Royal Festival Hall
Royal Festival Hall | |
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General information | |
Type | Concert hall |
Architectural style | Modernist |
Address | Belvedere Road London, SE1 England |
Coordinates | 51°30′21.01″N 00°07′00.44″W / 51.5058361°N 0.1167889°W |
Construction started | 1948 (18 months to complete) |
Inaugurated | 3 May 1951 |
Renovated | 2005–2007 |
Cost | £2 million (1951) |
Renovation cost | £111 million (2007) |
Client | London County Council |
Owner | London County Council (1951–1965) Greater London Council (1965–1986) Arts Council (1986–1988) Southbank Centre Limited (1988–present) |
Design and construction | |
Architect(s) | Robert Matthew and Leslie Martin |
Other designers | Robin Day (furniture including surviving auditorium seating) |
Main contractor | Holland, Hannen & Cubitts |
Website | |
southbankcentre.co.uk |
The Royal Festival Hall is a 2,700-seat concert, dance and talks venue within
The hall was built as part of the
The complex includes several reception rooms, bars and restaurants, and the Clore Ballroom, accommodating up to 440 for a seated dinner.
The complex's variety of open spaces and foyers are popular for social or work-related meetings.
The closest tube stations are Waterloo and, across the river via the Jubilee Bridges, Embankment and Charing Cross.
The original building
The Festival Hall project was led by
The figure who really drove the project forward was Herbert Morrison, a Labour Party politician. It was he who had insisted that Matthew had Martin as his deputy architect, treating the Festival Hall as a special project.[9]
Architecture
A 1948 sketch by Martin shows the design of the concert hall as the egg in a box. But the strength of the design was the arrangement of interior space: the central staircase has a ceremonial feel and moves elegantly through the different levels of light and air.[8]
They were concerned that whilst the scale of the project demanded a monumental building, it should not ape the triumphal classicism of many earlier public buildings. The wide open foyers, with bars and restaurants, were intended to be meeting places for all: there were to be no separate bars for different classes of patron. Because these public spaces were built around the auditorium, they also had the effect of insulating the Hall from the noise of the adjacent railway bridge.[10]
To quote Leslie Martin, "The suspended auditorium provides the building with its major attributes: the great sense of space that is opened out within the building, the flowing circulation from the symmetrically placed staircases and galleries that became known as the 'egg in the box'."[11]
The hall they built used modernism's favourite material, reinforced concrete, alongside more luxurious elements including beautiful woods and Derbyshire fossilised limestone.[10] The exterior of the building was bright white, intended to contrast with the blackened city surrounding it. Large areas of glass on its façade meant that light coursed freely throughout the interior, and at night, the glass let the light from inside flood out onto the river, in contrast to the darkness which befell the rest of London after dusk.[12]
The hall originally seated 2,901. The cantilevered boxes are often described as looking like drawers pulled out in a hurried burglary, but none has a compromised sightline. The ceiling was wilfully sculptural, a conceit at the very edge of building technology and, as it turns out, way beyond the contemporary understanding of acoustics.[8] Robin Day, who designed the furniture for the auditorium, used a clearly articulated structure in his designs of bent plywood and steel.[10]
The original building had lushly planted roof terraces; the Level Two foyer café had been able to spill out onto the terraces looking out on the river, and original entrances were positioned on the sides of the building, enabling visitors to arrive directly at the stairs leading to the auditorium.
The foundation stone was laid in 1949 by Prime Minister
"I was overwhelmed by a shock of breathless delight at the originality and beauty of the interior. It felt as if I had been instantly transported far into the future and that I was on another planet," said journalist Bernard Levin of his first impressions of the building.[10]
Organ
The 7,866 pipe organ was built during 1950–1954 by Harrison & Harrison in Durham, to the specification of the London County Council's consultant, Ralph Downes, who also supervised the tonal finishing. It was designed as a well-balanced classical instrument embracing a number of rich and varied ensembles which alone or in combination could equal the dynamic scale of any orchestra or choral grouping, in addition to coping with the entire solo repertoire.[16]
The design principles enshrined in its construction gave rise to a whole new school of organ building, known as the English
However, the design of the organ in its housing made maintenance difficult, and by 2000 it had become unusable. It was consequently completely removed before restoration of the Hall itself began in 2005, and after restoration and updating by Harrison & Harrison, a third of the organ was reinstalled. The remainder was reinstalled between 2012 and 2013, and voicing completed in 2014.[18]
Acoustics
The Festival Hall was one of the first concert halls in the world to be built using the application of scientific principles, both theoretical and experimental. Hope Bagenal and his colleagues from the
Following the opening of the hall, there was some criticism of certain aspects of the acoustics. This was partially attributable to the fact that some of the original specifications for room surfaces determined by the acoustic consultants were ignored in the building process. A specific problem for performers was the difficulty of hearing each other on the platform. Both the angled 'blast' side walls and the plywood reflectors projected sound away from the stage.[19]
The general consensus was that the hall was 'too dry', not reverberant enough, particularly at low frequencies, and that the bass tone was weak. The definition was 'excellent' for chamber and modern music, but the hall was not as effective for music of the late
Heating systems
A
The 1964 alterations
As a structure, the new Festival Hall was technically stretched, and maintenance was soon required. The building was substantially altered in 1964 by adding the foyers and terraces to the river side of the building, extending the footprint by 30 ft, and more dressing rooms to the rear. Alterations to the façades overlooking the river removed the decorative tiles, altering the Scandinavian Modernism of the building's primary public face in favour of a plainer and hard-edged style.[citation needed] The building's original entrance sequence was much compromised by these changes and the later additions of raised concrete walkways around the building to serve the neighbouring Queen Elizabeth Hall, Purcell Room and The Hayward, built in 1967/8.
