1. London's Royal Festival Hall - A Study on
New Ironmongery
Mostly resistant from new fashions and whims, the
Royal Festival Hall on London's south bank is still
perhaps one of the capital's most discussed modern
edifices. There is no middle way; any experienced
eye will often fall for or light over its
uncompromising stone facade. In fact, the Hall is
experiencing multi-million facelift; the 1950s
treasure have been helped by some 116 million to
retain its original luster.
The building was considerably improved in 1964 by including the foyers and terraces to the river
side of the building and more dressing rooms to the trunk. Alterations to the facades facing the
water removed the fun Scandinavian Modernism of the building's main public experience in
preference of a plainer and hard-edged design. The building again underwent the general quality
of fabric, access areas and cafe and Morrison Architects aimed at improving the poor acoustics,
production access and mobility of the auditorium and a considerable restoration between 2005
and 2007 led by Allies and the styles of the foyers.
A smooth reception wasn't encountered by granted, the architecture on the outside in its
beginning, nonetheless it can be stated that its chief planners were vindicated by the 21st century
taste for industrial finishes. This forward-thinking end has been accompanied with the opening
for lease of the space around the Hall, which are actually the enclaves of fashionable cafs and
bars.
But the side (as we say) of the Hall is definitely, hands down, the inside. The mostly-wood
components that completed the area give a lot of its identity. As an aside, the area is prove to be
certainly one of the Architectural Ironmongery world's quiet headaches, given the post-war lack
of steel when the building was being completed.
Its another story altogether when it stumbled on the Hall's doors, these metallic efforts which can
be probably the most observed detail of the building's readers. The owners behind the original
home furniture were architect in London and Leslie Martin. Every home handle got its finish and
design based on their pre-determined function and place in the building.
However the recent accomplishment of recreating, renovating and changing this sophisticated
range of entrances and exits is both the new ironmongery world's best nightmare or dream, based
on your point of view. Harbrine, which won the bid to orchestrate the task, had to actually move
across 450 doors, each with its own history of condition and repair to tell. Harbrine director
Harry Singh elaborated that "the original plan was to sell the hardware that was in situ, probably
after a polish. But when we began to look closer we saw that the real picture was a great deal

2. more complex with closers broken, handles worn, and lock latches damaged beyond repair.
Basically, nearly every individual technical part needed replacing."
A lot of the elements of the doors were both dime silver, solid bronze, or bronze plated on steel.
Regardless, we were holding all disassembled to be relieved of half a century's worth of dust and
dirt. The wooden parts, meanwhile, were sanded and revarnished. In instances where this was
unlikely, the handles needed to be entirely recast.
Yet another idea of the work that went into upgrading this work of art was how both
contemporary and vintage issues were incorporated into the actual task. The Disability
Discrimination Act and Building Get a handle on and English Heritage were harmonized in order
that this Grade I listed building did not lose its special style while meeting contemporary
features.
More details are available on this article.
In conclusion, The Royal Festival Hall is an case which
is studies for decades to come as to how an excellent
effect can be obtained using a close cooperation
between architectural and architect ironmongery.