TINTAGEL CASTLE: BRIDGE DESIGN COMPETITION EXPRESSION OF INTEREST Tintagel Castle: Bridge Design Competition // EOI // Part One

© Malcolm Reading Consultants 2015

Malcolm Reading Consultants is an expert consultancy which specialises in managing design competitions to international standards and providing independent, strategic advice to clients with capital projects. With nearly twenty years’ experience of projects, we are enthusiastic advocates of the power of design to create new perceptions and act as an inspiration.

Images: © Malcolm Reading Consultants / Emily Whitfield-Wicks unless otherwise stated Map: © English Heritage malcolmreading.co.uk

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CONTENTS

PART ONE Project Vision 7 English Heritage 10 Cornish Identity 12 Site and Context: Tintagel Island 15 Historical Significance 18 Literary and Cultural Significance 23 Parallel Initiatives 24 The Competition Site 24 Visitors to Tintagel Castle 26 The New Bridge – Emerging Brief 28 Key Objectives 30 Project Details: Teams 31 Anticipated Key Dates 33 Budget 33 Jury 34

PART TWO Competition Details 42 Anticipated Competition Programme 46 Submission Requirements 47 Evaluation Criteria 50

Appendices 53

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PROJECT VISION

Tintagel Castle’s thirteenth-century ruins, balanced on sea-bitten precipices, distinguish one of the most spectacular historic sites in Britain. A place of elemental power and beauty, Tintagel has been prized throughout history for its ability to set the imagination racing and invigorate the senses.

The Island’s Dark-Age connections with the Byzantine world prompt myriad, fascinating questions. As a literary setting, Tintagel appears and reappears in the western canon, linked not only to the legendary King Arthur and the story of Tristan and Yseult, but in recent history inspiring both Tennyson and Hardy.

Its cultural legacy dates back more than a thousand years to earlier Cornish legends and tantalizingly suggests that folk memories of an earlier, illustrious epoch may have survived – if the historical record did not.

Even to call it Island is to succumb to its romance. More accurately, it is a headland attached to a peninsula. But somehow, Tintagel creates a charmed atmosphere. Though it’s not physically distant, it creates the impression of being removed. Though it adapts to the age, it allows us to suspend time.

The defining feature of Tintagel for much of its history was its natural land-bridge, a slender isthmus, linking the headland to the mainland. The Cornish name Din Tagell means literally, the Fortress of the Narrow Entrance. This physical connection – a tenuous rocky link much eroded over the centuries – is the source of its traditions and astonishing cultural resonance.

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Through the Tintagel Castle: Bridge Design Competition, English Heritage, the guardian of this scheduled ancient monument, is now searching for a dedicated and talented architectural and engineering team to design a cliff-top footbridge. The new structure aims to trace the path, now lost through collapse and erosion, of the original land-link, creating a twenty-first century connection.

Twenty-eight metres higher than the current crossing, 72 metres in span and roughly 2.4 metres wide (allowing safe foot traffic in both directions), the bridge will transform the visitor experience, opening up exhilarating views of the Island, coastline and Atlantic seascape. It will also create a direct route to the Island, relinking the castle with its original entrance.

More than just a practical passage, the bridge should exemplify design at its most assured. English Heritage envisages an elegant, even structurally daring, concept, both beautiful in its own right and sensitively balanced with the landscape and exceptional surroundings – the site lying within an Area of Outstanding Natural Beauty.

Certainly, a new bridge is needed. The existing approach is perceived by some non-visitors as demanding and although many visitors enjoy the experience some can find it a challenge. The current single track pathway is narrow, and on peak days can get congested and cause queues on and off the Island. This single point of entry is also leading to wear and tear on some parts of the path, and encourages a circulation route that results in many visitors bypassing the castle’s outer ward and gateway, thereby remaining unaware of this important section of the monument.

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Alongside the bridge project, English Heritage is also in the process of implementing a number of other initiatives at Tintagel Castle: refurbishing the visitor centre, and introducing new interpretative materials.

The Tintagel Castle: Bridge Design Competition is a two-stage procedure. Initially, Expressions of Interest are sought, following which a shortlist of approximately six design teams will be drawn up: from these the winner will be selected.

At the first stage we are not seeking a design but please note that teams who progress will need to conceptualise a design at the second stage which incorporates a construction methodology. This is essential given this challenging (and at times extreme) environment, the necessity to keep the site closed for as short a period as practical, and access constraints.

As a progressive patron, English Heritage encourages teams which balance seasoned experience with emerging talent.

To convince the competition Jury, the winning team will need to show outstanding design skills and a profound understanding of the multi-faceted significance of the site — its environmental, historic and cultural importance.

