Jason Flanagan and his team at BFLS, together with renowned conductor Mark Stephenson, Arup Acoustics and the mobile staging company ESG (consultants providing solutions for music, sporting, corporate and hospitality events and working with the likes of the Rolling Stones, Paul McCartney and Madonna), commissioned market research from IMG, global leaders in classical music management, to identify a gap in the market for a high quality mobile, external performance-based acoustic shell. A company, ‘Soundforms’, has been set up to start fabrication and the first prototype will be complete by September 2011. This project is based on design flair, innovation and fresh thinking – the team has generated a high quality costed design based on a specific architectural solution. There is a demonstrable knowledge and understanding of capital cost estimates, funding strategies for development projects, and the operational business case. Our knowledge and understanding of current practice and issues in the cultural economy specifically relating to the large-scale performing arts market (current and future), performing arts product and venues, and their related community and education use is second to none. Designed from the inside out and based on intensive acoustic research, Soundforms propels sound, both music and spoken word, directly out towards the audience. The shells will revolutionise external music performance, providing shelter and acoustic reinforcement. The dynamic and organic form delivers unparalleled acoustic projection – initial tests indicate a significant improvement in the broadcast quality of the sound produced for both performers and audience. The shells will be available in three sizes to accommodate musical performances (both natural acoustic and amplified), semi-staged dramatic performances (spoken word acoustic), dance (using a sprung overlay floor) film shows, (projected either onto a screen in front of the acoustic shell or onto the inner shell during mixed medium performances) and children’s entertainment and exercise classes. Optimised acoustic reflectors installed onto the fixed overhead and vertical side stage wing trusses create an inner surface delivering a dynamic on-stage acoustic, enhancing the degree of ensemble between different sections of a band or orchestra, allowing the performers to hear one another and providing clearer broadcast sound quality from overhead mounted microphones. In most contexts, in order to achieve optimum conditions, a sound amplification system will be required, depending on the specific location, background noise level and audience size. The projecting upper ‘peaked’ surface is the result of rigorous analysis of the acoustic performance of the shell. A 3D acoustic computer model using ‘Odeon’ software has optimised the shape of the platform, the side wall angle, the height above the stage and the peak dimensions. The shell provides the overall enclosure for the acoustic interior, and the technical equipment for the associated on-stage spaces. Offering protection from the weather as well as a proscenium for theatrical performance, the design is flexible enough to adapt to different environments and performance-specific criteria.