Sharon Ann Holgate reviews Pistols in St Paul’s: Science, Music and Architecture in the Twentieth Century by Fiona Smyth
Sometimes an attention-grabbing title is the best thing about a book, but not in this case. Pistols in St Paul’s: Science, Music and Architecture in the Twentieth Century by historian Fiona Smyth, is an intriguing journey charting the development of acoustics in architecture during the first half of the 20th century.
The story begins with the startling event that gives the book its unusual moniker: the firing of a Colt revolver in the famous London cathedral in 1951. A similar experiment was also performed in the Royal Festival Hall in the same year (see above photo). Fortunately, this was simply a demonstration for journalists of an experiment to understand and improve the listening experience in a space notorious for its echo and other problematic acoustic features.
St Paul’s was completed in 1711 and Smyth, a historian of architecture, science and construction at the University of Cambridge in the UK, explains that until the turn of the last century, the only way to evaluate the quality of sound in such a building was by ear. The book then reveals how this changed. Over five decades of innovative experiments, scientists and architects built a quantitative understanding of how a building’s shape, size and interior furnishings determine the quality of speech and music through reflection and absorption of sound waves.
The evolution of architectural acoustics as a scientific field was driven by a small group of dedicated researchers
We are first taken back to the dawn of the 20th century and shown how the evolution of architectural acoustics as a scientific field was driven by a small group of dedicated researchers. This includes architect and pioneering acoustician Hope Bagenal, along with several physicists, notably Harvard-based US physicist Wallace Clement Sabine.
Details of Sabine’s career, alongside those of Bagenal, whose personal story forms the backbone for much of the book, deftly put a human face on the research that transformed these public spaces. Perhaps Sabine’s most significant contribution was the derivation of a formula to predict the time taken for sound to fade away in a room. Known as the “reverberation time”, this became a foundation of architectural acoustics, and his mathematical work still forms the basis for the field today.
The presence of people, objects and reflective or absorbing surfaces all affect a room’s acoustics. Smyth describes how materials ranging from rugs and timber panelling to specially developed acoustic plaster and tiles have all been investigated for their acoustic properties. She also vividly details the venues where acoustics interventions were added – such as the reflective teak flooring and vast murals painted on absorbent felt in the Henry Jarvis Memorial Hall of the Royal Institute of British Architects in London.
Other locations featured include the Royal Albert Hall, Abbey Road Studios, White Rock Pavilion at Hastings, and the Assembly Chamber of the Legislative Building in New Delhi, India. Temporary structures and spaces for musical performance are highlighted too. These include the National Gallery while it was cleared of paintings during the Second World War and the triumph of acoustic design that was the Glasgow Empire Exhibition concert hall – built for the 1938 event and sadly dismantled that same year.
Unsurprisingly, much of this acoustic work was either punctuated or heavily influenced by the two world wars. While in the trenches during the First World War, Bagenal wrote a journal paper on cathedral acoustics that detailed his pre-war work at St Paul’s Cathedral, Westminster Cathedral and Westminster Abbey. His paper discussed timbre, resonant frequency “and the effects of interference and delay on clarity and harmony”.
In 1916, back in England recovering from a shellfire injury, Bagenal started what would become a long-standing research collaboration with the commandant of the hospital where he was recuperating – who happened to be Alex Wood, a physics lecturer at Cambridge. Equally fascinating is hearing about the push in the wake of the First World War for good speech acoustics in public spaces used for legislative and diplomatic purposes.
Smyth also relates tales of the wrangling that sometimes took place over funding for acoustic experiments on public buildings, and how, as the 20th century progressed, companies specializing in acoustic materials sprang up – and in some cases made dubious claims about the merits of their products. Meanwhile, new technologies such as tape recorders and microphones helped bring a more scientific approach to architectural acoustics research.
The author concludes by describing how the acoustic research from the preceding decades influenced the auditorium design of the Royal Festival Hall on the South Bank in London, which, as Smyth states, was “the first building to have been designed from the outset as a manifestation of acoustic science”.
Acoustics in architecture
As evidenced by the copious notes, the wealth of contemporary quotes, and the captivating historical photos and excerpts from archive documents, this book is well-researched. But while I enjoyed the pace and found myself hooked into the story, I found the text repetitive in places, and felt that more details about the physics of acoustics would have enhanced the narrative.
But these are minor grumbles. Overall Smyth paints an evocative picture, transporting us into these legendary auditoria. I have always found it a rather magical experience attending concerts at the Royal Albert Hall. Now, thanks to this book, the next time I have that pleasure I will do so with a far greater understanding of the role physics and physicists played in shaping the music I hear. For me at least, listening will never be quite the same again.
- 2024 Manchester University Press 328pp £25.00/$36.95
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- Source: https://physicsworld.com/a/how-physics-raised-the-roof-the-people-and-places-that-drove-the-science-of-acoustics/
