Theatre and entertainment precinct
Adelaide Festival Centre, Australia's first capital city multi-purpose arts centre and the home of South Australia's performing arts, was built in the early 1970s and designed by Hassell Architects. The Festival Theatre opened in June 1973 with the rest of the centre and the Festival Plaza following soon after.
Located approximately north of the corner of North Terrace and King William Road, it is distinguished by its two white geometric dome roofs, and lies on a 45-degree angle to the city's grid. The complex includes Festival Theatre, Dunstan Playhouse (formerly The Playhouse and Optima Playhouse), Space Theatre (formerly The Space) and several gallery and function spaces. 
The Festival Centre is managed by a statutory corporation, the Adelaide Festival Centre Trust, which is responsible for encouraging and facilitating artistic, cultural and performing arts activities, as well as maintaining and improving the building and facilities of the complex and Her Majesty's Theatre. The centre hosts Adelaide Festival and presents numerous major festivals across the year.
The centre was erected on land between Elder Park and Parliament House, and several historic buildings were demolished to make way for the new project. Recently, the external plaza site is undergoing major redevelopment, started in 2016, but the theatre spaces have remained open. The car park and plaza area have since been completed as has Festival Tower, and the overall redevelopment is expected to be completed in 2028.
Development.
Planning.
In the 1960s, the Adelaide Festival of the Arts started to outgrow the city's existing venues, and there was a push to build a "Festival Hall". The "Adelaide Festival Theatre Act 1964" provided for the erection of the Festival Theatre building. The originally proposed site was the Carclew building in North Adelaide, which had been purchased from the Bonython family by the Adelaide City Council for the purposes of building a Festival Hall.
Liberal state Premier Steele Hall lobbied the Federal Government for tax concessions for a public appeal for the Festival Hall, which was initially unsuccessful, until Prime Minister John Gorton offered Hall either tax concessions or A$. Hall accepted the money. While on a trip to London, Steele Hall visited the Royal Festival Hall on the banks of the River Thames and decided that the banks of the River Torrens was the ideal choice for the site of the Adelaide Festival of the Arts and the cultural heart of the city. During this time, the state government changed hands, but the drive for a new centre continued with fervour. When Don Dunstan became Premier he expanded the idea into a "Festival Centre", incorporating multiple smaller venues.
The Lord Mayor of Adelaide, Robert Porter, supported by Dunstan, launched a public appeal to raise funds to build the Festival Centre and establish Adelaide as a significant city in the art world. The appeal raised its target within a week, and was soon over-subscribed; the surplus was set aside to create a collection of artworks to grace the new building.
The building was designed by Hassell, McConnell and Partners for the Adelaide City Council and the Adelaide Festival Centre Trust, and has been "hailed as a major step forward in modern architecture in South Australia". It was designed "from the inside out" and is particularly associated with the architect John Morphett and Colin Hassell. Prior to designing the buildings, Hassell led a team which included Morphett to the United States and Europe to undertake a study of theatre designs.
Construction.
The Adelaide City Baths, which had stood on the site since their creation in 1861 were demolished in 1969 to make way for the new centre and plaza. Similarly, the Government Printing Office building, which was built circa 1880 between the baths and Parliament House, and later expanded, was also vacated and demolished. The site also housed the Elder Park Hostel, which consisted of numerous repurposed buildings near the river. It was in use from circa 1949 to circa 1969 with the site being cleared in 1970. More recently, acknowledgement has also been made that the site is located on historical Kaurna lands.
Adelaide Festival Centre was built in three parts, from April 1970 to 1980. The main building, the Festival Theatre, was completed in 1973, within its budget of A$. On 2 June 1973, Festival Theatre was officially opened by Prime Minister Gough Whitlam at a gala performance of Act Two, Scene 1 of Beethoven's opera "Fidelio" and "Choral Symphony". The construction of the Playhouse (now Dunstan Playhouse), Space Theatre, and Amphitheatre followed. The whole complex was completed for A$ (By comparison, the Sydney Opera House, completed in 1973, cost A$.). The Festival Plaza, initially known as the Southern Plaza, was completed on 22 March 1977.
Outdoor areas.
South of complex,in the Festival Plaza, sits an environmental sculpture by highly regarded West German artist , which he called "Adelaide Urban Iconography" (In the Festival Centre archives it is variously named "Shorthand Adelaide", "City Iconograph", and "City Iconography", and government records give the title "City Sign Sculpture Garden)". It has also been referred to as "Hajek's Plaza", and was believed to be the largest artwork in Australia.
Given the brief of camouflaging the new air-conditioning vent from the carpark below that would rise from the concrete surface of the plaza, Hajek, arguing that the "real job" of sculpture was social, created a plan that integrated sculpture with architecture, creating a social space encompassing the whole Southern Plaza. His plan consisted of "colourful, geometric painted surfaces and cement forms", and it was intended to include a fountain and other water features, extensive planting of vegetation, lighting and provision for sound, which would encourage people to interact with the "concrete garden". 
