The ancients produced better acoustics than modern architects. I have worked with dozens of architects on hundreds of multi-million dollar residences, and only two included a good musical space.
Even more telling, the massive re-models of Merkin and Tully Halls upgraded the cosmetics far more than the acoustics. At Merkin, the patrons wanted the mediocre 70s era acoustics kept the same, and in Tully the architects tied the hands of the acousticians by insisting the badly shaped room not be modified except for a thin (2ft) shell between the seats and the structure.
The biggest change was visual by conceptual architects Diller, Scofiddio and Renfrew who created a gigantic soaring glass entry with structural problems that leaked precipitation for months after the opening. This excess of conceit continued in Manhattan with "The Shed", a gigantic sliding metal and glass cube with ridiculous acoustics, despite being specified as "multi-use" including musical performances.
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