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ENGLISH HERITAGE

English Heritage cares for over 400 historic monuments, buildings and sites – from world famous prehistoric sites to grand medieval castles, from Roman forts on the edges of empire to Cold War bunkers. Through these, it brings the story of England to life for over 10 million visitors each year.

The work of English Heritage is characterised by enduring values of authenticity, quality, imagination, responsibility and fun, all underpinned by scholarly research. Its vision is to make history live and breathe and to take people back in time to experience those great moments in history, in the places where they actually happened.

With English Heritage’s new freedom as a charity, its ability to engage with millions of people is now greatly strengthened. A major programme of investment in its properties is under way and a priority is to deliver inspirational projects of the highest quality that capture the public’s imagination.

English Heritage is licensed to manage the National Heritage by the Historic Monuments & Buildings Commission for England. It is a charity (no. 1140351) and a company (no.07447221), registered in England.

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CORNISH IDENTITY

English Heritage looks after 17 historic sites in Cornwall and is committed to presenting the Cornish language, history and culture at those sites, including Tintagel Castle. It liaises with Cornish-interest groups, some of its signs and leaflets feature the Cornish language, and it aims to translate more and more information and on-site interpretation. It is exploring how Cornish history and the Cornish language can be better incorporated into its education material and web content.

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SITE & CONTEXT TINTAGEL ISLAND

Tintagel Island is situated on the Atlantic coast of Cornwall at 50.66706 degrees North and 4.75936 degrees West. It lies within the Cornwall Area of Outstanding Natural Beauty (AONB), which gives it the same protection as a National Park.

Tintagel is also a Special Area of Conservation under the EU Habitats Directive, which protects habitat types of European importance. Tintagel is listed for its vegetated sea cliffs, European dry heaths and old sessile oak woods. Additionally, the site falls within an Area of Great Historic Value as designated within the Cornwall Council Structure Plan. Two public rights-of-way cross parts of the site: the North Cornwall Coast Path, and the track that leads from Tintagel village to Tintagel Haven.

The remains of Tintagel Castle and the Island are protected as a Scheduled Ancient Monument under the terms of the Ancient Monuments and Archaeological Areas Act 1979. In addition, this lies within the Tintagel Cliffs Site of Special Scientific Interest (SSSI), designated by Natural England.

The site at Tintagel is dominated by its natural topography, particularly the eroded neck of land dividing the Island from the mainland. The castle lies on both sides of the chasm, or zawn. Centuries of erosion have taken many parts of the castle and earlier buildings with them.

The site at Tintagel also contains a shop, exhibition and a café, while Tintagel Beach leads to the atmospheric Merlin’s Cave.

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HISTORICAL SIGNIFICANCE

Tintagel is a site of huge historic importance. There is some limited evidence for Roman occupation; however, Tintagel first rose to real prominence during its Dark Age occupation.

Modern archaeologists believe Tintagel to have been the seasonal seat of Cornwall and Devon’s (Dumnonia’s) Dark Age rulers. Remarkably, more fifth and sixth-century pottery from Carthage, western Anatolia and the eastern Mediterranean has been found at Tintagel than the rest of Western Europe put together (and to date only five to ten per cent of the site has been excavated).

These goods arrived in the south-western peninsula by ship as part of a systematic trade which brought luxuries, such as olive oil, wine jars and fine tableware, and in exchange presumably took tin (the most distinctive and desirable commodity produced in Cornwall) back to the Mediterranean. The precise role of Tintagel in the trade is not clear: either it was a primary trading site, where the imported goods were landed and exchanged, or the actual trading took place elsewhere and the goods were brought to Tintagel for use.

Tintagel seems to have been abandoned in the early seventh century. Churchyard excavations have revealed some limited use in the 10th century but there was little activity of significance until Tintagel found international fame during the 12th century, featuring in Geoffrey of Monmouth’s History of the Kings of Britain.

Scholars believe it was this literary renown, and an aristocratic desire to establish a prestigious association with Arthurian legend, that inspired Richard, Earl of Cornwall, younger brother of King Henry III, to build the medieval castle at Tintagel in the 1230s.

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19 Image © akg-images / Erich Lessing Tintagel Castle: Bridge Design Competition // EOI // Part One

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Details of the castle’s precise form will always be conjectural, because its central section was lost in a succession of collapses in the Middle Ages, 16th century and later, but its plan almost certainly resembled an hourglass, with a narrow neck of land (possibly incorporating a drawbridge) between wider outer and inner baileys on the mainland and Island respectively.

Historical records show that in around 1242, Earl Richard used the castle to receive his nephew, the Welsh prince Dafydd ap Llywelyn. Apart from this episode, little is known of how much the castle was used.

