The complex includes several reception rooms, bars and restaurants, and the Clore Ballroom, accommodating up to 440 for a seated dinner.[5] A large head and shoulders bust of Nelson Mandela (by Ian Walters, created in 1985) stands on the walkway between the hall and Hungerford Bridge approach viaduct. Originally made in glass-fibre it was repeatedly vandalised until re-cast in bronze.[citation needed]
The complex's variety of open spaces and foyers are popular for social or work-related meetings.
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 Clement Attlee on the site of the former Lion Brewery, built in 1837.[13] The building was constructed by Holland, Hannen & Cubitts[14] at a cost of £2 million and officially opened on 3 May 1951 with a gala concert attended by King George VI and Queen Elizabeth, conducted by Sir Malcolm Sargent and Sir Adrian Boult.[15] The first general manager was T. E. Bean, who had previously managed the Hallé Orchestra.
"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]
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 Organ Reform Movement, influencing in the UK alone the cathedral organs of Coventry and Blackburn and the concert hall organs of the Fairfield Halls, Croydon, and the Bridgewater Hall, Manchester: there are also innumerable organs in other countries which have been influenced by it.[17]
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 Building Research Station formed an integral part of the design team. The acoustic behaviour of the seats was measured and tested in a laboratory to enable more exacting design. Careful consideration of external noise problems was undertaken.
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 Classical or Romantic period. Sir John Barbirolli commented, "Everything is sharp and clear and there is no impact, no fullness on the climaxes."[7]
Hall Interior
Heating systems
A water source heat pump was used to heat the building in the winter and cool the building in the summer.[20] Water was extracted from the River Thames below Hungerford Bridge using a centrifugal pump. Heat was extracted from the river water using a heat pump. The compressors were driven by two Rolls-Royce Merlin engines, adapted to run on town gas. It was highly successful, providing both heating and cooling for the Hall, but over-sized, and was sold off after the Festival of Britain.[21]
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 30ft, 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
Leo Beranek, an American acoustics engineer who had undertaken measurements of all of the world's leading concert halls, had identified that the interior treatment of the auditorium was absorbing too much sound.[22] By 1962 the authorities, after prolonged experiment, had become convinced that no improvement in the hall's reverberation could be achieved by any further treatment of its surfaces. Longer reverberation would require modification to the main structure, reducing the seating capacity and the provision of a new ceiling. This was considered too costly, particularly as any hypothetical gain in 'warmth' or 'resonance' might well be by the sacrifice of other positive qualities for which the Hall was generally esteemed, for example, its clarity, its comparative uniformity of acoustic response and its freedom from echo.[23]
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 Building Research Station developed an electronic method of lengthening the reverberation time by a system called 'assisted resonance' in which some of the acoustical energy lost to the surfaces of the hall was replaced by acoustical energy supplied by a loudspeaker. Each microphone and its associated loudspeaker was limited to the one frequency by placing the microphone inside a Helmholtz resonator fitted into the ceiling in a range of sizes which resonated over a wide range of the low frequencies which critics and musicians thought did not adequately reverberate in the hall. 172 channels were used to cover a frequency range of 58Hz to 700Hz, increasing reverberation time from 1.4 to 2.5 s in the 125Hz octave band.[24] However, the system never fully solved the problem, and as it aged it became unreliable, occasionally emitting odd sounds during performances. It was switched off in 1998, which returned the acoustics to their poor state, so bad that they make performers who play in it "lose the will to live", according to Sir Simon Rattle.[25]
The building underwent a substantial renovation between 2005 and 2007 aimed at improving the poor acoustics and building layout, led by architect Diane Haigh[26] of Allies and Morrison with consulting engineer firms Max Fordham LLP (M&E) and Price & Myers (structural).[27] The interior of the concert hall space was almost entirely intact until this re-modelling, which saw its stage canopy and walls rebuilt in plainer more rectangular forms. Seating was reduced slightly to 2,788, including the choir seating. This was carried out in the face of opposition from conservationists, led by the Twentieth Century Society.
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 110cm, 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
The Royal Festival Hall undergoing restoration work, July 2005
Rear facade at night seen from Concert Hall Approach, March 2010
Rear facade from the Hayward Gallery during restoration, May 2007
Illuminations over Festival Terrace, January 2010
Illuminations over Festival Terrace, December 2010
Inside the Concert Hall, November 2009
Royal Festival Hall (bottom left) from the London Eye, July 2008
Walking through the Appearing Rooms fountain installation, by Danish artist Jeppe Hein, outside the RFH during reopening celebrations after 2007 refurbishment.
