An Alternate Site for London Symphony’s New Hall,
and A Long Due Act of Redemption

Future Symphony Institute

As an erstwhile resident of London and attendant of innumerable classical concerts, it is not the ravishing beauty of the music but the ghastliness of the Southbank and Barbican concert halls and surroundings which leaves the most enduring, albeit painful, imprint on my mind. What the urbane theater and opera life so successfully achieves in Covent Garden is hopelessly lacking in these desolate music venues. Along with countless music-lovers and performers I have wished that those buildings would disappear forever from the face of London and the music world. The tabula rasa mentality that bestowed on us those loathsome aliens should at long last be turned against its coarse products in an overdue act of redemption.

And yet, judging from the glitzy brochure “Towards a World-Class Center for Music” – with foreword by the Chancellor of the Exchequer and the Mayor of London – an aesthetically dumb kultural nomenklatura have not finished tormenting the good citizenry with conceptual incubi. How else could the Museum of London site and the Barbican environs be considered, even for an instant, as possible locations to re-found London’s classical music life? For all its political correctness and digital newspeak, the recent initiative proposes but a repetition of the errors that landed London with the unfortunate Southbank and Barbican complexes.

If it wasn’t for the gruesome architecture, the Waterloo bridgehead and Southbank site would be superb urban locations, rivalling the Piazza San Marco in Venice and Charles Bridge in Prague. However, while the redevelopment of the sinister music and theater buildings is a liberating prospect, it is yet unthinkable for political and cultural leaders. The partisan project of listing as historical the widely un-loved buildings has instead degraded the very notion of historic and cultural heritage. Why preserve what is not worth preserving?

London Music Forum, conceived and drawn by Léon Krier, copyright <small>2016</small>.
London Music Forum, conceived and drawn by Léon Krier, copyright 2016.
Aerial view of Regent’s Park and Park Crescent
Aerial view of Regent’s Park and Park Crescent

Meanwhile there is a choice location for London’s unrivalled musical offerings that, as far as I know, is yet unconsidered – namely, Park Square and Crescent. The fenced private reserve between Great Portland Place and Regent’s Park is served by two Underground stations and traversed by the major Marylebone/Euston Road axis. John Nash’s laconic and elegant crescent buildings make a quiet urban backdrop for a grand architectural “cymbal stroke” to resonate around London and the musical world: The London Music Forum, an inviting campus for everyone. Here, in the green “vestibule” of Regents Park, in proximity to the Royal Academy of Music, a new concert hall, a chamber music hall, a state of the art educational facility, practice rooms, restaurants and exhibition galleries can form a new urban ensemble that includes the complementary amenities required for successfully supporting the London Symphony Orchestra’s mission.

London Music Forum, by Léon Krier, copyright 2016
London Music Forum, conceived and drawn by Léon Krier, copyright 2016.

The main entrance and foyer, completely surrounding as a glazed-in arcade the concert hall itself, sit on a piano nobile dominating the new urban square to the south and Regents Park to the north and accessed by wide ramps and stairways through a monumental freestanding portico.

London Music Forum, conceived and drawn by Léon Krier, copyright 2016
London Music Forum, conceived and drawn by Léon Krier, copyright 2016.
John Nash's Park Crescent
John Nash’s Park Crescent

The concert hall replicates the Vienna Musikverein and Amsterdam Concertgebouw halls in size and proportions, while properly befitting the storied London Symphony Orchestra (LSO). The architecture of the new forum’s buildings and paving should speak the elemental classical language with which John Nash so brilliantly set the stage in character and color. Any required 21st century technology can be elegantly embedded in the design.

London Music Forum, conceived and drawn by Léon Krier, copyright 2016
London Music Forum, conceived and drawn by Léon Krier, copyright 2016.

The new Waterloo monument and fountain, the monumental portico and the campanile are placed in the foci of the major vistas, Portland Place, Marylebone and Euston Roads, and Regent’s Park York Terrace, Broadwalk and Chester Terrace, all converging in this landmarked location. The entire space between the Nash Terraces and the music buildings is uniformly paved across Marylebone/Euston Road and shaded by the preserved venerable “Waterloo trees”.

London Music Forum, conceived and drawn by Léon Krier, copyright <small>2016</small>.
London Music Forum, conceived and drawn by Léon Krier, copyright 2016.

The colonnades along Park Crescent will soon animate with elegant cafés and restaurants an extraordinary new civic space, that anchors at long last, London’s musical life in a sophisticated urban setting.

Astute observers will notice that this very specific vision represents a departure from the orthodoxies that have lately governed civic and urban development – and that left their indelible scars upon the face of London in both the Barbican and Southbank. While the machinery of mega-project planning is already underway to impose on Londoners yet another soul-crushing, inhumane super-structure, it would be prudent to take a step back and consider just what were the mistakes of the halls we now need to replace, what should be done differently this time, and what are the priorities that follow from a broader, long-range goal of making a truly accessible and enduring home for the London Symphony.

About the Author

Léon Krier represents the best of a new breed of architects in the remarkable way that he elucidates the relationship between our buildings and the institutions of our civilization. He is world-renowned as an architect, an urban planner, and an architectural theorist. Originally from Luxembourg, he was educated in Stuttgart and then in London, and has since held positions at the Royal College of Arts and the Architectural Association there, as well as at both Princeton and Yale here. Notably, he has served as consultant to His Royal Highness, Charles, Prince of Wales since 1987 and from 1988 onwards he has been the masterplanner and architectural coordinator of HRH's new town of Poundbury. Léon Krier was the leading figure in the Reconstruction of the European City movement. The Académie Française accordingly awarded him its Silver Medal in 1997 for the clarity and intelligence of his vision for cities, articulated in his book “Architecture: Choice Or Fate.” The complete body of his theories and his practice of building houses and towns that speak to the human spirit and respond to the patterns and scale of human life is now compiled in his book “The Architecture of Community.” Léon is counted chief among the New Classicists. He is himself a great lover of classical music and an accomplished amateur pianist. He has even designed a piano.
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Discussion

  • This is an imaginative scheme and would go a long way towards repairing the necklace of post War planning disasters, the chief of which was the decision not to rebuild Queen’s Hall following its destruction in 1941. Contrary to widespread propaganda at the time, this hall was not destroyed, but gutted by fire, like many City churches… subsequently rebuilt. The above scheme also acknowledges the history of public music making in London which began at the Hanover Rooms not far distant from Regents Park.

  • What an exciting and thrilling concept. Pray God it comes to pass and London has a new music venue of such grand and excellent proportions. Krier is obviously a man of great vision, and what vision it is. Out with the old, in with the new!

    • Marylebone/Euston Road carries very heavy and slow traffic, making relatively little noise when compared to fast vehicular movement. It will stay regulated by traffic-lights but becomes, like Exhibition Road, a Shared Space. The term has been formulated by Hans Moderman, a dutch planner. It is now common practice around the world, originally influenced by the precedent of Plaza San Jaime in Barcelona. The reciprocal attention of driver/pedestrian is singularly heightened when accessing a Shared Space. Just like in a Car Park serious accidents are a rarity.

  • Was rather wondering what happened to the Euston Road Marylebone traffic… underpass???? Just tell me its not a shared concourse……Plus integration of Tube exits???? Interesting concept could be an amazing extension of the park, but theres a lot of frantic over business, just an opinion which detracts from the purity of form of the main crescent..; I’m sure others will disagree.

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