Axel Burrough, a visionary architect and a master of space age design, has left an indelible mark on the architectural landscape of Manchester and beyond. His work, particularly the Royal Exchange theatre, is a testament to his innovative spirit and commitment to blending the old with the new. Burrough's passing at 79 is a loss for the architectural community, but his legacy will continue to inspire and influence future generations of designers.
Burrough's journey began in Frenchay, near Bristol, where he was born into a family with a rich history in architecture and craftsmanship. His father, Thomas Burrough, was an architect in Bristol, and previous generations of the Burrough family were small farmers, basketmakers, builders, and carpenters. This familial connection to the trade likely sparked Burrough's interest in architecture from an early age.
After studying architecture at Cambridge University, Burrough joined the fledgling practice of Levitt Bernstein in 1968. He quickly immersed himself in a succession of arts projects, honing his theatre design skills at the South Hill Park theatre in Bracknell and designing the beautifully understated Pier Arts Centre museum and gallery in Stromness, Orkney. These early experiences laid the foundation for his expertise in the design of theatres and performance spaces.
One of Burrough's most iconic works is the Royal Exchange theatre in Manchester. The theatre module, designed with David Levitt and Malcolm Brown, squats within the imposing neo-classical confines of the historic Royal Exchange. Burrough's use of tubular steel and glass, inspired by Nasa's lunar lander, created a compelling visual and experiential contrast between the old and the new. The theatre's challenging geometry was worked out on a Sinclair scientific calculator, a testament to Burrough's resourcefulness and attention to detail.
Burrough's work on the Royal Exchange theatre is a prime example of his ability to blend the old and the new. The theatre's seating arrangement, with all 750 people within 10m of the centre of the stage, created an immersive and engaging experience for audiences. Despite being damaged in the 1996 IRA bomb attack, the theatre has retained the affections of Mancunians and was recently voted their favourite building in the city.
Another notable project led by Burrough was the remodelling of St Luke's church in Old Street, central London. The church, originally designed by Nicholas Hawksmoor, had suffered from settlement problems and was abandoned after a calamitous subsidence in 1959. Burrough's restoration project accentuated the church's single volume by employing four massive steel columns spread out like tree branches to support a new roof, independent of the original walls. The columns describe a square within the rectangular plan, an oblique reference to a similar device in many of Hawksmoor's churches.
Burrough's work on St Luke's church is a testament to his ability to find thoughtful solutions to seemingly intractable problems. His collaboration with other construction professionals, such as the American acoustician Carl Giegold, and artists, such as Rana Begum, resulted in a building that seamlessly blends the old and the new. The new structure and galleries are an unashamedly modern intervention, so the layers of the building's unique history will read like a palimpsest.
Burrough's expertise in the design of theatres and performance spaces led to a commission for the refurbishment of the Theatre Royal in Bury St Edmunds, Suffolk. The theatre, originally designed by William Wilkins, is considered one of the most outstanding examples of Regency playhouses in Britain. Burrough's work on the Theatre Royal is a prime example of his ability to blend historical context with modern design.
Burrough's later work included the King's Lynn Corn Exchange, the Victoria Gallery & Museum in Liverpool, and the Theatre Royal, Stratford East, as cultural projects were boosted by National Lottery funding. His most recent scheme, the Bristol Beacon concert hall, was completed in 2023 and featured an entirely new 2,200 capacity auditorium set within walls dating from 1867. The collaboration with artists, such as Rana Begum, resulted in a space that is both functional and aesthetically pleasing.
Burrough's consistent theme was the reworking of existing structures, from a burnt-out Victorian school that became Birmingham's Ikon Gallery, to the conversion of an art deco cinema into the Regent theatre in Stoke-on-Trent. His work exemplified the value of creative reuse and showed how historic buildings could have dynamic second lives. Burrough's ability to find thoughtful solutions to seemingly intractable problems and his commitment to blending the old with the new have left an indelible mark on the architectural landscape.
Burrough's passing is a loss for the architectural community, but his legacy will continue to inspire and influence future generations of designers. His work on the Royal Exchange theatre, St Luke's church, and other iconic projects will continue to be celebrated and studied for years to come. Burrough's commitment to blending the old with the new and his ability to find thoughtful solutions to seemingly intractable problems will continue to shape the architectural landscape for generations to come.
