The
Grade II listed facade of King's Lynn Corn Exchange is a testimony
to the splendour of Victorian architecture which now fronts a state
of the art, multipurpose venue.
The attractive and comfortable auditorium has flexible seating, within which 733 seats can be cleared and stored compactly in 11/2 hours to reveal a large, open space to accommodate1200 standing - a flexibility which allows us to host a varied range of events from classical concerts to conferences, craft fairs to comedians.
The acoustics have been well-designed and are able to be varied to suit alternative uses/occupation of the building. Acoustic baffles ensure excellent sound quality and with a technical specification to match, any event can easily be accommodated.
First
rate dressing rooms, spacious backstage and get-in
areas are accessed by ample and close parking facilities.
In order to minimise the use of the heating and cooling plant the air conditioning system involves air displacement and a sophisticated system of controls. The mechanical and electrical, and acoustic designs have been well thought out, and the building operates highly efficiently and is pleasant in terms of both temperature and light.
A flagship for accessibility both front of house and backstage, wheelchair users and companions are fully integrated into the main body of seating and both an induction loop and infra-red hearing system are in operation.
The Box Office and The Coffee House in the foyer are creatively complemented by a series of commissioned public art pieces, making the King's Lynn Corn Exchange a wonderful setting for a great night out.
Three artists were commissioned as part of a major refurbishment of the King's Lynn Corn Exchange to produce works for the foyer area of the building.
The
roof blinds by textile artist Sharon Ting, which incorporate
symbols and images relating to the town's history in their design,
cover an area of 150 square metres and are one of the largest projects
of this type to date.
Jon Mills' balustrade surrounding the light wells comprises 400 clapping hands, referring to the performance-based activities of the building.
Two
sets of textile hangings by Julie Graves for the stairwells
are based on historical photographs of the area which, using computer
technology, are superimposed on each other to create new semi-abstract
images.
These three commissions are an important element of an exciting regional venue, reflecting not only the purpose of the building but its context.
