Modelling the chamber linings

After undertaking the design iteration which sited Permutations as a single block in the Snape marshes, we immediately felt that this didn't reflect our aspirations for the chambers each taking on a separate character. The homogenous proposal also returned to a geometric rigidity, with a fixed central counterpoint chamber. We then began to design freestanding chambers which would be composed around a larger volume which they share. 

During a meeting with acousmatic composer, Peiman Khosravi, at the Royal Academy of Music, we discussed the acoustic aspirations for the project and how they might be realised through our approach to the construction of the acoustic lining and structure of the chambers. We looked at the distribution and the integration of the audio equipment, and a number of ways one might acheive acoustic characters for each of the solo parts. We then applied these discussions to our proposals, settling on an arrangement of absorptive (lower level) and reflective (high level) materials.