Design Team Selection Process

DESIGN BRIEF

NG200 PROJECT DESIGN TEAM SELECTION PROCESS • DESIGN BRIEF I © Malcolm Reading Consultants 2021

This document has been assembled by Malcolm Reading Consultants from research content and original content provided by the National Gallery. The combined content is intended for use only in the procurement process as described in this document. All material is provided in good faith but should not be considered as accurate or correct from the point of view of Statutory, Planning or Heritage regulations.

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 over twenty years’ experience of projects, we are enthusiastic advocates of the power of design to create new perceptions and act as an inspiration.

Cover image: Claude. Seaport with the Embarkation of Saint Ursula. 1641. © The National Gallery, London. For full image credits see page 65. malcolmreading.com

T: +44 (0) 20 7831 2998 Contents

National Gallery Director’s Foreword 3 NG200: The Vision 5 Introduction to the Design Brief 7 About the National Gallery 12 Project Aims 14 Project Background and History 17 The Wider Context 19 Setting 21 The Brief 27 Context and Layout 42 Outline Space Guidance 45 Project Details 56 Appendices 58 Appendix A — Venturi Scott Brown Associates 59

NG200 PROJECT DESIGN TEAM SELECTION PROCESS • DESIGN BRIEF 1 2 NG200 PROJECT DESIGN TEAM SELECTIONFront PROCESS of the •National DESIGN Gallery BRIEF National Gallery Director’s Foreword

2024 is the National Gallery’s Bicentenary year.

Over its two centuries of history, the Gallery has developed and changed with great success, responding to the needs of the time and often leading the way for art museums.

In the last generation it has become renowned as a dynamic institution, growing its visitor numbers and broadening its audiences, acquiring major masterpieces, introducing a strong exhibition programme, blazing a trail in museum art history, adopting innovative research and public-facing The current Covid-19 pandemic has brought technologies, and seeding the international with it unprecedented difficulties — months museum community with its curators and of closure, the disappearance of mass visiting educators. and a collapse in our income. But we have responded with resilience, massively increasing In more recent times we have committed to a our online presence, reopening with a spectacular strong contemporary art strand, an ambitious programme of activities and exhibitions, programme of digital transformation, advancing supporting our staff through this period, working intellectual leadership, and increasing our levels towards the completion of a major capital project, of self-generated income. and planning significant corporate reorganisation.

NG200 PROJECT DESIGN TEAM SELECTION PROCESS • DESIGN BRIEF 3 4 NATIONAL GALLERY DIRECTOR’S FOREWORD • • • • be like? Itwillbe: And whatofthefuture willtheNational Gallery ofthefuture.Gallery of now, andforging apathway to theNational responding to thechallengesandopportunities out ofthecrisis,buildingonourstrengths, The next five years willseeusfightingour way benefit of public the research on historic painting for the ultimate thatA Gallery is aworld leader in academic audience, in arich cultural open and dialogue thatA Gallery engages with abroad, inclusive and communities enjoyment, for and the wellbeing of individuals of this country beyond, and for learning, thatA Gallery is aresource for the people superb collection of paintings at its heart transformative nature of great with art, the committedA Gallery to belief in the NG200 PROJECT DESIGN TEAMSELECTION PROCESS • Gabriele Finaldi Gabriele collection ofpaintingsintheworld. on acommitted staff andonthemost perfect Government, ofourTrusts, offriendsoldandnew, years ofexperience, onthesupportofUK can lookaheadwithconfidence, relying on200 we ofthefuture, buildtheNational Gallery we foras aGallery thenation andtheworld. Andas opportunity for relaunching theNational Gallery comes into sharperfocus, itgives usthe relevance inacrisissituation. Asthe Bicentenary strength, inventiveness andcontemporary 2020 demonstrated theNational Gallery’s • • environmentally responsible thatA Gallery as it seeks to grow, is to the whole world by new technologies reaches and out digitally thatA Gallery seizes the opportunities offered DESIGN BRIEF NG200: The Vision

The Gallery will celebrate its 200th anniversary Outside, we aim to provide a more obvious through activities in the Gallery; in Trafalgar Square; connection with Trafalgar Square by improving around the country and around the world. As much the public realm around the Gallery. as we want to celebrate, we want also to create a meaningful legacy for the Bicentenary. We want also to create a new Research Centre with world-leading facilities that communicates Our Bicentenary will have two strands — an the Gallery’s work as a global thought-leader ambitious programme of public engagement, and and supports its growing research community, a series of capital projects under the banner ‘the as well as providing an open-access resource NG200 Project’ that will help redefine our visitor for research in art history, the digital humanities, experience. conservation and heritage science.

