Design, Access, & Heritage Statement : Busts 9435 / Rev A00 July 2021 Document Control

Revision Description Originator Approved Date

Application for Planning Permission & Listed A00 Feilden+Mawson LLP ALR 08/07/2021 Building Consent

Feilden+Mawson LLP 21-27 Lambs Conduit Street London WC1N 3NL Tel: 020 7841 1980 www.feildenandmawson.com

2 of 28 Feilden+Mawson Royal Albert Hall: Busts | Rev A00 | July 2021 Contents

1.0 Introduction 4

2.0 Site Assessment & Context 5 2.1 Location & Legal Designations 5 2.2 Planning Policy 6 2.3 Historic Context 8

3.0 Proposals 10 3.1 The Brief 10 3.1 North Porch 12 3.2 South Porch 15

4.0 Heritage Impact Assessment 20 4.1 Significance Assessment 20 4.2 Impact of Proposals 20

Appendices A: Listing Description 22 B: Pre-Application Advice from WCC 23 C: London Stone Carving, Design Statement 24 D: Poppy Field, Design Statement 26

Feilden+Mawson Royal Albert Hall: Busts | Rev A00 | July 2021 3 of 28 1.0 INTRODUCTION

This design, access & heritage statement sets out proposals for new busts to the empty external niches to the North and South Porches of the Royal Albert Hall to coincide with its 150th anniversary in 2021.

The Hall was constructed in 1867-71 and designed by Lieutenant-Colonel Henry Scott. It is Grade I listed, designated in 1958 and forms part of the Knightsbridge Conservation Area.

The new busts are proposed to be installed to the twin niches to the North and South Porches. To the North Porch stone busts of Queen Victoria and Prince Albert will face Kensington Gore and the within Hyde Park, while to the south bronze busts of Queen Elizabeth II and Prince Philip will face the Queen Elizabeth II Steps leading down to Prince Consort Road.

The Hall worked with the Queen Elizabeth Scholarship Trust View from Kensington Gore, with the norch porch to the centre to find suitable sculptor artists from amongst their Scholars. A shortlist of seven was invited to participate in a design competition, from which two designs were selected – Poppy Field for the South Porch figures of Her Majesty the Queen and Prince Philip, and Josh Locksmith and Tom Brown of London Stone Carving for the North Porch figures of Queen Victoria and Prince Albert.

The proposals will require planning permission for the external installation of the busts within prominent positions in the setting of the Conservation Area. Listed Building Consent will be required for the physical attachment to the terracotta niches as well as the impact on the setting of the Grade I listed building. Niche lighting is included within this application, with proposals for post lighting to the face of the busts to follow in a separate application.

A pre-application was submitted in April 2021 for the proposals with Westminster City Council (Ref. P21-00319), with the response appended to this report. View from Prince Consort Road, with the south porch to the centre

4 of 28 Feilden+Mawson Royal Albert Hall: Busts | Rev A00 | July 2021 2.0 SITE ASSESSMENT & CONTEXT

2.1 Location & Legal Designations The Hall is listed at Grade I, designating it to be of ‘exceptional interest’ and part of just 2.5% of the total number of listed Grade I listed Park/Garden buildings in the UK. The list entry was amended in 2018 as part of the centenary commemorations of the 1918 Representation of the People Act. The curtilage of the Hall extends to the surrounding steps, ramps and the outer threshold of the four porches. Albert Memorial The Royal Albert Hall is located on Kensington Gore to the 1862-75; Grade I south of Kensington Gardens. To the north it faces the Albert Memorial of 1862-75, listed at Grade I, within Kensington Gardens, a Grade I registered Park/Garden. To the south, the Hall faces the Queen Elizabeth II steps to the southern part of the Memorial to the 1851 Exhibition, listed at Grade II, leading down to Prince Consort Road. To the west is the Royal College Kensington Gore of Art, the Royal College of Organists, and Queen Alexandra’s House, and to the east sits Albert Hall Mansions, and Albert Knightsbridge Court to the southeast, all Grade II listed. Conservation Area

Queen’s Gate The site sits to the west of the Knightsbridge Conservation RAH Area, first designated in 1968 by the City of Westminster and extended in 1978. Two locally designated Metropolitan Views look onto the Hall, looking south from the Albert Memorial and looking north from the Royal College of Music on Prince Consort Road, both of which are relevant to the proposals.

The Hall’s freehold is held by the 1851 Royal Commission for the Exhibition, who own a number of buildings within Prince Consort Road . The surrounding pavements are owned by Westminster City Council.

Statutory Designations Diagram - Site of the Royal Albert Hall KEY Grade I Grade II Protected Park Metropolitan View Conservation Area Local View Grade II*

