TOWARDS A WORLD-CLASS

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PART I PART II PART III PART IV
INTRODUCTION AND EXECUTIVE SUMMARY OUTLINE BUSINESS CASE FEASIBILITY STUDY SUPPLEMENTARY INFORMATION

1. Foreword 5. Summary of The Outline Business Case 12. Introduction 31. List of Appendices
2. Executive Summary 6. Strategic Case 13. Background and Context 32. References
3. Scope and Purpose 7. Economic Case 14. The Vision 33. Acknowledgments
4. Terms of Reference 8. Commercial Case 15. Programming and Digital
9. The Financial Case 16. Audience Demand and Reach
10. Management Case 17. Building Specification
11. Outline Business Case Conclusions 18. Schedule of Accommodation
19. Organisational Analysis
20. Site Options
21. Site Analysis
22. Development Principles
23. Development Options
24. Project Delivery
25. Capital Costs
26. Capital Funding
27. Operational Financial Model
28. Operational Governance Model
29. Stakeholder Consultation
30. Conclusions and Next Steps
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1. FOREWORD

To: Rt Hon George Osborne MP, Chancellor of the Exchequer

Boris Johnson MP, Mayor of London

In February 2015 you announced jointly your long-term economic plan for the future
of London as a world-class city, aiming to make London a centre of the world’s
creative and commercial life, with new investment in science, finance, technology
and culture.

As part of that plan you asked us to undertake a feasibility study into creating a
world-class new concert hall at the heart of the capital. You asked the Barbican
Centre, with its resident orchestra the London Symphony Orchestra, to consider the
case for a new state-of-the-art Centre for Music that would ensure London’s leading
role in the future and inspire a new generation.

We have been encouraged by the widespread support and enthusiasm for this
concept. We feel we have a unique opportunity to make this vision reality: the
coming together of London’s need, a compelling idea, audience demand, new
transport links, the arrival in autumn 2017 of Sir Simon Rattle as Music Director of
the LSO and Artist-in-Association at the Barbican Centre and Guildhall School, and
the potential availability of an ideal site in the City of London’s Cultural Hub – all
these combine to make the moment unmissable.

We believe we have articulated a clear vision of what a new Centre for Music could
be and how it could be transformative for a new generation of audiences and
participants, offering performance excellence and developing engagement and
discovery for all in a superb new setting.

Our teams and advisers have worked intensively through the period of this study
to analyse a wide range of options both artistically and financially, and we believe
we have identified a proposal which is feasible. We believe this is a proposal that
can unlock new sources of private and public support, and draw in a wide range of
stakeholders to share the vision. We undertake to consult widely with the sector as
we move forward to deliver an outcome that will be of benefit to all.

This is a bold plan for the future of great music for all. We hope it meets your
aspirations for London and that you will fully support its realisation.

Sir Nicholas Kenyon, Managing Director, Barbican Centre

Kathryn McDowell CBE, Managing Director, London Symphony Orchestra
Professor Barry Ife CBE, Principal, Guildhall School of Music & Drama

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2. EXECUTIVE SUMMARY

2.1 BACKGROUND international success. London is in danger of falling 2.1.9 This Feasibility Study, with its Outline Business Case,
behind other world cities in its provision of leading will
2.1.1 This is a decisive moment for music in this country. musical venues – recent developments especially
There is a once-in-a-lifetime chance to shape a new in Asia, and the acclaimed new Philharmonie hall • Set out the vision of a new Centre for Music
creative offer to audiences, visitors and performers. in Paris have highlighted London’s lack in this area. • Demonstrate that this can be delivered in a way that
All the elements are present to create and deliver a We need to meet the expectations of international meets the objectives for the project
vision for the future: we need to seize the opportunity visitors, our increasingly diverse audiences, and our • Show that the project will deliver important benefits
now. leading musicians and performers. to a wide range of stakeholders
• Plan for the future realisation of the project
2.1.2 The UK is thriving as a centre of economic growth Even in its unfinished state the new Philharmonie
and soft power, a nation whose artistic and heritage looks and (more importantly) sounds like something 2.1.10 In making the case, we realise that this is a bold
offering is admired around the world. Recent London’s musicians and classical music punters can and demanding project. High-quality standards are
investment in our presenting the UK’s cultural assets only dream about: a world-class concert hall…The necessary to achieve its vision. We believe that this
in China, for example, has used our international lack of a hall in London remotely as good as those in Feasibility Study shows that the project is needed,
reputation to strengthen national links. Birmingham or Gateshead, let alone Berlin, Vienna that it is timely, and that it is possible to deliver it.
and now Paris, is threatening London’s status as the
2.1.3 London is flourishing as a world-class city with world’s classical music capital.
an unrivalled range of heritage, museums and
galleries, contemporary arts and formal and informal – Richard Morrison, The Times, 16 January 2015
spaces, which in an increasingly diverse city are all
broadening the offer to audiences. 2.1.7 This is therefore a critical moment to consider what
facilities are needed to reflect and build on the UK‘s
2.1.4 London’s cultural offer is world famous, accounting international leadership role in the creative industries
for a significant proportion of the tourism to the and the arts, and to ensure it retains this leading role
capital. Over 17 million international tourists visited in the 21st century. What Tate Modern has done for
the capital in 2014, an increase from 15 million in the visual arts, what the Science Museum does for
2011, with 70% of them citing culture and heritage science, a new Centre for Music can do for music.
as a driver for their visit. £4.43bn of inbound tourist
expenditure in 2014 is directly attributable to 2.1.8 This study, requested by the Chancellor of the
London’s cultural offering. Exchequer and the Mayor of London in February
2015, is part of their ambitious plan to ensure that
2.1.5 The world’s leading artists recognise the potential the London of the future is ‘a centre of the world’s
of engaging with the thriving creative life here. The creative and commercial life, with new investment
arrival of Sir Simon Rattle in September 2017 as in science, finance, technology and culture’. The
Music Director of the London Symphony Orchestra, agreed brief for the study is ‘for the Barbican Centre,
and as Artist-in-Association with the Barbican Centre with its resident orchestra the London Symphony
and the Guildhall School of Music & Drama, will Orchestra, to consider the case for a new state-of-
bring to London for the first time his charismatic the-art Centre for Music; including how it could be
leadership skills, and his commitment to education delivered in the City of London, how it will operate
and music-making for young people. This opens up a sustainably in the long term and what the impacts
game-changing potential for the future. and benefits are for the national music sector’. This
is the challenge to which we have responded in this
2.1.6 But Britain cannot be complacent about its study.

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2.2 WHY LONDON? 2.3 WHY THE CITY?

2.2.1 London is the centre of the UK’s creative industries, 2.3.1 The City of London Corporation has a consistent and
the home of international arts organisations that long-lasting commitment to the arts, supporting
serve the whole of the UK and the world. London is the London Symphony Orchestra and the Guildhall
growing, especially eastwards; arts audiences are School, building the Barbican with its arts facilities
changing, reflecting the rich diversity of our capital after the war, as well as maintaining a unique range
city. Transport links are being improved, and with of heritage and tourist facilities. It ranks alongside
the opening of Crossrail in 2018-19, access to the other major national bodies as a consistent investor
live arts is ever more possible for more people. in the arts, offering Londoners a range of cultural
Cultural activity of many different kinds is playing a and heritage activities from Tower Bridge to the
greater part in people’s lives, with a strong desire Museum of London.
for participation and involvement. The importance
of providing cultural facilities in new developments, 2.3.2 The City Corporation is actively developing the
urban planning and regeneration projects is now vision for a Cultural Hub in the north-west of the
accepted. We need to invest in resilient high-quality Square Mile, responding to the imminent arrival of
infrastructure for future generations. Crossrail in 2018/19, which will make this area an
international centre for the performing arts and
2.2.2 The case for investment in cultural facilities outside education, drawing organisations together in close
London is clear, and recent decades have seen major collaboration, and making the Barbican area and a
developments at, for example, Sage Gateshead, planned new Museum of London a centre for culture,
Symphony Hall Birmingham and Manchester, heritage, the arts and education. Major developments
and planned infrastructure projects in Bristol and in the public realm will enhance the character of the
notably the Factory in Manchester. Alongside these area.
developments it is in the interests of the whole of the
UK that we continue to invest in London, to keep the
capital city at the heart of the world’s music-making
and drive investment in the national economy.

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2.4  HAT IS THE NEED FOR A NEW CENTRE FOR

W 2.4.5 From Los Angeles to Luxembourg, from Tokyo and
MUSIC? Sapporo to Helsinki, Lucerne and now Paris, new
halls have been built with outstanding acoustics
2.4.1 Music is central to our lives. Amongst all the arts, and facilities. It is essential that audiences hear
engagement in music, both live and digital, is a vital great orchestras and leading performers at their
part of the daily experience of audiences of all ages very best. A world-class acoustic, within a physical
and backgrounds. The exponential growth in digital space that gives every seat a sense of intimacy with
technology has led to a renewed thirst for the live the performers, enables each audience member
experience, and those who have grown up as digital to experience the sound of a great orchestra with a
natives expect to receive their arts in new ways for brilliance, immediacy, depth, richness and warmth
the 21st century. that is lacking in London’s halls today.

2.4.2 We now have the opportunity to reflect this activity in 2.4.6 We need to move with the times, and keep up with
a bold plan for the long-term, one which expresses cities in Europe, America and Asia to protect our
London’s increasingly rich diversity and our world-leading status. The Centre for Music must
commitment to the power of music as a unifying be a landmark building which draws people in
force in our lives. It is a moment to show how the and is visible as a key part of London’s cultural
community of musicians that forms a symphony infrastructure; this is also essential in order to
orchestra can be at the heart of this process. attract private funding.

London deserves a great concert hall … in addition 2.4.7 The origin of this project is a unique collaboration
to acoustics, a flexible space is needed to enable between three different but linked organisations:
more imaginative repertoire and performance a world-class orchestra, the London Symphony
possibilities, to serve our audiences as well as we Orchestra; a world-class conservatoire, the Guildhall
possibly can. This is a once-in-a-lifetime chance School; and a world-class arts centre, the Barbican
to set up an orchestra where every element of Centre. All are funded and two are owned by the
the work and philosophy is joined up…which can City of London Corporation as part of its major
reinvent the shape of the institution for our time. investment in the arts and heritage.

– Sir Simon Rattle, 2015 2.4.8 Over the last 25 years the pioneering LSO Discovery,
Guildhall Connect and Barbican/Guildhall Creative
2.4.3 This is not just about the present: it is a commitment Learning programmes have offered learning
to – and an investment for – future generations. opportunities to east London, and have played a
significant role alongside other London institutions
2.4.4 London has several good historic concert halls, and in supporting the National Music Plan, the London
some outstanding smaller venues, but it has arguably Curriculum and the evolving Cultural Education
not had since the Queen’s Hall was destroyed in Partnerships. This is already a pioneering cultural
1941 a world-class venue for symphonic music of alliance, working together in a way that has been
the highest standards. It is falling behind the rapidly described as ‘one of the country’s most developed
growing number of world concert halls in this vital models of a community of practice’ (Cultural
respect. Education in England by Darren Henley).

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2.5 WHY NOW? 2.5.4 It is estimated that the education and outreach
elements of the new programme will reach 245,000
2.5.1 The idea of a new Centre for Music has been under people directly each year, while the overall reach
consideration for a number of years, and the project through digital technology could be some 2 million
has been given urgency and focus by the appointment people globally annually. A new Centre for Music can
of Sir Simon Rattle as the Music Director of the fulfil this new need.
London Symphony Orchestra. Sir Simon’s continued
advocacy of the best conditions for performers 2.5.5 A further imperative to act now is the availability of a
and audiences has brought wide attention to site that has arisen with the plan for a new Museum
this proposal, and his dedication to the project is of London in West Smithfield, and the Museum’s
invaluable. Among leading musicians today, he is the intention to vacate their current site in the Barbican.
one who can galvanise public support and private This site is owned by the City of London Corporation,
funding. who have indicated their willingness to contribute it
as a key part of their support for the project.
2.5.2 The development of diverse audiences, the expansion
of London, and new transport links over the next 2.5.6 The future audience need, the imperative to keep
ten years will be hugely significant and must be London a leading world city, the imminent arrival of
responded to. The population of London is set to Sir Simon Rattle at the helm of one of the world’s
grow by 12% between 2015 and 2025. The arrival leading orchestras, and the availability of a site all
of Crossrail in 2018-19 will bring an additional combine to make this the moment to act. And there
300,000 people within a 30-minute rail journey of is a vision which drives this forward.
the Barbican area. These new audiences should
be served with the highest quality activity and
opportunities for engagement.

2.5.3 Audiences for music are currently growing faster

than population growth. Between 2003 and 2013
the London Orchestras Marketing Consortium
estimates that while the population of London grew
by 13%, sales of tickets for orchestral performances
increased by some 30%. This is mirrored by the 26%
increase in theatre tickets sold in the same period.
An estimate of possible audience growth for this
activity between now and 2025 is between 15% and
25%.

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2.6 WHAT IS THE VISION? 2.6.4 Following concentrated workshop discussions, a • Be an innovator in exploring new methods of
session with Sir Simon Rattle, discussions with LSO digital engagement and interaction with audiences,
2.6.1 The vision for a new Centre for Music is clear and players and widespread conversations in the sector, enabling this work to be available to all
simple: it should offer the highest quality experience we have then clarified the aims of the new Centre for
for all, inspiring future generations of music-lovers Music. It will: • Be sustainable and operate efficiently and
and potential new audiences by offering them effectively, providing a consistently excellent
involvement in the very best and most exciting music- • Be an inspirational, forward-looking facility experience to audiences, musicians, students, and
making. connecting performance, discovery and learning, all others who encounter it whether in person or
which enhances the status of London as a world- remotely
2.6.2 This is not business as usual: it is a new idea of what class city
a concert hall can be.
• Act as an energising, inclusive advocate for the 2.6.5 Among many examples of how this will be translated
I would completely rebuild the spaces in which future of music-making for all, reflecting the into practice:
classical music takes place. I would make them diversity of London, its national and international
much more porous, adaptable, beautiful to be in, visitors • The audience will surround the stage area, creating a
accessible, able to accommodate any collection of feeling of immersion and involvement in the sound
musicians under any circumstances, and above all I • Be the world-class home for the LSO, the resident
would insist that the design of these spaces be not orchestra of the Barbican Centre • Flexible, built-in projector screens in the hall will
only incredibly alluring so that everyone wants to enable pioneering interactions with the performance
go there, but that they would bring everyone in the • Be a beacon of the City of London’s vibrant and experience
hall really close to the musicians. Because I think welcoming Cultural Hub in the north-west of the
we have to get away from the bourgeois culture Square Mile, a destination for visitors and audiences • Each seat in the hall will have a data connection
palace of the 19th century. Everything to me is about and touch-screen capable of offering programme
bringing people close. • Contribute to a co-ordinated offer of cross-arts information and social media content before and
activity and cultural education, in collaboration with after the performance, enhancing the concert and
– Gerard McBurney, composer and writer, Chicago other key venues including the Museum of London creating communities of interest among the audience
Symphony Orchestra
• Extend the existing facilities of the Barbican • The spaces in the concert hall will be flexible,
2.6.3 The Centre for Music will be the first institution of its Centre, Guildhall School and LSO St Luke’s, to allowing large-scale participatory and side-by-side
kind in this country to be conceived and created in the provide a further integrated offer to audiences and performances to take place on an extended stage
digital age. It will be a welcoming, porous building, communities
connecting with audiences both physically and • The hall design will respond to the new ways in which
digitally. • Complement sensitively the capital’s provision of composers and creators are working with multimedia
classical symphonic concerts, welcome leading and cross-arts developments
international orchestras and offer a visiting base
for the UK’s out-of-London orchestras and national • There will be visibility from parts of the surrounding
youth music organisations areas into the hall, providing opportunities to see and
observe the orchestra at work
• Enable access for young people to world-class
performance, music-making and learning • An exhibition space will become the home of
opportunities in partnership with music education major shows exploring sound and music, with the
hubs and other agencies larger ‘blockbuster’ exhibitions spilling out into the
building’s wider front of house areas

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2.6.6 As a whole, the Centre for Music must be a landmark

and inspirational building which draws people inside
and which reflects the venue’s significance as part
of London’s cultural infrastructure. A building of
this nature is also required to attract private sector
funding in both the short and long-term.

2.6.7 This is not just about one new facility. It is about

creating a set of integrated new, existing and
repurposed facilities across four venues, planned
together to make a wholly exceptional offer to
audiences. This adds a collaborative dimension to the
plan, in which the whole is far greater than the sum
of the parts.

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2.7 WHAT IS THE OUTLINE BUSINESS CASE? Option 1: Do nothing 2.7.9 It has the highest capital cost, but the investment
Continue to use existing facilities with no serves to unlock quantifiable benefits that would
2.7.1 The Outline Business Case, developed in accordance improvements, risking declining status and loss of not be realised in the absence of the investment.
with HM Treasury Green Book principles, analyses in audience. These include additional tourism spillovers for the
detail the different aspects of the case for the project. UK, wellbeing benefits for audiences arising from
After extensive independent analysis, it reaches the Option 2: Rebuild the Barbican Hall engaging with music and consuming music digitally,
conclusion that building a new Centre for Music in Completely rebuild and enlarge the present Barbican and longer-term benefits for individuals and society
the City of London offers the best location, the best concert hall to create better acoustics, but with major at large from the extensive education and learning
value for money, and the best economic impact of all impact on the rest of the Centre. activities that would take place.
the available possibilities.
Option 3: Build a new concert hall 2.7.10 The qualitative assessment of the options
STRATEGIC CASE Create a new venue in a location that allows for strengthens the case for Option 4, which has
a landmark building, but with limited space for the highest ranking of all options. This stresses
2.7.2 The Centre for Music can enable a step-change in educational, digital and commercial needs. the contribution to London’s world-class status,
the offer to audiences, visitors and performers. Given extending the reach and diversity of engagement
the context of the collaboration between the LSO, Option 4: Build a new Centre for Music with great music and supporting the UK’s position as
Guildhall School and Barbican Centre, the strategic Create a landmark, inspirational building that is a world-leading centre for the cultural and creative
case for a new Centre for Music is that it can provide part of the collaboration between the LSO, Guildhall industries. While not wholly quantifiable in financial
an inspiring model of performance excellence and School and Barbican Centre and located in the area terms, these are central to the strategic case and the
audience engagement. It will act as a base for digital of the City where it is developing its Cultural Hub, rationale for the investment.
development, participation, discovery and learning, delivering high-quality spaces for education, digital
which will be of benefit to all. and commercial activity. 2.7.11 Option 4, to build a new Centre for Music, is therefore
the preferred option for delivering the strategic
2.7.3 In terms of what London can offer the UK and the 2.7.6 The results of the quantitative appraisal of the objectives of the project.
world, this is potentially a game-changer. shortlisted options indicate clearly that Option 4
performs best in terms of overall value for money in
ECONOMIC CASE relation to the base case of doing nothing.

2.7.4 A full list of potential options for a new facility 2.7.7 It delivers the highest overall economic benefit at
has been considered, starting from a base case £890m in present value, which is £510m greater than
of no action, and exploring options including the the do nothing option and £576m greater than Option
refurbishment or rebuild of the Barbican Hall, 3.
building a new concert hall in London or near the
Barbican, outside or inside the City, using existing 2.7.8 It has a gross benefit-cost ratio of 1.39. In net
facilities to enhance the educational and digital offer, terms, when compared to the base case of Option
placing these in a separate building, and finally 1, the benefit-to-cost ratio for Option 4 is 1.73 (for
developing a Centre for Music which starts from those benefits that can be quantified, and before
scratch on a new site. considering more qualitative benefits).

2.7.5 These have then been refined down to four

shortlisted options which are analysed in full:

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COMMERCIAL CASE

2.7.12 This analyses the functionalities required to deliver

the project, and highlights the required services,
the procurement strategy, and the potential for risk
transfer. The detail of this work will be undertaken
in the next phase of the project. In the meantime it
is assumed that the City of London Corporation’s
processes and policies for capital projects will be
adopted in order to ensure a robust framework for
the delivery of the project.

FINANCIAL CASE

2.7.13 This analyses the financial structure of the project

and considers how it would be integrated into the
business models of the Barbican Centre and London
Symphony Orchestra going forward. The schedule
of accommodation and the design of the Centre for
Music has been built in detail through the combined
expertise of the Barbican, LSO and Guildhall School
together with highly experienced project managers,
GVA Acuity, and design consultants Arup. The size,
scale and capital cost of the building has been
benchmarked against similar projects both in the UK
and overseas.

MANAGEMENT CASE

2.7.14 This analyses the necessary steps to deliver the

proposition effectively. The project will be managed
in accordance with PRINCE 2 methodology in
seven phases, with this study as Phase One, and a
second phase running from late 2015 to March 2017,
delivering a full business case, concept design and
fundraising plan.

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2.8 WHERE SHOULD IT BE? 2.8.4 The City Corporation recently completed and • Centre for Music
consulted on an Area Strategy for the Barbican and World-class acoustics, orchestral excellence,
2.8.1 The question of the most suitable venue for a new Golden Lane, which will plan to bring significant immersive learning, participatory events, digital
concert hall is clearly complex and sensitive, and new public realm improvements to the area in the engagement
requires careful analysis. A new hall in a currently near future, improving pedestrian and cycle access,
unserved or underserved area of the capital or creating open spaces, and highlighting the unique • Barbican Hall
beyond could bring real benefits to that area, but residential amenity of the Barbican Estate. Innovative music-making, contemporary experience,
would require major investment in infrastructure, exploring music and technology
audience development and management structures, 2.8.5 The dynamic partnership of three organisations, the
and would not necessarily benefit from the City LSO, Guildhall School and Barbican Centre, would • LSO St Luke’s
Corporation’s financial support. The brief for this result in an offer that is based not just on the new Engaging local communities, diverse programming,
study already suggests that such a hall could be built Centre for Music but also includes the extensive commercial recording
in or near the City of London. The Outline Business facilities of the Barbican Centre including its existing
Case presents and analyses the options. hall which would be renewed and repurposed as • Guildhall School Milton Court
part of this project, the Guildhall School with its Intimate music-making, chamber orchestras, artist
2.8.2 There are advantages to a site in the City of London, outstanding Milton Court concert hall for smaller- residencies, integrated arts and learning.
as part of the evolving Cultural Hub in the north- scale music, and the much-valued local activity of
west area of the City around the Barbican Centre LSO St Luke’s. The umbilical links between these 2.8.8 Further cross-arts elements will complement
and the Museum of London. As referenced above, different venues, each with its own character and this picture of close musical partnership. The
the centre of gravity in London is moving east, and purpose, would be visible to all. curriculum-based student experience of the Guildhall
this area of the City provides a pivot point between School serves drama as well as music, training
the established West End, the regenerated area of 2.8.6 This partnership would build organically on existing actors, musicians and theatre technicians for the
King’s Cross with its emerging Knowledge Quarter, structures and support in delivering new services. future. The cross-arts, wide-ranging offer of the
and the developing east with the planned new Partners would therefore achieve far more than Barbican Centre presents theatre, dance, film and
facilities of the Olympic Park. It is located directly the sum of their parts, through sharing space, galleries all under one artistic leadership, with strong
on the new Crossrail service, with Farringdon to sharing expertise, sharing education and learning commercial underpinning.
the west and Moorgate/Liverpool Street to the activity, and sharing varied programming plans in
east, both with excellent north-south as well as a linked offer to audiences. The partnership would 2.8.9 Building outwards from this context, the location of
east-west connections. It is adjacent to the thriving significantly reduce overall running costs through the a world-class Centre for Music in the City of London
Tech City around Shoreditch and the vibrant area use of existing management structures. would demonstrate what it can offer London and the
of Clerkenwell, both areas of growing creative nation. As the City Corporation has done for many
industries and small-scale businesses. It is in a 2.8.7 In this plan, the new Centre for Music will not be a years, including the creation of the iconic Barbican
position to reach and develop diverse new audiences. stand-alone venue. As a key part of the development, Estate, it would support the provision of high-quality
the present Barbican Hall would be renewed and facilities that offer access and engagement for all,
2.8.3 The recent development of the City of London’s repurposed as a home for innovative and popular making its own decisive contribution to the status of
Cultural Hub in the north-west of the City has been contemporary music, and the community use of LSO London as a world-class city.
a major element in rethinking this thriving area of St Luke’s would be enhanced. Each of the music
the City which is home to an unrivalled collection of venues within the Cultural Hub would have its own
arts, cultural, heritage and learning organisations. strong characteristics and features – as a working
It has already led to fresh collaborations across the summary:
area, especially with the Museum of London, cultural
bodies and heritage bodies, all linked to the cultural
strategy of the City of London and making links with
major institutions such as St Paul’s Cathedral.

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2.9 WHAT SHOULD THE CENTRE FOR MUSIC CONTAIN? 2.10 WHAT COULD THE PROGRAMME BE? 2.10.6 The range of activity across the four venues has been
articulated in four thematic strands:
2.9.1 The concert hall of the Centre for Music will be the 2.10.1 This is the heart of the new proposition which we
world-class performance space that London needs. offer. The creation of a new Centre for Music will • Platforms: rehearse/create/perform
The Centre for Music will take a radical approach enable a far broader and richer cross-section of
to the interlinking of this concert hall with front of music to be programmed across the campus than London Symphony Orchestra, Barbican Associates,
house and backstage facilities, and will offer varied currently, in venues that are ideally suited to each London Symphony Chorus, Barbican Contemporary,
spaces for informal performance, learning and individual genre, ensuring a better experience for youth orchestras, Music Hub ensembles, schools
engagement. artists and performers, existing and new audiences. and communities, artist development and digital
A diverse programme model will be developed, interaction
2.9.2 The main spaces of the Centre for Music will be: planned, coordinated and delivered across the four
venues. Collaboration with the other organisations of • Public experience: visit/view/listen/interact
• Concert Hall: 1,900 capacity main hall with world- the City’s Cultural Hub will add to the richness.
class acoustics, an extraordinary venue for making Music welcome, exhibition space, insight, talks, new
and experiencing acoustic (i.e. non-amplified) music 2.10.2 A programme has been developed to show how much concert formats, digital resource, library
could be achieved in the spaces available, and a two-
• Club Space: a more informal second performance week sample is shown in the study to demonstrate • Participation: join in/contribute
venue for 200 people with integrated dining and bar what the LSO, the Barbican’s associate orchestras
facilities for late-night and free flowing activity and ensembles, the international associates and Learning spaces, participatory workshops, studios for
visiting orchestras could potentially offer audiences. schools, youth ensembles and adult amateur groups
• The Core: the main front-of-house facilities: an
inclusive, transparent and engaging space where the 2.10.3 The LSO’s work with Sir Simon Rattle and its other • Professional Development: progression/training
audience, performers and staff meet and interact conductors would have its home in the Centre for
throughout the day and into the evening Music. Major works which are impossible to perform Creating a new workforce for music education and
in the current Barbican Hall either because of size leadership, music therapy, Creative Labs, orchestral
• Learning and participation spaces: welcoming or because of the lack of key facilities, e.g. an organ, artistry, international knowledge exchange.
spaces for informal performance, discovery and could now be offered.
development, exhibition spaces
2.10.4 The venues will be filled with musical and cultural
• Digital spaces and facilities: state-of-the-art spaces experiences all the year round. In the new Centre
for content creation, broadcast spaces and technical for Music, for example, evening performances and
areas open rehearsals will be complemented by weekend
matinees, short early evening performances, late-
• Rehearsal and back of house: rehearsal spaces,
night events in the informal Club Space, coffee
dressing rooms, break-out rooms, servicing
concerts and lunchtime performances, with daytime
exhibitions and learning activities.
• Entertaining and restaurant spaces: rooms for
receptions, dining facilities
2.10.5 It will be possible to move from a digital learning
session in the Centre for Music to a world music
• External spaces: accessible interactions with the
concert in the Barbican Hall, or from a community
Centre for Music.
session at LSO St Luke’s to an evening recital in
Milton Court, all within short walking distances with
ample restaurant facilities.

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2.11 WHAT IS THE LEARNING AND DISCOVERY OFFER? 2.11.3 The Centre for Music will build on the existing LSO 2.11.6 An illustration of the kind of learning and discovery
Discovery and Barbican/Guildhall Creative Learning opportunities for people of all ages made possible by
Every child ever born wants to paint a picture, offer. This has developed strong links with schools, the Centre for Music is illustrated opposite.
dance, sing, hear a story, build a kingdom out of communities and boroughs in east London, and has
pots and pans. created an organic set of relationships for the future.
– Jeanette Winterson, The Guardian The programme will link to the Guildhall School’s
International Professional Development Programme,
There is compelling evidence for the benefits of training musicians for the future to perform, create,
music education on a wide range of skills including: lead and communicate, and extend this to artists
listening skills which support the development of from other disciplines.
language skills, awareness of phonics and enhanced
literacy; spatial reasoning which supports the 2.11.4 It will place equal emphasis on informal, non-formal
development of some mathematical skills; and and traditional instrumental progression routes,
where musical activities involve working in groups and be attuned to career opportunities in teaching,
a wide range of personal and social skills which performance, management, creative production, and
also serve to enhance overall academic attainment enterprise. It will help to create a flexible and creative
even when measures of intelligence are taken into workforce. Higher Education training, placement,
account…. apprenticeship and paid internship schemes will
– Professor Susan Hallam be developed, encouraging a diverse demographic
reflecting the London of today.
2.11.1 The Centre for Music will generate progressive
opportunities for people of all ages to learn, create 2.11.5 A long-term ambition for the inspirational effect
and perform in new and dynamic ways. With an of the Centre for Music is that by 2040, through
outstanding concert hall at its core, together with collaboration and in association with partners:
supporting spaces for informal performance,
learning and development, the Centre for Music will • By the age of 18 every young person in the country
enable a transformative offer of musical discovery. will have had the opportunity to experience the
Centre for Music physically or virtually
2.11.2 There has always been a challenge for London’s
cultural organisations in the diversity of the • Every household within the M25 should have had at
audiences that they attract. In developing work least one interaction with the Centre for Music
established over thirty years in pioneering
relationships with east London and taking this The LSO’s education work is world famous and
further, the alliance of the Guildhall School, Barbican rightly admired and copied. We should go much
Centre and LSO with an inspiring new leader is further, starting with a much closer Guildhall
ideally placed to radically increase that diversity. relationship. We should attract the world’s best
students, and educate them as the next generation
of LSO players. All should be associated with
a primary school, all should learn conducting,
composing and improvisation. All should have a
total command of the stylistic demands of all kinds
of music - again a holistic approach. All should be
evangelists for music, not just players.

– Sir Simon Rattle, 2015

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DAYS OF DISCOVERY…new experiences for all and discussions and debates on great musical works. This will provide access to
excellence on an unprecedented level, allowing audience members the chance to
The Centre for Music will offer a huge range of opportunities for people of all ages to taste the atmosphere of the Centre for Music remotely before potentially visiting the
experience, participate in and learn about all aspects of music in the most inspiring venue for the first time.
setting imaginable. It will offer something for everyone; from those experiencing the
arts for the first time to people looking to develop their skills and knowledge and to Interactive exhibition spaces
gain outstanding new experiences of music.
At the Centre for Music’s heart will be a ‘launch pad’ into the world of music and
The Centre for Music will be a transformational facility that embraces a wealth of music-making. This permanent exhibition will reveal the essence of sound - its
musical styles and genres, engaging a wider, more diverse community of audiences tone, colour, shape, momentum - through the fundamentals of rhythm, melody and
and participants in music at all levels. harmony. It will be accessible, available and visible to anyone who walks into the
building, inviting them to discover the art, craft and science of music through playful
Experiencing live music interaction that is both fun and educational.

At the heart of the experience will be live music with a spectacular new concert hall Families and school groups will have the chance to visit the Centre for Music’s
offering a truly inspirational setting to engage with music of all kinds. The design of interactive play zone, an exhibition space that will provide fascinating, hands-on
the building, with more integrated front-of-house and back-of-house areas, will feel digital resources that bring music to life; from a digital journey showing how music
inclusive and alive, encouraging interaction between musicians and members of the has evolved through the ages to interactive exhibits that give visitors the chance to
public. conduct a digital orchestra.

Open rehearsals from the LSO and other major orchestras will give young people Students and young people will also be able to book special packages that give them
the chance to meet musicians and witness the sound of a full symphony orchestra the opportunity to experience all areas of the Centre for Music including regular
performing or rehearsing either from the hall itself or in specially equipped ‘pods’ in drop-in sessions in the Creation Studio where experienced workshop leaders will
the foyer that provide digital notes on the music being played. encourage them to explore music-making, handle and play instruments and create
their own music in state-of-the-art spaces. Early years sessions will enable families
Innovative learning and engagement who are getting involved with composing and playing music to meet and learn
together.
The Centre for Music learning experience will not only include the concert hall itself,
but a range of interactive and participatory spaces and learning zones that provide The Centre for Music will also provide professional development opportunities
visitors of all ages and experiences with irresistible opportunities to explore music- for young people interested in developing their career in the music and creative
making through sound installations, touch screens, talks, singing and hands on industries, through apprenticeships and paid internship schemes that encourage
instrumental playing. a diverse range of people to consider possible careers across programming,
production, stage and technical management. This will complement a programme
School music groups will be able to visit the Centre for Music to take part in a side- that aims to build a new national workforce of 21st century portfolio musicians who
by-side session with LSO musicians as well as performing in the Centre’s informal can perform, compose, improvise, lead and teach at the highest level.
foyer spaces. There will be workshops, open to all, ranging from learning choral
singing to developing DJ-ing skills, all led by professional musicians and educators. Partnership

The Centre for Music will run digital discovery projects that ensure the Centre’s The Centre for Music’s work is designed to complement and enhance the outstanding
education programme will resonate far beyond its walls, providing digital learning music education work already going on across London and UK. It will also build on
resources for schools that introduce young people to the joys of music and the partnerships forged over many years by the LSO Discovery programme and the
encourage them to start their own musical journey, as well as providing online Barbican and Guildhall School’s pioneering joint creative learning department with
courses that bring together people from across the country to explore and encounter music hubs and a wide range of cultural and education organisations.
music together.
It will work closely with the UK’s regional and national music organisations to build
Digital technology will also give the public constant and free access to the activities in a collaborative structure of music delivery for the country that encourages lifelong
the Centre for Music – whether live streaming concerts from world-class performers engagement with performance and ensures every child in this country has the
such as Sir Simon Rattle and the LSO to being able to watch rehearsals, workshops chance to experience a high-quality music education.

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2.12 WHAT IS THE DIGITAL OFFER? 2.12.4 Building a new facility enables the creation of
engaging public spaces which change the way
2.12.1 The Centre for Music will be the first British audiences relate to music. An immersive, informal
institution of its kind to be conceived and created in front of house space will allow the audience to see
the digital age. It will be optimally placed to harness and hear the stage and performers, with a range of
digital technology in order to engage, educate and camera angles, high quality audio and opportunities
inspire audiences from all backgrounds and of all to take control of the viewpoint or have it curated by a
ages. commentator or member of the orchestra.

2.12.2 For the Centre for Music, it provides an opportunity 2.12.5 A separate interactive zone could be a ‘launch pad’
to break down barriers to access and offer new into the world of music and music-making. This
ways to communicate. Digital in this context means permanent exhibition will reveal the essence of
immediacy, ‘shareability’, and malleability: a culture sound - its tone, colour, shape, momentum - through
in which information can be created and shared in the fundamentals of rhythm, melody and harmony.
an instant. The rapid evolution and development of It will be accessible, available and visible to anyone
technology means that it is crucial not to be limited who walks into the building, inviting them to discover
by what is possible now, but to imagine how improved the art, craft and science of music through playful
technology could enable new audience experiences. interaction that is both fun and educational.

2.12.3 A number of recommendations are set out in the

study for the kind of experiences the Centre for Music
will offer across the Concert Hall, the public spaces
and beyond the building’s walls. These proposals
have been informed by a number of specially
commissioned research papers.

The Centre for Music is poised to be one of the

most significant projects undertaken in the City
for a generation. It has the ability to capture
the imagination of London…The role that digital
technology plays could be ground-breaking
and inspirational, but more importantly it has
a fundamental potential to elevate the entire
experience of the venue.

– Rawden Pettitt (Stanton Williams),

Architecture and Digital Technology

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2.13 WHAT WOULD BE THE CHANGES TO THE BARBICAN 2.13.4 LSO St Luke’s already provides significant community
HALL AND LSO ST LUKE’S? programming, and with the move of LSO rehearsals
to the new Centre for Music, this can be increased
2.13.1 The current Barbican Hall is highly valued for and developed. This will help further deepen roots
the repertory it presents, and it is currently in in the local community beyond the Square Mile of
overwhelming demand for concerts, rentals, the City and provide more first access opportunities
commercial hires (e.g. annual general meetings, through a wider range of LSO Discovery participation
university graduations), preventing the hall’s resident and performance activity, as well as new community-
and associate orchestras from rehearsing there as led activity. The visually superb setting of LSO St
regularly as they would wish and need. The balance Luke’s will be further enhanced as a base for digital
of its activity has moved increasingly to include the recording, especially for learning programmes and
presentation of amplified non-classical, jazz, world online courses.
and other genres which draw a very diverse audience.

2.13.2 The renewal and repurposing of the Barbican Hall

would be a major exercise with the aim of greatly
increasing flexibility in both repertory and audience
accommodation. The stalls seating would be able to
switch between raked seating and a flat floor which
would enable a standing audience for the non-
classical contemporary concerts. The repurposing
would allow greater flexibility and further potential
for income generation.

2.13.3 The refurbished Barbican Hall will make a distinctive

offer: a technologically advanced facility, allowing
the Barbican to programme a rich and diverse range
of contemporary and world music that reflects
London’s changing community. Through its wide-
ranging cross-arts programme the Barbican already
attracts a diverse audience: this development would
complement the vision of the Centre for Music to
be inclusive, participative, and welcome the widest
range of audiences as a cultural home for all
Londoners.

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2.14 WHAT IS THE POTENTIAL IMPACT ON THE WIDER 2.14.4 The BBC is a natural partner in this process, and its
SECTOR? recent policy statements emphasise the priority of
collaboration going forward. The BBC plays a central
2.14.1 Beyond the Centre for Music, there is immense role in the cultural and musical life of the country,
opportunity for its activities to be transmitted and and already has strong links with the Barbican
relayed nationally and internationally. With a body of Centre through its thriving relationship with the BBC
exemplary digital content, the Centre for Music can Symphony Orchestra as Associate Orchestra and its
push the boundaries of learning and engagement, relays of the LSO on radio and television. The BBC
developing new models of digital engagement. Young Musician and its ‘Ten Pieces’ concert will be
relayed from the Barbican in 2016. This will be built
2.14.2 We have undertaken, as part of the preliminary on in the future so that the BBC becomes a key
work on this study, a pilot project based around partner in the collaborative process.
Stravinsky’s The Rite of Spring filmed in a recent
performance by the LSO under Sir Simon Rattle. 2.14.5 In the initial consultations that have been
Creating a major digital learning course led by commissioned for the study from Bonnar Keenlyside
Simon Rattle, in collaboration with FutureLearn and the independent adviser Peter Phillips, there are
and curator Gerard McBurney, we have shown a range of views with many positive and supportive
how digital engagement can provide added value comments about the ambitions of the project. There
to the performance experience, exploring cultural is also a clear concern that the impact on the
background and musical methods in depth, music sector in London and UK might be damaging,
enlightening both the piece, its composition and its potentially drawing resources and audiences away
cultural context. This provides a template for possible from current existing activity. This consultation
future provision enabled by the Centre for Music. concentrated on the classical music sector, and we
now need to engage the widest musical community.
2.14.3 However, as with all innovations in this area, there
may be concerns from the sector that this work is not 2.14.6 We wish in the next stage of this project to consult
fully reflecting their own contributions and activity. It widely, and to work with partners in the sector to
is therefore important that a dialogue is established respond to these concerns. We believe that a large-
to ensure collaboration and partnership in this area, scale, widely recognised project will decisively raise
so that the digital innovations can be planned on a the profile of music nationally, and will be of benefit
collaborative basis around the UK and best practice to the sector as a whole, expanding the market
is shared widely. for the art-form in the same way as Tate Modern
achieved for the visual arts sector at the start of
the millennium, or Sadler’s Wells has achieved for
contemporary dance: the experience is that increased
supply to an already expanding market creates more
demand.

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2.15 HOW COULD THE VISION BECOME REALITY? 2.15.3 The advantages of the present site of the Museum
of London as a location for the Centre for Music are
2.15.1 We began to develop this proposal as an ambitious considerable.
concept, at a time when it was not obvious that any
opportunity existed to implement it because there • The site analysis by Arup as part of the Feasibility
was no immediately suitable site. While we have been Study shows how the necessary size and scope of
working intensively on the project, an opportunity the Centre for Music can be integrated onto the site
has become available which we believe potentially alongside a commercial development which helps to
provides the ideal solution and ensures the feasibility reduce its cost.
of the project.
• The position of the site in relation to the current
2.15.2 Independently, as part of a common ambition to facilities of the Barbican Centre, Guildhall School and
improve London’s cultural and heritage offer to the LSO St Luke’s is ideal, and allows for shared services
public, the Museum of London had been considering to reduce running costs.
its development for the future and has analysed
different options, including further development on • The City Corporation is the owner of the site, and has
its present site and moving elsewhere. The future indicated its willingness to provide the site for the
of the West Smithfield General Market had been the project, significantly reducing the overall capital cost.
subject of considerable debate over a commercial
development planned for the site, and that plan was • The potential for increased connectivity between the
withdrawn. Discussions are now taking place with Centre for Music and the Barbican is considerable,
a view to ensuring the Museum’s ambition to move and would potentially help to address the access and
to West Smithfield, enabling it to enlarge and have visibility issues that were highlighted in the Barbican
an exciting new presence near Farringdon Crossrail and Golden Lane Area Strategy.
station.
• The rotunda at the Museum of London is currently
under-developed: if it were to become a landmark
for the new Centre and the Barbican, visible from
the north of St Paul’s Cathedral, a connectivity would
be established that has so far been absent from
the Centre, to St Paul’s, to the Millennium Bridge,
linking to Tate Modern and the South Bank on one of
London’s prime cultural routes.

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2.16 WHAT ARE THE COSTS AND HOW SHOULD IT BE 2.16.5 The annual revenue costs for the Centre for Music
FUNDED? have been provisionally assessed at £5.6m per
annum. This is low in comparison to the operating
2.16.1 Leading consultants GVA and Arup, and quantity costs of comparable organisations. This is due firstly
surveyors Gardiner & Theobald, have been retained to the substantial synergies achieved in working
to analyse the costs of the Centre for Music with a with the Barbican Centre as it would be planned as
detailed accommodation schedule as specified in the an extension of current activities. Moreover income
study, which is included in Part III. This indicates that generation is at the heart of delivering the vision, with
the overall space requirement of the Centre for Music venues and spaces designed to ensure the building is
building is likely to be just under 30,000m². This will busy and vibrant through the day.
be refined during the next phase of the project.
2.16.6 As part of the next phase of the project, additional
2.16.2 The basis for this is the design concept of the site options will be explored to generate income. The
identified at the present Museum of London. In the report assumes that these income streams and costs
course of this intense period of the Feasibility Study will be factored into the present business models of
we have aimed to create a vision for the project the Barbican Centre and LSO, making use of existing
and an outline design, without for example going infrastructure and ensuring that the incremental
to architectural competition. The aim has been to costs of the new venue are minimised.
establish whether in terms of the brief for the study,
the proposal is feasible. It is. 2.16.7 A major private fundraising campaign will be planned
and initiated, and we have commissioned a study
2.16.3 The total capital costs in present day terms, to assess the potential level that such a campaign
excluding the value of the land, are estimated as could reach. The present estimate of a realistic but
follows: ambitious figure is £125m.

• Centre for Music: £278.2m 2.16.8 The total investment involved in this project will allow
the realisation of the significant cultural, social and
• Works to Barbican Hall: £34.4m economic benefits that are described in this report.

• Works to LSO St Luke’s: £0.8m 2.16.9 The report is the first step in a process of design
and implementation and further detailed work will
be required. It is recommended that the project
2.16.4 The site is owned by the City Corporation and should immediately proceed to Phase 2, which it is
could be provided for this purpose. In building the estimated will take 18 months from the start. This
economic case of the Outline Business Case, the site will complete the Full Business Case for the project,
has been valued at £160m. Additional costs which are agree the terms for the acquisition and development
specific to this site total some £39m. of the preferred site, develop the design concept and
plan the private sector fundraising with the aim of
securing a lead private funder.

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2.17 WHAT ARE THE CONCLUSIONS AND NEXT STEPS? 2.17.2 This report has demonstrated that the Centre for
Music can provide an inspiring model of performance
2.17.1 The summary conclusions of this study are: excellence and audience engagement, demonstrating
best practice and value for money. This Feasibility
Study provides a strong evidence for the ambitions of
the commissioners, the Chancellor of the Exchequer
and the Mayor of London, in ensuring the long-term
• London must innovate and develop new facilities if it is to maintain its position as a prominence of London as a world-leading city.
world cultural leader.

• London needs a great concert hall with world-class acoustics for symphonic music.

• This new facility can be the first concert hall created specifically for the digital age in
the UK.

• It can offer ambitious education and learning programmes, digitally available to all,
increasing the diversity of audiences.

• The UK’s music sector will benefit if London is seen internationally as a leader in this
field.

• The Centre for Music should be located in the City of London, where it can benefit from
the strong support of the City of London Corporation.

• The alliance of the LSO, Guildhall School and Barbican Centre provides a firm
collaborative basis for the project.

• The emerging Cultural Hub of the City around the Barbican and the Museum of London
provides the ideal location for the development.

• After careful analysis of the options, a site can be identified which it is feasible to
deliver.

• Together their venues can make an inclusive and diverse offer to a wide public.
• The project supports the delivery of key objectives for key stakeholders including
Government, Arts Council England, the Greater London Authority and the City of London
Corporation.

• It demonstrates what the City can achieve for London and the nation.

• It can unite a range of potential funders, both private and public, in delivering a
major addition to London’s outstanding range of landmark buildings, one that excites
audiences, visitors and performers alike.

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3. SCOPE AND PURPOSE

3.1 This Outline Business Case and Feasibility Study has 3.4 This report is the first substantive step in a long
been prepared in response to a request to consider process of design and implementation. It considers
the case for a new state-of-the-art Centre for Music, four strategic options of which one is identified as a
including how it could be delivered in the City of preferred option which is developed in more detail in
London, how it will operate sustainably in the long- relation to a single preferred site. Further detailed
term and what the impacts and benefits are for the work would be required to develop a Full Business
wider music sector. Case as part of a next phase of work as outlined in
Section 32.
3.2 This report is the output of an intense six month
study, building where appropriate on existing work.
The aim of the report is to:

• Set out the case for a new Centre for Music;

• Present a formal Outline Business Case for a project
to build a new Centre for Music; and
• Assess the feasibility of delivering such a project.
PART I Introduction and Executive Summary Synopsis of the Report’s contents and findings.
3.3 This report is set out in two main parts as follows:
Four Strategic Options
PART II Sets out the formal Outline Business Case in line with the
(Options 1 to 4).
Outline Business Case – setting out the formal requirements of the HM Treasury Green Book.
outline business case in line with the requirements of PART II Outline Business Case
the HM Treasury Green Book. Four strategic options are considered with a Preferred
Not Site Specific.
Option identified as part of the Economic Case.
PART III
Feasibility Study – setting out in greater detail the Sets out in greater detail the case for a new Centre for
case for a new Centre for Music and the benefits that Music based on the Preferred Option from the Outline
it will bring, as well as considering in detail how such Business Case.
a project might be delivered. One Preferred Site.
Considers the benefits that the Centre for Music will bring
There is some duplication between the two parts of PART III Feasibility Study and its broader impact, and how such a project might be Two possible development
this report where that is considered appropriate in delivered. options for the Preferred Site
order that each part can, if necessary, act as a stand- (Options A and B).
alone document. Considers possible site options and identifies a preferred
site in relation to which more detailed analysis has been
carried out.
Detailed analysis, reports and supplementary
PART IV Appendices
information.

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TERMS OF REFERENCE

OVERALL BRIEF
For the Barbican Centre with its resident orchestra the London Symphony Orchestra to consider the case for
4. TERMS OF REFERENCE a new state-of-the-art Centre for Music; including how it could be delivered in the City of London, how it will
operate sustainably in the long-term and what the impacts and benefits are for the national music sector.

SPECIFIC OBJECTIVES
In particular, this study should consider:
4.1 The Terms of Reference under which the Outline
Business Case and Feasibility Study have been
• The case for a Centre for Music, how it would operate artistically and financially in a sustainable way, and
prepared were agreed with the Department for
the implications for the operations of the Barbican Centre and the LSO.
Culture, Media and Sport (DCMS) and Greater
London Authority (GLA) in April 2015 and are set out • The location options for building a world-class Centre for Music in the City, what it would cost to build and
below. how the business model would work.
4.2 This report sets out conclusions arising from the • The role of such a Centre for Music within the wider musical sector nationally, in London and within the
work of the past six months and outlines the steps context of the City’s Cultural Hub and how the project will contribute to the wider community including
required to progress this project to the next stage. regional economic growth and partnership working.

• How the Centre for Music will be transformative for the nation as a whole; contribute to national objectives
for engagement in music and the arts; and engage, educate and inspire people from all backgrounds and of
all ages, particularly through the use of digital technology.

GOVERNANCE
The Steering Group for the study will include senior representatives of the Barbican, LSO, Guildhall School of
Music & Drama, City of London Corporation and Arts Council England. The Department for Culture, Media and
Sport (DCMS) and the Greater London Authority (GLA) will attend as observers.

The Arts Council’s role is to advise on the extent to which any such Centre could contribute to the national
ecology for music and improve engagement in the arts.

Every two months DCMS and GLA will convene a Review Meeting with the Steering Group.

A Project Group will oversee the work streams of the study, reporting to the Steering Group, and will comprise
Sir Nicholas Kenyon (Managing Director, Barbican Centre), Kathryn McDowell (Managing Director, LSO),
Professor Barry Ife (Principal, Guildhall School), Sandeep Dwesar (Chief Operating and Financial Officer,
Barbican Centre and Guildhall School), Rikesh Shah (Finance Director, LSO) and Peter Lisley (Assistant Town
Clerk, City of London Corporation).

ADVISERS
Nick Hytner will be invited in from time to time to advise on the wider cultural, digital and educational offer,
acting as a critical friend for the project, stress-testing assumptions and assertions around the feasibility work
and the geography and acting as an independent voice amongst all those with an interest in the overall scheme.

Other advisers will be asked to contribute as appropriate.

TIMESCALES
The study is to report in six months (September 2015), with interim reports in three to four months
(June/July 2015).

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OUTLINE BUSINESS CASE
35
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OUTLINE BUSINESS CASE

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OUTLINE BUSINESS CASE

5. SUMMARY OF THE OUTLINE BUSINESS CASE

5.1 INTRODUCTION 5.2 STRATEGIC CASE 5.2.4 The Centre for Music will provide an inspiring
model of performance excellence and audience
5.1.1 This Outline Business Case has been prepared in 5.2.1 London is a leading world city with a world-famous engagement, demonstrating best practice and
response to a request to consider the case for a new cultural offering; however, present music facilities in delivering value for money.
state-of-the-art Centre for Music, including how it the capital do not match those of world-class halls
could be delivered in the City of London, how it will that have been built elsewhere in the world, nor are • It will create world-class performance and digital
operate sustainably in the long-term and what the they particularly well suited for the digital future. opportunities, marking a step change for the
impacts and benefits are for the wider music sector. organisations involved, providing immense benefit to
5.2.2 The acoustics for non-amplified music in the the City and advancing London’s reputation as a
5.1.2 According to the Visit Britain Foresight November Barbican Hall are amongst the best in London pre-eminent cultural centre.
2014 report, the UK’s overall ranking for culture but not of the very highest quality, particularly
has slipped to fifth place as other countries are when compared to other concert halls overseas. • The Centre for Music will be an inspirational,
improving at a faster rate. The Centre for Music Additionally, a lack of flexibility for today’s needs and forward-looking facility. It will transform the
would play a crucial role if London is to reverse the space limitations mean that the LSO is unable to traditional model of the concert hall, creating new
trend and become the world’s leading cultural city. rehearse in the hall and, moreover, education and types of spaces and experiences of music, making it
The Strategic Case sets out the investment objectives engagement activity is severely restricted. more immediate, more accessible, more intimate and
of this project and their consequent benefits to help more immersive.
enable this outcome. 5.2.3 Without facilities that at least match or exceed
facilities in many other parts of the world, London’s • Its range and increased programming diversity will
5.1.3 The Economic Case demonstrates that the Centre for position as a leading cultural city will inevitably be better reflect London’s demographic, and will help to
Music offers high value for money with substantial affected. This proposal sets out the case for a world- meet the needs of London’s growing and increasingly
benefits for London and the UK’s wider cultural class facility that, with the unique collaboration of the diverse population.
sector. The Financial Case sets out the capital cost Barbican Centre, the London Symphony Orchestra
of the project and its annual running costs, which and the Guildhall School of Music & Drama, 5.2.5 The Strategic Case sets out the context for change,
compare well against both national and international supported by the City of London Corporation, could: demonstrating the investment objectives that would
benchmarks. meet business needs and consequent benefits.
• Enhance the status of London as a world-class
5.1.4 A commercial, management and governance model destination for music
is detailed in the report to reduce risk, setting out a
robust project delivery framework. • Extend the reach and diversity of engagement with
great music

• Provide innovative music discovery and learning

opportunities, both live and digital

• Drive the development of the City of London’s

Cultural Hub as a visitor destination

• Support the UK’s position as a world-leading centre

for the cultural industries.

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5.3 THE ECONOMIC CASE 5.3.6 The key non-quantifiable benefits are identified as 5.3.8 The results of the quantitative appraisal of the
follows: shortlisted options indicate that Option 4 (build a
5.3.1 The economic case sets out a wide range of new Centre for Music) performs the best in terms of
achievable options identified as the “long list”, • The ability of world-class music facilities to improve overall value for money, relative to the reference case
focussed on the range of options around scope, scale London’s overall competitiveness as a location Option 1 (do nothing).
and location. These are then evaluated against the and enhance its inward investment offer to both
project’s investment objectives and critical success prospective businesses and residents 5.3.9 Whilst Option 4 has the highest capital cost, the
factors. investment serves to unlock a number of quantifiable
• The consequential enrichment of the UK’s cultural benefits that would not be realised in the absence
5.3.2 The following four options have been shortlisted for sector and subsequent spillover effects on the sector of the investment. These include wellbeing benefits
appraisal and subject to a cost-benefit analysis: for UK audiences engaged with the new Centre for
• The contribution to the on-going success of the Music facilities, additional tourism spillover effects
• Option 1 – Do nothing Guildhall School of Music and Drama and the longer term benefits for individuals and
• Option 2 – Rebuild the Barbican Hall society at large, as a result of the education, learning
• Option 3 – Build a new concert hall • Welfare benefits linked to health, social inclusion and and digital activities that would take place under this
• Option 4 – Build a new Centre for Music. crime reduction option.

5.3.3 The appraisal considers the costs and benefits over • Tourism spillover effects arising from touring artists’ 5.3.10 The quantified benefit-cost ratio (BCR) of 1.73
the project development and construction period for entourages and press represents value for money. However, this excludes
each option, and then over a 60 year time period. many of the key benefits associated with the
• The non-use value, other than that proxied by proposed Centre for Music which cannot be robustly
5.3.4 The costs considered in the economic appraisal are development income. quantified. The switching value of these would need
as follows: to amount to £190m in NPV terms (£3.2m per annum
over the life of the building) to yield a BCR of 2.0.
• Capital costs (net of assumed private sector 5.3.7 Quantifiable benefits include revenues from direct Such a switching value, in the context of the overall
contribution) plus an optimism bias of 33% applied to users of the facilities plus non-financial benefits contribution a new Centre for Music would bring to
each option monetised using a Total Economic Value framework the London and UK economy, has been considered to
covering: be both modest and achievable.
• Additional opportunity costs associated with the use
of land for the New Centre for Music • Welfare benefits for concert attendees, education/ 5.3.11 Option 4 also scored substantially higher than the
learning participants and those reached by digital other three options in the qualitative assessment of
• Operating costs for the Barbican and the LSO. engagement. Subjective well-being values have been options against the investment objectives and the
attributed to participants, using standard values from critical success factors. Option 2 scored particularly
5.3.5 While the cost-benefit analysis is based on external research, to account for the non-market use poorly and Option 3, as it is currently configured, has
quantifiable economic benefits, the non-quantifiable value of engaging with the new facilities. a BCR compared to the reference case of less than
benefits are significant, and an integral part of the one. A switching value of £215m would be required
overall economic case. • Externalities There are a number of important for Option 3 to have acceptable value for money (a
externality benefits associated with the project. These BCR of 1.3).
include international tourism spillover effects arising
from increases in attendance at concerts, as well as
health and long term productivity benefits associated
with engagement in music and learning activities.

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5.3.12 The preferred Option 4 has been subject to a 5.4 THE COMMERCIAL CASE
thorough risk assessment and sensitivity testing.
The effect of changing key assumptions has been 5.4.1 As the Centre for Music project is at a very early
examined, to determine the overall impact on the net stage, the level of detail regarding the commercial
present value (NPV), BCR and the switching value arrangements is more limited than will ultimately
needed to enable a BCR of 2. be necessary. The exact arrangements will be
developed in more detail in the next phase of work
5.3.13 Overall, the economic analysis has demonstrated as part of the Full Business Case. In the meantime,
that Option 4, the Centre for Music, offers high value it is assumed by default that the City of London
for money, so long as the scale of unquantifiable Corporation’s long-established polices and processes
benefits are of the order of £200m. For an asset with for capital projects will be adopted in order to ensure
a long life and given the potential impact the Centre a robust framework for the delivery of the project.
for Music will have on the London and UK economy,
as well as society at large, this appears entirely 5.4.2 The services for key consultants, contractors,
plausible. There are, however, a number of important specialist advisers and the project team will be
risks associated with the project that will need to required for the duration of the project. Appointments
be carefully managed and mitigated to ensure the will be made at the appropriate stage in the project
project delivers good value for money. with the intention of bringing the core team together
at the beginning of the project.

5.4.3 The procurement strategy will reflect Public Contract

Regulations 2015 with Construction Management
approach considered most likely to offer the best
solution in developing the project programme.

5.4.4 An outline non site specific project programme has

been developed and set out in this report.

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5.5 THE FINANCIAL CASE • The Barbican’s programme will have broader appeal 5.5.10 The total cost of this build programme will, in effect,
and greater capacity within a reconfigured hall. As a deliver two world-class and complementary facilities.
5.5.1 The Barbican Centre and the LSO operate consequence, the net cost of the Barbican Centre will
separately with very different business models. The be reduced considerably. 5.5.11 The Outline Business Case requires financial
business plans and strategic objectives of the two analysis to determine the financial capacity of the
organisations naturally reflect their specific vision, organisation to successfully deliver the project
artistic, operational and business needs. 5.5.6 The Centre for Music and the changes to the and absorb financial risk. The Barbican Centre is
Barbican Hall will deliver: a department of the City of London Corporation
5.5.2 The Financial Case is based on the assumption and its assets and liabilities are reflected in the
that the Centre for Music will be integrated into • The overall music programme will deliver 100 City Corporation’s Balance Sheet. Similarly, the
the operating models of both the Barbican Centre additional concerts, 300 programmes in the Club and Barbican’s bank accounts are part of the City
and the LSO. It sets out the current combined two major commercial exhibitions a year. Corporation’s overall cash management structures
financial base of the two organisations and in detail and therefore reflect the working capital needs of the
examines the impact on them of the Centre for • An additional 184,000 people will directly participate Centre.
Music. This provides the changes to income and in over 3,000 new education and engagement events.
expenditure across Barbican and LSO activities and 5.5.12 The governance and management model of the
the consequent net financial impact of the Centre for • An increase of over 650,000 event attendees per Centre for Music will determine the allocation
Music. annum and an additional general footfall of 350,000. of business risk. This will be the subject of
discussion between the primary funders and project
5.5.3 The allocation of financial risk and the responsibility • Digital reach of the arts programme and education stakeholders – Central Government, Greater London
for the Centre for Music’s activities will depend activity will reach at least two million people. Authority, the City Corporation and Arts Council
on its operating and governance model, yet to be England.
determined. This will be examined and agreed 5.5.7 The cost of running the new building and delivering
during the next phase of the project. this programme of activity is estimated at £18.1m. 5.5.13 For the purposes of the Outline Business Case, the
Total additional income of £12.5m will result in Barbican Centre has used the City Corporation as its
5.5.4 The proposed working model is constructed to deliver net annual running costs of £5.6m (including a parent and reference point. The financial asset base
the synergistic benefits of the three organisations contingency of £0.5m). The advantage of building the and cash reserves of the City Corporation would meet
and to maximize income generation. Centre for Music as part of the current Cultural Hub any risk assessment in relation to this project.
ensures that this financial model, when compared
5.5.5 In particular: to the net cost of running similar organisations is
extremely favourable.
• The model is reliant on the strength and depth
of the Barbican’s management and operational 5.5.8 The total cost of building the Centre for Music
infrastructure giving it the ability to broaden its base including a compete fit out, professional fees,
and deliver a successful Centre for Music. Any other client costs and appropriate contingencies is set at
organisation, without the Barbican’s capabilities £278.4m.
and capacity, would have to build its infrastructure
from the base up and consequently would incur 5.5.9 The total cost of re-configuring the Barbican Hall
significantly higher annual costs. is £34.4m. This delivers a complementary venue to
the Centre for Music which will be technologically
• Purpose built spaces at the Centre for Music will advanced where every form of music has a home.
materially increase the scope to generate income
and reduce annual running costs.

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5.6 THE MANAGEMENT CASE GOVERNANCE 5.7 CONCLUSIONS AND NEXT STEPS

5.6.1 The project will be managed in accordance with 5.6.4 There are three organisations delivering the project 5.7.1 This Outline Business Case concludes that of the four
PRINCE 2 methodology and can be categorised into (Barbican Centre, LSO, Guildhall School) and five short-listed options, Option 4 - build a new Centre
seven distinct phases, which are set out below: key stakeholders (HM Treasury, DCMS, Greater for Music – best delivers the benefits associated
London Authority, City of London Corporation, Arts with the project’s investment objectives and critical
PHASE 1 Outline Business Case and Council England). As a consequence the governance success factors. Option 4 also delivers the highest
Feasibility Study and management arrangements should have the net present value (NPV), at £890m and the highest
resilience to reflect these complexities. Moreover, benefit-cost ratio (BCR) at 1.73 compared to the
PHASE 2 Full business case; RIBA Stage 2 private fundraising will be a key aspect of delivering reference case of Option 1.
the Centre for Music, and consequently a key part of
PHASE 3 Developed design / planning any delivery structure. 5.7.2 The Outline Business Case demonstrates how
Option 4 will be delivered in terms of procurement
PHASE 4 Pre-construction 5.6.5 The following governance and project management and project management, and sets out the financial
structure is proposed: implications for the partner organisations.
PHASE 5 Construction, fitting out and
commissioning • Project Board – to lead and oversee the project at a 5.7.3 The third part of this report – the Feasibility Study –
non-executive level sets out in greater detail the case for a new Centre
PHASE 6 Handover to Operations for Music and the benefits it will bring, as well as
• Fundraising Appeal Board – the fundraising arm of considering in detail how such a project might be
PHASE 7 In Use. the project delivered.

• Executive Group – representing the three

PHASE 2 OUTLINE organisations delivering the project and overseeing
its delivery at an executive level
5.6.2 The next phase of the project, Phase 2, is anticipated
to take approximately 18 months from the start, • Project Team – responsible for the day-to-day
assumed to be immediately after the completion of management and delivery of the project.
the Feasibility Study. This phase will complete the
Full Business Case (FBC) for the project, agree the
terms for the acquisition and development of the
preferred site, develop the concept design and begin
the private sector fundraising task with a view to
securing a lead funder.

5.6.3 In addition to delivering the Full Business Case,

Phase 2 will develop in more detail the full potential
of the three organisations’ creative offer and its likely
impact, within a digital context. This will be the key
strategic theme defining the Cultural Hub and will sit
at the heart of the Centre for Music plans.