In the late 14th century, two high-status prisoners were brought there from London for secure keeping, however by 1600 the site was largely deserted.

During the 19th century Tintagel regained its full prominence, as a result of renewed interest in medieval literature and history, and the arrival of the railways in Cornwall. Visitors began to come in large numbers, and the nearby village expanded to cater for them.

Tintagel is also important for the history of British archaeology – the excavations carried out by C. A. Ralegh Radford in the 1930s, and his interpretation of the site as an early monastery, have been taught to generations of archaeologists and, though generally disproved now, continue to exert an influence today.

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Image © akg-images / Erich Lessing

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LITERARY & CULTURAL SIGNIFICANCE

Tintagel has long been a site of literary and cultural significance. It gained international literary fame in the 12th century when Geoffrey of Monmouth referred to Tintagel in his History of the Kings of Britain as the island fortress where King Arthur was conceived. Famously, Uther Pendragon, King of Britain, was assisted by his adviser, the wizard Merlin, in his magical seduction of Queen Igerna, wife of Duke Gorlois of Cornwall.

It is thought Geoffrey’s use of Tintagel is related to Cornish legend and folk memory of the earlier importance of the site, perhaps as a stronghold of the rulers of Cornwall. This aspect of Tintagel enhances the significance of the site to Cornwall, to the west of Britain, and to the Celtic areas of western Europe.

Independent support for such a folk memory comes from the legend of Tristan and Yseult, known from French and German poems later in the 12th century, which seem to have drawn on Cornish legends. Tintagel appears in these poems as the court of Tristan’s uncle, King Mark of Cornwall. It has long been suspected that these literary works represent an older oral tradition.

An explosion of interest in Arthurian legend brought vast numbers to the site in the 19th century. Tintagel inspired two of the age’s finest writers, Alfred, Lord Tennyson, who used it as a setting in his epic poem Idylls of the King, and Thomas Hardy for the location of his Famous Tragedy of the Queen of Cornwall.

Through mythological associations with Arthur and its strange and unsettling traces of grandeur, Tintagel is regarded as a place of mystical significance and power by individuals and groups interested in esoteric interpretations.

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PARALLEL INITIATIVES

English Heritage is launching several new interpretation initiatives for the castle and Island from summer 2015 where the history, archaeology and mythology of Tintagel are re-explored both within the visitor centre and across the wider landscape of the site:

• New visitor facilities within the existing visitor centre, including a refurbished shop, membership sales room and a completely new exhibition. • A refurbished beach café, and new, small bridge across the stream, to make the café fully accessible. • A new ticket kiosk at the entrance to the mainland courtyard. • New interpretation where the history, archaeology and mythology of Tintagel is re-explored.

THE COMPETITION SITE

The map opposite shows the approximate area for the proposed bridge. Further information concerning the two landing areas will be provided at Tender stage.

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New bridge – indicative landing points Approx. route of new bridge

Image © English Heritage

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VISITORS TO TINTAGEL CASTLE

Tintagel Castle is one of English Heritage’s most popular sites, attracting 200,000 visitors a year – up to 3,000 per day in the peak summer season, with the flow heaviest between 11am and 3pm. For visitors to north Cornwall, Tintagel Castle is considered a ‘must see’ destination. Research conducted by consumer behaviour experts, RDSi, shows that visitors to Tintagel Castle are primarily looking for an authentic and unique day out in beautiful surroundings that can be digested at their own pace.

Visitors to English Heritage sites, including Tintagel Castle, have different motivations. For some, English Heritage is seen as the ‘history expert’; for others we are seen as a facilitator of ‘great days out’ using history as a backdrop. Around 32% of visitors to Tintagel Castle have children in their party – these visitors want a fun, exciting day out, with activities for children.

Tintagel Island’s profile as an international destination is also growing: nearly a third of current visitors come from overseas, an unusually high percentage for an attraction in south-west England.

English Heritage wishes to increase the number and frequency of visits. It is hoped the combined effect of upgrading the existing visitor centre, introducing a new interpretation strategy and opening a new footbridge might generate circa 250,000 visitors a year.

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THE NEW BRIDGE - EMERGING BRIEF

English Heritage, guardian of Tintagel Castle, is embarking on a range of projects to transform the visitor experience here. Central to these transformations is the project for the new footbridge running along the line of original land-bridge into the castle entrance. This will allow today’s visitors to experience the drama of the original (now eroded) higher level crossing.

The bridge will span 72m and be 28m higher than the current access. It will have an approximate width of 2.4m. More than just a physical link, it will create thrilling new viewpoints of the Island, coastline and the Atlantic seascape.