Feilden+Mawson Royal Albert Hall: Busts | Rev A00 | July 2021 5 of 28 2.2 Planning Policy Westminster City Council additionally have a specialist advisory NPPF (National Planning Policy Framework) The Hall forms part of one of London’s Strategic Cultural board, the Public Art Advisory Panel (PAAP), which exists to Relevant to the proposals for new busts is section 16, paras Areas earmarked in the London Plan – the advise the Planning Committee on the artistic merit, siting, 184-202, of the National Planning Policy Framework (NPPF) Museum Complex/Royal Albert Hall (Policy 4.5Af). This aims setting, and appropriateness of all new public art proposals 2019, which is concerned with the conservation of the historic to identify, protect and seek to enhance significant clusters of in Westminster. Any proposal for a new statue or monument environment, which stresses the importance of conserving and such cultural institutions and their settings. should be submitted for consideration by the panel before enhancing heritage assets. a planning application is made. Proposals will usually be Westminster’s City Plan & Strategic Objectives presented to the PAAP at an early stage, before the design The setting of a heritage asset is described as implicit in its The City of Westminster covers a broad area of the historic is finalised, for agreement on principles such as materials, significance (para 189), with any development within that centre of London, to the southwest of which the Knightsbridge location, form, and artist selection. Once a finalised design has setting capable of impacting on that significance and requiring Conservation Area sits. The Royal Albert Hall is highly been produced the panel should be given the opportunity to clear and convincing justification (para 194). Harm to the significant within this designation, and the external form is comment on this. significance of a designated heritage asset deemed to be less significant in the townscape of the environs. than substantial should be weighed against the public benefits Conservation Principles, Policies & Guidance of the proposal (para 196). The proposals endeavour to follow Westminster’s City Plan Assessment of significance and heritage values seeks to align 2019-2040, published in April 2021. There is an emphasis on with the policies and guidance set out in Historic England’s High quality design, including public art, is also a key designing to ensure that the historic character and integrity of Conservation Principles, published in 2008. The guidance consideration of section 12, noting good design as a key Westminster’s built fabric and place is protected and enhanced classifies and describes heritage values, identifying Evidential aspect of sustainable development (para 124). Development (2). value (35-38), Historical value (39-45), Aesthetic value (46- should add to the overall quality of the area, and be 53) and Communal value (54-60) as contributing to an overall sympathetic to local character and history (para 127). Design The Westminster City Plan places great importance on the understanding of heritage significance. development should involve early discussion between preservation of its built heritage, reflected in Policy 39 which applicants, the local planning authority and local community addresses amongst other issues the conservation of heritage The particular policy relevant to the proposals is of New Work about the design and style of emerging schemes (para 128). assets, including their settings. Specific policies also pertain to and Alterations (138-148). This requires proposals to aspire the Visitor Economy (15) and Design (38) involving excellence to quality of design and execution which may be valued now The London Plan in design quality and the use of high quality durable materials, and, in the future, without material harm to the heritage values The London Plan, published by the Mayor of London in as well as a Strategic Culture Area for Knightsbridge with the of a place, instead where appropriate seeking to reinforce 2016, contains specific policies associated with the historic Royal Albert Hall within it. or further reveal these (138). This highlights that quality of environment, with heritage assets to eb conserved, restored design, materials, detailing and execution is obviously essential and reused where appropriate. The building’s heritage, listed Additional Planning Guidance Documents Consulted in places of established value (139). It further states that small status and setting within the Conservation Area warrants Conservation Area Audit: Knightsbridge, 2009 changes require as much consideration as larger changes, with careful consideration towards the proposals being ‘sympathetic Design Matters in Westminster SPG, 2001 a clear and coherent relationship of all the parts to the whole to … form, scale, materials, and architectural detail’ (Policy 7.8). Development and Demolition in Conservation Areas SPG, as essential (140). The choice of materials and craftsmanship 1996 applied to their use is set out as particularly crucial, both to Policy 7.5 refers to the integration of high-quality public art Lighting up the City SPG, 1993 durability and to maintaining the specific character of places to be considered to benefit the wider public realm, with its Public Art in Westminster SPG, 1992 (144). Lastly, the objective for benign long-term consequences treatment to be informed by the heritage values of the place. Public Realm Credits SPD, 2011 of new work and alterations can be achieved by touching the Repairs and Alterations to Listed Buildings SPG, 1996 existing fabric lightly or standing apart from it (148). Statues and Monuments SPD, 2008

6 of 28 Feilden+Mawson Royal Albert Hall: Busts | Rev A00 | July 2021 Conservation Area Audit: Knightsbridge Pubished by Westminster City Council in 2009, the Royal Albert Hall is established as critical to the character of the western portion of the Knightsbridge Conservation Area as perhaps the most dominant of its large-scale cultural institutions. Set out as a landmark building, it has an important setting within the Conservation Area. The external appearance and materials of the Hall are particularly important to its character, noting the continuous terracotta frieze depicting the triumphs of the Arts and Letters. Its historic importance by association with the design of ‘Albertopolis’ is also set out, along with its communal value to its many visitors.

Five Metropolitan Views, of greater importance than local views, exist in the Conservation Area, two of which concern the Hall and look directly towards the North and South Porch. These are MV10A – the Hall from the Albert Memorial, and MV10B – the Hall from the Royal College of Music. Local views do not directly address the areas of proposals, looking alongside the Hall towards the Albert Memorial, Exhibition Memorial and Royal College of Music.

The Hall is surrounded by particular street furniture, with the pedestrian area to the south of RAH has bespoke lamp columns with ladder rests and both Windsor and oversized octagonal lanterns incorporated in the stone balustrades.

Public art, statues and monuments are also important to the character of the Conservation Area. Included within this is the Hall’s frieze, as well as the adjacent Albert Memorial and the Memorial to the Exhibition of 1851, all commemorative work early in the development of the area. Also referred to is the mosaic to the pediment of the new South Porch of the Hall, by Shelagh Wakely in 2003. Existing view of the north porch niche Existing view of the south porch niche

Feilden+Mawson Royal Albert Hall: Busts | Rev A00 | July 2021 7 of 28 2.3 Historic Context smaller with less elaborate details than the other porches. The concept for a music hall on the estate of the Royal The other two carriage porches on the east and west sides Following a major development carried out by BDP between Commission for the Exhibition of 1851 in South Kensington were designed to receive members holding box tickets for 1996-2004, which included the construction of a new porch was conceived by Prince Albert as early as 1853, but did not the Grand and Second Tier. Their grandeur is second to Her similar to the others in its overall form, the south façade has come to fruition until, after his death, in 1861. It became a Majesty’s entrance foyer – three fenestration openings above significantly altered the architectural composition of the Hall, commemorative project and, as the frieze above the building three roughly 2.4 metres tall passage openings leading into and is currently functioning as the main entrance. The new reads: “erected for the advancement of the arts and sciences the Box entrance foyer. Their facades were also proportionally South Porch was built in a similar scale as the existing porches, and works of industry of all nations in fulfilment of the intention shorter than the North Porch. and adopted existing Victorian decorative details. The façade of Albert Prince Consort”. composition though, has discernible characteristic differences. On the south side, there were two small entrances for Junctions between modern interventions and existing fabric The Royal Albert Hall’s design was to be a modern classic orchestra members. The South Porch was rebuilt after the are conspicuous. – modelled on the Roman amphitheatre. It has a perfectly Conservatory was demolished in 1891-93, and was sizeably symmetrical plan form, clear hierarchy of spatial arrangement, and an oculus-like glazed dome. Like its classic precursor, the Royal Albert Hall was designed to have a perfectly symmetrical central axis, mirroring structure and functions. The architectural Her Majesty’s Entrance language is formal and adhering to classical architecture composition on its façade and plan form.