Assisted resonance
It was known that the ancient Greeks had developed the technique of using vases built into their auditoria which added resonance to strengthen tone or improve its quality, though the effect was very weak. The
The 2007 renovation
This section needs additional citations for verification. (April 2019) |
The building underwent a substantial renovation between 2005 and 2007 aimed at improving the poor acoustics and building layout, led by architect
On the advice of acoustics firm, Kirkegaard Associates, the lack of reverberation and the difficult performance conditions for musicians were corrected by changes in the fabric of the auditorium. Surfaces that had previously absorbed sound were transformed to support and sustain that sound. The tapestries on the back walls of the boxes were gathered up to increase reverberation, but can be redeployed, together with additional absorbent blinds above the stage and around the Hall whenever needed. The wooden wall panels of the Hall were relined to change their acoustic qualities and the undulating plaster ceiling panels were completely reconstructed using more robust materials to provide greater warmth of sound and support for bass frequencies.
New adjustable acoustic canopies were placed over the stage's width to allow bass frequencies to resonate in the space above the stage, and for treble frequencies to be reflected back to improve feedback to performers. The stage was reconfigured to provide more space for performers, and the arrangement of walls around the stage was altered significantly. The original Robin Day designed seats were restored and reupholstered to make them more comfortable, and more acoustically appropriate.[28]
The major refurbishment presented an opportunity to add to the infrastructure of the venue to make the process of 'get-in' and 'get-out' in a single day easier, and to add to the flexibility of the venue. Theatre consultants Carr & Angier worked with ISG Interior Exterior and Stage Technologies to create a new working space over the stage area with four large movable lighting bridges, capable of load sharing to lift large touring productions without the need for custom rigging. Delstar Engineering supplied eleven lifts to form the stage platform. These allow the stage layout to be reconfigured in many ways to suit the nature of the performance taking place. The choir benches can now be wheeled out to provide a level floor for staged and dance performances. The space between seat rows has been extended by 75mm by rebuilding the concrete floor of the stalls, with a loss of only 118 seats. Cooling has been introduced by reversing the airflow in the auditorium.[29]
During the 2000s a building comprising seven commercial units was erected opposite the western side of the hall, with many of the Southbank administrative offices above. Shops and restaurants were added along the river frontage.
The venue officially reopened to the public in June 2007. The refurbishment was estimated to have cost in the region of £91 million.[30] A film documenting the refurbishment, entitled This Is Tomorrow, was directed by Paul Kelly and produced by Andrew Hinton.
Organ refurbishment
The organ has been reconfigured to suit the new architectural and acoustic requirements: its depth has been reduced by 110 cm, but the basic principles of the layout have been respected.[16]
Following a successful campaign to raise £2.3 million for a full restoration and reinstallation of the organ, the original organ builders, Harrison & Harrison, finally completed the reinstallation on 29 August 2013. Further work including re-balancing the pipework followed and was completed in time for the re-inauguration of the organ on 18 March 2014, exactly 60 years since it was first inaugurated. The first orchestral and organ concert was on 26 March 2014 and was recorded for the London Philharmonic Orchestra's own live label.[31] The organ remains the third largest organ in Great Britain by number of pipes, with 7,866 pipes and 103 speaking stops.[citation needed]. The organ sounds uncomfortably constrained in the hall acoustic and is seldom played, either for recitals or to accompany orchestral concerts.
Gallery
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The Royal Festival Hall undergoing restoration work, July 2005
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Seen from the River Thames, October 2010
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Seen from the Golden Jubilee Bridge, during reopening celebrations in June 2007
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Southbank Centre aerial view (Royal Festival Hall in Centre), July 2007
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Royal Festival Hall terraces, February 2008
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Westerly corner showing riverside facade, August 2008
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North-western facade at night with the London Eye and Palace of Westminster upriver, November 2009
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North-western facade at dusk with the London Eye and Palace of Westminster, October 2008
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Rear facade at night seen from Concert Hall Approach, March 2010
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Rear facade from the Hayward Gallery during restoration, May 2007
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Illuminations over Festival Terrace, January 2010
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Illuminations over Festival Terrace, December 2010
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Inside the Concert Hall, November 2009
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Royal Festival Hall (bottom left) from the London Eye, July 2008
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Walking through the Appearing Rooms fountain installation, by Danish artist Jeppe Hein, outside the RFH during reopening celebrations after 2007 refurbishment.