The NG200 Project aims to transform the existing Critical to the success of all our capital projects Sainsbury Wing entrance into a more open, will be energy saving initiatives that help to inclusive and enjoyable environment for visitors reduce our carbon footprint. We recognise that to relax, reflect and plan how they wish to engage while Covid-19 and Brexit shape our current with one of the world’s finest art collections. strategic environment, the climate crisis is likely to become the defining feature of the years Transforming the welcome to the Gallery will deliver ahead. a world-class experience with a more seamless journey — from queue management and security control, through to visitor services and orientation.

NG200 PROJECT DESIGN TEAM SELECTION PROCESS • DESIGN BRIEF 5 INTRODUCTION

DESIGN BRIEF

Reopening of the National Gallery after lockdown Gallery of the National after Reopening DESIGN TEAM SELECTION PROCESS • DESIGN TEAM SELECTION PROCESS NG200 PROJECT 6 Introduction to the Design Brief

This Design Brief frames the design challenges One of the United Kingdom’s pre-eminent art and opportunities implicit in the NG200 Project, galleries, the National Gallery holds the nation's a phased initiative with an initial phase timed collection of paintings in the Western European to deliver during the Gallery’s celebratory tradition, spanning the period from the late 13th Bicentenary year, 2024. The project focuses on century to the beginning of the 20th century. enhancing the visitor’s arrival experience via the public realm and Sainsbury Wing entrance For more than 180 years, the National Gallery spaces, as well as reconfiguring some support has enlivened London’s Trafalgar Square. spaces and creating a new Research Centre. Today, it seems extraordinary that at its inception the Gallery was regarded with some doubt, so The analysis presented below is intended to familiar is it to us as a national landmark, and to inform those participating in the selection many ‘a much-loved friend’. process for an architect-led, multi-disciplinary design team to deliver the initiative. A masterplan The Post-Modern Sainsbury Wing was added strategy, as well as a timeframe and delivery in 1991 to the Gallery’s main building, the Grade strategy, will be considered during the initial I Listed William Wilkins building, known for its phase. distinctive grey cupola and Corinthian porticoes.

NG200 PROJECT DESIGN TEAM SELECTION PROCESS • DESIGN BRIEF 7 8 INTRODUCTION chronological. visitor journey through thecollection that isbroadly Wing galleriesonthebuilding’s top floorinitiatea has underpinnedadeeperlogic—theSainsbury main entrance. From acuratorial perspective, this Sainsbury Wing, whichhasbecome thedefacto guests have beendirected to enter through the reasons, most oftheGallery’s sixmillionannual Since 2018, for security, accessibility andlogistical more diverse. audiences have increased dramatically andbecome In theintervening thirty-year period,theGallery’s Wales as a ‘monstrous carbuncle’. vividly describedat thetimeby HRHThe Prince of proposed acontroversial commercial tower — following anearlierdesigncompetition which Scott Brown, was apragmatic andhealingsolution American architects Robert Venturi andDenise This intervention, aPalazzo-like additionby NG200 PROJECT DESIGN TEAMSELECTION PROCESS • promotes wellbeing, shouldwork. public’s expectations ofhow ahealthy building,that that thepandemichasradically changedthe queuing outsideinallweathers, butalsorecognising practical issues ofresolving visitor congestion and and trends accelerated by Covid-19; notjust the Secondly, needsto theGallery respond to pressures global pandemic). accommodates visitor growth (whichpredated the increasingly sophisticated visitor expectations and world-class welcome experience that isattuned to Firstly, to to enabletheGallery offer aninspirational, spaces, oftheSainsburyWing now needarethink. So —theentrance spaces, andsomeofthesupport Covid-19 — andrapidly changing—world. the forthcoming decade, andlongerterm for apost- in 2024, theorganisation needsto realise itsvision for approachesNational Gallery its200-year anniversary accommodate just three millionvisitors. But asthe class uppergalleriesanddespite beingintended to brief —especiallyintheprovision ofitsworld- The SainsburyWing hasmore thanmetitsoriginal DESIGN BRIEF INTRODUCTION 9