The extant drawings dated between 1867-1881 suggest a clear division of hierarchy and spatial arrangement. Each Her Majesty’s Retiring entrance foyer was assigned to receive different ticket holders. Retiring Room Room Her Majesty’s Entrance located on the north side has an approximately 7.6 metres tall grand arched opening leading into the entrance lobby with two pairs of staircases leading West Balcony East Balcony up to Her Majesty’s Retiring Room and Royal Box. It was Staircase Staircase intended as the ‘face’ of the Hall in various historic records and photographs. This entrance, however, also attracted much criticism as it was originally anticipated to be reserved for royalty only. Lift Lift In 1914-15 the royal entrance was relocated to the west balcony entrance foyer due to security concerns. Two new Retiring Retiring Room Room exits at door 8 were formed on both sides of the North Porch around 1927-29 as part of the London County Council’s fire safety improvement works. The Porch was glazed in c1970-71, in a manner that generally respects the original openings and decorative features, however the enclosure of the Porch has Grand Tier plan ca. 1860s notably affected its character.

8 of 28 Feilden+Mawson Royal Albert Hall: Busts | Rev A00 | July 2021 Illustration of Royal Entrance (North Porch). Note on the Albert Memorial at the back

Original construction drawing of the north porch niche - note the inclusion of a plinth to the plan and seen in section, suggesting the intent for a bust (Royal Albert Hall Archives)

Extract from The Illustrated London News, 6 March 1886, showing the Queen entering the foyer from the north porch Extract from a watercolour of the Official Opening of the Royal through a draught lobby since removed. Albert Hall on 29th March 1871 - there is a clear indication of busts within the niches Feilden+Mawson Royal Albert Hall: Busts | Rev A00 | July 2021 9 of 28 3.0 SITE PROPOSALS & ACCESS

3.1 The Brief Existing South Porch Niches As part of the planned celebrations of the 150th anniversary of the opening of the Royal Albert Hall in 1871 by Queen Victoria, the Hall has decided to commission busts of Queen Victoria and Prince Albert to be placed in the empty niches to the original royal entrance North Porch, and of Her Majesty the Queen and Prince Philip in the similarly empty niches to the South Porch, which was reconstructed in 2003.

The competition process involved a shortlist of seven sculptor artists from the Queen Elizabeth Scholarship Trust (QEST) ‘ELIZABETH’ preparing proposals in response to this brief, for design Cast into the terracotta entablature above presentations in interview. The interview panel included the both south niches President and Chief Executive of the Royal Albert Hall, the Chief Executive of the Royal Commission of 1851 (who have the freehold of the Hall), the Chief Executive of the QEST, the Hall’s Director of Buildings and Director of External Affairs, and Feilden + Mawson as the Hall’s conservation architects.

The objectives of the project as set out to the sculptors are to complete the original architectural intention of the Hall in installing busts of Victoria and Albert to the North Porch niches, to recognise the grandeur, vision, and monarchy of the Hall’s founding period. Furthermore, the new busts to the South Porch aim to recognise the Hall’s more modern Patron at the time of the Hall’s sesquicentenary. The materials at the early competition stage were to the choice of the artists, and the emerging designs aim to define the appearance of the figures more specifically.

‘AD 2003’ Cast into the terracotta base between consoles

10 of 28 Feilden+Mawson Royal Albert Hall: Busts | Rev A00 | July 2021 Existing North Porch Niches

‘ALBERT’ Cast into the terracotta entablature above the northwest niche

‘VICTORIA’ Cast into the terracotta entablature above the northeast niche

‘AD 1871’ Cast into the terracotta base between consoles

Feilden+Mawson Royal Albert Hall: Busts | Rev A00 | July 2021 11 of 28 3.2 North Porch Sculptures To this North Porch of original construction to the Hall, the two new busts will be positioned in the twin niches either side of the front arch, with Queen Victoria to the left and Prince Albert to the right. This is in line with their existing cast names to the entablature above the niches. The busts will address Kensington Gore and the Albert Memorial within Hyde Park.

The selected artists for these Portland stone sculptures are Josh Locksmith and Tom Brown of London Stone Carving. Their emerging designs depict the couple on the day of the opening of the of 1851 that took place in Hyde Park, with attention to the detail of the outfits from this occasion.

The plinth is to be of simple design and will be connected to the sculpture above it. It will be formed to fit the semicircular niche and projecting outwards to sit in line with the front face of the pilasters, with a torus moulding to its front edges. The junction between the new plinth and the existing skirting will be be carefully considered, with a small tolerance gap at the sides.

Within the designs, the sculptors have carefully considered how to equate the figures to the scale and detail of the niches. The heads of the busts will be around architrave level, but balanced with the differing heights of the figures.

Artists’ statements are appended to this Design, Access and Heritage Statement.

Proposed elevations of Queen Victoria and Prince Albert in the north porch niches, visuals are based on clay maquettes of emerging designs

12 of 28 Feilden+Mawson Royal Albert Hall: Busts | Rev A00 | July 2021 Proposed north porch elevation with stone busts in their niches, visuals are based on clay maquettes of emerging designs

Feilden+Mawson Royal Albert Hall: Busts | Rev A00 | July 2021 13 of 28 Proposed perspective view by London Stone Carving of the new busts in position to the north porch.

14 of 28 Feilden+Mawson Royal Albert Hall: Busts | Rev A00 | July 2021 Proposed north porch elevation with stone busts in their niches, Proposed south porch elevation with bronze busts in their niches, visuals are based on clay maquettes of emerging designs visuals are based on clay maquettes of emerging designs

Feilden+Mawson Royal Albert Hall: Busts | Rev A00 | July 2021 15 of 28 3.2 South Porch Sculptures To the South Porch, the new busts will be in bronze and depict Queen Elizabeth II to the right and Prince Philip to the left niche. The left niche will have the the name to the entablature re-cast to read ‘Philip’, where both currently read ‘Elizabeth’. The busts will address the steps down to Prince Consort Road. The South Porch is of modern construction, built in 2003 to match those to the east, west, and north.

The artist for these cast bronze sculptures is Poppy Field, with the designs concentrating not on a specific occasion as with the North Porch figures. The appearance of the figures has been developed with the Royal Dress collection, who hold evidence for various options, and in association with the Royal Household.

The plinth to the South Porch busts follows the same principles as the north, again being formed in bronze with the bust, rather than as a separate piece.

Artists’ statements are appended to this Design, Access and Heritage Statement.

