Charlie Rose

mishmash  06/17/2012 12:10 PM Report

for so much talk about acoustics it would have helped to have at least one acoustician on the panel...

blank  05/12/2012 02:59 PM Report

http://www.charlierose.com/view/interview/12327

"Site and Sound: The Architecture and Acoustics of New Opera Houses and Concert Halls”

it needs more TREES and green and flowers and plants and bushes everywhere max it out and integrate it is my suggestion where can you place them how can they work together you won't regret it move the chairs with electronics and hire botanists and gardeners and ecosystem exceptionalists

people who live in cities are 30% more likely to be schizophrenic

every city's focus should be to be a massive integrated eco systemic garden

you need to get around town through means of exercise bicycles public transportation walking and integrated systems of pathways disconnected from city streets

think of apple computers they integrated the whole system

divide things up into separate specialized block concepts (that fit together into a larger picture)

http://www.bbc.co.uk/news/world-europe-17905533

mchawla  05/02/2012 05:14 PM Report

the interveiw with paul krugman on april 30,2012 is not availible online.please fix it.

REMant  04/30/2012 11:52 AM Report

The shape of the Greek theater is based on the horn, the most efficient structure for sound transmission, and sight, too, assuming you want to see ppl's faces. Hence the most often found theater/hall design, apart from a box. After that the desideratum is to insulate the whole from exterior noise. Thermo-pane glass can help increase transparency without sacrificing quiet a great deal. Venues are frequently either too reflective, or live, when small, without furnishings or with walls of hard materials, as in palace ballrooms, or not reflective enough, or, dead, if cavernous, outdoors or lined with sound-absorbing material, thus making it difficult for both audience and performers to hear. The fly space usually found in theaters swallows sound, making their use for music less than ideal. And I think it would make more sense to put opera and theater into good concert halls than vice versa. They don't really need drops and curtains; simultaneous set design or turntables would do as well. One could also reconfigure seating in a box shape to make a thrust or arena stage, as the BSO does when recording in Symphony Hall, tho it would present some problems for recording, and likely mean accepting a much smaller audience due to poorer sight lines and sound transmission. Of course, if one has the resources, I suppose a shell could be wheeled into a traditional house. I believe some time ago I've seen a complex which has such stages for different purposes on all three sides.

The main problem confronting performance tho is not the architecture, but the ticket price. And unfortunately hall construction moves in opposition to production costs, because while easy money encourages the former, the inflation which ensues from it increases the latter. The boom in construction represents, like the Empire State Building in the '30s, an overhang, or rather hang-over, of the past decade. One still being encouraged by the central banks. And you could say that, like many homeowners at present, the theater business is "house poor."

Arts education has for a very long time been a last in, first out matter, and we've seen many such cycles over the past half-century. It is unfortunate, since it means arts teachers have to be proficient in other subjects to get by.