Senior Partner - Design + New Work
As a co-founder of Charcoalblue, Gavin is responsible for the leadership of the practice and maintains Design responsibility within the studio. In addition, Gavin also oversees New Work and marketing.
Gavin has practiced as a Theatre Consultant since 1997. On projects he specialises in performance, sports and public building design, in particular auditorium design, bowl design, venue planning, and audience experience, as well as leading competitions, feasibility and briefing studies on projects large and small all around the world. As a member of the senior management team, he helps define and implement the direction and growth of the practice and oversees business development and marketing across our multi-national studios.
Gavin’s projects include Stephen A. Schwarzman Centre for the Humanities, Oxford; Centre For Music, London’s new concert hall; Aviva Studios in Manchester; the new Linbury Theatre at the Royal Opera House; Chicago Shakespeare Theatre’s new Yard and Steppenwolf Theatre also in Chicago; The Ronald O. Perelman Center for the Performing Arts at the World Trade Center and St Ann’s Warehouse both in NYC; and in the UK, the National Theatre, London and the home of the Royal Shakespeare Company in Stratford-upon-Avon.
Which of the projects you've worked on has been your favourite and why?
RSC's Temporary Courtyard Theatre - Charcoalblue's first large project, won in the CEO’s kitchen Christmas 2004. A fast-paced design program, an exciting and challenging architect, an even more demanding client - and rightly so! Design after design, model after model, presentation after presentation... all within a short 6-month phase, and then it was built inside 13 months! And I still remember the RSC's sheer delight with the building - and the look on the audience’s faces walking into the first public performance.
Have you got a favourite memory from your career so far?
The above! Oh, and performing on stage at Leciester's DeMontford Hall... the cook, one speaking line!
What qualities should a 'great performance space' have?
Not all are great - they can't be, but there are qualities about them which 'work' - by which I mean work for actor, for audience and technically.
"I was 31 years old and pitching a project to the Royal Shakespeare Company artistic director and chief exec in her north London kitchen!" says Gavin Green of Charcoalblue
Younger people especially crave more lived, shared experiences in our age of social media.