Proposed elevations of Prince Philip and Queen Elizabeth II in the south porch niches, visuals are based on clay maquettes of emerging designs

16 of 28 Feilden+Mawson Royal Albert Hall: Busts | Rev A00 | July 2021 Proposed south porch elevation with bronze busts in their niches, visuals are based on clay maquettes of emerging designs

Feilden+Mawson Royal Albert Hall: Busts | Rev A00 | July 2021 17 of 28 GENERAL NOTES

1. THIS DRAWING IS TO BE READ IN CONJUNCTION WITH ALL RELEVANT ARCHITECTS, ENGINEERS AND SPECIALIST DRAWINGS AND SPECIFICATIONS GENERAL NOTES 2. DO NOT SCALE FROM THIS DRAWING IN EITHER PAPER 1. THIS DRAWING IS TO BE READ IN CONJUNCTION WITH OR DIGITAL FORM. USE WRITTEN DIMENSIONS ONLY. ALL RELEVANT ARCHITECTS, ENGINEERS AND SPECIALIST DRAWINGS AND SPECIFICATIONS

2. DO NOT SCALE FROM THISSTRUCTURAL DRAWING IN EITHER PAPER KEY OR DIGITAL FORM. USE WRITTEN DIMENSIONS ONLY.

INDICATES EXISTING TERRACOTTA STRUCTURAL KEY BLOCKS

INDICATES EXISTING TERRACOTTA BLOCKS INDICATES EXISTING LOAD BEARING BRICKWORK WALL OF THE HALL

INDICATES EXISTING LOAD BEARING BRICKWORK WALL OF THESCULPTURE HALL BY OTHERS. MATERIAL TBC. SCULPTURE BY OTHERS. MATERIAL TBC. INDICATES NEW FLOWABLE HIGH STRENGTH LOW SHRINKAGE GROUT INDICATES NEW FLOWABLETO HIGHINFILL SELECT HOLLOW STRENGTH LOW SHRINKAGETERRACOTTA GROUT BLOCKS BELOW THE TO INFILL SELECT HOLLOWPROPOSED SCULPTURE AND TERRACOTTA BLOCKS BELOWPLINTH. THE GROUT TO BE INJECTED VIA PROPOSED SCULPTURE PROPOSEDAND BOLT HOLE LOCATIONS PLINTH. GROUT TO BE INJECTEDAND UNTIL VIA ALL INTERNAL VOIDS PROPOSED BOLT HOLE LOCATIONS ARE FILLED. AND UNTIL ALL INTERNAL VOIDS ARE FILLED.

ALCOVE RETURN OMITTED FOR CLARITY ALCOVE RETURN OMITTED FOR CLARITY

10mm DIA HOLE TO BE 10mmDRILLED DIA TO HOLE FILL VOIDSTO BE DRILLED TO FILL VOIDS WITHIN TERRACOTTA BLOCK.WITHIN BLOCK TERRACOTTA TO BE BLOCK. BLOCK TO BE Structural Detail FILLED USING HIGHLY FLOWABLEFILLED USING NON HIGHLY SHRINK FLOWABLE NON SHRINK GROUT GROUT EXISTINGEXISTING VACANT VACANT ALCOVE ALCOVE PROPOSED SCULPTURE.PROPOSED EXACT SHAPE/SIZE SCULPTURE. EXACT SHAPE/SIZE Structural intervention will be required to both TBC BY SCHOLARS TBC BY SCHOLARS support and restrain the new sculptures within PROPOSED SCULPTURE FIXED BACK TO EXTERNAL WALL USINGPROPOSED A 20mm DIA. SCULPTURE STAINLESS FIXED BACK TO STEEL THREADED ROD.EXTERNAL ROD RESIN WALL ANCHORED USING A 20mm DIA. STAINLESS TO BRICKWORK WALL BEYONDSTEEL THREADED TERRACOTTA ROD. ROD RESIN ANCHORED the niches. This will involve the base being USING HILTI MASONRY TORESIN BRICKWORK OR SIMILAR. WALL ROD BEYOND TERRACOTTA ANCHORED/FIXED TO SCULPTURE,USING HILTI MATERIAL MASONRY RESIN OR SIMILAR. ROD DEPENDING, AS REQUIRED.ANCHORED/FIXED TO SCULPTURE, MATERIAL strengthened to receive the figure, and the DEPENDING, AS REQUIRED.