The NG200 initiative has an anticipated anticipated has an NG200 initiative The and £25 between budget of construction in phases will be delivered £30 million and over the next five years, with the initial phaseyears, five the next over during the Gallery’s be delivered timed to Works 2024. year, Bicentenary celebratory include this initial phase for being considered entry sequence gates, the front remodelling to works interior public realm; and associated floor first of the remodelling limited the lobby; the supporting facilities, and upgrading spaces; and information, orientation notably visitor with the Gallery will work The and security. retail the detail of develop to design team successful phasing and costs. the scope, include might project Subsequent phases of the Wing of the Sainsbury further remodelling remain galleries will floor (the second interiors on the Portico enhance to works untouched); works realm Building; further public the Wilkins Research and a new including Jubilee Walk; wing in the west a site be given to likely Centre, adjoins immediately Building that of the Wilkins the Sainsbury Wing. DESIGN BRIEF century Justice as ‘the very as ‘the very Justice century th DESIGN TEAM SELECTION PROCESS • DESIGN TEAM SELECTION PROCESS NG200 PROJECT gangway of London’, Trafalgar Square has in Square Trafalgar of London’, gangway of shifting identities. a place times become recent and its statuary its historic notable for some, To for others a place Plinth; to Fourth provocative still, others to and protests; seasonal gatherings outdoor and performances street for a venue audiences. of varied — a footfall markets the public how rethink is an opportunity to This can support the Gallery’s Square Trafalgar to face the setting of and enhance welcome improved a greater providing architecture, the historic and linking it the Sainsbury Wing for presence Building. visually with the Wilkins Subconsciously, and even consciously, visitors visitors consciously, and even Subconsciously, and of cleanliness be hyper-aware will now access generous of good ventilation, hygiene, dwell, to spaces safe and pleasant and space, demonstrate the Galleryto as expecting as well inclusivity. and sustainability welcome’ the ‘world-class Crucial in creating will initial impressions visitors’ and transforming Once public realm. the external be reimagining a 19 described by 10 INTRODUCTION the overall vision. the additionalphasesto beconsidered aspartof initial phaseworks withamasterplan strategy for expresses theNG200Project vision,focusing onthe an architectural narrative orconcept study that isnotseekingdesigns —butratherthe Gallery Please beaware that inthisselectionprocess the designsothat itanticipates otherinitiatives. conservation practices, aswell asto future-proof to imaginatively embrace sustainable designand climate changeandthedesignteam willbeurged The issensitive National Gallery to thechallengesof Gallery’s status asanational andglobalicon. and deepenstheirknowledge, whilereflecting the inspires visitors, introduces themto thecollection architectural exemplar —acreative reimagining that Listing —needsto beamemorable andcompelling by theWing’s andtheWilkins Building’s Grade I The finished re-design —whichshouldbeinformed NG200 PROJECT DESIGN TEAMSELECTION PROCESS • procurement requirements for theselectionprocess. with The Conditions document,whichdetailsthe This DesignBriefshouldberead inconjunction and guidelines. run inaccordance withUKprocurement regulations This isanopentwo-stage selectionprocess, being reconfiguration oftheSainsbury Wing. main collection openfor publicenjoyment duringthe May 2024. The iscommitted Gallery to keeping its the Gallery’s Bicentennial anniversary —nolater than can deliver thefirst phaseoftheproject to celebrate international team ofthevery highest calibre that led, multi-disciplinarydesignteam —anational or outstandingly gifted andcommitted architect- Ultimately, issearching theGallery for an DESIGN BRIEF VisitorsNG200 PROJECTqueuing for DESIGN the Rembrandt TEAM SELECTION exhibition PROCESS • DESIGN BRIEF 11 About the National Gallery

