” Sound is a spatial art, an art of proximity and distance, a physical connection of air and ear… Music … has at its root the filling of the environment not with meaning, but with the simple impression that we are not alone.” Sean Cubitt

Fabrica gallery inhabits church. The Forty Part Motet reconfigures a piece of music. An art gallery in a sacred space. A sacred piece of music in a work of art. Contextually, the link between the two is strong.

This strand of posts will be known as structure & sound. It will look at how architecture and space are inextricably connected to music . To begin with specifics, today will trace the history of the changes made to the church, and future posts will look at how these were influenced by sound and need to communicate.

The Beginning- In 1817, Thomas Read Kemp commissioned Amon Wilds to build him a new chapel for his Non- Conformist sect. The church had classical facade, in doric style, which was mounted with a small square bell tower. It was lit with lantern light from the centre and had balconies around all four wall. Thomas Kemp did not hold on to it for long, as he developed financial difficulties with his ambitious undertakings in the west of city.

Early Alterations- When the Rev. Robert Anderson gained control of the chapel in 1825 he made changes to make it suitable Anglican worship. Around this the time the western balcony was removed. This was to become the liturgical east.

Major Alterations- In 1869 the vestry was swapped for land in order build a neo-gothic chancel. New pews and a new pulpit, with carvings from the local Mr Pepper, where acquired. Also a memorial stained window was installed depicting topics from the sermons of the infamous preacher Frederick Robertson.

Changes to the Facade- When the propriety rights where sold to the congregation, they restored interior in 1882. Then in 1886 the present Gothic front with octagonal tower were added.

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