As a way of establishing the specific ‘characters’ of the individual chambers, we explored how the internal lining could offer a way to affect both their acoustic and visual personalities. In conjunction with designing the overall volume of each chamber, we speculated about how we might manually shape the reverberation time of the recorded violin parts.
We saw the alteration of the lining from one chamber to the next as the equivalent to altering the timbre in a composition.
As an extension of this, we are interested in the idea that a space might be perceived as acoustically larger than it is in reality; creating an “acoustic tardis” of sorts. We then began to work with the same themes in the visual articulation of each chamber: playing with rhythm to affect one’s perception of perspective.