Footnotes
↑ McKean, John (2001). Architecture in Detail: Royal Festival Hall. New York: Phaidon Press Ltd. ISBN978-0-7148-4160-1.
↑ Martin, Leslie (1983). Buildings and Ideas: From the Studio of Leslie Martin and his Associates. Cambridge: Cambridge University Press. ISBN978-0521231077.
↑ "Royal Festival Hall". From Here to Modernity. Open University. Archived from the original on 11 November 2013. Retrieved 30 July 2013.
↑ "Royal Festival Hall". Concert Hall Acoustics: Art and Science. University of Salford. Archived from the original on 20 March 2021. Retrieved 30 July 2013.
↑ Purcell, Jack. "Dr. Leo Beranek". Oral History Transcript. American Institute of Physics. Archived from the original on 9 March 2015. Retrieved 30 July 2013.
↑ "Acoustic Treatment of the Royal Festival Hall". Proceedings of the Institution of Electronic and Radio Engineers. 2 (3): 64. May–July 1964. doi:10.1049/piere.1964.0008.
↑ Parkin, P.H.; K. Morgan (1970). "'Assisted resonance' in the Royal Festival Hall, London, 1965–1969". J. Acoust. Soc. Am. 48 (5 Pt. 1): 1025–1035. Bibcode:1970ASAJ...48.1025P. doi:10.1121/1.1912240.
The Bayreuth Festspielhaus or Bayreuth Festival Theatre is an opera house north of Bayreuth, Germany, built by the 19th-century German composer Richard Wagner and dedicated solely to the performance of his stage works. It is the venue for the annual Bayreuth Festival, for which it was specifically conceived and built. Its official name is Richard-Wagner-Festspielhaus. It is the home of the Bayreuth Festival Orchestra.
Symphony Hall is a concert hall that is home to the Boston Symphony Orchestra, located at 301 Massachusetts Avenue in Boston, Massachusetts. BSO founder Henry Lee Higginson commissioned architectural firm McKim, Mead and White to create a new, permanent home for the orchestra. Symphony Hall can accommodate an audience of 2,625. The hall was designated a U.S. National Historic Landmark in 1999 and is a pending Boston Landmark. It was then noted that "Symphony Hall remains, acoustically, among the top three concert halls in the world, and is considered the finest in the United States." Symphony Hall, located one block from Berklee College of Music to the north and one block from the New England Conservatory to the south, also serves as home to the Boston Pops as well as the site of many concerts of the Handel and Haydn Society.
Symphony Hall is a 2,262 seat concert venue in Birmingham, England. It was officially opened by Queen Elizabeth II on 12 June 1991, although it had been in use since 15 April 1991. It is home to the City of Birmingham Symphony Orchestra and hosts around 270 events a year. It was completed at a cost of £30 million. The hall's interior is modelled on the Musikverein in Vienna and the Concertgebouw in Amsterdam. The venue, managed alongside Town Hall, presents a programme of jazz, world, folk, rock, pop and classical concerts, organ recitals, spoken word, dance, comedy, educational and community performances, and is also used for conferences and business events as part of the International Convention Centre.
Glasgow Royal Concert Hall is a concert and arts venue located in Glasgow, Scotland. It is owned by Glasgow City Council and operated by Glasgow Life, an agency of Glasgow City Council, which also runs Glasgow's City Halls and Old Fruitmarket venue.
David Geffen Hall is a concert hall at Lincoln Center on the Upper West Side of Manhattan in New York City. The 2,200-seat auditorium opened in 1962, and is the home of the New York Philharmonic.
Southbank Centre is a complex of artistic venues in London, England, on the South Bank of the River Thames.
The Queen Elizabeth Hall (QEH) is a music venue on the South Bank in London, England, that hosts classical, jazz, and avant-garde music, talks and dance performances. It was opened in 1967, with a concert conducted by Benjamin Britten.
The Purcell Room is a concert and performance venue which forms part of the Southbank Centre, one of central London's leading cultural complexes. It is named after the 17th century English composer Henry Purcell and has 370 seats. The Purcell Room has hosted a wide range of chamber music, jazz, mime and poetry recitals. In the context of the Southbank Centre it is the smallest of a set of three venues, the other two being the Royal Festival Hall, a large symphony hall, and the Queen Elizabeth Hall (QEH), which is used for orchestral, chamber and contemporary amplified music.
Hill Auditorium is the largest performance venue on the University of Michigan campus, in Ann Arbor, Michigan. The auditorium was named in honor of Arthur Hill (1847–1909), who served as a regent of the university from 1901 to 1909. He bequeathed $200,000 to the university for the construction of a venue for lectures, musical performances, and other large productions. Opened in 1913, the auditorium was designed by Albert Kahn and Associates. It was renovated by the same firm beginning in 2002 and was re-opened in 2004.