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6. THE STRATEGIC CASE

6.1 INTRODUCTION 6.1.4 The quality of London’s facilities, and demands on 6.1.8 This project has been born of a belief that a world-
space which limit the amount of rehearsal time class Centre for Music could give London the facility
6.1.1 London is a leading world city with a world-famous available in the principal performance spaces, are it needs, to inspire a new generation of music-lovers
cultural offering. Over many years it has built important factors for top international conductors by offering them the very best and most exciting
an outstanding reputation as an international and leading musicians who have the choice of music making, available to all.
cultural centre, and it is this offering which drives working with a number of excellent orchestras in
a significant proportion of its visitor activity with an a range of world-class venues. While London is 6.1.9 This project, which has been under consideration
unrivalled range of museums and galleries, formal currently able to attract and retain the most talented for a number of years, has been given urgency and
and informal performance spaces and other cultural musicians despite the conditions in which they are focus by the appointment of Sir Simon Rattle as
facilities. In the years since the 2012 Olympics and able to work, it will struggle to continue to do so in Music Director of the London Symphony Orchestra
Paralympics, the reputation of London has grown still an ever more competitive environment unless it can from September 2017. It will turn into reality a
further as cultural organisations have collaborated offer world-class facilities in which to rehearse and unique and visionary ambition for music and the
to build on the successful cultural festival that perform. performing arts by creating world-class performance
complemented the Games, and new infrastructure and digital opportunities marking a step change
projects are being developed across the capital. 6.1.5 Demands on space also severely limit the scale and for the organisations involved, providing immense
potential of learning and participation activity. Reach benefit to the City, advancing London’s reputation as
6.1.2 The ‘Olympicopolis’ venues being created in the could be expanded if more time were available in a pre-eminent cultural centre, and offering the fruits
Queen Elizabeth Olympic Park (including new spaces key rehearsal and performance spaces, supporting of those achievements – through live performance,
for Sadler’s Wells, the Victoria and Albert Museum formal and informal learning for individuals of all learning, participation and digital innovation - to the
and the Smithsonian Institution) are among several ages and backgrounds. widest possible public.
major developments which are putting culture at
the heart of regeneration. The Southbank Centre 6.1.6 Furthermore, the audience for classical music is set 6.1.10 The Centre for Music will transform the traditional
has been renewed and is continuing to invest in to grow by between 15% and 25% between 2015 and model of the concert hall, creating new types of
new facilities. ‘Albertopolis’ comprising a range of 2025, in the light of projections in population growth, spaces and experiences of music, making it more
institutions in South Kensington continues to develop. coupled with improved transport links including immediate, more accessible, more intimate and more
A Mayfair cultural area around the Royal Academy of the arrival of Crossrail and an ambitious outreach immersive. Alongside a 1,900 seat auditorium and
Arts is planned. Other initiatives include Nine Elms, programme to bring in new audiences. Research rehearsal areas, the Centre for Music will include
the new Design Museum, and potential developments demonstrates a tendency for the audience to increase dynamic front of house spaces including informal
at Woolwich Arsenal. All these highlight that the arts as the number of performances increases. There is performance areas, exhibition space, viewing
and culture remain at the heart of London’s future. thus a strong possibility that by raising the profile of portals into performance and rehearsal spaces and
classical music, the Centre for Music will also help to entertainment, catering and retail facilities. The
6.1.3 Yet London’s world-leading position is not reflected develop new audiences for all venues. There will be a Centre will also incorporate the Club Space, a second
in the musical facilities which the capital has to offer. need to supply sufficient activity to meet the demand. performance venue for informal and late-night sets
The capital is rich in halls of historic significance, and sessions, with integral bar and dining facilities.
from the Royal Albert Hall to the post-war Royal 6.1.7 Alongside overall growth in audience numbers,
Festival Hall of 1951 and Barbican Hall of 1982, but the Centre for Music will actively seek to broaden 6.1.11 Alongside this, renovations will be undertaken to the
not since the Queen’s Hall was destroyed in 1941 the audience so that it is genuinely a venue which Barbican Hall to repurpose it as a unique, innovative
has there been a hall in London with world-class welcomes everyone, irrespective of age, background, performance venue for the presentation of the widest
acoustics. Present facilities do not match those of physical ability or economic circumstances. This will range of performances and events. This will include
world-class halls that have been built elsewhere in be achieved through artistic programming decisions, creating opportunities for a standing audience,
the world, nor are they particularly well suited for the expansion of learning and discovery activities, and the enabling variable acoustics and future-proofing the
digital future. innovative use of technology. hall’s technological capabilities. In addition, the LSO’s
existing centre for education and community based
music-making at LSO St Luke’s will be provided with
new recording facilities. There will therefore be three
CENTRE FOR MUSIC closely related and complementary capital projects 43
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PART A: THE STRATEGIC CONTEXT Center, Serious, Britten Sinfonia, Cheek by Jowl, 6.2.8 Recent research showed the Barbican to be worth
Michael Clark Company, Deborah Warner, Boy Blue £47m a year to London’s economy, as well as
6.2 ORGANISATIONAL OVERVIEW AND BUSINESS Entertainment and the Academy of Ancient Music. supporting 1,308 jobs in the capital. The Barbican’s
STRATEGIES contribution to the City, and London’s, international
6.2.5 The Barbican attracts an increasingly large and standing, and the social impact of the arts and
6.2.1 The context for the project is a unique collaboration diverse audience with 2014/15 seeing a record 1.2 learning work undertaken in east London schools
between a world-class arts centre, orchestra and million attend the Barbican’s arts and learning and communities, continues to make the most of the
conservatoire: the Barbican Centre, the London events as well as in excess of 2 million visitors to the City of London Corporation’s generous investment.
Symphony Orchestra and the Guildhall School of Centre. Its offsite work in the east London boroughs
Music & Drama, supported by the City Corporation. that surround the Centre has seen it attract new 6.2.9 The Barbican Centre is a department of the City
audiences to the arts in areas with historically low Corporation, led by a Managing Director with
THE BARBICAN CENTRE levels of cultural participation. oversight from the Barbican Board which comprises
both elected members of the City Corporation and
6.2.2 The Barbican exists to inspire people to discover 6.2.6 The Barbican’s offer of world-class arts is appointed external individuals.
and love the arts. It innovates with outstanding underpinned by a unique partnership with the
artists and performers to create an international Guildhall School of Music & Drama to run an
programme that crosses art forms, investing in the innovative creative learning programme across
artists of today and tomorrow. east London. This pioneering cultural alliance
between a world-class art centre and conservatoire
6.2.3 A Grade II listed building, the Barbican is Europe’s - in collaboration with partnership organisations
largest multi-arts and conference venue and one of spanning local authorities, schools, arts and
London’s best examples of Brutalist architecture. learning organisations and funders – creates
The Barbican was opened by The Queen in 1982, who transformative opportunities for the widest possible
declared it ‘one of the modern wonders of the world’ number of young people with a depth and quality of
with the building seen as a landmark in terms of its programme that finds and equips the talent of the
scale, cohesion and ambition. Its stunning spaces next generation. Around 50,000 people participate in
and unique location at the heart of the Barbican this programme every year with a recent manifesto
Estate have made it an internationally recognised committing the two organisations to develop
venue, set within an urban landscape acknowledged partnerships that, by 2020, offer inspirational, hands
as one of the most significant architectural on arts experiences for every 8-16 year old in east
achievements of the 20th century. London and provide arts and training opportunities
for over 10,000 young people.
6.2.4 The Barbican’s ambition is to be at the forefront
of both innovation and quality, creating the arts of 6.2.7 The free-to-join Young Barbican scheme offers
the future. Its international programme consists of young people aged 14-25 the chance to buy 50,000
over 3,000 arts events a year and regularly features discounted tickets for events at the Barbican every
world famous artists from across the globe. This year across arts, film, music, theatre and dance
programme is delivered through collaboration with with prices ranging from just £5 to £15. The recent
the Barbican’s many partner organisations which improvements made to the scheme have led to a 69%
include resident orchestra the LSO, as well as artistic increase in the number of members since coming
associates including the BBC Symphony Orchestra, into effect in September 2014.
Royal Concertgebouw Orchestra of Amsterdam,
Gewandhaus Orchestra Leipzig, Jazz at Lincoln

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THE LONDON SYMPHONY ORCHESTRA 6.2.13 The LSO is an independent charity, governed by a
Board of Directors comprising elected members of
6.2.10 The London Symphony Orchestra, with its long and the Orchestra, appointed external members with
illustrious history of over a century’s great music- business and professional expertise, and led by a
making, has been resident orchestra of the Barbican Managing Director. The company’s shareholders are
since its opening in 1982. The LSO enjoys long- the musician members of the Orchestra, although
standing relationships with many of the world’s in keeping with its charitable status, they have no
greatest conductors and artists and is on the cusp of financial rights to any of the company’s assets.
a new era with the appointment of Sir Simon Rattle.
Regarded as one of the world’s top five orchestras, THE GUILDHALL SCHOOL OF MUSIC & DRAMA
the LSO has developed international residencies in
New York, Paris, Aix and Tokyo, alongside regular 6.2.14 The Guildhall School is one of the world’s leading
overseas tours across Europe, Asia, Australasia and conservatoires and drama schools, offering
America. musicians, actors, stage managers and theatre
technicians an inspiring environment in which to
6.2.11 The LSO is a world leader in recording music for film, develop as artists and professionals.
from Star Wars to Superman and more recently video
and computer games. In response to changes in 6.2.15 The School is a global leader of creative and
the commercial recording market it established the professional practice and promotes innovation,
award-winning label, LSO Live, which now produces experiment and research. Rated No.1 specialist
audio-visual recordings in addition to growing its institution in the UK by the Guardian University Guide
catalogue of over 100 audio recordings, available 2013 and 2014, it has nearly 1,000 students in higher
world-wide through international distribution, education, drawn from nearly 60 countries around
downloads and streaming. the world. The School is also the UK’s leading
provider of specialist music training at the under-18
6.2.12 At the heart of the LSO’s activities lies its pioneering level with nearly 2,500 students in Junior Guildhall
education and community programme, LSO and the Centre for Young Musicians.
Discovery, established over 25 years ago and now
reaching some 60,000 people annually through 950 6.2.16 The School has been a pioneer across three decades
workshops and 150 concerts, as well as a substantial in learning and outreach programmes, especially
programme within its international residencies. LSO through its Guildhall Connect programme, which
Discovery has developed strategic partnerships with won the Queen’s Anniversary Prize in 2005. This work
ten East London music hubs and also collaborates is continuing to develop through the joint Barbican
with the Guildhall School on a masters’ programme Guildhall Creative Learning programme, inspiring
to develop orchestral artistry. In 2003, in response to and engaging a new generation of audiences and
the need for a base within the local community for its participants in music, drama and technical theatre.
Discovery work, the LSO led the refurbishment of a
derelict church on Old Street to create LSO St Luke’s, 6.2.17 The Guildhall School is a department of the City
now a thriving centre of education and community Corporation, led by a Principal with oversight from
based music-making. a Board of Governors which comprises both elected
members of the City Corporation, appointed external
individuals, staff and a student representative.

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6.3 WIDER CONTEXT 6.3.4 This project supports Arts Council England’s strategy
to offer great art for everyone, supporting young Sapporo Concert Hall, Japan 1997
6.3.1 This project brings together a number of key people’s engagement in the arts, developing links
KKL Luzern 2000
organisational agendas and strategic aims with museums, galleries and the library sector,
particularly in relation to the United Kingdom’s building the digital agenda, and encouraging Walt Disney Concert Hall, Los Angeles 2003
position as a world-leader in arts and culture; collaboration with Music Education hubs, bodies such
national initiatives in relation to the arts and as Youth Music, and national organisations including The Sage, Gateshead 2004
education; and specific local policies to promote the national youth music ensembles.
and enhance the role of culture within the City Bartok National Concert Hall, Budapest, Hungary 2005
Corporation. 6.3.5 In a broader context, the ambitions shared by many
are to widen access to the arts through education; Philharmonie Luxembourg 2005
THE NATIONAL AND INTERNATIONAL CONTEXT ensuring equality of opportunity for all; to raise
aspirations for young people; improving educational DR Koncerthuset, Copenhagen 2009
6.3.2 The United Kingdom’s leading role in arts and culture standards; providing workforce development in
in all their forms is widely acknowledged across the the arts, education and the creative industries; Helsinki Music Centre, Finland 2011
world. Facilities and talent across the country are and building partnerships. This project seeks to
developed and nurtured, delivering benefits in terms contribute in all these areas. La Maison Symphonique, Montreal 2011
of profile, recognition and ‘soft power’ as well as the
THE LOCAL CONTEXT Harpa Concert Hall, Iceland 2011
significant economic benefits generated through the
creative industries. The UK leads the world in soft
Stavanger Concert Hall, Norway 2012
power according to the Soft Power 30 index published 6.3.6 The City Corporation is a leading investor in the
in July 2015, with an unmatched combination of arts and culture sector, supporting a range of NOSPR Concert Hall, Katowice, Poland 2014
strong assets across all categories of soft power, organisations from the Barbican Centre and the
and particular strengths in culture, digital and global Museum of London to the Guildhall School, the National Forum of Music (NFM), Wrocław, Poland 2014
engagement. London Symphony Orchestra and the City of London
Festival. The City Corporation actively seeks to Philharmonie de Paris, France 2015
6.3.3 The UK’s cultural offering has been developed sustain and enhance its commitment to the sector.
and sustained through continuous innovation and
Selected new concert halls since 1997
investment over the centuries. However, since 6.3.7 The City Corporation’s Cultural Strategy 2012-17
the latter part of the 20th Century, developed and cites the potential to explore the concept of a Cultural
emerging countries across the world have built new Hub in the north-west of the City. New buildings
musical facilities, taking advantage of developments such as the Guildhall School’s Milton Court (opened
in acoustics and more recently embracing the in 2013) and the Barbican’s cinemas (opened in 2012),
potential of new technologies – some examples are complemented by new restaurants and facilities have
in the table that follows. There is a need to maintain already demonstrated how the area can be enlivened
the UK’s pole position with music facilities which are and regenerated.
truly befitting the country’s status.

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6.3.8 The concept of the Cultural Hub is for it to be the PART B: THE CASE FOR CHANGE • Limitations on space (not just in the Barbican Hall)
creative heart of the Square Mile, an internationally also severely constrain the amount of education
renowned, distinctive, vibrant and welcoming centre 6.4 INVESTMENT OBJECTIVES and engagement activity that can take place. The
for the arts, heritage, learning and entertainment. organisations’ expertise and ability to deliver such
The Cultural Hub will recognise and respect the 6.4.1 Reflecting the context outlined above, the investment activity, for which there is considerable demand and
unique character and heritage of the area in which objectives for this project have been defined as which generates significant benefits to participants,
it is located, around the iconic Barbican estate. It follows: is not therefore fully exploited.
builds on the existing strengths of the area and its
organisations to offer an increasingly coordinated, • E
 nhancing the status of London as a world-class • The acoustics for non-amplified music in the
collaborative offer to audiences and visitors. It aims destination for music Barbican Hall are amongst the best in London but
to be a cultural leader and pioneer, delivering the not of the very highest quality, particularly when
highest quality performing and visual arts, education,  xtending the reach and diversity of engagement with
• E compared to other concert halls overseas. This is not
outreach and learning, and a world-class public great music simply a factor for those with a highly trained musical
realm to match the world-class arts and learning ear. As with all art, work of the highest quality is
offer. • Providing innovative music discovery and learning recognised as such by all that experience it even if
opportunities, both live and digital the reasons cannot be easily identified or articulated.
6.3.9 A major stimulus which will benefit the Cultural London’s audiences enjoy and recognise excellent
Hub is the arrival of Crossrail from 2018, coupled • Driving the development of the City of London’s performances by its orchestras but – unless they
with upgrades to Thameslink services; both lines Cultural Hub as a visitor destination experience their concerts overseas – they do not yet
have stations within the Cultural Hub. Together with hear the orchestras at their absolute best.
further growth in London’s population, the potential • S
 upporting the UK’s position as a world-leading
reach of the Cultural Hub is projected to increase centre for the cultural industries. • The combination of limited rehearsal time, space
significantly in the years ahead. The potential constraints and acoustical challenges means that
audience for cultural activity will therefore grow and the LSO is unable to achieve its full artistic potential
there will be a need to supply sufficient activity to 6.5 EXISTING ARRANGEMENTS and the experience of London audiences is not of the
meet the demand. same quality as that of audiences elsewhere.
6.5.1 The three organisations currently operate a full and
6.3.10 The Cultural Hub also offers an opportunity to draw successful programme of activity within their existing • The current facilities were not designed to be
in all Londoners, and those from further afield, into facilities. However, the amount of space available as flexible as is required in the 21st Century.
the City of London, by demonstrating that the Square and a lack of sufficient flexibility for today’s needs Performances involving staging or multimedia
Mile represents more than finance and commerce. act as a significant constraint. Key challenges which cannot easily be presented in the Barbican Hall and
As London becomes ever more diverse, the Centre prevent the organisations from achieving their full increasing needs of technology (e.g. for broadcast
for Music will attract and be accessible to audiences potential include the following: filming) require additional equipment to be brought
of all musical interests, welcoming everyone, in which disrupts sightlines in the auditorium and
irrespective of age, background, physical ability or • The Barbican concert hall is heavily in demand for requires seats to be taken off sale.
economic circumstances. artistic, educational and commercial activity. The
organisations’ needs cannot be fully accommodated
in the time available. In particular, the LSO is
unable to hold all of its rehearsals in the concert hall
(unlike its peers overseas which all have priority for
rehearsals in their home concert hall) meaning that
the Orchestra is unable to prepare for concerts in the
manner expected of a leading symphony orchestra.

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6.6 BUSINESS NEEDS Investment objective Existing arrangement Business need

What we are seeking to achieve The status quo Problems with status quo
6.6.1 The problems, difficulties and service gaps
associated with the existing arrangements in relation Enhancing the status of London as a world-class London has a number of good concert halls, but none London and the UK risk falling behind other countries
to future needs are set out in the following table. destination for music today of world-class standard. Current facilities are making it more difficult to attract leading musicians,
also not equipped for the digital future. with consequent impacts on the country’s status and
reputation and its ability to train and develop the
talented musicians of the future.
Extending the reach and diversity of engagement with Existing facilities are workable but not generally Limitations of existing facilities mean that they do not
great music very well-suited to creating inspiring experiences encourage the widest number of people to experience
for audiences and participants of diverse interests, the activities that take place. As the role of technology
abilities and backgrounds, nor does the technical continues to expand, the existing facilities will become
infrastructure support dissemination of activity more even more of a constraint.
widely.
Providing innovative music discovery and learning Existing discovery and learning programmes are of The reach of existing activities is severely constrained
opportunities, both live and digital high quality but are limited in scale and impact by a meaning that the benefits of activities are not felt by
lack of available facilities. as many people as is desirable.
Driving the development of the City of London’s Existing buildings are falling below international Failure to maximise the potential for income from
Cultural Hub as a visitor destination standards and are not achieving their potential to visitors (from the UK and overseas).
attract visitors.
Supporting the UK’s position as a world-leading centre The organisations contribute to the development of Failure to invest and maintain the standard of
for the cultural industries. talented musicians and the success of the UK’s music infrastructure will weaken the music industry through
industry but the current infrastructure is starting to fall difficulties in attracting and developing talent and
behind the required standards. associated reputational issues.

6.7 POTENTIAL BUSINESS SCOPE AND KEY

REQUIREMENTS Do Nothing/Minimum Intermediate Maximum

6.7.1 The scope of this project is to consider the case for a Maintain existing facilities with Improve existing facilities or create basic
Potential business scope Create fully equipped new facilities.
new state-of-the-art Centre for Music. The following minimum investment. new facilities.
table sets out the potential business scope and key Essential repairs and maintenance Upgrades or redevelopment of Creation of new facilities with all
requirements assessed against a continuum of need to existing facilities and minimum existing facilities, or creation of new appropriate infrastructure and
Key service requirements
ranging from: additional investment where absolutely facilities with basic infrastructure and specifications on a par with international
necessary. specifications. comparators.
A minimum scope – essential or core requirements/
outcomes.

An intermediate scope – essential and desirable

requirements/outcomes.

A maximum scope – essential, desirable and optional

requirements/outcomes.

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6.8 MAIN BENEFITS CRITERIA

6.8.1 The Centre for Music will provide an inspiring

model of performance excellence and audience
engagement, demonstrating best practice and
delivering value for money. It will provide important
benefits to a range of stakeholder groups.

6.8.2 The table below sets out the high-level strategic and
operational benefits, by investment objective:

Investment objective Main benefits criteria by stakeholder group Investment objective Main benefits criteria by stakeholder group

Enhancing the status of London Central Government, City Corporation, Greater London Authority, Arts Council England Providing innovative music Central Government, City Corporation, Greater London Authority, Arts Council England
as a world-class destination for • Maintain the international reputation and profile of London and the UK. discovery and learning • Complements and allows efficient delivery of music education provision.
music • Indirect benefits (economic, diplomatic, etc.) of the UK remaining a world-leader in this field. opportunities, both live and digital
The Barbican Centre, LSO and Guildhall School
The Barbican Centre, LSO and Guildhall School • Opportunities to engage with more people to develop current and future musicians and audiences to
• Sustain and enhance the reputation of the organisations to increase income and support their business support the organisations’ business models.
models by attracting more audiences and students.
• Ability to attract and retain the most talented musicians, given competition from other organisations New and existing audiences
overseas. • Opportunities for more and improved high quality musical experiences, improving well-being and skills.

Existing and new audiences Education and learning participants

• Ability to experience and be inspired by world-leading performances. • Opportunities for more and improved high quality musical experiences, improving well-being and skills.

Education and learning participants Professional and trainee musicians

• Ability to experience and be inspired by world-leading performances. • Increased opportunities to train and earn a living from educational work alongside performance activity,
making the musical workforce more resilient and independent.
Professional and trainee musicians
• Opportunities to work with, learn from and develop professionally by working with the most talented Driving the development of the Central Government, City Corporation, Greater London Authority, Arts Council England
musicians. City of London’s Cultural Hub as a • Economic benefits of increased visitor spend, particularly from overseas tourists.
visitor destination
Extending the reach and diversity Central Government, City Corporation, Greater London Authority, Arts Council England The Barbican Centre, LSO and Guildhall School
of engagement with great music • Educate and inspire the whole population through high quality musical experiences, also improving well- • Increased potential audience and income potential.
being and skills such as team working.
Existing and new audiences
The Barbican Centre, LSO and Guildhall School • Increased choice and opportunities to experience and be inspired by world-leading performances.
• Opportunities to engage with a wider range of people to develop new current and future audiences to
support the organisations’ business models. Supporting the UK’s position as Central Government, City Corporation, Greater London Authority, Arts Council England
a world-leading centre for the • Economic benefits of sustaining this sector of the economy.
New and existing audiences cultural industries
• Opportunities for more and improved high quality musical experiences, improving well-being and skills. Professional and trainee musicians
• Sustained opportunities for training, professional development and employment.
Education and learning participants
• Opportunities for more and improved high quality musical experiences, improving well-being and skills.

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6.9 MAIN RISKS 6.10 CONSTRAINTS

6.9.1 The main risks associated with the potential scope 6.10.1 The project is subject to the following constraints:
for this project are shown below, together with their
counter measures.
Including the ability to secure a suitable site within an appropriate timeframe.
Site availability
6.9.2 A full risk register is set out at Appendix 6A.
Including planning permission and any listed building consents that might be
Obtaining necessary permissions
required depending on the site/buildings involved.
Main Risk Counter Measures There is a need to obtain support from a range of stakeholders without which
Stakeholder support
development of the project may prove challenging.
Business risk
Loss of momentum: long-term project requiring on-going Ensure all stakeholders are fully engaged in the project The project is dependent on sufficient funding being secured to deliver all
Funding
support and commitment of a range of stakeholders with senior level commitment. essential elements.
Delays in timetable Robust project planning and careful management to
identify and mitigate potential delays at an early stage.
Dependence on private sector fundraising to deliver the Close attention to keeping capital costs affordable and
project devoting sufficient resources to fundraising from the 6.11 DEPENDENCIES
earliest stage whilst ensuring that fundraising targets
are realistic. The project is subject to the following dependencies
that will be carefully monitored and managed
Cost overruns Professional expertise used at all stages to ensure costs throughout the lifespan of the scheme:
are realistic and closely monitored, with appropriate
contingencies included.
Identifying and securing a suitable site given the Close monitoring of potential sites and on-going The availability of certain sites may be dependent on planning permission
Site availability
shortage of space and pace of the property market in dialogue with relevant public- and private-sector being obtained, or vacation of the site by existing occupiers.
central London developers regarding the availability of sites. Continued support from all key stakeholders will be necessary to maintain the
Funding model for net additional operating costs unclear Business model being developed and refined to minimise Stakeholder support
momentum required to deliver the project.
or not viable net operating cost, and sources of funding being
investigated.

Service risk
Facilities do not adequately meet the needs of users or Ensure close involvement of all user groups (musicians,
address current weaknesses audiences, learning participants, etc.) throughout
the development process and obtain appropriate
professional and technical advice (e.g. acousticians,
architects, technology experts, etc.) from the earliest
stage.

External environment risks

Planning or legal framework causes delays or difficulties Ensure planning and legal restrictions are understood
in delivering the project and respected, and maintain dialogue with planning
authorities.

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7. THE ECONOMIC CASE

7.1 INTRODUCTION 7.2 CRITICAL SUCCESS FACTORS (CSFS) CSF1: D

 eliver a venue recognised for its world-class
acoustics (capable of improving London’s
7.1.1 In accordance with the Capital Investment Manual 7.2.1 Alongside the investment objectives set out in the status internationally)
and requirements of the HM Treasury Green Book, Strategic Case, the CSFs were determined at a
this section of the Outline Business Case documents workshop attended by senior representatives from CSF2: E
 nsure continuity and development of the
the range of options that have been considered in the Barbican, LSO and the Guildhall School of Music activities of LSO/Barbican Centre/Guildhall
response to the potential scope identified within the and Drama. School
Strategic Case, the options shortlisted for further
appraisal, the cost-benefit framework used and the 7.2.2 The CSFs are the attributes considered essential CSF3: C
 reate a landmark venue of a standard that
results of the economic appraisal. to the successful delivery of the project. The CSFs maximises the ability to attract private sector
reflect strategic fit and business needs, potential investment
value for money, potential achievability and potential
affordability. It was agreed at the workshop that the CSF4: D
 eliver high-quality, innovative spaces for
provision of a world-class facility with the widest education and learning
possible audience reach was the primary mission
driver for the project. Following a wider discussion CSF5: E
 nable full use of digital technologies for
which considered London’s competitive position in audience engagement and discovery
the music industry, the growing and diverse audience
base, the importance of London’s Cultural Hub and CSF5: E
 nsure the development is deliverable and
the provision of inspirational music education, the viable in the long-term
following CSFs for the project were agreed:
CSF6: E
 nsure that any need for ongoing revenue
support is funded

CSF7: P
 roduce a convincing programme for raising
capital funding.

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7.3 THE LONG LISTED OPTIONS LONG LIST OPTION 1 LONG LIST OPTION 2

7.3.1 The development of the long list of options Do nothing Carry out modest refurbishments to the Barbican
considered potential solutions for delivering on the Centre
investment objectives and critical success factors • This would involve no changes to the existing
for the project. Each option has then been assessed Barbican Centre apart from general maintenance • This would involve no major building work to the
against the investment objectives and critical success and repair work, which is already planned for. existing concert hall and would consist only of minor
factors to allow a preferred short list of options to be improvements.
established. • This option will be carried forward to the short list of
options as the reference case. (short list Option 1) Advantages
7.3.2 The long list of options is outlined below, with
commentary on the advantages and disadvantages −− Lower capital costs compared to building a new
associated with each of them, and the results of the concert hall.
shortlisting process (see table that follows).

Disadvantages

−− There have been two significant refurbishments

of the Barbican Centre in 33 years. These have
improved the facilities modestly but not enough
to deliver a world-class concert hall or enhance
ongoing financial sustainability.

−− The scope to make further improvements through

modest refurbishment is minimal.

• Owing to these disadvantages, this option has

therefore been discounted and will not be carried
forward to the short list.

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LONG LIST OPTION 3 LONG LIST OPTION 4 LONG LIST OPTION 5

Rebuild the existing Barbican Hall Build a new concert hall within close proximity to Build a new concert hall outside of a 10 minute
the existing Barbican Centre walking radius from the existing Barbican Centre
• This would involve rebuilding the existing Barbican but within the City of London
Hall to deliver a concert hall with world-class • This would involve building a new concert hall with
acoustics. Given space constraints, it would not world-class acoustics within an approximate 10 • This option focusses on the location of a new concert
be possible to incorporate any additional space for minute walking radius of the existing Barbican Hall hall and is used as a comparison to long list options
educational or digital activities under this option. in order to maintain the synergies with the Barbican 4 and 6.
Centre and Guildhall School. Additional space for
Advantages educational, digital and commercial activities would Advantages
be minimal.
−− Delivers a venue with world-class acoustics. −− No significant advantages over building a similar
Advantages concert hall within closer proximity to the Barbican
−− Ensures continuity of the activities of LSO/Barbican Centre, apart from a greater choice of possible sites.
Centre/Guildhall School −− Delivers a venue with world-class acoustics capable
of improving London’s international competitiveness.
−− Lower capital costs involved compared to building a Disadvantages
new concert hall. −− Ensures continuity of the activities of LSO/Barbican
Centre/Guildhall School −− No suitably sized locations were found for the venue
(see Section 20 for details of the review of potential
Disadvantages −− Possibility to create a landmark venue to attract sites).
greater private investment.
−− Significant disruption to the current activities of the −− Synergies between the artists at the Barbican, LSO
LSO/Barbican Centre, with associated costs. An and Guildhall School would be lost due to the lack of
alternative short-term location would have to be Disadvantages proximity.
found to accommodate the organisations. This could
harm continuity in activities and in attendance. −− Would only deliver moderate additional space for −− Operating costs would increase if the new concert
world-leading educational and digital learning hall was built in a location not within walking
−− Would not deliver sufficient space for world-leading activities. distance of the Barbican Centre, due to the reduced
educational and digital learning activities. scope to share overheads.
• This option will be carried forward to the short list of
• Although this option does not score as well as some options (short list Option 3). • This option has been discounted and will not be
of the other options in relation to the provision of carried forward to the short list.
education and learning facilities, it would meet
the key CSF of delivering a venue with world-class
acoustics. Therefore this option will be carried
forward to the short list of options (short list Option
2).

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LONG LIST OPTION 6 −− The Guildhall School has at least a 30-year LONG LIST OPTION 7
relationship with east London boroughs through
Build a new concert hall outside of the City of its award-winning Connect programme. Time and Build a Centre for Music
London resources would be needed to build up that kind of
relationship with other London boroughs. Similarly, • This would involve building a world-class concert hall
• This option focusses on the location of a new concert LSO Discovery has a 25 year relationship with 12 capable of improving London’s status internationally.
hall and is used as a comparison to long list options 4 boroughs in east and north London. It would also deliver high-quality innovative spaces
and 5. The Olympic Park and Battersea Power station for education and engagement, enable full use
were examples of the locations considered. −− The Barbican/LSO/Guildhall School have a very of innovative digital technologies and maximise
strong relationship with the City of London. The City commercial potential. All of these activities would be
Advantages of London currently provide the LSO with a £2m grant delivered in one iconic, landmark building.
per year which equates to 10-15% of their annual
−− The City of London is already home to a wide variety income. It was considered unlikely that other local Advantages
of cultural facilities. Other areas of London may authorities would have the ability or willingness to
experience greater economic benefits as a result of a match this funding. −− This option delivers against all critical success
world- class concert hall choosing to locate there as factors and investment objectives.
opposed to in the City of London. −− A significant benefit of remaining within the City of
London would be the City Corporation’s willingness in −− Potential for a more diverse and robust operating
−− Lower opportunity costs of land, given lower land principle to make a capital contribution. model.
values.
• This option has been discounted and will not be
Disadvantages carried forward to the short list. Disadvantages

−− There may be a loss of regular audience members −− Larger capital costs and ongoing running costs
given that 49% of Barbican audience members involved.
currently live within 30 minutes of the Centre.
Locating in a central London location provides better −− More complex project requiring greater skill to
transport links to all areas of London and beyond. deliver successfully.
There was a significantly negative impact on the LSO
when it moved to the Barbican centre 33 years ago • This option will be carried forward to the short list of
due to a loss of core audience members. options (short list Option 4).

−− Synergies between the artists at the Barbican, LSO

and Guildhall would be lost.

−− Operating costs would increase if the new concert

hall was built in a location not within walking
distance of the Barbican Centre (e.g. increased
overhead costs).

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LONG LIST OPTION 8 −− This would compromise the ability to inspire children LONG LIST OPTION 9
and adults to become more engaged with music,
Locate the educational and digital facilities in a a key objective of the Barbican, LSO and Guildhall Locate all educational and digital facilities in LSO St
separate location to the concert hall. The possibility School. Luke’s
of renting some nearby office space was evaluated
−− Increased running costs and overheads would be • This option is similar to long list option 8 in that it
• This option focusses on the location of different incurred as a result of running two very separate focusses on the location of different facilities provided
facilities provided by the new music centre. A new facilities. by the new music centre. A new world-class concert
world-class concert hall would be built under this hall would be built under this option but the majority
option but the majority of educational and digital of educational and digital facilities would be provided
facilities would be provided in an alternative location • This option has been discounted and will not be in LSO St Luke’s.
and not under the same roof. carried forward to the short list.
Advantages
Advantages
−− Cheaper capital costs compared to building a Centre
−− Cheaper capital costs compared to building a Centre for Music all under one roof.
for Music all under one roof.

Disadvantages Disadvantages

−− The connectivity between the orchestra and the −− No breakout areas are available at LSO St Luke’s and
educational participants would be lost. the design layout of the educational facilities would
be limited.
−− The sense of permeability, connectivity and
integration offered by co-location of the −− Connectivity between the educational participants
educational and digital facilities would be lost in and the full scale orchestra performances would not
this configuration. Attending a music workshop be possible.
in an office block would not provide the inspiring
experience that attending a workshop in a working −− The volume of educational activity envisaged in a
concert hall next to musicians rehearsing and Centre for Music could not be achieved in the limited
performing would provide. Moreover, given the space of LSO St Luke’s.
limited window of time that touring artists have
available to engage with this activity, there would
be a real risk of artists being unable to do so in this • This option has been discounted and will not be
option. carried forward to the short list.

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LONG LIST OPTION 10 LONG LIST OPTION 11

Develop a Centre for Music where space and cost Develop a new Centre for Music with a basic
are no object specification (i.e. not a landmark building)

• This option would encompass world-class acoustics, • This option is focussed on the aesthetic image of
world-class educational facilities and world-class the building and is therefore linked to the ability the
digital infrastructure and the maximum space development has to attract private sector funding.
devoted to these facilities. In order to test this, a Kings Place near King’s Cross was mentioned during
38,000m2 Centre for Music with costs well in excess initial discussions as an example of a building with
of £400 million was evaluated.1 limited prominence and presence.

Advantages Advantages

−− This option delivers against the critical success −− Lower capital costs involved.
factors and investment objectives.
−− Would still have the potential to provide world-class
Disadvantages acoustics and world leading educational and digital
facilities.
−− A very large sum of public money would be needed to
fund this option. Disadvantages

−− This option encompasses the wants of all parties −− While there would be lower capital costs involved
directly involved in the project (Barbican, LSO and with this project, the ability to raise funding through
Guildhall School) but does not necessarily make the private sector would be compromised. In order to
efficient use of the space or provide the best value for receive a substantial amount of investment from high
money. net worth individuals and corporates with potential
naming rights, the building needs to be of sufficient
−− A world-class facility could still be provided but with landmark quality.
a smaller quantum of floorspace and at a lower
cost, if the space is used more efficiently and the −− A basic building would not provide the inspiring
commercial element is maximised (e.g. as provided experience that visiting a landmark building would
in long list option 7). provide. The Barbican/LSO/Guildhall School want
to inspire children and adults to become more
• This option has therefore been discounted and will engaged with music, an experience this option would
not be carried forward to the short list. compromise.

• This option has been discounted and will not be

carried forward to the short list.

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Refers to long-list options 1 -11

Locate close to Construct a world- Develop a Centre Develop a basic

Locate education / Locate education/
Minimal refurb to Rebuild Barbican Construct a world- Barbican but Locate outside the class centre for for Music where spec concert hall
Description of option Do nothing digital facilities in digital facilities in
Barbican Hall class concert hall outside a 10 minute City of London music close to the cost and space are (non-landmark
an office block St Luke’s
walking radius Barbican no object building)

Investment objectives

Enhancing the status of London as a

world-class destination for music

Extending the reach and diversity of

engagement with music

Providing innovative music discovery

and learning opportunities, both live and
digital
Driving the development of the City
of London’s Cultural Hub as a visitor
destination
Supporting the UK’s position as a world-
leading centre for the cultural industries.

Critical Success Factors

Deliver a venue recognised for its world-

class acoustics (capable of improving N/A N/A
London’s status internationally)
Ensure continuity and development of
the activities of LSO/Barbican/Guildhall
School
Create a landmark venue of a standard
that maximises the ability to attract
private sector investment
Deliver high-quality innovative spaces
for education and learning

Enable full use of digital technologies for

audience engagement and discovery

Ensure that the site selected is

deliverable and viable in the long-term

Ensure that any need for ongoing

revenue support is funded

Produce a convincing programme for

raising capital costs.

Summary Short-list Option 1 Reject Short-list Option 2 Short-list Option 3 Reject Reject Short-list Option 4 Reject Reject Reject Reject
Refers to short-list options 1-4

cannot be delivered under option

can potentially be delivered under option but uncertain at this stage
can be delivered under option

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7.4 SHORT LISTED OPTIONS 7.4.3 The short list of options is as follows: OPTION 3
Build a new concert hall
7.4.1 As set out above, the long list consisting of 11 options OPTION 1
was developed. These options were then sifted and Do nothing This option would involve building a new concert hall
reduced to a short list of four options to be subjected with world-class acoustics within close proximity
to further monetary and non-monetary assessment. This option involves the Barbican, LSO and Guildhall to the existing Barbican Hall. The new concert
School continuing to use the same facilities with no hall could be developed in a landmark building,
7.4.2 The following conclusions can be drawn from the improvements or refurbishments. This option would maximising the potential for private investment.
long-list appraisal: involve no upfront capital costs and would only involve However, it would offer limited additional space for
ongoing maintenance and repair costs. It does not educational, digital and commercial needs.
• The provision of educational and digital facilities meet the objectives but has been shortlisted under
forms an integral part of the short-listed appraisal HM Treasury guidance and provides a benchmark for
options. A facility consisting of minimal, moderate VFM. OPTION 4
and substantial facilities should be appraised. Build a new Centre for Music

• The only suitable location option taken forward to the OPTION 2 This option would involve building a world-class
short-list is to be within the City of London in order to Rebuild Barbican Hall concert hall capable of improving London’s status
continue to benefit from the existing grant, maximise internationally. It would deliver high-quality
organisational synergies and minimise operational This option would involve completely rebuilding innovative spaces for education, enable full use
costs. the existing Barbican Hall to improve the acoustics of innovative digital technologies and maximise
in the concert hall and allow for modest provision commercial potential. All of these activities would
of education and engagement spaces. This option be delivered under one roof in a landmark and
would incur lower capital costs than if a new concert inspirational building fit for one of the great cities in
hall was built with modestly lower operating costs. the world.
Repurposing the existing hall could enhance the
status of London as a world-class destination for
music but would fail to meet other investment
objectives including the provision of world leading
educational and digital facilities.

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7.5 ANALYSIS OF SHORT LISTED OPTIONS

Investment Objectives Qualitative Benefits Weight
7.5.1 A multi-criteria decision scoring exercise has been
undertaken based on the investment objectives and 1 - E nhancing the status of London as a Non Quantifiable
qualitative benefits. world-class destination for music • Improvements in London’s international competitiveness and inward investment
prospects (enhancing its ability to attract high value business activities and highly
7.5.2 The qualitative benefits for each investment skilled workers) 30%
objective are outlined below. Representatives from • Ensuring London retains its status as a world-class music destination through
the Barbican, LSO, Guildhall School and Regeneris providing world-class acoustics and facilities to rival other major cities
Consulting worked together to assign weights to • Ensuring London can continue to attract and produce world-class musicians
each investment objective based on the relative 2 - E xtending the reach and diversity of Quantifiable
importance of the qualitative, non-financial benefits it engagement with great music • Increases in the number of individual benefiting from improved wellbeing, skills,
represented. productivity and health as a result of music engagement and participation
Non Quantifiable
• Increases in the diversity of individuals engaged with classical and contemporary 30%
music (through offering a music programme more reflective of the diverse London
population)
• Increases in the number of individuals benefiting from the transferable skills music
engagement helps to enhance (team work, self-discipline, commitment etc.)
3 - P roviding innovative music discovery Quantifiable
and learning opportunities, both live • Immediate and long term benefits as a result of music engagement and participation
and digital Non Quantifiable
• The provision of music education and engagement opportunities for those who may not 20%
otherwise have access to such facilities
• The ability to inspire musicians of the future to make the leap from observation to
participation in music
4 - D riving the development of the City Quantifiable
of London’s cultural hub as a visitor • Tourism spillover effects resulting from an increase in the number of domestic and 10%
destination international tourists visiting London and the Cultural Hub.
5 - S upporting the UK’s position as a Non Quantifiable
world-leading centre for the cultural • Ability to continue to attract a highly skilled creative class to London 10%
industries • Reinforce and enhance London’s cultural identity.

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7.5.3 Representatives from the project team then Options – Raw (R) and Weighted (W) results
assigned a score of 1 to 10 to each option for how
well it delivers the benefits associated with each 2. Rebuild 3. Build a 4. Build a new
Investment Objectives Weighting 1. Do nothing
investment objective. The weights and scores were Barbican Hall new concert hall Centre for Music
then multiplied together to provide a total weighted R W R W R W R W
score for each option. These results can be seen in
Investment objective 1 30% 1 30 7 210 9 270 10 300
the following table
Investment objective 2 30% 1 30 3 90 5 150 10 300
Investment objective 3 20% 1 20 4 80 5 100 9 180
Investment objective 4 10% 1 10 5 50 7 70 8 80
Investment objective 5 10% 1 10 5 50 7 70 8 80
Total 100% 5 100 24 480 33 660 45 940
Rating 4 3 2 1

7.6 SUMMARY OF ANALYSIS OF SHORT LISTED

OPTIONS Option Description Rank Key considerations influencing score

1. Do nothing No improvements or refurbishments to Does not meet any of the investment objectives or critical
4th
existing facilities. success factors.
2. Rebuild Barbican Hall Rebuild parts of the existing Barbican Hall Would enhance London’s status as a destination for
to improve the acoustics and allow for music although may not be able to deliver world-class
some additional learning spaces. acoustics to rival other international cities. It would also
3rd
only offer minimal space for educational activities and
more limited digital facilities than if a new concert hall
was built.
3. Build a new concert hall Build a new concert hall with world-class Would enhance London’s status as world-class
acoustics within close proximity to the destination for music and would help drive development
2nd
existing Barbican Hall. of the City of London’s Cultural Hub. However, the
educational and digital facilities would be compromised.
4. Build a new Centre for Music Build a world-class concert hall with high-
Would deliver against all the investment objectives
quality innovative spaces for education and
1st providing sufficient private and public funding could be
digital discovery all within one landmark
raised
and inspirational building.

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ECONOMIC APPRAISAL considered later in the switching value analysis. 7.9.2 The following cost has not been covered by the
appraisal:
7.7 INTRODUCTION • Appraisal period. The appraisal considers the
costs and benefits over the project development • Operating costs of the Guildhall School of Music and
7.7.1 This section provides a detailed overview of the and construction period for each option, and then Drama (since these are not impacted materially by
main costs and benefits associated with each of the over a 60 year operational time period. This time the project across the options).
selected options. period has been used for the appraisal, although a
new concert hall would be expected to be in use for 7.9.3 An explanation of the approach and key assumptions
7.7.2 The section starts with an explanation of the much longer than this. Hence the appraisal covers is provided below.
appraisal parameters and then outlines the costs the period 2015/16 (when project development would
and benefits considered. The explanation of the commence) to 2083/84. CAPITAL COSTS
cost-benefit framework indicates how costs and
benefits have been estimated and the key sources of • Price basis. All values have been stated in constant 7.9.4 The appraisal considers the capital costs for
information used. 2015/16 prices unless otherwise stated. As outlined each of the shortlisted options. These have been
later in the document, this represents a prudent and estimated by the project’s cost consultants, Gardiner
7.7.3 The figures used in this section are based on those conservative approach given many of the benefits & Theobald and have been calculated up to RIBA
used elsewhere in this report (e.g. for financial may rise in real terms in line with incomes. Design Stage 7. This has involved an extensive
modelling) but have been adjusted for the purposes benchmarking exercise looking at the final out-turn
of the economic analysis. For example, the economic • Discount rate. Future costs and benefits have been costs of major new concert halls around the world
analysis focuses on impact on UK residents, and discounted using HM Treasury’s social discount rate (see Appendix 7A for details on this benchmarking).
makes adjustments to the base figures to ensure (3.5% per annum for years 0-30 and 3.0% thereafter). The key elements are as follows:
consistency with other assumptions used in the
Economic Case. Accordingly, there are differences • Impact area. The analysis has been undertaken on • Project development costs
between some figures used in this section and the basis of the costs and benefits for the UK as • Construction costs (including costs of demolition for
elsewhere in the report. a whole. However, in the discussion of results an the Barbican Hall in Option 2)
indication of the split of benefits for City of London, • Statutory consents (planning permission and building
DESCRIPTION OF COSTS AND BENEFITS Greater London and the UK is provided. regulations, etc.)
• Fixtures, fittings and equipment (IT and digital,
7.8 APPRAISAL PARAMETERS • Additionality. All values of benefits stated are net musical instruments, furniture etc.)
additional to the UK. This is discussed in more detail • Professional fees
7.8.1 The key parameters for the economic appraisal are under Additionality of Benefits later in this section. • Costs of project management.
as follows:
7.9 COSTS AND FUNDING 7.9.5 Contingency allowances of 7.5% and 5% have
• Project boundary. The project involves a number been added to the construction costs and project
of organisations, principally the LSO and Barbican 7.9.1 The economic appraisal considers the following management costs respectively. Professional fees
Centre but also the Guildhall School of Music and costs: also include contingencies. Profiles for these capital
Drama. For the purposes of the appraisal, the costs over time have been provided by the external
analysis only considers the costs and benefits to the • Capital costs associated with each option (covering Project Manager (GVA Acuity).
LSO and the Barbican Centre and assumes that the existing facilities and the construction of new
Guildhall School of Music and Drama is generally facilities) 7.9.6 An Optimism Bias assessment has been carried
unaffected by the difference between options. This • Operating costs for the Barbican and the LSO out on the costs excluding contingencies – this is
is clearly not the case and in practice either Option • Additional opportunity costs associated with the use described under the results of the cost-benefit
3 or 4 would bring it benefits. The quantification of of land for the new Centre for Music. analysis.
these benefits has not been possible but these are

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OPERATING COSTS ADDITIONAL OPPORTUNITY COSTS SUMMARY OF COSTS FRAMEWORK

7.9.7 The appraisal considers the revenue costs associated 7.9.10 Finally, the economic appraisal also estimates 7.9.13 A summary of the costs and the approach to
with running the Centre for Music as well as the any additional economic opportunity costs of the estimating them is provided below.
existing Barbican Hall. These have been estimated options which are not reflected in financial costs. The
using a detailed financial model developed by the main relevant opportunity cost here relates to the
Barbican Centre and the LSO for all of the shortlisted alternative use of the land on which any new build
options. The operating costs and revenues have been facility would sit. Where the site is owned by the City
estimated for a steady state operating year as well of London Corporation, the City Corporation may in
as the the years pre- and post-opening. Full details principle make a capital contribution. In so doing, the Summary Approach and data sources
on the financial model are contained in Section 9. It City of London Corporation (and so the public sector
comprises the following elements: and economy at large) will be effectively incurring a Capital costs Construction/demolition/ Estimated by cost consultants.
financial opportunity cost equal to the value of the refurbishment costs associated with
• Direct expenditure, including direct programming land. any works to existing Barbican Hall
expenditure for music and learning events, costs and for new Centre for Music.
associated with commercial exhibitions and 7.9.11 The value of the land has been estimated in Operating costs Ongoing revenue cost implications Estimated by Feasibility Study
marketing expenditure consultation with the City of London Corporation, for the existing Barbican Centre financial modelling team, drawing
using the advice in the Green Book. It is based on and any new facility, including staff on existing cost base information
• Building related expenditure which includes rates, the difference between the site value that the City of costs, utilities, etc. and industry benchmarks.
insurance, clearing, security, utilities, repairs and London Corporation would be able to achieve with
maintenance, and minor works Opportunity costs The potential value of the capital Value of land in most valuable
the more limited commercial development possible
receipt and wider economic benefits alternative use (Source: City of
under either Option 3 or Option 4, compared to the
• Salaries expenditure foregone by City of London as a London Corporation).
most valuable alternative use. For the purposes of
result of using a site for a concert
this exercise, the valuation has been undertaken on
• Technology and IT equipment hall/Centre for Music as opposed to
a potential site in the City of London (the most likely
its alternative use dictated by City of
site for the Centre for Music) and on the basis of
• Digital related expenditure London planning restrictions.
the anticipated gross external area of the Centre for
Music.
• Administration and overheads.
7.9.12 Note that the site also has a residual value at the
end of the appraisal period (this is set out in the
7.9.8 These costs are assumed to remain the same in real discussion of Benefits below).
terms across the appraisal period. In other words, no
change in relative costs compared to the rest of the
economy is assumed.

7.9.9 The financial model has been subjected to external

validation by an expert group. This concluded that
the model was sound and that, in some cases, the
assumptions on income were too conservative. The
model was updated in light of this review.

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FUNDING • Secondly, the recommended approach is to target the

bulk of funding from a single individual who would
7.9.14 The economic appraisal considers the net costs have significant naming rights, with the remainder
of the project and options to society as well as the coming from a range of individuals, trusts and
net costs to the public purse. There are different companies.
ways that non-public funding for the project can be
considered: 7.9.17 Consequently, the assumption is that Option 4
would be able to attract the most private funding
• Any funding received by non-UK residents or given the iconic design and landmark nature of the
businesses based overseas would reduce the building, whilst it would be more difficult to achieve
resource costs to the UK economy and so should these levels of contribution under Options 2 and
be netted off the costs (insofar as there is no 3. Based on the fundraising advice received, it has
displacement effect from funding that would been assumed that the achievable private sector
otherwise have been available for other activities or contribution to the project would be (in 2015/16
projects in the UK). prices):

• Private donations by UK residents and companies • Option 4: £125m – the most significant contribution
are resources costs for the UK economy; however, given the iconic nature of the building.
arguably, they can be seen as at least one measure of
the “non-use” value placed on the facilities. They can • Option 3: £75m – a significant contribution but lower
therefore be treated as a benefit. than in Option 4 given the scaled down nature of the
concept.
7.9.15 It follows that the non-public sector income from
sponsorship, naming rights, philanthropic donations • Option 2: £25m – the lowest contribution of all
etc. can either be seen as helping reduce costs or as options, since the option is concerned with upgrading
a financial manifestation of non-use benefits. Either an existing asset rather than creating a new one.
way, they contribute to the benefit-cost ratio (BCR).

7.9.16 The private contributions to the capital costs have 7.9.18 In terms of the funding for the revenue costs, whilst
been netted off in the BCR in order to focus on the the Barbican and LSO receive an ongoing subsidy
costs to the public sector. In estimating the potential from the City of London Corporation and Arts Council
scale of these private sector contributions, the England, this has been excluded from the project
conclusions from a review of the fundraising potential revenues, given that this is a transfer payment.
of the project have been drawn upon, as set out in Development income from private sector contributors
Section 26. The key points are as follows: is included in the revenues (as set out above, it can
be seen as a proxy measure of non-use value).
• Firstly, the level of private contribution achievable is
heavily influenced by the nature of the building and
the activities taking place within it – in particular,
a landmark building with the involvement of a
world-class architect is more likely to be able to
attract significant private contributions than a
lower specification, less ambitious building project.
Therefore, there is a trade-off between cost and
fundability.
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7.10 BENEFITS

7.10.1 The economic appraisal uses the latest approaches

to assessing the economic value of arts and cultural
assets. There are essentially two ways of looking at
the economic value of an artistic institution:

• Economic footprint analysis, whereby the institution’s

contribution to the economy is estimated based on
direct employment and Gross Value Added (GVA)
within the institution and the employment and GVA
generated within its supply chain (indirect effects).
The induced effect from employees’ expenditure may
also be considered here. Whilst a useful measure
of the scale of economic activity generated by the
institution, this approach is limited as it does not
inform of the value of the activities themselves,
in terms of the impact on economic welfare. As
the economist John Kay put it recently, “you can’t
measure the value of a play by how much it costs to
clean the theatre.” 2

• Total economic value analysis. The limitations of

this form of economic impact analysis have been
acknowledged in the literature and in recent work
by the Warwick Commission.3 Consequently, efforts
have been made to develop more appropriate
measures of economic value for the sector. These
approaches use a Total Economic Value framework
first developed in the fields of transport and
environmental economics.

7.10.2 Therefore, whilst the project will make a macro-

economic contribution, this is not included in the
benefit-cost ratio.

7.10.3 The analysis of the benefits of the options therefore

draws on the Total Economic Value framework. The
components of this framework are summarised in
the following diagram. The quantifiable elements are
discussed in detail below.

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USER BENEFITS (USE VALUE) • Revenue projections. These have been built up using remain constant in real terms over the appraisal
the projected audience numbers and assumptions on period. The UK audience share has been estimated
7.10.4 These are the impacts for those individuals and thus ticket yield, drawn from the experience of the 2014/15 using the data supplied by the Barbican Centre. This
the aggregate welfare of those who use the Centre programme. indicates that for 2014/15, 87% of visitors were UK
for Music. There are a number of distinct types of residents. It has been assumed that this remains
output produced by the Centre for Music, which 7.10.7 It is assumed that these revenues reach a steady constant over the appraisal period and is identical
generate user benefits. state three years after opening and remain constant between the shortlisted options. Arguably it may rise
in real terms over the appraisal period. a little under Options 3 and 4, but for prudence, no
Concerts and exhibitions variation across the options is assumed.
7.10.8 Estimating the total non-market use value, or
7.10.5 Those who attend concerts (classical, contemporary consumer surplus, is challenging since it requires 7.10.11 Whilst these are the best available estimates of the
and so on) and arts exhibitions held at the Centre for non-market measures of welfare to be generated. non-market use value from concert attendance, they
Music and within the existing Barbican Hall derive a There is no specific research for the LSO or Barbican are subject to the following caveats:
welfare benefit from doing so. The subjective value on the consumer surplus associated with attending
to these individuals from this attendance is given by concerts or other events, using either stated or • As the research highlights, the underlying data on
their willingness to pay for each concert visit. For revealed preference measures of welfare. frequency of attendance are imperfect, so the per
concerts that are not free, this willingness to pay activity values are indicative.
is at least as large as the price they pay for each 7.10.9 However, recent research has used subjective well-
concert visit. The price paid is the market use value. being valuation techniques to estimate such welfare • There is no further breakdown of the benefit of being
The price paid may not capture a concertgoer’s full effects from engaging in the arts in general. These an audience to music performances by type of music.
willingness to pay, insofar as some concertgoers may techniques are accepted as robust and highlighted The analysis therefore implicitly assumes that the
have been willing to pay more for any given visit. In in recent HM Treasury Green Book guidance.4 This wellbeing effect does not vary significantly between
such a case there is a consumer surplus, given by found that being an audience to the arts in general5 different types of music (classical, jazz, popular etc.)
the difference between the willingness to pay and had a subjective wellbeing value of £935 per annum, or indeed the quality of the performers/performance.
the price paid per visit. This is particularly the case and for music specifically there was a value of £742 It is not possible to adjust these, since they are, by
for events that are free to attend. This consumer per annum. These values are over and above any their nature, subjective values.
surplus for UK residents is the non-market use value price paid for attendance.6 Whilst associated data on
associated with concert attendance. frequency of attendance is imperfect, the research Commercial events
recommends that indicative per activity values of
7.10.6 The total market use value has been estimated using £47 - £62 can be used. The same approach has been 7.10.12 In addition to concerts held by the LSO and others,
the revenue projections from the project financial used to estimate a per activity value for music event across the options the Barbican Centre and new
model. The steps are as follows: attendance resulting in values between £37 and £49.7 concert hall would be hired out to third parties on
a commercial basis for a range of events, including
• Programming diary. Detailed projections for the 7.10.10 The midpoint of these values (£43 per visit) has been conferences, university graduations and other events.
programming diary across all proposed new applied to the UK audiences for concerts held in the Commercial income from hiring out these spaces has
facilities and the existing Barbican Hall space have Centre for Music and in the existing Barbican Hall, been estimated based on the average daily income
been produced by a dedicated Feasibility Study across all options. The midpoint value of being an for hire of the Barbican Hall in 2014/15. Attendance
workstream. audience member to the arts (£54 per visit) has been figures for these events are based on the actual
applied to 25% of the visitors to exhibitions held at attendance figures for the Barbican Hall, in 2014/15.
• Audience projections. Projections for attendance at the art gallery and Curve gallery. Although Green
each type of event have been produced. These have Book guidance suggests that the value of such a
been based on existing attendance numbers for benefit may increase in real terms over time, it has
2014/15. been assumed for the base case that the values

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Retail and catering revenue 2. These have then been split between those based in 1. The Barbican and LSO have generated a detailed
(secondary spend) the UK and overseas, based on evidence from current baseline and projections for the volume and nature
activities. of education and learning activities that would
7.10.13 In each of the options there is retail and catering take place under each shortlisted option and the
income from audiences and casual visitors, including 3. It is assumed that all content accessed by UK-based associated attendance at these events. These
cafes, restaurants, bars and retail outlets. Income to users will be available for free, whilst some content activities are funded and included in the revenue
these outlets is a further source of use value. for those based overseas will be charged for. The costs going forward. These projections have been
use value for UK users accessing content for free is based on an assessment of the capacity to deliver
• Catering (café, restaurants, bars). It is assumed that estimated by multiplying the total duration of content under each option (given the space, time and staff
music concerts generate secondary catering income accessed by the value of non-work time (£6.99 per resources available) and the latent demand for
(commercial events are not assumed to generate hour in 2015/16 prices).8 Although DfT applies real the activities (given the number of schools, school
catering income and education events are only increases in this value over time, as elsewhere, it has children and adults that make up the target market).
assumed to generate income for coffee points and been conservatively assumed that there is no real The latent demand for the proposed activities
cafés). Income has been estimated using budgeted terms increase in this value of non-work time over has been observed through current delivery and
2015/16 concession income per person for the the appraisal period. consultations with partner organisations. The
Barbican Centre. activities have been classified in a number of ways:
Education and engagement activities
• Retail shop. All music and education events are • By broad type of activity (Public/Participation/
assumed to generate retail income. Commercial 7.10.15 Each of the shortlisted options would see Platforms/Professional development)9
events are not assumed to generate any retail opportunities for education and engagement • By intensity (High/Medium/Low/Non-participatory)10
income. delivered within the building facilities and through • By type of impact (Long/Medium/Immediate). 11
digital outreach activities. Some of these are entirely
Digital content free to attend, but most are a mix of free and paid 2. Attendance at these events has been split into:
for events. The market use value is estimated via the
7.10.14 Under each of the shortlisted options there would be revenues from paying attendees. This is based on a • participants and audiences, with an estimate of the
varying levels of digital content produced by the LSO detailed schedule of events for each option drawn up number of unique visitors for each activity in any
and the Barbican Centre. The approach to valuing by the education teams at the Barbican/LSO, along year and between years (a conservative approach
this content is as follows: with estimates of the number of paying visitors and has been adopted to assume that 25% of visits in any
price paid for attendance. one year are from individuals who have taken part in
1. Estimates of the level of activity and associated activities in a previous year or the same year from
volume and average duration of content that would 7.10.16 There is a range of research highlighting the non- another stream of education activity)
be possible under each of the options have been market benefits to the individual from engagement
made by the digital team. This is based on an with music both for children and adults. These • those who are under 18 years old and those who are
assessment of the capabilities of the infrastructure include impacts on subjective wellbeing cited earlier, 18 years old and over.
and human resources available under each Option. and a range of externality effects (discussed later
Option 4 delivers the most content given the under Externalities). This evidence has been used 3. Involvement in the education and engagement
investment in facilities and space that would be along with the planned programme of education and activities is assumed to have an immediate wellbeing
possible. Other options also deliver some content learning activities across the options, to value the effect for adults, which accrues per visit, and for
but it is more limited, given space and infrastructure benefits of the activity over the appraisal period. The some attendees under 18 years old, a longer term,
constraints. Details are provided under the cost- approach is complex, and as follows. permanent impact. In order to be conservative, any
benefit analysis results later. long term impact on adult attendees has not been
assumed in the analysis.