At the same time, careful consideration will need to be given to the impact of the bridge on the integrity of the monument, the long views of the bridge along the coast and the impact of the profile of the bridge itself on views on approaching the Island.

The structure will need to be informed by analysis of several key factors.

Great consideration will need to be given to the bridge’s fabrication and installation, framed in the context of its coastal (and at times extreme) climate; the site being shut approximately ten times a year due to winds of force eight and above. The existing access road (to the visitor centre) is narrow and limited; the logistics mean materials may need to be brought in by helicopter and a suitable site identified for a temporary work compound. Operation of the site during bridge construction will be an important consideration.

Practically, the new structure should be capable of safely and efficiently delivering current and projected visitor numbers to and from the castle, making the site more accessible to all. It should provide areas for visitors to stop and take photographs.

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It should be built to last, serving the castle for the long-term, and commensurate with the high level of investment English Heritage is making. It needs to have low maintenance costs and to have a design life of approximately 100 years.

It should also be designed in the context of a whole site solution, framed by English Heritage’s strategic vision for the wider site. This vision covers wider visitor facilities as well as access, wayfinding, orientation, landscape and interpretative requirements.

Aesthetically, the bridge must be of the highest quality, designed and engineered with precision and a keen eye for detail. The structure of the bridge, whilst being robust, should be elegantly conceived, beautiful in its own right and sensitively balanced with the landscape and exceptional surroundings – the site lying within an Area of Outstanding Natural Beauty.

The landing areas of the bridge on either bank are constrained by heritage and archaeological considerations: the need to preserve key aspects of the thirteenth-century castle. From a design perspective, the landing points should be of equal landscape and public realm quality, without detracting from the rugged nature of the surrounding landscape or the aesthetic and heritage quality of the ruined castle.

The bridge must also, critically, be rooted in the unique sense of place, which is so distinctive to Tintagel. It should respond to, and be true to, Tintagel’s environmental, historic and cultural legacies – providing a new path to landscape, history and place.

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KEY OBJECTIVES

The project’s key objectives are:

• exemplary design, which is sensitively balanced with a landscape of national, historic and mystical significance; • design capable of attracting and coping with projected visitor numbers of around 250,000 per year and local climate conditions – notably high winds; • design incorporating a construction methodology, driven by build-ability, minimal construction impact on archaeology, landscape and constrained access; • improving physical and intellectual access for visitors while also enhancing the visual and sensory pleasure of arrival and introducing new viewpoints; • sustainable place-making and conservation: protecting the surrounding heritage, archaeology and landscape; • a bridge with low maintenance and safe upkeep.

Wider themes informing English Heritage’s strategic approach include:

• awareness of Cornish identity, and respect for the local vernacular, whilst allowing for innovation; • developing Tintagel’s local, national and international profile as a destination; • improving visitor orientation, circulation and relieving areas of concentrated visitor flows; • engaging visitors with Tintagel’s history, legends and literature and enhancing the experience of exploring the Island.

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PROJECT DETAILS TEAMS

English Heritage is seeking a team:

• appropriate in size and skills for the project; • strong in exemplary, sensitively balanced design attuned to an exceptional setting and landscape; • who will be inventive and resourceful in using construction techniques to anticipate complex logistics and access and, moreover, conceive a structure with minimal construction impact on landscape; • who will understand and acknowledge the national, historic and cultural importance of the site; • with a keen eye for detail, from the micro to the macro scale.

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Proposed teams should be led by an architect or design engineer.

Additional skills may be proposed in your submission if you feel they are necessary, but these should not include cost consultancy, project management, planning consultancy, ecology/landscaping, archaeology, or geology skills as these are being secured separately by English Heritage or will be provided in-house.

Sub-consultant companies may enter with more than one team if they wish to do so. However, the same individual within a company should not participate in more than one entry. Companies who intend to sub-consult on a number of teams should propose the inclusion of different individuals from their organisation for each separate team. This is to prevent a conflict of interest at the shortlisting stage, in the event of a sub-consultant being shortlisted with more than one team.

Please note: English Heritage reserves the right to determine the final composition of the design team appointed as the winner, and this may include the appointment of sub-consultants that are not suggested within the competitor’s bid. For the avoidance of doubt, this is to ensure the correct mix of skills and expertise and will not be imposed unreasonably.

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ANTICIPATED KEY DATES

The competition will conclude in early 2016.

The project is planned for completion in Easter 2019.

BUDGET

The total project costs are estimated to be £4 million (including fees, VAT and associated costs).

Further information on the budget will be given at the next stage of the competition.

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JURY

Please note: the Expressions of Interest will be reviewed by a Shortlisting Committee, comprised of a subset of the Jury, and English Heritage’s other advisers.

