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| Letters: Derek Sugden kept it simple with humour and confidence | |
| (6 days later) | |
| Iain Mackintosh writes: Diana Rowntree tells us that Derek Sugden believed meetings of more than seven people were a poor means of communication. The creation of theatres usually involves large design teams confronting vast building committees that are beholden to grant-giving bodies and individual donors, plus endless “stakeholders” pitching in. By contrast, the concept design of Glyndebourne’s auditorium, pit and stage was achieved by Derek’s ideal: a few people meeting fortnightly over not many months. | Iain Mackintosh writes: Diana Rowntree tells us that Derek Sugden believed meetings of more than seven people were a poor means of communication. The creation of theatres usually involves large design teams confronting vast building committees that are beholden to grant-giving bodies and individual donors, plus endless “stakeholders” pitching in. By contrast, the concept design of Glyndebourne’s auditorium, pit and stage was achieved by Derek’s ideal: a few people meeting fortnightly over not many months. |
| Related: Derek Sugden obituary | Related: Derek Sugden obituary |
| The client was one man, George Christie, advised by John Bury (theatre) and Anthony Whitworth-Jones (administration). The design team was headed by the architects Michael and Patty Hopkins. There were two silent structural and services engineers from Arup (silence signified approval), my colleague Alan Russell from Theatre Projects for technical theatre, and two “generalists” who talked a lot – Derek and me. | The client was one man, George Christie, advised by John Bury (theatre) and Anthony Whitworth-Jones (administration). The design team was headed by the architects Michael and Patty Hopkins. There were two silent structural and services engineers from Arup (silence signified approval), my colleague Alan Russell from Theatre Projects for technical theatre, and two “generalists” who talked a lot – Derek and me. |
| I had the temerity to introduce the horseshoe within a classical circular drum, whereas the received wisdom was that modern acousticians shunned the circular. But Derek shared the enthusiasm that many of us felt for the Bordeaux Grand Théâtre and the Munich Opernhaus. The past could inform the present. The Hopkinses welcomed both the circular geometry and Derek’s assurances that his Arup Acoustics could cope with unwanted reflections in the drum. | I had the temerity to introduce the horseshoe within a classical circular drum, whereas the received wisdom was that modern acousticians shunned the circular. But Derek shared the enthusiasm that many of us felt for the Bordeaux Grand Théâtre and the Munich Opernhaus. The past could inform the present. The Hopkinses welcomed both the circular geometry and Derek’s assurances that his Arup Acoustics could cope with unwanted reflections in the drum. |
| The design for the new auditorium at the East Sussex opera house was arrived at in a remarkably short time and became the first of a new generation of horseshoes worldwide. I was witness to how much was due to Derek’s good humour, confidence and authority. We few also had some good lunches. | The design for the new auditorium at the East Sussex opera house was arrived at in a remarkably short time and became the first of a new generation of horseshoes worldwide. I was witness to how much was due to Derek’s good humour, confidence and authority. We few also had some good lunches. |
| Paul Strang writes: In the 1970s, a redundant church in Trinity Church Square, Southwark, south London, was converted into Henry Wood Hall, a rehearsal and recording venue for London’s professional orchestras, ensembles and other musicians. Derek Sugden was seconded by Arup to oversee its reconstruction. He was no fire-raiser, but, like the Maltings at Snape, the building, already badly war-damaged, was almost completely gutted by fire on the evening before work was due to begin. As a legal peace broker between the various interested parties, I worked closely with Derek and his team on the project, and in particular have fond memories of Fun Sunday, when the orchestras donned hard hats and tried out the building for acoustics. The work was completed in 1975, since when the hall has become one of the unsung treasures of London musical life. | Paul Strang writes: In the 1970s, a redundant church in Trinity Church Square, Southwark, south London, was converted into Henry Wood Hall, a rehearsal and recording venue for London’s professional orchestras, ensembles and other musicians. Derek Sugden was seconded by Arup to oversee its reconstruction. He was no fire-raiser, but, like the Maltings at Snape, the building, already badly war-damaged, was almost completely gutted by fire on the evening before work was due to begin. As a legal peace broker between the various interested parties, I worked closely with Derek and his team on the project, and in particular have fond memories of Fun Sunday, when the orchestras donned hard hats and tried out the building for acoustics. The work was completed in 1975, since when the hall has become one of the unsung treasures of London musical life. |