The National Gallery was founded in 1824, when the Originally housed at Angerstein’s former UK Government acquired 38 paintings belonging to townhouse in Pall Mall (a site ridiculed in banker John Julius Angerstein, forming the core of a the media for its unimpressive size), the UK new national collection. Over the next two centuries, Parliament decided in 1831 that a dedicated the Gallery’s collection continued to grow through National Gallery building should be constructed purchases, private donations and bequests. for the collection at Trafalgar Square. Designed by architect William Wilkins, this opened in 1838. Today, the Gallery houses one of the greatest This location was specifically chosen due to its collections of paintings in the world. It tells the easy access from both west and east London, cohesive story of art in the Western European allowing people from all echelons of society tradition from the 13th to early 20th centuries, to visit. including works by British, Italian, Dutch, French, Spanish and Flemish artists. Its collection of over Accessibility is still fundamental to the Gallery 2,300 pictures includes paintings by Leonardo, today — by opening free of charge 361 days per Raphael, Michelangelo, Botticelli, Rembrandt, year, displaying the collection digitally, delivering Vermeer, Van Gogh, Turner and Constable. a broad range of learning programmes, and lending works to exhibitions across the world, the The collection remains the Gallery's priority — National Gallery aims to provide enjoyment and its principal aim being to care for the collection; learning to the widest possible audience. Today, to enhance it for future generations, primarily by the Gallery is one of the most popular acquisition; and to study it, while encouraging art galleries in the world, with six million visitors access to art for the learning and enjoyment of the each year. widest possible audience — now and in the future.

12 NG200 PROJECT DESIGN TEAM SELECTION PROCESS • DESIGN BRIEF ABOUT THE NATIONAL GALLERY 13 DESIGN BRIEF from Nelson's Column from National Gallery exterior GalleryNational exterior DESIGN TEAM SELECTION PROCESS • DESIGN TEAM SELECTION PROCESS NG200 PROJECT The Gallery is one of just fifteen fifteen Gallery of just is one The galleries inmuseums and the by be sponsored England to Culture, Digital, Department for Gallery’s The Media and Sport. the by is governed operation Museum and Galleries Act its established which also 1992, of Trustees. independent Board Anthony Lord Chair, The CBE, was Hall of Birkenhead, in January 2020 appointed July in up his post and took is Director Gallery’s The 2020. Dr Gabriele was Finaldi, who 2015. in August appointed nationalgallery.org.uk Project Aims GIVE THE SAINSBURY WING GREATER PRESENCE ON TRAFALGAR SQUARE The NG200 initiative needs to achieve the first phase completion date of May 2024 and will: Affirm the visibility of the Wing through public realm interventions and optimise the contribution of these spaces to allow the building to relate more strongly to the main Wilkins Building and improve DEVELOP A WORLD visitor welcome. CLASS WELCOME

Establish a strong sequence of positive first impressions through arrival, security, wayfinding and non-collection areas to the Gallery’s interconnecting top floor, while also enhancing the experience with new orientation and information space. IMPROVE THE QUALITY OF THE VISITOR EXPERIENCE

Resolve the design and operational shortcomings of the Sainsbury Wing entrance sequence and deepen the audience’s understanding of, and connection with, the collection.

