Ross Pavilion redesign: Bandstand vision puts sound at heart of plans

Reiuif Ramstad Architects Ross Bandstand Plans
Reiuif Ramstad Architects Ross Bandstand Plans
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the Norwegian architects behind one of the shortlisted designs for the new Ross Bandstand say they have focused on achieving the ideal acoustics in a “simple but bold pavilion”.

Reiulf Ramstad Arkitekter are one of seven shortlisted for the £25 million project. We are looking at each plan in detail ahead of the final decision on who will win the battle to create an iconic new concert arena.

Reiuif Ramstad Architects Ross Bandstand Plans

Reiuif Ramstad Architects Ross Bandstand Plans

Design director Reiulf Ramstad said their design embraced the setting and honoured the original Ross Bandstand to create a flexible performance space.

“We are of course very excited to be one of the seven teams invited to present our ideas for the Ross Pavilion in such a historic surrounding and beautiful site in the heart of Edinburgh,” he said.

“We are very fond of Scotland. We have travelled to many places in Scotland and had the opportunity to experience the rich variation of landscapes. This particular competition is anchored to a wider perspective and linked to all those inspirational places.”

The “floating” timber roof is made up of a natural timber which Reiulf describes as architecturally appealing and highly practical.

He said: “The single homogenous appearance of the roof provides a sculptural quality when viewed from the Castle ramparts above. This free-forming roof also has a highly practical application; the volumes within the building are highly flexible, ranging from intimate performance space and dressing rooms to high ceiling main stage space and public 
foyer.

“Our design has the flexibility to transform between these different scales and configurations. The stage opening is closed to create an intimate performance space whilst maintaining a link with the park through this glass façade.”

The pavilion will be programmed with a broad range of events, from large scale orchestral performances to more intimate acts and local events.

And the demands of each type of show have been reflected in the design, with particular attention to the acoustics.

“The architecture of this room would be unique,” Reiulf explained.

“And the flexibility of the seating and technical infrastructure ensures this venue can be programmed in the broadest way, including for comedy, theatre, music and film events, presentations, talks and exhibitions.

“The shape of the stage, its size and ceiling height have been carefully chosen because good acoustics come with the right use of materials as well as the choice of the right size, volume and surface shape and modulation.

“For open-air unamplified orchestral music events the sound will be projected towards the audience by the side walls and the stage roof, creating an outdoor natural acoustic to increase sound levels and improve music envelopment.

“Part of the sound energy will also be reflected back to the orchestra to create a good support and allow musicians to hear each other and play at their best.

“For amplified events, acoustic absorbent surfaces will be exposed to avoid any interference with the sound from the sound system.”

fiona.pringle@jpress.co.uk