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4. To value the immediate benefit, the per activity attendance of arts events as a child has been used −− It has been assumed that a non-participatory or low
subjective wellbeing values of engagement with as a proxy for a medium impact/non-participatory intensity event is unlikely to have a long-term impact
music cited earlier (£43 per visit) have been applied activity (11%). (e.g. develop a new skill set) therefore a long term
to the number of audience members and participants impact/non-participatory or low intensity activity is
that are over 18 years old, to all types of activity. −− A study by the National Endowment for the Arts in assumed not to be applicable to this analysis (N/A).
the US14 suggests that children who participated
5. For the valuation of the longer term benefits for in music appreciation classes under the age of −− Likewise, there are no activities sitting in the
those under 18 years old, there are three elements. 12 years before giving up are 18% more likely to immediate impact/high intensity category (N/A).
attend one arts event or more per year as adults
7.10.17 Firstly, a judgement on the likelihood of than individuals who took did not partake in any art −− No suitable proxies were found for immediate impact/
engagement in these activities as a child leading appreciation classes as children. This participation low intensity, medium impact/low intensity and
to the participant/audience member going on in arts appreciation classes as a child under the age immediate impact/medium intensity activities given
permanently to engage in music and arts as an of 12 has been used as a proxy for a medium impact/ the limited literature on this topic. These figures
adult, when they would not otherwise have done medium intensity activity (18%). have therefore been estimated and interpolated
so. In order to arrive at the assumptions outlined in based on the trends observed in the proxy figures.
the table below “Increase in Likelihood of becoming −− The same study suggests that
regularly engaged in music as an adult as a result 7.10.19 The table below sets out the increase in likelihood
of participating in the following types of activity” the • children who participated in music appreciation of becoming regularly engaged in music as an adult
types of activity have been differentiated between classes all the way through their childhood up to as a result of participating in the following types of
and evidence from a range of literature has been age 18 are 29% more likely to attend one arts event activity.
consulted. or more per year as adults than individuals who
took did not partake in any art appreciation classes Increase in Likelihood of becoming regularly engaged in music as an adult as
7.10.18 The methodology and proxies used to determine as children. This participation in arts appreciation a result of participating in the following types of activity
these values in the table are outlined below: classes throughout childhood has been used as
a proxy for a long term impact/medium intensity Intensity
−− Evidence from the ‘Taking Part Survey’ 12
activity (29%). Impact
Non- Low Medium High
commissioned by DCMS to better understand adults’ participatory
engagement in culture, leisure and sport suggests • children who took musical instrument lessons under
that on average, adults who were taken to arts events the age of 12 before giving up are 28% more likely to Non-
Impact Low Medium High
occasionally (less than once per year) when growing attend one arts event or more per year as adults than participatory
up are still 8%13 more likely to frequently attend arts individuals who never learnt a musical instrument Immediate 8%a 12%c 14%c N/Ad
events as an adult than individuals who were never as children. This participation in music lessons as a
taken to arts events as children. This occasional child under the age of 12 has been used as a proxy Medium 11%a 14%c 18%b 28%b
attendance of arts events as a child has been used for a medium impact/high intensity activity (28%).
as a proxy for an immediate impact/non-participatory Long N/Ad N/Ad 29%b 37%b
activity (8%). • children who took musical instrument lessons all the
way through their childhood up to age 18 are 37% Notes:
−− Evidence from the same ‘Taking Part Survey’ more likely to attend one arts event or more per year
a
Encourage Children today to build audiences for tomorrow, Arts Council
suggests that on average adults who were taken to as adults than individuals who never learnt a musical England, March 2009
arts events frequently (at least once per year) when instrument as children. This participation in music
b
Education and Arts Participation: A Study of Arts Socialization and Current Arts
growing up are 11%13 more likely to frequently attend lessons throughout childhood has been used as a Related Activities using 1982 and 1992 SPPA Data, National Endowments for
arts events as an adult than individuals who were proxy for a long term impact/high intensity activity the Arts Washington D.C
never taken to arts events as children. This frequent (37%).
c
Estimation based on other proxies
d
Not applicable event type

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7.10.20 Secondly, the extent to which this impact is additional 7.10.21 These first two steps generate a cohort of unique Volunteering opportunities
has been estimated – i.e. that it would not have individuals every year (and hence cumulatively) who
happened otherwise in the absence of engagement go on, as adults, to become regular engagers with 7.10.25 Note that although conservative assumptions have
with this Barbican/LSO activity. As an example of music, when they would not otherwise have done. As been applied, given the relative lack of underpinning
this, an attendee who already participates in regular illustrations of this approach in practice: evidence, the valuations of the education activity are
music lessons may get a lot of out of engagement subject to higher levels of uncertainty than those for
with Barbican/LSO education activities and any • Out of 1,000 unique schoolchildren attending the other benefits. Consequently, the results have
subsequent engagement with music as an adult activities which are immediate impact and low been subject to a more stringent downside sensitivity
could not be attributed to this participation in intensity, just one (1,000 X 12% likelihood X 1% test in order to examine the impact on the overall
Barbican/LSO activity. However, for an attendee additionality; 0.1%) of these would, as a result, go BCR.
who had had little previous engagement with music, on to become regularly engaged in music in the long
engagement in the activity is more likely to have an term as an adult. 7.10.26 A number of techniques have been developed for
additional impact that can be attributed to the visits placing a value on volunteering, including valuing:
to these education events. A judgement has been • In contrast, for every 1,000 unique schoolchildren
made based on the additionality of different types attending long impact/high intensity activities, 55 • the output of volunteers (using the replacement cost
of activity, based on an assessment of the likely (1,000 X 37% likelihood X 15% additionality; 5.6%) approach, valued at the market wage)15 and
participants and the other educational opportunities would become long term engagers.
to which they may have been exposed. In doing so, a • the subjective wellbeing benefits to volunteers.
cautious approach has been taken, since a specific 7.10.22 The mix of activities and consequent overall Recent research found that regular volunteering
evaluation or other evidence has not been identified additionality factors for each option is set out later in was associated with a subjective wellbeing value of
to inform this. The table below sets out assumed the report. £13,500 per annum at 2011 prices.16
impact additionality factors by type of education and
engagement activity. 7.10.23 In order to estimate the wellbeing effects from this 7.10.27 Whilst there will be volunteering opportunities, they
long term engagement, annual wellbeing values will not vary markedly across the shorlisted options,
have been applied to this cohort of people, using so these have not been valued in the cost-benefit
Assumed impact additionality factors by type of education and learning the evidence cited earlier – i.e. a value of £742 per analysis.
activity annum per person ( again it is assumed that this
remains the same in real terms over the appraisal Non-user benefits (non-use value)
Intensity period). It is assumed that there will be an 8 year
Impact Non- Low Medium High lag between the attendance at Barbican/LSO activity 7.10.28 In addition to benefits to the various users of the
participatory and subsequent regular engagement as an adult, facilities, the facilities may have a benefit for those
Immediate 0% 1.0% 2.0% 3.0% based on the average age of attendees who are who do not use them. This non-use value is the
under 18 years old. There are also a number of value to individuals of knowing that a particular
Medium 2.5% 3.0%
5.0% 10.0%
externality effects arising from this cohort’s long cultural good exists for others’ current use (altruistic
Long 2.5% 5.0% 10.0 %
15.0% term engagement with the arts, which are discussed value) or for future generations (bequest value),
Source: Regeneris Consulting assumptions. Note: these percentages below under Externalities. even though these individuals may never intend
represent the proportion of participants/attendees for whom there is an to use it themselves. Hence individuals may value
additional impact on the longer term propensity to engage with music. 7.10.24 Note that although conservative assumptions have the existence of a classical music orchestra and its
been applied, given the relative lack of underpinning facilities in this way even if they do not intend to visit
evidence, the valuations of the education activity are themselves.
subject to higher levels of uncertainty than those for
the other benefits. Consequently, the results have
been subject to a more stringent downside sensitivity
test in order to examine the impact on the overall
BCR.
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7.10.29 Evidence on the non-use value for the UK cultural international tourists in isolation, it is estimated that 7.10.34 In keeping with the conservative valuation approach,
sector specifically, is generally scarce.17 There is £4.43bn of inbound tourist expenditure in London is only the first of these three effects has been
some international evidence from studies of the Vara attributable to London’s cultural offering in 2014. estimated, due to the availability of suitable data to
Concert Hall in Switzerland and The Royal Theatre in inform this. The approach is as follows:
Copenhagan.18 7.10.33 The activities of the Barbican Centre and LSO
generate tourism spillovers, through a number of • Audience numbers for each option have been
7.10.30 Whilst there is no survey evidence of non-users sources, including: estimated using the projections from the
available for the LSO or the Barbican, the value programming team.
of donations is considered a useful proxy for non- • Audiences who come from outside London and the
use value. Most of the value of such donations is UK, for whom the visit to the facilities is the primary, • The origin of audiences has been estimated using
not linked to direct use but to the preservation of or an important, reason for their visit to London/ data from the Barbican on audiences in 2014/15. This
the continued existence of the asset. Therefore, the UK (this would include, for instance, specialist indicated that 13% of audiences come from overseas
development income towards the operating costs is music press coming for particular concerts). The (this proportion has remained stable in recent years).
included under revenues. It is important to note that expenditure by such visitors outside the facilities
this approach may understate the true size of the themselves (e.g. on accommodation, food and drink, • The average off-site expenditure of overseas
non-use value. shopping etc.) is additional expenditure for London audiences has been estimated using data from the
and the UK. The consequent direct and supply chain International Passenger Survey (IPS). The 2011
ECONOMIC EXTERNALITIES GVA generated by this expenditure represents the survey provided data on the average spend per
(INSTRUMENTAL VALUE) economic value of this spillover effect. visit by international visitors to the UK, split by the
activities that they undertook. These data have been
7.10.31 There are a number of important externality or • Orchestral players from regional and international split by visitors who came to the UK for the purposes
spillover benefits associated with the project, not orchestras and their supporting teams who visit of a holiday or miscellaneous reasons, who attended
captured in the assessment of user and non-user London. As for audiences above, the spending of a theatre/musical/opera/ballet (the closest fit
benefits, as follows. these visitors outside the facilities represents an category) and stayed for up to three nights. Average
economic benefit for London and the UK. The GVA spend per visit for these visitors in 2011 was £449.
Tourism spillovers from spending by orchestral players cannot be This figure was then adjusted to account for the
counted as an additional GVA benefit from the UK as increase in average spend between 2011 and 2014
7.10.32 The activities of the Centre for Music could generate it is paid for in part by the Barbican/LSO. However, for all 0-3 day holiday-related visits to London (1%
additional spillover effects for London’s and the the GVA from spending by entourages is an additional over the period) and the ratio between average spend
UK’s visitor economies. London is one of the world’s economic benefit. per visit in London and the UK as a whole for these
most visited cities, with over 17 million international types of visit (in 2014 these types of visitors to London
tourists visiting the capital in 2014. Approximately • Visiting friends and relatives linked to orchestras. spent 33% per trip more than the same type of visitor
1.9 million tourists visiting London attended a live Expenditure by friends and relatives of orchestral to the UK). The effect of these adjustments was to
music event in 2014, 11% of the total international players who live outside London or the UK generates give an overall average spend per visit of £603.
visits.19 Recent work by BOP Consulting estimated further visitor economy spillovers.
that the City of London’s Cultural Hub generated • The breakdown of this gross expenditure (after
£225m of GVA for the City of London and £291m VAT) has been estimated using data on spending by
for London as a whole in 2011/12. GLA Economics international visitors in the ONS Tourism Satellite
estimated that in 2013, cultural tourism contributed Accounts. Expenditure taking place in the venues
£3.2 billion of GVA to London. This equates to just themselves has been netted off, by taking away the
under a third of tourism in the capital (£10 billion). It known average audience spend on tickets in 2014/15
is also estimated that approximately 80,000 jobs in (£23, including audiences who had complimentary
London are supported by cultural tourism. Analysing tickets) and average secondary spend per audience

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member in the café/bar/restaurant/retail facilities often working within the digital media and software 7.10.38 Turning to London specifically, the city clearly already
(£1.07 for all audience members, including those who development industries.24 These workers often has a rich cultural offer across a wide range of
do not spend anything). demand a certain type of lifestyle with sufficient local cultural and art forms. Currently its cultural offer
amenities but in return have substantial disposable ranks highly compared to international competitor
• The resulting figure is the gross off-site expenditure incomes to spend and productivity skills to drive the locations – for example, the LSO itself is ranked
of audiences at the Barbican and LSO. This then local economy forward. highly compared to other orchestras in the world.28
needs to be netted down to account for spend that is This cultural offer plays a role in attracting and
non-additional (i.e. would have happened anyway and 7.10.37 Case study examples of UK cities which have retaining highly skilled workers in the City of London
cannot be attributed to the visit to the Barbican/LSO). benefitted from the development of a cultural hub and Greater London: data from a recent report
This has been estimated using data from a recent include: showed that nearly a fifth of attendees at events held
report on the economic impact of the City of London’s at the Barbican were City of London based.29
arts and culture cluster,20 which indicated a 22% • Liverpool - Within the first year of Liverpool being
average additionality factor for overseas visitors (i.e. awarded the ‘European Capital of Culture’ in 2008, 7.10.39 However, London’s concert halls often do not rank
78% of spend on average was non-additional). 21 inward investment enquiries in the city rose by 30%, highly compared to other international concert
demonstrating a link between investment in the arts halls,30 and in the absence of investment in facilities
• The economic effects of the resulting additional and the desirability of the area as a business location. London’s competitive position will further erode.
expenditure injection have then been estimated Over 50% of the city’s cultural sector peers agreed Whilst this may only have a relatively modest impact
using Regeneris Consulting’s input-output model that the Capital of Culture year had repositioned on the location decisions of a small number of
to estimate the first round and indirect/supply chain Liverpool as a ‘world-class city’ with the creative people, over time decisions by highly talented (and
impacts on GVA for the UK. Induced effects are not industries expanding by 8% between 2004 and 2008.25 wealthy) people could make a difference to the
included. trajectory of (the City of) London’s economy. In the
• Newcastle/Gateshead - Two cultural institutions context of the £340 billion London economy, small
City Competitiveness were developed in succession alongside the River changes can have a large overall impact.
Tyne, the BALTIC Centre for Contemporary Art and
7.10.35 There is a wealth of research on the role of cultural the Sage Gateshead Music Centre. The £150 million 7.10.40 Although these effects are an important aspect of
assets in driving the competitiveness of cities as public sector investment in these cultural facilities the strategic case for the project, it has been decided
locations for high value business activities and highly subsequently secured Gateshead more than £1 billion that there is no reliable way of placing a robust
skilled workers. private sector investment in the area, averaging £5 economic value on them. A switching value approach
million per acre.26 In addition, companies in the has therefore been applied, to illustrate the value
7.10.36 Cultural institutions are an important direct source of creative industries sector are increasingly employing that they would need to take, in order to change the
jobs and economic activity but they also play a much highly skilled graduates from the region as well as project’s BCR to a certain level – this is set out below
broader role in enhancing local competitiveness. attracting graduates from outside the region.27 in the results of the cost-benefit analysis and should
It has been suggested that a city’s culture is now be borne in mind when interpreting the results.
viewed as an ‘economic asset’ with a fundamental • Salford, Greater Manchester In 2000, The Lowry
market value.22 Arts and culture can improve the theatre opened, marking the first step of cultural
appeal of a city, acting as an attractor of skilled led regeneration in the area. The Lowry’s role as
labour and capital. They not only provide important a ‘cultural catalyst’ was then used to successfully
local amenities but can also act as spaces for civic lobby the location of the Imperial War Museum site
engagement, connectivity and the exchange of and generate further inward investment in the area.
ideas, reducing business and public services costs.23 Salford remains central to Greater Manchester’s
Economist Richard Florida argues that a substantial competitiveness, with the opening of MediaCityUK
cultural offering is instrumental in a city’s ability to demonstrating how the development of a cultural
attract a creative class of highly skilled employees, hub can act as a catalyst for attracting businesses
and highly skilled workers.

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Spillovers from engagement with music increase in the likelihood of volunteering frequently. for students from low income families.
Other research has shown the subjective wellbeing
7.10.41 In addition to the wellbeing effects for individuals value of regular volunteering to be £13,500 per 7.10.42 The table below sets out indicators of higher
engaging with music, there are further benefits to annum (2011 prices). education by socio-economic status and arts
society. A range of recent research has explored involvement.
these effects. These include a mix of impacts, which • A review of international evidence found that
in practice are a mix of benefits to individuals and to engagement with structured arts programmes led
society at large: to an increase in transferable skills of 10-17% and
an increase in children’s cognitive ability by 16% -
• Health impacts. Participation in cultural activities has 19%, compared with those who do not engage with
been found to have a positive effect on overall health the arts.34 Participating in musical groups can also
and wellbeing. Evidence suggests that engaging develop a range of transferable skills, including
with the arts increases the likelihood of a person social networking, team work, self-discipline, co-
reporting they are in good health by 5.4% .31 Taking operation and commitment.35
the national average NHS cost of £1,979 per person
per year, it has been estimated that those in good • A 12 year study in the United States of arts education
health incur £693 less in overall NHS costs per year. and the effects on young people by Professor James
This results in an average cost saving to the NHS of Catterall 36 demonstrated that participating in arts
£37 per person, per year as a result of engagement education improved student’s attainment in maths
with the arts. This value has been applied to the and literacy with a particularly marked improvement
cumulative stock of people who have been estimated
– as a direct result of engaging with education and
learning at the Centre for Music – to go on to become
regularly engaged with music/the arts (see above for Indicators of higher education by socio-economic status and arts involvement
the method).
High socio-economic status Low socio-economic status
• Evidence suggests that 16-18 year olds who All Students
participate in musical activities are 8.4% more High Art Low Art High Art Low Art
likely to report an intention to go on to further and participation participation participation participation
higher education.32 The Department for Education
suggests the lifetime earnings for graduates are Attended college 79.1% 98.6% 92.0% 70.0% 48.1%
£400,000 greater than for non-graduates. Using
this figure as an approximate for the economic Attended post high school
53.8% 93.3% 76.0% 38.7% 16.8%
value of further education, the study assumes that institution
an 8.4% increase in the aspirations of students to Mostly A’s and B’s as
continue their studies after school is associated 31.0% 36.8% 55.0% 14.7% 8.5%
undergrad
with an approximate increase in lifetime earnings of
£33,600.33 MA 3.8% 12.1% 10.9% 0.8% 0.3%

• The same research paper found that engagement

BA 29.6% 17.7% 6.3% 17.7% 6.3%
with the arts is associated with a greater likelihood of
volunteering: participating in, and being an audience
member at, any arts event was associated with a 5% Source: Doing well and doing good by doing art, James Catterall

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• Using research from the Centre for the Economics of Creative Partnerships. 41 A 1% increase in the order to remain conservative, the appraisal assumes
of Education, an increase of 1 standard deviation proportion of the working age population with they remain constant in real terms.
in cognitive ability at age 11 is associated with an qualifications equivalent to L2 could also potentially Residual value of the site
approximate 10% increase in hourly wages at the age reduce the social costs of crime by up to £320 million
of 42 37. This suggests that social skills are important per year.42 7.10.45 At the end of the appraisal period, the site on which
both because they influence achievement at school, the Centre for Music would sit would retain a residual
but also because they impact on labour market • Reduced truancy - A further report by NFER (2008) value. It has been assumed that the value used in
performance directly. found a statistically significant relationship between the calculation of opportunity cost (£160m) remains
Creative Partnerships and reduced learner absence constant in real terms (although, of course, in
• A study by Pricewaterhouse Coopers (PWC) has and exclusion rates in primary schools 43. Using the discounted terms at the end of the appraisal period
estimated that 6.6% of the children engaged with National Audit Office statistics which found that a this is heavily discounted). This is a conservative
Creative Partnership Programmes (a government reduction in absence by one day per learner would assumption given the recent and projected growth in
funded scheme to encourage creative professionals represent an educational revenue saving of around land values in the City of London.
to work in partnership with schools across the UK) £127 million a year, an estimated value could be
who achieved 5 ‘good’ GCSEs (L2) would not have placed on truancy cost savings as a result of musical Additionality of benefits
done so in the absence of Creative Partnerships. education.
Applying DfE wage estimates for someone with level 7.10.46 All benefits included in the analysis are net additional
2 qualifications suggests that engaging with music as 7.10.43 Whilst there is therefore a range of potential positive for the UK. That is, they are stated after deadweight,
a child could lead to an extra £93,000 over a person’s externalities arising from the education and learning displacement, substitution and leakage effects. This
lifetime.38 activities across the options, only the health and has been done as follows:
productivity benefits have been valued; other values
• Adult engagement with the arts has been found to such as the increase in the likelihood of volunteering, • Concert attendees. It has been assumed that there is
increase economic productivity, with those that are the reduced social costs and crime and truancy some displacement of attendance from other venues
unemployed being 12% more likely to have looked etc. are not valued. There are two reasons for this. in the UK under all options. The audience market
for a new job in the last month if they are actively Firstly, this ensures that the approach to estimating research indicates that there is significant projected
engaged with the arts.39 benefits is conservative. Secondly, the health and growth in the size of the market for classical and
productivity benefits have been researched recently other music concerts, driven in particular by the
• Language and Literacy Skills – there is a using established techniques and are more readily growth in the population of London. An estimate of
significant amount of evidence that links musical quantifiable than the other benefits. The fact that only audience growth in the next ten years from 2015 to
engagement with development of language and some of the potential externality benefits from long 2025 is between 15% and 25% (see Section 16), and
literacy skills. Speech and music have a number of term engagement in music have been valued should the current plans for the Centre for Music in Option
shared processing systems and therefore musical be borne in mind when interpreting the results of the 4 represent a 24% increase in the number of people
engagement can enhance processing and thus cost-benefit analysis. attending classical music concerts. Accordingly
impact linguistic skills. A study involving eight year and given the distinctiveness of the classical music
old children showed that with just eight weeks 7.10.44 This has been done by applying the values of health offer, it is unlikely that there will be displacement
of musical training there was an improvement in benefits (£37 per person per annum) and skills and of audiences at classical concerts. However, for
perceptual cognition compared with the children with productivity (£33,600 over a working lifetime)44 to the prudence a10% displacement for classical audiences
no music education.40 cohort of chil attendees and participants who go on to has been assumed. Although the audience for the
become permanently engaged in music as adults as contemporary46 music programme and rentals is
• Reduced crime costs - A study by PWC has estimated a result of engagement with education and learning also expected to grow, there is more likely to be some
that 6.6% of the children engaged with Creative events at the Centre for Music (see earlier for an displacement of these audiences from other venues.
Partnership Programmes who achieved 5 ‘good’ explanation of the method to arrive at an estimate 25% displacement has been assumed for these
GCSEs (L2) would not have done so in the absence of the size of this cohort). Whilst there is a case for concerts.
increasing these values over time in real terms,45 in

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• Tourism spillovers. Off-site expenditure by UK-based 7.11 RESULTS OF COST-BENEFIT ANALYSIS Option 2: Redevelop Option 3: Option 4:
audiences is assumed to be 100% displacement Barbican Hall m2 New Concert Hall m2 Centre for Music m2
and the portion of off-site expenditure by overseas SUMMARY OF SPACE AND ACTIVITIES ACROSS
visitors that is attributed to the Barbican/LSO (and OPTIONS 1 Performance Space 1 ‐ Concert Hall 2,338 2,406 2,406
hence additional) is based on the evidence presented
2 Performance Space 1 ‐
earlier. Zero crowding out is assumed. Accommodation Schedule 4,255 2,890 4,015
Concert Hall - Support spaces
• Education and engagement. The process of arriving 7.11.1 The following table summarises the volume and 3 Performance Space 2 ‐ Club Space - - 653
at net additional impacts from the education activity breakdown of space across the options, compared
was set out earlier. As discussed, the calculations of to the baseline position. Option 4 would have a 4 Rehearsal 440 375 965
additional long term impact involve estimates of the total internal floorspace of 29,845m2, compared to
cohort of unique schoolchildren who, as a result of 22,116m2 in Option 3 and 21,400m2 in Option 2. The 5 Front of House 3,688 3,867 5,599
attendance at events at the Centre for Music, go on to particular things to note are the differences between
regularly engage in music. Option 4 and Option 3, in particular the additional 6 Learning, Meeting and Entertaining 985 1,326 1,384
space created for:
7.10.47 Whilst these assumptions have not been subjected 7 Archive - - 100
to sensitivity testing directly, the effect of decreases • Support areas for performance spaces in Option 4
and increases in the associated benefits have been 8 Digital 35 35 630
• The Club Space
examined (which may occur due to changes in the • Front of House 9 Performers / Backstage 1,268 1,378 1,383
volume of attendance, or the additionality of this • Digital facilties
attendance, or both). • Learning, meeting and entertaining. 10 Production Support 880 847 947

11 Management / Administration - 656 859

12 Back‐of‐House Entrance 670 1,265 1,268

13 Outdoor Performance - - 95

Sub-total 14,558 15,045 20,303

Other (circulation, building services, walls,
6,842 7,071 9,542
partitions etc.)
Grand Total 21,400 22,116 29,845

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Activities: overall summary Current Base Option 2: Option 3: Option 4:

(Option 1) Repurpose Barbican Hall New Concert Hall Centre for Music
7.11.2 The volume and type of activities taking place within
the facilities are important drivers of the operating Total Attendances Total Attendances Total Attendances Total Attendances
costs/revenues and the non-financial benefits across
the options. The following table summarises the (thousands) (thousands) (thousands) (thousands)
assumptions on the number of events by type and
associated attendance across the shortlisted options. Commercial 106 106 194 208
Key points to note are:
Rentals 123 123 155 161
• In Option 1 the assumption is that attendance
Contemporary 68 68 106 182
remains the same over the full appraisal period.
There is a possibility in the do nothing option of Classical 120 120 168 167
marginal erosion in audience numbers in the event
of a lack of investment and a consequent reduction Education 73 73 135 257
in competitiveness relative to other international
concert halls. However, given the projected increases Exhibition 355 0 355 521
in the size of the market (see Section 16), for
prudence and so as not to understate the reference Sub-total 845 490 1,113 1,496
case, it has been assumed that attendance remains
static. Other venues 432 432 432 432

• Option 2 attendances are the same as in Option 1 General Footfall 700 700 832 1,050
in steady state terms, except that the loss of the
Curve gallery leads to the loss of the associated Total 1,977 1,622 2,377 2,978
exhibition attendees. Under this option there is
significant disruption whilst the Barbican is closed
for refurbishment and a subsequent need to rebuild
audiences, which impacts on the overall number of
attendees over the period.

• Option 3 would see a significant increase in

attendance in all categories compared to Option 1,
with the largest increases at commercial events
held in the Barbican. There is also an increase in
attendance at learning events, as well as in general
footfall.

• Option 4 has a further increase in attendance,

particularly in commercial and contemporary events,
learning activities and general footfall.

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Education and engagement Option 3: Option 4:

Options 1 and 2
New Concert Hall Centre for Music
7.11.3 The anticipated numbers of schoolchildren and
adults engaged by the education and engagement 000’s 000’s 000’s
activity in a steady state year are set out in the
following table. This illustrates the scale of * Total Reach
engagement which is enabled across the options,
compared to the baseline position in Option 1 Under 18 years old 60.0 93.0 208.0
(attendance in Option 2 would remain the same as
18 years old and above 49.9 64.5 166.4
at present there would be no further investment in
facilities or staff), and puts it in the context of the size all ages 109.9 157.5 374.4
of the relevant population.
Penetration rate (based on estimate of
7.11.4 Option 3 would enable an increase in the numbers unique attendees)
of both schoolchildren and adult attendance at
1 in every…schoolchildren in UK 210 136 61
education and engagement activities. However,
significant space and resource constraints would
1 in every…adults in UK 1,051 813 315
remain. Option 4 would deliver a step change in the
number of beneficiaries reached.
School pupil numbers taken from ONS Schools, Pupils and their Characteristics (for England), the Scottish Government High
7.11.5 To put the figures into context, they have been Level Summary of Statistics data for School Education trends (for Scotland) and Department of Education Northern Ireland
compared to the current size of the population of Number of Pupils attending Educational Establishments in Northern Ireland by School Type (for Northern Ireland). Adult
schoolchildren and adults in the UK, based on the population estimates taken from ONS Midyear Population Estimates (all 16 years old and above).
assessment of unique individuals attending the
activities. This clearly shows the increase in reach * Reach figures include participants in LSO and Barbican education activity, and participants in the
which is achieved in Option 4. The number of visits Guildhall School’s non-formal education activity.
by schoolchildren in Option 4 is equivalent to one
in every 61 schoolchildren in the UK, compared to
one in every 210 at present. In interpreting these
figures it is important to note that ONS projections
indicate that the number of children aged 6 to 15 in
London is expected to grow by 12%. Consequently,
the target population for the education activities
aimed at schoolchildren will grow, creating growing
opportunities to engage them in the education
activities of the Centre for Music.

7.11.6 These assumptions on attendance are subjected to

sensitivity testing in a later section of the report.

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7.11.7 As set out earlier, the valuation of the long

term benefits of this education activity for the Intensity
schoolchildren is partly determined by the mix of
Options 1 and 2
education activities taking place. This mix has been
estimated across options in the following tables. Non-participatory Low Medium High
7.11.8 This also illustrates the overall impact additionality Immediate 3% 17% 2% 0%
implied by this mix of activities (after applying the
methodology described earlier) – i.e. the percentage Medium 0% 2% 59% 3%
of all school age attendees who become long term
engagers in music as adults as a result of this Long 0% 0% 0% 14%
attendance. As this implies, at present (in Option 1),
14 in every 1,000 attendees who attend these events Overall impact additionality 1.4%
go on to become regularly engaged in music as
adults. Although the number of attendees increases
considerably in Option 4, given the focus of these
activities the overall additionality is estimated to fall Option 3: New Concert Hall
to 9 in 1,000 attendees.
Non-participatory Low Medium High
7.11.9 Clearly, there is considerable uncertainty around the
overall additionality figures. However, it is considered Immediate 3% 14% 1% 0%
that these overall additionality rates implied in the
activities are fairly conservative estimates. Given this Medium 0% 11% 52% 3%
uncertainty, the education values have been subject
to a strong downside sensitivity test. Long 0% 0% 0% 16%

Overall impact additionality 1.5%

Option 4: Centre for Music

Non-participatory Low Medium High

Immediate 3% 52% 1% 0%

Medium 0% 13% 20% 1%

Long 0% 0% 0% 10%

Overall impact additionality 0.9%

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Digital reach
Number of UK Residents accessing content for free (000s per annum)
7.11.10 The following table sets out the assumptions on
digital reach across the options. As set out earlier, it Estimated Average Option 1: Option 2: Option 3: Option 4:
is assumed that some additional activity is possible Duration (minutes Do Nothing Repurpose Barbican Hall New Concert Hall Centre for Music
in Options 2 and 3 but that this is limited by the
LSO Play and similar platforms 30 180 240 240 300
available infrastructure and facilities. Option 4
delivers a more significant increase in activity and
in reach given the additional facilities that would Local area broadcasts 120 - - - 24
be developed. Note that as well as an increase in
reach, Option 4 also delivers a significant increase Content for schools 50 - 90 90 150
in the depth of engagement, driven in particular by
the introduction of online learning courses, which
have a greater average duration. Total digital reach Digital publishing 60 - 90 90 150
is anticipated to be 2 million people internationally.
For the purposes of the economic analysis a value Video conferencing 60 - - - 8
has only been attributed to UK residents accessing
content for free. Online learning courses 960 - - - 80

Audio visual broadcasts 120 25 30 30 50

Total 205 450 450 762

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COSTS Option 2: Option 3: Option 4:

Redevelop Barbican Hall New Concert Hall Centre for Music
Capital Costs
£m £m £m
7.11.11 The capital costs for each option are summarised
below on both an undiscounted and discounted basis. Cost Breakdown (2015/16 prices, undiscounted)
The anticipated split in private/public funding for
the project is then set out after the assessment of Project Development 1.9 3.5 4.5
optimism bias, in the table below.
Construction 113.4 127.3 197.0
• Option 2 has a significant construction cost (£113.4m
Statutory Consents 0.5 0.6 0.9
in 2015/16 prices), stemming from the need to
demolish and reconstruct the existing Barbican Hall. Fixtures, fittings and equipment 12.1 17.3 32.0
The total capital cost would be £157m. Including
contingencies, this rises to £174m. Total Build & Refurbishment Cost (exc. Contingency) 127.8 148.7 234.3

• Construction costs in Option 3 are higher (£127.3m) Professional Fees 28.0 28.1 43.4
and there are additional requirements for fixtures
and fittings (including new digital equipment and Client Costs 1.2 4.7 6.0
musical instruments). Total capital costs would be
£181m, rising to £200m including contingencies.
Total costs (2015/16 prices, undiscounted)
• Option 4 has the highest construction cost (£234m)
given the scale and specification of the Centre for - exc. contingency 157.0 181.4 283.7
Music building. Costs of fixtures and fittings are
also larger than in Option 3, including the need for - inc. contingency 173.8 200.5 313.4
additional digital and AV equipment and other loose
furniture. Total capital costs for Option 4 would be
£284m, rising to £313m with contingencies. Total Costs (2015/16 prices, discounted)

7.11.12 Note that in the ‘do nothing’ Option, although there - exc. contingency 120.6 138.1 215.4
are no major capital costs, there is an ongoing
budget for repairs and maintenance – however, this - inc. contingency 133.4 152.5 237.8
is factored into the operating costs (see below).
Notes:
- Contingencies include a 7.5% contingency on construction costs and a 5% contingency on client costs. Professional fees are calculated on the
basis of these costs including contingencies.
- Costs exclude VAT and finance costs.
- Discounted costs have been discounted over the project development and construction period (2015/16 to 2026/27) at HM Treasury Social Discount
Rate.

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OPTIMISM BIAS Procurement Client Specific

7.11.13 An optimism bias assessment of the capital costs in 7.11.16 Although no contractor has been appointed for the 7.11.19 The business case and project management risks
the options has been conducted. This has been done project yet and unforeseen circumstances cannot have been partially mitigated given the costs
by applying HM Treasury Green Book guidance47 on be predicted, some degree of mitigation factor has have been based on a benchmarking report for
adjusting capital costs for optimism bias. Given its been applied to the risks within this section. This recent international concert halls with additional
potential complexity and the unique nature of the is as a result of the benchmarking report already contingencies added on top. Steps have also been
building, the project is properly classed as a non- taking account of the final costs and overruns of taken to ensure that expert advisors have been
standard building, meaning that the upper bound similar projects. Discussions with the external brought in at every stage of the project development
optimism bias factor for costs is 51%. Project Manager indicated that the benchmarked to date.
concert halls had a similar contract complexity to
7.11.14 The adjustment for residual optimism bias has that envisioned for the new concert hall in London. 7.11.20 Site specific risks have not been able to be mitigated
been undertaken in consultation with the external The high profile nature of the project has also meant given the development is non site specific at this
Project Manager (GVA Acuity), based on judgements that discussions with various involved parities is stage.
on the extent to which the contributory factors can happening at an earlier stage than would normally be
be expected to be mitigated. The results are set expected. External influences
out in the table (see following pages) and indicate
a managed optimism bias of 33% should be added Project specific 7.11.21 Although economic, legislative and technology
to the capital expenditure costings (excluding changes cannot be accurately predicted, some
contingencies). 7.11.17 A fairly significant mitigation factor has been applied mitigation has been applied to these factors as the
to the risks within this sector as a result of the majority of concert halls used in the benchmarking
7.11.15 HM Treasury Green Book guidance breaks down benchmarked projects having similar levels of design analysis suffered from changing economic conditions
the ‘contributory factors’ that historically have complexity as the envisioned new concert hall. The and resulting funding implications as well as other
led to optimism bias into four broad categories: majority of benchmarked projects also pushed regulation and technology changes during their
procurement, project specific, client specific and the boundaries of innovation at the time they were development.
external influences. In attributing a mitigation constructed and subsequently suffered the cost
factor to the risks within these categories, a cost implications and risks associated with this. Conclusions
benchmarking report carried out by GVA Acuity
and Gardiner & Theobald has been taken into 7.11.18 The overall costs per square metre assumed for the 7.11.22 Together, these mitigations amount to an overall 35%
consideration. This report informed the cost Centre for Music equate to £5,893 per square metre mitigation of the upper bound optimism bias, leaving
estimations by taking an average of outturn costs for (including contingencies). For context, this compares a residual optimism bias in the base case of 33%.49
11 comparable symphonic concert hall developments with £4,500 - £5,000 per square metre for a large
within the last 20 years. Additional contingencies hospital located in London and £3,000 per square
were then added to these costings to estimate metre for a CAT A office building.48
a final conservative cost estimation per square
footage of space. A copy of the benchmarking report
methodology and findings can be found in appendix
7A.

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Optimism bias assessment

Classification: Non-standard building

Mitigation factor
Capital Expenditure (1 = fully mitigated; Justification for mitigation factor % mitigation on CAPEX
0 = not mitigated at all)
Upper Bound 51%

Procurement
The contract structure is expected to be modelled around an industry standard structure. The benchmarking
Complexity of Contract Structure 1% 0.8 exercise involved concert halls with similar levels of contract complexity to those expected, although not all 0.8%
unforeseen complexities can be accounted for.
Although the contractor has not yet been appointed, it is anticipated by all involved parties that the contractor
will be brought in at the earliest possible stage. Due to the high-profile nature of this development, the
Late Contractor Involvement in Design 2% 0.6 1.2%
cost consultants have already had very early access to planners in order to increase the accuracy of cost
estimations.
Poor Contractor Capabilities 5% 0 No contractor has been identified yet, therefore no mitigation factor will apply. 0.0%

Government Guidelines
A number of the concert halls in the benchmarking exercise have suffered from serious disputes throughout
the development process, leading to increased costs. This factor has therefore already been partially mitigated
Dispute and Claims Occurred 11% 0.5 5.5%
in the benchmarked costing figures although the cost impact of unforeseen disputes cannot be accurately
predicted.
Information Management

Other(specify) No specific discussion yet

Project Specific 0.0%

The design of the new concert hall is unlikely to be significantly more complex than those listed in the
Design Complexity 3% 0.6 benchmarking report, therefore the increased costs associated with this risk have largely been accounted for. 1.8%
However, the design elements remain incomplete until a site has been confirmed and contractor appointed.
A degree of innovation will be involved in the new project but the factor has largely been accounted for in the
Degree of Innovation 9% 0.7 benchmarking report which only includes projects completed in the last 20 years, the majority of which tried to 6.3%
push the boundaries of innovation.
Environmental Impact

Other (specify) 5% 0 No specific discussion yet 0.0%

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Classification: Non-standard building

Mitigation factor
Capital Expenditure (1 = fully mitigated; Justification for mitigation factor % mitigation on CAPEX
0 = not mitigated at all)
Upper Bound 51%

Client Specific 0.0%

Outline Business Case is currently being finalised but appraisal demonstrates viable scheme.
Costs have been based on a benchmarking report for final cost per square metre for recent international
concert halls with additional contingencies added on top (11% for increased London costs, 7.5% for
Inadequacy of the Business Case 23% 0.5 11.5%
construction costs and 5% for overall costs).
Uncertainties remain regarding the final site location assembly and more work is needed to understand and
meet stakeholder interests.
Large Number of Stakeholders

Funding Availability
Although the Barbican/LSO/Guildhall School have not delivered a project of this scale before, steps have been
Project Management Team 2% 0.2 taken to ensure that expert advisors have been brought in at every stage. However, given the early stages of 0.4%
this project this factor can only be partially mitigated.
Significant study has been undertaken to look at comparable project costs for international symphony concert
Poor Project Intelligence 6% 0.2 halls and reasons for cost overruns. However, at this stage the development is non site specific, therefore only 1.2%
a partial mitigation factor has been applied.
Other(specify) 2% 0 No specific discussion yet 0.0%

Public Relations

Site Characteristics 1% 0 At this stage the development is non site specific, therefore no mitigation factor will be applied here. 0.0%

Permits/Consents/Approvals < 1% 0 At this stage the development is non site specific, therefore no mitigation factor will be applied here. 0.0%

Other(specify) 3% 0 At this stage the development is non site specific, therefore no mitigation factor will be applied here. 0.0%

External Influences 0%

Political

Economic 13% 0.25 Although economic, legislative and technology changes cannot be accurately predicted, some mitigation has 3.3%
been applied to these factors as the majority of concert halls used in the benchmarking analysis suffered from
Legislative/Regulations 7% 0.25 1.8%
changing economic conditions and resulting funding implications as well as other regulation and technology
Technology 5% 0.25 changes during their development. 1.3%

Other(Specify) 2% 0 No specific discussion yet 0.0%

100% Managed Optimism Bias (MITIGATION) 35%

Managed Optimism Bias (MITIGATED) 33.2%

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CAPITAL FUNDING Option 2: Option 3: Option 4:

Redevelop Barbican Hall New Concert Hall Centre for Music
7.11.23 The following table sets out the capital costs
including optimism bias (in 2015/16 prices, present Cost Cost Cost Cost Cost Cost
value terms) and the anticipated split in private and (un-discounted) (PV) (un-discounted) (PV) (un-discounted) (PV)
public funding for the project. As set out earlier in the
Total cost before Optimism Bias £157 £121 £181 £138 £284 £215
Economic Case, the project team has taken advice
from a fundraising consultant on the level of private
sector funding that can realistically be raised for the Total cost including 33% Optimism Bias £209 £160 £241 £184 £377 £287
project. Applying the assumptions set out earlier, it
has been estimated that the split in private and public Expected private sector contribution £25 £19 £75 £57 £125 £95
funding would be as set out in the table below. These
assumptions are later subject to sensitivity testing.
It is anticipated that the public sector contribution Residual public sector contribution required £184 £141 £166 £127 £252 £192
would be delivered by key stakeholders. It is assumed
that any cost-overruns would need to be covered by
the public sector. In summary:

• The capital cost of Option 4 including optimism bias

is £377m (in undiscounted, 2015/16 prices). After the
expected private sector contribution of £125m, this
leaves a residual cost to be met by the public sector
of £252m, or £192m once discounted. 7.11.24 The public sector contribution set out below is used
later in the calculation of Net Present Value and
• Option 3 has a lower capital cost at £241m including Benefit-Cost Ratio.
optimism bias (in undiscounted, 2015/16 prices).
As set out earlier, the anticipated private sector 7.11.25 Clearly, should the actual level of optimism bias
contribution would be lower. After taking this into be lower than presented here, the public sector
account, the residual cost to the public sector would contribution to the project would fall. In the sensitivity
be £166m, or £127m once discounted. analysis presented later, the impact of a higher
and lower optimism bias factor on the BCR is
• Option 2 has lower capital costs (£209m including demonstrated.
optimism bias) but also a lower expected private
funding contribution. The public sector contribution
would therefore be £184m, or £141m once
discounted.

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OPPORTUNITY COST OF LAND OPERATING COSTS AND REVENUES • Option 4 would see a further increase in costs and
revenues for the Barbican associated with running
7.11.26 Consultations with the City of London indicate that 7.11.27 The table below summarises in £ millions the the Centre for Music. The LSO’s costs would remain
the value of the land required for the Centre for operating costs across each of the options. The key as in Option 3, and revenues are expected to increase
Music, in the City, would be of the order of £160m, points to note are as follows: as a result of increases in development income, box
based on valuing the land for commercial use. This office income and exhibition space income. Although
value is used in the economic appraisal for Option 4. • In option 1 it is assumed that both organisations Option 4 has higher operating costs than Option
For both options it is assumed that the opportunity would face the same current operating costs and 3, it has a lower operating deficit because of the
cost is incurred in 2017/18 – they are discounted revenues over the appraisal period as at present, with greater scope for income generation. The presence
on this basis. These values are also used in the a continuation of the current combined operating of the Club Space and the greater footfall associated
estimation of the residual value of the site at the end deficit of £25.6m p.a., which is funded through City of with casual visitors and visitors to education and
of the appraisal period (there these are discounted London Corporation and Arts Council England grant. engagement events, will create additional income
accordingly) – see below under Benefits. generation and opportunities for secondary spend.
• Option 2 would see a reduction in both operating
costs and revenues for the Barbican due to the loss
of the Curve gallery as a result of the repurposing.
This would lead, for example, to a loss of associated
box office revenue and secondary income as well
as an anticipated downward negotiation of the
concession rate. This would be marginally offset by
the reduction in running costs, leading to a slight
reduction in operating deficit. It is important to note
the significant temporary disruption costs that would
occur in this option as the Barbican would close Option 1: Option 2: Option 3: Option 4:
entirely for three years and incur redundancy costs in Do Nothing Repurpose Barbican Hall New Concert Hall Centre for Music
the period. The LSO would need to find an alternative Steady Present Steady Present Steady Present Steady Present
location for concerts during this time, with associated State Year Value State Year Value State Year Value State Year Value
costs and potential reduction in attendance.
Total operating
£57.3 £1,570 £53.5 £1,413 £68.3 £1,786 £75.4 £1,922
• In Option 3, costs and revenues for both costs
organisations would increase, particularly for the Total revenues £31.7 £868 £28.0 £748 £36.1 £954 £44.1 £1,106
Barbican given the larger operation that it would
become. In particular there would be increases in Combined
building related costs, direct music programming operating -£25.6 -£702 -£25.5 -£665 -£32.2 -£832 -£31.3 -£817
costs and education and engagement activities. The position
Barbican would also be able to increase its income
from commercial events and a range of music types Note: Present values are discounted at HM Treasury social discount rate; steady state year values are undiscounted. Income excludes
given the space and time freed up in the Barbican public sector grant.
Hall. The LSO would see a small increase in costs
associated with the delivery of education activities
and development income is expected to increase.

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BENEFITS 7.11.31 The benefits from concert attendance are driven by Option 2:
the number of events and associated attendance Option 1: Option 3: Option 4:
Type of benefit Repurpose
7.11.28 In addition to the financial benefits in the form of that is expected to be achieved. Option 2 has the Do Nothing New Concert Hall Centre for Music
Barbican Hall
revenues for the Barbican and LSO outlined above, lowest associated wellbeing value over the appraisal
the economic appraisal considers a range of non- period because of the need to close the Barbican Concert attendance £259 £240 £330 £364
financial benefits. The approach to quantifying these Hall while it is being refurbished, and the fact that
is explained earlier in the Economic Case. The once it re-opens there would be no increase in
Exhibition Attendances £115 £23 £115 £151
results are set out below. concert attendance and the Curve gallery would
be lost. Option 3 sees an increase in the wellbeing
7.11.29 In interpreting this it is important to note that there benefit from concert attendance, but no change in Education and learning (immediate) £59 £57 £70 £154
are several key benefits from the project that have the benefits associated with the Curve gallery. The
not been quantified, including: greatest wellbeing benefit is delivered by Option 4, Education and learning (long term) £183 £178 £267 £388
given the higher attendance at concerts enabled
• The impact of investment in the cultural offer on City within the Barbican Hall and the Centre for Music,
Digital content £27 £52 £53 £244
of London competitiveness. and the increase in attendance due to the new
exhibition space.
• The contribution to the success of the Guildhall Total quantified wellbeing benefits £644 £550 £835 £1,302
School of Music and Drama (and associated soft 7.11.32 In terms of education and engagement benefits:
power effects).
• Option 2 again delivers the lowest benefit due to the Note: excludes revenue income.
• Potential spillover benefits for the wider cultural temporary disruption and the fact that no increase
sector. in education and learning activities is possible due to
the continuing space constraints.
• Tourism spillovers arising from touring artists’
entourages and press. • Option 3 would see an increase in both the
immediate and long term benefits, given the increase
• Welfare benefits linked to health and social inclusion, in the volume of education and learning events that
crime reduction and so on. would take place.

• Non-use value (other than that proxied by • Option 4 would have the greatest benefit since it
development income). would enable both a greater volume and intensity
of activity to take place. This is reflected in both the
immediate and long term benefits.
Wellbeing
7.11.33 Option 4 generates the greatest digital benefit due to
7.11.30 In each of the options there are wellbeing benefits the greater investment in infrastructure and facilities
for UK residents associated with attendance at that would take place, and the activity that this
concerts, education and learning activities and the would enable. As set out earlier it is assumed that
consumption of digital content. The present value some further activity is possible in Options 2 and 3
of these benefits is set out in the following table, by compared to the reference case.
option.

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Externalities Residual Value

7.11.34 The options each deliver externality benefits. These 7.11.37 The final benefit that has been quantified is the
are summarised below and in the following table (£ residual value of the site at the end of the appraisal
millions). period. This is estimated to be £18 million in
discounted 2015/16 prices, on the basis of the site
7.11.35 The tourism spillovers are driven by the attendance retaining its current estimated value of £160 million.
at concerts and the number of visitors from overseas, It should be noted that this assumes that there is no
set out earlier. Hence Option 2 has the lowest benefit real terms increase in the value of the site over the
due to the temporary disruption and the fact that period.
there is no increase in attendance at concerts once
the refurbishment has taken place. Options 3 and 4
both generate additional tourism spillovers due to the
increases in attendance that are enabled, with Option
4 generating the largest benefit here.

7.11.36 The health and productivity benefits are associated

with those who, as a result of engaging with the
education and engagement activities, go on to
become regular, long term engagers with music.
Consequently:

• Option 2 has the lowest benefit owing to the effects

of disruption and the fact that the level of activity
remains the same as in Option 1 Option 1: Option 2: Option 3: Option 4:
Do Nothing Repurpose Barbican Hall New Concert Hall Centre for Music
• Option 4 therefore delivers the greatest value for
both of these categories. The differences between Tourism spillovers £236 £140 £281 £330
the health benefits across the options are relatively
small due to the relatively low value per person Health benefit (NHS cost savings) £9.3 £9.0 £14 £19
attributed to regular engagement with the arts (£37
per person). There is much more of a distinction Increased productivity £193 £187 £281 £384
between the productivity benefits as these are higher
Total quantified externality benefits £438 £336 £575 £733
per person (£33,600 over a working lifetime).

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COST-BENEFIT ANALYSIS sector contribution to the capital costs - of 1.39. Note • Option 2 has a lower economic benefit than Option
that although this is not significantly greater than the 1 – this is due to the disruption caused over the years
7.11.38 The table at 7.11.45 brings together a summary of BCR for Option 1 of 1.2450 this is due to the absence when the Barbican temporarily ceases operations,
all costs and benefits across the options. The table of capital costs in Option 1: Options 1’s NPV is much leading to a loss of concert attendees and education
immediately after then sets out the relative costs and lower, at £380m (as the economic benefits delivered and engagement activities in this period (and hence a
benefits of Options 2-4 compared to Option 1, the in Option 1 are lower). loss of tourism spillovers, wellbeing benefits and the
reference case. benefits flowing from the education activity). Once a
• In net terms, when compared to the reference case of stable operating year is reached, there would be no
7.11.39 The key points to note are as follows. Option 1 (see table that follows), the BCR for Option increase in concert attendance as over Option 1, and
4 (which is based only on the benefits that have been the Curve gallery would be lost.
Financial analysis quantified) is 1.73.

7.11.40 Looking at the performance of the options in purely • Option 4 delivers the highest NPV because it has the 7.11.42 Again it is important to note that the analysis
financial terms: greatest quantifiable economic benefit, at £3.16bn, presented here is only on the basis of those economic
compared to £1.95bn in Option 1 and £2.38bn in benefits which it has been possible to quantify in a
• All options have a negative financial Net Present Option 3. The largest components of the economic reasonably robust fashion. Other benefits (on City
Value (“NPV”) (Option 1 has a negative NPV due to the benefit in Option 4 are the long term education competitiveness, the wider cultural sector, other
ongoing operating deficit which is currently funded benefits (wellbeing and externalities), the wellbeing tourism spillovers, aspects of social welfare and
by the City of London Corporation and Arts Council benefit from concert attendance, and the digital non-use value) have not been valued directly but the
England). benefits. switching value that these benefits would collectively
need to have in order for the BCR of Option 4 (net
• Options 3 and 4 have a higher operating deficit than • Given the lower levels of concert attendance, of Option 1) to equal 2 has been analysed. This
Option 1 and Option 2. Option 3 has the highest educational and digital activity than in Option 4, analysis indicates that in this base case the present
operating deficit of all options. Although Option 4 Option 3 as currently configured has a negative net value of these benefits would need to equal £190
has higher operating costs, it has significantly higher BCR compared to the Do Nothing option. Option 4 million, equivalent to an average of £3.2 million per
income generation potential than Option 3, so its delivers a greater economic benefit than Option 3 due annum (in discounted, 2015/16 prices) in order for
operating deficit is lower. to: Option 4 to have a BCR of 2 compared to Option 1.
This is equivalent to around £10 million per annum
• Given the higher capital costs, option 4 has the lowest −− the greater number of concert events and attendees (undiscounted, 2015/16 prices) over the operational
financial NPV of all options, at -£1.0bn. This is £307m than in Option 3, generating an additional £34m in period of the Centre for Music. The switching value is
lower than in the Do Nothing option, and £49m lower wellbeing benefits for attendees as well as additional subject to sensitivity testing in the following section.
than Option 3, given the greater capital cost. tourism spillovers (£49m).
7.11.43 It is also worth noting that since the origin (i.e. UK vs.
Economic analysis −− the greater scale and intensity of education and overseas) of the private sector contribution to capital
engagement activity enabled by the Centre for Music, costs cannot be known at this stage, these have not
7.11.41 The key points from the economic appraisal are as which generates both greater immediate and long been factored into the resource costs or economic
follows. term wellbeing benefits (£84m and £122m over benefits.
Option 3 respectively) as well as greater long term
• In gross terms (i.e. before netting off the reference health and productivity externalities (£5m and £104m 7.11.44 The summary of economic appraisal results by option
case, Option 1), Option 4 delivers the highest NPV, respectively over Option 3). (all values in £m, 2015/16 prices, discounted over
at £890m. This is £510m greater than the do nothing appraisal period, 2015/16 to 2083/84) is set out in the
option and £576m greater than Option 3. It has a following table.
gross benefit-cost ratio (BCR) – based on the public

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Option 1: Option 2: Option 3: Option 4: Option 1: Option 2: Option 3: Option 4:

Do Nothing Repurpose New Concert Centre for Do Nothing Repurpose New Concert Centre for
Barbican Hall Hall Music Barbican Hall Hall Music

Costs - Barbican £569 £449 £628 £770

Capital cost - LSO £299 £299 £326 £335
- exc. contingency £0 £121 £138 £215 Total revenues £868 £748 £954 £1,106
- with optimism bias £0 £160 £184 £287 Operating deficit -£702 -£665 -£832 -£817
- (1a) Public sector contribution £141 £127 £192 (2b) Wellbeing benefits
(1b) Operating cost - Concert attendance £259 £240 £330 £364
- Barbican £1,155 £997 £1,348 £1,481 - Exhibitions £115 £23 £115 £151
- LSO £415 £416 £438 £442
- Education and engagement attendance (immediate) £59 £57 £70 £154
Total operating cost £1,570 £1,413 £1,786 £1,922
(1c) Opportunity cost (value of land) £0 £0 £155 £155 - Education and engagement attendance (long term) £183 £178 £267 £388

Total Economic Costs [(1a) + (1b) + (1c)] £1,570 £1,554 £2,067 £2,269 - Digital content £27 £52 £53 £244
Total wellbeing £644 £550 £835 £1,302
Benefits
(2c) Externalities
(2a) Revenues
- Tourism spillovers £236 £140 £281 £330
- Health benefits (NHS cost savings) £9.3 £9.0 £14 £19
7.11.45 The economic appraisal results net of Option 1 - Increased productivity £193 £187 £281 £384
(do nothing): (£m, 2015/16 prices, discounted over
appraisal period, 2015/16 to 2083/84) are set out in Total Externalities £438 £336 £575 £733
the following table; (2d) Residual value of land n/a n/a £18 £18
Total Quantified Economic Benefits [(2b) + (2c) +
£1,082 £886 £1,428 £2,052
Option 2: Repurpose Option 3: New Concert Option 4: Centre for (2d)]
Barbican Hall Hall Music
Total Benefits [(2a) + (2b) + (2c) + (2d)] £1,950 £1,634 £2,381 £3,158
Total Costs -£16 £498 £699
NPV summary
Total revenues -£120 £86 £238
Total costs £1,570 £1,554 £2,067 £2,269
Total wellbeing benefits -£93 £191 £658
Total benefits £1,950 £1,617 £2,381 £3,158
Total externality benefits -£102 £137 £295
NPV (financial only) -£702 -£806 -£959 -£1,008
Residual land value £18 £18
NPV (economic) £380 £81 £314 £890
Total Quantified Economic Benefits -£195 £346 £971
BCR 1.24 1.05 1.15 1.39
Total Benefits -£315 £432 £1,209
NPV (financial only) -£104 -£257 -£307 Note: Given uncertainty on location of origin of private sector capital contributions, these are excluded from UK resource cost
NPV (economic) -£299 -£66 £510 and benefits (as an indicator of use/non-use value).
BCR - 0.87 1.73
Switching value for BCR to equal 2
- total - £564 £190
- average per annum over 60 years £9.4 £3.2

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OPTION APPRAISAL CONCLUSIONS This estimates Option 3 to be £28m cheaper than RISKS
Option 4. However, the net annual running costs
7.11.46 The results of the quantitative appraisal of the of a stand-alone concert hall are around £1m per 7.11.51 An assessment of the key risks associated with the
shortlisted options therefore indicate that Option 4 annum higher than that of a Centre for Music. As project has been undertaken. A sensitivity analysis
performs best in terms of overall value for money the economic analysis shows, over the lifetime of has then been carried out on the economic appraisal
relative to the reference case (Option 1: Do Nothing). the asset, the purely financial NPV between these to examine the impact on the overall NPV, BCR and
Whilst it has the highest capital cost, the investment two options is negligible. The added non-financial switching value required for the project to have a BCR
serves to unlock a number of quantifiable benefits value of the Centre for Music makes the case for it, in of 2.
that would not be realised in the absence of the comparison with a concert hall, compelling.
investment. These include additional tourism 7.11.52 The table below sets out the key risks to the project,
spillovers for the UK, wellbeing benefits for UK 7.11.49 Of equal importance and weighting for the how these have been tested quantitatively in the
audiences arising from engaging with music and assessment is the qualitative assessment of the sensitivity analysis and the mitigating actions that
consuming music digitally, and longer term benefits options which was presented earlier. This qualitative would be put in place.
for individuals and society at large from the education assessment is important because there are benefits
and engagement activities that would take place. from the project that, whilst not quantifiable in
a robust manner, are nonetheless central to the
strategic case and rationale for the investment, and
7.11.47 Unlike the other options considered, only Option 4, of hence the investment objectives. These include the
building a Centre for Music, meets the objectives set contribution to London’s status as a world-class
out in the terms of reference. The economic analysis destination for music (investment objective 1),
shows that its output, reach and impact materially extending the reach and diversity of engagement with
outweigh every other option. Its BCR and NPV as a great music (investment objective 2) and supporting
consequence is materially greater. the UK’s position as a world-leading centre for the
cultural industries (investment objective 5).
7.11.48 The purely financial difference between building a
concert hall (Option 3) and a Centre for Music (Option 7.11.50 On the qualitative contribution to each of these
4) is as follows: objectives, Option 4 has the highest ranking of all
options. Moreover, in a do nothing option there is
a risk of London and hence the UK experiencing a
Option 3 Option 4 deterioration in its competitive position compared to
other global locations, as a destination for music and
Cost of construction £200m £278m
as a centre for the cultural industries in particular.
Less: fundraising target £75m £125m

Net £125m £153m

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Risk Likelihood Sensitivity test Comment: Mitigation

Current capital cost estimates have been developed in a robust fashion through a detailed benchmarking exercise
Tested by changing Optimism Bias factor against the final outturn costs of a range of comparable concert hall developments (see Appendix 7A). It has been
assumed that the central optimism bias assumption of 33% is prudent, and further cost overrun over this level is
(downside = applying upper bound Optimism Bias for non-standard unlikely.
Capital cost overruns Low buildings of 1.51; upside = Optimism bias factor of 10%)
Careful cost management will be built into all stages of the project with oversight from the client, cost consultants,
Note that the costs in the low scenario here are a little greater than the current project managers and key funders and regular formal reviews. Particular risk areas such as inflation will be specifically
base costing including contingencies. monitored and any concerns about cost increases will be identified and addressed at the earliest opportunity.

The base financial model has been developed on the basis of conservative assumptions and has been subject to robust
testing by an expert group. The base model already factors in a £0.5m contingency, equivalent to 3% of expenditure or
4.5% of income. It has been assumed unlikely that revenues would be lower, or costs higher, than in the base case.
Tested by examining the effect of changes in the operating deficit
Higher operating deficit
Low The financial case provides a detailed analysis of income and cost sensitivities. The Barbican Centre operates a
than anticipated
(downside = +20%; upside = -20%) diversified business model, with twelve distinct income-generating activities. This allows it to manage any volatility
in any particular income stream, and each budget centre is reforecast every month to facilitate this. This portfolio
approach would continue to be employed going forward and help to mitigate any revenue shortfalls that may be
experienced.
Audience projections have been developed based on a detailed programming diary and drawing on research on the size
of the market. This research (see Section 16) shows that the size of the market for classical and other music that would
be offered by the LSO and Barbican Centre is expected to increase considerably given increases in the population of
Lower than expected Tested by examining the effect of changes in audience numbers London in particular. It has therefore been assumed that it is unlikely that audience numbers would be lower (or indeed
audience numbers for Low that displacement of audiences from other venues would be higher) than in the base case.
concerts (downside = -20%; upside = +20%)
Future phases of work on this project will involve detailed market research and audience analysis which will be used to
refine estimates of total audience demand, whilst programming plans and the overall business model will be developed
to maximise demand and to minimise the risk of audience numbers falling below estimated levels.
The projections for attendance at the education and learning events have been developed based on an assessment
of the capacity available to deliver events (in terms of space and time), the latent demand that has been observed
Tested by examining the effect of changes in attendance at education and
through current delivery and consultations with partners, and the projected growth in the population. Given the scale of
learning events. Given the important role that the education and learning
increase in the level of activity in Option 4 compared to the baseline, it has been assumed that there is a medium risk
Lower than expected activities play in the delivery of quantifiable benefits and potentially heavier
of attendance being lower than expected.
attendance at education Med downside risk, a greater downside has been tested for this position compared
and learning events to other risks
Future phases of work on this project will involve detailed analysis into the demand and needs for education and
learning activities, from institutions such as schools and from the public directly. This will be used to inform specific
(downside = -30%; upside = +20%)
activity plans in these areas to minimise the risk of attendances falling below estimated levels.

Tested by examining the effect of the additional benefit from digital activities
decaying over time
Lower than expected Given that future technological changes are uncertain, it is possible that the benefits associated with the digital
Med
digital benefits activity decay over time as new technologies are developed.
(downside = additional benefit over option 1 decays over 20 years to zero;
upside = 20% greater digital reach)
Inability to raise private
Tested by examining the effect of changes in private sector capital contribution The base assumptions on private funding are based on an independent assessment of fundraising potential. Given the
funding for capital costs Med
uncertainty it has been assumed that there is a medium risk of this contribution being lower than expectations.
to expected levels (downside = -20%; upside = +20%)

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SENSITIVITIES
Switching value required to reach BCR of 2
BCR (Option 4 less Option 1)
7.11.53 A sensitivity analysis has been undertaken to (Present Value, 2015/16 prices)
examine the impact of these risks (both downside
and upside) on the performance of Option 4 relative Base Downside Upside Base Downside Upside
to Option 1, using the tests outlined above. The £267m £90m (£1.5m
Capital Cost 1.64 1.86
results are shown in the table below. The key points (£4.4m p.a.) p.a.)
are as follows: £361m
Operating deficit 1.41 2.23 -
(£6.0m p.a.)
• For several of the tests (capital costs, concert
£328m £50m (£0.8m
audiences, digital reach, private sector contribution), Concert audiences 1.53 1.93
1.73 £189m (£5.5m p.a.) p.a.)
the BCR remains above 1.5 in the downside scenario.
Education and learning attendees/ (£3.2m p.a.) £472m
1.32 2.0 -
• The tests with the most significant impact are the benefits (£7.9m p.a.)
education attendees and the operating deficit, which £140m £336m (5.6m
Digital reach/ benefits 1.52 1.80
in the downside scenario reduce the BCR to 1.32 (£2.3m p.a.) p.a.)
and 1.40 respectively. Here it is worth noting that £227m £151m
a larger downside has been applied to education Private sector contribution 1.68 1.78
(£3.8m p.a.) (£2.5m p.a.)
(-30%) in order to account for uncertainty. Given the
existing contingencies built into the financial model
and the diversified nature of the business model, an
operating deficit of this order is considered to be very
unlikely.

• On the upside, all of the tests yield a BCR of around

1.8 or above, and two of the tests push the BCR
above 2, without taking non-quantified benefits into
account.

7.11.54 Depending on the combination, four or five of these

downside scenarios would need to materialise
together for the quantified net BCR to move below
1. For the reasons explained above, this scenario is
considered to be extremely unlikely. Once switching
values are considered, even in such a scenario the
project would have acceptable value for money.

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Option 4 relative to reference case

Option 2 relative to reference case Option 3 relative to reference case
(preferred option)
Present Value Benefits
(£m, 2015 prices &
A -£315 £432 £1,209
values, Revenue &
Capital)
Present Value Costs
(£m, 2015 prices and
B -£16 £498 £699
values, Revenue &
7.12 CONCLUSION Capital)
Net Present Value
7.12.1 The appraisal summary table is set out below. C (£m, 2015 prices and -£299 -£66 £510
values) [A-B]
7.12.2 Overall, the economic analysis has demonstrated Benefit-Cost Ratio [A
that Option 4, the Centre for Music, offers good value D - 0.87 1.73
/ B]
for money, so long as the scale of unquantifiable
Impact on London’s competitiveness
benefits are of the order of £200m. For an asset with Impact on London’s competitiveness
- Spillovers on the UK’s cultural sector
a life of well over 60 years and given the potential - Spillovers on the UK’s cultural sector
- Contribution to ongoing success of the
impact the Centre for Music will have on the London - C ontribution to ongoing success of the
Guildhall School of Music and Drama
and UK economy, as well as society at large, this Guildhall School of Music and Drama
Significant Non- - Other welfare benefits (e.g. crime
appears entirely plausible. E - O ther welfare benefits (e.g. crime
monetised Impacts reduction)
reduction)
- Tourism spillovers from touring artists’
7.12.3 Option 4 also makes a much stronger contribution to - T ourism spillovers from touring artists’
entourages and press
the investment objectives and critical success factors entourages and press
- Non-use value
of the project than do the other shortlisted options. It - Non-use value
makes a particularly strong contribution to enhancing
the status of London as a world-class destination for Acceptable value for money after SOCEF*
Good value for money (BCR = 2.0) if non-
music, extending reach and diversity of engagement (BCR = 1.3) if non-quantified benefits have
Quantified net benefits above reference case quantified benefits have switching value of
with great music, and providing innovative music F Switching Values switching value of £215m over appraisal
would be negative. £189m over appraisal period.
delivery and education opportunities. period.
This is considered plausible.
This is considered plausible.
7.12.4 There are a number of important risks associated Value for Money (VfM)
with the project that will need to be carefully G Poor Acceptable Good
Category
managed and mitigated to ensure the project delivers
good value for money. Nonetheless, Option 4 remains Public sector capital cost exc. Optimism Public sector capital cost exc. Optimism Public sector capital cost exc. Optimism
Public Sector
robust in the face of a range of sensitivity tests. Bias = £132m Bias = £106m Bias = £159m
Financial Cost (£m,
H
undiscounted, 2015/16
Revenue cost: annual operating deficit falls Revenue cost: annual operating deficit Revenue cost: annual operating deficit
prices)
by £0.12m. increases to £6.62m. increases to £5.66m.

- Risk of loss of audiences during period of

disruption; need subsequently to rebuild - R isk of: capital cost overrun; higher - Risk of: capital cost overrun; higher
audiences. operating deficit; lower audience and operating deficit; lower audience and
- Risk on raising private capital funds given education attendee numbers; lower digital education attendee numbers; lower digital
I Risks / other issues
scale and nature of project. reach; lower private sector contribution reach; lower private sector contribution
- Significant number of construction jobs -Significant number of construction jobs - Significant number of construction jobs
(not quantified). (not quantified). (not quantified).

SOCEF = Social Opportunity Cost of Exchequer Funds. Guidance states that these distortionary effects on economic efficiency are of the order of 20-30%. Hence a BCR of at least
1.3 is needed after these have been accounted for.

