Festival of Britain opens – archive, May 1951 | Southbank Centre

The King establishes the main principles of the festival: a symbol of British courage

From home London stick
4 May 1951

After an impressive dedication service at St Paul’s this morning the king, speaking on the radio from outside the church, announced that British party open it. Tonight he unveiled a plaque at the Royal Festival Hall before attending a dedication ceremony and listening to the first concert in the new hall.

About 10,000 people were crowded into the churchyard of St. The Queen, Queen Mary, and other members of the royal family stood at his right hand as he delivered his speech on television. He pointed out the difference between the Victorian age and the challenges we have faced. “There was no peace,” said the king, “and much of the wealth that our forefathers had made was destroyed by fire and murder. But it was not a time for despair, and in that celebration we must look back with pride and forward with a decision. He saw in it a symbol of the courage and eternal strength of Britain.”

The trumpeters of the Household Cavalry raised their trumpets and when the king said “I declare the Festival of Britain open and I wish it universal success” they rang out with cheers. This was the time when, despite some delays and false starts, the British Party finally came into existence.

Festival Hall is a show of grace and respect

From our London correspondent
4 May 1951

Tonight in front of the king and queen and their daughters Royal Festival Hallthe one in the center of the South Bank Exhibition was given by the archbishop of Canterbury. The king first officially opened the hall by unveiling an inscription on the wall of the main staircase commemorating the event.

The dignitaries were invited and an hour before the opening the great halls, stairs, and steps were filled with men and women in evening clothes. Perhaps because of the religious nature of this night’s ceremony the women were wearing their modest and untidy robes.

Perhaps even the designers can’t say that the exterior of the Festival Hall is particularly beautiful; but within it is a grace and dignity that no painting or picture does justice to.
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Wet start

5 May 1951

This afternoon the public was admitted to the South Bank Exhibition for the first time. What he did is hard to say. It was a group of reserved middle class people who attended by invitation or paid 10 rupees to see the show. The plan was to enter the tickets themselves today, but the rain stopped many people so the versions were opened. It was raining very hard, one of those days when the rain dampens the energy. The umbrellas of the beautiful open-air restaurants were heated, and every now and then the waiter rushed to finish and empty the tables.

Some of the concrete roads were unevenly laid and there were pools of water that were broken. It didn’t matter because the attendance was small and most of the people were in the stands. Until 8 pm only 20,000 people were admitted.

The Riviera comes to London: international events – and English food

From our London correspondent
5 May 1951

Tonight there is fog on the river, but the view is still interesting. You stand behind the glass wall of the Festival Hall and look out over the decorative white rocks over the sparkling water to the lit houses and the surf on the other side. Of course the city is not London and below it is not the industrial Thames seen from the London County Council hall. Instead we are in an undiscovered Riviera town looking from its casino across the street to a row of luxury hotels.

On the South Bank fountains play in multi-colored lights and colorful boats float on the bright blue toy sea. This was a night to enjoy dinner in one of the most beautiful and expensive restaurants. Despite the small number of attendees, they were all full of 8 30. Even when the concert started there were no seats on the tables in the Festival Hall. At another place they said that there could be a table in an hour. Well, one could try the restaurant, the most beautiful restaurant ever seen in this world.

Some people have to think that all this creativity might tempt a caterer to move away from traditional English dishes and try something more continental. But they are not weak when they are taken. In a few minutes the tray was filled and on the plate there was one of the famous parts of the area surrounded by vegetables that contrasted with cabbage in the islands, marrowfat or cannon-ball peas. A meal like that quickly dispels foolish and extravagant thoughts.

Royal Festival Hall concert: Beethoven Symphonies

By Colin Mason
5 May 1951

The first inaugural concert at the Royal Festival Hall was given tonight by the BBC Symphony Orchestra and Choral Society conducted by Sir Malcolm Sargent. Sir Malcolm, who in his opinion was Toscanini’s mentor, had a great responsibility for which he showed himself eminently worthy. The singers were not playing very well, perhaps because they had been played to the max in preparation for the big event.

Sound wise there is probably room for improvement in the hall as in the front stalls tonight the storm sounded strange and lifeless although this may not be the case in other parts of the hall. In all cases the shortcoming is not necessary or serious and if it cannot be solved without making another sacrifice there is little to complain about.

House in South Bank

Author Robert Lutyens
5 May 1951

Among the buildings that can be said to be architectural masterpieces, the Dome of Discovery by Ralph Tubbs is the best. It is very well designed and well thought out, it is only spoiled in the finish by the number of displays and stairs inside. By comparison, Skylon’s tour de force is marred by absurdity. The Regatta Restaurant and the Press Room by Misha Black and Alexander Gibson, are beautifully thought out and designed with space and technology in mind, despite the crooked brass handles that serve as hinged door handles that are so loathed because they work.

With respect to ’51 Pa and Thameside Restaurant they only act in extremes without reaching any real lightness of heart. Mr Brian O’Rorke’s gardens are very special. Indeed, the best group of buildings, which in my opinion quietly steals the show, are those that are given to the countryside and its services, not so much through the unique virtues of the pavilions themselves as through the common features and easy access.

I’m sure approaching the show by design is unfair. Strategically planned and executed against great odds, that is the most important issue.

There is wisdom and ebullience of architectural architecture for those who appreciate it; skill in the finest works of art in this era.
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