A further challenge was the proximity of numerous noise-sensitive rooms producing high levels of noise, which were to be used simultaneously. Fully acoustically isolated rooms were specified to achieve high airborne and impact sound insulation. Ductwork penetrating these rooms was isolated from the main structure and cross-talk attenuators used between rooms.
Room acoustics was an essential design element of this project. The theatres and studios were all modelled individually using CATT-Acoustic computer modelling, and the acoustic treatments, locations and areas specified to achieve high-quality room acoustics and speech intelligibility.
Lucie Zalberg, director, Gillieron Scott Acoustic Design
This meant funds from the sale of the Ovalhouse site in Kennington could go directly into the build of a new theatre, which would now have the added advantage of being sited more in the area from which the majority of its audiences were drawn.
Start on site July 2019
Completion February 2022
Gross internal floor area 4,850m²
Gross external floor area 5,300m²
Construction cost £18 million
Architect Foster Wilson Size
Client London Borough Of Lambeth/Brixton House
Structural engineer Conisbee
M&E consultant Dodd Group
Quantity surveyor Currie & Brown
Project manager Capita
Principal designer Turner & Townsend
Acoustic consultant Gillieron Scott Acoustic Design
Landscape consultant Hyland Edgar Driver
Theatre design consultant Charcoalblue
Graphics/branding D237
Main contractor Galliford Try
CAD software used Vectorworks
Performance data
Construction mass is also required for the absorption of low-frequency sound. This is provided by a dense concrete blockwork outer layer, an inner three layers of dense acoustic plasterboard and the addition of dense cement board to the floor build-up.
The broad-brush but effective design moves that animate the spaces of this pragmatic but spirited building allow it to feel at once neutral yet also promise the potential for accreting their own history, and even perhaps acquiring a quietly radical new edge.
More colourful accents appear throughout the building, in particular on doors, acting as wayfinding – turquoise denoting loos and yellow for studios – while animating circulation spaces. The planning is straightforward and generous: from more specialist acoustically lined rehearsal studios to large, flexible workspace floorplates at the top.
This building has been renovated and reworked by Zac Monroe Architects as a series of workspaces and incorporated into the overall scheme. The mural has been restored too, its warning message of a giant skeleton of nuclear conflict stalking above a handful of belligerent leaders (including Thatcher), gaining new relevance in the past few months.
In the main theatre, an interior plasterboard wall lining is separated from external block work walls using a separate metal studwork structure. The floor sits on rubber pads to prevent a sound bridge to the concrete slab below and the ceiling is suspended on flexible hangers.
The exteriors of the theatre boxes sit visibly angled adjacent to each other at the back of the lobby as you enter. On plan, the linking passage between them leads directly back through a series of fire-rated doors to the ‘get-in’ area off the service yard at the rear. This sense of direct connection between front and back-of-house is underlined in the solid utilitarian nature of materials and finishes continued into the lobby. Blockwork walls, screed floors and exposed services and soffits give a working studio theatre-like feel to the whole space, while also contributing to passive cooling.
The plans for the project came about when Ovalhouse began looking to expand and update its building, which had accessibility issues. Initially, reworking it was considered, but a main arterial sewer running through the site and rights to light issues with neighbours mitigated against this. Lambeth Council then offered the theatre the opportunity to move to this site it owned in central Brixton, previously used as a car park, the land provided on a no-cost basis but a long lease.
Two building elements added to the complexity of the task: firstly the curtain walling, which had to be specified to maintain high sound insulation in the façade while reducing flanking noise between studios; and secondly the passive ventilation strategy, where attenuated passive ventilators were used. In addition, mechanical ventilation and fan coil units were employed and had to be attenuated both internally and to atmosphere to meet planning requirements.
A super-insulated building envelope, using layers of mineral wool, reduces heat loss to a minimum, while exposed soffits and walls help to provide passive cooling for periods of peak use.