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8. COMMERCIAL CASE

8.1 INTRODUCTION 8.2 REQUIRED SERVICES 8.3 POTENTIAL FOR RISK TRANSFER

8.1.1 This section of the OBC outlines the proposed deal 8.2.1 The key design team appointments will be the 8.3.1 The general principle is that risks should be passed
in relation to the preferred option outlined in the Acoustician, the Architect (who will lead the design to the party best able to manage them, subject to
economic case. team) and the Theatre Consultant. This reflects the value for money considerations.
key objectives of achieving world-class acoustics, a
8.1.2 As the project is at a very early stage, the level of landmark building and a modern, accessible venue. 8.3.2 This section provides an assessment of how the
detail regarding the commercial arrangements is There will also be a need for structural and services associated risks might be apportioned between the
more limited than will ultimately be necessary. The engineering and a number of other specialist Project (“Client”) and third-parties (“Others”). Please
exact arrangements will be developed in more detail services, for example in relation to planning, catering, see the risk transfer matrix below.
in the next phase of work as part of the Full Business retail, etc.
Case, and will be kept under regular review as the
project progresses to take account of any significant 8.2.2 The services required include external project Potential allocation
Risk Category
changes in scope, programme, costs, etc. management which will be selected and put in
place at the earliest opportunity to assist with the Client Others Shared
8.1.3 One key issue will be to establish at an early stage procurement of the project team, including agreeing 1. Design risk P
in the phase of work the contracting party for each roles and responsibilities. The external Project
of the three capital projects (Centre for Music, Management Team will need to have appropriate 2. Construction and development risk P
Barbican Hall and LSO St Luke’s), noting that there experience at a strategic and operational level, and
may be different contracting parties for each of these be embedded in the client project management team 3. Transition and implementation risk P
elements. This will depend on the relative roles and to which they will report on a day-to-day basis.
responsibilities of the various stakeholders in the 4. Availability and performance risk P
project, and these will be clarified early on in the 8.2.3 The other key consultant is the Cost Consultant
next phase of work including the identification of the (quantity surveyor), who must also have appropriate 5. Operating risk P
specific entity which will act as Client for the project. experience of similar high profile cultural projects.
There is a preference for the Cost Consultant to be 6. Variability of revenue risks P
8.1.4 In the meantime, it is assumed by default that the independent of the Project Management Team to
City Corporation’s long-established policies and avoid any actual or perceived conflicts of interest. 7. Termination risks P
processes for capital projects will be adopted in order
8. Technology and obsolescence risks P
to ensure a robust framework for the delivery of the 8.2.4 Appointments will be made at the appropriate stage
project. in the project with the intention of bringing the core 9. Control risks P
team together at the beginning of the project. All
appointments will be reviewed at each phase of the 10. Residual value risks P
project to ensure that the professional team provides
the highest quality advice whilst maintaining value for 11. Financing risks P
money.
12. Legislative risks P
8.2.5 The process of consultant selection for the project
will seek not only past experience of the relevant 13. Planning risks P
firms and individuals but also the need to establish
effective team working across the professional team. 14. Other project risks P
This will be particularly critical in relation to the
architect and the acoustician who will need to be able
to work together on a highly collaborative basis.

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8.3.3 The nature of the project means that it is not individual appointments and the balance of costs and whether the same design team that is selected for
considered possible or appropriate to fully transfer risks. Legal advice will be sought in relation to all the new Centre for Music should also be responsible
risks to other parties, as to do so would result in an appointments. for the works to the Barbican Hall and LSO St Luke’s
unacceptable loss of control. However, where risks or whether separate design teams are selected for
will be shared, the division of responsibilities and 8.6.2 Specific clauses will depend on the final nature these works given the different scale and scope
liabilities will be clearly established at the outset and structure of the project (e.g. the procurement (smaller value, refurbishment, listed building etc.)
to ensure as far as is possible that the project only strategy – see below) but would typically include the and timescale.
bears risks relating to matters under the Client’s ability to delay or cancel the project if funding is not
control. available and the ability to terminate contracts in the 8.9.3 In the event that it was decided to select separate
case of negligence or unsatisfactory performance. design teams for the Barbican Hall and/or LSO
8.4 PROPOSED CHARGING MECHANISMS St Luke’s, there would be a strong rationale for
8.7 PERSONNEL IMPLICATIONS (INCLUDING TUPE) retaining, as a minimum, the same external Project
8.4.1 The payment mechanism for the consultants Management Team and Cost Consultant to enable
and contractors will include suitable controls in 8.7.1 It is anticipated that the TUPE – Transfer of effective overall coordination and reporting on the
relation to their performance and delivery against Undertakings (Protection of Employment) project.
programme. This will include all contractor payments Regulations 1981 – will not apply to this project. This
being authorised by the Cost Consultant and fee will be reviewed alongside the detailed development 8.9.4 The project will benefit from a high degree of
payments to the professional team being authorised of the operating model for the new venue in relation continuity and all key members of the consultant
by the Project Management Team. Normal internal to any transfer of activities from the Barbican team will ideally be involved with the project from
controls will also operate to ensure authorisation by Centre to the new Centre for Music. At this stage, no as early as possible in its development to allow full
the Client prior to payment. additional costs are expected to arise due to TUPE. integration and coordination through the lifetime
of the project. However, the ability to review all
8.4.2 Payments will be made in arrears to reflect work 8.8 PROCUREMENT STRATEGY AND IMPLEMENTATION appointments at each phase of the project will
carried out and/or in line with agreed payment TIMESCALES be retained to ensure that the professional team
schedules, other than in exceptional circumstances provides the highest quality advice whilst maintaining
(and in that case with appropriate controls and 8.8.1 It is anticipated that the procurement strategy will value for money.
approval mechanisms in place). be in accordance with the current regulations, which
are the Public Contracts Regulations 2015 (“PCR 8.9.5 Appointment of the core professional team will begin
8.5 PROPOSED CONTRACT LENGTHS 2015”), but will also need to adhere to any standing soon after the completion of the feasibility stage so
orders or procedures of the contracting party and the that the delivery team can be involved in the design
8.5.1 It is anticipated that the procurement strategy will requirements of key funders. process from the outset.
follow public sector procurement regulations which
has been allowed for in the project programme. 8.9 CONSULTANT PROCUREMENT 8.9.6 Prior to these appointments being made, the client
Contract lengths will be set as appropriate to the body for the project will need to be established
nature of the services being provided and the balance 8.9.1 A report on consultant procurement has been as outlined in Section 10 (Management Case). If
of costs and risks. Early termination clauses will be prepared by the Project Manager for the Feasibility necessary, procurement could begin sooner by one of
put in place where appropriate. Study, GVA Acuity, and this is attached at Appendix the partner organisations or the City Corporation with
8A. contracts then novated to the eventual client body at
8.6 PROPOSED KEY CONTRACTUAL CLAUSES a later point as required.
8.9.2 As noted above, one of the first steps before the
8.6.1 Contractual clauses will be in line with industry Centre for Music can move to the concept design 8.9.7 It is anticipated that the procurement process
standards (e.g. Joint Contracts Tribunal – JCT – stage will be the selection and appointment of a will take approximately 6 months. The partner
standard agreements) as appropriate to the nature of consultant team. Consideration will be needed as to organisations and key stakeholders will all need to

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Outline Programme - Key Milestones (site dependent - see 8.11.1)

Appoint Project Board, Agree Preferred Developed Design Site Possession LSO St Luke’s Centre for Music

August 2019

January 2021
March 2018
September 2016
Appeal Board and Design Option (RIBA Stage 3) enhancements opens

September 2023
December 2015

Campaign Director complete

Select Consultant for Planning Approval Majority of Private

Procurement Support Sector Funding
Pledged

September 2018

September 2024
December 2020

December 2022
March 2017

Concept Design
June 2016

(RIBA Stage 2)
Select/ Procure Private Sector
Consultant Select/ Procure Pre Contract Fundraising Barbican Hall
Team Secure Lead Funder(s) Contractor (RIBA Stage 4) Complete Re-opens

be involved in the selection process, with sufficient developer led). This would allow a degree of overlap supported by the precedent projects and the ability
time allowed in the process for their involvement and of design and construction but the process is more to engage with the market earlier could also help
consultation. External support will be required to likely to be open to abuse and it can be difficult to reduce the inflation burden.
coordinate and/or support the procurement process. close the second stage without considerable cost
increase and risk transfer back to the Client. This 8.10.7 The Construction Management route requires a
8.10 CONTRACTOR PROCUREMENT approach still carries a risk of contractual claims for knowledgeable client and additional client resource
discovery following commencement of construction. to support it but for a project of this scale this
8.10.1 A report on contractor procurement has been would be in place anyway. Early involvement of
prepared by the Cost Consultant for the Feasibility 8.10.4 Construction Management is the method that the Construction Manager would also assist in
Study, Gardiner & Theobald, and this is attached has been used to deliver (in most cases relatively programming and buildability advice.
at Appendix 8B. A range of procurement options successfully) the majority of the recent major
have been considered based on the current scope cultural projects. A Construction Manager (“CM”) is 8.10.8 The current views regarding procurement will be
and nature of the project. Options considered appointed on a professional basis and working with reviewed during the next phase of work to take into
include single stage, two-stage and Construction the design team, is responsible for planning the work account factors such as the agreed scope of the
Management. in to tender packages, which are subject to separate project, the requirements of key funders, prevailing
contracts direct between the trade contractor and market conditions and the status of the Client.
8.10.2 The time taken to develop any form of single stage the Client. The Construction Manager controls each
tender (Design and Build or Traditional) is likely to be package on behalf of the Client and, provided that 8.11 PROJECT PROGRAMME
too long to gain maximum benefit from a change in there is a high level of professional understanding
the prevailing market conditions and in the current from the Client team, it can work well. 8.11.1 An outline project programme has been developed
market it is believed that Main Contractors would using sensible assumptions regarding the time
not be willing to accept the level of risk transfer. 8.10.5 Gardiner & Theobald consider that a Construction required for all key activities such as procurement,
Furthermore the nature of the works and the higher Management approach is likely to offer the best design, planning approvals and construction. This
risk of changes in the pursuit of excellence are solution and this approach has been assumed when programme is not based on any specific site, and
likely to considerably increase the risk of delays developing the project programme and project the actual programme will depend heavily on site
and contractual claims. A single stage approach is budget. availability, other site-specific factors and the
therefore not considered to be appropriate. timeframes required to secure funding for the
8.10.6 Whilst Construction Management may initially attract project.
8.10.3 The alternative is a two stage approach, which may a cost premium it is considered that this investment
be the only option if a lump sum contract with single in enhanced management resource is likely to lead 8.12 FRS 5 ACCOUNTANCY TREATMENT
point responsibility is necessary (e.g. if the build is ultimately to a more reliable delivery. This view is
8.12.1 It is envisaged that the assets created through this
project will be on the balance sheet of the client
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9. THE FINANCIAL CASE

9.1 INTRODUCTION the next phase of this project.

9.2.6 The net additional operating revenue costs as a 9.4 ORGANISATIONAL BACKGROUND
9.1.1 This section of the OBC describes the financial consequence of these developments are modest in
aspects of the proposed project. relation to their impact. This is entirely due to the 9.4.1 The Barbican Centre is a department of the City of
current existing infrastructure within the Barbican London Corporation’s local government arm, wholly
9.2 SUMMARY Centre, as a consequence of which, only the owned by the City Corporation, and is therefore
incremental costs of running the new building and subject to local government policies and procedures.
9.2.1 The capital costs for building the new Centre additional activities are incurred. The operating risk of the Barbican Centre is
for Music, refurbishing the Barbican Hall and underwritten by the City Corporation.
improvement to LSO St Luke’s are as follows: 9.3 CONTEXT
9.4.2 The Guildhall School is also a department of the
• Centre for Music £278.2m 9.3.1 The Barbican Centre and the LSO operate separately City Corporation, but unlike the Barbican is funded
• Barbican Hall £34.4m with very different business models. For the Barbican through the City Corporation’s private arm. Although
• LSO St Luke’s £0.8m this includes its performing and visual arts, creative the Guildhall School will have a central role in
learning programme, a commercial business and a developing the Centre for Music within the cultural
9.2.2 The site provided by the City of London is valued at building to maintain and manage. The LSO’s main hub, its financial model will not be materially affected
£160m. focus will be the orchestra and its performance by the core activities and costs reflected below.
and commercial model both at the Barbican and
9.2.3 The additional annual revenue cost of these facilities overseas. 9.4.3 The Barbican business model has a number of
is estimated at £5.6m and includes a contingency of significant income generating activities which each
£0.5m. There is confidence, based on the past record 9.3.2 The business plans and strategic objectives of have a distinct planning cycle and business model.
of the Barbican and LSO, that commercial income the two organisations will naturally reflect their This is a complex portfolio of activities that has
streams can be increased beyond the estimates in specific vision, artistic, operational and business developed into a mature business model with a
this model. This will be examined during the next needs. The LSO’s residency at the Barbican is world-class reputation.
stage of the project. contractually based, setting out an annual number of
its performances in the hall, its grant from the City of 9.4.4 The LSO is an independent company with charitable
9.2.4 This investment gives us an extraordinary world- London Corporation, rented office spaces and other status. Its annual turnover is approximately £16m,
class Centre for Music that combines the UK’s first services. of which 75% is earned income, 12% subsidy from
institution of its kind to be built in the digital age. It the City of London Corporation and 13% subsidy from
will have a world-class symphonic hall, the first in 9.3.3 This Financial Case has been modelled on the basis Arts Council England.
London, meeting the highest international standards, that the Centre for Music will be integrated into
and an unparalleled education programme with the operating models of both the Barbican Centre 9.4.5 The LSO also has a separate Endowment Trust with
the potential to engage people all over the UK and and the LSO. It sets out the current combined independent Trustees, which exists to support the
overseas. financial base of the two organisations and in detail activities of the Orchestra. Through special appeals
examines the impact on them of the Centre for and the Arts Council funded Catalyst scheme the
9.2.5 The repurposed Barbican Hall will complement Music. This provides the changes to income and LSO has increased the Endowment fund from £4m to
the Centre for Music in delivering a programme of expenditure across Barbican and LSO activities and £17m in the last seven years.
contemporary and world music of the highest quality. the consequent net financial impact of the Centre for
This will broaden the overall artistic programme Music.
of the Cultural Hub, reflecting London’s cultural
diversity. Moreover, the critical mass of activity and 9.3.4 The allocation of financial risk and the responsibility
the scope of the Barbican, LSO and Guildhall School for the Centre for Music’s activities will depend
has the potential to create a unique Cultural Hub in on its operating and governance model, yet to be
the heart of the City of London. determined. This will be examined and agreed during

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9.4.6 The Barbican’s activities generated over £21m of 9.5 SYNOPSIS OF FOUR OPTIONS
arts and commercial income in 2014/15, with the
LSO earning some £12m. With public subsidy, the 9.5.1 A financial model for each of the four options is set
combined financial model for the Barbican and LSO out in Appendix 9A. This shows the projected income,
is in excess of £57m. With the Guildhall School, these expenditure and funding needs under each scenario.
activities will be delivered by the three organisations.
9.5.2 The table below summarises the financial detail (in
9.4.7 As explained in the Economic Case (Section 7), three present day terms) for each option, setting out:
options have been considered in delivering the terms
of reference of this feasibility study in addition to the • The likely net impact on public funding from the
‘do nothing’ base. These have each been tested with current base in a typical year; details relating to
the financial model of the preferred option set out transitional operating costs are set out in Appendix
below. 9B.

• The capital cost of delivering the option.

9.5.3 Option 4, as set out in the Economic Case of the

report, is the preferred option.

Option 1 Option 2 Option 3 Option 4

Do Nothing Rebuild Barbican Hall Build a New Concert Hall Build a New Centre for Music

Net increase /(reduction) - revenue £0.0m £0.1m (£6.6m) (£5.6m)

Base capital cost £0.0m £173.8m £200.5m £313.4m

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9.6 THE PREFERRED OPTION 9.6.6 As part of the City of London Corporation, the 9.7.5 The Barbican Hall will be repurposed, enabling
Barbican benefits from its financial and institutional it to deliver a wider range of programme and
9.6.1 The Financial Case, as part of the Outline Business strength. The City’s functions such as legal, property, consequently a repertoire that complements the new
Case, is not site specific – this is further examined treasury, procurement etc. provide a level of support hall, and together they will deliver 100 additional
in Part III, the Feasibility Study. The Financial Case – not available to other major arts organisations in the concerts a year.
both the financial model and the capital build costs UK.
– has been developed on the basis that the Centre for 9.7.6 The education and engagement programme will
Music will be part of the Cultural Hub. 9.7 THE FINANCIAL MODEL reach an additional 184,000 people directly each
year with overall reach through the use of digital
9.6.2 The Centre for Music will deliver its strategic 9.7.1 For the purposes of this exercise, the Barbican technology estimated to reach two million people
objectives and meet the terms of reference of the and LSO’s budgets and business plan have been globally.
feasibility study by adding new venues and facilities combined to set out its current base financial model.
to the Cultural Hub. A detailed financial model for The preferred option, in 2015/16 prices, is set out in 9.7.7 Additional facilities programmed during the day,
Option 4 has been developed and critically assessed this section of the report with the impact of these such as education and digital activities, will ensure
against the current base position. changes integrated into the combined business the building is lively with audiences and visitors, and
models of the Barbican and LSO. will also deliver the financial benefit of increased
9.6.3 There are considerable advantages in basing the income streams such as catering and retail. This will
new Centre for Music within the Cultural Hub. The 9.7.2 Subject to the final timetable, the financial ensure there is a critical mass of activity and reduce
Barbican, LSO and Guildhall School are world-class implications of the preferred option are unlikely the cost base of the Centre for Music as well as
organisations with the capacity and professional to surface until the transition years, possibly from providing value on investment. A crucial component
experience to maximise the benefits from these 2022/23. It will take the business model around two of delivering a viable business model is to ensure that
additional facilities. years to develop into a consistent rhythm of activity the facilities are used to their full potential and not
and consequently net running costs in the first two left idle. When benchmarking with other international
9.6.4 The proposed working model of a world-class arts years are likely to be higher. See Appendix 9B. concert halls, it became clear that many venues were
centre, orchestra and conservatoire developing a idle during the day and some evenings due to lack of
programme of artistic and educational activities in 9.7.3 A world-class symphonic hall will undoubtedly general activity and orchestral rehearsals.
this way is almost unique in the world. The critical strengthen the classical programme. Quite apart
mass of activity and inevitable synergistic benefits from the qualitative benefits, the number of
have the potential to deliver ‘game changing’ symphonic concerts is expected to increase from
possibilities in the arts and arts education. 82 a year to 110. It will enable the orchestra,
conservatoire and arts centre to use the variety of
9.6.5 The strength and depth of the Barbican’s venues available, consequently offering more choice
management and operational infrastructure gives and greater flexibility to audiences (see detailed event
it the ability to broaden its base and deliver a and attendance numbers in paragraph 9.7.8).
successful Centre for Music. Any other organisation,
without the Barbican’s capabilities and capacity, 9.7.4 Under the current operating model the LSO, unlike
would have to build its infrastructure from the base other leading orchestras, is limited in its rehearsal
up and consequently would incur significantly higher time in the Barbican Hall. The new venue will provide
annual costs. this space, enabling improved performance and a
richer audience experience.

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9.7.8 The table below compares the current and projected

levels of activity in the Centre for Music and Barbican Events and Attendances Current Base With Centre for Music Net Change
Hall combined with attendance estimates.
Concerts Events Attendance Events Attendance Events Attendance

Rentals 104 123,305 126 161,046 22 37,741

Contemporary 44 68,251 69 133,544 25 65,293

Classical 82 119,623 110 148,170 28 28,547

Partner Activity and Recitals 0 0 25 18,350 25 18,350

Subtotal Concerts 230 311,179 330 461,110 100 149,931

Club Space 0 0 300 48,000 300 48,000

Learning 1,270 72,657 4,341 257.330 3,071 184,673

Commercial 108 106,098 605 208,200 497 102,102

Exhibitions 572 354,917 752 521,417 180 166,500

Subtotal Barbican Hall and Centre for Music 2,180 844,851 6,328 1,496,057 4,148 651,206

Other venues (theatre, cinema etc) 2,754 432,371 2,754 432,371 0 0

General Footfall 700,000 1,050,000 350,000

Total 4,934 1,977,222 9,082 2,978,428 4,148 1,001,206

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9.7.9 In a typical year, these activities and the total With the
financial impact of the Centre for Music on the Overall Financial Model Current base Net Change % Change
Centre for Music
Barbican and LSO would result in additional annual
net cost of £5.6m, as set out in the table below. £m £m £m
Total income 31.7 44.3 12.6 39.7%
9.7.10 The Centre for Music’s financial model is based
Public funding 25.6 25.6 0.0 0.0%
on the experience of the partner organisations of
managing their existing venues and the wide range Contingency 0.0 (0.1) (0.1) 0.0%
of activities currently undertaken. Where appropriate, Total Resources 57.3 69.8 12.5
specialist advice has been sought to ensure and
test the robustness of income and expenditure
Direct Expenditure (25.1) (31.8) (6.7) 26.7%
assumptions. The key components driving activity
and the financial model are examined below. Salaries (19.3) (25.4) (6.1) 31.6 %
Building costs (9.0) (13.1) (4.1) 45.5%
9.7.11 The Barbican and LSO have mature business models
with the cycle of activities set out in detail in annual Other expenditure (3.9) (4.7) (0.8) 20.5%
budgets and long term business plans. The income Contingency (0.0) (0.4) (0.4) 0.0%
and expenditure from these activities is subject
Total Expenditure (57.3) (75.4) (18.1)
to rigorous financial management, continually
informing and adapting long term plans in the face of
market changes. Shortfall 0.0 (5.6) (5.6)

9.7.12 The financial model and its underlying assumptions

were subjected to critical evaluation by industry
experts.51 Their assessment and contribution has
guided the development of assumptions and, at
the next phase of this project, the model will be
subjected to further detailed examination by this
group.

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9.8 KEY COMPONENTS OF THE BUSINESS MODEL – With Centre for

INCOME Income Current Base Net Change
Music

9.8.1 The income target for the Centre for Music of £12.5m £000 £000 £000
represents an increase of more than a third on Box Office 9,070 11,705 2,635
current income total of £31.7m. The table below
provides a breakdown of its constituent elements Exhibitions 1,119 3,189 2,070
together with the comparative current position. See
Appendix 9C for a detailed income and expenditure Commercial 5,613 7,775 2,162
statement.
Development 4,346 6,146 1,800

Learning 1,462 2,802 1,340

Retail and Catering 4,759 6,932 2,173

Other 5,299 5,599 300

City of London Corporation and Arts Council England 25,607 25,607 0

Total Income 57,275 69,755 12,480

MUSIC PROGRAMME AND BOX OFFICE INCOME Number of (Subsidy)/

Music Programme Audience Numbers Income
Concerts Contribution
9.8.2 Additional music activity:
Classical 28 28,547 £790k (£177k)

Contemporary 25 65,293 £1,204k £466k

Club Space 300 48,000 £641k £416k

Other Concerts 25 18,350 £0k £0

Total 378 160,190 £2,635k £705k

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9.8.3 The programme will be strengthened both 9.8.7 The key factors underlying these assumptions are: 9.8.9 The factors of population growth and increased
qualitatively with a world-class acoustic and also visitor numbers, noted above, will apply equally to
through the increased diversity of the programme. • Projections in population growth – the resident all venues in London and so the total number of
See Appendix 9D for a detailed breakdown of box population of Greater London is forecast to grow by tickets on sale is expected to increase across the
office income. 12% during 2015–25 and by a further 8% during marketplace.
2025–35.
9.8.4 Contemporary concerts and programming within the
Club Space will reduce overall programming subsidy • Improved transport links such as Crossrail, which
and significantly increase audience numbers across will bring an additional 300,000 people within a 30
the two venues. The programming diversity reflects minute rail journey. In addition Crossrail will have a
and resonates with London’s changing demographic high impact, in terms of reduced journey times, on
and is expected to increase in line with demand. new areas which have not traditionally been used for
the marketing of classical music.
9.8.5 It is anticipated that contemporary ticket yields will
range between £18 and £24. Classical ticket yields • Increase in international visitors by between 3% and
have a wider range due to the quality, size and scale 4% annually. It should be noted that 13% of the LSO’s
of the performances. These vary from £10-£48, with audience currently is drawn from overseas visitors.
the lower price ensuring wider accessibility to the
classical music programme. The world-class quality • An ambitious outreach programme to bring in new
of the Centre for Music, as a landmark building with audiences.
world-class acoustics and digital technology, with
a compelling programme, will increase demand. 9.8.8 This increased demand will be achieved without
The business model conservatively assumes yield adverse impact on the business models of London’s
and ticket price increases of 5% on current achieved other performance venues. This has been
levels. demonstrated by research carried out by Silversea
for the London Orchestras Consortium, for the
9.8.6 The financial modelling for the Centre for Music period 2003–04 to 2012–13; this timespan includes
Feasibility Study is based on sound assumptions that the opening of one new venue, Kings Place, and
the audience for classical music will grow by between the temporary closure of the Royal Festival Hall,
15% and 25% in the next ten years. Research which re-opened for the 2006–07 season. The
papers regarding classical music demand from 11 research demonstrated that while audiences are
independent sources have been drawn on during loyal to a particular venue or orchestra, they also
this study; they include Arts Council England, the prefer to book a particular type of venue or style of
Department for Culture, Media and Sport, the Greater performance. Patrons of the LSO, for example, might
London Authority, the Office for National Statistics also book for the BBC Symphony Orchestra, while the
and London and Partners. See Section 16 for further audience for Orchestra of the Age of Enlightenment
details. (OAE) is more likely to book as well for London
Philoharmonic and Philharmonia rather than for the
LSO.

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EDUCATION AND ENGAGEMENT PROGRAMME 9.8.13 The analysis of audience demand for concerts in the With Centre
Centre for Music also provides a convincing backdrop Current Base Net Change
Education Programme for Music
9.8.10 The increased capacity provided by the Centre for planned increases in education and engagement
for Music will help to significantly strengthen the activity. This programme of activity will address £’000 £’000 £’000
current/future workforce of musicians working in the growth in London’s population, and changes in Income 1,462 2,802 1,340
educational and community settings. It will also population age profile which include a significant
enable the education departments to broaden and increase in numbers of primary-school aged Salaries (1,013) (1,778) (765)
deepen their engagement with participants across children; the GLA has identified the need for 4,000
the board. There will be much greater reach in more primary school classes by 2020 (The Greatest Expenditure (1,867) (3,651) (1,784)
all strands of the work and an increasing level of City on Earth, Ambitions for London, GLA June 2013).
expectation across the sector, the benefits of which Net cost (1,418) (2,627) (1,209)
will be felt by the participants as well as the artists. 9.8.14 The organisations’ capacity to grow this work
The 33% increase in numbers of musicians training further to meet and extend demand is limited by
professionally to teach and lead music education lack of bespoke learning spaces around the main
activity will have a positive ‘ripple effect’, amplifying concert hall, while the ability to communicate
the impact on children, young people, teachers and digitally is hampered by limited technical facilities.
parents through influence in classrooms and wider Working together in a new Centre for Music the
community settings. digital and learning teams will reach out nationally
and internationally with live streaming, live
9.8.11 The development of new income generating strands link-ups, and other digital interactions between
for this work, and the efficiencies produced by world-class musicians, school classrooms, and
modern, fit for purpose facilities would result in a learning initiatives across London, nationally and
reduction of the net cost per participant. internationally, enabling their work to reach a far
wider audience.
9.8.12 Demand for this increased offer already exists as
is evidenced by the success of the existing offers 9.8.15 The increase in activity would enable the education
of the organisation’s education and engagement departments to reach a critical mass of activity which
programmes. The combined education and truly raises the profile of music and music education
engagement programmes have grown over the – enabling advocacy and evidencing the benefits of
past five years, with a corresponding increase in engagement at the highest level.
participants. Many current activities are now over-
subscribed, including Barbican Box, LSO schools’
concerts, LSO Discovery choirs and singing days.

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DEVELOPMENT With Centre COMMERCIAL INCOME STREAMS

Current Base Net Change
Development for Music
9.8.16 The Development model income stream components 9.8.19 In 2011 the Barbican began a programme to revitalise
will include: £k £k £k its commercial businesses to build a more plural
Corporate sponsorship 2,244 3,244 1,000 funding model and thereby reducing reliance on
• Corporate membership and sponsorship funding from the City of London Corporation. The
• Individuals and family foundations Individual giving 875 1,375 500 programme of change set a series of challenging
• Charitable trusts and foundations growth targets across all commercial activity.
• Fundraising events Trusts and Income growth over the four year period to 2014/15
670 870 200
Foundations has exceeded targets with income increasing from
9.8.17 Both the Barbican and LSO have substantial Other 557 657 100 £4.5m to £8.0m.
expertise in each of these areas of activity and
currently generate some £4m annually from these Total Income 4,346 6,146 1,800 9.8.20 A sales driven and commercially focussed function
sources. The LSO has also recently completed an has replaced an approach that relied more on
endowment fundraising campaign raising £6m. Salaries (736) (1,089) (353) contract management than entrepreneurialism. The
Experienced fundraising teams and strong support commercial business model is gaining critical mass
from Board and committee members are key factors Overheads (400) (450) (50) and building a substantial skills base across a range
in achieving this level of income. of activities. As a consequence of this professional
Contribution 3,210 4,607 1,397 experience and record of delivery there is confidence
9.8.18 A combination of brand new facilities, a world-class that the Centre for Music’s commercial targets can
acoustic concert hall, spaces devoted to hospitality be met. See Appendix 9F for detailed analysis of
and fundraising, a broader range of programming, income growth by activity.
a quantum increase in education and engagement
through digital technology will significantly increase
potential fundraising opportunities. This will
place the collective cultural hub on a par with the
major fundraising arts organisations in London.
Consequently there is confidence that a net increase
in contribution of a little over 50% is achievable.
This is supported by the findings from a review of
comparators (National Theatre and Royal Opera
House) which indicates that the quality of venues, the
mix of spaces and the richness of the programme
should increase the ability of the organisations in
fundraising to support activities. See Appendix 9E for
details.

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With Centre COMMERCIAL EXHIBITIONS CATERING AND RETAIL

Current Base Net Change
for Music
9.8.21 The Barbican creates large scale commercial With Centre
£’000 £’000 £’000 exhibitions and has experience of touring these Catering and Current Base Net Change
for Music
Income exhibitions to large audiences both at the Barbican Retail
and abroad. It is intended that these exhibitions at the £’000 £’000 £’000
Box office income 759 1,352 2,111 Centre of Music will drive audience numbers during Public catering 767 1,664 897
the day and generate income to support operations.
Commercial Exhibition 1,119 718 1,837 Retail 1,002 2,120 1,118
9.8.22 The current model provides only limited scope for
Total Income 1,878 2,070 3,948 the Barbican to create these exhibitions as there is Other 2,990 3,148 158
no dedicated space for this activity with space shared
with Barbican Visual Arts when available. Over the Net Secondary 4,759 6,932 2,173
Expenditure last three years, two major exhibitions – Designing
007: 50 Years of Bond Style and Digital Revolution 9.8.25 In 2014 the Barbican readjusted the way the catering
Direct Expenditure (1,070) (1,323) (2,393) have been hugely successful at the Barbican contracts were tendered. The aim was to secure a
and globally both in terms of audience reach and better financial offer and to extract the foyer bars
Salaries (235) (113) (348) commercial contribution. Appendix 9G profiles the from the catering contract and to run the operation
current portfolio of exhibitions with their touring in-house. Concessionary income from catering has
Other Expenditure (0) (330) (330) programme, audience reach and income. now increased from 20% to 25% of gross income,
Total Expenditure (1,305) (1,766) (3,071) materially increasing the Barbican’s net income, with
9.8.23 The financial assumptions have been based on the in-house bars operation forecasting substantial
extending current activities to the Centre for Music. growth. This business model and the expertise would
Net 573 304 877
At this stage, the work to increase income streams be replicated at the Centre for Music.
further through venue and accommodation design
and develop new ways of working around the critical 9.8.26 The Barbican’s retail department is relatively new,
mass of activity within the Cultural Hub has not been having been taken in-house a little over three years
done. There is an untapped potential which will be ago after being contracted on a concession basis.
developed during the next phase of this project. Since then turnover has increased, much to do with
a conscious focus on relevant product range. The
9.8.24 There is confidence based on demonstrable success online shop has been redesigned and relaunched,
to date in the Barbican’s ability to increase output in and plans are in place to create a new retail space by
this field of activity. For more detail see Appendix 9G. the main entrance. This will give the Barbican more
than three times its current retail floor space, in a
more visible, navigable and high profile location. This
in-house retail model would be the recommended
operation for the Centre for Music.

9.8.27 See Appendix 9H for further detail.

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Barbican  
Barbican   Centre  for  Music  Hall  
Centre  for  Music  Hall  
Hall
Hall
Concerts 48%
Concerts 48% 5%  
Commericial 19% 5%  
Commericial
Learning
19%
4% 4%   2%  
Learning
Maintenance
4%
11%
4%   2%  
New  Barbican  H
New  Barbican  H
Maintenance 11% 9%  
Rehearsals 4% 9%  
Rehearsals 4%
Dark 9% 4%  
Dark 9% 9%   4%  
Arts  -­‐  Non  Music 4% 47%   9%  
With Centre There is increasing optimism in the meetings Arts  -­‐  Non  Music 4%
100%
7%  
7%  
47%  
Business Events Current Base Net Change market with venues indicating that overall business 100% 4%  
for Music 4%  
performance was up in 2014 compared with 2013,
£000’s £000’s £000’s and 65% anticipating that 2015 results would show
14%  
14%   11%  
11%  

Income 3,347 5,311 1,964 further growth. See Appendix 9I for further industry
12%  
statistics. 12%   4%  
4%  
Salaries (626) (796) (170) C4M  Hall
C4M  Hall
Concerts 47%
9.8.31 The fact that the demand for large meeting spacesConcerts 47%
Concerts  
Concerts  
Commericial  
Commericial  
Learning  
Learning  
Maintenance  
Maintenance   19%  
Commericial 12% Rehearsals   Partner  AcOvity   Recitals   Dark   19%  
Overheads (323) (490) (167) outstrips supply is demonstrated by the circa £3.8m
Commericial
Learning
12%
14% Rehearsals   Partner  AcOvity   Recitals   Dark  
Learning 14%
of business the Barbican had to turn away during Maintenance
Maintenance
7%
7%
Rehearsals 9%
Contribution 2,398 4,025 1,627 2014/15. This was due to either the Hall being used
Rehearsals
Partner  Activity
9%
4% Concerts   Commericial   Lear
Concerts   Commericial   Learn
Partner  Activity
for other activities, or the associated breakout Recitals
spaces
Recitals
4%
2% Old  Barbican  Hall  
Old  Barbican  Hall   Rehearsals   Dark   Arts
2% Rehearsals   Dark   Arts  
Dark 5%
not being available. Dark 5%
100%
100% 3%  3%  
3%  3%  

BUSINESS EVENTS HALL UTILISATION 11%  

11%  

5%  
9.8.28 The Barbican has a successful conference and 9.8.32 The Barbican Hall is normally very heavily utilised 5%  

banqueting business. A key selling point is the fact and remains dark (i.e. unused) for only 3% of the year. Barbican  
Barbican  
that the Barbican is not just a standard business This is due to a high demand from all types of users Hall
Hall 15%  
Concerts 63% 15%   63%  
venue, but an internationally renowned arts centre. and reflects a delicate balance to both meet artistic Concerts 63% 63%  
Commericial 15%
The skills and creativity within the Barbican help it needs and deliver commercial revenue. Commericial
Learning
15%
5%
Learning 5%
Maintenance 11%
to stand out from the competition as it is possible to Maintenance
Rehearsals
11%
3%
harness the tools within the commercial operation 9.8.33 As a consequence under the current operating model Rehearsals
Dark
3%
3%
Dark 3%
e.g. the technical and production team working with the LSO has limited rehearsal time in the Barbican 100%
100%
world-class orchestras also support clients’ business Hall, often only on the day of performance. Concerts   Commericial   Learning   Maintenance   Rehearsals   Dark  
Concerts   Commericial   Learning   Maintenance   Rehearsals   Dark  

events. Barbican   Centre  for  Music  Hall  

9.8.34 Hall venue will provide the opportunity for all
The new
9.8.29 Over the last five years income has grown from
Concerts of the LSO’s
48% rehearsals to take place in the concert
5%  
Commericial 19%
£1.7m in 2010/11 to £2.5m in 2014/15, the result of Learning hall, offering
4% the LSO rehearsal conditions that4%   2%  
are on a11%par with its peer group abroad, and New  Barbican  Hall  
9%   thus
Maintenance
a commercial development plan that has aligned Rehearsals 4%
internal processes and created a more sales Dark
enabling 9%higher and more consistent standards of 4%  
9%  
focussed team. Arts  -­‐  Non  Music performance4% and a richer audience experience.
7%  
47%  
100%
4%  
9.8.30 The Barbican has worked to penetrate new markets 9.8.35 The programming, education, commercial and other
and sectors, particularly the lucrative international activities for the Centre for Music and the 14%  
newly 11%   48%  
association market. London welcomes a huge developed hall are reflected in the utilisation charts
number of global business events and in 2014 was below. 12%  
4%  
6th (up from 7th in 2013) in the world rankings of C4M  Hall
the most popular destinations for international Concerts 47% Concerts   Commericial   Learning   Maintenance  
19%  
Commericial 12%
conventions and conferences. London also continues Learning 14%
Rehearsals   Partner  AcOvity   Recitals   Dark  

to reap the rewards of hosting the 2012 Olympics, Maintenance 7%

which enhanced the city’s infrastructure and also Rehearsals 9%
Concerts   Commericial   Learning   Maintenance  
Partner  Activity 4%
attracted new landmark hotels and event spaces. Recitals 2% Old  Barbican  Hall   Rehearsals   Dark   Arts  -­‐  Non  Music  
Dark 5%
100% 3%  3%  

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Overseas DIGITAL
UK Reach Total Reach
Digital Activities Reach Digital
% # of people 9.8.36 To meet the terms of reference this proposal would
%
create Britain’s first major cultural institution in
Interactive Platforms 60 40 500,000 £000’s
the digital age. It has the potential to transform
the way that audiences and the public, both within Income 300
Wallcast 100 0 24,000 and outside of the building, could interact with the
Cultural Hub. Salaries (494)
Streaming to Schools 100 0 150,000
9.8.37 The transformative potential of the digital aspects Overheads (200)
Digital Publishing 100 0 150,000
of this project focusses on the concert hall, front of
house and beyond the Centre for Music. It will have Net subsidy (394)
Video Conferencing 80 20 10,000
the ability to attract audiences and materially amplify
education reach. 9.8.41 To deliver its agenda, the Digital function would
Online Learning Courses 50 50 160,000
employ 11 members of staff and would be subsidised.
9.8.38 Current models in other institutions, for example There is, however, likely to be significant potential
Audio Visual Broadcasts 5 95 1,000,000 the National Theatre’s NT Live, work as significant to widen the scope of activities to generate a net
profit centres. NT Live has 19 members of staff and contribution of income but that is unclear at this
Total 1,994,000 delivers a programme internationally through a range stage and therefore the model has been calculated
of partnerships earning a contribution to the National without these assumptions in place.
Theatre of c£1m. There is clearly income earning
potential in streaming; however, for the Centre for
Music this will remain a longer term ambition.

9.8.39 The Centre for Music model sets out the likely
potential audience reach through digital activity, the
substantial element of which, it is expected, would
be free or available at subsidised rates to schools,
audiences and the public in general within the UK.
A key focus of this work would be to amplify the
education and engagement programme. There is
income earning potential from overseas audiences
and participants.

9.8.40 Given the current stage of development and the

purpose of the digital agenda (prioritising reach over
financial return) it is not expected that Digital would
be a profit centre. The model as it stands would be
a combination of some activities that generate net
income and others which are subsidised.

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CLUB SPACE 9.9 KEY COMPONENTS OF THE BUSINESS MODEL –

EXPENDITURE
9.8.42 The Club Space, restaurant and bars (including
a rooftop terrace depending on the exact site) all STAFFING
have the potential to be significant attractions and
income generators. The current proposal would be 9.9.1 Staffing costs form a substantial proportion of
to curate high quality and appealing concerts in a the budget of an arts venue. The operating model
club atmosphere while connecting the venue with integrating the Centre for Music has been reviewed
the restaurant and rooftop terrace. If designed in to assess the additional staffing requirements of the
the right way this venue has the potential of driving Barbican and LSO – a full breakdown by department
significant trade. The concept has been assessed is presented in Appendix 9J.
by both the Barbican’s in-house catering team and
Searcy’s, the Barbican’s incumbent contract catering 9.9.2 The table below sets out the overall changes in staff
company. Despite significant income potential, at numbers and cost. The Barbican’s current structure
this stage, cautious assumptions have been made will absorb much of the overhead and so will deliver
regarding income from these venues. a significant increase in events (see table 9.7.8) and
an increase in attendance levels, which are shown
below.

With Centre
Current base Net change % change
for Music
Number of staff 417 558 141 34%

Salary costs £19.3m £25.4 m £6.1m 32%

Attendance 1,977,222 2,978,428 1,001,206 51 %

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BUILDING COSTS

9.9.3 Appendix 9K shows the assumptions for the building

related costs below.

Current Proposed Variance

£000’s £000’s £000’s

Rates 2,004 3,258 1,254

Insurance 421 709 288

Cleaning 1,129 1,717 588

Security 949 1,246 297

Utilities 1,733 2,286 553

Repairs and
979 1,264 285
maintenance
Other expenditure 250 327 77

Total 7,465 10,807 3,342

Contingency 0 200 200

Capital 1,500 2,300 800

Total 8,965 13,307 4,342

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9.10 BUSINESS MODEL ASSUMPTIONS, RISK AND 9.10.6 The Barbican and LSO have considerable experience Centre for Music 10% Change
SENSITIVITY ANALYSIS in managing business volatility and delivering % Change of Current Base
£m £m
successful world-class programmes of activity
9.10.1 Although the business model is based on cautious within budget. This has been managed through Income 12.5 1.2 2.7% of total £44.3m income
assumptions, it factors in contingencies totalling a combination of prudent strategic planning
1% of total £75.4m
£500k, representing approximately 3% of the and ensuring that the business model of the Variable cost 7.4 0.7
expenditure
incremental costs arising as a result of this project. organisations remains resilient.
This is considered to be a reasonable contingency Semi Fixed cost 9.2 0.9 1% of total expenditure
at this stage of the model’s development, taking into 9.10.7 The Barbican and LSO produce a rolling business
account the level of detail through which the model plan annually covering a period of four years Fixed cost 1.5 0.1 0.4% of total expenditure
has been built up and the generally cautious nature (Barbican) or three years (LSO) to factor in material
of the estimates for income and expenditure. business changes and financial plans to deliver
strategic objectives. Annual budget cycles based
9.10.2 For longer term projections, it has been assumed on the long term business plan bring specificity
that any inflationary increase of expenditure will be and clarity to individual budget holders. The
matched by increases in income and funding and organisations’ finance departments, working closely
therefore a neutral impact on the overall financial with responsible budget managers, re-forecast
model. There are nonetheless specific areas of each budget centre every month. This creates a
the business model which could result in greater regular up to date forecast of financial activity,
volatility. allowing management to take steps in time to
address potential material financial shortfalls. This
9.10.3 The cost of utilities in recent years has far requires not only an understanding of likely risks and
outstripped general inflation and longer term opportunities but also the variable nature of costs
projections appear uncertain given global geopolitics. within the model.
Until recently it was anticipated that these costs
would continue to outstrip general inflation by a 9.11 INCOME AND COST SENSITIVITY
significant margin; however, the recent drop in oil
prices indicates otherwise. The utility budget for the 9.11.1 The Barbican and LSO together have a substantial
Centre for Music (total including Barbican Centre) is and mature business model with a combined current
£2.29m. turnover of £57.3m. The Centre for Music, in total,
would add 22% taking the total turnover to £69.8m.
9.10.4 With improvements in the economy, and particularly This should be seen as an extension of current
in London, there is likely to be increased pressure on activities and, given the robustness of the current
salary costs. The Barbican has already factored in the model, provide assurance of the two organisations’
London Living Wage for all its employees and those capacity to manage the Centre for Music. The
of its contractors and is consequently a little ahead of sensitivity analysis below reflects potential business
other organisations in the industry. risk.

9.10.5 The Barbican and the LSO conduct extensive

overseas business and as a consequence have
to manage quite significant currency exposures,
especially in US Dollars and Euros. These can be
hedged in the short and medium term but can affect
the model over the longer term.

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9.11.2 An important part of the Barbican’s model, mitigating 9.11.5 The Barbican, as part of local government, pays
income risk, is its reliance on twelve distinct income business rates whereas arts organisations as
generating activities. This creates a portfolio of charities get relief of between 80% and 100%. The
streams reducing the risk beta of overall income. cost of business rates for the Centre for Music will
therefore depend on its governance and operating
9.11.3 The LSO’s earned income comes from a range entity structure. The potential benefits of rates relief
of sources: international touring engagements; are illustrated below.
relationships with the creative industries on film and
commercial sessions; the LSO’s own recording label,
Current / Estimated
LSO Live; box office on own concert promotions; and
private sector fundraising. Cost £m Benefit range £m

9.11.4 The transition costs of implementing the proposed Potential change in business rates
option, particularly in relation to Barbican
refurbishment is set out in detail in Appendix 9B. Centre for Music 1.3 1.0 to 1.3

Year 3 Barbican Centre and Guildhall School 2.7 2.2 to 2.7

Year 0 Year 1 Year 2
(Standard)
Total 4.0 3.2 to 4.0
(£2.0) (£8.9m) (£6.2m) (£5.6m)

9.11.6 It has been assumed that all VAT will be recoverable

on the basis that this is currently the case for the
Barbican as part of the City of London Corporation.
This will also depend on the governance and
operating entity structure.

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9.12 CAPITAL COSTS 9.12.7 The need for refurbishing the Barbican Hall: if the 9.12.11 The nature, size and scale of the Centre for Music
Centre for Music were to be created as a symphonic has been a complex exercise with the proposed
9.12.1 The schedule of accommodation and the design concert hall but without any renovations to the building developed after extensive workshops, expert
of the Centre for Music has been built in detail by Barbican Hall, the Barbican would be open to great consultations and detailed review of international
the combined expertise of the Barbican, LSO and risks – both artistic and reputational. comparators.
Guildhall School together with highly experienced
design and acoustic teams. 9.12.8 The Barbican has always programmed its classical 9.12.12 To deliver an efficient workable solution, a series
and contemporary seasons alongside each other of iterative steps have reduced the initial size of
9.12.2 The venues, supporting function rooms and in the Barbican Hall, one without any concession the building from 38,000m2 to just under 30,000m2.
infrastructure of the Centre for Music have been to the other; as such, the Barbican is rightly able This has been benchmarked, both in terms of size
critically examined to ensure that it is both fit for to promote itself as a home for all music with and cost against similar international venues – see
purpose but also to test the added value of each neither classical nor contemporary music having Appendix 7A.
aspect of the facility over and above a symphonic a pre-eminence at the Centre. With the creation
concert hall. of a symphonic jewel in the Centre for Music, but 9.12.13 The total cost of delivering these changes is as
in the event of no renovations to the Barbican follows:
9.12.3 The building has been designed as part of the Hall, this parity would be irreparably damaged.
Cultural Hub and therefore it is expected that The public image would inevitably be portrayed
many of the facilities would be shared with the as classical music having a new, state-of-the-art Capital Costs Centre for Music Barbican Hall LSO St Luke’s Total
Barbican Centre e.g. box office, office spaces etc. facility while contemporary music was ghettoised
Consequently, were this building to be placed outside in the old Barbican Hall, languishing in out-of-date £m £m £m £m
the Cultural Hub, capital costs would escalate. surroundings. The forward steps that would be Construction and fittings including
221.1 26.9 0.7 248.7
taken in programming and audience engagement in 7.5% contingency
9.12.4 The size, scale and capital cost of the building has the Centre for Music would not be mirrored in the Professional fees 38.5 5.0 0.1 43.6
been benchmarked against similar projects both in Barbican Hall. This would ultimately result in the
the UK and overseas (see Section 25). creation of an “A” hall and a “B” hall, which is against Client costs 5.5 0.5 0.0 6.0
the philosophy of the Barbican Centre as a cross- Client contingency 13.1 2.0 0.0 15.1
9.12.5 In addition to a symphonic concert hall and arts venue and would cause significant reputational
damage. Total 278.2 34.4 0.8 313.4
associated spaces, the preferred option includes
education, commercial and spaces for digital
exploration to deliver a Centre for Music. As a 9.12.9 By undertaking strategic renovations to the
consequence, in the main, classical concerts Barbican Hall alongside the building of the Centre 9.12.14 Inflation assumptions are largely dependent on
currently performed at the Barbican Centre will move for Music, there is a chance to create the world’s timescales needed to acquire a potential site,
to the new hall. most complementary, strategic and technologically planning permissions and the expected period of
advanced music facility where every music has a construction.
9.12.6 It is proposed that as a consequence, the Barbican home, where every musician can give of their best
Hall will be adapted enabling it to deliver a wider and that welcomes the broadest possible audience
range of contemporary programming that will have without concession.
broader appeal across London’s increasingly diverse
population. In addition, LSO St Luke’s will be adapted 9.12.10 Collectively, these three capital projects will deliver
for commercial recording purposes to support the the strategic objectives and terms of reference of this
LSO’s needs for commercial income to make it more feasibility study.
sustainable.

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9.13 BALANCE SHEET AND CASH FLOW IMPACT

9.13.1 The Barbican Centre is a department of the City

Corporation of London and its assets and liabilities
are reflected in the City Corporation’s Balance Sheet.
Similarly, the Barbican’s bank accounts are part of
the City Corporation’s overall cash management
structures and therefore reflect the working capital
needs of the Centre.

9.13.2 As stated in this report, the governance and

management model of the Centre for Music will
determine the allocation of business risk. This
will be the subject of discussion between the
primary funders and project stakeholders – Central
government, GLA, the City Corporation of London and
the Arts Council England.

9.13.3 For the purposes of the Outline Business Case, the

Barbican Centre will use the City Corporation as its
parent and reference point. The financial asset base
and cash reserves of the Corporation would meet any
risk assessment in relation to this project. The City
Corporation’s financial statements are available on
its website.52

9.14 THE NEXT STAGE

The Full Business Case will determine whether the

governance and management structures for the
Centre for Music organisations will change. This in
turn may have an impact on the financial projections
and their risk profile.

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10. MANAGEMENT CASE

10.1 INTRODUCTION
Advising
10.1.1 This section of the OBC addresses the ‘achievability’
Convened by DCMS and GLA
of the project. Its purpose is to set out the structure
and processes that will be required to ensure the
successful delivery of the Centre for Music project in Arts Review Meeting
HMT
accordance with best practice. Council
Reporting (Every two months)
10.2 CURRENT PROJECT MANAGEMENT
ARRANGEMENTS Barbican LSO Guildhall City of
School London
10.2.1 Project management arrangements were established
at the beginning of the Feasibility Study stage to steer
Independent
the stakeholder input and the business case process
as follows: Project Advisers adviser
e.g.
• Project Group – representatives of the Barbican, LSO, Nick Hytner
Guildhall School and the City Corporation; oversees Simon Rattle
the work of the Feasibility Study; meets fortnightly,
reports to the Steering Group.
DCMS and
Regional Arts
GLA Nick Hytner will be invited in
Representative Council
• Steering Group – chief officers of the above four Feasibility Study Steering Group from time to time to advise
organisations, representatives from the Arts Council, on the wider cultural, digital
independent advisor; meets monthly.
Barbican LSO Guildhall City of and educational offer, acting
• Review Group – the DCMS and GLA meet with the School London as a critical friend for the
Steering Group; meets two monthly. project, stress-testing
assumptions and assertions
10.2.2 An organogram setting out the organisation structure around the feasibility work
for the Feasibility Study is below. and the geography and acting
as an independent voice
amongst all those with an
interest in the overall scheme.
Feasibility Study Project Group

Barbican Guildhall City of

LSO
School London

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PHASE 1
Outline Business Case and Feasibility Study

• Vision and Strategic Brief

• Set out activity, operating and financial model
10.3 THE PROJECT MANAGEMENT AND GOVERNANCE • Initial project brief
STRUCTURE MOVING FORWARD • OBC/Feasibility Study due end September

10.3.1 The project will be managed in accordance with

PRINCE 2 (PRojects IN Controlled Environments) PHASE 2
methodology and can be categorised into seven Full business case; RIBA Stage 2
distinct phases, which are set out in the table.
• Implement governance structure
• Select and appoint consultant team
10.3.2 The phasing of the overall project will depend on the • Concept design (RIBA Stage 2)
direction set following decisions by key stakeholders. • Fundraising begins
Exact timing will depend on certain critical factors • Develop programme plans and operating model
such as the availability of a site, funding decisions,
etc. PHASE 3
Developed design / planning

• Finalise operating and governance model

• Developed design (RIBA Stage 3)
• Planning application / approval
• Further fundraising activity

PHASE 4
Pre-construction

• Implement operating and governance model

• Technical design (RIBA Stage 4)
• Procure/package contractors
• Contractor design
• Secure majority of funding to allow construction to begin

PHASE 5
Construction, fitting out and commissioning

PHASE 6
Handover to Operations

PHASE 7
In Use

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PHASE 2 OUTLINE −− Activity and operating model developed to include: 10.3.6 In addition to delivering the Full Business Case,
Phase 2 will develop in more detail the full potential
10.3.3 The next phase of the project, Phase 2, is anticipated • Detailed activity programme developed for artistic, of the three organisations’ creative offer and its likely
to take approximately 18 months from the start, learning and digital plans, including role of partner impact, within a digital context. This will be the key
assumed to be immediately after the completion of organisations strategic theme defining the Cultural Hub and will sit
the Feasibility Study i.e. running from October 2015 at the heart of the Centre for Music plans.
to March 2017. The budget needed to deliver the • Income and funding model developed to maximise
outputs for this phase of work has been calculated commercial opportunities and self-generated income
at £5.8m with the majority of costs relating to the
internal project team and external professional team. • Develop an integrated Commercial model across
the Cultural Hub to maximise the critical mass and
10.3.4 This phase will complete the Full Business Case brand values of the three organisations.
(“FBC”) for the project as required by HM Treasury,
agree the terms for the acquisition and development • Finalise schedule of accommodation, functional
of the preferred site, develop the concept design and requirements and design needs to meet the needs of
begin the private sector fundraising task with a view the activity programme and business model
to securing a lead funder.
• Further consultation with the wider sector to
10.3.5 The detailed outputs of Phase 2 include the following: maximise opportunities for partnerships and to
ensure that the project complements the rest of arts
−− Finalise and implement project governance structure, and music sector
including formation of Project Board and Appeal
Board. • Detailed market research and audience demand
analysis.
−− Building and Site:

• Select/ procure consultant team −− Fundraising campaign:

• Develop final project brief for the Centre for Music • Appoint Fundraising Campaign Director

• Site and selected option confirmed • Develop fundraising case

• Site acquisition and site development plan agreed • Donor research and initial cultivation

• Concept Design RIBA Stage 2 • Aim to secure the lead gift(s).

• Final project budget prepared −− Gateway 2 risk potential assessment and

procurement strategy review.
• Wider development strategy including highways and
public realm. −− Develop long-term Governance and Management
structure, including corporate status, partnerships,
contractual relationships between all stakeholders.

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GOVERNANCE

10.3.7 There are three organisations delivering the project

(Barbican Centre, LSO, Guildhall School) and five key
stakeholders (HM Treasury, DCMS, Greater London
Authority, City Corporation, Arts Council England).
As a consequence the governance and management
arrangements should have the resilience to reflect
these complexities. Moreover, private fundraising
will be a key aspect of delivering the Centre for
Music, and consequently a key part of any delivery
structure.

10.3.8 The following governance and project management

structure is proposed:

• Project Board – to lead and oversee the project at a

non-executive level

• Fundraising Appeal Board – the fundraising arm of

the project

• Executive Group – representing the three

organisations delivering the project and overseeing
its delivery at an executive level

• Project Team– responsible for the day-to-day

management and delivery of the project.

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10.3.9 The Project Board will be the governing body of 10.3.12 The legal framework within which this independent
this project with ultimate control and responsibility Board will operate will need to be considered early
for the project. It will communicate with the key on, for example through the creation of a new entity
stakeholders referred to above and the Boards of the established specifically to deliver this project.
three partner organisations. Board Members will
include: 10.3.13 The Fundraising Appeal Board will be the
fundraising arm of the project, and will be set up to
• Chairman reflect the likely scale and nature of the project. Its
Members should all contribute financially and will
• Chairman of the Fundraising Appeal Board include:

• Three expert appointments of senior figures with • Chairman

experience of property, construction, legal, etc.
• Chairman of the Project Board
• Chairman or nominated member of the Barbican
Board • Up to 8 independent appointees – including
international philanthropists
• Chairman or nominated member of the LSO (a
musician) • Chairman of Policy and Resources Committee, City
Corporation
• One additional LSO Board Member
• Chief Executives of Barbican Centre, LSO and
• Chairman or nominated member of the Guildhall Guildhall School.
School Board
10.3.14 In total, this equates to 14 permanent members of
• Town Clerk of the City of London Corporation the Fundraising Appeal Committee.

10.3.10 In addition, the members of the Executive Group

(see below) will attend. In total, this equates to 10
permanent members of the Project Board who, with
the 6 members of the Executive Group, represent the
key stakeholder organisations.

10.3.11 The governance structure may require augmentation

at different stages of the project with project
subcommittees set up when deemed appropriate,
for example to cover procurement, the construction
phase and/or the technological aspects of the
project.

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10.3.15 The Executive Group will represent the Barbican, 10.3.18 Whilst typically a project would have a single Project • Line management of Project Team.
LSO and Guildhall School. It will oversee the Director, this project extends to three organisations
management of the project, reporting to the Project with a diverse range of complex activities and • Act as Client Representative to whom the external
Board. Group members will include: financial drivers and a number of key stakeholders. advisers report, including the external Project
No single person can effectively represent all three Manager, Design Teams and Cost Consultant.
• Managing Director of the Barbican Centre (Sir organisations and oversee a project of this scale,
Nicholas Kenyon) - Project Senior Responsible and there is a clear benefit of this role being covered • Analyse and interrogate all project costings, forecasts
Owner by individuals with close knowledge of the partner and programme revisions and other reports produced
organisations’ activities and governance models. as part of the project.
• Managing Director of the LSO (Kathryn McDowell)
10.3.19 The Project Directors will be jointly responsible for • Liaise with, and formally report to, the Project Board,
• Principal of the Guildhall School (Professor Barry Ife) the management and delivery of the project and Executive Group, Fundraising Appeal Board, funders
maintain core responsibility within their respective and other stakeholders.
• Assistant Town Clerk of the City Corporation (Peter organisations with either of them able to make a
Lisley) decision without the other when needed. • Liaise with internal and external stakeholders on
behalf of the Executive Group, including the partner
• Project Director and Chief Operating Officer of the 10.3.20 Their combined organisational knowledge and organisations’ own Boards, members of the LSO, etc.
Barbican Centre and Guildhall School (Sandeep network of relationships, including key stakeholders,
Dwesar) provides strong support across the various facets of
the project including any absence cover. 10.3.23 Two internal Project Managers will report to the
• Project Director and Finance & Resources Director of Project Directors, and they will be responsible for the
the LSO (Rikesh Shah) 10.3.21 The Project Directors will jointly lead the Project day-to-day delivery of the project, close liaison with
Team and will take the role of Client with the all internal and external teams and ensuring effective
This group represents the three organisations and authority to make day-to-day decisions in order to coordination, monitoring and reporting of the project.
the City Corporation as primary stakeholder. ensure the prompt and efficient management of the
project. The extent of this authority will be agreed at 10.3.24 The Buildings Project Manager will lead on the
10.3.16 The Senior Responsible Owner (“SRO”), Nicholas the commencement of Phase 2. coordination and delivery of all aspects of the project
Kenyon, will be the individual responsible for relating to the physical buildings. The Activity Project
ensuring that the project meets its objectives and 10.3.22 The Project Directors’ responsibilities will include: Manager will lead on the coordination and delivery of
delivers the projected benefits. He will be the all other aspects of the project, primarily developing
owner of the overall business change that is being • Lead the (internal) Project Team and external the programmes of artistic, educational and digital
supported by the project. advisers to successfully deliver all aspects of the activity and the development of the business model,
project. as well as coordination of Phase 2 of the project
10.3.17 The Project Team, which will be an internal team itself.
based within the project’s lead organisations, will • Ensure that the project fulfils the Vision and Brief.
include the following roles and responsibilities. The
structure outlined below relates primarily to Phase • Ensure adherence to the project programme,
2 of the project and will be adapted as necessary for cashflow and budget.
future phases. The Project Team will be headed by
two Project Directors (Sandeep Dwesar and Rikesh • Advise the Executive Group and Project Board of any
Shah), reporting to the Executive Group. potential issues or concern and propose solutions as
appropriate.

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10.3.25 The responsibilities of the Buildings Project • Report to and support Project Directors in all aspects • Act as the first point of contact for external
Manager will include: of their work. stakeholders such as ACE, DCMS, GLA, etc. on a day-
to-day basis.
• Act as the first point of contact for the external 10.3.26 The responsibilities of the Activity Project Manager
professional team including the Acoustician, Architect will include: • Ensuring that the project is proceeding as planned
(who as design team leader will be responsible for (on track, on budget, on time, etc.) and raise issues
coordinating the input of the acoustician, theatre • Act as the first point of contact for internal teams with the Project Directors as necessary.
consultant, structural and services engineers etc.), and external consultants who are involved with the
cost consultant and any specialist consultants (e.g. development of the partner organisations’ activity • Report to and support Project Directors in all aspects
planners, environmentalists, rights of light surveyors model and business plan following the opening of the of their work.
etc.). Centre for Music.

• Coordinate internal input and communication of • Coordinate internal input and communication of 10.3.27 The Project Team will be supported by a Project
all buildings related elements of the project (e.g. all activity focused elements of the project (e.g. Coordinator who will be responsible for running
agreeing deliverables, project programmes, the agreeing deliverables, activity programmes, financial the Project Management Office including providing
schedule of accommodation, etc.). modelling, etc.). administrative support.

• Ensure effective and prompt liaison between • Ensure effective and prompt liaison between 10.3.28 Specific responsibilities will include:
everyone involved in the site and buildings everyone involved in the activity development, sitting
workstream, sitting in on all relevant meetings e.g. in on all relevant meetings. • Running the Project Management Office including
design team, design workshops, planners, etc. as the providing administrative support to the team.
client’s eyes and ears. • Together with the Buildings Project Manager,
maintain the overall project budget and overall • Scheduling meetings, maintaining a project directory,
• Together with the Activity Project Manager, maintain project programme. minuting meetings, etc.
the overall project budget and overall project
programme. • Working closely with the Buildings Project Manager, • Responding promptly to queries from all those
ensure effective coordination between all aspects of involved with the project, facilitation communication
• Working closely with the Activity Project Manager, the project. and assisting in addressing such queries.
ensure effective coordination between all aspects of
the project. • Authorise invoices from external consultants for • Project record-keeping and filing.
payment.
• Authorise invoices from external consultants for
payment. • Coordinate regular reports from the internal teams
and external advisers.
• Coordinate regular reports from the external project
manager, design team leader, cost consultant etc. • Primary responsibility for the overall coordination of
Phase 2 of the project, in accordance with PRINCE 2.
• Assist with the process of site assembly and site
acquisition, to include liaison with legal advisers, • Prepare regular reports for the Executive Board and
surveyors, etc. Project Board.

• Ensuring that the project is proceeding as planned • Liaise with funders preparing reports, ensuring
(on track, on budget, on time, etc.) and raise issues compliance with funding conditions and coordinating
with the Project Directors as necessary. applications for drawdown of funds.

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10.3.29 Other members of the internal team, who will be 10.3.30 Supporting the Project Team will be a highly 10.3.33 The Fundraising Appeal Board will meet formally every
appointed at the appropriate time will include: experienced range of external professional advisers, 6-8 weeks, depending on the status of the fundraising
including the following specialisms: campaign, with informal communication taking place
• Fundraising Appeal Director – an experienced more frequently as required. It is expected that the
fundraiser responsible for leading all aspects of the • External Project Management – providing external Fundraising Appeal Board Chairman would be closely in
private sector fundraising campaign at an executive specialist support on technical aspects of project touch with the Executive Group and Fundraising Appeal
level, working closing with the Fundraising Appeal management, such as scope of services for the Director.
Board and Executive Group to ensure that the consultant team, the need for specialist input, site
fundraising target is achieved. This person is likely to related issues, neighbourly issues, project structure
be appointed during Phase 2 of the project, once the and governance, risk and value management,
Fundraising Appeal Board Chairman is in place. advising on procurement options/ approaches, etc.

• Finance Support – to support the Project Team in This support will be the key link between the internal
all finance matters related to the project particularly team and the professional advisers, and will have
financial modelling, effective financial management significant experience of delivering cultural building
of the current phase of the project, financial reporting projects.
on the project, etc. This person is likely to be required
early in Phase 2 of the project. • Professional Team – Acoustician, Architect/
Design Team Leader, Principal Designers, Theatre
• Technical Director – to manage the detailed Consultant, Structural and Services Engineering,
delivery of the building projects including reviewing Cost Consultant, Fire Engineering, Transport and
and approving technical specifications, room Traffic, etc.
specifications and drawings. This person will be
required to work very closely with the external • Other External Advisers – including specialist
professional team and the Project Directors, and expertise in areas such as legal, taxation, catering,
would be appointed at the beginning of Phase 3 of the retail, communications, digital technology, etc.
project.
10.3.31 The modus operandi of this governance and
management framework, particularly in terms of
how they operate between the three organisations,
their Boards and with key stakeholders will need
clarification. Detailed terms of reference will be
agreed between all parties at the inception stage of
Phase 2 of the project.