DESIGN OF SCULPTURE AND PLINTH BY addition of a back restraint to stabilise the OTHERS. SCULPTURE TO BE INDEPENDENTLY STABLE WITH CENTRE DESIGNOF MASS OF OVER SCULPTURE THE AND PLINTH BY REAR PORTION OF THEOTHERS. SCULPTURE, SCULPTURE SO THE TO BE INDEPENDENTLY figure to the North busts. WEIGHT OF THE SCULPTURESTABLE RESTS WITH OVER CENTRE THE OF MASS OVER THE (=) (=) BRICKWORK WALL NOTREAR THE PROJECTING PORTION OF THE SCULPTURE, SO THE TERRACOTTA. WEIGHT OF THE SCULPTURE RESTS OVER THE (=) (=) BRICKWORK WALL NOT THE PROJECTING PLINTH BY OTHERS. EXACTTERRACOTTA. BASEPLATE/PLINTH EXISTING STRUCTURE PRESUMED TO COMPRISE DETAILS TBC HOLLOW TERRACOTTA BLOCK, PARTIALLY FILLED To the South busts, the lighter weight of the 10-20mm GAP BELOW PLINTHPLINTH TO BY BE OTHERS. EXACT BASEPLATE/PLINTH WITHEXISTING MORTAR, STRUCTURE BEARING ONTO PRESUMED THE SOLID TO LOAD COMPRISE BEARING BRICKWORK OUTER WALL OF THE ROYAL MAINTAINED. GAP FILLEDDETAILS WITH COMPRESSIBLE TBC HOLLOW TERRACOTTA BLOCK, PARTIALLY FILLED FILL TO ARCHITECTS DETAILS AND ALBERT HALL. 10-20mm GAP BELOW PLINTH TO BE WITH MORTAR, BEARING ONTO THE SOLID LOAD WATERPROOFING REQUIREMENTS. bronze means that reinforcement to the base EXISTING STRUCTURE TO BE CONFIRMED ON SITE MAINTAINED. GAP FILLED WITH COMPRESSIBLE VIABEARING SELECTIVE BRICKWORK INTRUSIVE PILOT OUTER DRILLING, WALL OF IN 1-2THE ROYAL ALBERT HALL. PROVIDE 2 No. M12 RESINFILL ANCHORS TO ARCHITECTS TO FRONT DETAILS AND LOCATIONS. LOCATIONS TO MATCH FINAL PROPOSED EDGE OF SCULPTURE, FIXED TO 20mm EXISTING STRUCTURE TO BE CONFIRMED ON SITE WATERPROOFING REQUIREMENTS. may not be required. BOLT HOLES TO AVOID UNNECESSARY DAMAGE TO BASEPLATE/PLINTH ABOVE. ANCHORS FIXED THEVIA TERRACOTTA. SELECTIVE INTRUSIVE PILOT DRILLING, IN 1-2 INTO GROUT FILLED TERRACOTTAPROVIDE 2 BLOCKNo. M12 WITH RESIN ANCHORS TO FRONT LOCATIONS. LOCATIONS TO MATCH FINAL PROPOSED HILTI RESIN OR SIMILAR.EDGE OF SCULPTURE, FIXED TO 20mm BOLT HOLES TO AVOID UNNECESSARY DAMAGE TO BASE BLOCK FILLED USINGBASEPLATE/PLINTH ONE OF THE BOLT ABOVE. ANCHORS FIXED THE TERRACOTTA. HOLE LOCATIONS, TO MINIMISEINTO GROUT PROPOSED FILLED TERRACOTTA BLOCK WITH ALTERATIONS TO THE HILTITERRACOTTA. RESIN OR 4 No. SIMILAR. The structural design sets out to be minimally HOLES ONLY PROPOSED. BASE BLOCK FILLED USING ONE OF THE BOLT PROVIDE 2 No. M20 RESINHOLE ANCHORS LOCATIONS, TO REAR TO MINIMISE PROPOSEDNOT FOR CONSTRUCTION OF SCULPTURE, THRU.ALTERATIONS DRILLED INTO THE TO THE TERRACOTTA. 4 No. intrusive to the terracotta niches. BRICKWORK BELOW THEHOLES ALCOVE ONLY TERRACOTTA PROPOSED. BLOCK PROVIDE 2 No. M20 RESIN ANCHORSRev Date TO REARDescription NOT FORDrawn CONSTRUCTION Check OF SCULPTURE, THRU. DRILLED INTO THE BRICKWORK BELOW THE ALCOVE TERRACOTTA BLOCK Rev DateConsultingDescription Structural Engineers Drawn Check Consulting Civil Engineers •••••••••••• •••••••••••••••••••••••••••••••••••••••••••• 1-5 Offord St London N1 1DH Telephone 020 7700 6666 Consulting Structural Engineers www.conisbee.co.uk Consulting Civil Engineers •••••••••••• •••••••••••••••••••••••••••••••••••••••••••• Drawing Status 1-5 Offord St London N1 1DH PRELIMINARY Telephone 020 7700 6666 www.conisbee.co.uk Project Date APR 2021

ROYAL ALBERT HALLDrawing Status Scale AS IND. STATUE INSTALLATION EXISTING SECTION 1-1 PROPOSED SECTION 1-1 PRELIMINARYDrawn RF SCALE 1:10 SCALE 1:10 Title Project Engineer RF Date APR 2021 ROYAL ALBERT HALL SOUTH PORCH Project No Scale AS IND. SECTION 1-1 STATUE INSTALLATION EXISTING SECTION 1-1 PROPOSED SECTION 1-1 200852 Drawn RF SCALE 1:10 SCALE 1:10 Drawing No Title Revision Engineer RF Sketch proposals for structural fixings (Conisbee) 200852-SK-S-200DRAFT FOR COMMENTSP1 SOUTH PORCH Project No SECTION 1-1 200852

Drawing No Revision 18 of 28 Feilden+Mawson Royal200852-SK-S-200DRAFT Albert FOR Hall: COMMENTS BustsP1 | Rev A00 | July 2021 5 South Porch- Niche lighting In addition to the pole mounted luminaires the proposals also include lighting to the rear of the niche.

Cable routing to the rear of the niches is again challenging as it will be partially visible and will need to be fixed onto the existing building fabric albeit the South Porch is only 20 years old and not as historically significant. Drilling through in this case is deemed to be easier as the interior is red brickwork. Care would be required to locate the opening between bricks.

The picture below shows the proposed internal routing of cabling from the niches. To minimise the visual impact the cables could possible be hidden in between the brick courses.

The colour and specification of the cable and fixings will need to be agreed. Power and data may be run separately or potentially a single multicore cable could be utilised. Initial suggestions are for Niche Lighting dressed Mineral Insulated cable. Discreet lighting with LED tape is proposed to the rear of these niches to provide subtle The location of control gear/ drivers for these fittings will need to be considered as these should be back illumination to the busts. Cabling to located relatively close to the niche. These could be located at low level in the niche hidden by the this lighting will be provided as the adjacent statue or remotely if possible. diagrams from Loop Engineering. The cabling would be run to the external lighting DB and will be timeclock controlled.

Any colour changing could be incorporated and potentially linked to the existing Prologik lighting system installed within the Hall.

Cabling to Niche Lighting Proposal - Loop Engineering

Feilden+Mawson Royal Albert Hall: Busts | Rev A00 | July 2021 19 of 28

LE368- RAH Porch Lighting Template Ref. No. LE000–TEM-001 rev0

LE368- RAH Porch Lighting Template Ref. No. LE000–TEM-001 rev0 4.0 HERITAGE IMPACT ASSESSMENT

4.1 Assessment of Significance 4.2 Impact of Proposals The significance of the North and South Porches can be The North Porch’s greater sensitivity is addressed with the understood in the context of their relationship to the wider proposed sculpture’s Portland stone construction, harmonising building. Significance is defined as the sum of various heritage with the façade, and depicting figures consistent with its highly values, including evidential, historical, aesthetic, and communal, significant historical value. The fixings to the niche for the as set out in Historic England’s Conservation Principles of bust will require some intervention to the original fabric, and 2008. These are summarised as follows. as such the impact can be understood as minor harm to the significance. The historical value is associated with the historic royal entrance to the North Porch, with its intact fabric including the To the South Porch, and its lesser sensitivity, the bronze upper niches directly associated with this. The south entrance, sculptures will contrast with the terracotta niche backing, which albeit altered, holds historical value as the original private will create a more dramatic appearance. This is consistent entrance leading from the Royal Horticultural Society Gardens. with the design intent to highlight the contemporary figures The entrances also hold communal value as the pivotal point of Queen Elizabeth II and Prince Philip, by contrast with the of entrance for the Hall’s many visitors for its various cultural consistent commemoration of Victoria and Albert to the communal events, and part of the recognisable face of the North Porch and reflected within the Hall generally. It also is Hall. The North Porch in particular defines the orientation of precedented by the bronze used in the adjacent Memorial to the building, and as such makes an important contribution to the Exhibition of 1851. As such the impact of the South Porch its setting. busts can be understood as negligible.

