. rate Littlehampton with its gentility of the early However, the new world of social media has twentieth century, the shells materially enhance further democratized the production and distribu- the public open space of the adjacent greensward tion of music. No longer the preserve of elite and satisfy an essential social need that is not musicians, popular music is again made by provided elsewhere in the area. anyone, and played anywhere—whether online The concept for the shells is derived from the or in public. The Acoustic Shells are a response notion of a traditional bandstand. Following the to this context, bringing back an old ideal—an Industrial Revolution and worsening conditions architecture that can represent sound and the in urban areas, bandstands were conceived as a people that made it. response by local authorities to an increased need One shell faces the town and forms the prin- for green open spaces where the general public cipal bandstand. The acoustic design of the inte- could relax. Following the first bandstand in rior creates a reflective surface to project the Britain in the Royal Horticultural Society Gardens sound of the performers to the audience in the Stage and shelter (Photo courtesy Flanagan Lawrence) Shelter (Photo courtesy Flanagan Lawrence) 16 Shotcrete • Winter 2015


2015WinterShotcreteEMag
To see the actual publication please follow the link above