10.3.32 It is anticipated that the Executive Group will meet

weekly or fortnightly (depending on the specific stage
of work), and the Project Board will meet every 6-8
weeks (again depending on the status of the project).
Regular communication will be maintained with the
Project Board Chairman as appropriate.

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PROJECT MANAGEMENT METHODOLOGY

10.4 PROJECT PLAN, TIMETABLE AND OUTLINE

ARRANGEMENTS

10.4.1 An outline project programme has been developed

using sensible assumptions regarding the time
required for all key activities such as procurement,
design, planning approvals and construction. As
previously stated, this programme is not based on
any specific site, and the actual programme will
depend heavily on site availability, other site-specific
factors and the timeframes required to secure
funding for the project.

Outline Programme - Key Milestones (site dependent - see 10.4.1)

Appoint Project Board, Agree Preferred Developed Design Site Possession LSO St Luke’s Centre for Music
August 2019

January 2021
March 2018
September 2016

Appeal Board and Design Option (RIBA Stage 3) enhancements opens

September 2023
December 2015

Campaign Director complete

Select Consultant for Planning Approval Majority of Private

Procurement Support Sector Funding
Pledged
September 2018

September 2024
December 2020

December 2022
March 2017

Concept Design
June 2016

(RIBA Stage 2)
Select/ Procure Private Sector
Consultant Select/ Procure Pre Contract Fundraising Barbican Hall
Team Secure Lead Funder(s) Contractor (RIBA Stage 4) Complete Re-opens

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PROJECT BUDGET SPECIAL ADVISERS

10.4.2 The budget for the project, which has been 10.4.3 It is anticipated that special advisers will be used in
developed by Project Managers (GVA Acuity) and Cost a timely and cost-effective manner in accordance
Consultants (Gardiner & Theobald) is summarised with the Treasury Guidance: Use of Special Advisers.
below. Specialist areas where advice is anticipated to be
required are set out in the table below.

Centre for Specialist Area Comment

Barbican Hall LSO St Luke’s Total
Music
Professional project management appropriate for a
£m £m £m £m Project Management
major capital cultural building project
Construction and fittings
221.1 27.3 0.6 249 Specialist in world-class acoustics for a major
(including 7.5% contingency) Acoustician
symphonic hall
Professional fees 38.8 4.6 0.1 43.5 Architect/ Design
Landmark cultural building
Client costs 5.3 0.8 0 6.1 Team Leader
Client contingency 13.2 1.6 0 14.8 Expert advice on site and building design,
Design
configuration etc.
Total 278.4 34.3 0.7 313.4
Theatre Consultant Specialist in major symphonic halls

Financial Specialist tax advice

Other To be confirmed

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OUTLINE ARRANGEMENTS FOR CHANGE AND 10.5 KEY PROJECT RISKS, VARIABLES AND ISSUES business case, and whether lessons learned from the
CONTRACT MANAGEMENT business-focused aspects of the project will lead to
10.5.1 A copy of the project benefits register is attached at recommendations for improvements in performance
10.4.4 Change management associated with the project Appendix 10A on future projects.
will be managed by the external Project Manager
reporting to the Project Directors. Day-to-day This sets out who is responsible for the delivery of 10.6.3 A Project Evaluation Review (PER) will be
change management will be discussed and approved specific benefits, how and when they will be delivered undertaken to review the effectiveness of the project
by the Project Directors, within agreed limits, at and the counter measures, as required. management up to the point of project closure.
the Executive Group’s weekly meeting. Any change Led by the external Project Management Team, it
outside the approved budget will need to be approved 10.5.2 The strategy, framework and plan for dealing with will provide an End Project Report and a Lessons
by the Executive Group or Project Board. the management of risk has been developed in Learned Report as described in the PRINCE 2
partnership with the professional team working guidance.
10.4.5 During the design stages, the Cost Consultant on the Centre for Music project. Risk owners have
will undertake cost checks and prepare regular been identified and mitigation strategies have been 10.6.4 Post Project Review (PPR) (often referred to as a
cost plans to reflect the current design. The Cost agreed. Risks will be managed through the project Post Project Evaluation (PPE)) will also be planned
Consultant will undertake cost checks on all delivery structure. One of the core competencies of before project closure. It will compare outturns
anticipated or proposed changes, drawings and the supplier appointed as external Project Manager against estimates for all relevant costs and benefits,
documents, when issued, against the estimates will be the ability to set up and monitor a robust risk and generally review success in achieving objectives.
included within the cost plan so that the change can management process. It will be conducted 6 to 12 months after project
be approved or sent back for further review. This will closure, led by an individual independent of the
be controlled with the change management process 10.5.3 A copy of the project risk register is attached at Management Groups and Project Team.
and the external project manager will be responsible Appendix 6A. This details who is responsible for
for instructing the design team in relation to any the management of risks and the required counter 10.6.5 As the project is unlikely to be completed for at least
agreed change or further work required. measures, as appropriate. 7 years, it is premature to outline in detail the post
implementation review and the project evaluation
10.6 PROJECT EVALUATION review arrangements for post project evaluation.

10.6.1 The outline arrangements for Post-Implementation 10.6.6 Although a risk review has been undertaken a
Review (PIR) and Project Evaluation Review (PER) Gateway 2 risk potential assessment (RPA) has not
have been established in accordance with best been undertaken and likewise although a project
practice and are set out below. delivery strategy has been prepared a Gateway 2
(procurement strategy) has not been prepared. It is
10.6.2 Post-Implementation Review – PIR (also known as proposed that these will be undertaken at an early
Post-Occupancy Evaluation – POE) will be carried stage as part of Phase 2.
out when the facility has been in use for long enough
to determine whether the business benefits have
been achieved. This is likely to be twelve months
after completion of a full year’s operation but this
will be agreed by the Project Management Group
at project closure. The review will be carried out
by an independent team and will establish whether
the expected business benefits have been achieved
from the investment in the facility, as justified in the

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10.7 CONTINGENCY PLANNING 10.8 POST PROJECT GOVERNANCE AND MANAGEMENT 10.9 NEXT STEPS
ARRANGEMENTS
10.7.1 A contingency plan will be devised for an outcome The Governance and management framework
other than in the usual (expected) plan. 10.8.1 The LSO’s residency at the Barbican is contractually including key appointments will need to be made as
based, setting out an annual number of its soon as practically possible. This process will start
10.7.2 This will be based on the risk review where an performances in the Hall, its grant from the City immediately on the commencement of the second
exceptional risk that, though unlikely, would have of London Corporation, rented office spaces and phase of the project.
catastrophic consequences. other services. The residency has provided the
LSO with financial stability and infrastructure and
is an important enabler in its success. In turn, the
Barbican’s artistic programme is augmented by a
world-class orchestra. The relationship therefore is a
symbiotic one, benefitting both organisations.

10.8.2 The Centre for Music, as this study sets out, could
be the catalyst to deliver an extraordinary and
transformative artistic and educational offer in the
digital age. With world-class organisations, working
in world-class facilities, the critical mass of activity
can build a Cultural Hub with significant international
impact.

10.8.3 As part of the Feasibility Study, Adrian Ellis

Associates (AEA) undertook a governance
benchmarking study, reviewing the operational
relationship between venues and orchestras. Of the
twelve international models from a long list, their
report focuses on six case studies. See Appendix 10B
for further details.

10.8.4 The next stage of the feasibility study will examine

the possible governance models, identifying the
framework best suited given the organisations and
stakeholders involved.

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11. OUTLINE BUSINESS CASE CONCLUSIONS

11.1.1 This Outline Business Case concludes that of the four

short listed options, Option 4 - build a new Centre for
Music – best delivers the benefits associated with the
project’s investment objectives and critical success
factors. Option 4 also delivers the highest net present
value, at £890m, and the highest benefit-cost ratio
(BCR) at 1.73 compared to the reference case of
Option 1.

11.1.2 The Outline Business Case demonstrates how

Option 4 will be delivered in terms of procurement
and project management, and sets out the financial
implications for the partner organisations.

11.1.3 The third part of this report – the Feasibility Study –

sets out in greater detail the case for a new Centre
for Music and the benefits it will bring, as well as
considering in detail how such a project might be
delivered.

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12. INTRODUCTION

12.1 Having thoroughly analysed the case for a Centre

for Music in Part II, this Feasibility Study part of the
report develops the Preferred Option (Option 4 – build
a new Centre for Music) identified in the Outline
Business Case and examines in detail how it might
be delivered on the preferred site.

12.2 Part III starts with the background to and context

for the Feasibility Study. It then sets out the vision
for the Centre for Music, before examining the
potential audience and the impact on the wider arts
ecology. It outlines the proposals for artistic and
educational programming, including a sample two
week programming diary, as well as the ambitions
for maximising the potential of new technology.

12.3 Part III then considers the physical needs which are
required to deliver the artistic, educational and digital
ambitions, sets out an assessment of site options and
provides an illustrative scheme for how the Centre for
Music might be developed on the preferred site.

12.4 In order to demonstrate the extraordinary potential

of the Centre for Music to become a new landmark
within London, that celebrates the unique vision and
mission of the venue, an illustrative design has been
developed, as one interpretation of how the building
and its spaces could be imagined.

12.5 Part III also sets out how the project might be
delivered, including the capital costs, the operational
financial model and potential governance models.
Finally, it sets out conclusions and proposed next
steps.

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13. BACKGROUND AND CONTEXT

13.1 BACKGROUND 13.6 CONTEXT 13.7 CURRENT CHALLENGES

13.2 In February 2015 the Chancellor of the Exchequer 13.6.1 This project brings together a number of key national 13.7.1 London, despite having several good concert halls,
and the Mayor of London jointly announced funding and local agendas and policies including: does not have a world-class venue for large scale
for a Feasibility Study into the creation of a new classical music in which performances of the very
world-class concert hall in London. The terms • A desire to maintain the UK’s leading international highest quality can be created and enjoyed. This
of reference of the study (see section 4) invite the role in arts and culture in all their forms, in part situation is widely acknowledged, and has been
Barbican Centre, with its resident orchestra the to deliver benefits in terms of profile, recognition regularly commented upon by music critics and
London Symphony Orchestra (LSO), to consider the and ‘soft power’ as well as the significant economic others in the music industry who have the benefit of
case for a new state-of-the-art Centre for Music; benefits generated through the creative industries. experiencing concert halls across the world.
including how it could be delivered in the City of
London, how it will operate sustainably in the long • National policies to offer great art for everyone, 13.7.2 For example, the recent opening of the new hall in
term and what the impacts and benefits are for the supporting young people’s engagement in the arts, Paris prompted the following comment from Richard
national music sector. developing links with museums, galleries and the Morrison, the Chief Music Critic of The Times:
library sector, building the digital agenda, and
13.3 As set out in Section 6 (the Strategic Case), London encouraging collaboration with Music Education “Even in its unfinished state the new Philharmonie
is a leading world city with a world-famous cultural hubs, bodies such as Youth Music, and national looks and (more importantly) sounds like something
offering. Yet London’s world-leading position is not organisations including the national youth music London’s musicians and classical music punters can
reflected in the musical facilities which the capital ensembles. only dream about: a world-class concert hall. For
has to offer. Present facilities do not match those of all the cosmetic (but expensive) ‘improvements’ to
world-class halls that have been built elsewhere in • A desire to widen access to the arts through the Royal Festival Hall, the Royal Albert Hall and the
the world, nor are they particularly well suited for the education; equality of opportunity; aspirations Barbican, they remain acoustically mediocre….The
digital future. for young people; raising educational standards; lack of a hall in London remotely as good as those in
providing workforce development in the arts, Birmingham or Gateshead, let alone Berlin, Vienna
13.4 This project has been born of a belief that a world- education and the creative industries; and building and now Paris, is threatening London’s status as the
class Centre for Music could support and serve partnerships. world’s classical music capital.”
the whole of the UK and give London the facility it (16 January 2015)
needs, to inspire a new generation of music-lovers by • Development of the City of London Cultural Hub as
offering them the very best and most exciting music an internationally renowned, distinctive, vibrant and 13.7.3 A key weakness in London’s large symphonic halls
making, available to all. welcoming centre for the arts, heritage and learning, is the quality of the acoustics, which has a critical
capitalising on the growth in London’s population impact on the way that a performance is delivered by
13.5 This project will turn into reality a unique and and maximising the potential of major infrastructure the musicians and heard by the audience. This is not
visionary ambition for music by creating world-class improvements such as Crossrail. simply a factor for those with a highly trained musical
performance and digital opportunities marking a ear. As with all art, work of the highest quality is
step change for the organisations involved, providing 13.6.2 The best possible environment is required to support recognised as such by all that experience it even if
immense benefit to the city, advancing London’s the above ambitions, but current facilities and the reasons cannot be easily identified or articulated.
reputation as a pre-eminent cultural centre, and conditions in London are, for a number of reasons London’s audiences enjoy and recognise excellent
offering the fruits of those achievements – through explained below, not suitable or adequate. If these performances by its orchestras but – unless they
live performance, learning, participation and digital ambitions are to be achieved, and if the status of the experience their concerts overseas – they do not yet
innovation - to the widest possible public. UK and London as a world-leader in music is to be hear the orchestras at their absolute best.
maintained, a major investment in new facilities is
required.

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13.7.4 Sir Simon Rattle has described the concert hall as 13.7.9 The various factors that contribute to the quality of a 13.7.12 As recording and broadcast of performances for both
‘the instrument of the orchestra’ which challenges concert hall have a direct effect on the quality of the recreational and educational purposes becomes
every musician’s imagination to develop the range artistic performance and the way that it is perceived increasingly important, the quality of the technical
and colour of the sound in completely new ways. by audiences (whether in person or remotely). Artists infrastructure within a venue is also a distinguishing
A world-class acoustic, within a physical space perform their best work when given an environment factor. Older venues generally lack the modern
that gives every seat a sense of intimacy with the that properly suits their needs, just as athletes excel infrastructure required by broadcasters (e.g. high
performers, enables each audience member to when given the best practice facilities and stadia. This definition cameras) and bringing in stand-alone
experience the sound of a great orchestra with a also means that audiences appreciate the artists’ equipment often causes issues e.g. with sightlines
brilliance, immediacy, depth, richness and warmth work most when it is presented in the best possible for the audience within the auditorium.
that is lacking in London’s halls today. conditions.
13.7.13 Recent projects undertaken by the partner
13.7.5 The Barbican also lacks an organ – a key instrument 13.7.10 The nature of existing facilities in the UK means that organisations demonstrate that any digital activity
for certain works and present in most major concert - other than by sitting in a concert hall - audiences currently undertaken is a significant compromise,
halls across the world. have no way of understanding or engaging with the both for the in-hall audiences whose concert
creative process behind orchestral performance. experience is diminished by intrusive technology, and
13.7.6 Demands on time in the main auditorium Institutions such as the National Theatre and the the ensuing digital output which is not delivered to
compromise the quality and value of rehearsals. For Metropolitan Opera have begun to address this the highest possible quality expected by clients and
example, the LSO – unlike any of its international through their live cinema broadcasts, whilst the consumers. There are a number of difficulties in
peers – is unable to hold all of its rehearsals in the new Max Rayne Centre at the National Theatre retro-fitting technological infrastructure and current
concert hall itself. This means that rehearsals are achieves this in the physical space. More recently solutions almost always have some detrimental
inefficient as it is only possible to ‘fine tune’ the the Cleveland Museum of Art has opened Art Lens, impact on audience sightlines and sound levels
performance when in the concert hall itself which is the most technologically advanced interactive art inside the auditorium.
often not until the day of a performance. experience in the world. Britain lacks a classical
music facility that is able to harness the benefits of a 13.7.14 Aside from recording facilities in the main
13.7.7 The quality of London’s facilities, and the conditions recent trend towards opening up the artistic process auditorium, the Barbican Centre has minimal
such as the amount of rehearsal time available in the to audiences. facilities which allow related work to be edited and
principal performance spaces are important factors distributed to the widest possible audience with
for leading musicians who have the choice of working 13.7.11 The demands on space (not just in the Hall) the material adapted or enhanced to suit the needs
with a number of excellent orchestras in a range of mentioned above, together with lack of dedicated and interests of specific groups. The effective and
world-class venues. and suitable ancillary spaces, also limit the scale and meaningful sharing of performances and other
potential of learning and participation activity. The activities with a wider audience is therefore difficult
13.7.8 London is hampered in its ability to attract and Barbican Centre, LSO and Guildhall School could to achieve.
retain the most talented musicians because of the each expand their reach in these areas if more time
conditions in which they are able to work. Whilst were available in key rehearsal and performance
such individuals do perform in London because of its spaces. Alongside its role as a performance venue,
profile, and the quality of its performing organisations the Centre for Music would be devoted to supporting
such as the LSO, they do so despite – rather than learning whether formal or informal, and for
because of – the quality of London’s facilities. Over individuals of all ages and backgrounds.
time, London will struggle even more to compete
with other major cities in attracting talent. This is
particularly true with the top international conductors
who have the choice of the world’s best concert halls.

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13.8 ADDRESSING CURRENT CHALLENGES

13.8.1 The creation of a Centre for Music will address all of

the issues outlined above, and will provide a facility in
which the LSO, and other orchestras and ensembles,
can achieve the very highest standards and thereby
create excellent performances for their audiences.
The world’s finest musicians will continue to want
to work regularly in London maintaining the city’s
musical reputation and profile in the decades ahead.

13.8.2 The partner organisations’ education, community

and outreach projects currently reach some 73,000
people each year, many of them young people. The
initiatives envisaged through the Centre for Music
have the potential to engage far greater numbers
through significant growth in the scale, quality and
reach of these projects.

13.8.3 A new, modern venue will allow all performances to

be captured and shared digitally both live and at a
later date as expected and demanded by 21st century
audiences. The same will apply to educational
concerts, workshops, masterclasses, open
rehearsals and similar activities. It will also become
possible to produce new digital programmes such as
online learning courses. An inability to be physically
present in a venue will never again be a barrier to
experiencing and participating in these activities.

13.8.4 Further details as to how these challenges will be

addressed are set out in the vision and proposed
programmes of activity which are presented in the
following sections.

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14. THE VISION

14.1 The overall vision for the Centre for Music is as • Fulfil a national role in providing young people with • The Barbican Hall will complement this provision
follows: access to world-class performance, music-making with excellent acoustics for amplified or unamplified
and learning opportunities in partnership with music performance in a wide range of music genres, with
The vision is to create a landmark building in or education hubs and other agencies. special emphasis on contemporary, innovative
around the City of London, to be a state-of-the-art performance, while being equally suitable for
Centre for Music of acoustic and visual excellence • Be an innovator in exploring new methods of digital commercial and business events.
that will be a base for inspiring music-making, digital engagement and interaction with audiences, enabling
development, participation, discovery and learning, this work to be available to all. • There will be an integrated programme of activities
raising the level of performance and engagement in across the Centre for Music, the other venues of the
music for all. • Be a living place, able to adapt to evolving needs and Barbican Centre, the Guildhall School, and LSO St
new opportunities. Luke’s.
14.2 In particular, the Centre for Music will:
• Be sustainable and operate efficiently and effectively, • The Centre for Music will be welcoming to people
• Be an inspirational, forward-looking facility providing a consistently excellent experience to of all ages and backgrounds and fully accessible for
connecting performance, discovery and learning, audiences, musicians, students, and all others who those with physical or other impairments.
which enhances the status of London as a world- encounter it whether in person or remotely.
class cultural city. 14.3.3 Impact & Engagement
14.3 DETAILED AIMS
• Act as an energising, inclusive advocate for the future • The Centre for Music will be a landmark building that
of music-making for all. 14.3.1 The detailed aims for the Centre for Music are set out inspires and engages people and which creates a
below and reflect the ideas and ambitions developed strong sense of belonging.
• Be the world-class home for the LSO, the resident through the Feasibility Study including the views of
orchestra of the Barbican Centre. many different stakeholders who have contributed • The Centre for Music will be a building that brings
to the process. These objectives will continue to be the audience as close as possible to the music-
• Be a beacon of the City Corporation’s vibrant and refined as the project progresses to ensure that the making, creating a feeling of immersive involvement.
welcoming Cultural Hub in the north-west of the Centre for Music has maximum impact and benefit
Square Mile, a destination for visitors and audiences. for the widest cross section of society. • The configuration of the building will be as flexible as
possible, so that different layouts, foyer uses, etc. can
• Contribute to a coordinated offer of cross-arts activity 14.3.2 Performance & Experience be explored whilst always maintaining the quality of
and cultural education, in collaboration with other acoustics and experience.
key venues including the Museum of London. • The Centre for Music will be an arresting and
impactful place which makes a unique architectural
• Extend the existing facilities of the Barbican Centre, and musical contribution to London. It will enable
Guildhall School and LSO St Luke’s, to provide an audiences to experience the full power and thrill of
integrated offer to audiences and communities. live music in new ways.

• Be a magnet for the world’s top conductors, artists, • The Centre for Music will include a concert hall with
composers and orchestras. world-class acoustics for natural (i.e. not amplified)
sound, most importantly full symphonic orchestra
• Complement sensitively the capital’s provision of (with and without choir and/or organ), and larger-
classical symphonic concerts, welcome leading scale participatory performances.
international orchestras and provide a visiting base
for the UK’s orchestras based outside of London and
national youth music organisations.

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14.3.4 Learning and Discovery 14.3.6 Catalysing the Cultural Hub opportunities for interaction with audiences and all
those interested in music.
• The Centre for Music will generate new opportunities • The Centre for Music will be a landmark building that
for people of all ages to learn, create and perform symbolises the growth and development of the City of • It will become a catalyst to create communities
in new, dynamic ways, coordinating the offers of the London’s Cultural Hub in the north-west area of the of music-making and music learning locally and
LSO, Barbican Centre and Guildhall School. It will Square Mile. globally.
play a major role in helping to guarantee every child
and young person music-making experiences of the • It will be a visible draw to audiences coming from (for 14.3.7 Adaptability and Flexibility
highest order. example) Bankside/Tate Modern and the Millennium
Bridge to St Paul’s Cathedral, and from transport • The Centre for Music will be adaptable, to enable
• There will be an integrated programme of nodes. potential changes to be accommodated over
performing, composing and listening activities for time within acceptable cost, disruption and time
schools, families and young people, building on • It will catalyse the working relationship between the parameters.
the work of LSO Discovery and Barbican/Guildhall Barbican, LSO and Guildhall School, allowing them
Creative Learning. This will be driven by local, better to share their experience for the benefit of • It will be designed with a view to the rapidly changing
regional and national need, all in the context of audiences. digital environment, most likely preferring flexible
the National Music Plan and the evolving Cultural technology to fixed systems.
Education Partnerships. • Through connecting with the other cultural
institutions of the Hub, and different art-forms, it will 14.3.8 Digital
• The project will be a catalyst for developing the explore a co-ordinated programme and learning offer
musical progression of Under 18s that helps to that helps to build collaboration and increase the • The live performance will always remain the pre-
deliver the ambition of the National Music Plan, impact of the Cultural Hub. eminent expression of music. The Centre for Music
as well as other key initiatives such as the London will harness digital technologies both to enhance this
Curriculum, connecting the resources and expertise • It will provide opportunities to attract new audiences live core and to create a series of experiences beyond
of the Centre for Young Musicians, Junior Guildhall, to the Hub. the Concert Hall which inspire, engage and educate a
LSO On Track and Barbican/Guildhall ‘Connect’ new generation of music audiences.
ensembles. • The Centre for Music and the existing Barbican
Hall will extend and enhance the engagement and
14.3.5 Transparency connection with audiences, students and performers
virtually, through live experiences and on-line
• The Centre for Music will be inviting, welcoming, learning.
well connected with its surroundings, providing easy
access and clear wayfinding from all local transport • The Centre for Music and the Barbican Hall will be
links including the Tube, Crossrail and National Rail equipped with pioneering and versatile technology
services. It will be visible and inviting expressing that supports innovation and trends in music
through the exterior of the building the activities that communication, media and education.
take place inside, maximising use of open space, for
example through external screenings of events. • The Centre for Music will naturally strengthen the
synergies between the arts on offer throughout the
partnership. The digital offer will extend this through
a range of content-driven resources including widely
available concerts, events, educational performance
and teaching and digital publishing and will
extend beyond this to create new relationships and

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14.4 WHY LONDON?

14.4.1 Having set out the vision for the Centre for Music,
the next section considers where it might best be
built. London, in part through its status as the capital
city, is a focal point for the UK’s musical life. It is
home to five symphony orchestras and countless
other ensembles across all musical genres. Clearly
many other cities in the UK have a large and vibrant
musical life, although none on the scale of London
in terms of the number of ensembles, number of
events, or audience attendances.

14.4.2 London also has international presence and

recognition as a leading hub for music beyond that
enjoyed by any other city or region in the UK. More
generally, London is one of the world’s leading cities
from a wide range of perspectives – for example in
terms of commerce, culture, sport and history - and
it is in the UK’s interests that it should remain so.

14.4.3 As noted earlier, other cities across the world have

developed new musical facilities in recent years and
London has fallen behind. If London is to remain
pre-eminent in this field, there is a need for its
musical infrastructure to match or exceed that found
overseas.

14.4.4 In the event that a new facility is built in London, it

will have the potential to be used by organisations
from across the country, for the benefit of the whole
UK population. Equally, a new venue for classical
music in London would arguably complement the
excellent halls found in cities such as Birmingham
and Manchester.

14.4.5 One further relevant factor is that the Centre for

Music would be a home for the LSO which, for
obvious reasons, would expect its base to be in
London giving a further rationale for the Centre for
Music being in the capital.

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14.5 WHERE IN LONDON? 14.5.3.3 The LSO benefits from annual revenue funding from 14.5.4 In addition to the points set out above, a further
the City Corporation, in return for the Orchestra factor in favour of locating the Centre for Music in
14.5.1 London benefits from a number of concert halls and committing to present its season of concerts within the City is the willingness of the City Corporation to
musical venues across the city, and transport links the City. A location for the Centre for Music outside consider in principle making a capital contribution.
mean that these venues have reach far beyond their the City would only be viable financially for the LSO This is particularly in the context of City Corporation’s
immediate locality across the city and, in most cases, if the revenue funding could be retained or replaced. cultural strategy and the development of the Cultural
regionally across the South East. In the current environment for public finances, it is Hub. Given immense pressures on space within
unlikely that any other local authority would be both London, particularly in central areas, the value of
14.5.2 Given that the preferred strategic option for the willing and able to replace City Corporation’s funding. such an offer – albeit without any firm commitment
Centre for Music project is to build a new venue This means that a location outside of the City would at this stage – is a major factor.
for classical music and to repurpose the Barbican need to be extremely compelling for other reasons
Hall for other types of music, there is a natural for it to be considered as viable. 14.5.5 Taking all of the above factors into account, there is a
case for building the Centre for Music near to the strong case for locating the new Centre for Music in
Barbican Centre. However, this has not been taken 14.5.3.4 Relocation of the LSO’s base away from the City the City of London. If a potential site were identified
as an automatic assumption for the purposes of this would most likely lead to a loss of regular audience in another part of London a number of these factors
Feasibility Study. members. This was the experience when the LSO would need to be addressed for that site to be viable
moved to the Barbican Centre when it opened in – e.g. the venue would need to be accessible to
14.5.3 Factors that have been considered in assessing 1982 and the need to rebuild the audience base had audiences without being too close to other similar
potential areas of London in which to locate a new a negative financial impact. Avoiding a repeat of venues, and revenue funding for the LSO would need
venue include the following: this situation would be preferable to ensure that the to be maintained. Therefore, for the purposes of the
LSO’s business model is sustained. Feasibility Study, the main focus on site options has
14.5.3.1 Locating in a very central location such as the City been in and around the City of London. Specific site
provides better transport links to all areas of London 14.5.3.5 Many of the activities of the Barbican Centre, LSO options are considered in more detail in Section 20.
and the South East. Locations in many other parts of and Guildhall School are closely integrated and
London would result in longer travel times for some this is widely acknowledged to be a key strength
potential audience members creating an imbalance arising from the unique collaboration of an arts
in terms of the reach of the new venue. Conversely, venue, orchestra and conservatoire. For example,
a central location will remain accessible to the whole Guildhall School students benefit from working on a
population of London and the South East, irrespective regular basis with the LSO and its musicians whilst
of future trends in population growth. the Barbican’s theatre, cinemas and galleries make
jointly developed cross-artform projects possible.
14.5.3.2 The Barbican and LSO have over several years This is possible only because the three organisations
built strong relationships with many east London are physically based very close to each other
boroughs particularly through their education and each organisation would be weakened if the
provision. Time and resources would be needed to connection with its partners were weakened.
build up that kind of relationship with other London
boroughs if the Centre for Music were located in 14.5.3.6 The business model for the Centre for Music requires
other parts of London. staffing and operational infrastructure which already
exists at the Barbican Centre and Guildhall School,
but which would need to be recreated (at least in
part) if the new venue were distant from the current
venues. Operating costs would therefore increase if
the Centre for Music was built in a location not within
walking distance of the Barbican Centre.

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15. PROGRAMMING AND DIGITAL

15.1 A Centre for Music within the City of London’s 15.5 The Centre for Music will provide a home for the 15.7 CENTRE FOR MUSIC ACTIVITY
Cultural Hub would create a campus of four music LSO and offer a London base for visiting orchestras,
performance venues – the Centre for Music Concert creating an opportunity to each to present elements 15.7.1 Proposed activity across the four venues can be
Hall, the repurposed Barbican Hall, LSO St Luke’s from their core artistic programmes and to build grouped into four strands:
and the Guildhall School’s Milton Court, each with a London network of audiences and supporters.
its own very distinct identity and characteristics, but Through strategic partnerships with leading youth Platforms – create/rehearse and perform: allowing
complementing each other in a coherent and exciting music organisations, it will engage with youth musicians of all ages, backgrounds and abilities to
public offer. orchestras, youth choirs, youth brass bands, youth create, rehearse and perform at the Centre for Music.
jazz ensembles and school choirs and ensembles
15.2 Each of the venues in the campus will have its own across the country. Celebrations of youth music will Public experience – visit, listen, view and interact:
characteristics and features: populate the programme, with facilities across the offering opportunities for individuals, families, groups
campus brought into play for music courses during and schools to experience and interact with the
Centre for Music– world-class acoustics, orchestral holidays. Centre for Music, in person or virtually.
excellence and innovation, immersive learning,
participatory events, digital engagement. 15.6 Bringing together live performance and digital Participation – join in and contribute: enabling
learning in a landmark building of acoustical and people of all ages, backgrounds and abilities to
Barbican Hall – innovative music-making, visual excellence, the Centre for Music will be a base participate in music-making activities.
contemporary experience, exploring music and for inspiring music-making, digital development,
technology. participation, discovery and learning, raising the level Professional development – progression and
of performance and engagement in music for all. It training: providing high quality experiences and
LSO St Luke’s – engaging local communities, diverse will allow a dynamic new approach to performance resources for aspiring and professional musicians
programming, commercial recording. and learning in music. and teachers.

Milton Court – intimate music-making, chamber 15.7.2 Within these areas, the scale of activity programmed
orchestras, artist residencies, integrated arts and across the four venues will increase significantly. A
learning. new world-class concert hall will strengthen the
music programme and, together with the repurposed
15.3 The Club Space will provide a unique additional venue Barbican Hall, an additional 100 events will be
alongside exhibition space and digital development delivered a year. An additional 184,000 people will
spaces, all of which will draw people into a directly participate in over 3,000 new education and
welcoming and porous building. engagement events each year. Digital reach of the
arts programme and education activity will reach at
15.4 The Centre for Music will be filled with inspiring least 2 million people.
and memorable musical experiences all year round.
The venue will always feel inclusive and alive, and 15.7.3 A range of exciting activities will be offered under
all activity will be of the highest quality. Evening each of these areas, giving everyone the opportunity
performances will be complemented by weekend to access and engage with music. Some examples
matinees, short early evening programmes, late night are set out below.
events, coffee concerts and lunchtime performances.

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PLATFORMS – CREATE/REHEARSE AND PERFORM PUBLIC EXPERIENCE – VISIT, LISTEN, VIEW AND INTERACT

Allowing musicians of all ages, backgrounds and abilities to create, rehearse and Offering opportunities for individuals, families, groups and schools to experience and
perform at the Centre for Music. interact with the Centre for Music, in person or virtually.

• London Symphony Orchestra – the performing, rehearsal and administrative home for • A musical welcome – a new benchmark for visitor experience in the cultural sector.
the world-class LSO and Music Director Sir Simon Rattle. Large-scale permanent interactive installations and hands-on activities in the foyers
will stimulate and entertain all visitors, allowing them to explore and experience
• Barbican Presents – an agenda-setting classical programme from across the globe, musical performances in entirely new ways.
including orchestral, chamber, vocal and recital performances.
• A building constructed from music - and made for tourism. Audiences will be enticed
• Barbican Associates – regular London concerts from the BBC Symphony, Britten to discover their ability to create music through a range of specially commissioned
Sinfonia and Academy of Ancient Music, plus the Guildhall Symphony Orchestra and digital instruments and hundreds of pieces of music embedded throughout the
Guildhall Artists programme. building, and only audible when near to digital devices.

• Barbican International Associates - a London base for some of the world’s greatest • Exhibition Space – music and cross-arts touring commercial exhibitions with wide and
orchestras (Royal Concertgebouw Orchestra, Jazz at Lincoln Center Orchestra, Leipzig popular appeal.
Gewandhaus Orchestra, Los Angeles Philharmonic and New York Philharmonic),
showcasing their innovative artistic and learning programmes. • Insight – open rehearsals, demonstrations and ‘skylight’ pods into the concert hall to
provide unique access to visitors and a different perspective to music-making.
• London Symphony Chorus – a rehearsal home for the 200-strong chorus and a base
for its concerts, festivals and sing-along extravaganzas. • Talks – presentations, debates and masterclasses by artists and specialists,
encouraging interaction and exploration.
• Barbican Contemporary - a kaleidoscopic mix of cutting-edge jazz, folk, eclectic and
world music, with regular collaborations with Barbican Associate Producer Serious. • Concert formats – a programme of ever-evolving experiences with concert spaces,
timings, content and technologies to appeal to a wide variety of audiences and
• Collaborations - a laboratory for projects that defy categorisation and a place for circumstances.
artists of different art-forms and genres to experiment, such as those being developed
by media artist Refik Anadol, which test the boundaries between space, sound, visuals • Digital Resource – a wide range of digital resources will be available to the public,
and light. and fellow institutions. The digital publishing resource will bring consistency and best
practice to music pedagogy, and push the boundaries of learning and engagement
• Schools - concerts that provide a welcoming home for primary and secondary schools, to extend beyond the live event. It will be both accessible and relevant to a broad
linking with the National Curriculum, resourcing teachers and inspiring a new audience and ideal for formal or informal learning.
generation of music lovers.
• Archive – physical and virtual access to the rich archives of the LSO, Barbican and
• Families - events that engage family members of all ages, through concerts and Guildhall School for researchers and the general public.
tailored activities during school holidays and at weekends.

• Artist Development – opportunities to showcase the best in young talent through

performances and festivals, in partnership with the Guildhall School, London
Schools Symphony Orchestra, East London Music Hubs and National Youth Music
Organisations.

• Digital – a tactile, responsive and immersive institution connecting with audiences,

orchestras and arts centres locally, nationally and internationally through a range of
creative technological innovations.

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PARTICIPATION – JOIN IN AND CONTRIBUTE PROFESSIONAL DEVELOPMENT – PROGRESSION AND TRAINING

Enabling people of all ages, backgrounds and abilities to participate in music-making Providing high quality experiences and resources for aspiring and professional
activities. musicians and teachers.

• Spaces – technology-driven areas specifically designed to support and enhance • An International Centre – inspiring and training a new generation of musicians, with
participation in music-making for children, schools, families and adults. collaboration, enterprise, imagination, leadership and social engagement at the core
plus apprenticeship programmes for stage and technical careers.
• Resources – instruments and equipment encouraging participation and ensuring
excellent musical experiences at first access. • A new workforce for Music Education – building on current Guildhall School and LSO
programmes to create a network of highly skilled educator-performers.
• Studios – providing high quality opportunities for choral and instrumental music-
making, including for schools and amateur groups. • Orchestral artistry – a new home for the ground-breaking LSO/Guildhall School
initiative, enabling aspiring professionals to work alongside LSO members and
• Learning Programmes – models to inspire learning in schools, including the conductors.
involvement of artists such as Simon McBurney and Sir Simon Rattle, alongside
complementary digital publishing resources. • Knowledge Exchange – creating a national and international centre for research,
dialogue and reciprocal learning across cultures and art-forms, both physically and
• Workshops – led by nationally and internationally renowned music leaders, covering a virtually through synchronous distance learning.
range of musical styles and instruments from across the globe – for all ages.
• Music Therapy – regular research and therapy sessions, including work with people
• Technology – regular group sessions for young musicians to explore the use of creative with special needs and post-traumatic stress.
technology with emerging and established composers working in this field.
• Creative Labs – creating a hotbed for collaboration between emerging and established
• Immersive Days – extraordinary, wide ranging participatory opportunities as part of musicians, across the performing, visual and digital arts.
artistic focuses across the Centre for Music.
• e-assessment - a central feature of all learning opportunities inside the Centre for
• Events – high-impact, mixed-ability events designed for community involvement on the Music will be the opportunity to record individuals’ achievements via digital transcript.
concert hall stage, working side by side with professional musicians.

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TWO WEEKS OF WORLD-CLASS EVENTS 15.8.7 French artists join the LSO across the two weeks: the
great French organist Olivier Latry makes his recital
15.8.2 A sample two week diary, showing how artistic debut on the magnificent new Centre for Music
programming and education activity could be organ, pianists Hélène Grimaud and Jean-Efflam
programmed across the entire campus (Centre for Bavouzet play, and conductor François-Xavier Roth
Music, Barbican Centre, LSO St Luke’s and Milton leads LSO programmes with young musicians and
Court) is shown on the following pages. young composers, including a massed performance
of Debussy’s La Mer for 800 musicians on the
15.8.3 In the Centre for Music, Sir Simon Rattle and the LSO extended Centre for Music Stage.
will give two performances of William Walton’s great
choral work, Belshazzar’s Feast - with 350 singers, 15.8.8 There are opportunities daily for schools and young
a vast orchestra and the new organ. Elgar’s Cello people to interact with the programme – both in
Concerto and a work by leading British composer full scale schools concerts related to the London
Mark-Anthony Turnage completes the programme. curriculum or through guided sessions during LSO
rehearsals in the pods that open onto the hall.
15.8.4 The previous evening, singers from all over the south
east will join in a massed sing-along of the Walton 15.8.9 Alongside the live programme, the digital team will
led by Chorus Director Simon Halsey in an organ be capturing the rehearsals, talks and performances
arrangement. and disseminating these internationally as well as
giving people visiting the Centre an insight into what
15.8.5 This begins a celebration of British music that will is happening at different points in the day.
be echoed across the other venues, from leading folk
musician Eliza Carthy in the Club space to a family 15.8.10 Associate orchestra the BBC Symphony Orchestra
concert with jazz musician, Soweto Kinch in Barbican appears with its principal conductor, Sakari Oramo;
Hall. leading tenor Ian Bostridge and composer/pianist
Thomas Adès give a recital, and there are main stage
15.8.6 Barbican International Associates, the Los Angeles appearances by Chilly Gonzales, Cecilia Bartoli,
Philharmonic will appear in the Centre for Music Rolando Villazón, Herbie Hancock and Chick Corea.
with their charismatic Principal Conductor Gustavo
Dudamel. Talks and workshops involving these 15.8.11 Everything is planned to offer the widest possible
musicians will take place across the Centre for Music audience an engaging journey around the venues,
involving young musicians from East London Music linking experiences, interaction and discovery.
hubs.
15.8.12 More detail about the programme is set out in the
sections that follow.

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Event Time Venue Event Time Venue Event Time Venue

Centre for Music Centre for Music Centre for Music
LSO open rehearsal with Sir Simon 2pm-5pm Concert Hall LSO Open Rehearsal with Sir Simon 10am-1pm Concert Hall Early Years Workshop 10am-1pm Exploration Studio
Rattle Rattle Guildhall Leadership Training 10am-1pm Teaching Studio
Folk and Jazz Workshop 10am-5pm Rehearsal Rms 1-3 Instrumental & Vocal Session 10am-5pm Performance Professional Development for 10am-5pm Rehearsal &
Breakout Rms 1-3 Studio Artists & Teachers Breakout Rooms
Digital Vocal Session 10am-5pm Creation Studio Family Music Adventure 10am-5pm Exploration Studio Schools Bookings 10am-5pm Performance
Digital Revolution 2 10am-6pm Exhibition Space Creation Studio Studio / Creation
Guildhall Students Lunchtime Concert 12.30pm Forum LSO On Track 10am-5pm Pods 3 & 4 Studio / Pods
LSO Futurelearn Workshops 10am-5pm Teaching Studio Digital Revolution 2 10am-6pm Exhibition Space
Sing Along with Organ (repertoire 7.30pm Concert Hall
linked with LSO concert on 17.1.21) Digital Revolution 2 10am-6pm Exhibition Space Guildhall Students Lunchtime Concert 12.30pm Forum
Guildhall Students Lunchtime 12.30pm Forum Academy of Ancient Music / 7.30pm Concert Hall
Club (Centre for Music)
Concert Richard Egarr – Handel
Eliza Carthy session 7pm Club
Guildhall Platform Concert 6pm Concert Hall Club (Centre for Music)
Joshua Redman session 10pm Club LSO / Sir Simon Rattle / Alisa Weilerstein 7pm Concert Hall
Private Commercial booking 10am-6pm Club
– Turnage, Elgar, Walton
Barbican Centre
Club (Centre for Music) Barbican Centre
Britten Sinfonia Family Workshop 10am-5pm Fountain Room
Q & A with Sir Simon Rattle 10pm Club Barbican Guildhall Open Lab 10am-5pm The Pit
Family Film Club 10am-5pm Cinema Cafe
Private Commercial Booking 10am-5pm Frobisher Rooms
Private Commercial Booking 10am-5pm Frobisher Rooms Barbican Centre Garden Room
Garden Room
Family Music Adventure 10am-5pm Fountain Room Guildhall Symphony Orchestra / Yan 7.30pm Barbican Hall
Sam Lee 7.30pm Barbican Hall Foyers Pascal Tortelier - Lutosławski, Berlioz
LSO St Luke’s Private Commercial Booking 10am-5pm Frobisher Rooms
Garden Room LSO St Luke’s
LSO Choral Singing Day 10am-5pm Jerwood Hall Adult Special Needs Workshop 10am-5pm Jerwood Hall
Family Concert with Soweto Kinch 7.30pm Barbican Hall
LSO Chamber Concert –Walton 7.30pm Jerwood Hall Community Choir Rehearsal 7pm-10pm Jerwood Hall
LSO St Luke’s
Milton Court Milton Court
Soundhub Workshop 10am-5pm Jerwood Hall
Britten Sinfonia / Benjamin Grosvenor – 7.30pm Milton Court Private Commercial Event 10am-6pm Milton Court
Bartok, Mozart, Strauss Concert Hall Composers’ Showcase 7.30pm Jerwood Hall
Concert Hall

Event Time Venue Event Time Venue Event Time Venue Event Time Venue
Centre for Music Centre for Music Centre for Music Centre for Music
LSO Discovery Schools Concert – 10am-1pm Concert Hall LSO Open Rehearsal with 10am-1pm Concert Hall Schools Bookings 10am-5pm Creation Studio East London Partnership Music Hub 10am-5pm Rehearsal &
Key Stage 2 François-Xavier Roth / Pods 1-4 Rehearsals Breakout Rooms
East London Partnership Music Hub 10am-5pm Rehearsal & Workshop – Parents, Carers & 10am-1pm Exploration Studio LSO Futurelearn Workshops 10am-5pm Exploration Studio Schools Bookings 10am-5pm Creation Studio
Rehearsals Breakout Rooms Early Years LSO Open Rehearsal with 10am-1pm Concert Hall / Pods
Guildhall Leadership Training 10am-5pm Teaching Studio Schools Bookings 10am-5pm Performance François-Xavier Roth Digital Revolution 2 10am-6pm Exhibition Space
Schools Bookings 10am-5pm Creation Studio / Pods Studio / Creation Digital Revolution 2 10am-6pm Exhibition Space Schools Concert with Andrew Bird 2pm Concert Hall
Studio / Pods 1-4 LSO Masterclass 2pm-5pm Teaching Studio & Chris Thile
Schools Bookings 10am-5pm Pods
Digital Revolution 2 10am-6pm Exhibition Space Organ Recital – Oliver Latry 7.30pm Concert Hall
Digital Revolution 2 10am-6pm Exhibition Space LSO / François-Xavier Roth – 7.30pm Concert Hall
LSSO / Edward Gardner – Wagner, 7.30pm Concert Hall Debussy, Ravel, Saint-Saëns
LSO / Sir Simon Rattle – Turnage, 7.30pm Concert Hall Club (Centre for Music)
Glière, Strauss
Elgar, Walton
Club (Centre for Music) Lau session 10pm Club
Club (Centre for Music)
Club (Centre for Music) LSO Aftershock 10pm Club
Nicola Benedetti session 10pm Club Barbican Centre
Private Commercial Booking 10am-6pm Club
Barbican Centre Barbican Guildhall Open Lab 10am-5pm The Pit
Barbican Centre
Barbican Centre Barbican Guildhall Open Lab 10am-5pm The Pit Private Commercial Booking 10am-5pm Frobisher Rooms
Barbican Guildhall Open Lab 10am-5pm The Pit
Barbican Guildhall Open Lab 10am-5pm The Pit Private Commercial Booking 10am-5pm Frobisher Rooms Garden Room
Private Commercial Booking 10am-5pm Frobisher Rooms Garden Room
Private Commercial Booking 10am-5pm Frobisher Rooms BBCSO / Chilly Gonzales 7.30pm Concert Hall
Garden Room Garden Room
LSO St Luke’s LSO St Luke’s
Graduation Ceremony 11am-6pm Barbican Hall London Gay Men’s Chorus 7.30pm Barbican Hall
Private Commercial Booking 10am-10pm Jerwood Hall BBC Radio 3 Lunchtime Concert: Jean- 12.30pm Jerwood Hall
LSO St Luke’s LSO St Luke’s Efflam Bavouzet – Debussy, Ravel
Milton Court
Community Drop-In Workshops 10am-5pm Jerwood Hall Private Commercial Booking 10am-10pm Jerwood Hall Orchestral Artistry Workshop 2pm-6pm Jerwood Hall
Guildhall Masterclass 7.30pm Milton Court
Concert Hall
Milton Court
Juniors Guildhall Performance 7.30pm Milton Court
Concert Hall

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Event Time Venue Event Time Venue Event Time Venue Event Time Venue
 Private Commercial Booking 10am-5pm Frobisher Rooms
Barbican Guildhall Open Lab 10am-5pm The Pit
Barbican Guildhall Open Lab 10am-5pm The Pit Private Commercial Booking 10am-5pm Frobisher Rooms Garden Room
Private Commercial Booking 10am-5pm Frobisher Rooms Garden Room
Private Commercial Booking 10am-5pm Frobisher Rooms BBCSO / Chilly Gonzales 7.30pm Concert Hall
Garden Room Garden Room
LSO St Luke’s LSO St Luke’s
London Gay Men’s Chorus 7.30pm Barbican Hall
PART III Graduation Ceremony 11am-6pm Barbican Hall Private Commercial Booking 10am-10pm Jerwood Hall BBC Radio 3 Lunchtime Concert: Jean- 12.30pm Jerwood Hall
LSO St Luke’s Efflam Bavouzet – Debussy, Ravel
FEASIBILITY STUDY
LSO St Luke’s
Community Drop-In Workshops 10am-5pm Jerwood Hall Private Commercial Booking 10am-10pm Jerwood Hall
Milton Court
Orchestral Artistry Workshop 2pm-6pm Jerwood Hall
Guildhall Masterclass 7.30pm Milton Court
Concert Hall
Milton Court
Juniors Guildhall Performance 7.30pm Milton Court
Concert Hall

Event Time Venue Event Time Venue Event Time Venue Event Time Venue
Centre for Music Centre for Music Centre for Music Centre for Music
Barbican Guildhall Folk and Jazz 10am-5pm Rehearsal Rms 1-3 LSO mass participatory project – 10am-1pm Concert Hall Guildhall Leadership Training 10am-1pm Teaching Studio Guildhall Leadership Training 10am-1pm Teaching Studio
Workshop Breakout Rms 1-3 Debussy La Mer Concert Hall /
Barbican Box 10am-9pm Schools Bookings 10am-5pm Creation Studio
Digital Revolution 2 10am-6pm Exhibition Space Family Workshops 10am-5pm Rehearsal & Rehearsal Rooms / / Pods 1-4
Breakout Rooms / Breakout Rooms
Herbie Hancock & Chick Corea 7.30pm Concert Hall Side by Side 10am-5pm Rehearsal &
Pods 3 & 4 Schools Bookings 10am-5pm Performance Studio
Exploration Studio Breakout Rooms
Barbican Guildhall Young Arts Performance Studio / Creation Studio /
/ Creation Studio / Barbican Guildhall Young Arts Digital Revolution 2 10am-6pm Exhibition Space
Academy / Creation Studio / Pods 1-4
Pods 1 & 2 Academy
Pods 1 & 2 Exhibition Space Guildhall Orchestral Masterclass 2pm-5pm Performance
Digital Revolution 2 10am-6pm
Instrumental & Vocal Session 10am-5pm Teaching Studio & Studio
Club (Centre for Music)
Performance Studio Club (Centre for Music) Orchestra La Scintilla / Cecilia Bartoli / 7.30pm Concert Hall
Maria Schneider session 10pm Club Exhibition Space Rolando Villazón – Mozart, Rossini,
Digital Revolution 2 10am-6pm Private Commercial Booking 10am-6pm Club
Bellini, Donizetti
Barbican Centre Guildhall Students Lunchtime 12.30pm Forum
Concert Barbican Centre
Family Film Club 10am-5pm Cinema Cafe Club (Centre for Music)
LSO / François-Xavier Roth - 7pm Concert Hall Barbican Open Lab 10am-5pm The Pit
Private Commercial Booking 10am-5pm Frobisher Rooms Debussy, Ravel, Saint-Saëns Polar Bear session 10pm Club
Garden Room Private Commercial Booking 10am-5pm Frobisher Rooms
Garden Room Barbican Centre
Ian Bostridge / Thomas Adès - Win- 7.30pm Barbican Hall Club (Centre for Music)
Britten Sinfonia / Oliver Knussen – 7.30pm Barbican Hall Barbican Guildhall Open Lab 10am-5pm The Pit
tereisse Private Commercial Event 10am-6pm Club
Mozart, Knussen, Tippett
Private Commercial Booking 10am-5pm Frobisher Rooms
LSO St Luke’s Barbican Centre Garden Room
LSO St Luke’s
Community drop-in Workshops 10am-5pm Clore Rooms Private Commercial Booking 10am-5pm Frobisher Rooms
Garden Room Community Lunchtime Concert 12.30pm Jerwood Hall Ark Schools 7.30pm Barbican Hall
Scratch Orchestra 12pm-8pm Jerwood Hall
Youth Choir 6.30pm Jerwood Hall LSO St Luke’s
Cinematic Orchestra 7.30pm Barbican Hall
Milton Court Private Commercial Event 10am-6pm Jerwood Hall
Live Live Cinema – Little Shop of Horrors 7.30pm Milton Court LSO St Luke’s
Concert Hall Opera Up Close 7.30pm Jerwood Hall Milton Court
Commercial Conference 10am-6pm Milton Court
Milton Court
Concert Hall
Guildhall Recital 7.30pm Milton Court
Concert Hall

Event Time Venue Event Time Venue Event Time Venue

Centre for Music Centre for Music Centre for Music
Schools Takeover Day 10am-5pm Concert Hall Guildhall Leadership Training 10am-1pm Teaching Studio Digital Revolution 10am-6pm Exhibition
& Entire Centre Schools Bookings 10am-5pm Creation Studio / Space
Digital Revolution 10am-6pm Exhibition Space Pods 1-4 LSO Discovery Schools Concert – 10am-1pm Concert Hall
East London Partnership Music Hub 10am-5pm Rehearsal & Key Stage 1
Schools Takeover Concert 7.30pm Concert Hall
Rehearsals Breakout Rooms East London Partnership Music 10am-5pm Rehearsal &
Club (Centre for Music) Commercial Conference 10am-10pm Concert Hall Hub Rehearsals Breakout Rooms
Robert Glasper session 7pm Club Digital Revolution 10am-6pm Exhibition Space Schools Bookings 10am-5pm Creation Studio
/ Pods 1-4
DJ session 10pm Club Club (Centre for Music) Los Angeles Philharmonic / 7.30pm Concert Hall
Barbican Centre The Unthanks session 7pm Club Gustavo Dudamel – Bryars
Barbican Guildhall Open Lab 10am-5pm The Pit DJ session 10pm Club Club (Centre for Music)
Private Commercial Booking 10am-5pm Frobisher Rooms Barbican Centre Carducci Quartet session 10pm Club
Garden Room
Barbican Guildhall Open Lab 10am-5pm The Pit Barbican Centre
Schools Takeover Day 10am-5pm Barbican Hall &
Private Commercial Booking 10am-5pm Frobisher Rooms Barbican Guildhall Open Lab 10am-5pm The Pit
Foyers Garden Room
Private Commercial Booking 10am-5pm Frobisher Rooms
LSO St Luke’s BBSCO / Sakari Oramo – Berg 7.30pm Barbican Hall Garden Room
Private Commercial Event 10am-6pm Jerwood Hall LSO St Luke’s Commercial Conference 10am-6pm Barbican Hall

Milton Court Eclectica Concert 7.30pm Jerwood Hall LSO St Luke’s

Guildhall Song Guild Concert 7.30pm Milton Court Milton Court BBC Radio 3 Lunchtime Concert: Psophos 12.30pm Jerwood Hall
Concert Hall Quartet – Debussy, Ravel
Gustavo Dudamel & Alejandro González 7.30pm Milton Court
Iñárritu in conversation Concert Hall Echo Concert 7.30pm Jerwood Hall

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15.9 ARTISTIC PROGRAMMING 15.9.4 It will also be a home for singing, led by world manipulation – would be optimisable to a wide range
renowned LSO Choral Director Simon Halsey, with of events while the hall’s technological specifications
15.9.1 The new Centre for Music hall, with its focus on the London Symphony Chorus at the heart of the would be updated and future-proofed to make it the
providing the right environment for excellent acoustic programme; a wide range of programmes for singers most advanced venue in the country. Through the
music-making, will have its stage more centrally of all ages and abilities; and a new partnership fundamental repurposing and creative use of the
placed in the auditorium. With a significant number between the LSO and the Guildhall School to develop Barbican Hall, there is the possibility of creating a
of choir and audience seats behind the stage, there young professional singers. venue which will show the widest range of music
will be scope for a different kind of intimacy and a to its best effect, to spark artistic imaginations and
more immersive audience experience than in the 15.9.5 The LSO will hold all its rehearsals in the Centre for provide audiences with the very best of experiences.
Barbican Hall. Combined with the added presence Music, allowing the time and conditions enjoyed by
of a pipe organ, this will allow the performance of its peers internationally and enabling it to reach its 15.9.8 As a venue with the capability of working from the
major, large scale works which currently cannot be true potential as a leading world-class orchestra. intimacy of an 800-seater small hall to a 3,000
played in the Barbican Hall. The option of lowering This will also release more time at the Barbican Hall capacity large auditorium with standing/dancing
the stage to the same level as the stalls will allow and LSO St Luke’s for diverse programming from areas, the Barbican Hall will present an outstanding,
a different kind of informal engagement between LSO and visiting artists, community based work and rich and diverse programme that complements the
stage and audience, in an intimate and transparent creative industry partnerships. output of the Centre for Music. The Barbican Hall
relationship. will be home to the majority of events programmed
15.9.6 The Centre for Music will allow a far broader and as part of the Barbican contemporary music offer,
15.9.2 Significantly enhanced conditions and facilities – richer cross-section of music to be programmed including jazz, world, folk, electronic and eclectic
including acoustic properties, technical capabilities across the campus than currently, in venues that are strands; the infrastructure changes to the Hall will
and ambient factors – will allow musicians to ideally suited for each individual genre, ensuring a allow the contemporary programmers to be even
give of their best and encourage richer audience better experience for artists and existing and new more ambitious and wide-ranging in extending
engagement. A refined balance of classical and audiences alike. A rich and diverse programme the boundaries of their seasons. The Hall will
contemporary music programming between the model will be developed, planned and delivered remain a venue for classical music, including
venues will allow for the full spectrum of musical across all four venues which will make a distinctive being a significant performing venue of the BBC
activity to be presented in optimum conditions. and exciting complement to existing provision. Symphony Orchestra and the Barbican family of
Furthermore, state-of-the-art broadcasting Associate ensembles, and will include baroque
opportunities across all four venues, with greatly 15.9.7 The modifications and renovations to the Barbican music, recitals and semi-staged operas in its offer.
enhanced digital capabilities, will enable the creation Hall will repurpose it as a unique, innovative The Hall will increase its opportunity for cross-arts
of digital resources available to all. performance venue for the presentation of the widest collaborations and for projects that hover on the
range of performances and events. The proposed edge of classification. The changes will also allow the
15.9.3 The new Centre for Music hall will provide an modifications would allow the Hall to be set-up in opportunity and diary time to expand into the worlds
opportunity for the full canon of classical repertoire four different formats, depending on the event that of comedy and contemporary circus, as well as
to be presented in the best possible acoustic was being presented: a 3,000 capacity with flat-floor increasing the level of artistic rentals and Barbican
conditions, including large scale choral works and in the stalls which would allow standing and dancing, business events, including banqueting.
those requiring an organ. It will provide optimum as well as numerous conference benefits; the current
conditions for the world’s top conductors and artists 1,943 capacity with a fully seated and tiered stalls
to perform, for young artists to emerge on the main level; an 800-capacity with the stalls only utilised
stage, and for composers of today and tomorrow to and circle and balcony levels curtained off; and a
realise their ambitions in this new facility. 1,600 capacity with the stalls and circle utilised,
but with the balcony curtained off. Such flexibility
would be mirrored in the acoustic capabilities of
the Hall, which – through physical and electronic

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15.9.9 Moving the LSO’s rehearsals to the Centre for 15.10 EDUCATION AND ENGAGEMENT 15.10.4 The long-term ambition is that by 2040:
Music will unlock the potential to offer more diverse
programming at LSO St Luke’s, thereby increasing 15.10.1 The Centre for Music will generate new opportunities • By the age of 18 every young person in the country
community focus. This will help to deepen further for people of all ages to learn, create and perform will have the opportunity to experience (and know
roots in the local community and to provide more first in novel and dynamic ways. With an outstanding about) the Centre for Music, whether physically or
access opportunities as well as new community-led concert hall at its core, accessible to everyone, virtually.
initiatives. together with supporting spaces for informal
performance, discovery, learning and development, • Every household within the M25 should have at least
15.9.10 The LSO will move its chamber ensembles from the the Centre for Music will allow a transformative offer one interaction with the Centre for Music.
Barbican Hall into the more intimate setting of LSO for musical discovery, appreciation, participation and
St Luke’s, alongside Barbican classical chamber learning. 15.10.5 The Centre for Music will work in close partnership
programming and the ongoing BBC Radio 3 and with the UK’s regional and national music
Discovery lunchtime concert series. Greater use 15.10.2 The interactive and participatory learning zones organisations to build a collaborative programme
will be made of the inspiring setting and acoustic of will present irresistible opportunities for people of music performance and learning supported
LSO St Luke’s for recordings, using a new dedicated of all ages and experiences to explore music- by a pooled digital resource. Connecting the
digital control space, thereby capturing even more making, as well as its heritage and history, through resources and expertise of the Centre for Young
activity, enhancing digital reach and generating sound installations, touch screens, drop-in talks, Musicians, Junior Guildhall, LSO Discovery and
commercial income from recordings. singing and hands-on instrument playing. There Barbican/Guildhall ‘Connect’ programmes, it will
will be sessions offering introductions to music- establish a programme for lifelong engagement with
15.9.11 The programming policy at Milton Court will bring making, as well as ‘Come and Play/Sing’ days and performance and learning in music that allows clear
together the outstanding work of the students at professionally-led workshops for intermediate and entry and progression at every level and ability.
the Guildhall School with the Barbican Associates, more advanced musicians.
working with world-renowned artists in both 15.10.6 The programme will be delivered through a
workshop and public settings. Milton Court will also 15.10.3 The Centre for Music will build on the existing network of human, material and virtual resources.
continue to be used for Barbican contemporary and Guildhall School International Centre for Music It will offer a live and online world of discovery
classical programming, artistic rentals and Barbican Professional Development Programme, inspiring combining inspirational performance with academic
business events. and training musicians for the future to perform, excellence, from first access through group and one
create, lead, teach and communicate, and extend to one teaching, to selective ensemble pathways.
this opportunity to artists from other disciplines. Experiences will be enhanced by live professional
To complement this, Higher Education training, orchestras and supported by an online broadcast
placement, apprenticeship and paid internship facility and a digital platform offering a major
schemes will be developed, encouraging a diverse interactive learning resource for music.
demographic to consider possible careers across
programming, production, stage and technical
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DAYS OF DISCOVERY…new experiences for all excellence on an unprecedented level, allowing audience members the chance to taste
the atmosphere of the Centre for Music remotely before potentially visiting the venue
The Centre for Music will offer a huge range of opportunities for people of all ages to for the first time.
15.10.7 An illustration of the kind of learning and discovery
opportunities for people of all ages made possible by experience, participate in and learn about all aspects of music in the most inspiring
setting imaginable. It will offer something for everyone; from those experiencing the Interactive exhibition spaces
the Centre for Music is illustrated here.
arts for the first time to people looking to develop their skills and knowledge and to
gain outstanding new experiences of music. At the Centre for Music’s heart will be a ‘launch pad’ into the world of music and
music-making. This permanent exhibition will reveal the essence of sound - its
The Centre for Music will be a transformational facility that embraces a wealth of tone, colour, shape, momentum - through the fundamentals of rhythm, melody and
musical styles and genres, engaging a wider, more diverse community of audiences harmony. It will be accessible, available and visible to anyone who walks into the
and participants in music at all levels. building, inviting them to discover the art, craft and science of music through playful
interaction that is both fun and educational.
Experiencing live music
Families and school groups will have the chance to visit the Centre for Music’s
At the heart of the experience will be live music with a spectacular new concert hall interactive play zone, an exhibition space that will provide fascinating, hands-on
offering a truly inspirational setting to engage with music of all kinds. The design of digital resources that bring music to life; from a digital journey showing how music
the building, with more integrated front-of-house and back-of-house areas, will feel has evolved through the ages to interactive exhibits that give visitors the chance to
inclusive and alive, encouraging interaction between musicians and members of the conduct a digital orchestra.
public.
Students and young people will also be able to book special packages that give them
Open rehearsals from the LSO and other major orchestras will give young people the opportunity to experience all areas of the Centre for Music including regular drop-
the chance to meet musicians and witness the sound of a full symphony orchestra in sessions in the Creation Studio where experienced workshop leaders will encourage
performing or rehearsing either from the hall itself or in specially equipped ‘pods’ in them to explore music-making, handle and play instruments and create their own
the foyer that provide digital notes on the music being played. music in state-of-the-art spaces. Early years sessions will enable families who are
getting involved with composing and playing music to meet and learn together.
Innovative learning and engagement
The Centre for Music will also provide professional development opportunities for
The Centre for Music learning experience will not only include the concert hall itself, young people interested in developing their career in the music and creative industries,
but a range of interactive and participatory spaces and learning zones that provide through apprenticeships and paid internship schemes that encourage a diverse range
visitors of all ages and experiences with irresistible opportunities to explore music- of people to consider possible careers across programming, production, stage and
making through sound installations, touch screens, talks, singing and hands on technical management. This will complement a programme that aims to build a new
instrumental playing. national workforce of 21st century portfolio musicians who can perform, compose,
improvise, lead and teach at the highest level.
School music groups will be able to visit the Centre for Music to take part in a side-by-
side session with LSO musicians as well as performing in the Centre’s informal foyer Partnership
spaces. There will be workshops, open to all, ranging from learning choral singing to
developing DJ-ing skills, all led by professional musicians and educators. The Centre for Music’s work is designed to complement and enhance the outstanding
music education work already going on across London and UK. It will also build on
The Centre for Music will run digital discovery projects that ensure the Centre’s the partnerships forged over many years by the LSO Discovery programme and the
education programme will resonate far beyond its walls, providing digital learning Barbican and Guildhall School’s pioneering joint creative learning department with
resources for schools that introduce young people to the joys of music and encourage music hubs and a wide range of cultural and education organisations.
them to start their own musical journey, as well as providing online courses that bring
together people from across the country to explore and encounter music together. It will work closely with the UK’s regional and national music organisations to build
a collaborative structure of music delivery for the country that encourages lifelong
Digital technology will also give the public constant and free access to the activities in engagement with performance and ensures every child in this country has the chance
the Centre for Music – whether live streaming concerts from world-class performers to experience a high-quality music education.
such as Sir Simon Rattle and the LSO to being able to watch rehearsals, workshops
and discussions and debates on great musical works. This will provide access to

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15.11 DIGITAL CONCERT HALL PUBLIC SPACES

15.11.1 Rawden Pettitt (Stanton Williams), Architecture and 15.11.5 The heart of the Centre for Music, the auditorium, 15.11.9 Projects such as the National Theatre’s Max Rayne
Digital Technology: will be a hub for experimentation and creativity, Centre and the Cleveland Museum of Art’s Art Lens
with the necessary infrastructure to enhance and are symbolic of a recent trend towards opening up
“The Centre for Music is poised to be one of the create new audience experiences both inside and the artistic process to audiences. The Centre for
most significant projects undertaken in the City outside the Concert Hall. Through the use of state- Music will be the first music facility in Britain that is
for a generation. It has the ability to capture the of-the-art projection and sensory technology, it has able to harness the benefits of this trend.
imagination of London and deliver spaces and events the potential to become the most accessible and
that will make it a significant part of the local cultural inclusive concert hall in the UK. 15.11.10 The Centre for Music’s immersive public spaces
map as well as a global destination in its own right will offer some of the most exciting possibilities for
– for music lovers, new audiences, performers and 15.11.6 There has been a growing trend from audiences digital innovation relating to music, and audiences
artistic ambassadors. The role that digital technology wanting a visual stimulus to accompany a classical will be able to explore and experience orchestral
plays in this composition could be ground-breaking music performance. Flexible, built-in digital performance in entirely new ways. The porousness
and inspirational, but more importantly it has projector screens in the auditorium will enable of the building’s design will significantly blur the
a fundamental potential to elevate the entire pioneering interactive performance experiences to traditional boundaries and barriers which lie
experience of the venue.” bring people further inside the music and enrich the between concert hall and surrounding environment,
performance experience. and enable the artistic process to be opened up to
15.11.2 The Centre for Music will be the first British audiences.
institution of its kind to be conceived and created in 15.11.7 The Concert Hall, and the performances within the
the digital age. It will be optimally placed to harness space, will be at the forefront of the mass consumer 15.11.11 The Centre for Music will offer new ways
digital technology in order to engage, educate and take-up of virtual and augmented realities. This for audiences to experience rehearsals and
inspire audiences from all backgrounds and of all content will be created in such a way as to be performances. An immersive, informal front of
ages. available to those watching from elsewhere in the UK house space will allow the audience to see and hear
or overseas, to enrich their experience in the home. the stage and performers, with a range of camera
15.11.3 A more digital world is an opportunity for the Centre People might be able to, for example, conduct their angles, high quality audio and opportunities to take
for Music to break down barriers to access, to better own virtual orchestra with an interactive baton that control of the viewpoint or have it curated by an
communicate what it is and what it is for, and to uses movement and acceleration sensors, or to have ‘explainer’ or member of the orchestra, perhaps even
amplify its impact. For the Centre for Music, digital musical themes highlighted on the stage in front of providing commentary from the stage as an aside
means immediacy, shareability and malleability - a them. to camera. (An interesting analogy here lies in TV
culture in which information can be created and cricket coverage, where players sometimes wear
shared in an instant. 15.11.8 Artists, technologists and other creatives will be microphones during matches.) These rehearsals and
commissioned to create interesting and innovative performances could also be broadcast to a wider
15.11.4 The rapid evolution and development of technology content for use in the auditorium – pieces that range of audiences and begin to form a rich archive
means that it is crucial not to be limited by what integrate live performance and visuals. To fully of educational content.
is possible now, but to imagine how improved enhance the concert experience, each seat in the
technology could enable new audience experiences. Concert Hall will have a data connection and touch- 15.11.12 The Centre for Music will seek to do for orchestral
A number of recommendations are set out below screen capable of offering programme information, music what the Science Museum does for science:
for the kind of experiences the Centre for Music marketing/social driven content for sharing with a engage audiences with lively and interactive
will offer across the Concert Hall, the public spaces virtual community and wearable technology. installations that bring ideas to life. The main
and beyond the building’s walls. These proposals exhibition space will become the home of major
have been informed by a number of specially shows exploring sound and music, with the larger
commissioned research papers, as well as interviews ‘blockbuster’ exhibitions spilling out into the
with sector experts and a full report is at Appendix building’s wider front of house areas.
15A.
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15.11.13 A separate interactive zone will be a ‘launch pad’ BEYOND THE CENTRE FOR MUSIC 15.11.18 The Barbican, LSO and Guildhall School have
into the world of music and music-making. This already worked together on a significant Arts Council
permanent exhibition will reveal the essence of 15.11.15 With a body of exemplary digital content, the Centre England funded pilot project to develop a digital
sound - its tone, colour, shape, momentum - through for Music will push the boundaries of learning and learning product (a massive open online course) in
the fundamentals of rhythm, melody and harmony. engagement to extend beyond the live event and partnership with FutureLearn. The richly interactive
It will be accessible, available and visible to anyone give music new and unimagined perspectives. The pilot (a four-week course about The Rite of Spring,
who walks into the building, inviting them to discover Centre for Music will seek to act as a catalyst so led and presented by Sir Simon Rattle) offered
the art, craft and science of music through playful that research, practice and industry can connect and tangible results, full of interactive exercises and
interaction that is both fun and educational. innovate around a common language and imperative, discussions, filmed introductions, quizzes, multiple
especially with regards to music education. It will choice, extension exercises and links to further
15.11.14 Audiences will be enticed to stumble upon and stream and disseminate performances and wider reading and ideas.
discover a vast array of music and related content. content - including commentary from musicians,
Some of the building’s architecture will also be interactive guidance notes, animation, teacher
transformed into playable instruments, encouraging resources etc – around the UK as well as overseas.
people to focus on the nature of their interaction
with the building and the resultant melodies. One 15.11.16 The challenge for the music sector is to establish
additional possibility is the embedding of hundreds of what lies at the core of the live experience, and
pieces of music throughout the building, manifested how to translate that into secondary spaces. The
as a series of physical labels – audiences would be gradual advancement of virtual reality and 3D sound
able to hear these pieces by bringing their digital technologies into the mainstream may provide the
devices within proximity of the relevant label. answer; the Centre for Music has the opportunity
to create a groundbreaking live-streamed offer
which allows audiences to remotely join the Concert
Hall and experience performances as if they were
attending in person. A truly immersive streaming
experience can only be facilitated by the incorporation
of appropriate camera positions into the design of the
new auditorium.

