The Royal Festival Hall
Looking at the Thames from County Hall turn right and walk up the river. Walk past the London eye and the street entertainers, then walk up the ramp to your right where you will soon come to The Royal Festival Hall.There are a hos...
Looking at the Thames from County Hall turn right and walk up the river. Walk past the London eye and the street entertainers, then walk up the ramp to your right where you will soon come to The Royal Festival Hall.
There are a host of things to do in The Royal Festival Hall, not least the astounding quality of the acoustics when you attend one of the concerts there as the acoustics were given a refit recently to great effect.
But my favourite thing to do here is to get a coffee and sit in the cafe overlooking the Thames and simply watch the world go by, you can do this in summer or winter.
To quote wikipedia:
'The foundation stone was laid by Clement Attlee, then Prime Minister, in 1949 on the site of the former Lion Brewery, built in 1837.The original plan was that Arturo Toscanini would conduct the opening concerts, but he was unwell, and the inaugural concerts were conducted by Sir Malcolm Sargent and Sir Adrian Boult.The hall was the venue for the 1960 Eurovision Song Contest, hosted by Katie Boyle.
The hall's design is unashamedly Modernist, the Festival's commissioning architect (Hugh Casson) having taken the decision to appoint only young architects. It was designed by Leslie Martin, Peter Moro and Robert Matthew from the LCC's Architects' Department; Martin was just 39 when he was appointed to lead the design team in late 1948. Martin designed the structure as an 'egg in a box', a term he used to describe the separation of the curved auditorium space from the surrounding building and the noise and vibration of the adjacent railway viaduct. Sir Thomas Beecham used similar imagery, calling the building a 'giant chicken coop'.
Walking through the Appearing Rooms fountain installation, by Danish artist Jeppe Hein, outside the RFH during reopening celebrations after 2007 refurbishment
The building was substantially altered in 1964 by adding the foyers and terraces to the river side of the building and more dressing rooms to the rear. Alterations to the facades facing the river removed the playful Scandinavian Modernism of the building's primary public face in favour of a plainer and hard-edged style. 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 and also part of Southbank Centre.
The Royal Festival Hall undergoing renovation work.
The building underwent a substantial renovation between 2005 and 2007 led by Allies and Morrison Architects aimed at improving the poor acoustics (which Simon Rattle said made performers 'lose the will to live'), production access and flexibility of the auditorium and the general quality of fabric, entrance spaces and cafe and the layouts of the foyers. 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. This was carried out in the face of opposition from conservationists, led by the Twentieth Century Society. While musicians report improvements in their own experience of the acoustic from the stage perspective, audience members report disappointment that renovations have failed to improve the acoustics of the hall, largely due to conservation imperatives which are noted by the acoustic developers.
A row of seven shop/catering units has been added on the river side of the hall (with offices upstairs) and the section of the riverside walk next to these was improved. This has released space inside the original building which had been used for shops. The hall officially reopened to the public in June 2007 with a concert by the heavy metal band Motörhead, opening Jarvis Cocker's Meltdown. The refurbishment is expected to cost in the region of £91 million. A film has been made documenting the refurbishment, entitled This Is Tomorrow; it is directed by Paul Kelly and produced by Andrew Hinton. The soundtrack was composed by the band Saint Etienne who performed it at the film's première in the Festival Hall.
The hall's design is unashamedly Modernist, the Festival's commissioning architect (Hugh Casson) having taken the decision to appoint only young architects. It was designed by Leslie Martin, Peter Moro and Robert Matthew from the LCC's Architects' Department; Martin was just 39 when he was appointed to lead the design team in late 1948. Martin designed the structure as an 'egg in a box', a term he used to describe the separation of the curved auditorium space from the surrounding building and the noise and vibration of the adjacent railway viaduct. Sir Thomas Beecham used similar imagery, calling the building a 'giant chicken coop'.
Walking through the Appearing Rooms fountain installation, by Danish artist Jeppe Hein, outside the RFH during reopening celebrations after 2007 refurbishment
The building was substantially altered in 1964 by adding the foyers and terraces to the river side of the building and more dressing rooms to the rear. Alterations to the facades facing the river removed the playful Scandinavian Modernism of the building's primary public face in favour of a plainer and hard-edged style. 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 and also part of Southbank Centre.
The Royal Festival Hall undergoing renovation work.
The building underwent a substantial renovation between 2005 and 2007 led by Allies and Morrison Architects aimed at improving the poor acoustics (which Simon Rattle said made performers 'lose the will to live'), production access and flexibility of the auditorium and the general quality of fabric, entrance spaces and cafe and the layouts of the foyers. 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. This was carried out in the face of opposition from conservationists, led by the Twentieth Century Society. While musicians report improvements in their own experience of the acoustic from the stage perspective, audience members report disappointment that renovations have failed to improve the acoustics of the hall, largely due to conservation imperatives which are noted by the acoustic developers.
A row of seven shop/catering units has been added on the river side of the hall (with offices upstairs) and the section of the riverside walk next to these was improved. This has released space inside the original building which had been used for shops. The hall officially reopened to the public in June 2007 with a concert by the heavy metal band Motörhead, opening Jarvis Cocker's Meltdown. The refurbishment is expected to cost in the region of £91 million. A film has been made documenting the refurbishment, entitled This Is Tomorrow; it is directed by Paul Kelly and produced by Andrew Hinton. The soundtrack was composed by the band Saint Etienne who performed it at the film's première in the Festival Hall.
A large head and shoulders bust of Nelson Mandela (by Ian Walters, 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. Skateboarders, who have long congregated in the undercroft of the neighbouring Queen Elizabeth Hall (considered to be London's most iconic skateboarding area) and now constitute a notable feature of the Southbank Centre, may soon be moved on if this area of the centre is redeveloped.'
Thanks to wikipedia, original article here.