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Conclusion

Abstract

London’s Royal Festival Hall opened its doors on 3 May 1951. The first concert hall to be built in Britain after World War II, Festival Hall was not just an iconic piece of architecture but also an archetype of designing for musical tone. Its design fused architecture, music, and science, and its construction process was interspersed with a series of tuning concerts that were implemented throughout 1950 and 1951 to allow for acoustic adaptation as the building was finalised. Drawing on the trajectory of experimental work and interdisciplinary collaborations that were explored in previous chapters, the Conclusion demonstrates how these informed the process at Royal Festival Hall. It also explores the differing forms of experience and expertise that formed a valid part of the hall’s construction. and the contemporary social and cultural priorities which were brought to the fore as a result. This is the point when international knowledge-sharing was becoming a reality, and when the formal and informal work of the preceding decades was ultimately expressed in a landmark building. This is the contemporary era of architectural acoustics.

Abstract

London’s Royal Festival Hall opened its doors on 3 May 1951. The first concert hall to be built in Britain after World War II, Festival Hall was not just an iconic piece of architecture but also an archetype of designing for musical tone. Its design fused architecture, music, and science, and its construction process was interspersed with a series of tuning concerts that were implemented throughout 1950 and 1951 to allow for acoustic adaptation as the building was finalised. Drawing on the trajectory of experimental work and interdisciplinary collaborations that were explored in previous chapters, the Conclusion demonstrates how these informed the process at Royal Festival Hall. It also explores the differing forms of experience and expertise that formed a valid part of the hall’s construction. and the contemporary social and cultural priorities which were brought to the fore as a result. This is the point when international knowledge-sharing was becoming a reality, and when the formal and informal work of the preceding decades was ultimately expressed in a landmark building. This is the contemporary era of architectural acoustics.

Kapitel in diesem Buch

  1. Front Matter i
  2. Dedication v
  3. Contents vii
  4. Introduction 1
  5. Prologue 11
  6. 1 1901 26
  7. 2 Science as applied to building 50
  8. 3 Catalysts and controversies 81
  9. 4 Designing for musical tone 116
  10. 5 Leagues apart 144
  11. 6 That little old echo 174
  12. 7 Prelude to reconstruction 194
  13. Conclusion 222
  14. Acknowledgements 234
  15. Abbreviations 237
  16. List of plates 238
  17. List of figures 240
  18. Notes 245
  19. Select bibliography 277
  20. Index 287
  21. Plates 297
Pistols in St Paul's
Ein Kapitel aus dem Buch Pistols in St Paul's
https://doi.org/10.7765/9781526168764.00013

Kapitel in diesem Buch

  1. Front Matter i
  2. Dedication v
  3. Contents vii
  4. Introduction 1
  5. Prologue 11
  6. 1 1901 26
  7. 2 Science as applied to building 50
  8. 3 Catalysts and controversies 81
  9. 4 Designing for musical tone 116
  10. 5 Leagues apart 144
  11. 6 That little old echo 174
  12. 7 Prelude to reconstruction 194
  13. Conclusion 222
  14. Acknowledgements 234
  15. Abbreviations 237
  16. List of plates 238
  17. List of figures 240
  18. Notes 245
  19. Select bibliography 277
  20. Index 287
  21. Plates 297
Heruntergeladen am 8.5.2026 von https://www.degruyterbrill.com/document/doi/10.7765/9781526168764.00013/html?lang=de
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