The niches themselves hold both aesthetic and evident Any harm caused by these intentions can be mitigated by a value (to the North Porch), with the fine Gibbs & Canning number of sources which suggest that the installation of these terracotta construction and elaborate detail to the North busts was part of the original intention of the Hall. Firstly, the Porch, and replica modern terracotta detailing to the south. lettering above the niches indicates what figures would be The lettering overhead reads ‘Victoria’ to the northeast, placed where. Secondly, the historical record drawing of the ‘Albert’ to the northwest, and ‘Elizabeth’ to both South Porch sculptural niche shows a plinth in place, anticipating a bust niches, suggesting the intention to fill these empty alcoves atop. More minorly, in a watercolour of the opening of the Hall, with the named busts. The niches also have the dates of their the presence of some figures in the North Porch niches is construction marked below, 1871 to the north, and 2003 to suggested. the south. Furthermore, the proposal for the busts holds general public In respect of the sensitivity of the fabric to this significance, benefit in continuing the commemorative original intent of the the North Porch’s original construction and prominent setting Hall and extending this to the contemporary monarch, as well renders it the most sensitive to change with greater potential as providing public art of a high quality and craftsmanship to a impact on significance, while the South Porch’s modern prominent historical setting. construction renders it less sensitive, although still positioned in a prominent setting.

20 of 28 Feilden+Mawson Royal Albert Hall: Busts | Rev A00 | July 2021 North Entrance Hall Stairwell

Prince of Wales Clive Room Room

Royal Staircase/ Royal Retiring Room Henry Cole Room

North Quadrant Historic Development - bust niches highlighted

1864-71

1880s Cafe Consort Cafe Consort 1900s

1910s

1920s Cafe Consort Cafe Consort 1930s 1970s

1996-2001

2000s

2010s

Door 12 Porch Undefined South Quadrant Historic Development - bust niches highlighted

Feilden+Mawson Royal Albert Hall: Busts | Rev A00 | July 2021 21 of 28 5.0 APPENDICES Appendix A: Listing Description

LOCATION 1912 that Emmeline Pankhurst famously incited her followers Statutory Address: Kensington Gore, Kensington, London, ‘to rebellion’ urging them to be militant ‘each in your own way’, SW7 2AP and the militancy they adopted included arson and criminal County: Greater London Authority damage. As a result, by April 1913, the Hall’s trustees had District: City of Westminster (London Borough) banned the WSPU from holding future meetings there. National Grid Reference: TQ 26602 79585 In March 1918 the Women’s Party (as the WSPU was now DETAILS known) held a final meeting in the Hall to celebrate the This list entry was subject to Minor Enhancement on passing of the Representation of the People Act the previous 01/06/2018 month. TQ 2679 NE 85/10 This list entry was amended in 2018 as part of the centenary City of Westminster, Kensington Gore, SW7, Royal Albert Hall commemorations of the 1918 Representation of the People Act. 24.2.58. GV I Public hall of 1867-1871 designed by Captain Fowke; completed by Major-General HYD Scott. Red brick Legal and buff terracotta with a glazed domed roof. Designed in the This building is listed under the Planning (Listed Buildings Italian Renaissance style with an elliptical plan. and Conservation Areas) Act 1990 as amended for its special architectural or historic interest. Five stages with two main tiers of windows, the lower square- headed, the upper round-headed, with decorative pilasters between and a mosaic frieze of figures above. Entrances are to the north, south, east and west, within projecting two-storey porches with elaborate moulded pilasters, balustrades and cornices. Good arcaded interior. Ceiling altered.

Historic note: In December 1905 Sir Henry Campbell Bannerman made his first speech as Prime Minister in the Hall. He was interrupted by Annie Kenney, Theresa Billington and Sylvia Pankhurst, all members of the Women’s Social and Political Union (WSPU), the militant suffrage organisation formed by Emmeline Pankhurst in 1903. This was the WSPU’s first militant act in London and took place not long after Annie Kenney and Christabel Pankhurst had become the first suffragettes to be imprisoned after a similar interruption of a meeting in Manchester. By 1908 the WSPU had grown in size and was able to fill the Hall for its own meetings. The Union used the Hall on several occasions, and it was there in October

22 of 28 Feilden+Mawson Royal Albert Hall: Busts | Rev A00 | July 2021 Appendix B Pre-Application Advice from Westminster City Council

Westminster City Council Pre-Applications westminster.gov.uk Place Shaping and Town Planning Westminster City Council PO Box 732 Redhill, RH1 9FL

Your ref: Please reply to: Jennie Humphrey been removed as part of proposed public realm works. I have not been able to establish if new My ref: P21/00319 Tel No: 07866040589 streetlights are intended along the extended pavement area. In any case, the proposed attachment of D1P72GMK1KVG4 Email: [email protected] spotlights on either a lamppost or stand-alone post, to illuminate the statues would seem unsuitable. It may however be appropriate to integrate lighting within the niches to provide subtle back lighting to

the statues. Miss Sophia Robson Place Shaping and Town Planning

Feilden+Mawson Llp Westminster City Council Overall, this is a well-considered scheme and would be complimentary to the building. The works are 21-27 Lambs Conduit Street PO Box 732 unlikely to harm the significance of the building nor the character and appearance of the conservation London Redhill area and will likely be supported. WC1N 3NL RH1 9FL

Coronavirus (COVID-19) Date: 4 June 2021 Should you submit an application during the current pandemic, you are advised to submit a full set of

annotated photos which show all areas of the site, cross referenced to a plan to show where it was taken and what is proposed. If possible, officers will then undertake a desk-based assessment of the proposed works. Please note, that if a site visit is required, for instance, should a neighbour object, Dear Miss Robson determination times for applications may be affected.