Footnotes
- ISBN 978-0-7148-4160-1.
- ^ "Resident Orchestras & Artists in Residence". Southbank Centre. Archived from the original on 24 October 2016. Retrieved 29 July 2013.
- ^ "Festival Hall scene of grace and dignity". Manchester Guardian. 3 May 1951. Archived from the original on 26 June 2018. Retrieved 1 May 2018.
- ^ "Southbank Centre History". Southbank Centre. Archived from the original on 11 September 2016. Retrieved 29 July 2013.
- ^ Southbank Centre's factsheet on the Clore Ballroom Archived 8 August 2014 at the Wayback Machine
- ^ "Edwin Williams". Dictionary of Scottish Architects. Archived from the original on 24 September 2015. Retrieved 15 August 2017.
- ^ a b Beranek, Leo (1962). Music, Acoustics and Architecture. Wiley.
- ^ a b c Bayley, Stephen (20 May 2007). "Now the South Bank's fit for a festival again". The Observer. Archived from the original on 2 October 2013. Retrieved 30 July 2013.
- ^ Spens, Michael (13 June 2007). "The Egg in a Box". Studio International. Archived from the original on 6 May 2013. Retrieved 30 July 2013.
- ^ a b c d Goodfellow, Natasha (2008). "Royal Festival Hall: a building to lift the spirits". Homes & Antiques. Archived from the original on 11 November 2013. Retrieved 30 July 2013.
- ISBN 978-0521231077.
- ^ "Royal Festival Hall". From Here to Modernity. Open University. Archived from the original on 11 November 2013. Retrieved 30 July 2013.
- ^ "London's new concert hall takes shape". The Guardian. 3 October 1949. Archived from the original on 22 February 2024. Retrieved 15 August 2017.
- ^ Cubitts 1810 – 1975, published 1975
- ^ The Times, 21 November 1950, p. 6
- ^ a b "Royal Festival Hall Organ" (PDF). Harrison & Harrison. Archived (PDF) from the original on 4 March 2016. Retrieved 30 July 2013.
- ^ "Pull Out All the Stops festival". Southbank Centre. Archived from the original on 29 June 2013. Retrieved 30 July 2013.
- ^ "History of the renovation". Southbank Centre. Archived from the original on 7 April 2014. Retrieved 30 March 2014.
- ^ "Royal Festival Hall". Concert Hall Acoustics: Art and Science. University of Salford. Archived from the original on 20 March 2021. Retrieved 30 July 2013.
- ^ "Rolls-Royce performance". Architects' Journal. 3 May 2001. Archived from the original on 11 December 2015. Retrieved 10 December 2015.
- ^ Andrews, Dave (25 March 2014). "Ground & Water Source Heat Pumps – Royal Festival Hall". Claverton Energy Research Group. Archived from the original on 25 March 2014. Retrieved 25 March 2014.
- ^ Purcell, Jack. "Dr. Leo Beranek". Oral History Transcript. American Institute of Physics. Archived from the original on 9 March 2015. Retrieved 30 July 2013.
- .
- .
- ^ Service, Tom (15 February 2011). "Simon Rattle: Baton charge". The Guardian. Archived from the original on 19 October 2015. Retrieved 30 July 2013.
- ^ Carolin, Peter (6 September 2022). "Diane Haigh obituary". The Guardian. Archived from the original on 12 January 2023. Retrieved 12 January 2023.
- ^ "Royal Festival Hall Refurbishment". The Architects' Journal. 2007. Archived from the original on 22 February 2024. Retrieved 4 August 2014.
- ^ Kirkegaard, Larry. "Why we have changed the acoustics in the Royal Festival Hall" (PDF). Southbank Centre. Archived (PDF) from the original on 17 February 2015. Retrieved 30 July 2013.
- ^ "Stage Technologies' Technical Transformation at London's Royal Festival Hall" (PDF). Entertainment Technology. Spring 2008. Archived from the original (PDF) on 1 October 2015.
- ^ ""Royal Festival Hall Reopens Next Summer", The Southbank Centre, December 2006" (PDF). Archived (PDF) from the original on 8 March 2007. Retrieved 24 April 2007.
- ^ "CD: Poulenc & Saint-Saëns organ works". London Philharmonic Orchestra. Retrieved 15 August 2017.
External links
- Media related to Royal Festival Hall at Wikimedia Commons
- Southbank Centre website – bookings for RFH, Queen Elizabeth Hall, Purcell Room, and The Hayward.