The Usher Hall is a concert hall in the West End of Edinburgh, Scotland. The hall is owned and managed by the City of Edinburgh Council, and has hosted concerts and events since its construction in 1914.
The Perth Concert Hall is a concert hall located in Perth, the capital of the Australian state of Western Australia. Owned by the City of Perth, the hall is the main venue of the West Australian Symphony Orchestra, and also hosts a number of other events and performances. The building itself is located in Perth's central business district, adjacent to the Supreme Court Gardens and Government House. The building has two façades: facing north over St Georges Terrace, and facing south over the Swan River.
The Hexagon is a multi-purpose theatre and arts venue in Reading, Berkshire, England. Built in 1977 in the shape of an elongated hexagon, the theatre is operated by Reading Borough Council under the name "Reading Arts and Venues" along with South Street Arts Centre and Reading's concert hall.
Royce Hall is a building on the campus of the University of California, Los Angeles (UCLA). Designed by the Los Angeles firm of Allison & Allison and completed in 1929, it is one of the four original buildings on UCLA's Westwood campus and has come to be the defining image of the university. The brick and tile building is in the Lombard Romanesque style, and once functioned as the main classroom facility of the university and symbolized its academic and cultural aspirations. Today, the twin-towered front remains the best known UCLA landmark. The 1800-seat auditorium was designed for speech acoustics and not for music; by 1982 it emerged from successive remodelings as a regionally important concert hall and main performing arts facility of the university.
The Philharmonie Luxembourg, also known officially as the Grande-Duchesse Joséphine-Charlotte Concert Hall, is a concert hall located in the European district in the Luxembourg City quarter of Kirchberg. Opened in 2005, it now plays host to 400 performances each year.
Acoustic enhancement is a subtle type of sound reinforcement system used to augment direct, reflected, or reverberant sound. While sound reinforcement systems are usually used to increase the sound level of the sound source, acoustic enhancement systems are typically used to increase the acoustic energy in the venue in a manner that is not noticed by the audience. The correctly installed systems replicate the desired acoustics of early reflections and reverberation from a room that is properly designed for acoustic music. An additional benefit of these systems is that the room acoustics can be changed or adjusted to be matched to the type of performance. The use of acoustic anhancement as electronic architecture offers a good solution for multi-use performance halls that need to be "dead" for amplified music, and are used occasionally for acoustic performances. These systems are often associated with acoustic sound sources like a chamber orchestra, symphony orchestra, or opera, but have also found acceptance in a variety of applications and venues that include rehearsal rooms, recording facilities conference rooms, sound stages, sports arenas, and outdoor venues.
Melbourne Recital Centre (MRC) is a venue and organisation for live music in Melbourne, Victoria, Australia. The organisation programs and presents more than 500 concerts and events a year across diverse range of musical genres including classical and chamber music, contemporary, pop, folk, rock, electronica, indie, jazz, cabaret and world music. Opened in 2009, the centre is Melbourne's second largest auditorium for classical music.
LARES is an electronic sound enhancement system that uses microprocessors to control multiple loudspeakers and microphones placed around a performance space for the purpose of providing active acoustic treatment. LARES was invented in Massachusetts in 1988, by Dr David Griesinger and Steve Barbar who were working at Lexicon, Inc. LARES was given its own company division in 1990, and LARES Associates was formed in 1995 as a separate corporation. Since then, hundreds of LARES systems have been used in concert halls, opera houses performance venues, and houses of worship from outdoor music festivals to permanent indoor symphony halls.
The vineyard style is a design of a concert hall where the seating surrounds the stage, rising up in serried rows in the manner of the sloping terraces of a vineyard. It may be contrasted with the shoebox style, which has a rectangular auditorium and a stage at one end. Other possibilities are the fan-shaped and the arena. The design might be considered a musical theatre in the round.
The Hayward Gallery is an art gallery within the Southbank Centre in central London, England and part of an area of major arts venues on the South Bank of the River Thames. It is sited adjacent to the other Southbank Centre buildings and also the National Theatre and BFI Southbank repertory cinema. Following a rebranding of the South Bank Centre to Southbank Centre in early 2007, the Hayward Gallery was known as the Hayward until early 2011.
The Maurice Ravel Auditorium is a concert hall located in Part-Dieu, the 3rd district of Lyon. It was originally built for the National Orchestra of Lyon and is their residence hall. It is also one of the first buildings in France to be built with Prestressed concrete.
This page is based on this Wikipedia article Text is available under the CC BY-SA 4.0 license; additional terms may apply. Images, videos and audio are available under their respective licenses.