15.11.17 With a digital backbone, and using a mobile

and immersive environment as well as a social
and collaborative network, the Centre for Music
will support and build future music education
assessment. Remotely connecting learners to the
Centre for Music will enable schools to tap into a
wealth of experience, building on existing teaching
practice developed by LSO Discovery and Barbican
Guildhall Creative Learning.

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16. AUDIENCE DEMAND AND REACH

16.1.1 CONTEXT 16.1.5 It should be noted that the population in London 16.2.5 The growth in the resident population of Greater
and the RoSE is larger, more transient and more London is forecast to continue, by 12% 2015–25
16.1.2 Three factors influence the assumptions that have diverse than in other metropolitan centres, and that and by a further 8% 2025–35. Some of the areas
been made about the audience demand for the comparisons should be treated with caution. The expected to expand most 2015–35, by more than 30%,
Centre for Music: marketplace for music in London is distinctive in are boroughs with which the Barbican and the LSO
being able to support a high number of venues and already have strong links: Tower Hamlets, Newham,
a. the projected increase in the population of London performing organisations. Redbridge and Barking & Dagenham.
and the Rest of Southeast England (“RoSE”)
16.2 POPULATION GROWTH AND AUDIENCE DEMAND 16.2.6 The number of visitors to the City of London is also
b. the impact of Crossrail on the number of visits to the forecast to continue to rise, by between 3% and 4%
City of London 16.2.1 Research by the London Orchestras Marketing annually. It should be noted that 13% of the LSO’s
Consortium reveals that, between 2003 and 2013, audience currently is drawn from international
c. the ambition described in Section 15, that by 2040 sales of tickets for orchestral performances visitors.
every household within the M25 should have at least increased by some 30%, while the population of
one interaction with the Centre for Music. London increased by 13%. Given that this timeframe 16.2.7 Demographic changes are also expected to have
includes the financial crash of 2008 and a period of a positive impact on audience numbers both
16.1.3 There is a wide body of evidence about current economic recession, these figures provide a sound, through an increasing number of older people with
audience demand for classical music venues in possibly conservative, basis for assumptions about leisure time and a particularly high propensity for
London. The analysis which follows draws on 11 future growth in audience demand. engagement with the arts, and through increased
research papers from independent sources, including numbers of young people who will be attracted by the
Arts Council England, the Department for Culture, 16.2.2 The picture of an audience demand which grows creative use of technology.
Media and Sport, the Greater London Authority, the faster than the general population is supported by
Office for National Statistics, London and Partners research by the Association of British Orchestras. 16.3 CROSSRAIL
and City Corporation tourism intelligence. It is also This demonstrated that in two sample years, 2009–10
informed by marketing reports from The Audience and 2011–12, attendances at orchestral events 16.3.1 When it opens in 2018, Crossrail will bring an
Agency and Morris Hargreaves McIntyre, and by in London increased by 4% while the population additional 300,000 inhabitants of Greater London
commissioned research specific to the orchestral increased by only 3%. and the RoSE within a 30-minute rail journey of the
sector by Silversea in 2015. A full list of source Barbican Estate. Clearly, the ‘local’ catchment area
material is shown in Appendix 16A. This range of 16.2.3 The clear trend in recent years has therefore been for for the Centre for Music will be even larger than the
material gives data to enable reasonable planning absolute growth in audience numbers for orchestral existing one for the Barbican Hall.
assumptions to be made for a number of different performances, and the research indicated a healthy
timeframes. and growing demand in London. 16.3.2 An impact study by The Audience Agency has shown
that the areas that will derive the greatest benefits
16.1.4 Although the analysis below focuses on the 16.2.4 In theatre, the trend for audience numbers for from Crossrail journey times to the City include those
demand for performances of classical music, some performances in London since 2005 indicates there to the south east and south west, such as Windsor,
consideration is also given to the demand for other are more performances, more seats available and Egham, Guildford, Sidcup and Bexley. These are all
genres, given that there will be an expansion in the higher attendance figures. Research by the Society zones which can be expected to produce audience
programming of contemporary music (including jazz, of London Theatre indicates that there was a 26% members for the LSO and the Centre for Music.
rock, world, folk, electronics and hip hop as well as increase in theatre bookers between 2003 and 2013,
other, cross genre, offerings) in the Barbican Hall. which is in line with, but slightly less than, the 30% 16.3.3 In addition to footfall solely generated by orchestral
growth in orchestral bookers. Opening more theatres performance, there is likely to be a section of the
and staging more performances has not resulted in audience which sees the Centre for Music as a
decreasing audiences. destination venue, attracted by a landmark building
on an axis with St Paul’s Cathedral, the Millenium
Bridge, Tate Modern and Shakespeare’s Globe.
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16.4 NEW AUDIENCES 16.5 SUMMARY OF PROJECTIONS: ORCHESTRAL

PERFORMANCES
16.4.1 Interestingly, though, The Audience Agency’s
research also showed that Crossrail will have a high 16.5.1 Putting together the various factors outlined above,
impact, in terms of reduced journey times to the an estimate of audience growth in the next 10 years
City, bringing audiences from a wider circle into the from 2015 to 2025 is between 15% and 25%. Of this
catchment area such as Hayes, Hounslow, Woolwich increase, about half is due to population growth
and Erith. and an increase in overseas visitors, about 10% to
demographic changes, and the remainder derives
from the improved transport links provided by
16.4.2 The greatest increase in population in London Crossrail, with the attraction of the Centre for Music
Boroughs will occur in five Crossrail boroughs: Tower as a landmark building.
Hamlets, Newham, Redbridge, City, and Barking &
Dagenham; ones with which the Barbican, LSO and 16.5.2 The operating and financial model assumes a growth
Guildhall School have particularly strong educational in audiences for classical concerts of 24% which,
relationships and partnerships. although at the upper end of this range, is considered
to be achievable and realistic taking all of the above
16.4.3 Crossrail will therefore open up exciting possibilities factors into account.
for developing new audiences. As mentioned
elsewhere in this report, there is an intention to 16.5.3 Over the medium and long-term, it is considered
work with other organisations in London to target that further growth in audiences would result from
households within the M25 and to bring them into the proposed scale of educational and digital activity
contact with music. The confluence of Crossrail and created by the Centre for Music. This work will both
the Centre for Music is a key factor in making this raise the profile of classical music and will engage
intention a reality. those who might otherwise not develop an interest
in attending concerts. Increased repeat visits by
those who have a positive experience of the new
venue could also be expected to have a positive effect
on audience numbers over time. As the impact of
these factors is difficult to measure, they have not
been explicitly factored into the audience demand
projections.

16.5.4 It is worth noting that the impact of the Centre for

Music in creating new audiences and increasing
levels of interest and engagement with classical
music would be expected to benefit other venues
both in London and elsewhere in the country. Each
positive musical experience enjoyed by an individual
as a result of the Centre for Music can reasonably
be expected to increase his or her propensity to
attend concerts in the future whether at the Centre
for Music or elsewhere, for the benefit of the whole
music sector.

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16.6 AUDITORIUM CAPACITY 16.6.5 On the same basis, it is considered that an 16.7.4 Continued growth in demand for contemporary music
auditorium smaller than 1,900 would not allow the performances is expected, reflecting growth in this
16.6.1 As explained later in this report, an auditorium Centre for Music to maximise box office income, genre as well as many of the factors that apply to
capacity of up to 1,900 seats has been assumed whilst an auditorium much larger than this might classical music. In addition, greater availability of
for the Centre for Music Hall, based in large part make it more difficult to consistently achieve a high the Barbican Hall will enable more performances
on acoustic considerations. However, the size level of sales. and larger audiences. The assumed increase in
of auditorium has also been considered from an audiences for contemporary music, from a relatively
audience demand point of view. 16.6.6 Another factor in ensuring that the auditorium size is low base, is therefore considered to be realistic and
appropriate is that a larger capacity inevitably leads achievable.
16.6.2 The level of sales for individual concerts can vary to higher construction costs for the auditorium and
based on a range of factors including the repertoire, other spaces such as foyers, etc. Therefore there 16.8 AUDIENCE DIVERSITY
conductor, soloist and orchestra/ensemble would need to be a strong case for higher capacity to
performing as well as practical factors such as the justify the increased up-front capital costs involved. 16.8.1 Alongside the anticipated overall growth in audience
day of week or time of day of the performance. Some numbers, the Centre for Music will actively seek
performances will be almost certain to sell out 16.7 DEMAND FOR CONTEMPORARY MUSIC to broaden the audience so that it is genuinely
whereas others might not be quite as popular and PERFORMANCES a venue which welcomes everyone, irrespective
will therefore have some seats unsold. of age, background, physical ability or economic
16.7.1 The Barbican Centre has a well-established circumstances. The combination of the Centre for
16.6.3 The size of auditorium, from an audience demand programme of contemporary music. Many of these Music and its auditorium, Club Space and digital
point of view, should be large enough to meet the events are among the Barbican Centre’s fastest spaces together with the refurbished Barbican Hall,
higher levels of demand (and thereby maximise ticket sellers, partly because each genre and performer LSO St Luke’s and Milton Court will allow a wide
income), but not so large that many concerts cannot has its own fan base. This is despite performances range of performances to be held across a variety of
achieve a high level of sales compared to the number being scheduled in the less-attractive slots (because genres. These venues will therefore attract and be
of seats available. In particular, it is undesirable to of the constraints of working within a venue which accessible to audiences with a wide range of musical
have performances in which the auditorium is (or is the home of a symphony orchestra), with minimal tastes and interests.
feels to be) only half-full, as the atmosphere and rehearsal time and no opportunity for repeat
experience of the live performance is diminished performances. 16.8.2 The range of events that will take place in the
for both audience members and the musicians expanded group of venues will allow an even
performing. 16.7.2 The chance to present contemporary work in both the wider audience base to be created. For instance,
Centre for Music and a refurbished Barbican Hall will contemporary performances may include
16.6.4 The assumed capacity of 1,900 (reduced to not only allow for greater flexibility and effectiveness those which appeal to individuals of particular
approximately 1,700 for concerts involving a large in scheduling, but will also allow performances nationalities or with niche musical tastes. Over
chorus) achieves a balance between being large to be given in the venue that is best suited to the time, programming - particularly of contemporary
enough to meet demand for the most popular genre. Thus, concerts that are acoustic or lightly- music - will adapt to meet the demands and tastes of
performances, without being so large that achieving amplified will find a natural home in the Centre for audiences.
high levels of sales is challenging. This assessment Music, and the reconfigured Barbican Hall will house
is based on an analysis of actual sales data for both performances that are more heavily amplified and
the LSO and Barbican’s classical concerts, and require a flat, rather than raked, auditorium.
projections of the attendances once the Centre for
Music opens. 16.7.3 Between 2003 and 2015, the number of contemporary
events in the Barbican Hall and tickets sold for these
events more than doubled. This demonstrates the
strength of demand for these types of events.

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16.8.3 Building on the organisations’ existing outreach 16.9 TOTAL REACH

work, which is well-established and respected in the Physical Attendances Current Projected Increase
sector, the programme of learning activity will be 16.9.1 The Barbican and LSO currently attract a total of
significantly expanded. Part of this will particularly almost 2 million people each year. The addition of Classical 119,623 148,170 28,547
be targeted at those people who are typically ‘hard the Centre for Music would increase this to almost 3
to reach’ in that they have low levels of engagement million with growth spread across all areas of activity. Learning 72,657 257,330 184,673
with the arts in general and with music in particular. Digital activities, which currently reach a further 1
Carefully designed initiatives to draw these groups million people annually, would expand to engage Commercial 106,098 208,200 102,102
into the Centre for Music, in an accessible and some 2 million people.
Rentals 123,305 161,046 37,741
welcoming way, will also broaden and deepen the
audience base over time. 16.9.2 The total reach (physical and digital) of the two
Contemporary 68,251 133,544 65,293
organisations would therefore increase from some
16.8.4 It is also proposed that the scheduling of 3 million in total to some 5 million with the addition Partner Activity and Recitals - 18,350 18,350
performances will seek to draw in a wider range of of the Centre for Music – growth of 67%. The
audiences. For example, matinee concerts might considerable social and economic benefits of this Club Space - 48,000 48,000
appeal to older people who prefer to avoid evening increased engagement is analysed in Section 7 (The
concerts and the need to travel home late at night. Economic Case). Exhibition 354,917 521,417 166,500
Busier people may be willing to attend a shorter
concert immediately after work (starting at 6pm, say, 16.9.3 Broadcasting through partnership with the BBC General footfall 700,000 1,050,000 350,000
and finishing by 7pm) rather than committing to a full would also form an important part of the Centre for
evening out. Music’s wider reach both nationally through BBC Other Venues 432,371 432,371 -
Radio 3 and internationally through the European
16.8.5 Further development of the programming model Broadcasting Union (“EBU”). Currently, broadcasts Total Physical Attendances 1,977,222 2,978,428 1,001,206
for the Centre for Music and other venues will be of 30-40 concerts reach an audience of several
developed as the project progresses, taking into million people annually.
account more detailed external audience analysis Digital Reach 1,000,000 1,994,000 994,000
and market research to ensure that the proposed
activities meet the demands of future audiences.
Total Overall Reach 2,977,222 4,972,428 1,995,206

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16.10 IMPACT ON AUDIENCES FOR OTHER VENUES 16.11 AUDIENCE DEMAND AND REACH: CONCLUSIONS

16.10.1 It is important to consider what will be the impact of 16.11.1 The financial modelling for the Centre for Music
the Centre for Music on the business model of other Feasibility Study is based on sound assumptions that
venues in London. the audience for classical music will grow between
2015 and 2025 during which time a new Centre
16.10.2 This question has been explicitly addressed by for Music would open. The key factors underlying
considering research carried out by Silversea for the these assumptions are projections in population
London Orchestras Consortium, for the period 2003– growth, coupled with improved transport links and
04 to 2012–13; this timespan includes the opening an ambitious outreach programme to bring in new
of one new venue, Kings Place, and the temporary audiences. This increased demand will be achieved
closure of the Royal Festival Hall, which re-opened without adverse impact on the business models of
for the 2006–07 season. The research demonstrated London’s other performance venues.
that while audiences are loyal to a venue nearest to
their travel route home, they also prefer to book a 16.11.2 The Centre for Music will enable the diversity
particular type of venue or style of performance. of London’s population to be reflected better in
programming. Audience diversity is expected to
16.10.3 Silversea’s research also demonstrated that there increase as a result of a wider range of events being
is a tendency for the audience to increase as the staged in a broader mix of venues, with greater
number of performances increases. After the re- scope to tailor performances to the needs of specific
opening of the Royal Festival Hall, and then the audiences. Overall reach – both physical and digital
opening of Kings Place, audiences grew. There is – is projected to increase substantially, leading to
thus a strong possibility that by raising the profile of social and economic benefits which will be a direct
classical music, the Centre for Music will also help to result of the creation of the Centre for Music.
develop new audiences for all venues.

16.10.4 The factors of population growth and increased This overview was compiled with the help of researchers from
visitor numbers, noted above, will expand the market the audiences strand of the CreativeWorks London knowledge
generally in London and so the total number of exchange hub, funded by the Arts and Humanities Research
attendances would be expected to increase across Council.
the marketplace.

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17. BUILDING SPECIFICATION

17.1 INTRODUCTION 17.1.6 KEY THEMES 17.1.10 THE EDUCATIONAL ENVIRONMENT

17.1.1 The Initial Brief and Requirements have been 17.1.6.1 The Initial Brief sets the compass for the Centre for 17.1.10.1 The Centre for Music will be a place of education,
developed from the vision and objectives for the Music as a place, exploring the spaces, facilities and where rehearsals and performance are explored and
Centre for Music described in Section 14 and the character of the venue. It describes the elements used as opportunities for participation, learning and
programme of activities, performance, education and and qualities of the venue that will make it a unique play.
events that are envisaged for the venue set out in and world-class fulcrum of artistic experience and
Section 15. learning. 17.1.11 INTEGRATION WITH THE BARBICAN AND THE
CULTURAL HUB
17.1.2 The vision and the programme set aspirations for 17.1.6.2 The standards set within the Initial Brief directly
a ground-breaking cultural space that engages the establish a range of criteria that will deliver the 17.1.11.1 The Centre for Music will be a catalyst for
public, and creates opportunities to experience and venue and place described in the vision, as shown transformation across the Cultural Hub, seeding
learn from orchestral and other music in radically here. change to the Barbican Centre, LSO St Luke’s and
different ways to the conventional concert halls of Milton Court.
previous centuries. 17.1.7 A NEW MODEL
17.2 STRUCTURE AND CONTENT
17.1.3 The expansive and unique ambitions for the Centre 17.1.7.1 The Centre for Music will transform the traditional
for Music have been interpreted in the form of an model of the concert hall, creating new types of 17.2.1 The Initial Brief is described in summary here, and
Initial Brief which defines its main functions, spaces, space and experiences of music, making it more is based on a more detailed description developed by
qualities and characteristics. An important aspect of immediate, more accessible, more intimate, and Arup Associates with the extensive involvement of the
the vision and objectives for the Centre for Music is more immersive. project team.
that they are set within the wider context of the City’s
Cultural Hub. 17.1.8 THE CENTRE FOR MUSIC’S CONCERT HALL The main components are:

17.1.4 As a major new addition to the cultural life of the 17.1.8.1 The Centre for Music Concert Hall will be the world- • Performance Spaces
City, the Centre for Music will be inseparable from class performance space that London has never
the existing facilities of the Barbican Centre, LSO St had. Combined with the Barbican Hall, Milton Court • The Core – the main front of house facilities
Luke’s and the Guildhall School and complementary and LSO St Luke’s, the Centre for Music Hall will
to other nearby facilities such as the Museum of complete a constellation of four exceptional and • Learning, meeting and entertaining spaces
London. unique venues.
• Digital spaces and facilities
17.1.5 The creation of the Centre for Music will enable the 17.1.9 A UNIQUE EXPERIENCE
evolution of the existing programme and facilities of • Rehearsal and back of house
the Barbican Centre, leading to a broadening in the 17.1.9.1 The Centre for Music will be unlike any other world-
range, frequency, accessibility and quality of musical class venue – it will be colourful, transformational, • External spaces
culture in the City. Consequently the associated inspiring and representative of London’s dynamism
brief for the refurbishment of the Barbican Hall and culture. • Other ancillary spaces.
and enhancements to LSO St Luke’s have also been
developed.

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17.3 CENTRE FOR MUSIC HALL 17.3.7 The hall is to support and enable both traditional 17.4 AUDIENCE CAPACITY
performances and innovative and complex musical
17.3.1 Quality and ambition and cross-arts performance formats. It is to reflect 17.4.1 The audience capacity of the concert hall has been
London in the 21st century – an embodiment of its set at 1,900. This is because acoustical excellence
17.3.2 The Concert Hall is the single major functional successful, leading, assured, diverse, and forward- and high intimacy, both acoustic and visual, are
volume at the heart of the Centre for Music. It is to thinking qualities. difficult to achieve in concert halls exceeding 1,900-
be the excellent, world-class venue for acoustic (non- 2,000 seats. This is for two main reasons. Firstly,
amplified) music that London is lacking. 17.3.8 The hall environment is to be adjustable. This people absorb sound and hence the loudness in
for example could facilitate variety to lighting halls with high capacities is lower; exacerbated by
17.3.3 It is to be an extraordinary venue for making and and projection to provide new opportunities and the increased distance from the furthest seats to the
experiencing acoustic music. The acoustics are to experiences for audience members. This will also performers, this can reduce the impact and dynamic
be excellent for both audience and artists, during meet the requirements of the performance and range of the music for all listeners, not just for those
both performances and rehearsals. It will enable attending audience from a comfortable and relaxed in the furthest seats. Second, the increased number
audience members to become totally absorbed in style, promoting the continuation of tradition, of seats means that some members of the audience
performances, with excellent connection between the to cutting edge experimental and exciting. This are necessarily further away, reducing the quality
audience and performers. For the audience itself, it adaptability is to align with the priority of not of their experience, particularly with respect to the
will create a true sense of togetherness. compromising world-class acoustics for acoustic intimacy between performers and audience which is
(non-amplified) programs. a basic tenet of the philosophy for the new hall.
17.3.4 The vision and aspiration is for a hall which is the
home for the London Symphony Orchestra. It will be 17.3.9 The hall will be instantly recognisable as an 17.4.2 More generally, a balance must be struck between
a place where the LSO can realise its full potential, innovative and forward-looking Centre for Music in a tendency towards a smaller capacity to meet the
providing an experience that inspires musicians and London. ambitions for acoustic excellence and intimacy, and
audiences alike. the desire to maximize potential box office income.
Following discussion with the professional team,
17.3.5 The vision has emphasised the importance of the maximum capacity for which the acoustic and
audience members being located closely around architectural design would not be compromised is
the performers, as a way to create accessibility and considered to be 1,900.
involvement in a hall that feels close and intimate for
everybody.

17.3.6 In the 21st century, modern media and digital

technologies provide high-quality sound, with
abundant clarity, against which concert halls and
live performances have to compete. The biggest
draw for live music is the ability to interact and
connect with the musicians on stage, and share a
wonderful concert with other audience members
and the performers . The new hall will provide this
experience, which is simply not possible with a
recording.

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17.5 SIZE AND SHAPE • Overall length: hall internal length + 15m 17.6 ACOUSTICS – CONCERT HALL
• Overall width: hall internal width + 8m
17.5.1 Several factors, both acoustical and architectural, • Overall height: hall internal height + 10m. 17.6.1 The acoustic brief for the Centre for Music Hall has
drive the overall dimensions and shape of the Centre been developed through detailed discussion between
for Music Concert Hall. The overall minimum volumetric box dimensions Arup Associates and Nagata Acoustics combining
within which world-class acoustics are achievable their experience of a large number of concert halls of
17.5.2 Given the importance of acoustic and visual intimacy used in the feasibility study are therefore: different styles from across the world.
within the vision for the concert hall, a key driver
is creating a space that encompasses a sense of • Overall length 74m 17.6.2 Acoustic excellence for acoustic (non-reinforced or
proximity with the performers, of clarity of sound, and • Overall width 45m non-amplified) music, including symphonic, choral
of immersion in the music. • Overall height 33m. and classical music is paramount for this hall; the
acoustic must be world-class.
17.5.3 The size of the stage, which is determined mainly
by the performance programme, affects the overall 17.5.7 A site that can accommodate the chosen box of 17.6.3 The acoustics are to be such that audiences,
spatial dimension of the concert hall. The size of these dimensions would be suitable and satisfactory, conductors, musician and singers all look forward
each individual seat, the number of seats, and the with the confidence that a concert hall with to returning to a rewarding musical and sound
seating layout determine the overall area and shape world-class acoustics could be achieved. Several experience.
of the auditorium. excellent existing concert halls could fit within these
dimensions and a range of typologies for the shape 17.6.4 Provisions for other types of repertoire, such as
17.5.4 Precedent halls of various shape and proportion and layout of the hall could be created within the sound reinforced, amplified and remote (virtual)
typologies of similar capacity have been compared in chosen box. music performances, and for other potential
deriving a notional shape and size for the hall. These performer and audience arrangements, are to be
precedents have been identified for their acoustical 17.5.8 There are typically two general formats for concert without detriment to the primary acoustic music
qualities, both on stage and in the audience. They halls - either with the audience wrapped around excellence requirement.
also share a sense of togetherness, engagement and a centrally located stage (sometimes known as
intimacy which is the heart of the vision for the new vineyard style - e.g. Suntory Hall, Tokyo and the 17.6.5 This hall is to provide a strong natural concert
concert hall. Philharmonie in Berlin) or a more rectangular, sound, comparable with the best halls in the world.
‘shoebox’ style auditorium with the stage at one end This sound is to be provided for different ensemble
17.5.5 The conclusions from this analysis are that for the (e.g. KKL Lucerne and Birmingham Symphony Hall). configurations, from full symphony orchestra and
main hall at the Centre for Music the minimum chorus to baroque and early music ensembles, with
clear internal dimensions of the hall should be 59m 17.5.9 At this feasibility stage, no definite view has been and without singers.
long, 37m wide and 23m high. These dimensions taken on the actual shape, style or typology for the
are measured from the floor below the lowest row of auditorium as that is something that will need to be 17.6.6 The sound should help support and develop the
audience to the highest point of the interior ceiling. considered carefully at the concept design stage from acclaimed sound signature of the LSO, and the hall
both an acoustic and an architectural perspective. itself should have a clear and admired sound identity.
17.5.6 On the basis of preliminary studies, the minimum However, given the aspirations for visual intimacy,
external dimensions of the concert hall have been there is a preference towards a hybrid between the 17.6.7 The sound should have a beautiful and pleasing
determined below. These take into account the ‘shoebox’ and ‘vineyard’ styles, the exact nature timbre (tonal quality), with appropriate warmth and
necessary construction and structures required of which will be developed further as the project brilliance, without thinness or harshness.
for sound isolation, the spatial necessities for progresses.
circulations around the hall as well as technical
equipment required. These are:

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17.6.8 The auditorium is to have ample reverberance for 17.6.14 There should be directional fidelity. The performers 17.8 DIGITAL MEDIA
the enjoyment of 19th, 20th and 21st centuries’ are to be accurately aurally located at their physical
symphonic, choral and operatic repertoire. Equally positions. 17.8.1 The hall is to provide an excellent experience for both
the hall is also to provide excellent listening physically present and remote audiences.
conditions for 18th century and earlier repertoires. 17.6.15 The auditorium is to be free of image shifts, echoes,
A rise in the low frequency reverberance is to provide sound focusing and other acoustic defects. 17.8.2 A full high definition (broadcast quality) installation
warmth to the orchestral sound. of silent, remote control cameras and high quality
17.6.16 A pre-requisite of a great performance is good microphone arrays will facilitate imaginative
17.6.9 Symphonic rehearsal in the hall is a priority and performing conditions. The hall is to provide a broadcast and streaming of rehearsals and
the difference in the acoustic between rehearsal positive response and aural experience for the performances in a wide range of performance set-
and performance states must be minimised as far performers. This is to include self-hearing, mutual ups.
as practicable by the hall design and materiality. hearing between the soloists, chorus, orchestra and
Primarily this focuses on the audience seat design, conductor and later support from the room. 17.8.3 There will be permanent and temporary manned
assisted by judicious use of the variable sound camera positions, functioning without disturbing the
absorption system. 17.6.17 Using variable sound absorption and sound live audience, avoiding noise, circulation difficulties
reinforcement systems, the hall is also to provide and sightline issues.
17.6.10 Reverberance is to be matched with excellent clarity. very good sound for other important proposed
The relative sound levels of the soloists, chorus and programming including learning activities. 17.8.4 The digital facilities will also provide for highly
each section of the orchestra are to be well balanced. flexible, multi-channel video and audio reproduction,
Blend between sections and between orchestra and 17.6.18 Variable sound absorption systems will adjust including large projectors and screens.
chorus is to be appropriate – neither too much nor the acoustic if and when required for specific
too little. There is to be good loudness, to provide an performances, learning and commercial events. 17.9 PIPE ORGAN
exciting and dramatic sound experience and to allow
the conductor maximum dynamic range. 17.7 SIGHTLINES, SOUNDLINES AND AUDIENCE 17.9.1 The hall will feature a suitably sized major pipe organ
EXPERIENCE for solo and ensemble use. It will be playable both
17.6.11 A complete absence of noise is to maximise the at the organ and from a remote console, normally
dynamic range, provide the greatest musical drama 17.7.1 Excellent sightlines and (direct) soundlines for the located when needed on the concert platform.
and to allow the entire ensemble to play softer for audience are a pre-requisite to achieve optimal
the same impact. Acoustical excellence in the concert acoustical and visual experiences. The hall’s acoustic will consider the installed major
hall requires a very quiet environment: the softest concert pipe organ in three ways:
notes and nuances must be audible, without any 17.7.2 Other important components of the audience
disturbance from noises coming from the outside, experience include seating comfort and spacing, • Sufficient reverberance and dynamic range to
from other rooms in the building or from mechanical environmental conditions, straightfoward circulation, support the full musical grandeur and capability of
and electrical equipment (such as heating, ventilation good lighting of circulation areas and clear signage the instrument, in both solo and ensemble use
and air conditioning systems and performance at all levels.
technical systems). • The timbre of the instrument
17.7.3 Current trends indicate that future music
17.6.12 The sound is to be acoustically intimate. The listener performance will be more often combined with other • Balance and communication with the orchestra and
should feel close to and involved in the music. art forms such as dance, projection and lightly staged chorus.
opera and the sightlines will therefore need to be
17.6.13 The orchestral sound is to be spacious. Most of the designed with due consideration of those types of
audience is to experience a degree of envelopment performance; this will give the Centre for Music an
during loud orchestral work. advantage over traditionally focused halls.

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17.10 SUPPORT SPACES 17.12.5 It is a gateway space not only to the new building but
17.11.3 Appropriate technical facilities for jazz and similar to all the facilities of the Centre for Music and the
17.10.1 There are a range of critical service spaces and amplified performances will be provided, including Cultural Hub.
facilities that support the operation of the Centre for programmable atmospheric lighting and simple
Music Hall: adjustable drapes. 17.12.6 The Core is located as a bridge between the main
public entrance, the concert hall, the Club Space, the
• Control suites and dimmer room. 17.11.4 The space will accommodate 200 people. other spaces which provide for public access and the
• Projection rooms. private backstage world.
• Generous side assembly platform entrance areas and 17.11.5 The acoustics will be optimised for small scale solo
rear assembly / crossover / case storage area. recitals and chamber works. A simple variable sound 17.12.7 The Core includes all the conventional facilities of a
• A suite of warm-up rooms. absorption system will both help match rehearsal major performing arts centre foyer – weather lobby,
• Instrument and technical stores. and performance conditions and allow for sound public reception zone including information desk and
• Movable element storage below the hall. reinforced and amplified performances. ticketing, shops, concession and signing area, ATM,
• Performance zone and audience area lift machinery coat-check, toilets, all-day café and several bars
pits and access. 17.11.6 The Club Space has a suite of support rooms at different levels, capable of serving a total of 950
• A full headroom technical attic above the full including catering spaces, a projection room, a people in 15 minutes, with additional pre-order for
performance zone and most of the overall hall recording control room, local dressing rooms and 380 people.
containing technical equipment and providing easy quick change rooms, together with a company office
access for maintenance. that can also be used during education events. 17.12.8 In addition it includes – or is immediately adjacent
• Digital realm rooms associated directly with content and open to:
feed to and from the hall. 17.12 “THE CORE” - FRONT OF HOUSE
• The Forum - An accessible performance space with
17.11 THE CLUB SPACE AND EXHIBITION SPACE 17.12.1 The Centre for Music will be distinct from other informal seating for an audience of 50-200 (total
concert venues by virtue of its radical, dynamic and performer + audience capacity 300). The Forum
17.11.1 The Club Space will be an exciting second compelling Front of House spaces. will have an area of approximately 300m2, full
performance venue. Its use will include: technical production systems (including an overhead
17.12.2 The Front of House of the Centre for Music will suspension grid) and digital replay / broadcasting
• Late night “Classical Club” performances. depart from the traditional models of ‘foyer’ or facilities, including potential for immersive
• Similar late night jazz and world music monothematic assembly areas. Instead, the Front performances. It will also be used as a teaching
programming. of House will embody the values of inclusivity, space, and for pre-performance talks and similar
• Lunchtime recitals. transparency and engagement for all that the Centre events.
• Educational programming. for Music symbolises. It will be a place of many
• Small ensemble rehearsal and recording. places, providing a multiplicity of settings, scales and • Less formal performance “niches” – incidental
• Digital music presentation. resonances. Above all it will be a meeting place – a spaces, balconies, platforms or corners within the
• Sponsor’s events. place of encounters between people, music, events main space for smaller musical performance.
• External hire for public and private events. and the City.
• Viewing portals – small nooks with seating and views
17.11.2 Less formal than the main auditorium, the space 17.12.3 Notionally entitled ‘The Core’, it is the place where controllable with full technical blackout blinds into
will include an integral bar, dining capability and the performers, the Centre’s staff and the public some of the performance and rehearsal spaces.
in-space performance control (sound, light and meet throughout the day and into the evening.
video) positions. Subject to site opportunities and • An exhibition space with digital overlay, for example
constraints, it is hoped that the space may benefit 17.12.4 The Core is a place to meet, exchange ideas, including “science of sound and music” interactive
from views across the City and/or access to an perform, enjoy performances, teach and learn. It is physical and digital exhibits.
external area. much more than a performance foyer, though that is
a primary role pre-performance.
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• The “Home” for school group lunches and for use as 17.13 ACOUSTICS – THE CORE 17.14.1.4 The pods, each holding up to 30 people, will be
a family lounge. combinable into larger spaces to accommodate
17.13.1 The Core will have significant acoustic control, to different size events.
• Seating areas suitable for both public, staff and limit the loudness of occupational noise and allow for
performer meetings and relaxation. simultaneous activities without disturbance, whilst 17.14.2 Digital Learning
still providing a dynamic environment.
• The “Musical Launch Pad” – a musical play zone for 17.14.2.1 There is to be a group of studios accessible to the
young children. 17.13.2 The main and informal performance spaces will public and others, for educational, digital, rehearsal
include sound reflecting, scattering and absorbing and performance use. The rooms include:
• A digital connection to the outside or virtual world – surfaces as appropriate to support unamplified
an interactive webcam connection so even those who performances and spatially control sound from • Public reception
are not there can be connected. amplified performances. • Exploration Studio
• Creation Studio
• Mobile device support facilities as appropriate to the 17.13.3 The associated gallery, exhibition and museum • Teaching Studio
current and envisaged technology. spaces must allow for multiple exhibit sound tracks • Performance Studio.
with minimal crosstalk and distraction.
17.14.3 At least one of the studios will have a comprehensive
17.12.9 The digital component of the Centre for Music will 17.14 LEARNING SPACES infrastructure for creating and presenting fully
be clearly evident, with large video screens and immersive musical experiences. For maximum
associated directional loudspeakers replaying 17.14.1 Learning functionality the studios need to feature:
material from within and beyond the building, and
with a high definition camera installation to record 17.14.1.1 Pods • High transparency and porosity, with privacy when
and broadcast activities within the Core. There may needed using electrochromic glass or blinds.
be visual contact to digital editing and control spaces. 17.14.1.2 The pods are a suite of 4 unique small rooms,
suitable for learning, meeting and entertaining, which • Sound isolation and room acoustics appropriate to
17.12.10 It is intended that during daytime, performers and support the vision for transparency. They will also the critical uses.
staff will share the café and bar facilities with the provide access to the Concert Hall for people with
public. These will have a clear and welcoming special needs who might otherwise be unable to • Full digital facilities including infrastructure in walls
presence from the street. Toilets, bars and interval attend performances. They will be close to the Centre and ceilings to easily mount cameras, screens,
snack facilities will be provided on each major for Music Hall for corporate sponsors’ convenience loudspeakers.
audience access level to the concert hall. and reasonably close to the Rehearsal Suite and
Digital Centre for learning activities.
17.12.11 The Core is to accommodate 1,900 patrons in comfort
and will have adequate space for 2,500 patrons. This 17.14.1.3 Each pod will have viewing windows for direct
will allow for simultaneous performances in the views into the Centre for Music Hall. These will be
concert hall and the Club. screenable for privacy and blackout when needed.
In addition, as the rooms are digitally enabled, the
Concert Hall and many other areas can be viewed
via video screens. Subject to design – and without
detriment to the hall acoustic – it is intended that
the glazing is openable to allow the pod to become a
concert hall box seating area when appropriate, using
suitable seating arrangements such as a retractable
bleacher system.

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17.15 MEETING AND ENTERTAINING 17.16 DIGITAL 17.17 BACKSTAGE

17.15.1 For meetings and entertaining at the Centre for 17.16.1 Digital Creation / Media 17.17.1 Dressing rooms for players and artists are fully
Music there will be a combination of spaces, detailed in the Schedule of Accommodation. The
all served by a central production kitchen and 17.16.2 The digital centre includes content collation, creation Conductor’s Room will meet the conductor or
administrative facility, capable of catering for larger and broadcast spaces and technical areas. This set of musical director’s needs for both performance and
events with between 1,000 and 1,900 guests. spaces includes a Digital Lab, a Recording Studio and education, in the live and digital worlds. Facilities
four Recording Booths. for use by the conductor / musical director include
• Founders’ Room a combined green room, rehearsal and teaching
17.16.3 Many of the staffed spaces in the digital centre are area with a grand piano, and a private relaxation and
This is a primary function room for dinners and clustered together, alongside some server and dressing area.
drinks receptions. Following the concept of efficient electronic rack rooms. Other server and rack rooms
multiple space, it will be capable of hosting informal are distributed around the Centre for Music to allow The Leader and soloists’ facilities will be similarly
small recitals, digital music presentations, pre- for future-proofing. provided for.
concert talks and meetings. To facilitate some of
these activities there will be an area of retractable 17.16.4 Unlike many rooms within the Centre, those serving 17.17.2 Each individual dressing room will if possible benefit
seating which can be rapidly deployed but will be the digital centre do not need to be near or at the from daylight.
stored out of sight for aesthetic reasons. hall platform level. Some spaces such as the vision
control room and edit suite require good sound 17.17.3 It is expected that all users of the Centre will take
• Function Room isolation from other activities. advantage of the Core catering facilities to meet
with others from the musical community. In addition
The Function Room will be combinable with 17.16.5 In keeping with the transparency of the Centre, to this, the green room will provide a “staff café”
the VIP Room to create a larger venue, without some spaces will have large viewing windows to facility between front of house and backstage, for use
compromising the experience in either room. allow visitors, education groups and other staff and when appropriate. There is an adjacent lounge for
musicians to see the digital work being received, relaxation.
• VIP Room created and sent when appropriate.
17.17.4 A further quiet lounge is located close to the dressing
This is primarily a function room for entertaining 17.16.6 Given the fast-changing nature of the digital world, rooms.
sponsors. It can also present small informal the digital centre facilities must be particularly
performances and talks. It will be located so that it suitable for change, with significant future-proofing.
can serve as a space where conductors and soloists
can meet invited guests or members of the public
after performances.

• Central Production Kitchen

This will be an efficient facility, expected to serve

the Café / Bar, Lounge /café, Founders’ Room and
Function Room.

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17.18 REHEARSAL SPACES 17.21.2 One room will be provided with a very high standard 17.22.1.2 A physically and security separated delivery zone is
of sound isolation by means of location and required for non-technical logistics including catering
17.18.1 There will be a range of rehearsal spaces at the engineering noise control. This will enable its use and building supplies delivery and for recycling and
Centre for Music to support the programme of for high sound level amplified music, for example by compaction of refuse. A separate goods and catering
performances and optimise the utilisation of the local bands. lift is required. This separation is to protect valuable
Centre for Music Hall in particular. equipment from theft and damage, and to keep
17.22 SERVICING odours away from the technical area.
17.19 CHORUS REHEARSAL ROOM
17.22.1 Venues Get in / Dock 17.22.1.3 As an example of an aspiration for imaginative use
17.19.1 The primary function of the Chorus Rehearsal Room of the whole building, the design should consider the
will be choral rehearsal by the London Symphony 17.22.1.1 The building will require first class, efficient and potential public and/or educational use of the loading
Chorus. It will have sufficient volume to allow for safe facilities for specialist deliveries such as dock as a “found” performance/digital screening
prolonged use by 200 singers without acoustic fatigue instruments, stage sets and digital equipment. Areas space. The loading dock could be a temporary
caused by excessive loudness. for parking specialist vehicles including recording performance platform.
and outside broadcast trucks is also required. The
17.19.2 The room is suitable for sectional rehearsals, facilities are to include:
for example by youth orchestras, and for smaller
musical ensembles. It is also suitable for uses • Weather-protected and secure truck docks for a
including lectures and choral workshops and will minimum of two, and ideally three, large European
have a full digital overlay. As noted above, like all articulated trucks – the docks to be at standard
the rehearsal spaces it will benefit from both simply European truck tailgate height, with dock levellers
variable acoustics and natural light if possible, with with enough travel to cope with standard sized vans.
full technical blackout.
• Secure parking, preferably weather-protected, for
17.20 REHEARSAL ROOMS the LSO instrument truck. This is in addition to the
loading dock positions.
17.20.1 Two rehearsal rooms will be used for sectional
rehearsal (chorus and orchestras) and for pre- • Secure parking, preferably weather-protected,
performance warm-up. They will also be suitable adjacent to the building envelope with tie lines, for up
for many other educational and digital uses, with to three recording/outside broadcast vehicles (audio,
variable acoustics and full digital infrastructure. video and satellite).
Rehearsal Room 2 will accommodate 100 people,
Rehearsal Room 3 will hold 50 people. • Two goods lifts – sizes 1.80m door width, 2.30m
width, 2.30m height, 7.30m length.
17.21 Breakout Rooms

17.21.1 A primary function of four Breakout Rooms will be

for orchestral players to rehearse for LSO Discovery
mixed ability projects. At other times the rooms
will be available for other rehearsal, digital and
educational uses.

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17.23 EXTERNAL SPACES • Cultural Topography – The unique relationship of Regarding acoustics, the performance or screen area
the Centre for Music to the living history of the City, needs to be:
17.23.1 The Centre for Music will take advantage of its unique embodied in the visual and physical connections to
and historic location within the Cultural Hub and the landmarks such as St Paul’s Cathedral and routes to • Protected from traffic noise.
City. the Thames and other venues should be celebrated • Located and screened to avoid disturbance to
in the open spaces of the Centre for Music. This will neighbours.
17.23.2 The Centre will have a highly accessible, active and be through creating new visual connections such • Free of undesirable sound focussing or echoes.
high quality public realm, integrated into the wider as framed views, vantage points and platforms and
regeneration of the Cultural Hub. Connectivity and through walking routes or sequences of movement
movement will form a part of the experience of the such as streetscape, squares or courtyards, terrace
Centre for Music; sequences of open spaces and and gardens.
places will form formal and informal settings, not
only at street level, but on upper levels, terraces and 17.23.4 The functional brief for open space could include:
roof gardens with views around and over the City, for
example to St Paul’s Cathedral. 17.23.4.1 An outside performance space, with both live (sound
reinforced) and digital (large screen) performances,
17.23.3 The external spaces will provide a range of functions the screens replaying live content from elsewhere
including: in the Centre for Music, live content from another
location, pre-recorded content or a combination of all
• Orientation and Way-Finding – the open spaces of these.
will enable easily navigated and visible connections
into and around the Centre for Music, connecting 17.23.4.2 A terrace space with fine views, preferably with direct
to the surrounding public realm. The open space access to sponsors’ spaces.
should integrate with the existing public areas of the
Barbican to create connections between the Centre 17.23.4.3 A public space with café or bar, possibly temporary
for Music and the Barbican Centre, sensitive to the street food stalls.
context and neighbouring residences.
17.23.4.4 Relaxing public garden with soft landscaping and
• Landscape and Ecology – the open spaces should sensory features.
add to the greening of the City, building on the
gardens and landscape of the Barbican, and bringing Facilities may include:
green spaces into the Centre for Music – for example
in roof gardens. They are to be enjoyed both by users • Contouring and geometry to create a natural stage
of the Centre for Music and by people viewing them and/or informal audience seating, with a view to a
from surrounding buildings. large screen.
• Catering.
• Outdoor Performance and Events – The potential • Large video screen and associated high power
for open spaces at street level, mid and upper levels loudspeakers.
should create a range of settings for impromptu • Protected sound, light and video control position.
events, installations, performance and exhibitions. • Secure rack room and terrace equipment store.
These could include temporary structures such as • Immediate backstage area and performer’s quick
kiosks, projection screens, sculpture, surfaces for change and toilet.
dance or theatre and seating.

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17.24 OTHER SPACES 17.26 CONFIGURABILITY 17.28 OPENINGS TO FOYER

Other spaces and facilities that form part of the Initial 17.26.1 It will be possible to quickly and efficiently remove 17.28.1 The Hall is to open to the surrounding foyer in three
brief include: the audience seating over most (preferably all) of ways:
the main floor area. The method for achieving this
• management and administration facilities is to be determined, but may be one of a proprietary • By glazing which will permit glimpses of the activity
• production support moving seat system, or a retractable seating system. within the hall, including by education groups and
• services visitors following the Centre for Music’s Visitor Route.
• library /archive. 17.26.2 A system using moving seat wagons is not preferred A technical blackout system will prevent viewing
because of the time and staff needed to reconfigure when necessary.
17.25 BARBICAN HALL AND LSO ST LUKE’S the Hall.
• By large video screens and high quality audio.
17.25.1 BARBICAN HALL 17.26.3 Options for lowering the stage (to form a full flat
floor) and for having an adjustable size performance • By large physical openings such as sliding doors
17.25.1.1 The existing Barbican Concert Hall is to be area (including a downstage extension) are to be which provide good sound isolation when closed.
repurposed as a unique, innovative performance considered.
hall for the presentation of the widest range of
performances and events. 17.26.4 It is important that the new seating systems do not 17.29 VARIABLE ACOUSTICS
degrade the acoustic nor the audience experience
17.25.1.2 Complementing the new concert hall, which will be in order to continue classical and symphonic 17.29.1 Two variable acoustics systems will provide whatever
used primarily for acoustic (classical, symphonic, programming. acoustic, fixed or changing, is demanded by the
choral and organ) music, the programming of work. First, a mechanical variable sound absorption
the repurposed Barbican Hall will have a strong 17.27 CLOSURE OF BALCONY AND/OR CIRCLE system to reduce reverberance and room boundary
emphasis on contemporary sound reinforced and reflections.This will be used when a ‘dry’ room
amplified performances and events, including 17.27.1 It will be possible to both acoustically and physically acoustic is needed, for example for many amplified
conventional end stage amplified shows and 21st close off the balcony and circle levels for certain events and digital or virtual programming. Second,
century cross-arts, virtual performances, mixed live performances. This may be achieved by a vertical or an electronic architecture system to increase
and virtual performances and imaginative staging horizontal action banner or drape system. This will reverberance.
formats. increase the multi-purpose functionality and increase
visual and acoustical intimacy when, for example, 17.29.2 This will increase the room acoustic response when
17.25.1.3 Importantly, it will remain an important performance the event is stalls only. It should be noted that this desirable artistically.
venue of the BBC Symphony Orchestra and have may be inappropriate for some unamplified concerts
significant baroque and recital programming. due to the reduction in reverberance and sound
reflections caused by the deployed curtains if these
17.25.2 Audience Capacity are traditional fabric – the acoustic specification
of the closing surfaces (sound absorbing, sound
17.25.2.1 A capacity of between 800 (seated, stalls only) and reflecting at mid / high frequencies or both) will
3,000 (including significant standing) is preferred. require study and briefing at a later project stage.
The upper limit will depend on fire capacity and may
require amendment to escape arrangements as well
as to audience facilities such as foyer, cloakrooms,
toilet and catering capacity.

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17.30 TECHNICAL FACILITIES • A motorised lift or lifts for live performance sound, 17.31 LSO ST LUKE’S
light and video control position(s) within the Hall.
17.30.1 As within the new Centre for Music, the reconfigured LSO St Luke’s is to be provided with a new internal
Barbican Hall will support the flexible and innovative • High bandwidth, high speed, fully digital performance control room and a new recording
presentation of music and other art forms in interconnectivity within and to and from the Hall. control room, together with necessary access
the 21st century. It will contain all appropriate facilities and digital infrastructure. This enhancement
current technology, upgradable infrastructure and • Provision for all of the audience to use mobile devices will ensure that LSO St Luke’s is fully equipped for
spatial, structural and electrical capacity for future when appropriate, including pro-active input to the recordings in its main space, the Jerwood Hall. Other
technology. performance. minor enhancements would also take place to ensure
that the venue is fit for purpose some 20 years after it
17.30.2 In addition to the movable elements, production • Surtitling facilities. first opened as the LSO’s Music Education Centre.
elevators, conventional suites of enclosed control,
projection, follow spot, rack rooms, and digital 17.30.3 The repurposed Barbican Hall is to provide an
capability, the available technology will include: excellent experience for both physically present
and remote audiences. High definition (broadcast
• High load suspension capability above the quality) remote control cameras, permanent or
performance zone and much of the audience temporary manned camera positions and high
area, using a matrix of strong points and movable quality microphone arrays will allow for imaginative
point or chain hoists, preferably accessed from a broadcast and streaming of rehearsals and live
technical walkway arrangement with or in addition performances in a wide range of performance
to tension wire grids, for static and dynamic flying set-ups. This will be without disturbance to the live
of performers, scenic elements and technical audience, including noise, circulation difficulties and
equipment. sightline issues.

• Multiple large suspended video screens and 17.30.4 Incoming video and multi-channel audio will be
acoustically enclosed high power digital projectors in received, processed and replayed within the Hall
addition to the main projection rooms. using both installed and hired-in video and sound
systems.
• Silent concert lighting for acoustic performances.
17.30.5 The digital protocols, infrastructure and equipment
• Flexible and dramatic production lighting using fixed will match this within the new building, to ensure
and moving luminaires. seamless operation across the Centre for Music.

• High power, full-range, high quality sound

reinforcement and amplification system, easily
reconfigurable to different music types and
presentation (performer and audience) formats.

• Video and audio soundtrack preparation and

presentation.

• Immersive audio and video technology such as

wavefield synthesis surround sound.

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Key Performance Spaces

Name Purpose Net Area m2

Excellent, world-class venue for acoustic (ie non amplified) music. The hall is to generously support and
enable both traditional performances and innovative and complex musical and cross-arts performance
Concert Hall 6,421
formats. The hall environment is to be adjustable to provide new, exciting opportunities and experiences for
18. SCHEDULE OF ACCOMMODATION users.

Large informal room including table-seating, low stage, bar and catering facilities, and performer and
Club Space 653
18.1 CENTRE FOR MUSIC PRINCIPAL AREAS OF backstage technical support spaces.
ACCOMMODATION

18.1.1 A brief description of the principal spaces is set out An exhibition space with digital overlay, for example including “science of sound and music” interactive
in this section. The full Schedule of Accommodation Exhibition Space physical and digital exhibits. The space can be free-flow - open to the Core - or partitioned for paying 830
is at Appendix 18A. exhibitions or events.

A suite of studios accessible to the public and others, for educational, digital, rehearsal and performance
Digital Learning 300
use. The space will include a welcoming public reception space within the Core.

Forum Within the public area there will be informal spaces for daily performances. 300

Learning Spaces (also used for meetings and entertainment)

Name Purpose Net Area m2

A suite of 4 unique small rooms, suitable for entertaining, meeting and learning, which support the vision for
transparency. They are close to the Concert Hall for corporate sponsor’s convenience and reasonably close to
the Rehearsal Suite and Digital Centre for learning activities.

Pods Each pod will have viewing windows for direct views into the concert hall (screenable for privacy and 170
blackout when needed). In addition, as the rooms are digitally enabled, the concert hall and many other
areas can be viewed via video screens. Subject to design – and without detriment to the hall acoustic – it
is intended that the glazing is openable to allow the pod to become a concert hall box seating area when
appropriate, using suitable seating arrangements such as a retractable bleacher system.

A primary function room for dinners, drinks receptions, etc. It will be capable of hosting informal small
recitals, digital music presentations, pre-concert talks, education activity, meetings, etc. There will be
Founders' Room 293
an area of retractable seating which can be rapidly deployed but will be stored out of sight for aesthetic
reasons.

The VIP Room is primarily a function room for entertaining sponsors. It can also present small informal
performances, talk and education activity. It can serve as a space where conductors and soloists can meet
VIP & Function Rooms invited guests or members of the public after performances. The Function Room will be combinable with 455
the VIP Room to create a larger venue, without compromising the experience in either room. Both rooms will
share catering facilities.

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Performance Support Spaces

Name Purpose Net Area m2

Rehearsal room for LSO chorus with bleacher seating and grand piano. Also including ancillary support
Chorus rehearsal room 365
spaces.

Other rehearsal spaces Including: smaller spaces for sectional rehearsal and smaller ensembles; reception and administration area;
600
and facilities shared stores and technical facilities.

A suite of digital creative facilities including content collation, creation and broadcast spaces and technical
areas. Given the fast-changing nature of the digital world, the digital centre facilities must be particularly
Digital Creation / Media suitable for change, with significant future-proofing. Many of the staffed spaces are clustered together, 330
together with some server and electronic rack rooms. Other server and rack rooms are distributed around the
Centre for Music to allow for future-proofing.

Restaurants and Retail

Name Purpose Net Area m2

This space is intended to be a prime fine dining offer with spectacular views across London, for example
Restaurant A (top tier) to St Paul’s cathedral. If practicable it will include an outside dining area. It will include a small musical 600
performance area. It will be serviced from its own independent kitchen.

This all-day restaurant will preferably have an outdoor area and have prominent and effective signage to
attract casual visitors from outside the building. It will double as a lounge – a café-style relaxation space
Restaurant B 446
for users such as LSO partners and youth orchestras. It is hoped that this is a space in which people from
different communities will meet and exchange ideas.

A single shop unit open onto the Core and external public realm, preferably at street level, very visible
through the glass façade, to encourage passers-by to enter the Centre. It is expected that the shops
Retail will trade in goods related to the Centre for Music – for example branded souvenirs (Centre for Music / 175
LSO / Barbican / London), music CDs and DVDs and sheet music, perhaps musical instruments or audio
equipment.

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Internal Area External Area

Capacity
(m2) (m2)

Capacity Schedule
Concert Hall 1900
Exhibition Space 200
Club Space 200
Founders' Room 175
Function Room 175

Area Summary
Performance Space 1 - Concert Hall 2,406 0
Performance Space 1 - Concert Hall - Support Spaces 4,015 0
Performance Space 2 - Club Space 653 0
Rehearsal 965 0
Front of House 5,599 0
Learning, Meeting and Entertaining 1,384 0
Archive 100 0
Digital 630 0
Performers / Backstage 1,383 20
Production Support 947 0
Management / Administration 859 0
Back-of-House Entrance 1,268 325
Outdoor Performance 95 1300
Sub Total (net) 20,303 1,645

OPTION A
Circulation 6,091
Building Services 3,167
Walls, Partitions & Structure 1,478
Grand Total OPTION A 31,038 1,645

OPTION B
Circulation 5,076
Building Services 3,045
Walls, Partitions & Structure 1,421
Grand Total OPTION B 29,845 1,645

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3 4
CLUB SPACE REHEARSAL 6
MEMBERS,
1
SPONSORS, VIPS
PERFORMANCE
SPACE 1
CONCERT HALL 2
PERFORMANCE
SPACE 1 5
CONCERT HALL FRONT OF HOUSE
SUPPORT SPACES
7
ARCHIVE

12
8 9 BACK-OF-HOUSE 16
DIGITAL PERFORMERS ENTRANCE WALLS, PARTITIONS
/ BACKSTAGE & STRUCTURE
15
BUILDING SERVICES
14
CIRCULATION

10
11
PRODUCTION 13
MANAGEMENT /
SUPPORT OUTDOOR
ADMINISTRATION
PERFORMANCE

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19. ORGANISATIONAL ANALYSIS

19.1 CRITICAL ADJACENCIES AND RELATIONSHIP 19.1.6 Some spaces need to be directly accessible from 19.2 INTEGRATED FRONT AND BACK OF HOUSE SPACES
each other – for example the digital facility should
19.1.1 It is critical that the anatomy of the building and its be directly accessible by the public from the Core; 19.2.1 Traditionally, backstage and front of house spaces
spaces are organised so that the complex functions similarly, the dressing rooms and warm-up rooms are deliberately separate entities. The Centre for
and activities happening within can be performed at should be easily accessible from the platform waiting Music will revolutionise the way these spaces are
world-class standards. area. The VIP Room should be related to the main organised, creating more visibility into the previously
auditorium so that it can be easily accessed during secretive world of professional music.
19.1.2 The key relationships are mapped in the adjacent the interval period. Close proximity spaces could be
diagram. accessed by a shared corridor, off a shared space, or 19.2.2 Areas of integration will be created between
arranged vertically around shared vertical circulation. ‘backstage’ and ‘front of house’ space in new and
19.1.3 This illustrates the critical relationship of front and unprecedented ways, to enable musical discovery
back of house support spaces to the main concert 19.1.7 Some spaces only require a loose connection. and learning in environments where the conventional
hall, in particular the essential spaces related to the barriers between public, amateur performers,
platform. 19.1.8 The diagrams are therefore centred on a particular professional performers and future performers can
item in the accommodation schedule, and show the be removed.
19.1.4 The adjacent diagram shows the key concert hall, varying desired levels of spatial connectivity with
front-of-house and back-of house adjacencies. other spaces in these three categories.
The accommodation schedule has been formatted
into categories of usage. Within these categories,
there are desired spatial relationships between the
various rooms and spaces listed within that category.
Similarly, there are also desired spatial relationships
with rooms and spaces in other categories, or with
other categories as a whole. The spatial relationships
are simplified here into three categories: integral,
close proximity and loose connection.

19.1.5 Some spaces are integral to each other – for

example, the Forum and Exhibition spaces are
intended to be part of the dynamic, free flowing Core
of the building; similarly the backstage areas and
technical spaces associated with the concert hall are
inseparable from the concert hall auditorium space
itself.

