war modern architecture. The existing structure and
materials were retained, but the new bar/cafe, interval bar
and seating areas were given their own language by
employing strong colour and innovative surfaces.
‘The design responds to the concrete mega-structure of
the Southbank Centre interior and its panoramic views of
the River Thames,’ says Ferrer. ‘The interior’s excitement is
generated through the use of hand-crafted glazed tiles
thrown in Turkey and the execution of the dramatic details
reflecting light and surface.’
The interval bar front incorporates bush-hammered
concrete. This unusual approach not only maintains the
focus on the concrete as an intrinsic characteristic of the
building, but it also retains the connection between the
past and present. A satin brass trim was employed at the
base of both bars. The rich material was also used at the
bottom of the new blue-leather banquettes and for the
counter to the high-level stools.
‘The general light scheme introduced to the Queen
Elizabeth Hall included the reinstatement of the inverted
pyramidal forms across the ceiling alongside colour-
changing fittings,’ says Ferrer. ‘The use of black mirror
surfaces sought to explore the light and patterns designed
to create a retro 1960s op-art effect.’Above The venue’s cafe/bar
and (far left) interval barFOCUS 061