The Unknown City: Contesting Architecture and Social Space

Notes
My thanks to Brian Stater for providing some of
the references, and for constructively disagreeing
with me.
1 Nikolaus Pevsner, Buildings of England: London,
vol. 2 (Harmondsworth: Penguin, 1952), p.
276; the same passage was quoted in the revised
edition, Bridget Cherry and Nikolaus Pevsner,
London 2: South, Buildings of England (Harmondsworth:
Penguin, 1983), p. 347.
2 Paul Frankl, Principles of Architectural History:
The Four Phases of Architectural Style,
1420–1900, ed. and trans. James F. O’Gorman
(Cambridge, Mass.: MIT Press, 1968), pp. 47,
28.
3 See John McKean, Royal Festival Hall (London:
Phaidon Press, 1992); and John McKean,
“Royal Festival Hall: Master of Building,” Architect’s
Journal 194 (9 October 1991): 22–47.
4 Bernard Levin, Enthusiasms (London:
Jonathan Cape, 1983), p. 176.
5 Ibid., p. 177.
6 Jean-Paul Sartre, Being and Nothingness,
trans. Hazel E. Barnes (London: Methuen, 1957),
p. 351.
7 Sartre, Being and Nothingness, pp. 364, 354.
8 T. H. Marshall, Citizenship and Social Class
(Cambridge: Cambridge University Press,
1950), p. 56.
9 Ibid., p. 58.
10 Kenneth O. Morgan, The People’s Peace:
British History, 1945–1989 (Oxford: Oxford
University Press, 1990), p. 83.
11 A 1952 Mass-Observation survey confirms
that Royal Festival Hall audiences were “more
often of the middle and upper classes and . . .
much younger than the population as a whole.”
Mass-Observation Bulletin, no. 46 (July–August
1952): 14–16.
12 Two Soviet clubs in Moscow, the Hammer
and Sickle Club (1929–1933) and the Gorbunov
Palace of Culture (1930), have exteriors strikingly
similar to that of the Royal Festival Hall.
The Royal Festival Hall—a “Democratic” Space?