The Logos Foundation has built a unique new concert-hall right in the center of Ghent, Belgium. It can take up to 150 people and is fully equiped with sound and light infrastructure. This new hall is situated in a building adjacent to the recording studio, operational since 1977. As one would expect from Logos, this new hall is exclusively used for contemporary and experimental music, including electronic and computermusic. It is the best space available for those musics (both technical and acoustical) in the country. That’s why there are about 65 concerts a year, and that’s why musicians who are serious about their music, go for logos…

The Logos Foundation chose for a unique design: the tetrahedron, a shape bounded by four equilateral triangles (comparable to a pyramid, but with a triangular instead of a square base.) The location of the tetrahedron as a hinge between the two buildings of the Foundation, provides the whole with a intentional "sacred" character, which should emphasize the concert as a social-ritual event.

The acoustic fact that no standing waves can occur in a tetrahedron, makes it a space without preferences about resonance-frequencies. Acoustic waves can never amplify one another in phase and are reflected by the walls under everchanging angles. A tetrahedron space is not at all acoustically dead, but rather acoustically linear. Acoustic efficiency is another big advantage of such a space: with a minimal amount of acoustic output power a maximal space can be filled, a quality that makes it very convenient for musicians not using any electronic amplification. In particular for contemporary and experimental music, where the transparancy of detail more than the absolute sound-level is of the utmost importance, this quality is highly meaningfull. The shape of the hall is therefore idealy fit to its purpose: to serve as a concerthall.

From an aesthetic point of view, as an architectural element, the tetrahedron is quite pleasant, because its visual perspective is so pronounced: nothing but evading lines, such that you never get the idea of being enclosed in a box. The tetrahedron amplifies the perspective and the depth of the landscape and broadens the impression of distance. This is the reason why a tetrahedron seen from the outside always looks smaller than it actually is, considering its objective volume. From the inside, just the opposite holds true: because of the evading lines the space looks really larger than it is. One could also describe it as a resolutely modernist statement in a world that has been deceived by a certain grey/pink postmodernism...

The Logos tetrahedron is one of the very few concerthalls built by musicians themselves. Musicmaker Dr.Godfried-Willem Raes, the director of the Logos Foundation, was it's designer. The actual realization of the building too (welding, cementing, plumbing, painting etc.) was done by the Logos workgroup. During six months in 1990 they have been tearing down the old factory buildings and it took them another half year to erect the new space using steel, concrete and plate-metal. The balcony is covered by transparant grids in such a way the whole construction appears extremely light and elegant. The metal roof is entirely covered from the outside by thick layers of insulating and dampening polyurethane.

The opening of the Tetrahedron, in 1991, was celebrated with a three days long festival, for which Logos commissioned new tetrahedron related compositions from twenty flemish and walloon composers. On the opening ceremonial, the Governor of Flanders inaugurated the concerthall and three days in a row prominents, musicians, composers and music lovers alike celebrated the unique event with a tremendous music feast.

In 2003 the hall received a novel floor, made of very thick high quality stainless steel. It even improved the acoustics.