Role and purpose

The Barbican Hall is the principal concert venue within the Barbican Centre and was conceived as one of its central elements from an early stage in the development of the project. It was designed as the London home of the London Symphony Orchestra, and it continues to serve that role.

Scale and planning

The scale of the hall was determined in part by the recommendations of Anthony Besch, an arts consultant specialising in theatre and concert provision, whose 1964 report concluded that a large auditorium was necessary if the venue was to be professionally and commercially viable. The hall was therefore planned to accommodate an audience of approximately 2,000 people, placing it among the larger concert venues in London at the time of its construction.

Auditorium design

The auditorium is arranged in three radial tiers around the stage, allowing a large audience to be seated while maintaining relatively good sightlines. This arrangement brings the audience closer to the performers than in a traditional long rectangular hall, although the scale of the space inevitably creates some distance for those seated at the upper levels.

Position within the building

The hall is located largely below the main podium level of the Barbican Estate. This positioning reflects the broader strategy of placing the largest volumes within the structure of the building rather than expressing them externally. Above the hall are foyers, circulation spaces, and parts of the external terrace system, including the raised area associated with Frobisher Crescent.

Interior treatment

Internally, the hall combines exposed structural elements with applied finishes intended to moderate their appearance and improve acoustic performance. The ceiling incorporates large concrete beams which remain visible within the space. These structural elements are balanced by the use of timber panelling and softer materials, including upholstered seating, which reduce the visual severity of the concrete.

The walls are treated with fluted wood panelling, which contributes both to the appearance of the space and to its acoustic properties. Around the stage, these elements extend into organ pipes, forming a visual and functional focus within the hall.

Acoustic performance

The acoustic performance of the Barbican Hall has been a matter of concern and adjustment since its opening. Early experience revealed problems with the clarity and balance of sound, particularly in relation to orchestral performance. Various measures were introduced in an attempt to address these issues.

At one stage, a large number of suspended Perspex reflectors were installed within the roof space to modify the acoustic environment. These elements were later removed as part of further adjustments. More substantial acoustic work was carried out in 2001–02, when the hall underwent a programme of modification aimed at improving sound quality.

Multiple uses

The hall was designed not only for concerts but also for other uses. Following Besch’s recommendations, it was intended to serve as a venue for conferences and large-scale events when not required for musical performance. This dual function influenced aspects of its design, including the provision of associated spaces and facilities.

Access and experience

The foyers surrounding the hall are arranged across several levels, providing access to the different seating tiers. These foyers form part of the wider network of circulation spaces within the Barbican Centre and are not separated from it in any clear or simple way. As a result, the experience of attending a concert is closely tied to the experience of moving through the building as a whole.

Access to the hall involves passing through a sequence of foyers, stairs, and intermediate spaces rather than a direct approach from a single entrance. This contributes to the distinctive character of the building, but may also create difficulties for visitors unfamiliar with its layout.

Continuing role

Over time, the Barbican Hall has established itself as one of the principal concert venues in London, hosting a wide range of performances in addition to those of the London Symphony Orchestra. Its scale and capacity allow it to accommodate large audiences and major events, while its integration within the Barbican Centre links it to a broader range of cultural activities.

The design of the hall reflects both the ambitions of the original project and the practical challenges of accommodating a major performance space within a complex and constrained architectural setting.