This is a building as both sophisticated armature for performance as well as straightforward solid urban presence on the street. More than just a sum of its parts, it’s a pleasingly substantial piece of civic infrastructure, quietly and matter-of-factly fitting in during the day, while standing out and putting on the Ritz at night.
This nod to the architectural context is also seen to the rear, where the façade stacks up in a series of terraces, designed for use as break-out spaces by theatre staff, performers and others working in the building. They cut back in a bold diagonal that echoes the concrete angles of Southwyck House opposite. The cladding material here is large, glazed bricks, an appropriately meaty facing to the theatre’s service yard and back-of-house entrances. The bricks have a slight blueish iridescence, providing a utilitarian shimmer inspired, Wilson says, by masonry at Berlin’s Friedrichstraße railway station.
The theatre’s steel frame structure sits on a raft foundation, its relatively lightweight construction necessitated by the Victoria Line running beneath. A key aspect of the design was the need to acoustically isolate the theatre spaces not only from adjacent trains, tubes and traffic, but also from each other. Box-within-box construction has been used, with inner plasterboard linings held up on steel studwork structures independent of the outer blockwork walls. Floating sprung floors rest on rubber pads, which are also used to separate the Vierendeel trusses that support soffits above the auditoriums from the main structure.
Working detail
Brixton House Theatre is a new artistic hub for Brixton and the new home for the Ovalhouse Theatre, previously located in Kennington, that has been producing exciting and challenging work for new audiences since the 1950s. The new building mixes theatre space together with recording studios, rehearsal rooms, university teaching spaces, and small tech and start-up company workspaces, aiming to blur the boundaries between professional and community facilities.
Gillieron Scott Acoustic Design started working on the Brixton House project seven years ago.The location– on a noisy road next to overground and underground railway lines and with residential buildings surrounding the site – required a high acoustic performance of the façade and glazing to reduce noise breaking in from outside as well as noise breaking out from the studios and theatres to surrounding residential buildings.
Whereas all its predecessors had inflexible proscenium-framed stages with balconied auditoriums, only able to accommodate large, single productions – Brixton House is designed to offer a quotidian range of uses. It has two smaller flexible black-box type performance spaces joined by seven studios, together with two floors of workspace above, a series of recording spaces planned for the basement, as well as a café off the street. These operate independently whether the theatre has a performance or not, and contribute to a healthily diverse range of activities supporting its business plan.
In comparison, the building’s front façade has a muted, moody materiality. Only the pale gold expanded metal cladding of its set-back top floor offers a suggestion of theatrical pizzazz. But this all changes at night, when showtime glitz can be cranked up to the max, with programmable LED lights set behind the vertical façade fins animating the façade.
One of the main technical challenges of Brixton House has been to provide performance spaces that are in close proximity to each other but acoustically isolated. The audiences need to be unaware of the noise of other performances taking place nearby and undisturbed by sound from adjacent busy roads and the Victoria Line tube running directly underneath the building.
Like theatrical players in the space, these elements are clearly visible from the street through a generous strip of ground-floor glazing which wraps around the building. This acts like a permeable plinth in front of the lobby and adjacent café, with its sculptural, copper-topped bar. It effectively expands the public realm of the street inside and nicely reflects the half-interior/half-exterior spaces of Brixton Market opposite.
It’s the new home of the theatre company run by artistic director Gbolahan Obisesan, which under its earlier name of Ovalhouse, was previously based off Kennington Lane. The company has its roots in a club founded in the 1930s by graduates of Christ Church College, Oxford, which offered sporting and leisure activities for disadvantaged youngsters in Lambeth, before becoming more focused on drama in the 1960s under its then warden, Peter Oliver. The Oval House Theatre, as it was then known, became a significant hub for experimental drama, including emerging gay, lesbian and women’s theatre in the 1970s and new Black and Asian writing from the 1990s onwards. It has been the proving ground for many young directors and actors, including Steven Berkoff, David Hare, Tamsin Greig, Tim Roth and Piers Brosnan (the latter helped spearhead fundraising efforts for this new building).