TOWN AND COUNTRY PLANNING ACT 1990 The advice contained within this letter is for guidance and does not prejudice the consideration of any PLANNING (LISTED BUILDINGS AND CONSERVATION AREAS) ACT 1990 future applications under the Planning Acts. If you require any further guidance, please contact Jennie Humphrey on 07866040589.

Royal Albert Hall, Kensington Gore, London, SW7 2AP Yours faithfully Inst allation of four new statues to the upper twin niches of the south porch and north porch.

Thank you for your enquiry regarding the above planning matter received on 28 April 2021.

Pre-application proposals include the installation of four new statues to the upper twin niches of the south porch and north porch of the Royal Albert Hall, to coincide with the Hall’s 150th Anniversary. Deirdra Armsby Director of Place Shaping and Town Planning Grade I listed and located within the Knightsbridge Conservation Area, key considerations in assessing the proposals will be the impact upon the significance of the building and the character NB In order to speed up the processing of your application, submitted documents and drawings and appearance of the conservation area. Proposals will be assessed against the National Planning should be titled in accordance with our file naming protocol. More information is available on our Policy Framework (NPPF), specifically chapters 12 and 16, as well as policies 38, 39 and 43 of website: https://www.westminster.gov.uk/submitting-your-planning-application. If you provide the Westminster’s City Plan 2019-40 (April 2021). and the guidance contained within Westminster’s drawings on a CD or an USB stick, the size of each document must be maximum 5 MB. Repairs and Alterations to Listed Buildings SPG.

It is understood that the niches on the original north porch are intended to house stone statues of Queen Victoria and Prince Albert, whilst the niches on the south porch, which is modern, will house bronze statues of Queen Elizabeth II and Prince Philip. The hall has worked with the Queen Elizabeth Scholarship Trust and has selected designers Poppy Field for the Bronze statues and Thomas Nicholls and Tom Brown of London Stone Carving for the Stone Statues.

The use of stone and a historic depiction of Victoria and Albert on the north porch appears entirely appropriate and authentic to what was originally intended for those niches. Likewise, the use of bronze and a more contemporary style for the statues on the south porch appear equally as appropriate given it is a more recent addition to the Hall. The intended fixings are felt to be discreet, and whilst a modest amount of fabric will be lost or impaired, this is unlikely to be considered harmful to the building’s significance.

The statues will require both planning permission and listed building consent.

With regards to the lighting, it is understood that a streetlight positioned opposite the north porch has

dcprerep100917 dcack080916

Feilden+Mawson Royal Albert Hall: Busts | Rev A00 | July 2021 23 of 28 Appendix C London Stone Carving, Design Statement Queen Victoria

Prince Albert

24 of 28 Feilden+Mawson Royal Albert Hall: Busts | Rev A00 | July 2021 Concept Composition Two statues of Victoria and Albert will be created depicting them on the day of The two statues will be carved from blocks of base bed Portland limestone, the opening of the Great Exhibition. The Great Exhibition took place in Hyde which will weather nicely over the coming centuries and hold good the detail. Park in 1851 symbolising and celebrating the height of Victorian culture and is The sculptures are designed to appear, as closely as is practical, as they did on recognised as a defining historical moment of the nineteenth century. the day of the great exhibition with a few practical and aesthetic alterations we Albert was the driving force behind the hugely successful event, widely have included. recognised to be among Prince Albert’s crowning achievements. The finances We decided to make Victoria’s status clear by giving her a traditional crown raised from the event helped to purchase the surrounding land upon which the rather than the tiara and peacock feathers she had in her hair on the day, since culturally iconic V&A, Natural History Museum and the Albert Hall itself now peacock feathers’ fine detail would not read clearly from distance. We also stand. chose to give her hair the iconic plaits, synonymous with youthful period Victoria described the opening day of the Exhibition as “one of the portraits, which we feel work well sculpturally. greatest and most glorious of our lives, and which my pride and joy, the The garter sashes worn by Albert & Victoria on the day are represented in the name of my dearly beloved Albert is forever associated”. sculpture with garter chains added for interest and to enhance the sense of This historic time and that magnificent event are, we feel, the seed from which grandeur. A Garter Star and leg band are further additions which balance the albert hall sprang, representing the perfect moment to celebrate, reflect upon Albert’s relatively plain outfit, harmonising with the busier dress worn by and commemorate the 150th anniversary. Victoria. This led us to settle upon creating a representation of the royal couple on the Both sculptures wear long robes draped upon their plinths, adding to the regal day of the Great Exhibition, a momentous day in their lives represented in our grandeur and sculptural strength, simultaneously serving as structural support to sculptures. We feel that representing them on this momentous day which the limbs of the statues and protecting against weathering of extremities by the culminated in some of the nation’s most recognisable cultural icons’ elements. construction, would represent a unique celebration of their achievement and Albert’s pose left hand on hip is influenced by a painting of the day by Henry influence. Courtney Selous, the pose allowing his right hand to reach towards Victoria, creating the desired contrapposto and mirroring Victoria, expressing an understated affection for one another and extending and welcoming visitors to the great hall.

Feilden+Mawson Royal Albert Hall: Busts | Rev A00 | July 2021 25 of 28 Appendix D Poppy Field, Design Statement Queen Elizabeth II

Prince Philip

26 of 28 Feilden+Mawson Royal Albert Hall: Busts | Rev A00 | July 2021 FIELD - Design Intent FIELD - Design Intent

