WIA_ISSUE2_2023

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BIG PICTURE Delivering ideal acoustics and warmth PROJECT: The Royal Academy of Music ARCHITECTS: ritchie*studio LOCATION: London, UK ACOUSTICS DESIGNER: Arup Acoustics WOOD FURNISHINGS: James Johnson PHOTOGRAPHY: Adam Scott The Royal Academy of Music unveiled its new and transformed spaces in 2018: The Susie Sainsbury Theatre, the Angela Burgess Recital Hall, five new percussion studios, jazz room and audiovisual control room, and 14 refurbished practice and dressing rooms. Hidden behind the listed facade of the Royal Academy of Music’s Edwardian premises, surrounded by Grade I- and Grade II-listed buildings and located within the Regent’s Park conservation area, two distinct performance spaces have been designed by ritchie*studio and seamlessly integrated within the historic site. Designed for both opera and musical theatre productions, the Susie Sainsbury Theatre sits at the heart of the Academy. Inspired by the curved shapes of string instruments, the 309-seat cherry-lined theatre has been acoustically refined to deliver excellent sound qualities. According to Ian Ritchie, founder of ritchie*studio, part of the studio’s research included “conceptual investigations exploring the nature of the human voice and how the warmth of wood could be exploited through understanding the design and manufacture of stringed instruments”. 1 For instance, the insides of a violin, when flooded by light, inspired spatial and interior ideas for the theatre and recital hall. More technically, wood was used to “tune the spaces and adjust sound reflection and diffusion by varying the walls’ surface depth and profile”. 20 WOOD IN ARCHITECTURE • ISSUE 2 – <strong>2023</strong>
BIG PICTURE The lighting of the Susie Sainsbury Theatre deconstructs the traditional chandelier into an exploding theatre-wide galaxy of light through 600 fibre-optic crystals. Within the old concrete walls, the theatre incorporates 40% more seating than previously through the addition of a balcony, as well as a larger orchestra pit, a stage wing and a fly tower. All seats have unimpeded views of the stage, while the larger orchestra pit allows for an expanded repertoire choice, from early to modern opera and musical theatre. Above the theatre, and acoustically isolated from it and all other buildings, the new 100-seat Angela Burgess Recital Hall provides the Academy with a further 230m 2 space for recording, public concerts and masterclasses. Entirely lined in pale, lime-washed oak, an oculus floods the room with daylight and provides the space with a central focus. The recital hall has a footprint as large as that of the main stage, providing an ideal rehearsal space. Enhancing the Academy’s circulation routes and creating a visual and physical link between the old and new buildings is the recital hall’s new glazed lobby, which is primarily accessed from the main stairway dating from 1911, and by a glazed lift. The new light wells reveal the previously concealed Grade II rear facade, in which bricked-up windows have been reopened improving the ambience of many practice rooms. 1 2 These beautiful and acoustically amazing spaces can be accessed independently and, together with the existing David Josefowitz Recital Hall and Duke’s Hall, complete a suite of facilities for the Academy’s student body and teaching staff and for public performances. “The spaces are stunningly beautiful, acoustically brilliant and inspiring. They will raise the bar and challenge the students and staff in every possible form of music to reach higher and search further,” said Jonathan Freeman-Attwood, principal, Royal Academy of Music. References 1. ritchie*studio. The Architectural Historian Issue 12, 2021. 1 The oak-lined Angela Burgess Recital Hall 2 The oculus floods the room with light 3 Cherry-lined walls of the theatre to deliver ideal acoustic qualities 3 WOOD IN ARCHITECTURE • ISSUE 2– <strong>2023</strong> 21
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