The Jury who will review the Tender submissions and interview finalists will be comprised of the following members:

Graham Morrison (Chair) The Reverend Peter Beacham OBE Ben Bolgar Sir Barrington Cunliffe CBE Anna Eavis Philip Marsden Roger Ridsdill Smith Tracey Wahdan Kim Wilkie Malcolm Reading (Jury Adviser)

Graham Morrison (Chair) Partner, Allies and Morrison

Graham is a founding partner of Allies and Morrison. The practice, now 300 strong and in its 30th year, has won 36 RIBA awards and been responsible for a number of buildings for Oxford and Cambridge, the restoration of the Royal Festival Hall and the masterplan for the London 2012 Olympics. He trained at Cambridge University, has lectured extensively both at home and abroad, has held a visiting professorship at Nottingham University and has been an External Examiner at Cambridge and Portsmouth Universities.

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Graham has served as an RIBA Council member and an advisor to the Cabinet Office and has judged a number of major competitions. He has been a member of the Arts Council Lottery Architecture Committee, a Royal Fine Art Commissioner and a CABE Design Review panellist. He has been a Commissioner of Historic England since 2011, was member of its London Advisory Committee from 2001 to 2013 and is now a member of Historic England’s advisory committee. He contributes to several Design Review Panels including his home base of Southwark and the South Downs National Park.

The Reverend Peter Beacham OBE Former English Heritage Protection Director and author

Peter was conservation officer of Devon County Council for over 20 years and has written widely on the West Country, including a collaboration with photographer James Ravilious, Down the Deep Lanes (2000). As an Anglican priest he has served the historic churches in the centre of Exeter for over 40 years. He worked for English Heritage from 1991 and retired as Director of Heritage Protection in 2011 having piloted the draft Heritage Protection Bill through to its publication. Peter is the author of the recently revised Cornwall volume of Nikolaus Pevsner’s Buildings of England series (2014) and is currently working on Buckfast Abbey: History, Art and Architecture, a volume to celebrate the Abbey’s millennium in 2018. He is also currently a member of the Architectural Panel of the National Trust.

Ben Bolgar Senior Design Director, The Prince’s Foundation

Ben is Senior Design Director for the Prince’s Foundation for Building Community where he is responsible for communication, research, urban and architectural projects as well as education.

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Ben has led over 50 collaborative planning and design frameworks for projects ranging from a new city in Gabon to Alder Hey Children’s Hospital in Liverpool. The current portfolio of around 40 projects consists of city expansions, new towns, brownfield remediation, town centre regeneration, heritage, ecclesiastical, healthcare and ecological projects. Ben is currently overseeing the urban and architectural outputs for four new mixed-use developments in the UK, totalling around 20,000 dwellings.

Ben teaches at Oxford and Trinity Saint David Universities, and has taught or lectured at Notre Dame, Yale, Cambridge and Robert Gordon Universities.

Ben is a member of the Royal Institute of British Architects, the Royal Incorporation of Architects in Scotland, the Architecture Club, a Fellow of the Royal Society of Arts and board member of Coed Darcy Ltd, the Form Based Codes Institute and Stroma Consulting.

Sir Barrington Cunliffe CBE Emeritus Professor of European Archeology, University of Oxford

Barry’s university career spans more than 40 years. After teaching at Bristol and Southampton Universities, he moved on to become Chair of European Archaeology at Oxford in 1972, retiring in 2007.

During his long career in archaeology Barry has served as President of the Council for British Archaeology and of the Society of Antiquaries, governor of the Museum of London and as a member of the Ancient Monuments Board. He is a former Trustee of the British Museum, current Trustee of the British Museum Trust, and the Mary Rose. He has excavated widely, published numerous books on archaeology and for several years presented the Radio 4 programme Age to Age.

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He served as a Commissioner of English Heritage (1986-92) soon after its inception and joined the Commission again in 2006. He chaired the English Heritage Advisory Committee and served on the Research Advisory Panel and the Remuneration and Human Resources Committee.

Barry was Interim Chairman of English Heritage from September 2008 to July 2009.

Anna Eavis Curatorial Director, English Heritage

Anna is Curatorial Director of English Heritage, where her department is responsible for the presentation and interpretation of English Heritage’s 400 properties and for advising on their conservation. Anna’s team also manages the conservation of the half a million historic artefacts that relate to those sites, which range from prehistoric tools and medieval metalwork, to a Rembrandt self-portrait and the Duke of Wellington’s boots. Anna previously ran the English Heritage Archive. She is a specialist in the history of medieval stained glass and she also runs the Corpus Vitrearum Medii Aevi, which is a British Academy- funded research project. In addition to this, she serves as a Trustee of The Stained Glass Museum.