The Site. The architectural interventions of the South Porch and the Queen Elizabeth II Diamond Jubilee Steps have successfully evolved the Royal Albert Hall to memorialise Her The Queen’s Dress. Angela Kelly, LVO (Senior Dresser to The Queen) advises that The Queen Majesty The Queen alongside Queen Victoria and Prince Albert. There remains an opportunity would have worn a full-length dress, with long gloves, and a fur stole to an evening event at the to explore a more expansive connection between the site as “The Nation’s Village Hall” and The Hall in the 1960s. This was still largely the Sir Norman Hartnell era. Arguably the most Queen and Prince Philip’s relationship with the public. celebrated of the Queen’s dressers, Hartnell is best known for the Coronation and Wedding dresses. The Royal Col lection Trust's 2016-17 Fashioning a Reign Exhibition featured two Allocation of Niches. There is a compositional freedom to allocate niches as both feature Harntell dresses of interest: one worn for the British Red Cross Society Centenary Film friezes reading “ELIZABETH”. There is also an opportunity to pay tribute to The Queen and performance at the Royal Festival Hall (1963), and the other in New Zealand and Australia Prince Philip’s shared lifetime of service by creating one composition across both niches. One of (1963) as well as for official photographs taken by Anthony Buckley (1965). I draw on elements Dorothy Wilding’s particularly poignant July 1947 photographs captures Prince Philip looking of these dresses to best fill the niche, create an interesting contour, guide the viewer’s eye up to over to The Queen, who looks directly out to the viewer. Taken just a few months before their The Queen’s portrait, and introduce dynamic areas of light and shadow. Genevive James marriage, this image symbolises Prince Philip’s faithful devotion to The Queen and The Queen’s (Creative Director at Cornelia James) explains that The Queen would have worn nylon evening promise to the Nation. This compositional device that guides the viewer’s eye from Prince Philip gloves with loose-fitting folds. Fabrics have changed, so I am grateful that James is making up a (left) to The Queen (right), could be used at the Hall to commemorate The Prince Philip’s similar pair of gloves for reference. I do not include a stole due to changing attitudes towards fur. “strength and stay”, discreetly place a greater focus on The Queen (as befits the monarch), and directly engage the public. Viewers who read from left to right would follow Prince Philip’s gaze J ewelry. Kelly reveals that The Queen’s outfits often feature meaningful details that from the niche on the left to that on the right, where they would see The Queen’s statue set at acknowledge the location of her visit. Caroline De Guitaut (Deputy Surveyor of The Queen's an angle as if she were about to turn into the Hall. Viewers would then turn their attention to the Works of Art) affirms the suitability of the following combination: The George VI Sapphires (a doorway that and, now involved with this psychological narrative, feel “welcomed” into the Hall. necklace and earrings set received from George VI as a wedding present and worn to the Hall in 1853, 1963 and 1972), The Edinburgh Wedding Bracelet (received from Prince Philip as a Pose within Niches. My goal is to visually connect the statues of The Queen and Prince Philip wedding present) and The Vladimir Tiara - without hanging emeralds or pearls. The masculine with depictions of Queen Victoria and Prince Albert, as well as represent something unique in and circular design of the Vladimir Tiara is both in keeping with the architectural style of the Hall each statue that would together embody the romantic appeal of their royal marriage. Queen and suitably paired with the George VI Sapphires. Victoria and Prince Albert were patrons of the Royal Photographic Society. In 1854, Roger Fenton took the first “official” photographs of Queen Victoria as a reigning monarch. One sees Accessories. Both wear the Order of the Garter riband, with Order of the Garter Star and The Queen Victoria captured from the side with her head turned at a three-quarter angle towards the Lesser George. This is the oldest and the highest British order of chivalry, and today the Knights viewer. Pietro Annigoni employs the same pose in his striking 1954 painting of The Queen. I are chosen from a variety of backgrounds in recognition of their public service. sculpted my initial maquette with these in mind, but ultimately turned The Queen’s figure more towards the viewer so that her sculpture would better “fill” the niche. I also re-aligned the head Prince Philip’s White Tie. White Tie is the highest form of civilian dress. A fundraising concert so the statue’s gaze is not interrupted by the memorial in front. This pose conveys a sense of for the North Sea Flood (1936) sets a precedent for Prince Philip wearing this to the Hall. gravitas and constancy that is further enhanced through contrast with Prince Philip’s more Davide Taub (Head Cutter at Gieves and Hawkes) underlines several nuances about Prince dynamic qualities. Like Prince Albert, Prince Philip was a forward-moving man as modern as Philip’s style of White Tie from this era, including that he maintained a loose silhouette style of tomorrow. This is perfectly captured in a press photograph from March 1960 where - quite suit with roominess in his garments and wide shoulders. remarkably - Prince Philip seems to sweep through a doorway while maintaining a level of restraint (largely due to the characteristic clasping of hands behind his back). I combine the Wear of Orders, Decorations, and Medals. In the following order: Order of the British Empire, immediacy of this posture with the projection of Prince Philip’s left foot off from the base - a 1939-45 Star, Atlantic Star, Burma Star (“Pacific” clasp), Italy Star, 1939-45 War Medal with direct visual reference to the statue of Prince Albert in front of the South Porch. Mention in Despatches, King George VI Coronation Medal, Queen Elizabeth II Coronation Medal, Canadian Forces Decoration (5 clasps), Order of the Redeemer, Greek War Cross, Croix Niches and the Memoria l to the Great Exhibition. The statue of Prince Albert tops Joseph de Guerre 1939-45 (with Bronze Palm). Durham’s 1863 Memorial to the Great Exhibition. This conveys a series of political, cultural, and social perspectives from the time of its creation through both allegorical figures and inscription. Scale. The Statues will be over life-size, with The Queen measuring 200cm (excluding base To visually distinguish the statues of The Queen and Prince Philip from this memorial, so as not and crown) and Prince Philip measuring 212cm (excluding base). This sees The Queen’s head to unintentionally condone these historical atti tudes, I ensure that neither statue’s gaze is at the base of the shell niche cap so that the “rays” frame her head as befits the monarch. The interrupted by the memorial, nor that they are dressed in symbolic or ceremonial dress. reduced height difference between the two status avoids overcrowding in Prince Philip’s niche. Donald McKague’s 1958 photograph of The Queen and Prince Philip sets a precedent for this Age. I had to determine an era of representation to identify a suitable form of civilian dress. as the Queen took the initiative to stand on a box to minimise their height difference. Depicting The Queen and Prince Philip at a comparable age to Queen Victoria and Prince Albert maximises the unity between all four statues and best conveys the continuity inherent in the line Medium. Bronze has been used all over the world, from the earliest of times, to make works of of succession. In light of Prince Albert’s untimely death at 42 and both Queen Victoria and art and artefacts of extraordinary beauty. It remains one of the most distinguished sculptural Prince Albert’s age at the opening of the Great Exhibition (32), the mid-1960s seem to be an mediums and a properly maintained bronze sculpture should last for a minimum of 500 years. A appropriate era. (The Queen: 37-42 years, Prince Philip 42-47 years). deep brown patina with ferric red undertones will be in keeping with the Hall’s brickwork.

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Feilden+Mawson Royal Albert Hall: Busts | Rev A00 | July 2021 27 of 28

Feilden+Mawson LLP 21-27 Lambs Conduit Street London WC1N 3NL Tel: 020 7841 1980 www.feildenandmawson.com

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