The Logos Foundation has built a unique new concert
hall right in the centre of Ghent, Belgium. It can seat up to 150
people and is fully equipped with a sound and light infrastructure.
This hall constructed in 1990 is situated in a building adjacent
to the recording studio, which has been operational since 1977.
As one would expect from Logos, this hall is exclusively used for
contemporary and experimental music, including electronic and computer
music. It is the best space available for these types of music (both
technically and acoustically) in the country. That is why it presents
about 65 concerts a year, and why musicians who are serious about
their music come to Logos
The Logos Foundation has opted for a unique design:
the tetrahedron, a shape whose sides are four equilateral triangles
(comparable to a pyramid, but with a triangular instead of a square
base). The location of the tetrahedron as a hinge between the three
buildings of the Foundation gives the whole space an intentionally
"sacred" character, which should emphasize the concert
as a social and ritual event.
The acoustic fact that no standing waves can occur in a tetrahedron makes it a space without preferences for certain resonance frequencies. Acoustic waves can never amplify one another in phase and are reflected by the walls under ever-changing angles. A tetrahedron space is not at all acoustically dead, but rather acoustically linear. Acoustic efficiency is another big advantage of such a space: a maximal space can be filled with a minimal amount of acoustic output power, a quality that makes it very convenient for musicians not using any electronic amplification. In particular for contemporary and experimental music, where the transparency of detail more than the absolute sound level is of the utmost importance, this quality is highly meaningful. The shape of the hall is therefore ideally suited to its purpose: to serve as a concert hall.
From an aesthetic point of view, as an architectural element, the tetrahedron is quite pleasant because its visual perspective is so pronounced: nothing but evading lines, such that you never get the idea of being enclosed in a box. The tetrahedron amplifies the perspective and the depth of the landscape and broadens the impression of distance. This is the reason why a tetrahedron seen from the outside always looks smaller than it actually is, considering its objective volume. From the inside, just the opposite holds true: because of the evading lines the space looks larger than it really is. One could also describe it as a resolutely modernist statement in a world that has been deceived by a certain grey/pink postmodernism
The Logos tetrahedron is one of the very few concert halls built by musicians themselves. Musicmaker Dr.Godfried-Willem Raes, the director of the Logos Foundation, was its designer. The actual realization of the building too (welding, cementing, plumbing, painting etc.) was done by the Logos work group. They spent six months in 1990 tearing down the old factory buildings and then it took them another half year to erect the new space using steel, concrete and plate metal. The balcony is covered by transparent grids in such a way the whole construction appears extremely light and elegant. The metal roof is entirely covered from the outside by thick layers of insulating and dampening polyurethane.
The opening of the Tetrahedron, in 1991, was celebrated
with a three-day festival, for which Logos commissioned new tetrahedron-related
compositions from twenty Flemish and Walloon composers. At the opening
ceremony, the Governor of Flanders, Herman Balthasar, inaugurated
the concert hall and for three days in a row, prominent citizens,
musicians, composers and music lovers alike celebrated the unique
event with a tremendous feast of music.
In 2003 the hall was given a novel floor, made of very thick high quality stainless steel. It even improved the acoustics.
Technical notes and infrastructure survey for musicians