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Philip Marsden Writer

Philip is the award-winning author of a number of books of travel, history and fiction. He spent the 1990s travelling to, and writing about, the Middle East and the territories of the old Soviet Union, years which produced books like The Crossing Place: A Journey among the Armenians, The Bronski House and The Spirit- Wrestlers. His more recent books – The Levelling Sea (2011) and Rising Ground (2014) – concern aspects of British landscape and place. He is a Fellow of the Royal Society of Literature, a Trustee of the Royal Institution of Cornwall and an honorary Fellow of Falmouth University. His work has been translated into fifteen languages. Philip now lives in Cornwall on the tidal reaches of the Upper Fal with his family and a number of boats.

Roger Ridsdill Smith Senior Partner, Structural Engineer, Foster + Partners

Roger is a Fellow of the UK Institution of Structural Engineers, and leads Foster + Partners’ Structural Engineering team. He gained his degree in structural engineering from Cambridge University and began his professional career in Paris. In 1994 he joined Ove Arup and Partners, becoming a director of the firm in 2003.

The Structural Engineering team within the practice has been built on the basis of technical excellence, with an emphasis on the design of complex structures. Recent projects within the group include the Chateau Margaux winery, The Maggie’s Centre for cancer care in Manchester and the new Tocumen International Airport in Panama, currently nearing completion.

Roger has won several prizes for his engineering work, including the 2010 Royal Academy of Engineering Silver Medal.

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Tracey Wahdan Historic Properties Director, English Heritage

Tracey joined English Heritage in 1991 after a career in the tourism and leisure industry. She has progressed through a number of roles from General Manager at Dover Castle to South East Historic Properties Director before securing the national role of Historic Properties Director in 2014.

She is responsible for the operational management of 400 properties, ensuring their commercial growth, capital development and delivery of commercial targets. As well as this, she is responsible for devising and delivering the Capital Investment Programme worth £18m which underpins the Charity Forward Plan.

Tracey has led the successful delivery of capital projects in the South East region worth in excess of £15m, including the Great Tower and Secret Wartime Tunnels at Dover Castle, Queen Victoria’s Beach and Swiss Cottage at Osborne on the Isle of Wight, and a new Visitor Centre at Battle Abbey, a project for which she was instrumental in securing planning permission.

Kim Wilkie Landscape Architect

Kim is a landscape architect and environmental planner who collaborates with architects and engineers around the world and combines designing with the muddy practicalities of running a small farm in Hampshire.

Kim studied history at Oxford and landscape architecture at the University of California, Berkeley, before setting up his landscape studio in London in 1989. He continues to teach and lecture in America; writes optimistically about land and place; and meddles in various national committees on landscape and environmental policy in the UK.

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Kim was awarded an Honorary Fellowship of the Royal Institute of British Architects in 2002 and made a Royal Designer for Industry in 2009. He published Led by the Land in 2012. Current projects include the redesign of the grounds of the Natural History Museum in London and the Churchill memorial at Blenheim Palace.

Malcolm Reading Architect and Competition Organiser (Jury Adviser)

The Competition is being managed by Malcolm Reading Consultants (MRC). Malcolm, an architect by training, founded the company after six years as Director of Design and Architecture at the British Council. He has overseen international architectural competitions for leading organisations, including the V&A, the Foreign & Commonwealth Office, the Solomon R Guggenheim Foundation, Mumbai City Museum, Glasgow School of Art, and the Natural History Museum. He was on the Board of Historic Royal Palaces from 2005-2014, is a Trustee of English Heritage and Edinburgh World Heritage, a Fellow of the Royal Society of Arts and an honorary Fellow of the Royal Geographical Society.

Malcolm was President of the 2014 Prix W architectural prize, a Judge of World Architecture News’ 21 for 21 Award, the AIA (American Institute of Architects), UK Excellence in Design award and World Architecture News’ Education Award 2015. He writes a monthly column for the Architects’ Journal.

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COMPETITION DETAILS

Competition Management Malcolm Reading Consultants (MRC), an independent expert organiser of design competitions with nearly twenty years’ experience, will lead and administer a two-stage competition on behalf of English Heritage. This will result in the selection of a winning team and design, who will be appointed to develop their design and to deliver the project.

The two-stage design competition is comprised of:

Stage One An international call for participation – an Expression of Interest (EOI) – that is aimed at attracting technically competent and professional teams to register their interest in the project, as described in this document. A shortlist of up to six teams will be selected to move to Stage Two. Successful and unsuccessful teams will be contacted by MRC prior to the commencement of Stage Two.

Stage Two The shortlisted teams will be asked to produce a concept design. A brief will be issued to these teams, as well as further information about the site. A technical panel will review the entries and a final Jury will conduct interviews prior to a winner being announced.