Other sculptures graced the outdoor spaces, including the prominent stainless steel "Tetrahedra", also known as "Environmental Sculpture" and "Tetrahedrons", by Bert Flugelman (whose Mall's Balls is perhaps his better known work).
After its opening in 1977, the plaza stirred debate and opinions were mixed, but its designs were seen to "consciously exemplify the new practices and relations embodied in the concept of environmental art". Designed in a brutalist style, it was labelled as empty and ugly by some, but was nonetheless an artwork of its times. In 1977, it was awarded a "brickbat" by the Civic Trust, but Australia Post honoured the sculpture in 1986 by issuing a commemorative stamp for South Australia’s sesquicentenary. Hajek's wife, artist and poet , wrote in 2001 that the plaza "is well-known in the world of art and became acknowledged as an artistically outstanding creation of the last quarter of the 20th century".
Redevelopment.
In the decades following the plaza’s opening, its painted surfaces, fountains and vegetation were not well-maintained, there were some problems with its concrete decking, it was not used for events, and, crucially, it did not attract incidental foot traffic to interact with its forms. In 1987, the fountain, unused for the prior three years owing to a leak, was demolished as part of a A$ upgrade of the plaza.
In 2002–2003, the area around the centre was redeveloped substantially. The Festival Plaza was redesigned, including opening the underground roadway to the sky. Although a pedestrian suspension bridge was built on its west side, the Plaza was essentially isolated as a result of this redevelopment.
In 2013, the government announced that the Plaza would be further redeveloped, with Hajek's work decommissioned and replaced. The removal of such a significant public work of art was seen as vandalism by some commentators, including Hajek's wife. However, not everyone in the world of art and architecture or the general public mourned its passing.
From 2016, the Plaza began undergoing a A$ redevelopment, as part of the major redevelopment of the Riverbank Precinct. The new public plaza, known as the Public Realm, was expected to be completed by 2020, while the office buildings and retail spaces are scheduled to be finished by 2022. The architects of the original complex, Hassell, remain as architectural consultants for the project, in collaboration with ARM Architecture and landscape architects Taylor Cullity Lethlean for the outdoor spaces. 
Changes to the design of the Public Realm submitted for approval in April 2020 were expected to push back the completion date to 2023, and as of April 2021[ [update]] there is limited access to the venues and no access to the plaza area. In 2024, Festival Tower, cited on land that was previously a corner of the Festival Plaza adjacent to the station, was also completed.
Governance.
In 1971, the Adelaide Festival Centre Trust was established as a statutory authority by the "Adelaide Festival Centre Trust Act 1971", reporting to the Minister for the Arts. From about 1996 until late 2018, Arts SA (later Arts South Australia) had responsibility for this and several other statutory bodies such as the South Australian Museum and the Art Gallery of South Australia. Arts SA leased Her Majesty's Theatre and the Festival Centre to the Trust, which was responsible for "encouraging and facilitating artistic, cultural and performing arts activities throughout the State" and managing and maintaining the theatres.
In 2006, Douglas Gautier was appointed CEO and artistic director of the organisation. In 1979 he worked as a music and arts producer at the BBC; in 1979 was head of Radio Television Hong Kong's music and arts channel; in 1986 head of ABC concert music planning; and also occupied several other executive roles in Hong Kong. In South Australia, he began working at the State Theatre Company of South Australia. Gautier helped make Adelaide a UNESCO City of Music in 2015. In 2016 he was made Member of the Order of Australia, for service to the arts, community, and the tertiary sector (he also serves on Flinders University Council).
In July 2017, the Trust bought Her Majesty's Theatre from Arts South Australia for A$. It also borrowed A$ from the South Australian Government Financing Authority for a maximum term of 10 years to fund Her Majesty’s Theatre redevelopment. From late 2018, the functions previously held by Arts SA were transferred to direct oversight by the Department of the Premier and Cabinet, Arts and Culture section.
As of October 2024[ [update]], the chair of the Adelaide Festival Centre Trust is Karlene Maywald. In October 2024, CEO and artistic director Douglas Gautier announced his retirement, effective in the second half of 2025.
Venues.
Adelaide Festival Centre houses several theatres and galleries, as well as function spaces and the administrative hub of the Festival Centre.
Associated companies and events.
Adelaide Festival Centre is home to South Australia's leading professional performance companies, including: Adelaide Symphony Orchestra, State Opera South Australia, Australian Dance Theatre, State Theatre Company South Australia, The Australian Ballet, Brink and Windmill Theatre Co.
It is the host of Adelaide Festival and presents major festivals across the year, including: Adelaide Cabaret Festival, OzAsia Festival, DreamBIG Children's Festival, Adelaide Guitar Festival, and the First Nations annual art exhibition OUR MOB, which also awards a series of prizes
Transportation.
Besides numerous nearby bus stops and the adjacent Adelaide train station, a short branch from the Glenelg tram line to the Festival Centre was opened in October 2018.
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References.
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External links.
 Media related to at Wikimedia Commons