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BAFTA HEADQUARTERS LONDON
Raising the roof at BAFTA
James Parker reviews the inspired remake of BAFTA’s headquarters in London’s West End, directed by Benedetti Architects and featuring bigger roles for original period features and some startling glazing innovation
T
he story of how an architect and a national cultural institution went on a journey of discovery together to uncover and reuse historic elements in its London head office could probably be made into a film. However, while it had dramatic moments, Benedetti Architects’ ingenious scheme to literally raise the roof of BAFTA’s base and provide another floor of key space for the charity as it celebrates its 75th year, was generally a smoothly realised, feel-good tale.
When it staged a design competition in © Rory Mulvey
2014, BAFTA wasn’t sure how to remain at 195 Piccadilly, despite it being its ideal location in the heart of London’s West End. The listed Victorian building’s size, layout and antiquated services were increasingly incapable of performing the functions required now and in future. BAFTA knew it would need to be fully reimagined by a design practice armed with a strong vision. At the heart of BAFTA’s work are its charitable activities, including increasing diversity and inclusion in the film, television and gaming industries, and fund-raising is a top priority, from film screenings to social events, having no government subsidy. The 1883 building (formerly the Royal Institute of Painters in Water Colours) is the centre
of this activity, and also the base where its members meet.
Purpose-designed in 1883 with the top half of the building as continuous, triple- height gallery spaces lit by three huge rooflights, the building’s internal volumes attracted BAFTA to move in (in 1976), because it could include a raked cinema– the 227 seat Princess Anne Theatre – for major screenings and premieres. Benedetti worked closely with client and building owner The Crown Estate, as well as Historic England, as well as local stakeholders Westminster City Council and St James’s Church. The architects helped BAFTA to establish the feasibility, as well as the benefits of remaining in its current home. A key design constraint was a desire to retain but completely revamp the already hi-spec two-storey cinema, leaving it insitu beneath two previously blocked-off Victorian rooflights. The architects took a “bold yet sensitive” approach to the architectural heritage, as they simultaneously looked to integrate a wide range of the latest AV technology across the building. They had to “carefully balance members’ needs with public access and revenue generation,” says practice founder Renato Benedetti.
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