An honorarium of £5,000 will be awarded to each of the shortlisted teams following the selection of the winner.

Deadline for Expressions of Interest Expressions of Interest will be received up to 14.00 hours (BST) on Tuesday 21 July 2015.

Please ensure that your submission is submitted no later than the appointed time. English Heritage may not consider your submission if it is received after the deadline.

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Competition Process This procedure is being run in accordance with EU procurement guidelines and the Public Contracts Regulations 2015.

This competition has been advertised in the Official Journal of the European Union (OJEU).

Submission Details Submissions for the first stage of this competition will be received electronically only via the upload form on the competition website: competitions.malcolmreading.co.uk/tintagel/enter

Please note the form will close after the deadline on Tuesday 21 July 2015.

Questions All enquiries relating to the competition should be addressed to Malcolm Reading Consultants only, the independent competition organisers appointed to manage the process. Please do not make contact with any other organisation involved in this project for instance, but not limited to, English Heritage, Historic England, Tintagel Castle, and the Duchy of Cornwall, as this may compromise your Expression of Interest.

Questions should be emailed to: [email protected]

A question and answer log will be compiled and uploaded to the downloads section of the competition website on a weekly basis.

Please note that telephone enquiries will not be accepted, and the latest date for submitting enquiries is 14.00 hours (BST) on Wednesday 8 July 2015

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Permissions English Heritage and Malcolm Reading Consultants reserve the right to make use of all presentation materials submitted in any future publication about the competition, exhibition or website. Any use will be properly credited to the competitor and the competitor warrants that the material submitted comprises solely their own work or that of any member of a team submitting an EOI response. This non-exclusive licence is irrevocable, shall survive the competitor’s exit from the tendering process and is royalty-free.

Language The official language of the competition is English. All entries must be in English, including all additional information.

Financial data Any financial data provided must be submitted in, or converted into, pounds sterling. Where official documents include financial data in a foreign currency, a sterling equivalent must be provided.

Insurance English Heritage and Malcolm Reading Consultants will take reasonable steps to protect and care for entries but neither organisation will insure the proposals at any time. Competitors are urged to maintain a complete record of their full entries and be able to make this available at any time should adverse circumstances require this.

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Deviations Only submissions that meet the basic criteria of entry will be considered. Information or supplementary material, unless specifically called for in subsequent communication, will not be considered by the assessors.

Amendments to the Expression of Interest English Heritage may, at any time prior to the submission date, amend the Expression of Interest (EOI), and Malcolm Reading Consultants (MRC) shall notify all competitors of any such amendments. If MRC issues any circular letters to competitors during the EOI period to clarify the interpretation to be placed on part of the documents or to make any changes to them, such circular letters will form part of the EOI. The Q&A responses will also form amendments to the EOI, and should be considered by all competitors. Accordingly, all competitors will have been deemed to take account of these in preparing their submission.

Site visits, photos and drawings Competitors are welcome to visit the site, but at this stage of the competition there will be no formal site visits or photos and drawings distributed.

Return of competition materials All material which is submitted as part of your response to the EOI will be retained by English Heritage and will not be returned to participants.

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ANTICIPATED COMPETITION PROGRAMME

All dates provisional 2015-2016

Competition launched Thursday 18 June Deadline for EOIs Tuesday 21 July Shortlist and issue of competition information w/c Monday 24 August Site visit Friday 11 September (TBC) Final submissions by shortlisted teams Friday 6 November Jury interviews Wednesday 2 December Winner announced January (2016)

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SUBMISSION REQUIREMENTS

Your response should be both well written and highly visual.

Responses should be submitted as separate electronic files (format specified below) using the online submission form: competitions.malcolmreading.co.uk/tintagel/enter

Please refer to the Evaluation Criteria section for the scoring approach.

1. Pre-Qualification Questionnaire (PQQ) Please see the Pre-Qualification Questionnaire in Appendices A and B.

The PQQ is provided as both a Word document (Appendix A) and an Excel file (Appendix B). It is not available in any other formats. Competitors should complete the Excel version, and also provide a PDF version (based on the Word template), which includes any necessary appendices. Teams may apply their own formatting to the PDF submission, providing they do not change the order of the questions.

Format: Completed Excel template, and one combined PDF File at A4 size including appendices.

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2. Team Composition We are looking for interesting team collaborations to undertake this project. Please tell us why you have brought together the team members you have and why you think the team will deliver a successful project.

Please provide a summary of the details of each of your proposed team members. State who will be the lead consultant (team lead). Multi-disciplinary teams composed of both emerging and established firms will be looked upon favourably.

Format: Eight sides of A4, as one combined PDF.

