Among London’s most distinctive cultural spaces, London Symphony Orchestra’s (LSO) St Luke’s is a home to world-class performance, recording and learning, as well as being a hub for the LSO’s artistic and community work. But after more than two decades’ use, the technical infrastructure at the Grade I-listed church was struggling to support the scale and ambition of the activities inside. Conceived to modernise St Luke’s and expand its digital and technical capabilities, the Future Ready project set out to equip the venue for the next generation.
For the LSO, this redevelopment was about much more than updating old systems – it was a chance to create a venue capable of supporting the Orchestra’s evolvement. ‘This redevelopment builds on more than 20 years of the venue being a home to performance, recording and LSO Discovery – supporting our artistic activity, digital output and community reach,’ says Sabina Noble, Venue Manager at LSO St Luke’s. ‘Rethinking the venue from the inside out has opened opportunities for the Orchestra that just simply didn’t exist before.’
The existing lighting, sound and A/V systems had run their course, with years of small fixes keeping things afloat. The Future Ready project allowed the team, alongside Theatre Projects Consultants and LSI Projects – who took a key part in delivering the technical transformation – to step back and redesign these systems from the ground up. Much of that work centred on Jerwood Hall, the venue’s main performance space and the beating heart of St Luke’s. Here, Theatre Projects created a unified performance, worklight and houselight system by integrating production lighting with architectural and emergency lighting by Max Fordham.
The new system shifts seamlessly between ETC Paradigm and the LSO’s own desk, giving the team exactly what they need – subtlety for small ensembles, power for full orchestras and the confidence that whatever’s happening on stage, the room will respond. But the technical transformation extended far beyond the lighting desk. As St Luke’s evolved into a hub for recording and livestreaming, its ageing audio set-up was increasingly holding it back. The refurbishment addressed this with new containment and wiring throughout, a dedicated audio control room built to professional studio standards and a digital editing suite that now doubles as the camera-control gallery for streamed and filmed events. These improvements mean quicker turnarounds, smoother workflows and a building that can ultimately keep up with the pace of everything the LSO wants to do.
As project’s systems integrator, LSI was responsible for delivering the complete technical installation across the building. Their scope included the integration of lighting control and power management systems; networked audio, sound and communications infrastructure; digital intercom and assisted listening systems; venue-wide paging; and video relay and production facilities, alongside extensive new fibre, data and signal cabling, the fit-out of the new Audio Control Room and Master Control Room, and full testing and commissioning of the upgraded systems.
Naturally, a building of this age and status came with its challenges: tight containment routes, limited space and no guarantee that new cabling could be added without major work. With much of the original pathways and risers already full, accommodating the upgraded infrastructure required extremely careful planning. ‘We relied heavily on the creativity of LSI’s site team to help find solutions, including rerouting some wiring between the new equipment rooms in the basement and the clock tower,’ explains Theatre Projects Principal, John Riddell. ‘In the end, all services were installed successfully, even in the trickiest areas, with infrastructure remaining accessible for future updates.’
From LSI’s perspective, sensitivity, sequencing and collaboration were critical to success. ‘Working within a Grade I-listed building meant it was a constant balance between performance and protecting the building itself,’ says LSI Project Manager, Liam Hawes. ‘Close coordination across the project team and just-in-time delivery were essential, particularly given the limited space available on site.’
The logistical complexity extended beyond construction. The entire venue, including instruments, staging and technical equipment, had to be decanted into storage across multiple sites. Rehearsals, recordings and Discovery sessions had to be reimagined as a mobile programme, with refined production systems adapted for remote use – which was only possible through strong collaboration across the project.
‘Throughout the construction, clear communication was maintained between the LSO as Client, Avison Young as Project Manager, the Design Team, GPF Lewis as Contractor and the key subcontractors, including LSI,’ Noble says. ‘This fluidity meant that when challenges did arise, we were able to resolve them quickly and keep the project on track.’
Since reopening, the benefits of the redevelopment have been felt almost immediately. Dedicated infrastructure now separates operational and technical demands, hybrid events can be delivered with greater efficiency and the digital backbone of the building allows for faster transitions between activities. The reconfigured spaces also support concurrent programming – a game-changer for the organisation. ‘In these early months of reoccupation, the improvements and extra capacity are already making a real difference,’ Noble added. ‘We’re now able to welcome many more people into the programme at St Luke’s – it’s wonderful to see so many benefiting from the work that’s gone into this.’
‘The new systems have fundamentally changed how the building can be used,’ Hawes continued. ‘From streamlined video production and improved live streaming capability to faster setup and turnaround times, the infrastructure now supports the LSO’s technical team in delivering a much wider range of activity, often simultaneously.’
Acoustically, Jerwood Hall has been refined through a series of fixed overhead reflectors designed by Threshold Acoustics and specified by Theatre Projects. These improvements have increased immediacy, presence and clarity for the Orchestra, helping larger sections hear one another with much better accuracy. Yet for Riddell, the new audio control room stands out above all. ‘It is an exceptionally well-finished space to rival those in the most famous professional studios,’ he said. ‘It’s not just a beautiful room – it works brilliantly.’
Working within the constraints of a Grade I-listed building, LSI’s technical team translated the design vision into a robust, future-proofed technical platform that now underpins all artistic, educational and digital activity at St Luke’s. ‘What stands out most is the team effort by everyone involved,’ Riddell reflects. ‘Very few performing-arts buildings are delivered on time, on budget and to exceptional quality, but LSO St Luke’s is one of them.’
More: www.lsiprojects.com