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ORCHESTRA
CONDUCTORS
TECHNICAL MANAGEMENT
TECHNICAL
CONTROL ATTIC &
SUITES GALLERIES

STAGE
SOLOISTS MANAGEMENT

SPONSORS’
ROOMS CHORUS
PRODUCTION MUSIC
ADMIN LIBRARY

CORE PLATFORM
LOADING
AUDIENCE WAITING
(PUBLIC) DOCK
AREA

GREEN
STORES
ROOM
PERFORMANCE
VIP ROOM AREA

PRODUCTION
WARMUP
/ TECHNICAL

PLATFORM
ORGAN
LIFTS

TOILETS REHEARSAL

ORCHESTRA CORE
PIT (PERFORMER)

Audience, Chorus, Performance Area Adjacencies

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CONCERT HALL THE CORE

19.2.3 Various technical support spaces, such as the 19.2.6 The Core itself is comprised of spaces central to the ARCHIVE
technical control suites, technical attic, platform public operation of the building – for example coat
lifts, and the platform waiting area are integrated check, toilets, ticketing points, information points etc. 19.2.13 The archive should be accessible from the
into the broader envelope of the concert hall. On These are distributed within this larger space to most administration spaces, and have loose connections to
the public side of the hall, Sponsors’ Rooms and VIP effectively serve the needs of visitors. the Core and backstage. The archive would also be
Room need access to the appropriate area of seating connected to the digital facility, but may not need a
(usually stalls or first tier). The hall needs to be well 19.2.7 Other spaces are integral to the Core which make physical link.
connected to the Core to integrate, to give the hall it a dynamic and free flowing space – for example,
presence in the public areas of the building, and the Forum allows more informal, spontaneous DIGITAL
allow efficient movement of concert goers to their performances, retail draws people in, education
seats. On the performer side of the hall, there needs spaces begin a learning journey, and bars and cafés 19.2.14 The digital learning should be linked closely to the
to be good connections to key back of house spaces provide informal refreshments. Core, with the studios accessed off a reception desk.
and the main performer facilities and rehearsal Digital creation/media studios and should have a
spaces. 19.2.8 Also attached to the Core is the top tier restaurant, similar link with the Core, arranged in close proximity
providing prime fine dining experiences, able to off the same reception desk.
CLUB SPACE operate independently of other Centre for Music
activities. PERFORMERS / BACKSTAGE
19.2.4 The Club Space is envisioned as a more informal
performance venue, and therefore requires good LEARNING 19.2.15 The dressing rooms should be located in close
access from both the public and performer sides proximity to the concert hall crossover. Certain
of the building Core. It also needs a connected bar 19.2.9 These spaces should allow for effective dual uses dressing rooms such as the conductors’ and soloists’
to serve the venue and a modest requirement of of space. All of these spaces should be able to be must be on platform Level. Dressing rooms should
technical support spaces and performer facilities. accessed from the central production kitchen, with have good access to the green room, performers’
local finishing kitchens as appropriate. lounge, and other performance spaces.
REHEARSAL
19.2.10 The pods are directly adjacent to the concert hall, 19.2.16 The green room and performers’ lounges should be
19.2.5 The rehearsal suite needs to operate as both a allowing them to function as viewing boxes into the in close proximity to the concert hall crossover, and
functional rehearsal facility for the performers and as hall, and have good links to the Core. have dedicated toilets, bar and servery attached.
part of education and engagement programmes, and Both should have good links to the Club Space and
therefore needs good connectivity to the Core, and 19.2.11 The Founders’ Room is connected to the Core, and rehearsal spaces.
a dedicated reception area. The distinct rehearsal has its own adjacent toilets, coat check and bar, and
spaces are linked to the reception area, but may be should also have an easy access route to the concert
arranged to suit other adjacencies, e.g. daylight, hall. The Founders’ Room should be located so it has
proximity to platform etc. There are technical good exterior views, and dedicated exterior space.
support spaces to support the rehearsal rooms’
operations, principally the Chorus rehearsal room. 19.2.12 The VIP and Function Rooms should be located next
to each other so that they can be combined into one
space, should be near appropriate seating areas of
the concert hall (the stalls or first tier), and should
have access from the Core and backstages. These
two rooms have shared adjacent toilets, coat check
and bar.

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PRODUCTION SUPPORT

19.2.17 The media room and ushers’ facilities should be

linked directly to the Core. Technicians’ facilities and
technical management offices should be linked to
the performers’ /backstage spaces. Workshops and
stores should be located with easy access from the
loading dock and get-in and from the various venues
– primarily the concert hall.

MANAGEMENT/ADMINISTRATION

19.2.18 Management and administration spaces for the

Centre are more flexible in their location, but
should be arranged into a single block to enable the
efficient use of shared office facilities. This would be
accessed through a shared reception area and have a
link to the performers’/backstage spaces.

BACK OF HOUSE ENTRANCE

19.2.19 The back-of-house entrance is managed from a

staff entrance and dock management facility, well
connected to the performers’/backstage spaces
and adjacent to the loading dock. The loading
dock should be located so as to allow direct access
through the get-in to the concert hall and then on to
the other venues of the Club Space and rehearsal.
The loading dock should also allow general deliveries
to the rest of functional spaces – for example
catering, retail, administration spaces.

OUTDOOR PERFORMANCE

19.2.20 Outdoor performance spaces should be easily

accessed from the public Core, and have a small
provision of technical support spaces. They should
be connected to other public facilities such as
catering and retail to create fluidity within the spaces.
A provision of space with views out over London
would be desirable.

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20. SITE OPTIONS

20.1 CONTEXT 20.2 SITE OPTIONS 20.2.4 Apart from the limited number of sites which are
sufficiently large to accommodate the brief, one
20.1.1 The feasibility study includes as one of its specific 20.2.1 Having assessed the space requirements of the key issue was that virtually all the sites which were
objectives a review of the location options for building Centre for Music, there has been a detailed analysis considered were being valued on the basis that they
a world-class Centre for Music in the City of London. of potential site options based on the following key could be developed for office (or, in some cases,
This section sets out the case for a development criteria of size, location and availability: residential) use. Therefore, even where the key
in London, specifically in the City of London, and physical criteria were met, the sites were unlikely
assesses the potential development sites. • Suitable for a 1,900 seat hall and associated facilities, to be available due to a reluctance of commercial
the exact size and scope of which will depend on the developers to enter into discussions and meaningful
20.1.2 “The City” (capitalised) refers specifically to the City final scope of the Centre for Music. dialogue about a cultural use. Alternatively, the
of London, also known as the Square Mile, whilst capital cost of development would have to reflect
“city” (lower case) refers to Greater London as a • Located within the City of London boundary and close a significant sum for site acquisition, most likely
whole. to the Barbican and wider Cultural Hub. making the project very difficult to fund.

• Potentially available or receptive to an approach and 20.2.5 As part of the current Feasibility Study, both GVA
available within a realistic timeframe. and the City of London Corporation have assessed
whether any new sites have become potentially
20.2.2 Previous site analysis based on similar criteria had available since the last detailed review in late 2013.
been carried out in 2012 and 2013. This work was
a desktop study based on information which was 20.2.6 The conclusion from the latest site assessment is
readily available, while maintaining confidentiality, that there remain very few sites in the City of London
drawing on market information available at the time. which are sufficiently large to house the Centre
The City of London Corporation was also consulted for Music and which are potentially available for
on a number of occasions as to the availability of development in a reasonable timeframe without
potential sites. constraints that restrict their viability.

20.2.3 A total of 31 sites within the City were considered, 20.2.7 Three sites in the City were considered to have
and an evaluation matrix was compiled. Out of this sufficient potential to merit further investigation: the
long list of possible sites, there were relatively few Poultry Market in Smithfield; Baynard House near
sites which were suitable in terms of the above Blackfriars; and the site currently occupied by the
key criteria. Some of these sites were investigated Museum of London. The analysis of these sites is
further, and discussions held with developers where summarised below.
appropriate. Details of shortlisted sites, and an
assessment of their suitability are set out in Appendix 20.2.8 One other site, the General Market in Smithfield,
20A. has also been briefly considered as a possible site
for the Centre for Music. Aside from the Museum
of London’s desire to move to this site (see below),
planning restrictions imposed in 2014 which require
the interior of the General Market to be preserved
mean that the creation of the large open space
required for a concert hall auditorium would be
impossible. This site is therefore not considered to
be feasible for the Centre for Music.

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01

03

02

01 POULTRY MARKET
02 BAYNARD HOUSE
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SUPPORT SPACES CONCERT HALL VOLUME

POULTRY MARKET, SMITHFIELD

20.2.9 The Poultry Market is part of the series of market 20.2.13 The potential acoustic difficulties of locating the
buildings in Smithfield between Farringdon and highly sensitive concert hall so close to train
Barbican underground stations. The site meets the tunnels which run immediately to the west of the
key criterion in terms of location and has excellent site would also present challenges. This would
links to key transport routes. However, the site require an engineered solution (such as a box-in-
is considerably constrained and presents many box auditorium) to achieve the desired world-class
potential difficulties in accommodating the Centre for acoustics, adding to the space required, technical
Music. complexity and cost.

20.2.10 Because of the required space for the main 20.2.14 Aside from the physical constraints, it is also
auditorium, the site would only be feasible by building uncertain whether or not the site could be made
east into East Poultry Avenue and abutting Smithfield available within a reasonable timeframe. Unless the
Market but this would be extremely difficult given site were to be actively made available for the Centre
that both buildings are listed. In addition, significant for Music, the uncertainty over if and when the site
excavation would be required to contain the concert could be redeveloped would be a major risk.
hall volume under the existing roof of the Poultry
Market. Again, this would be problematic given 20.2.15 Therefore, whilst the Poultry Market site could
the Poultry Market is listed and the process of potentially be viable, it would only merit further
construction would probably require the demolition investigation if there were a clear possibility of it
and reconstruction of the existing building to deliver becoming available in the near future and if there
the required volumes for the Centre for Music. was a realistic expectation of the planning and
listed building issues being resolved. Given these
20.2.11 Alternatively, building above the existing roof would various constraints and challenges, this site is not
cause harm to the listed building (which has been considered to be viable at present.
defended by the Planning Inspector from alteration
/ demolition in two Public Inquiries) and also take
it above the St Paul’s Heights limits, which would
present an additional challenge to planning policy.

20.2.12 Possible future use of part of the Poultry Market

basement by the Museum of London is an additional
factor to be considered. Working alongside the
Museum’s plans, while potentially possible, is likely
to result in a compromised solution for both the
Museum and the Centre for Music.

Concert hall volume with full building accommodation

(15m deep basement)

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SECTION LOOKING NORTH WEST -

9M DEEP BASEMENT (ASSUMED EXISTING)

PROPOSED MOL AND BASEMENT

PROPOSED MOL POULTRY MARKET BASEMENT

UNDERGROUND TRAIN TUNNEL

CONCERT HALL ENVELOPE VOLUME

GENERAL MARKET WEST POULTRY EAST POULTRY SMITHFIELD MARKET

AVENUE AVENUE

34.5m AOD
FRONT OF BACK OF
HOUSE HOUSE
CONCERT HALL

MOL
MOL
BASEMENT
ENTRY MOL BASEMENT PLANT
TUNNEL

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BAYNARD HOUSE, BLACKFRIARS SUPPORT SPACES CONCERT HALL VOLUME

20.2.16 Baynard House is located between Blackfriars 20.2.20 Availability of this site in the near future is a major
Bridge and the Millennium Bridge and its riverside concern as the current occupier (BT Group) holds
location is a major strength. It is a large site but a long lease and relocation of its operational
does face constraints because of its proximity to equipment is likely to be costly. Unless the site were
St Paul’s Cathedral and the presence of roads and to be actively made available for the Centre for Music,
underground lines on and next to the site. the uncertainty over if and when the site could be
redeveloped would be a major risk.
20.2.17 The restrictions on building height from the St
Paul’s Heights Policy mean the concert hall volume 20.2.21 A weakness of this site is that it is not in close
must be sunk to a considerable depth of 13.5m, and proximity to the Cultural Hub which limits the
allowing for a further level of plant below this would opportunities for artistic collaborations and operating
result in further excavation to a depth of 19.5m. In synergies between the Barbican Centre, LSO and
addition, any excavation on the site from the current Guildhall School.
configuration may encounter complications due to
the Scheduled Ancient Monument on the site, and the 20.2.22 Taking all of the above factors into account, it is
structural support of roads and underground Tube considered that whilst Baynard House could possibly
infrastructure. be workable as a site for the Centre for Music there
are a number of potential issues – both physical and
20.2.18 Exact locations of infrastructure would need to in terms of availability - which currently reduce its
be surveyed formally to determine a definitive attractiveness. On this basis, it has been concluded
conclusion, but estimated locations indicate that that it is not appropriate to consider this site further
small distances between the roads and Tube tunnel at this stage.
and the concert hall would result in significant space
constraints in terms of circulation and ancillary
facilities which need to be located very close to the
auditorium.

20.2.19 The potential acoustic difficulties of locating

the highly sensitive concert hall so close to this
infrastructure would also present challenges.
As with the Poultry Market, it would require
an engineered solution (such as a box-in-box
auditorium) to achieve the desired world-class
acoustics, adding to space constraints and cost.

Concert hall volume with full building accommodation

(19.5m deep basement)

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QUEEN VICTORIA STREET

SITE PLAN TUBE LINE

TUBE LINES - CIRCLE & DISTRICT

ROADS
MAIN HALL ONLY
46m
MAIN CONCERT HALL ONLY

SITE BOUNDARY
CASTLE BAYNARD STREET

EET
HAMES STR
UP PER T

WHITE LION HILL

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MUSEUM OF LONDON SITE

20.2.23 In early 2015, following an extensive study, the 20.3 PREFERRED SITE
Museum of London declared its aspiration to move to
the General Market in Smithfield, making its present 20.3.1 Taking into account the detailed analysis of potential
site potentially available for redevelopment in the sites, including a period of several years prior to the
next few years. current Feasibility Study, the conclusion is that very
few suitable sites are available in or very close to the
20.2.24 As well as being sufficiently large, the Museum’s City of London and Cultural Hub.
current site is close to the Barbican Centre and the
Cultural Hub, meaning that a new Centre for Music 20.3.2 Only the site currently occupied by the Museum of
could enhance this area and complement existing London currently appears to meet the key criteria of
facilities, as well as achieving operating synergies. size, location and availability and offers a number of
positive opportunities both for the Centre for Music
20.2.25 The site has a pivotal location within the City, at the and the surrounding area.
crossroads of the major north-south route from
St Paul’s Cathedral, where St. Martin’s Le Grand 20.3.3 Consequently, and in order to focus the Feasibility
connects to Aldersgate Street, and the historic east- Study’s work as efficiently as possible, the Museum
west axis of London Wall. The potential to develop of London site has been treated as the preferred site
stronger pedestrian links from the Millennium Bridge for the Centre for Music.
and St Paul’s Cathedral to this site and onwards into
the rest of the Cultural Hub is also attractive, and 20.3.4 This conclusion does not indicate that the Museum
could be an important driver of visits to all of the of London site is the only possible location for the
venues within the Cultural Hub. Centre for Music, and a further assessment of site
options would be carried out should the project
20.2.26 Tube and Crossrail stations at Farringdon, Barbican, proceed further.
Moorgate and St Paul’s are all within 10 minutes’
walk allowing easy east-west travel along Crossrail
(once opened) and the Central Line, and north-south
travel along Thameslink and the Northern line.
Despite these strong transport links, the site does
not appear to have any underground lines running
nearby which eliminates one potential issue in
achieving the desire quality of acoustics.

20.2.27 Unlike other sites, which are in the hands of

commercial developers, this site would be (once the
Museum of London relocates) under the control of
the City of London Corporation.

20.2.28 This site has a number of advantages over others

that have been considered and offers opportunities to
both benefit from and to further enhance the Cultural
Hub and its component organisations.

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EXISTING SITE ARRANGEMENT

BIRDS EYE VIEW FACING WEST

AERIAL VIEW FACING NORTH AERIAL VIEW FACING NORTH WEST

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VACANT SITE ARRANGEMENT

BIRDS EYE VIEW FACING WEST

AERIAL VIEW FACING NORTH WEST

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21. SITE ANALYSIS

21.1 INTRODUCTION and a world-class public realm to match the world-

class arts and learning offer.
21.1.1 As stated in the previous section, the site currently
occupied by the Museum of London has a pivotal 21.2 THE SITE – CONTEXT AND ANALYSIS
location within the City, at the cross-roads of the
major north-south route from St Paul’s Cathedral, 21.2.1 A single site with two potential variants have been
where St. Martin’s Le Grand connects to Aldersgate assessed in the study:
Street, and the historic east-west axis of London
Wall. 1. The site footprint currently occupied by the Museum
of London, situated on the southern edge of the
21.1.2 At the south-western corner of the Barbican, the Barbican – ‘Site Condition A’
site forms the edge of the unique 1960s and 1970s
development of the Barbican Estate, including the 2. A larger site footprint comprising the area currently
Barbican Centre, the Guildhall School of Music and occupied by Museum of London, as well as the site of
Drama, St Giles Cripplegate and the City of London Ironmongers’ Hall immediately next to the Museum Site Condition A
School for Girls, as well as the Museum of London and the Public Open Space adjacent to Aldersgate
itself. Street – ‘Site Condition B’.

21.1.3 Originally the location of the Roman fort on the 21.2.2 The major elements of the local context for the site
north-west corner of the City walls, the Barbican has under these scenarios are as follows:
become the focus of one of London’s most important
cultural, educational and residential communities. UNDER BOTH SITE CONDITIONS A AND B

21.1.4 The site is the nexus of a wider urban network linking The City and its historic commercial and cultural
the City and its surrounding quarters of Spitalfields, precincts to the south. These establish a sensitive,
Smithfield, Clerkenwell and Shoreditch into a unique nationally significant, and unique heritage
and dynamically-evolving urban phenomenon. Major environment to which the Centre for Music will
urban-scale evolutions are in motion around the site. respond, and also contribute.

21.1.5 Crossrail is being constructed, passing beneath the • The residential neighbourhood of the Barbican Estate
Barbican, with the new station at Farringdon bringing to the north, in particular Thomas More House and
an extra 1.5 million people to within 45 minutes of the Mountjoy House, and on Aldersgate Street. The
site. development of the Centre for Music will respect
the visual and environmental amenity of the local
21.1.6 The City Corporation has, with organisations such as community within which it will be sited. The Centre
the Barbican Centre, the LSO, the Guildhall School for Music will provide a response that improves
and Museum of London, been developing a vision for the quality of architecture and landscaping, and
the City Cultural Hub. The concept of the Cultural mitigates significant impacts from its proximity to
Hub is for it to be the creative heart of the Square the community such as overlooking, noise or light
Mile, an internationally renowned, distinctive, vibrant pollution.
and welcoming centre for the arts, heritage, learning
and entertainment. It aims to be a cultural leader and • The City of London School for Girls and its sports
pioneer, delivering the highest quality performing ground and car park to the north. The Centre for
and visual arts, education, outreach and learning, Music will avoid overlooking and other impacts on
the security and privacy of the school’s grounds and Site Condition B
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NOON
NOON

Aerial View of Existing Site Above: Existing site boundary Above: Existing buildings on site

• The Public Open Space immediately to the east of • The Barber-Surgeons’ Hall and Monkwell Square UNDER SITE CONDITION A ONLY
the Museum of London within which the Scheduled to the east of the site is an historic institutional
Ancient Monument of London Wall lies: a section of neighbouring site which will be affected by the Centre • The Ironmongers’ Company located in Ironmongers’
Roman and medieval wall and bastions, west and for Music development. Hall immediately to the north of the Museum of
north of Monkwell Square. The Centre for Music will London site. Ironmongers’ Hall presents a range
seek to improve the relationship of the site to the • The office and residential premises on the west side of important constraints on the development of
archaeological area, making it more accessible and of Aldersgate Street. These will also be immediately the Centre for Music, described below, including
providing a higher quality of setting and protection. adjacent to the Centre for Music. maintaining access, light, emergency escape routes,
security etc.
• The landscaped area in the centre of the Barbican • The office premises along London Wall. These
Estate, including the Church of St Giles Cripplegate establish a commercial character to London Wall, • The Public Open Space immediately adjacent
and its Columbarium. The Centre for Music will less diverse than the streetscape on Aldersgate to Ironmongers’ Hall. This space is currently
provide an opportunity to create a new relationship, Street. secluded from the street by the western parts of the
including a pedestrian link from London Wall to the Museum of London and could be improved with the
Barbican Centre, integrating the public space around • The ‘High Walk’ – the elevated pedestrian promenade development of the Centre for Music.
the church into the journey. that connects the separate residential towers
and blocks of the Barbican Estate above street • Access ramp off Aldersgate Street leading to service
• The Barbican Centre. The Centre for Music will level. Maintaining this important local amenity and yard and car parking beneath the Museum of London,
become an intrinsic part of the complex of arts its connectivity to the surrounding City, which is Ironmongers’ Hall and the City of London School for
venues in the area, and the counterpart to the particularly valued by the local community, will be Girls, which is also used by Barbican residents.
Barbican Hall as a major venue. The programme an important component in the urban makeup of the
and character of the Centre for Music will create a Centre for Music.
cultural symbiosis with the Barbican Hall and Centre,
which will also adapt and evolve. • The underground car park on London Wall (within
which is the Scheduled Ancient Monument of London
• The Guildhall School of Music and Drama. The Wall: the west gate of Cripplegate fort and a section
School is a core element in the cultural anatomy of Roman wall in London Wall underground car park,
of the Cultural Hub, providing the opportunity for adjacent to Noble Street). There is potential for the
synergies and connections with the Centre for Music. car park to be connected for pedestrian access to the
Centre for Music.

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21.3 THE SITE - ASSUMPTIONS 21.3.7 The existing access and servicing provisions to 21.3.14 The re-alignment of London Wall and Aldersgate
Ironmongers’ Hall are complex and rely on access Street and the consequent position and shape of
21.3.1 Based on the understanding of the key elements across the footprint of the Museum of London the site boundary have been assumed based on the
of the local context (above), the Feasibility Study (both at street level on Shaftesbury Place, and at potential new road junction design provided by the
is based on a set of assumptions that have been basement level along the service route traversing the City of London Corporation.
developed in collaboration with officers of the City of site onto London Wall).
London Corporation. These are summarised on the 21.3.15 The existing Museum and High Walk, and the
plan, and overleaf, as follows: 21.3.8 Under Site Condition A the street level access to Rotunda enclosed landscape area have complex
Shaftesbury Place is assumed to be maintained, but building lines.
THE MUSEUM OF LONDON the basement level access route is extinguished with
the demolition of the Museum of London. 21.3.16 For the purposes of the Study an assumed frontage
21.3.2 The Study assumes that the Museum of London on London Wall has been adopted. Through
relocates to Smithfield, and that the site is 21.3.9 Under Site Condition B, all access to Ironmongers’ discussions with the City of London Corporation it
demolished for development. Hall will be reorganised to suit the new location of has been agreed as a working assumption that the
the building. site boundary could be further south along London
BASTION HOUSE Wall than the existing edge of the Museum of London
ROAD RE-ALIGNMENT and the Highwalk.
21.3.3 The Study assumes that Bastion House, which is a
commercial office development above the Museum 21.3.10 With the integration of the Rotunda site into the 21.3.17 The site boundary with Ironmongers’ Hall site has
of London, will be demolished as part of the site for the Centre for Music, the road width and been based on the current understanding of the titles
redevelopment of the site. alignment along Aldersgate Street and London and boundary position.
Wall are assumed to be in the positions indicated.
THE ROTUNDA This schematic has been provided by the City of ACCESS RAMP OFF ALDERSGATE STREET
London Corporation as a working assumption for the
21.3.4 The Study assumes that the Rotunda, which is purposes of the Feasibility Study. 21.3.18 The Study assumes that the existing vehicle access
currently separate at street level from the main ramp will continue to provide access to basement
Museum of London site, will be connected at street 21.3.11 The precise position of crossings and traffic lights levels of the site, and can be oversailed at an
level and above, through the removal of the part of etc. are yet to be confirmed. appropriate height by new buildings, increasing the
the existing roundabout that separates the two. development potential of the site.
SITE BOUNDARY FOR FEASIBILITY STUDY
IRONMONGERS’ HALL 21.3.19 The existing ramp off Aldersgate Street that
21.3.12 The site boundary for the Centre for Music is derived leads to the undercroft car park below the City of
21.3.5 Under Site Condition A (where the existing from several assumptions related to the existing London School for Girls sports ground, and also
Ironmongers’ Hall remains in situ), it has been Museum of London site. to the service yard for the Museum of London and
assumed that the Museum of London’s existing Ironmongers’ Hall, is assumed to be fully accessible
curtilage is to be respected. 21.3.13 The existing Rotunda road junction is assumed to be for the purposes of serving the Centre for Music.
reconfigured, so that the Rotunda joins and becomes
21.3.6 Under Site Condition B (where the existing contiguous with the main part of the Museum site 21.3.20 In addition the space above the ramp has also been
Ironmongers’ Hall is relocated), it has been assumed to the north. A quadrant of the existing roundabout assumed to be potentially usable, at a level above
that the existing freehold sites occupied by both the carriageway is, as a consequence, lost, and the road that required for large service and emergency vehicle
Museum of London and Ironmongers’ Hall is fully junction becomes a crossroads. access off Aldersgate Street.
incorporated into the Centre for Music site.

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03

05

02
THE SITE - ASSUMPTIONS

06
1. Agreed concert hall box external

10
footprint

2. Assumed site boundary for feasibility

study

3. Car park ramp. Assume available for

Centre for Music basement access

4. Project extents boundary

07
5. Public garden. Assumed to be included
in feasibility study

6. Ironmongers’ Hall freehold

7. Ironmongers’ Hall escape route access.

Easements to be verified, but assume
can be relocated
04
8. Current key highwalk connections.
Highwalk crossing site to be relocated 01
9. Road rerouting

10. Pedestrian access for ironmongers’

from aldersgate street maintained tbc.

08

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THE HIGHWALK CONCERT HALL BOX EXTERNAL FOOTPRINT

21.3.21 The Study assumes that the existing Highwalk will 21.3.26 A generic three-dimensional envelope that
be reconfigured as a result of the redevelopment, so contains the required volume of the main concert
that existing connections to London Wall, Aldersgate hall has been developed from the Initial Brief, the
Street and across the Rotunda will be re-organised, Accommodation Schedule and the Organisational
while still providing alternative access to the area. Adjacency analysis.

21.3.22 Connections from the Highwalk to street level (which 21.3.27 This volume incorporates the critical internal Technical Attic Organ Chamber to Rear
are currently provided outside the proposed site dimensions associated with the brief for the concert
further to the east and north) may be provided within hall, and the spaces critically adjacent to the hall:
the Centre for Music site.
• The technical attic
PUBLIC OPEN SPACE • The support spaces beneath the hall and platform
• Control suites and follow spot rooms
21.3.23 The Study assumes that the existing open space • Organ chamber
within the Rotunda and to the north of Ironmongers’ • Essential lateral circulation and cross-overs
Hall will be re-provided in different types and • The potential thickness of the acoustic fabric and
locations of publicly-accessible open space in the walls containing the space.
redevelopment.
21.3.28 The rationale for the proportion and scale of this
21.3.24 As part of Site Condition B (where the existing envelope is described in the Initial Brief, and is a
Ironmongers’ Hall is relocated) it has also been fundamental parameter of the vision and objectives
assumed that, with appropriate re-provision within for the Centre for Music.
the Centre for Music site, the public open space onto
which Ironmongers’ Hall looks (off Shaftesbury Place) Hall Outer Walls
can be considered a usable part of the site.

OFFICE DEVELOPMENT
Technical Room
21.3.25 The study assumes that the redevelopment will
include a new office development by the City of
London to replace the current Bastion House office
Circulation
block.

Riser

Sound & Light Lobby

Internal Hall - Key Components

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21.4 SITE CONSTRAINTS AND OPPORTUNITIES

21.4.1 As with any development site, there are a number

of constraints and opportunities presented. These
have been assessed for the Museum of London site
in relation to the Centre for Music and cover the
following areas:

Constraints

• Town Planning and Planning Policy

• Site Area
• Site Access and Transport/Roads
• Ground conditions
• Archaeology
• Site infrastructure
• Adjacent Residential Areas and Amenity
• Ironmongers’ Hall
• Heritage and Conservation
• City of London School for Girls
• Visual Amenity and the London View Management
Framework (LVMF).
• Daylight / Sunlight Standards
• Rights to light
• Easements, Rights and Title issues

Opportunities

• Architectural landmark at site entrance

• Reconfiguration of local road network
• Reconnect public space across the Barbican Estate
• Rooftop views across London, and to St Paul’s Dome.
• Extension of London Wall
• Simplify & rationalise circulation routes.

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OPPORTUNITY: Architectural landmark at site entrance OPPORTUNITY: Reconfiguration of local road network OPPORTUNITY: Reconnect public space across the Barbican Estate

OOL
SCH
RES
IDE
NTI
AL

OPPORTUNITY: Rooftop views across London, and to St Paul’s Dome OPPORTUNITY: Extension of London Wall OPPORTUNITY: Simplify & rationalise access and circulation routes

22.4 22.4
SITE CONSTRAINTS
SITE CONSTRAINTS
AND OPPORTUNITIES
AND OPPORTUNITIES

202 22.4.1 22.4.1

As with any
As with
development
any development
site, there
site,
arethere
a number
are a number
CENTRE FOR MUSIC
22.4 SITE CONSTRAINTS AND OPPORTUNITIES of constraints
of constraints
and opportunities
and opportunities
presented. These These OUTLINE
presented. BUSINESS CASE AND FEASIBILITY STUDY
have beenhave
assessed
been assessed
for the Museum
for the Museum
of London of London
site site
22.4.1 As with any development site, there are a number in relation
in relation
to the Centre
to thefor
Centre
Music forand
Music
cover
and
the
cover the
of constraints and opportunities presented. These followingfollowing
areas: areas:
have been assessed for the Museum of London site
PART III
FEASIBILITY STUDY

OOL
SCH
RES
IDE
NTI
AL

CONSTRAINT: Ironmongers’’ Hall CONSTRAINT: Visual Amenity and the London View Management Framework (LVMF) CONSTRAINT: Residential Areas and Amenity

22.4 SITE CONSTRAINTS AND OPPORTUNITIES 22.4 SITE CONSTRAINTS AND OPPORTUNITIES
22.4 SITE CONSTRAINTS AND OPPORTUNITIES
22.4.1 As with any development site, there are a number 22.4.1 As with any development site, there are a number
of constraints and opportunities presented. These 22.4.1 As with any development
of constraints site, there are
and opportunities a numberThese
presented.
have been assessed for the Museum of London site of constraints
have beenand opportunities
assessed for the presented.
Museum ofThese
London site
in relation to the Centre for Music and cover the have inbeen assessed
relation to thefor the Museum
Centre of and
for Music London
coversite
the
following areas: in relation to the
following Centre for Music and cover the
areas:
following areas:
Constraints: Constraints:
Constraints:
• Town Planning and Planning Policy • Town Planning and Planning Policy
• Site Area • Town Planning
• Site Area and Planning Policy
• Site Access and Transport/Roads • Site
• Area
Site Access and Transport/Roads
• Ground conditions • Site
• Access
Groundand Transport/Roads
conditions
• Archaeology • Ground conditions
• Archaeology
• Site infrastructure • Archaeology
• Site infrastructure
• Adjacent Residential Areas and Amenity • Site
• infrastructure
Adjacent Residential Areas and Amenity
• Ironmongers’ Hall • Adjacent Residential
• Ironmongers’ Areas and Amenity
Hall
• Heritage and Conservation • Ironmongers’
• Heritage Hall
and Conservation
• City of London School for Girls • Heritage and
• City of Conservation
London School for Girls
• Visual Amenity and the London View Management • City
• of London
Visual School
Amenity forthe
and Girls
London View Management
Framework (LVMF). • Visual
Framework (LVMF).London View Management
Amenity and the
• Daylight / Sunlight Standards Framework
• Daylight(LVMF).
/ Sunlight Standards
• Rights to light • Daylight / Sunlight
• Rights to light Standards
• Easements, Rigay and Title issues • Rights to light Rigay and Title issues
• Easements,
• Easements, Rigay and Title issues
Opportunities: Opportunities:
Opportunities:
• Architectural landmark at site entrance • Architectural landmark at site entrance
• Recongiguration of local road network • Architectural landmark
• Recongiguration of at siteroad
local entrance
network
• Reconnect public space across the Barbican Estate • Recongiguration of local
• Reconnect public roadacross
space networkthe Barbican Estate
• Rooftop views accross London, and to St Paul’s • Reconnect
• Rooftop views accross London,Barbican
public space across the and to StEstate
Paul’s
Dome. • Rooftop
Dome.views accross London, and to St Paul’s
• Extension of London Wall Dome.
• Extension of London Wall
• Simplify & rationalise access and circulation routes • Extension
• Simplifyof London Wall access and circulation routes
& rationalise
• Simplify & rationalise access and circulation routes

CONSTRAINT: Easements, Rights and Title issues CONSTRAINT: Daylight / Sunlight Standards & rights to light CONSTRAINT: Archaeology

22.4 SITE CONSTRAINTS AND OPPORTUNITIES

22.4.1 As with any development site, there are a number

CENTRE FOR MUSIC of constraints and opportunities presented. These 203
OUTLINE BUSINESS CASE AND FEASIBILITY STUDY have been assessed for the Museum of London site
in relation to the Centre for Music and cover the
following areas:

Constraints:
 PART III
FEASIBILITY STUDY

21.4.2 TOWN PLANNING AND PLANNING POLICY Particular areas that are critical to planning policy • Respect day and sun light to City of London School
are: for Girls
Planning advice was obtained from consultants, DP9 • Listed building setting to Barbican – respect and
whose advice is summarised as follows. • Existing cultural uses and growth of the Cultural improve in consultation with Historic England
Quarter • Scheduled Ancient Monument – sensitive response to
SUMMARY • Protecting existing floor space – replace or the site and its setting especially if link is considered
increase office space of Bastion House • Conservation Areas – respect views into the site from
“Should it be physically possible to site the Centre • The High Level Walkways south and west
for Music at the Museum of London site then there • The open space on the Rotunda • Highest architectural quality
should be considerable public support. It is also • Ironmongers’ Hall • Transport and servicing planning
clear that the City Corporation and other decision • Residential amenity • Streetscape – protect and re-set Wesley Memorial,
making bodies such as Historic England and the GLA • Community uses Aldersgate Street Memorials/plaques.
would also wish to support the proposals. However, • The setting of listed buildings and the
the support is subject to whether the development Historic Park and Garden SITE ACCESS
proposals can successfully address Development • The setting of scheduled ancient monuments
Plan policy, do not cause overwhelming public and archaeology 21.4.4 The site has accessible frontages along London Wall,
objection from the Barbican Estate and also provides • The setting of Postman’s Park and Smithfield at the Rotunda and along Aldersgate Street edges.
for the re-location of the Museum of London. It will Conservation Areas The Aldersgate Street ramp currently serves the
not be possible to accord with every Development • London View Management Framework Museum of London, Ironmongers’ Hall and City of
Plan policy and nor will it be possible to obtain (“LVMF”) London School for Girls, and is used to access car
support from all parties and individuals (or receive • Design Quality parking by Barbican residents.
no objection), but the planning application would be • Environment
determined according to consideration of all material • Access and Inclusive Design ADJACENT RESIDENTIAL AREAS AND AMENITY
considerations and a balance of the benefits and • Sustainability
harm accruing. It should not be assumed that a • Transport 21.4.5 Development adjacent to residential areas is
significant public benefit will override harmful impact • Heritage. constrained by planning policies to protect daylight
upon residential amenity or, for example, impact and sunlight. A planning envelope determined by the
upon designated heritage assets, but nonetheless POTENTIAL AREAS OF MITIGATION daylight and sunlight levels into Thomas More House,
exceptions are allowed to the presumption against Mountjoy House and London House sets a volumetric
harm should there be significant public benefit.” 21.4.3 Potential areas of mitigation of these factors include constraint on the overall scale and massing of
the following: the development. The envelope rises towards the
In addition to the more general impact of the southern edge of the site which is furthest from the
development proposals for the site, specific planning • High Level Walkways – Integrate and improve residential areas.
issues include minimising the impact on heritage pedestrian environment – respect listed buildings
assets and the neighbouring residential properties. guidelines IRONMONGERS’ HALL
If these issues can be addressed positively in the • Rotunda open space - re-provide and re-set features
development proposals, then DP9 consider that there • Ironmongers’ Hall – heritage asset – seek Certificate 21.4.6 Ironmongers’ Hall has occupied its site immediately
is a very good prospect of planning permission being of Immunity if proposed to relocate to the north of the Museum of London since the
secured. • Residential amenity – respect day and sun light to 1920s. The complex of buildings sits on Freehold
the neighbouring residences, avoid overlooking, land with a close boundary condition to the adjacent
provide compensatory amenity benefits, improve site. Without a street frontage, Ironmongers’ Hall
the views and visual impact of the southern part is accessed through an archway under the Museum
of the Barbican Estate, provide improvements of London, and via the vehicle ramp off Aldersgate
and re-integration of the Highwalk as part of the Street. The buildings benefit from Rights to Light
development, mitigate and manage noise and light that affect the potential development volume of the
pollution, create opportunities for improved access Centre for Music adjacent.
and amenity

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21.4.7 The site occupies a location of great historic

significance, and flanks a Scheduled Ancient
Monument. The Barbican Estate is Grade II listed,
and the Centre for Music will significantly change the
setting of both the estate and the monument.

ADJACENT SCHOOL AND AMENITY

21.4.8 The site sits adjacent to the City of London School for
Girls, in particular the all-weather sports area to the
south of Thomas More House.

ARCHAEOLOGY

21.4.9 Land and constructed elements of archaeological

significance are believed to be largely confined to
the public open space to the east of the Museum
of London site. These include the remnants of the
original Roman Wall and its integrated bastions. This
continues south over London Wall.

GROUND CONDITIONS

21.4.10 Basic groundwise and envirocheck desktop studies

have been undertaken. The ground beneath the site
is shown to be sand and gravel which is typical of the
City of London.

SITE INFRASTRUCTURE

21.4.11 Multiple utilities cross the site as confirmed by the

groundwise study. These utilities include gas, water,
sewerage, electrical and communications systems
which are likely to require diversion as necessary.
Further exploration and development should be
carried out at the next stage.
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VISUAL AMENITY AND THE LONDON VIEW

MANAGEMENT FRAMEWORK (LVMF)

21.4.12 The site sits within the local context of St Paul’s

Cathedral. Bastion House and the residential towers
of the Barbican Estate as well as 1 Aldersgate Street
House are visible within a number of the LVMF views
towards St Paul’s from the south. The redevelopment
of the Museum of London, together with Bastion
House, will necessitate consideration of the impact
to these views. In particular the height of the new
development is likely to be constrained to a lower
level than Bastion House, to keep any new building
out of site of the roof line of St Paul’s.

OPTION A

21.4.13 Under site condition A: Daylight / Sunlight standards,

Rights to Light and the London View Management
Framework

The combination of the three parameters applied to

the potential development of the site is illustrated
here.

The three-dimensional envelope is defined by:

• The conventional maximum volume as constrained

by no more than a 20% reduction of light to
neighbouring residential properties, in particular
Mountjoy House, Thomas More House and London
House

• Rights to Light to the benefit of the Ironmongers’

Company

• The likely reduction in height of the existing Bastion

House tower volume, if redeveloped, to respect the
profile of St Paul’s Cathedral. Above: Daylight & Sunlight Envelope for Site Option A

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OPTION B

21.4.14 Under site condition B: Daylight / Sunlight standards

Under the assumption in Site Condition B that

Ironmongers’ Hall is re-provided elsewhere on the
site, the constraints imposed by the Rights to Light
are avoided.

The potential three-dimensional envelope across the

larger site is illustrated. This shows that the major
volume that would be acceptable in terms of Daylight
and Sunlight rises to the south of the site, and to
the east, in which it replicates the existing volume of
Bastion House.

Above: Daylight & Sunlight Envelope for Site Option B

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N.B for key to symbols refer to image 1

13 River Prospect: Millennium Bridge and Thames side at Tate Modern 123

N.B for key to symbols refer to image 1

LONDON VIEW MANAGEMENT FRAMEWORK

21.4.15 The LVMF Protected Vistas do not affect development on the 13 River Prospect: Millennium Bridge and Thames side at Tate Modern 123
site. However, a number of River Prospect Views will constrain Viewing Location 13B
development to an extent. Some of these are shown opposite. A
number of listed buildings will be visible in the views including Thames side at Tate Modern
the Barbican Tower and numerous historic church spires.

Further qualitative assessment would be required by specialists

in future phases of work.
Viewing Location 13B
Thames side at Tate Modern

Panorama from Assessment Point 13A.1 Millennium Bridge – close to the Southwark landing

Panorama from Assessment Point 13A.1 Millennium Bridge – close to the Southwark landing

N.B for key to symbols refer to image 1

N.B for key to symbols refer to image 1

Protected - The dome of St Pauls.

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Panorama from Assessment Point 13B.1 Thames side at Tate Modern – axial to St Paul’s Cathedral
 PART III 235 Visible City churches contribute to the townscape quality of views of the
FEASIBILITY STUDY foreground and middle ground from this place. New development should
respect the historic environment and should not harm the relationship
between these landmarks and the broader composition of Top ofthe
Bastionview.
House

Background
236 Existing development in the background of the view has begun to
compromise the dominance of St Paul’s Cathedral because of its size and
visual proximity. This condition should not be worsened by development that
has a negative visual inter-relationship with the peristyle, drum or dome.
View from Assessment Point
13A.1 Millennium Bridge
– close to the Southwark
landing (At crest of bridge
– best view of St Paul’s).
532051.5E 180619.3N.
Camera height 14.38m AOD.
Aiming at St Paul’s Background
Cathedral (Central axis of 229 Background development crowding in too close to St Paul’s Cathedral has
the dome, at the base of
the drum). Bearing 0.3°, already compromised the ability to appreciate it and this condition should
distance 0.5km. not be worsened. Development should help preserve or enhance the
peristyle, drum and dome’s prominence in the view.

View
Management of the Viewing Location Point
230 The location forms part of a busy pedestrian bridge. It should be maintained at Tat
in such a way that views to St Paul’s Cathedral can be enjoyed as the viewer to St
Above: LVMF River Prospect View // View From
(Axia
Thames Side Viewing Location
moves through the Viewing Location. 5321
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209

Aimin
 PART III
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EASEMENTS, RIGHTS OF WAY AND TITLE ISSUES land is subject to rights of way for the passage of
services and such other rights as may be granted
21.4.16 Advice was sought from the property department of by the leases specified on the title. There are 305
the lawyers, Baker & McKenzie, in order to obtain leases noted on the title which relate to residential
an understanding of the legal position in so far as properties in the Barbican Estate.
it could impact on the working assumptions being
used to progress and evaluate design options for the The City of London freehold site is subject to the
Museum of London site. following two leasehold interests:

They advised that the proposed development site (a) The Museum of London leases which it is
(excluding the Ironmongers’ freehold titles) consists expected will be surrendered as part of its
of 8 separate titles and set out the matters affecting plans to relocate to Smithfield General Market.
these titles which will need to be considered. This is subject to negotiation and agreement
. between the Museum and the City of London
The Ironmongers’ Company land benefits from: Corporation.

1. A right of way with or without vehicles over the (b) A lease of Bastion House (140 London Wall),
service road and the access way from London Wall to with the lease expiring on 31 March 2018 after
Ironmongers’ Hall and then on to Aldersgate Street which the City will regain possession and
together with a right to park service vehicles on the control over this part of the site.
access way (but not on the service road).
The complexity of the legal position is not unusual
2. A right of way for pedestrian access from Aldersgate for a site of this nature in the City of London and it is
Street to Shaftesbury Place. considered reasonable to assume that the site can be
assembled without undue restrictions. Nonetheless,
3. A right of way for fire or other emergency from a new this will depend on the outcome of discussions
fire escape which they have constructed on the Hall. with the Museum and the Ironmongers’ Company
(irrespective of whether or not Ironmongers’ Hall is to
4. The whole of the Ironmongers’ Company land is also be relocated as part of the overall development).
subject to a lease dated 14 April 2003. The proprietor
is Ferroners Limited. That lease is for a term of years The willingness of the City of London Corporation
commencing on 14 April 2003 and ending on 28 to support the process of removing any legal
September 2030. This lease is not excluded from the restrictions relating to the site will be important given
Landlord and Tenant Act 1954 and is also subject to its position as freeholder.
underleases.

The basis on which these rights can be varied will

need to be agreed with the Ironmongers’ Company
by the City of London Corporation (as freeholder) in
conjunction with the Centre for Music project team.

In relation to the access down the ramp from

Aldersgate Street the title entries confirm that this

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22. DEVELOPMENT PRINCIPLES

22.1 The focus of the Feasibility Study to this stage has CREATING THE MIDDLE GROUND RESPECTING THE LMVF AND PLANNING ENVELOPE
been on understanding the range of ambitions
and requirements for the Centre for Music, the 22.6 Create areas of integration between ‘back of house’ 22.11 Configure the three-dimensional massing and form
constraints of the candidate site, and the ways in and ‘front of house’ space in new and unprecedented of the Centre for Music respecting the planning
which the two aspects can be balanced to evolve a ways, to enable musical discovery and learning constraints of the site. Optimise the major volumes
concept that is both visionary and viable. in environments where the conventional barriers towards the south, and terrace down towards the
between all the musical community can be removed. north with roof gardens and raised public spaces.
22.2 The conceptual options that follow have been
informed by a set of themes and principles that OPTIMISING THE ROTUNDA SITING THE COMMERCIAL DEVELOPMENT
the project team has developed in response to the
vision, and in response to the site’s identity and 22.7 Celebrate the urban significance of the Centre for 22.12 Allow scope for a commercial building within the
characteristics. These principles are outlined as Music through a landmark on the Rotunda site. In former Museum of London site within the optimum
follows. particular, exploit the axial views along St Martin’s part of the planning envelope - towards the east of
Le Grand towards the Rotunda, creating a beacon the site.
PROVIDING THE SPATIAL REQUIREMENTS to draw visitors up from St Paul’s Cathedral, and
creating a vertical showcase for the life and activities SITING IRONMONGERS’ HALL (OPTION B ONLY)
22.3 Provide sufficient volumetric development to within.
accommodate the spaces and facilities necessary 22.13 Provide a new location for a better-sited and more
to deliver the cultural vision, with the optimum RELATING TO THE BARBICAN ESTATE visible Ironmongers’ Hall, to offset the impact of
adjacencies and relationships. relocation with a clear improvement in the quality of
22.8 Integrate the Centre for Music into the Barbican, the site and its buildings.
CREATING ACCESS AND PERMEABILITY healing the edges of the site, and offering a more
green and visually sensitive aspect towards the local
22.4 Open up entrances and approaches that welcome residential community.
and embrace the public and visitors to the venue,
revealing the life and activities within, and connecting RELATING THE SCHEDULED ANCIENT MONUMENT
to the Barbican Centre, and connecting the south and AND PUBLIC OPEN SPACE
north parts of the site with a sensitive unlocking of
the ground level route. 22.9 Integrate and preserve views and appropriate access
to the monument, respecting its antiquity and
SITING THE CONCERT HALL cultural significance, so that it is better understood
and interpreted within the context of the City and
22.5 Site the concert hall at the heart of the venue so that Cultural Hub.
it is visible and accessible, with easy servicing access,
and where the cycle of rehearsals and performance ACCESS AND SERVICING
can be experienced in new and extraordinary ways.
22.10 Create clear and functional access for both the front
and back of house programme of the Centre for
Music.

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OPTION A // OPTION B //
23. DEVELOPMENT OPTIONS
IRONMONGERS’ HALL IRONMONGERS’ HALL
REMAINS IN SITU RELOCATED ON SITE
23.1 Two development options have been considered in
detail to demonstrate the capacity of the candidate
site to accommodate the Centre for Music. The
options are tested to provide an appropriate
configuration, aligned with the Initial Brief and
operational adjacency requirements, while respecting
the site constraints and responding to the site
context.

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CENTRE FOR MUSIC - OTHER SPACES

IRONMONGERS’ HALL

COMMERCIAL

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ALDER

ALDER
SGATE

SGATE
STR

STR
EET

EET
LONDON WALL LONDON WALL
ST MARTINS LE GRAND

ST MARTINS LE GRAND
OPTION A OPTION B
N N

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BACK OF BACK OF
23.2 OPTION A HOUSE HOUSE
23.2.1 This Option accommodates the Centre for Music
NGERS
on Site Condition A, with the Ironmongers’ Hall NMO
remaining in situ. IRO

COMMERCIAL
CONCEPT

23.2.2 The Centre for Music fully occupies the site available
to the south of Ironmongers’ Hall, to a new frontage
on London Wall.

23.2.3 Two minor wings extend northwards, flanking

Ironmongers’ Hall.
L
T HAL
23.2.4 The Centre for Music Hall is laid out on an east-
CE R
west direction, with the front to the west, where the CON
rotunda area is occupied by a tall tower containing
the main Core (foyer) spaces.

23.2.5 The platform, and associated storage and back stage

areas are sited to the east.

23.2.6 A commercial office building flanks the Centre for

Music to the east.

FRONT
OF
HOUSE

PLAN OF OPTION

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MASSING

23.2.7 The massing envelope with which this option

conforms is composed of both the planning daylight
/sunlight envelope related to the residences of
Thomas More House, Mountjoy House and London
House, and the Rights of Light envelope associated
with the upper south facing windows of Ironmongers’
Hall.

23.2.8 The constraint on adjacent development imposed

by this composite three dimensional envelope is
addressed in this option through siting the main
concert hall at a level with the platform 12 metres
below street level.

23.2.9 The opportunity for increased height and mass

towards the south of the site is exploited in the option
by a series of stepped layers, terracing towards the
north.

23.2.10 The southernmost part of the site, above the former

Rotunda, is occupied by the highest part of the
building, and occupied by a tower of public foyer,
education, exhibition and entertainment spaces
looking south towards St Paul’s Cathedral.

OPTION A DAYLIGHT & SUNLIGHT PLANNING ENVELOPE

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AERIAL VIEW FACING NORTH AERIAL VIEW FACING SOUTH

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ACCESS AND MOVEMENT CREATING A LANDMARK

23.2.11 Public visitor arrival is likely to be from the north 23.2.16 This Option accommodates the spaces required for
(from Barbican Tube Station and Farringdon East the Centre for Music in a way that emphasises the
Crossrail Station), from the east (Liverpool Street vertical nature of the southern part of the site, in
Crossrail Station and Moorgate Tube Station) and the particular above the Rotunda site.
south (from St Paul’s Tube Station). Drop off by bus, This creates the possibility for a landmark volume,
or taxi, will approach from the north, south, east and visible from the north, south and east at the
west, converging on the main tower. confluence of the main streets, marking the main
public entrance, and containing a dramatic series of
LEVEL -4
23.2.12 Entrances around the base of a tower off Aldersgate visible spaces and activities on the most visible part
Street and London Wall will lead into the main arrival of the site.
space of the ‘Core’. The street level equates to the
likely Circle level of the concert hall, and stairs and RELATING TO CONTEXT
lifts leading down to a sequence of lower ground
levels will connect into the stalls of the concert hall. 23.2.17 The Option provides a highly efficient fit of the
The area at the base of the tower adjacent to the required accommodation and facilities for the
concert hall will provide space for exhibitions, cafés Centre for Music within the available site area. The
and bars and relaxation and interactive areas. relationship of the massing to daylight into the
adjacent properties mitigates the potentially harmful
SERVICING loss of daylight, and provides a roofscape that,
with green roofs and landscaping, will significantly
23.2.13 Service access is provided from the existing road improve the quality of the views towards the south.
ramp off Aldersgate Street, down to a service yard
and loading dock sited at 1st basement level. A 23.2.18 The two wings flanking Ironmongers’ Hall create the
turntable caters for trucks to turn, unload, and return potential for a better quality of boundary relationship
back to Aldersgate Street. Good lifts in the service than that currently created by the Museum of
yard bring deliveries via segregated goods lifts down London.
to platform level.
23.2.19 With the potential decking over of the service area
FUNCTIONAL ZONING AND LAYOUT north of the Ironmongers’ Hall (to conceal and
mitigate the potential impact of vehicle movements
23.2.14 The Centre for Music Hall is sited centrally, oriented below) the northern edge of the site could be
east-west, and occupying a volume rising through six significantly improved and connected at a garden
levels from 3rd Basement to 2nd Floor level. level to the existing landscape to the west of the
Roman Walls.
23.2.15 Public and joint use spaces, including educational,
digital and dining spaces are located to the west and
south of the hall, rising to 5th Floor level.
Spaces for performers, rehearsal and production
support are located in the north east wing.
Management and administration functions are LEVEL -4
located in the upper levels of the north west wing,
addressing Aldersgate Street.

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LEVEL -3 LEVEL -2

LEVEL -3 LEVEL -2

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LEVEL -1 LEVEL 0

LEVEL -1 LEVEL 0

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LEVEL 1 LEVEL 2

LEVEL 1 LEVEL 2

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LEVEL 3 LEVEL 4

LEVEL 3 LEVEL 4

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LEVEL 5 LEVEL 7 / ROOF

LEVEL 5 LEVEL 7 / ROOF

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+44.5 m
07 RIGHTS OF LIGHT

+40.5 m
06

+36.5 m
05

+32.5 m
04

+28.5 m
ABOVE HALL
03

+24.5 m
02
IRONMONGERS’ HALL
+20.5 m
01
LONDON WALL
+16.5 m
GF
CONCERT HALL
+12.5 m
B1

+8.5 m
12m
B2

B3
+4.5 m PLATFORM

BELOW HALL
-1.5 m
B4
6m

SECTION KEY PLAN SECTION THROUGH OPTION A

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COMMERCIAL DEVELOPMENT THE NORTH SOUTH LINK

23.2.20 This Option allows for redevelopment of the area 23.2.25 A pedestrian connection between the Centre for
of the site currently occupied by Bastion House, Music and the Barbican could be created with the
to provide a separate commercial development on establishment of a new north – south Link. The
London Wall, and flanking the Scheduled Ancient route will be created with two new pedestrian
Monument. footbridges across the water bodies in the centre
of the estate, opening up a route from the Barbican
IRONMONGERS’ HALL Centre to the Centre for Music passing St Giles, and
the archaeological site on London Wall.
23.2.21 The existing hall, and its relationship to the public
gardens will be retained in its current position with INTEGRATING THE HIGHWALK
significant improvements possible to the nature and
quality of the perimeter relationship to the south, 23.2.26 The Option creates potential to connect the Highwalk
east and west. The north-west wing of the Centre for to the Centre for Music and also to connect the
Music could be configured to provide a lower building, Highwalk to street level. The Highwalk can connect
set back further from Ironmongers’ Hall than the to the upper levels of the Centre for Music and the
current Museum of London buildings, with wider and public spaces of the Core, which also provides the
more open access onto Aldersgate Street. opportunity to bring the Highwalk to street level.

23.2.22 The service access to the Ironmongers’ Hall will PARKING

be affected by this Option, such that deliveries and
other service access will be limited to access from 23.2.27 Parking will be provided through a combination
the north, returning back up the ramp to Aldersgate of drop off points integrated into the reconfigured
Street. highway, and parking using the existing car parks
under London Wall, and the undercroft below the City
OPEN SPACE of London Girl’s School playing field.

23.2.23 Open space will be created around the southern

corner of the site, where the corner tower of the
Centre for Music meets the street. The Rotunda site
will be transformed to create a street level public
space at the main entrance to the Centre for Music.
This will create space for all visitors to the Centre for
Music to congregate and circulate in and out of the
front of house Core.

23.2.24 Above the main hall, and accessed through the rising
through the levels of the Core, a sequence of roof
gardens and terraces will be created, looking back
towards St Paul’s along St Martin’s Le Grand and
across towards St Giles church.

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BACK OF HOUSE

IRONMONGERS
23.3 OPTION B

23.3.1 This Option accommodates the Centre for Music on

Site Condition B, with Ironmongers’ Hall relocated

BACK OF HOUSE
from its existing site, to new premises within the
Feasibility Study site.

COMMERCIAL TALL
CONCEPT

23.3.2 The Centre for Music fully occupies the site available CONCERT HALL
to the south of the service yard adjacent to Aldersgate
Street. The sites currently occupied by Ironmongers’
Hall and the public garden are incorporated into the
main part of the site for the Centre for Music.
A new Ironmongers’ Hall is located on Aldersgate
Street, on a triangular plot to the west of the Centre
for Music.

23.3.3 A commercial office building is located to the east

of the Centre for Music. The Centre for Music sits
between the two, with a rectilinear main block 10M
extending southwards onto the former Rotunda site.

23.3.4 The main concert hall is laid out on a north-south

orientation, with the front to the south, where the
rotunda area is occupied by a tall tower containing
the main Core (foyer) spaces. The platform, and
associated storage and backstage areas are sited to
FRONT
the north. OF
HOUSE

PLAN OF OPTION

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MASSING

23.3.5 The massing envelope with which this option

conforms is composed of the planning daylight /
sunlight envelope related to the residences
of Thomas More House, Mountjoy House and
London House. The Rights of Light associated
with Ironmongers’ Hall are extinguished with the
relocation to the new site on Aldersgate Street.

23.3.6 The constraint on adjacent development imposed by

this three dimensional envelope is addressed in this
option through siting the concert hall platform 8
metres below street level.

23.3.7 The opportunity for increased height and mass

towards the south of the site is exploited in the option
by a series of stepped layers, terracing towards the
north.

23.3.8 The southernmost part of the site, above the former

Rotunda, is occupied by the highest part of the
building, and occupied by a tower of public foyer,
education, exhibition and entertainment spaces
looking south towards St Paul’s Cathedral.

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AERIAL VIEW FACING NORTH AERIAL VIEW FACING SOUTH

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ACCESS AND MOVEMENT CREATING A LANDMARK

23.3.9 Public visitor arrival is likely to be from the north 23.3.14 Similar to Option A, this Option accommodates the
(from Barbican Tube Station and Farringdon East spaces required for the Centre for Music in a way that
Crossrail Station), from the east (Moorgate Tube emphasises the vertical nature of the southern part
Station) and the south (from Liverpool Street of the site, in particular above the Rotunda site.
Crossrail Station and St Paul’s Tube Station). Drop This creates the possibility for a landmark volume,
off by bus, or taxi, will approach from the north visible from the north, south and east at the
south, east and west, converging on the main tower. confluence of the main streets, marking the main
Entrances around the base of a tower off Aldersgate public entrance, and containing a dramatic series of
Street and London Wall will lead into the main arrival visible spaces and activities on the most visible part LEVEL -3
space of the ‘Core’. The street level equates to the of the site.
likely mid seating level of the Centre for Music Hall,
and stairs and lifts leading up and down to the circle RELATING TO CONTEXT
and stalls levels will connect into the auditorium
across a dynamic void space that reveals the flanks of 23.3.15 The Option provides a highly efficient fit of the
the concert hall. required accommodation and facilities for the Centre
for Music within the available site area, along with
23.3.10 The area at the base of the tower adjacent to the potential for Ironmongers’ Hall to relocate to a
the Centre for Music Hall will provide space for site with equivalent space to its existing condition,
exhibitions, cafés and bars and relaxation and but with modern infrastructure and improved
interactive areas. site presence, visibility and accessibility. The re-
configuration of the site in this way has the potential
FUNCTIONAL ZONING AND LAYOUT to provide an optimum layout for the Centre for
Music, in a rectilinear volume sited centrally, with
23.3.11 The Centre for Music Hall is sited centrally, oriented new publicly accessible arcades running between
north-south, and occupying a volume rising through the new Ironmongers’ Hall and the new commercial
six levels from 2nd Basement to 3rd Floor level. development.

23.3.12 Shared ‘Core’ spaces, including educational, digital 23.3.16 The relationship of the massing to daylight into the
and dining spaces are located to the south of the adjacent properties mitigates the potentially harmful
concert hall, rising to 5th Floor level. Spaces for loss of daylight, and provides a roofscape that,
performers, rehearsal and production support with green roofs and landscaping, will significantly
are located in wings around the main concert hall improve the quality of the views towards the south.
volume, primarily to the east, west and north.
23.3.17 With the potential decking over of the service area
23.3.13 Management and administration functions are north of the site (to conceal and mitigate the potential
located in the 2nd and 3rd levels of the east and west impact of vehicle movements below) the northern
wings in natural daylight. edge of the site could be significantly improved and
connected at a garden level to the existing landscape
to the west of the Roman Walls. The service route
running south to London Wall would also be roofed,
with the potential for the upper level to connect to the
High Walk on London Wall, and descend northwards
LEVEL -3 LEVEL B3 LEVEL B2
towards a new arrival point in the gardens to the
230
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LEVEL -2 LEVEL -1 LEVEL 0

C4M, City of London C4M, City of London C4M, City

OPTION B OPTION B OPTION B

TYPICAL FLOOR PLANS TYPICAL FLOOR PLANS TYPICAL FLOOR PLAN

Scale @ A3 Scale @ A3 Scale @ A3

1/1000@A3 1/1000@A3 1/1000

LEVEL B2
LEVEL -2 Architecture LEVEL -1 LEVEL 0 Architecture Architecture

LEVEL B1 LEVEL B1 LEVEL 0 LEVEL 0

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SK-011 A SK-012 ASK-012
 PART III
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LEVEL 1 LEVEL 2 LEVEL 3

C4M, City of London C4M, City of London

OPTION B OPTION B
TYPICAL FLOOR PLANS TYPICAL FLOOR PLANS

Scale @ A3 Scale @ A3
1/1000@A3 1/1000@A3
LEVEL 1 LEVEL 2 Architecture Architecture
LEVEL 3

LEVEL 1 LEVEL 1 LEVEL 2 LEVEL 2 FOR INFORMATION FOR INFORMATION

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LEVEL 4 LEVEL 5 LEVEL 6 / ROOF

C4M, City of London C4M, City of London C4M, City of

OPTION B OPTION B OPTION B

TYPICAL FLOOR PLANS TYPICAL FLOOR PLANS TYPICAL FLOOR PLANS

Scale @ A3 Scale @ A3 Scale @ A3

1/1000@A3 1/1000@A3 1/1000@A3

Architecture Architecture Architecture

LEVEL 4 LEVEL 5 LEVEL 5 LEVEL 5 LEVEL 6

LEVEL 6 / ROOF
LEVEL 6
FOR INFORMATION FOR INFORMATION FOR I
LEVEL 4

SK-014 A SK-015 SK-015

A
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RIGHTS OF LIGHT

+44.5 m
07

+40.5 m
06

+36.5 m
05

+32.5 m ABOVE HALL

04

+28.5 m
03

+24.5 m
02

+20.5 m
01
CONCERT HALL LONDON WALL
+16.5 m
LOADING BAY
GF

+12.5 m
B1
8m

B2
+8.5 m
PLATFORM

+3.5 m
BELOW HALL 5m
B3

SECTION THROUGH OPTION A

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COMMERCIAL DEVELOPMENT

23.3.18 This Option allows for redevelopment of the area

of the site currently occupied by Bastion House,
to provide a separate commercial development on
London Wall, and flanking the Scheduled Ancient
Monument.

IRONMONGERS’ HALL

23.3.19 The new Ironmongers’ Hall has a frontage onto

Aldersgate Street, with the potential for a highly
visible and formal arrival sequence. The new building
would be taller than the existing Ironmongers’ Hall
(approximately 16 metres above ground level) within
which the main volumetric rooms of the existing
hall (the Banqueting Hall in particular) could be
replicated.

23.3.20 The creation of a pedestrian arcade between the rear

of Ironmongers’ Hall and the flank of the Centre for Vignette view of a potential new Ironmongers’ Hall, looking north up Aldersgate Street
Music, and the location of a potential entrance hall
at the southern apex of the triangular block would
provide a higher quality of setting and access for
the hall. Service access would be provided from
the existing service route off Aldersgate Street with
basement levels connecting to the service yard
shared with the Centre for Music.

OPEN SPACE

23.3.21 Open space will be created around the southern

corner of the site, where the corner tower of the
Centre for Music meets the street. The Rotunda site
will be transformed to create a street level public
space at the main entrance to the Centre for Music.
This will create space for all visitors to the Centre for
Music to congregate and circulate in and out of the
front of house Core.

View of a potential upper floor in a new Ironmongers’ Hall

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23.3.22 Two new pedestrian routes will be created running

between the Centre for Music and the Commercial
Office development and the new Ironmongers’ Hall.
These pedestrian streets will connect northwards
and into the gardens adjacent to the archaeological
site.

23.3.23 Above the main hall, and rising through the levels of
the Core, a sequence of roof gardens and terraces
will be created, looking back towards St Paul’s along
St Martin’s Le Grand and across towards St Giles
church.

THE NORTH SOUTH LINK

23.3.24 A pedestrian connection between the Centre for

Music and the Barbican could be created with the
establishment of a new north – south Link. The
route will be created with two new pedestrian
footbridges across the water bodies in the centre
of the estate, opening up a route from the Barbican
Centre to the Centre for Music passing St Giles, and
the archaeological site on London Wall.

Artists Impression of the potential for a new North - South link.

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INTEGRATING THE HIGHWALK

23.3.25 The Option creates potential to connect the Highwalk

to the Centre for Music and also to connect the
Highwalk to street level. The Highwalk can connect
to the upper levels of the Centre for Music and the
public spaces of the Core, which also provides the
AL
opportunity to bring the Highwalk to street level. DE
RS
GA
PARKING TE

23.3.26 Parking will be provided through a combination

of drop off points integrated into the reconfigured
highway, and parking using the existing car parks
under London Wall, and the undercroft below the City Aerial view of Option B servicing strategy, facing south
of London Girls’ School playing field.

Existing car park beneath London Wall

SERVICING

23.3.27 Service access is provided from the existing road

ramp off Aldersgate Street, down to a service
yard/ loading dock sited at 1st Basement level.
The service yard and loading dock are located
immediately adjacent to the backstage area of the
hall, with goods lifts serving the platform level. The
service yard is connected back to London Wall with a
service route that runs back up from 1st Basement
level to street level between the east flank of the
Centre for Music and the commercial office tower. Ground level view of Option B servicing strategy, facing south up exit ramp

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Centre for Music

North-South Route

Condition A
INDICATIVE
In this condition, the Ironmongers’ Hall remains in situ.