3. Relevant Experience Help us understand how you would approach the project. Frame this with your understanding of the emerging brief as set out within Part One of this EOI document. Please provide examples of relevant projects or experience that demonstrate your approach to similar challenges and how you have worked to maximise value for the client or end user. These examples should include analysis of programme, budget and build-ability, as well as a description of your approach to site problems and your design solutions. Your response should convince us of why your team is appropriate for this commission.

You should limit your response to two relevant examples.

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Please identify:

• Client name, email address and contact number. • Date of project completion. • Previous experience of working as a team, where possible with the team members proposed in this EOI. • Anticipated and final budget. • Anticipated and final duration of the project. • Aspects of the design or design approach that are relevant or showcase equivalent challenges to the Tintagel project. Illustrations and sketches should be used where appropriate. Client references may be taken up.

Format: Ten sides of A4, as one combined PDF.

4. Press Statement Each team should also provide a 150-word snapshot of the practice or collaboration that can be used for press in the event of the team being shortlisted. This statement should include the lead consultant’s website (if you have one).

Format: One side of A4 with 150 words maximum, PDF.

5. Forms Please complete the Submission and Declaration Forms (Appendix E) and upload them with your submission.

Format: Two sides of A4, as one combined PDF.

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EVALUATION CRITERIA

EOI responses will be scored in accordance with the selection criteria set out below.

Criteria Total Score available for this Weighting (of total section submission)

1. PQQ 50 15% 2. Team Composition 10* 35% 3. Relevant Experience 10* 50% 4. Press Statement Not scored - for information only 0 5. Forms Not scored - for information only 0

*Scored in accordance with the Scoring Approach on Page 52.

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PQQ Breakdown

Responses to the PQQ will be scored as set out below, and within the PQQ. Please note, questions marked as mandatory pass/fail criteria, must be answered such as to meet the ‘pass’ requirements – failure to do so will lead to your PQQ not being assessed further.

Criteria Total Score available for this Weighting (of total section submission)

Practice Information Not scored – for information only. 0% Mandatory and Discretionary Not scored – however, failure to answer “ 0% Grounds for Exclusion no to the mandatory grounds for exclusion will result in your PQQ being rejected and not evaluated further. Financial and Business Standards Not scored – however suppliers will fail 0% if they are assessed to be a financial risk to English Heritage Insurance Statements Not scored – however suppliers will fail 0% and Certificates if they do not have, or are not willing to obtain, the required level of insurance. Technical and Professional 50 15% Capability Total 50 15%

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Scoring Approach

The following scoring approach will be used to award the scores for questions 2 and 3 of the Submission Requirements, as well as question C5-Q1 of the PQQ.

Score Classification of response Reason for classification

1 Unacceptable in whole or part No answer has been provided or the response fails to answer the question provided; all elements of the response are not justified or unsupported by evidence where required; fails to demonstrate any understanding of the question or the context. 2 Poor and significantly below Very significant gaps or lack of justification/evidence in requirements response where required; responses given are very generic and not relevant in whole or part; fails to demonstrate considerable understanding of the question or context. 3 Poor and below A lack of content or explanation in one or more aspects of requirements the question; significant gaps or lack of justification/evidence in response where required; responses given are generic and not relevant in whole or part; a degree of a failure to demonstrate understanding of the question or context. 4 Satisfactory response but does The question is answered satisfactorily overall but some not meet all requirements key aspects lack sufficient detail or explanation. 5 Satisfactory response that meets The question is answered satisfactorily for the most part most requirements and some aspects lack sufficient detail. 6 Satisfactory response that meets The question is answered well for the most part and in most requirements and is a good areas is particularly clear and justified. response in some areas 7 A strong response that is very The question is answered very well for the most part satisfactory in all areas and exceeds and in areas is particularly clear and justified. expectations in some areas 8 A very strong response The question is answered very well throughout and in all areas is clear and justified. 9 Outstanding quality response The question is answered in an outstanding way through- out, meets all requirements and in all areas is extremely clear and justified. 10 Exceptional response that exceeds The answer demonstrates an exceptional responses that the requirements meets all requirements and exceeds the level of quality required in some key areas.

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APPENDICES

The Appendices are available to download from the competition website: competitions.malcolmreading.co.uk/tintagel

A. PQQ (Word format)

B. PQQ (Excel format)

C. Feasibility Report Extract (July 2014, for information only at this stage)

D. Geotechnical Evaluation (April 2013, for information only at this stage)

E. Submission and Declaration Forms

53 ‘Tintagel… is situate on the sea.’ Geoffrey of Monmouth History of the Kings of Britain

competitions.malcolmreading.co.uk/tintagel