The North South public walk would connect the existing

public spaces in the Barbican Estate with the addition of two
pedestrian bridges, and landscaping of the frontage to the
Roman bastion to enable an easy passage to London Wall.

commercial

KEY:
C4M High Walk
Centre for Music
North South public walk

public route

public space

footbridge

internal route

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Centre for Music

North-South Route

Condition B
INDICATIVE
In this condition, the Ironmongers’ Hall is relocated to a new
site on Aldersgate.

The North South public walk would connect the existing

public spaces in the Barbican Estate with the addition of two
pedestrian bridges, and landscaping of the frontage to the
Roman bastion to enable an easy passage to London Wall.
all ’H
gers
mon
Iron

KEY:
High Walk

Centre for Music North South public walk

public route

public space

footbridge

internal route

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24. PROJECT DELIVERY

24.1 SPECIFIC PROJECT DELIVERY RISKS OF CONCERT

HALL PROJECTS Risk Mitigation

24.1.1 An effective project delivery strategy promotes An exhaustive and collaborative process has led to the Initial Project Brief (see
There has been a lack of a clear understanding of the purpose/ functionality
high performance over avoiding poor performance. synopsis in Section 17). The final Project Brief will be developed and tested
of hall at the beginning leading to frequent changes in design creating delays
However, in designing a high-performing strategy during the concept design stage with study visits so there is absolute clarity
and increased costs.
it is worth considering briefly the factors that as to what is required.
contribute to poor project performance on projects.
Political pressure has led to changes very late in the design stage with The Project Brief, budget and funding implications will be established and
24.1.2 Research has been undertaken by GVA Acuity different hall parameters than originally planned and subpar acoustics. agreed with all key stakeholders before concept design proceeds too far.
into some of the specific project delivery risks The selection of the key members of the design team (architect, acoustician
associated with previous and current concert hall Political/funding/public pressure has led to local (national) architects being
etc.) will be key to achieving the landmark building and world-class acoustics
projects of similar scale and aspiration to determine preferred in lieu of the best internationally which may lead to compromise in
required. Any potential impact on the budget related to the selected team will
what common issues arose and how they could be quality.
also be considered.
mitigated.
Some of the acknowledged outstandingly successful projects were the result of The strength of the team’s ability to identify problems and find solutions
24.1.3 Some key issues are summarised opposite together a strong collaborative relationship between the architect and the acoustician. working together will be critical to working within budget.
with the mitigation measures.

24.1.4 Research carried out by Pricewaterhouse Coopers

% Business Case Governance Implementation
(Insights and Trends: Current Programme and
Project Management Practices 2012) on major
projects identified and rated factors ranging from the Poor estimates / missed deadlines 30 30
quality of the business case to implementation skills
in contributing to poor project performance. The four Lack of executive sponsorship 15 15
main factors align with GVA Acuity’s research and are
as opposite.
Poorly defined goals / objectives 11 11

Change(s) in scope mid project 11 11

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24.2 PROJECT STRUCTURE

24.2.1 Being aware of, and responsive to, the challenges 24.2.6 The Project Directors will lead the Project Team and
facing major projects like the Centre for Music is be responsible for making decisions on a day-to-day
essential to successful delivery. Major projects basis on the project within the agreed brief, budget
require outstanding leaders who have the skills and and programme. The Project Directors will report to
experience to deliver challenging objectives. For the Executive Group.
project leaders to succeed in their roles, they must
be properly empowered, with clear accountability 24.2.7 The Project Directors will be supported by the Project
and responsibility for delivering their projects. Team and an external Strategic Project Manager,
Critically they need experienced clients with strong whose responsibilities will include programme
management and realistic budgets. management in accordance with PRINCE 2. It
will be important to ensure flexibility so that the
24.2.2 Work has taken place on the governance and resource level can be increased should it be deemed
operating model for the Centre for Music focusing necessary.
on the structuring and allocation of rights and
responsibilities between the Barbican and the LSO. 24.2.8 The project delivery structure and governance
This will be finalised at the beginning of the next together with the meeting framework and frequency
phase of work. The contracting party (the “Client”) for will be finalised at the beginning of the next phase,
the next stage of work, and subsequent stages of the when the governance arrangements have been
capital project, will also need to be agreed. This will finalised, prior to the commencement of concept
then provide the necessary clarity of accountability design.
and responsibility. Fundraising
Funders Project Board Key Stakeholders
Appeal Board
24.2.3 The overall Project Delivery Organisation Structure
has been put in place with the above in mind and
identifies the key parties with lines of communication Executive Group
Independent
and reporting together with levels of responsibility as Advisers
shown opposite. Senior Responsible
Owner (SRO)
24.2.4 The Project Board will be responsible for overseeing
the work of the Executive Group and will have
executive powers to change the strategic direction Project Directors
Wider Site
of the project and authorise changes to the agreed Development and
brief, budget and programme. The Project Team will Project Team
Public Realm Works
report to the Executive Group.

24.2.5 The Senior Responsible Owner (“SRO”) will be the Reporting

individual responsible for ensuring that the project Specialist Client Professional Team Internal Teams
meets its objectives and delivers the projected Advisers including External (Business
(Legal, etc.) Project Manager Planning, etc.) Communications
benefits. He will be the owner of the overall business
change that is being supported by the project.
Key Stakeholders: HM Treasury, DCMS, Greater London Authority, City of London Corporation, Arts Council
England

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24.3 PROGRAMME TO COMPLETION to releasing the site as soon as possible after the
current lease on Bastion House ends (2018). The
24.3.1 A strategic project programme has been developed programme has been prepared on this basis.
and prepared by GVA Acuity for the capital projects
(Centre for Music, Barbican Hall and LSO St Luke’s) 24.3.4 Later vacation of the site by the Museum of London
in discussion with the Feasibility Study team. and/or Bastion House would extend the programme,
although in this event the additional time would
24.3.2 The summary programme below shows the key be used to make further progress with design,
stages of work and milestones and this would procurement and fundraising.
be developed into a more detailed site-specific
programme as part of the next phase of work. 24.3.5 It has been assumed that the works necessary to
LSO St Luke’s (which should not need the building
24.3.3 The programme is highly dependent on when the to close) can be completed in 2020 and the works to
preferred site is vacated both by the Museum of the Barbican Hall (which will need the Barbican Hall
London and the occupiers of the Bastion House to close) are undertaken following the opening of the
office block. It is in the City of London Corporation’s Centre for Music.
interests to commence redevelopment of Bastion
House at the earliest opportunity. The City
Corporation intends to work with the Museum of
London on its relocation programme with a view

Outline Programme - Key Milestones (site dependent - see 24.3.3)

Appoint Project Board, Agree Preferred Developed Design Site Possession LSO St Luke’s Centre for Music
August 2019

January 2021
March 2018
September 2016

Appeal Board and Design Option (RIBA Stage 3) enhancements opens

September 2023
December 2015

Campaign Director complete

Select Consultant for Planning Approval Majority of Private

Procurement Support Sector Funding
Pledged
September 2018

September 2024
December 2020

December 2022
March 2017

Concept Design
June 2016

(RIBA Stage 2)
Select/ Procure Private Sector
Consultant Select/ Procure Pre Contract Fundraising Barbican Hall
Team Secure Lead Funder(s) Contractor (RIBA Stage 4) Complete Re-opens

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24.4 PROJECT SCHEDULE AND STAGES PHASE 1

Outline Business Case and Feasibility Study
24.4.1 An outline of the project schedules and stages with
the key deliverables is detailed below • Vision and Strategic Brief
• Set out activity, operating and financial model
• Initial project brief
• OBC/Feasibility Study due end September

PHASE 2
Full business case; RIBA Stage 2

• Implement governance structure

• Select and appointment consultant team
• Concept design (RIBA Stage 2)
• Fundraising begins
• Develop programme plans and operating model

PHASE 3
Developed design / planning

• Finalise operating and governance model

• Developed design (RIBA Stage 3)
• Planning application / approval
• Further fundraising activity

PHASE 4
Pre-construction

• Implement operating and governance model

• Technical design (RIBA Stage 4)
• Procure/package contractors
• Contractor design
• Secure majority of funding to allow construction to
begin

PHASE 5
Construction, fitting out and commissioning

PHASE 6
Handover to Operations

PHASE 7
In Use

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24.5 NEXT STEPS

d Strategic Brief 2015 2016 2017

tivity, operating
24.5.1andIt financial
is envisagedmodel
that the next phase will include an     Q4 Q1 Q2 Q3 Q4 Q1
ect brief “Inception Stage” when feedback on the Feasibility
 INCEPTION  
Study will need to be evaluated in consultation with
sibility Study due end keySeptember
Stakeholders and the consultant team to take Obtain support to proceed from key stakeholders Nov-15
forward the project selected. This will run through
to the Finalise Operational Structure/ Governance 3 months
s case; RIBA Stage 2 end of Q2 2016 when concept design will
commence. An outline programme through to the Agree Project Delivery Client/ Governance 4 months
end of Q1 2017 is outlined opposite.
t governance structure Develop Funding Sources and Strategy 7 months
24.5.2 There are a number of issues which will need to be Undertake Gateway 2 risk potential assessment
d appointment consultant team
resolved at an early stage during concept design (RPA) 3 months
esign (RIBA Stage including
2) the site split and arrangements between Undertake Gateway 2 (procurement strategy)
review. 3 months
ng begins Centre for Music, Ironmongers’ Hall and development
Progress Site Related Issues (e.g. rights of light,
of a commercial building by the City of London
rogramme plans and operating
Corporation, model
as well as close liason with the Museum
highways) 7 months

of London regarding the timing of site possession for Progress Site Assembly / Site Split 7 months
esign / planning this project.
Progress and Resolve Strategy for Ironmongers' 7 months

24.5.3 There are also a number of site-related issues Develop Project Delivery Strategy/ Structure 7 months
perating and governance
includingmodel
highway alignment, service access, the
Select/ Procure Consultant Team 6 months
High Level walkways, daylight/sunlight, rights of
d design (RIBA Stage 3)
light, the London View Management Framework, DESIGN
application / approval
public open spaces, legal and neighbourly issues
Study Visits 2 months
ndraising activity which will take some time to resolve and will need to
be progressed at an early stage. Finalise Site Assembly

ction Agree Preferred Design Option 3 months

Site Investigations, surveys etc. 6 months
t operating and governance model Concept Design (RIBA Stage 2) 9 months
design (RIBA Stage 4) Progress Site Related Issues (e.g. rights of light, highways)
ackage contractors Site Assembly Completed / Site Split Confirmed
r design Finalise Full Business Case 9 months
ajority of funding to allow construction to begin Develop and finalise Project Quality Plan (PQP) 9 months
 
n, fitting out and commissioning
Review of Risk Management Approach  

Operations Review Project Budget

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25.5.2 There are a number of issues which will need to be resolved at an early stage during
245
OUTLINE BUSINESS CASE AND FEASIBILITY STUDY concept design. These include the site split and arrangement between the Centre for
Music, Ironmongers’ Hall and development of a commercial building by the City
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24.6 PLANNING APPROVAL DELIVERY 24.6.5 This means that a series of meetings will need to be
held with all the statutory consultees as well as a
24.6.1 A report on planning matters has been prepared series of public meetings/exhibitions, not only as a
by DP9 which outlines the position in relation to means of demonstrating proper public engagement,
the Museum of London site. The formulation of a but also as a means of identifying and addressing
planning application requires a significant degree of matters of concern to interested parties. The aim
consultation with statutory bodies such as the City would be that the planning application is submitted
of London Corporation, Historic England, GLA, etc. with all such interested parties, as far as reasonably
as well as public consultation which will largely be possible, being satisfied with the proposed scheme.
focused upon the Barbican Estate residents. This necessitates front loading resources and
extending the pre-application period but, in doing
24.6.2 It will be advisable to begin consultations with the so, it should shorten the planning determination
City of London Corporation to discuss and consider process.
all the above material considerations in the context
of the concept scheme as soon as possible. A 24.6.6 It is worth noting at this stage that the Environmental
design will evolve through a series of iterations and Assessment process requires consideration of
at the point where the City Corporation is broadly alternatives not only to the form of development and,
satisfied that there is the potential for a satisfactory for example, servicing arrangements and layout, but
scheme to be promoted, it would be appropriate also the location of the development. This will include
to then engage with wider public consultation on a whether the Centre for Music should be located
more defined development proposal. It is important outside London or in alternative locations within
that parameters governing the design brief are London and thus the process of site selection will
established prior to the wider consultation, but early need to be set out clearly and comprehensively (as
public consultation will be required in any event. described in Section 20).

24.6.3 Any proposal put forward, however, will require 24.6.7 In relation to a strategy in respect of the risk of
sign off by the Client and full design team to avoid Ironmongers’ Hall being listed, it may be advisable
unrealistic options gaining preferred status and other to obtain a Certificate of Immunity from Listing, but
options being seen as inferior in comparison. the pros and cons and risks need to be properly
considered.
24.6.4 Engagement with Historic England and the GLA will
also be appropriate at the early stage together with
bodies such as Transport for London (Highways
and Servicing). The strategy would be to submit a
planning application that is fully developed whereby
all relevant material considerations have been
considered and addressed within the planning
application scheme.

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24.7 PROJECT DELIVERY STRATEGY 24.7.6 At the next phase of work a Project Execution Plan
(“PEP”) will be prepared which will be an overarching
24.7.1 The Centre for Music is a large and complex project document that includes (or references) a number of
of national importance. It will involve creating more detailed plans focusing on specific issues such
something totally new, major financial investment as: the project quality plan; health and safety plan;
and a multitude of stakeholders representing risk management plan; change control procedures;
different interests. The success of the capital project value management plan; contingency management;
will be immediately visible in terms of achieving the stakeholder management plan etc. and sets out the
world-class acoustics and landmark building but to overall strategy for managing the project, describing
an agreed budget and timescales. who does what and how, and defining the policies,
procedures and priorities that will be adopted.
24.7.2 However, the real success of the Centre for Music
can only be gauged in the years after the Centre
opens and the extent to which it is able to engage
and inspire the communities that it serves. In the
timeframe that it will take to bring this project to
fruition, there will be changes in the artistic, social,
political and business environment and further
evolution of the technologies that the Centre for
Music can harness.

24.7.3 In grouping the general and specific factors that Implementation

have had an impact on project delivery risks in other
Poor estimates
projects of a similar scale, an interesting ranking
Selecting the right team
emerges with “implementation” as the highest, Poor communication
strongly underpinned by strong governance and a Inedequate risk planning
well thought out and live business case. Lack of change management

24.7.4 In mitigating these factors, the three key elements of

the control environment are proper transparency of
controls, clear accountability of responsibilities, and
a meaningful audit trail of information to make sure
people are performing their required roles effectively.
An effective risk management process is also critical.
Governance Business Care
24.7.5 PRINCE 2 (Projects IN Controlled Environments)
Lack of executive sponsorship Poorly defined goals / objectives
is the methodology which will be used to project Lack of stakeholder involvement Lack of executive sponsorship
manage the project. It provides a structured Change in environment
project management method and a secure overall Change in strategy
framework for the project work.

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25. CAPITAL COSTS

25.1 SPECIFIC BUDGET RISKS OF CONCERT HALL

PROJECTS Risk Mitigation

25.1.1 Research has been undertaken into some of the Concert halls are high risk in that they are amongst the most complicated type GVA Acuity in discussion with the consultant team has undertaken research
specific risks associated with previous and current of building to create as they are highly complex, bespoke buildings. and benchmarking of other projects of similar scale and ambition to ensure
concert hall projects of similar scale and aspiration the budget is in line with comparable projects.
to determine what common issues arose and these Concert halls have uncompromising acoustical requirements including the The volumetric requirements have been established by appropriately
are summarised in the table together with mitigation large volumes needed to fulfil these requirements. experienced acousticians at an early stage.
measures. Where costs have been underestimated at the outset this has resulted in A realistic initial budget has been prepared at the outset.
an increased budget while the project is proceeding, the risk of insufficient
25.1.2 “Poor estimates during project planning and missed funding and in some cases construction halted for years and/or legal disputes.
deadlines” are the largest contributors to project
There is no simple set of cost drivers that can be addressed to make There will need to be change control in place as concept design develops and
failure, according to Insights and Trends, PwC’s 2012
significant savings without drastically affecting the character and quality of cost checks as the design proceeds so that there are early warnings if the
global survey of project management leaders.
a scheme. budget is at risk of being exceeded.
Costs are mainly driven by the auditorium and foyer areas, so there is little Undertake thorough cost checks at the concept design stage while there is still
flexibility to reduce the cost by value engineering or savings once the size of the opportunity to make some changes.
the performance space, and character and quality of the building has been
determined.
Concert halls by their nature lack repetition and often have an innovative Buildability advice, early testing in the market place and involvement of
design, so they do not benefit from the use of well-tried construction specialist subcontractors should be introduced to avoid later problems.
techniques, or the economies of scale that are available to commercial
schemes of a similar value.

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25.2 BENCHMARKING OF CONSTRUCTION COST 25.2.5 The costs for the Centre for Music are based on
international benchmarking. Although several
25.2.1 At the outset of the Feasibility Study it was agreed concert halls have been built in the UK there is
that it would be important to assemble data on nothing that is directly comparable to the proposed
other projects with similar characteristics that Centre for Music. The brief requires a state of the
could be used to make comparisons in a number art landmark building with world-class acoustics.
of key areas which included the overall gross area In order to determine an appropriate cost allowance
and construction cost. Data was compiled by GVA it has therefore been necessary to consider some
Acuity from a variety of different sources with input international comparators.
from Arup Associates, Nagata Acoustics, Gardiner
& Theobald and information in the public domain. 25.2.6 It was established at the outset that the projects
Whilst complete accuracy cannot be assured due to which were selected as suitable for benchmarking
different calculation methods, etc., all data has been the Centre for Music against would all be symphonic
sense checked. concert halls with a seating capacity of over 1,500 Capacity Construction Cost
Hall Gross Area £/m²
seats which had been completed in the last 20 years. (Main Hall) (Current Prices)
25.2.2 Cost data for UK projects was regionally adjusted to In the event 11 international projects were selected
UK average prices using Building Cost Information from North America, Europe, Japan and one project Philharmonie Luxembourg 1,506 seats 20,000 m² £ 122m £ 6,080 /m²
Service data and updated to current prices based on (The Sage, Gateshead) from the UK.
in house data on inflation. Costs for international The Sage, Gateshead 1,640 seats 20,000 m² £ 112m £ 5,584 /m²
projects were converted to sterling based on 25.2.7 The data on outturn construction costs were analysed
exchange rates at the date of completion and updated which involved updating them for inflation and
Sapporo Concert Hall, Japan 2,008 seats 20,746 m² £ 123m £ 5,914 /m²
to current prices. converting the cost into £/m2. Excluding the highest
and lowest cost per m2 the nine projects ranged Bartok National Concert Hall,
25.2.3 The data include a number of UK concert halls between £5,207/m2 and £6,750/m2. 1,656 seats 20,750 m² £ 67m £ 3,223 /m²
Budapest, Hungary
(Perth, Waterfront, Symphony Hall Birmingham,
Bridgewater and Sage) as well as some of the more 25.2.8 Gardiner & Theobald proposed working to the Stavanger Concert Hall, Norway 1,500 seats 22,000 m² £ 149m £ 6,750 /m²
significant UK theatres (Royal Shakespeare Theatre, average which (if the upper and lower extremes
Lowry, Wales Millennium Centre and Royal Opera are discounted) is £5,350/m2. Gardiner & Theobald
House). Most of the UK projects are clustered in the have then added a London weighting to this figure DR Koncerthuset, Copenhagen 1,809 seats 26,000 m² £ 151m £ 5,808 /m²
£4,500/m2 to £5,000/m2 bracket, the exception being (currently 11%) to give a construction cost for the
Sage, Gateshead at £5,584/m2. Centre for Music of £5,950/m2. This is higher than Walt Disney Concert Hall, Los Angeles 2,265 seats 27,870 m² £ 175m £ 6,430 /m²
any UK project but considerably less than landmark
25.2.4 The limitations of international benchmarking projects by internationally recognised architects such Centre for Music (Proposed) 1,900 seats 29,845 m² £ 176m £ 5,893 /m²
including accuracy and consistency of published data, as in Lucerne or Walt Disney Hall, Los Angeles. This
differences in construction methods and regulation, has then been adjusted for the technical equipment
economic cycles and the vagaries of exchange rates costs and digital infrastructure to give an overall rate Harpa Concert Hall, Iceland 1,800 seats 30,300 m² £ 146m £ 5,207 /m²
mean these data should be treated with caution in the order of £5,893/m2 (excluding contingency and
although all figures have been sense checked. In site enabling works) used. KKL Luzern 1,840 seats 35,000 m² £ 274m £ 7,817 /m²
some cases this indicated problems with the data
such as the inclusion of ancillary space such as car 25.2.9 A summary of the benchmarking is detailed below,
Helsinki Music Centre, Finland 1,704 seats 38,600 m² £ 193m £ 5,350 /m²
parking in either the cost or area. with more detail in Appendix 7A.

Philharmonie de Paris, France 2,400 seats 62,000 m² £ 305m £ 4,916 /m²

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25.3 SUMMARY OF OUTLINE PROJECT BUDGET

Capital Costs Centre for Music Barbican Hall LSO St Luke’s Total
25.3.1 The objective has been to prepare a realistic initial
budget at the outset with limited exclusions. £m £m £m £m
The design work which underpins this budget
is at a feasibility stage but given the extensive Construction and fittings
221.1 27.3 0.6 249.0
benchmarking which has taken place the starting (including 7.5% contingency)
point is on a comparable basis with other completed
projects. Professional fees 38.8 4.6 0.1 43.5

25.3.2 The budget has been prepared by GVA Acuity and Client costs 5.3 0.7 0.0 6.0
Gardiner & Theobald with Gardiner & Theobald
advising on all construction related costs, furniture,
fittings and equipment, inflation etc. Advice has been Client contingency 13.2 1.6 0.1 14.9
sought from a number of sources including Arup
Associates on technical equipment budgets, Baker Site specific costs (demolition, etc.) 39.0 0.0 0.0 39.0
& McKenzie LLP on legal costs, Gordon Ingram
Associates on Rights of Light compensation, Arup Total 317.4 34.2 0.8 352.4
Associates, GVA Acuity and Gardiner& Theobald
on fees and Nagata Acoustics on fees and acoustic
models. The Barbican Centre and LSO have advised
on client costs, fundraising costs, instruments etc.
and overviewed the budget.

25.3.3 A summary of the project budget at current costs is

as the following table.

25.3.4 A more detailed version of this budget is presented at

Appendix 25A.

25.3.5 A contingency allowance of 7.5% has been included

as part of the construction cost and a separate
overall client contingency of 5% has also been added.

25.3.6 There is no material difference in costs between

the options with Ironmongers’ Hall remaining in
situ or being relocated. This is because the costs of
relocating Ironmongers’ Hall are offset by reduced
construction costs for the Centre for Music as a
result of a more efficient use of the site.

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25.4 SITE SPECIFIC COSTS • Any works required to service access for 25.5.5 Any change in the rate of tender price inflation
Ironmongers’ Hall (if it is not relocated). would have a significant effect on the outturn cost as
25.4.1 Site specific costs total £39m and include the would any delay in the completion date. This will be
following: • Moving and re-providing the Rotunda Open Space monitored as the project proceeds and early warning
and Ironmongers’ Garden. given of a change in the economic climate if that is
• Demolition of Museum of London and Bastion House possible as occasionally external factors such as
• Demolition and re-provision of Ironmongers’ Hall 25.5 INFLATION ASSUMPTIONS regulatory forces or the financial markets can affect
• Enabling works a project such as this with little warning.
• Associated costs of statutory consents, fees, client 25.5.1 The costs presented above are in current day terms,
costs, client contingency, etc. before accounting for inflation. Estimates have been 25.5.6 Gardiner & Theobald also tested the sensitivity on
made of the impact of inflation although this will the total impact of inflation by adjusting the assumed
25.4.2 The cost of demolition of the Museum of London and depend on the exact programme and timing of works. inflation rate for 2020 onwards. Using a range
Bastion House has been based on the size of the of inflation rates between 1% and 3% from 2020
buildings and current average rates for demolition 25.5.2 Gardiner & Theobald have developed, over several onwards, the total impact of inflation on the project
costs, together with an allowance for asbestos years, their own approach to the problem of budget would be estimated to be between 20% and
removal given the age of the buildings. forecasting the trends in construction tender prices. 30%.
The Tender Price Indicator system relies on two
25.4.3 Scanned record drawings of the existing elements:
Ironmongers’ Hall were used by Gardiner & Theobald
to arrive at an estimated approximate area of • a series of computerised cost models for differing
3,180m2. However, in the absence of detailed scale types of projects; and
drawings, it was agreed that it would be prudent for
the time being to base all calculations on a rounded • the contribution of state-of-the-market information
figure of 3,500m2. The total cost of replacement has by those at the workface of the industry, the
been based on the creation of a new building of this contractors and specialist sub-contractors.
size.
25.5.3 Using this system, the assumptions which Gardiner
25.4.4 Enabling works have been estimated to cover the & Theobald have used for inflation are as below:
costs of:
2020 and
2016 2017 2018 2019
• Re-routing underground services as the building beyond
moves beyond the current building line and into what 4.5% 3.5% 3.0% 3.0% 2.5%
is currently pavement.
25.5.4 Based on these figures, the total allowance for
• Additional work outside the current assumed site
inflation is likely to be approximately 25%, depending
boundary to reflect the assumed need for service
on the exact timing of the project, particularly the
access for articulated lorries via Aldersgate Street/
timing of construction as that represents the largest
London Wall.
element of costs.
• Any necessary adaption to the ramp from London
Wall.

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26. CAPITAL FUNDING

26.1 CONTEXT 26.2 PRIVATE SECTOR FUNDING POTENTIAL further down the line.
26.2.1 Ruth Jarratt’s report, which is attached at Appendix
26.1.1 Given the scale of this project, a clear plan is required 26A, considers a number of factors associated with 26.2.7 In the context of the proposed fundraising target
to ensure that the project can be funded. Work has the private sector fundraising campaign for this of £100m-£150m, this would put the lead gift at
been carried out as part of the Feasibility Study to project. Her key observations and findings are as around £75m-£100m and the Centre and/or the main
consider possible sources of private sector funding follows. auditorium would probably be named for that lead
and to assess the level of funding that might be donor. The remaining £25m-£50m would then be
achieved. 26.2.2 The fundraising campaign associated with the made up of smaller gifts from major donors or trusts
creation of the Centre for Music is likely to be one and foundations who might be offered naming rights
26.1.2 Cultural projects of this nature are attractive of the biggest so far in the arts sector here in the over subsidiary spaces.
to donors, sponsors and charitable trusts and UK. However, when set against other arts projects
practically all comparable projects in recent years worldwide, or indeed against other projects in the 26.2.8 Given the proposed timeframes for the project, it
have engaged in major fundraising campaigns to wider UK cultural sector, it is not so huge. is vital that action be taken now to put the capital
fund part or all of their capital costs. It is therefore fundraising leadership in place. There is a raft of
reasonable to assume that contributions from the 26.2.3 The project partners might look at a fundraising work for them to undertake before the campaign
private sector will play an important part in funding target in the range of £100-150m, which would put it proper can begin: clarifying the case for support,
this project. at the top of the range for cultural projects in the UK developing the campaign strategy and galvanising the
to date. The project as conceived has the qualities to commitment of key advocates around the globe. In
26.1.3 Equally, it is important to ensure that fundraising attract support at this high level. order to leave a sufficient window for the cultivation
expectations are realistic and achievable to avoid and solicitation of gifts, this should be set in motion
creating inappropriate assumptions regarding the 26.2.4 The vision for the project is very strong, and if immediately.
level of funding and putting the project at risk at adhered to should be very attractive to international
a later date. Setting a fundraising target that is philanthropists with business interests in London. 26.2.9 The overall conclusion from this analysis is that
challenging but achievable is preferable to creating The quality of the building itself will be important this project is capable of attracting significant
a target that is too ambitious and which results in here. private sector funding provided that the fundraising
reductions in the scope of the project at later stages campaign is well structured and key individuals are
or requires unexpected increases in funding from 26.2.5 Outstanding leadership will be the key to success. Sir involved in drawing in those with the ability to donate
other sources. Simon Rattle’s continued advocacy for and dedication significant sums. Equally, the fundraising target
to the campaign will be essential. Exceptional should be set at an achievable level bearing in mind
26.1.4 In order to assess the potential sources of funding, leadership will also be required from senior the likely amount that could be raised from a lead
a fundraising consultant, Ruth Jarratt, was engaged volunteers and the campaign team: the Capital donor and the balance of funding between the lead
to advise on the opportunities for funding from the Campaign Chair and Capital Campaign Director donor and other sources.
private sector, and discussions have also been held will need to be people of considerable experience
with key stakeholders to ascertain the scope for in working on appeals of this scale. The active 26.2.10 It is also clear that in order to attract this level
funding from public sources. involvement of senior political and City figures with of funding the project must be visionary and
international contacts and influence will be a distinct transformative, both in terms of a landmark and
26.1.5 The largest proportion of the capital cost relates advantage. inspirational building and through an ambitious,
to the creation of the Centre for Music whilst other innovative and far-reaching programme of artistic
elements relate to specific aspects of the project (e.g. 26.2.6 Boldness will also be a necessary quality, especially and educational activity.
refurbishment of the Barbican Hall). At this stage in not giving away naming rights too cheaply. The
the fundraising potential is being considered for the bigger the lead gift the less risky the campaign: it is
project as a whole although it may be appropriate advisable that naming rights to the Centre for Music
at later stages to consider separate fundraising command around 75% of the entire fundraising target
campaigns for specific elements of the project. if the campaign is to avoid running into difficulty

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26.3 ESTIMATES OF PRIVATE SECTOR FUNDING 26.3.5 It should be noted that these figures are stated in 26.4.4 Once a lead donor has been secured, work would
present day terms and the actual cash that would progress to draw in other major funders – individuals,
26.3.1 Having considered the levels of lead gifts for similar need to be raised would need to increase to reflect companies and charitable trusts – as part of the
projects and the nature of this one, it is considered inflation which, over the lifetime of the project, ‘silent’ phase of the campaign. A more public facing
that the most that could reasonably be expected to be would increase these targets by 20% or more. This is campaign would most likely be launched at a later
secured from a lead donor is in the range of £75m to another reason for not setting too optimistic a target stage, with a view to securing the final elements of
£100m, in line with Ruth Jarratt’s view. This would, in present day terms. the target. The intention would be to ensure that
for most donors, be a unique lifetime gift for which the majority of private sector funding was secured
they would expect recognition in terms of naming 26.3.6 The success, or otherwise, of a private sector prior to the commencement of Phase 5 of the project
rights and prominence as the leading private funder fundraising campaign will depend on the vision (Construction).
of the project. for the project being ambitious and the specific
characteristics of the Centre for Music including its 26.4.5 The campaign would need to take into account other
26.3.2 If the lead gift were to represent 75% of the total location, design, function and reach. The target would major fundraising campaigns for cultural projects,
private sector fundraising target, then this would need to be reduced from the levels stated above if the although as noted in Ruth Jarratt’s report the general
indicate a total target in the region of £100m to scale or quality of the project were to diminish from experience in London is that fundraising campaigns
£135m, and possibly stretched to £150m. This would the currently assumed levels. for strong projects can succeed even whilst other
leave a sum of £25m to £50m to be raised from a campaigns are running.
wider campaign of other naming rights, contributions 26.4 FUNDRAISING CAMPAIGN
from trusts and foundations, corporate support and 26.4.6 Particular care would be needed to coordinate
gifts from the wider public. These figures, whilst 26.4.1 The fundraising campaign will build upon the track fundraising with other campaigns for projects within
large, are considered broadly achievable given the record of the partner organisations in raising funds the City of London, such as the Museum of London’s
nature of the project and the organisations’ past from individuals, companies and charitable trusts, relocation to Smithfield. This is not considered
fundraising records. both for ongoing activities and for capital projects. to be problematic since the individuals likely to
Existing supporters will be encouraged to contribute be approached as lead donors for the Centre for
26.3.3 To put the scale of the private sector fundraising to the project, although securing new donors – Music are likely to be very specifically interested
target into context, the Royal Opera House which has including for the lead gift – is likely to be essential for in supporting the LSO or a musical project more
a very high profile and successful fundraising track the success of the campaign. generally,
record, secured some £100m for its refurbishment
prior to reopening in 2000 (in addition to some 26.4.2 The first step in developing the fundraising campaign 26.5 PUBLIC SECTOR FUNDING
£78m of lottery funding). This would amount to will be to appoint the Chairman of the Fundraising
£150m in 2015 so this is not an entirely unrealistic Appeal Board and the Campaign Director. Other 26.5.1 As with similar major public projects of this nature,
target, although this is at the upper end of what is members of the Appeal Board would also be a plural funding model is likely to be appropriate.
considered achievable for this particular project. appointed at an early stage. The shape of the A contribution to the capital costs from the public
campaign would be developed in conjunction with the sector would unlock the private sector funding and
26.3.4 Having taken all relevant factors into account, it is further development of the project during Phase 2. assist in realising the significant cultural, social and
considered that a private sector fundraising target of economic benefits that have been described in this
between £100m (cautious) and £150m (ambitious) is 26.4.3 Approaches to potential individual donors would report.
likely to be realistic. A target of £125m is considered begin early on in Phase 2, through existing
achievable without being too optimistic (and hence relationships and contacts of the partner 26.5.2 Clearly it is for public sector stakeholders, including
at greater risk of not being achieved) and this has organisations. These approaches would be the commissioners of this study, to consider whether
therefore been used in the economic analysis in the progressed over a period of 12-18 months with a view a contribution to this project is appropriate and, if so,
Outline Business Case. to a lead donor (or donors) being secured by early the extent of such a contribution.
2017 i.e. before the end of Phase 2.

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27. OPERATIONAL FINANCIAL MODEL

27.1 SUMMARY 27.2.2 In effect, therefore, the incremental costs of • A digital space
managing the new venue is part of the OBC model • Studios, rehearsal spaces, hospitality spaces
27.1.1 The next phase of the Feasibility Study will look resulting in significantly reduced overall cost. As a • Conference venues and auditoria
to build a detailed operational and management consequence the net cost of £5.6m, estimated in the • Commercial Exhibition Hall
model for Cultural Hub activities taking advantage of OBC, compares favourably with other similar venues • Conservatory and banqueting spaces
potential synergies. in the country. • Five restaurants, bars, cafés
• Four retail outlets
27.1.2 The Outline Business Case (OBC) financial 27.2.3 The next phase of this project will examine in greater • Three car parks.
projections have been based on what is being detail the potential, for income and expenditure,
currently achieved in terms of income, space of using the venues, skills, brand and overall
utilisation and operational cost. The next phase of the capabilities of the three organisations. Specifically: 27.3 THE OPERATING MODEL
Feasibility Study will look at ways in which the three
organisations can improve performance. • The design and accommodation of the new venue 27.3.1 The activities of the three organisations, catering
• Optimal buildings and venue utilisation for approximately three million visitors a year, will
27.1.3 It will look to improve performance targets across • Further potential for income generation be complex. To maximise value an effective model
all areas of activity, and most especially look at • Staffing structure and operating model. will need to ensure good utilisation of facilities,
building income streams to reduce reliance on public matching demand and supply with the organisations’
funding. Initial targets of a 2% improvement in venue 27.2.4 Capital costs are based on venue specifications, ability to deliver while meeting audience and visitor
utilisation and 5% increase in income over and above and the schedule of accommodation and the quality expectation.
the current model will be an aim of the exercise. If expected of a world-class landmark building.
achievable, this could significantly reduce the annual The project’s next phase will investigate how the 27.3.2 Focus during the next phase of the operating model
revenue shortfall. adjacencies, design and attributes of the venues and will centre on:
facilities could work in the most effective manner.
27.1.4 Staffing and other operational costs will also be • Venue utilisation potential beyond OBC targets for
reviewed but more detailed analysis needs to be 27.2.5 This detailed model will help to design a building each venue category –target to increase utilisation by
undertaken to see if further efficiencies can be that provides the best experience for audiences minimum 2%
achieved. and visitors, and through effective design reduce • Value rate card for each venue
operating costs and improve income. The review will • Function, department and staff structure
investigate visitor flows and their integration with • Budgets by activity.
27.2 DETAILED REVIEW OF THE POTENTIAL the buildings’ venues and the staffing to meet these
OPERATIONAL MODEL operational needs.
27.3.3 The staffing model is likely to be split between an
27.2.1 The Terms of Reference for this study consider how 27.2.6 The artistic, education and commercial programme organisational specific structure delivering the
a new state-of-the-art Centre for Music could be of the three organisations will be delivered through specific needs of each organisation and a staffing
delivered in the City of London and accordingly, the a complex array of venues, facilities and spaces, to model for the common platform of functions, largely
financial case of the OBC is predicated on the new include: supporting the venues and their activities.
venue as part of the Cultural Hub. The operating
model is therefore built on the basis of the obvious • Four concert halls
synergistic benefits of extending the current working • Five theatres
framework. • Three galleries
• Three cinemas
• Dedicated education and learning spaces
• A Club Space

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27.4 INCOME GENERATION

27.4.1 The OBC has set income targets for activities and
venues based on the Barbican and LSO’s experience
in these areas. The review set out above will
investigate improvements to make the conjoined
business model more effective in reducing cost and
improving income potential.

27.4.2 A key aspect of the next phase will look at the overall
income potential of the organisations, particularly in
relation to commercial potential. As previously stated,
the Barbican has successfully built a professional,
sales driven commercial function successfully
growing its income streams. With the Centre for
Music and a significant increase in potential, the next
phase can examine how assets can be used to grow
current income streams and build new activities
delivering additional income.

27.4.3 Together with venue utilisation, the focus of the study

would look to increase income with a possible target
c3% to 5% on current income projections of £12.5m.
This is a rough estimate and the next phase will
determine what income targets can reasonably be
expected.

27.5 GOVERNANCE AND MANAGEMENT MODELS

27.5.1 The governance and management framework review,

together with the operational model, will determine
the allocation of budgets between the organisations.

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28. OPERATIONAL GOVERNANCE MODEL

28.1 INTRODUCTION 28.2.2 Of the six venues reviewed: 28.3.4 In the case of Berlin, the Philharmonie (hall) is
managed by a public foundation, Stiftung Berliner
28.1.1 The LSO’s residency at the Barbican is contractually • There are two where the venue management and with overall responsibility for both the Berlin
based, setting out an annual number of its the orchestra are integrated within a single entity Philharmonic and the Philharmonie. The Board of
performances in the hall, its grant from the City – Berliner Philharmonker and Philharmonie, and Trustees of the Foundation itself has nine members
of London Corporation, rented office spaces and Luxembourg’s Philharmonic Orchestra (Lëtzebuerger and includes three elected members from the
other services. The residency has provided the Philharmoneschen Orchester) and the venue, the German Federal Parliament, the Mayor of Berlin,
LSO with financial stability and infrastructure and Philharmonie Luxembourg. three members of the Orchestra, members of
is an important enabler in its success. In turn, the the Friends of the Orchestra and the Chair of the
Barbican’s artistic programme is augmented by a • In the other four examples reviewed – San Francisco, Orchestra Academy.
world-class orchestra. The relationship therefore is a Los Angeles, New York and Amsterdam – the venue
symbiotic one, benefitting both organisations. and the orchestra are independent entities. 28.3.5 Luxembourg Orchestra is run as a department of
the Philharmonie, and as such has the weakest
28.1.2 In recent years, with the Guildhall School of Music • In four of the six examples (San Francisco and Los constitutional position of the six case studies, so the
and Drama, this relationship has grown beyond its Angeles, Luxembourg and Berlin), the building is two examples where the hall and orchestra are part
contractual base as the three organisations now owned by a public sector entity (variously, city, state of a single organisation represent very distinct cases.
work together in creating a unique Culture Hub in the and county).
City of London. The building of Milton Court and a 28.4 PRIMACY
grant from the Higher Education Funding Council for The six therefore represent a wide variety of relevant
England (HEFCE) strategic fund helped to build the circumstances. The brief synopsis below outlines 28.4.1 In all cases the orchestra has some sort of
basis of a common platform of activities, extending how the key aspects of a working model have been ‘primacy’ vis à vis the venue. Primacy has, broadly,
the boundaries of what an orchestra, a conservatoire addressed in these venues. three dimensions: priority in securing dates for
and an arts centre could achieve individually. performance or rehearsal; the ability to veto (or
28.3 INTERNAL GOVERNANCE otherwise influence significantly) what else happens
28.1.3 The Centre for Music, as this study sets out, could in the venue; and, third, favourable financial terms
be the catalyst to deliver an extraordinary and 28.3.1 The internal governance models of these compared with other users.
transformative artistic and educational offer in the organisations are varied:
digital age. With world-class organisations, working 28.4.2 Primacy is usually recorded in a document, variously
in world-class facilities, the critical mass of activity 28.3.2 New York Philharmonia, LA Philharmonia, San called a lease, constituency agreement or licence,
can build a Cultural Hub with significant international Francisco Symphony, the LA Music Center and negotiated between the two parties.
impact. Inevitably the governance and management Lincoln Center are charitable organisations
arrangements of the three organisations will lay the registered and governed by self-regulating boards 28.4.3 Where the venue and orchestra are co-managed, the
foundations of this partnership. with fiduciary responsibility for the organisation. relationship is obviously not documented in the same
They co-opt their own members. There is player way, and depends on managerial norms and board
28.2 INTERNATIONAL OPERATING MODELS representation on the orchestra boards but in no policy.
cases is it a majority. The orchestras are not self-
28.2.1 As part of the Feasibility Study, Adrian Ellis governed. 28.5 PRIORITY IN SECURING DATES
Associates (AEA) undertook a governance
benchmarking study, reviewing the operational 28.3.3 The Concertgebouw hall is a private foundation; the 28.5.1 All the orchestras have this, and there are similar
relationship between venues and orchestras. Of the orchestra board is self-selected (11 members) and arrangements in all cases, in which the orchestra
twelve international models from a long list, their always includes three musicians (elected by the has a period of time during which it can hold dates.
report focuses on six case studies. orchestra). Orchestras plan between one and three years ahead
usually, and their rehearsal needs are usually

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articulated clearly. 28.9 THE CENTRE FOR MUSIC AND CULTURAL HUB 28.9.5 The next phase of the Study, with all the
28.5.2 In all cases, too, the formal arrangements are participants and stakeholders, will explore the
supported by a series of informal and ongoing 28.9.1 For the three organisations and their primary artistic, operational, legal and financial aspects of
relationships between venue and orchestra, and stakeholders governance and contractual establishing such a model.
intelligent expectation management. relationships already exist which, as clearly
observable from the AEA report, are not dissimilar 28.9.6 Additionally, in the longer term an essential
28.6 PRIORITY IN PROGRAMMING to other comparative organisations in that they are prerequisite for any solution will be the organisations’
reflective of local circumstances. The essential ability to build their income base and deliver an
28.6.1 Here, in contrast, there is a wide variety in the spirit feature is the City of London Corporation. increasingly plural funding model. Over the longer
and letter of arrangements. For example, in the case term, the level of financial support from the public
of LA Philharmonia, it has the right to programme 28.9.2 Delivering a Centre for Music and the proposed sector demands such an approach.
classical, jazz and opera during a nine-month changes to the Barbican Hall will be a step
period in Disney Hall – i.e. programme the orchestra change for all three organisations and provides an 28.9.7 A rigorous examination of such a model should start
and present other entities. At the other end of the opportunity to thoughtfully consider a future model with a completely open and objective review, albeit
spectrum, in Luxembourg, notwithstanding co- that is most fit for purpose. with the clear understanding that it protects the
management, the orchestra has to compete in the independence of the LSO and the centrality of the City
calendar. 28.9.3 There are a number of factors that will need to of London Corporation.
be taken into account in considering a future
28.7 PRIORITY IN FINANCIAL ARRANGEMENTS governance model. Firstly, its implications for the 28.9.8 For the purposes of conjecture at this stage,
three organisations, particularly their independence an example of such a model could include an
28.7.1 There is little consistency in the financial and ability to deliver core objectives. Secondly, the entity, with each affected organisation as a
arrangements given that they reflect varied relationship with the City of London Corporation, stakeholder, that could manage the operations
ownership and governance models – from shared owner of the Barbican Centre and the Guildhall of the building, maximise income opportunities
losses, grant giving, heavily discounted rates on hall School. Thirdly, long term effectiveness and through a commercial subsidiary all within a cultural
use to market rates. sustainability and the ability to deliver on the organisation.
collective vision. Fourthly, the position of the Arts
28.7.2 Similarly, with venue management costs, there is a Council in that it is likely to have a more significant 28.10 THE NEXT STAGE
range of practice in terms of who is responsible for role in the Cultural Hub than its current position.
stagehands, ushers and box office, but in all cases And finally, any reasonable requirements set out by a 28.10.1 During the next phase of the study, a working party
there are contra-charging arrangements. major private funder or funders. with support from legal and taxation experts will
examine the potential framework for a suitable
28.8 IN SUMMARY 28.9.4 In broad terms, there are three possible scenarios governance model.
with perhaps a number of variants that could be
28.8.1 The governance and management models considered.
internationally vary significantly and are as likely as
not to be a consequence of historical happenstance • The current working methodologies and practices
where over decades models of operation have could be extended to the Centre for Music.
developed to reflect changing local circumstances. • The Centre for Music could be managed by the
As the AEA report notes, some of these work more London Symphony Orchestra.
successfully than others. See Appendix 10B for a • A new working model enabling the three
detailed version of the report. organisations to individually and collectively deliver
their strategic objectives and realise the Vision
espoused in this Feasibility Study.

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29. STAKEHOLDER CONSULTATION

29.1 INTRODUCTION 29.2 INITIAL STAKEHOLDER CONSULTATION 29.2.4 A report setting out the results of these consultations
was submitted to the Steering Group in June 2015
29.1.1 The Terms of Reference for the Feasibility Study 29.2.1 The specialist arts, heritage and cultural sector (copy at Appendix 29A). Key findings from the
include the requirements to consider the role of a management consultancy, Bonnar Keenlyside, consultation include:
Centre for Music within the wider musical sector were commissioned by Arts Council England (ACE)
nationally, in London and within the context of the to undertake an independent sector consultation • The general view of consultees was that London has
City’s Cultural Hub. exercise with a wide range of international, national fallen behind in terms of first class concert venue
and regional stakeholders in order that findings from provision and, although it still holds pole position,
29.1.2 To inform this element of work, two consultations this consultation could inform subsequent stages of if nothing changes it will fall further behind other
have taken place during the course of the Feasibility the Feasibility Study. European and Asian cities, threatening its position for
Study. Details of these exercises, their findings and the future.
an explanation of how they have informed the work of 29.2.2 The purpose of this initial phase of sector
the Feasibility Study are set out below. consultation was to establish who the stakeholders • A new concert hall with a good acoustic could be
are and the nature of their interest; to capture electrifying for audiences and of great benefit to
the broadest range of views about the proposed London and the rest of the UK, but such a venue
Centre for Music at this point; and to find out how should be open to ensembles from across the
stakeholders might wish to be consulted through country.
later stages of the project as it develops.
• The single biggest issue emerging was the assertion
29.2.3 Some 65 consultations were completed between that the new venue would be a net consumer of
28 April and 26 May 2015. Individual consultations public subsidy, especially in the area of revenue
included the international associates of the Barbican funding, with the clear danger that this could
Centre; international venues and other London adversely impact the sector.
venues; venue programmers; the BBC; London and
regionally based orchestras; agents who manage • Opportunities for regional orchestras and digitally
the careers of major conductors and who also tour shared work were welcomed on the one hand but
international orchestras into London and national on the other were still seen to be London-centric,
and regional orchestras around the world; and potentially damaging regional partnerships.
a range of youth music organisations and youth
education providers. • A view that the proposed location could perpetuate
perceptions of elitism and imbalance tilted towards
London.

• Strong support for the creation of a cultural hub

across the Square Mile.

• The Feasibility Study should address the impact on

London’s music ecology.

• The communications strategy of the partners is

at present sparse and delivering an inconsistent
message.

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29.3 SUBSEQUENT CONSULTATION 29.3.4 There were also important issues and concerns, 29.4 RESPONSE
however, the main one being about how the Centre
29.3.1 In order to give guidance and to follow up in more for Music would be funded, both as to its construction 29.4.1 Findings from the Bonnar Keenlyside consultation
detail the responses given to Bonnar Keenlyside, and its ongoing running costs. Many considered and from Peter Phillips’s work were fed into the
Peter Phillips was appointed as Independent Adviser that if it were partly funded from the public purse project as they emerged and have been taken into
to the Feasibility Study in June 2015. Mr Phillips it might starve other worthwhile cultural projects consideration in developing proposals for the Centre
is Chairman of Arts Council England Midlands, an of funding. There was also some concern that such for Music. The points raised have been addressed
experienced Non-Executive Director in the music a landmark project would be more attractive to in detail elsewhere in this report but a summary is
sector and author of the 2012 report “Philanthropy private/philanthropic investment to the detriment of included here of the key themes and concerns.
Beyond London”. His brief was to: fundraising efforts for other vital projects.
LOCATION
• Provide guidance to the Steering Group and Review 29.3.5 Concerns were also expressed about early
Group about specific aspects of the Feasibility Study’s communication which seemed to suggest that the 29.4.2 Section 14 of this report outlines in detail the
work, especially in relation to the impact of a new Centre for Music would be a national one with related rationale for locating the Centre for Music in London,
Centre for Music on the arts sector generally and national programmes (educational, digital, youth specifically the City of London. London is a world-
regional organisations in particular. music), something which was strongly questioned leading city from a wide range of perspectives
by orchestras and venues with highly developed and has a significant international presence and
• Bring an understanding of the national arts and programmes of their own in such areas. recognition as a leading hub for music. If London is
music sector, and support the Steering Group in its to remain pre-eminent in this field there is a need
consideration of stakeholder issues and their impact 29.3.6 Views were expressed that the Centre for Music will for its musical infrastructure to match or exceed
in terms of the Feasibility Study. need to convince that it will be doing something that found overseas. Furthermore the population of
different and additional to what is currently achieved London is projected to grow by 12% between 2015
• Consider and comment on how the proposals for at the Barbican Centre. Reference was made to the and 2025 and there is a need to supply sufficient
a Centre for Music are responding to the ideas, new facility being “a game changer” and a place activity to meet the demand.
opportunities and concerns identified through the that people will want to visit and have access to
external consultation. throughout the day and evening, and with a planned 29.4.3 Locating the Centre for Music in a very central
focus on building a wider audience, particularly with London location such as the City provides the best
regard to age, diversity, and disability. transport links to all areas of London and the South
29.3.2 Peter Phillips undertook focused conversations East. It also enables the strong synergies achieved
with over thirty of the people originally consulted by 29.3.7 Questions were also asked about why the Centre for between the Barbican Centre, LSO and Guildhall
Bonnar Keenlyside, as well as several others, with a Music should be built in the City of London rather School to be maximised and reduces operating
relevant balance between the regions and London. than elsewhere in the capital. costs by utilising existing operational infrastructure.
He maintained regular contact with the Project Group Locating the Centre for Music outside of the City
so that emerging findings from his work could be 29.3.8 There was concern from some other venues in would only be viable for the LSO if the annual
factored into the work of the Feasibility Study. His London about the consequent impact on their revenue funding it currently receives from the City
final report was submitted to the Project Group in audiences that a new Centre for Music might have. Corporation could be retained or replaced. A further
August 2015 (copy at Appendix 29B.). factor in favour of locating the Centre for Music in
the City is the willingness of the City Corporation to
29.3.3 The report found that the concept of a new Centre consider in principle making a capital contribution.
for Music and the related benefits for London were
understood and had a fair level of support, and there
was a view that if appropriate funding were available
and the project went ahead the Centre should aim for
excellence on all fronts.

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ROLE OF THE CENTRE FOR MUSIC FUNDING

29.4.4 The earlier sections of this report make clear the 29.4.7 As set out in Section 27, a plural funding model is
ambition that the Centre for Music will give London likely to be appropriate for a major public project
the facility it needs and inspire a new generation of of this nature. The total investment involved in the
music-lovers by offering them the very best and most Centre for Music will allow the realisation of the
exciting music-making, available to all. It will create significant cultural, social and economic benefits that
world-class performance and digital opportunities are described in this report.
marking a step change for the organisations involved,
providing immense benefit to the City and advancing
London’s reputation as a pre-eminent cultural
centre.

29.4.5 It is intended that through partnership working the

Centre for Music will act as a base for inspiring
music-making, digital development, participation,
discovery and learning. It will also offer a London
base for visiting orchestras and national youth music
organisations. More widely, the Centre for Music
will be an inspirational, forward-looking facility. It
will transform the traditional model of the concert
hall, creating new types of spaces and experiences of
music, making it more immediate, more accessible,
more intimate and more immersive.

AUDIENCE DEMAND

29.4.6 Section 16 sets out the audience demand analysis

for the Centre for Music. This assumes that the
audience for classical music will grow by between
15% and 25% between 2015 and 2025, based on
projections in population growth, coupled with
improved transport links and an ambitious outreach
programme to bring in new audiences. It concludes
that this increased demand will be achieved without
adverse impact on the business models of London’s
other performance venues. This is clearly something
that will require further exploration and discussion
during the next phase of the project.

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30. CONCLUSIONS AND NEXT STEPS

30.1 This report has: 30.6 This report is the first substantive step in a long
process of design and implementation and further
• set out the case for a new Centre for Music; detailed work will be required. It is recommended
that the project should proceed to Phase 2, which it
• presented a formal Outline Business Case for a is estimated will take approximately 18 months from
project to build a new Centre for Music; and the start.

• assessed the feasibility of delivering such a project. 30.7 Phase 2 will complete the Full Business Case for
the project, agree the terms for the acquisition
and development of the preferred site, develop the
30.2 The report has demonstrated that the Centre for concept design to RIBA Stage 2 and begin the private
Music will provide an inspiring model of performance sector fundraising with a view to securing a lead
excellence and audience engagement, demonstrating funder. In addition, this phase will develop in more
best practice and delivering value for money. detail the full potential of the creative offer and its
likely impact, within a digital context.
30.3 The Centre for Music will make a critical contribution
to London’s status as a world-class destination 30.8 As part of this phase, the productive dialogue that
for music, supporting the UK’s position as a has begun with stakeholders will continue.
world-leading centre for the cultural and creative
industries. 30.9 It is recommended that the project move to Phase
2 immediately, in order to ensure that the preferred
30.4 The Centre for Music will also deliver important site can be secured and to maintain the momentum
benefits to a wide range of stakeholders, including that has been built up.
additional tourism spillovers for the UK, wellbeing
benefits for audiences arising from engaging with
music and consuming music digitally, and longer
term benefits for individuals and society at large from
the education and engagement activities that would
take place. These benefits will deliver a net present
value (NPV) of over £890m to the UK economy.

30.5 This report has shown that it is feasible to build a

Centre for Music that meets the strategic objectives
for the project, and a suitable site in the City of
London has been identified that the City Corporation
is willing in principle to consider making available at
no cost.

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SUPPLEMENTARY INFORMATION
263
263
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31. LIST OF APPENDICES

APPENDIX
Appendix 6A - Full Risk Register
Appendix 7A - Report on Benchmarking
Appendix 8A - Report on Consultant Procurement
Appendix 8B - Report on Contractor Procurement
Appendix 9A - Financial model for each of the four options
Appendix 9B - Transitional Years
Appendix 9C - Detailed Income and Expenditure statement
Appendix 9D - Box Office Income
Appendix 9E - Development
Appendix 9F - Commercial Income Streams
Appendix 9G - Commercial Exhibitions
Appendix 9H - Catering and Retail
Appendix 9I - Business Events
Appendix 9J - Salaries Expenditure
Appendix 9K - Building Related Cost
Appendix 10A - Project Benefits Register
Appendix 10B - AEA report
Appendix 15A - Full Digital report
Appendix 16A - Market Research Reference Sources
Appendix 18A - Schedule of Accommodation
Appendix 20A - List of Shortlisted Sites
Appendix 25A - Detailed version of the Budget
Appendix 26A - Ruth Jarratt report
Appendix 29A - Bonnar Keenlyside report
Appendix 29B - Peter Phillips report

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32. REFERENCES

1. Note that this compares to the proposed 31,038 m2 teacher/ artist and each member participant; low 18. Armbrecht, J. The value of cultural institutions,
(Net Internal Area) Centre for Music under shortlisted intensity activity will still be participatory but may be Measurement and description. This found that non-
Option 4. one off, in large groups and not all participants will use value of the Vara Concert Hall for the region’s
have a direct engagement with the leader / teacher residents was 203 SEK ~ £19, and the non-use value
2. John Kay, article for Financial Times, August 10th or artist; non participatory events describe sessions of the Royal Theatre for Danish residents was £9.50.
2010, A Good Economist Knows the True Value of the where the participants’ only engagement is as an
Arts. audience member/ observer. 19. Visit Britain, International Passenger Survey 2006 –
2011 & GLA Economics.
3. The Warwick Commission on the Future of Cultural 11. In long term impact activity, participants’
Value Enriching Britain: Culture, Creativity and engagement will have an effect which is expected 20. Bop Consulting (2013) The Economic, Social and
Growth (2015). to resonate across their lives and change behaviour Cultural Impact of the City Arts and Culture Cluster.
on a long term basis – e.g. they will learn or develop
4. Fujiwara et al (2014) Quantifying and Valuing the new skills or progress to a level of achievement they 21. Note that it has been assumed that there is zero
Wellbeing Impacts of Culture and Sport, p30. would not otherwise have achieved. Medium term crowding out of visits to London. This effect can
impact activity will have a substantial impact on most sometimes be observed for one-off major sporting or
5. The research notes that: “arts audience variables are participants, but due to the nature of the activity it is cultural events, where other more regular visitors to
for watching a film, attending an exhibition (including likely different people will take different things from the host area are put off from visiting due to negative
video or electronic art, or street art), attending it. Finally, immediate impact activity will inspire and effects caused by the event, such as congestion. In
plays or dramas, attending a music performance enthuse and is likely to lead participants to seek such cases, the additional visits and expenditure
event (including opera), and attending a dance event further opportunities to engage, but the activity alone generated by the event serve to “crowd out” visits
(including ballet, contemporary dance, and African is less likely to develop skills over a long term. and expenditure that would otherwise have occurred.
dance).” (Fujiwara et al, 2014, p21. Given the number of overseas visits in the context of
12. Arts Council England, ‘Encourage children today to London’s visitor economy and their ongoing (rather
6. The research puts it clearly as follows: “these are build audiences for tomorrow’, March 2009. than one-off) nature, it has been assumed that the
values in addition to any price paid to participate such overseas audiences for the Centre for Music would
as entrance fees.” (Fujiwara et al, 2014, p30). 13. Taken as an average of adults with and without not generate such crowding out effects.
degrees
7. Note that these values have been uprated to 2015/16 22. Garcia, B. et al., (2009)
prices. 14. ‘Education and Arts Participation: A Study of Arts
Socialization and Current Arts Related Activities 23. Westwood, 2011
8. Source: DfT Webtag databook using 1982 and 1992 SPPA Data’ National
Endowments for the Arts, Washington D.C. (see page 24. Florida, R. (2002) The Rise of the Creative Class.
9. Public refers to events for the public in which visitors 60-63 for regression analysis results).
can listen, consume, view and interact; participation 25. Garcia, B. et al., (2009).
events involve an element of joining in and 15. Volunteering England.
contributing; platform events involve the creation of 26. The Ideas Mine Ltd, (2005). Culture at the Heart of
music, rehearsing and performing; and professional 16. See Fujiwara et al (2013) Estimating the value of Regeneration – A North East Perspective. Newcastle
development events involve progression and training. volunteering using subjective wellbeing data. Upon Tyne: The Ideas Mine.

10. High intensity activities engage the participants over 17. Notable exceptions include an estimate of the non- 27. Minton, A., (2003). Northern Soul:Culture, Creativity
a sustained period of time – over several sessions, use value of the British Library (Oxford Economics, and Quality of Place in Newcastle and Gateshead.
usually one to one or in small groups; medium 2013) and of Bolton’s Museum, Library and Archive London: The Royal Institute of Chartered Surveyors &
intensity activities engage participants over a number Services (Jura Consultants, 2005). DEMOS.
of hours, sometimes over more than one session,
with a level of direct engagement between the leader/

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28. E.g. Gramophone magazine ranks the LSO as 38. PWC (2010) ‘The costs and benefits of creative which is much smaller. Calculating the annual BCR
the world’s fourth best orchestra. http://www. partnerships’. on the basis of the annual public sector grant only
gramophone.co.uk/editorial/the-world%E2%80%99s- would yield a much higher BCR for the do nothing
greatest-orchestras 39. Fujiwara et al, DCMS (2014) ‘Quantifying the social scenario.
impacts of culture and sport’.
29. Bop Consulting (2013) The Economic, Social and 51. James Ainscough, Chief Operating Officer, Royal
Cultural Impact of the City Arts and Culture Cluster 40. Moreno and Besson (2006) ‘Musical Training and Albert Hall. Mark Beddy, Partner Deloitte, former
language related brain activity in children.’ Finance Director Glyndebourne. Lisa Burger,
30. E.g. No London concert halls were ranked in the top Executive Director, Royal National Theatre. Caroline
20 in a recent ranking by the Guardian Newspaper. 41. PWC (2010) ‘Creative, Culture & Education – The Al-Beyerty, Financial Services Director, City
Costs and Benefits of Creative Partnerships’. Corporation of London.
31. Fujiwara, D., Kudrna, L. and Dolan, P. Department
for Culture, Media & Sport ‘Quantifying the Social 42. Feinstein, L (2002) ‘Quantitative estimates of the 52. http://www.cityoflondon.gov.uk/about-the-city/how-
Impacts of Culture and Sport’. social benefits of learning: Crime’. we-make-decisions/budgets-and-spending/Pages/
Council-budgets-and-spending.aspx
32. Cited in Fujiwara et al (2014) Quantifying the Social 43. Kendall, L., Morrison, J., Sharp, C. and Yeshanew,
Impacts of Culture and Sport. T. (2008) “The longer-term impact of Creative
Partnerships on the attainment of young people’.
33. This study highlights some important caveats. Firstly,
the study is analysing the aspirations of young people 44. An average graduate working lifetime of 43 years has
to go onto further education rather than their actual been assumed.
behaviour. Secondly, further education does not
necessarily mean undertaking a university degree 45. For example, the Office for Budget Responsibility
and other programmes will have different wage (OBR) projects that per capita health spending will
outcomes. Finally, participating in musical activities increase in real terms by 2.2% per annum (OBR,
may also be related to other factors which promote Fiscal Sustainability Report, July 2014) from 2019/20
and enable academic attainment such as attending onwards.
a high achieving school, having a supportive home
environment. 46. Here this refers to jazz, world, folk, electronica and
classical crossover.
34. Newman, M et al CASE (2010) ‘Understanding
the impact of engagement in culture and sport: A 47. HM Treasury (2013) Green Book Supplementary
systematic review of the learning impacts for young Guidance: Optimism Bias https://www.gov.
people’. uk/government/publications/green-book-
supplementary-guidance-optimism-bias
35. Hallam, S (2010) ‘The power of music: its impact on
the intellectual, social and personal development of 48. Note: Construction cost only.
children and young people.’
49. Calculated as (100% – 35%) X 51%.
36. Catterall, J (2009) Doing well and doing good by doing
art. 50. Note that this BCR is based on including all revenue
costs of running the Barbican and LSO at present,
37. Centre for the Economics of Education (2006) ‘Which rather than just the recurring public sector grant,
Skills Matter?’

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33. ACKNOWLEDGMENTS

The Barbican Centre, LSO and Guildhall School wish to thank all those who have guided
this Feasibility Study and who have contributed to this report.

Feasibility Study Review Group

Clare Pillman Department for Culture, Media and Sport
Munira Mirza Greater London Authority
John Barradell City of London Corporation
Helen Sprott Arts Council England
Peter Phillips Independent Adviser
Dominic Lake Department for Culture, Media and Sport
James Bird Department for Culture, Media and Sport
Rebecca Clutterbuck Department for Culture, Media and Sport
Laia Gasch Greater London Authority
Elliott Ball HM Treasury

Centre for Music Project Group

Sir Nicholas Kenyon Barbican Centre
Kathryn McDowell London Symphony Orchestra
Professor Barry Ife Guildhall School of Music & Drama
Peter Lisley City of London Corporation
Sandeep Dwesar Barbican Centre and Guildhall School of Music & Drama
Rikesh Shah London Symphony Orchestra
Elizabeth Ager Centre for Music Project Team
Kali Clarke Centre for Music Project Team

External Advisers
Sir Nicholas Hytner
Sir Simon Rattle

External Consultants
AEA Consulting
Arup + Arup Associates
Baker & McKenzie
Bolton & Quinn
Bonnar Keenlyside
DP9
Gardiner & Theobald
Gordon Ingram Associates
GVA Acuity
Nagata Acoustics
Quiller Consulting
Regeneris
Ruth Jarratt

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