14 NG200 PROJECT DESIGN TEAM SELECTION PROCESS • DESIGN BRIEF PROJECT AIMS 15

STRIVE FOR STRIVE ARCHITECTURAL EXCELLENCE the Sainsbury Reimagine it is inspiring, so that Wing the and reflects memorable as a national status Gallery’s is — and and global icon of the heritage respectful context. Demonstrate good standards of good standards Demonstrate and water ventilation hygiene, as well-planned as well systems, are that spaces and respite access to and pleasant spaces generous in. stay ENABLE THE NEW REMODELLED SPACES HEALTH PROMOTE TO AND WELLBEING DESIGN BRIEF SUPPORT SELF-GENERATED SUPPORT SELF-GENERATED GOAL INCOME opportunities revenue-generating for spaces Create the reduce to and membership) sales (events, on public funding. dependence Gallery’s Anticipate wider cultural and environmental and environmental wider cultural Anticipate to respond and seek to initiatives sustainability as long-term as well audiences, the needs of new pandemic. the Covid-19 changes following behaviour FUTURE-PROOF Create world-leading research facilities that communicate communicate that facilities research world-leading Create support a global thought-leader and as work the Gallery’s an providing as as well community research its growing the digital in art history, research for resource open-access science. and heritage humanities, conservation CREATE A NEW RESEARCH CENTRE RESEARCH A NEW CREATE DESIGN TEAM SELECTION PROCESS • DESIGN TEAM SELECTION PROCESS NG200 PROJECT 16 NG200 PROJECT DESIGN TEAMThe SELECTION Sainsbury PROCESS Wing during • DESIGN construction BRIEF Project Background and History

The National Gallery is comprised of two linked More recently, the Gallery has explored sites — the Wilkins Building and the Sainsbury substantial changes through a masterplan options Wing — connected by a circular building which study and Conservation Management Plan crosses Jubilee Walk, a pedestrian route running (Appendix B). These reviews provided direction north-south from Pall Mall East to St Martin’s on long-term opportunities for the potential Street. development of the entire National Gallery estate.

The footprint of the National Gallery has The Sainsbury Wing initiative grew out of these remained unchanged since the addition of the reviews and will enable the building to live up Sainsbury Wing in 1991, but visitor numbers have to its role as the primary entrance and welcome doubled in this time. threshold for visitors. Originally, the building was intended to provide extra gallery space, while The Gallery has periodically reviewed options for being only an overflow/supplementary entrance more efficient space use and, as a result, several to the Gallery, a junior partner to the historic discreet re-organisations have improved the cafe, Portico Entrance in the Wilkins Building. special exhibition and staff facilities, amongst other areas. Today the Sainsbury Wing is the Gallery’s principal entrance (augmented by the Getty Entrance for booked groups; the Pigott Education Centre Entrance on Orange Street; and the National Cafe Entrance on St Martin's Place).

NG200 PROJECT DESIGN TEAM SELECTION PROCESS • DESIGN BRIEF 17 18 NG200 PROJECT DESIGN TEAMThe SELECTIONNational Gallery PROCESS from Trafalgar• DESIGN Square BRIEF The Wider Context

The National Gallery has identified four strategic priorities for the next five years:

THE GALLERY AT 200 THE GALLERY: ACROSS THE WORLD In 2024 the National Gallery will begin its The Gallery will be redefined as a global Bicentenary celebration. This Bicentenary will digital institution. It will do this by dramatically be a celebration not only of what the Gallery is, increasing both its digital audience and content but of the role audiences and partners play in to reach people across the world. helping others engage with great art across the nation. As part of the Bicentenary, the Gallery RESEARCH FOR PUBLIC BENEFIT will complete or begin a suite of capital projects The Gallery does world-class research in art that will reshape the Gallery estate for its third history, the digital humanities, conservation and century. heritage science to understand and care for its collection, and to generate new knowledge THE GALLERY ACROSS THE NATION and discoveries about its paintings. Research The Gallery intends to raise the profile of its underpins the entire programme of public national work, share its collection across the UK engagement, both digital and physical, from in innovative ways, create new partnerships and exhibitions and display, to publications, talks and strengthen existing ones, and support the work of films. The Gallery wants to maintain and grow this collections throughout the UK by sharing its skills. expertise and invest in improved ways of sharing it with people.

NG200 PROJECT DESIGN TEAM SELECTION PROCESS • DESIGN BRIEF 19 20 NG200 PROJECT DESIGN TEAM SELECTION PROCESS Trafalgar• DESIGN Square BRIEF Setting

NATIONAL GALLERY LOCATION & SITE

The National Gallery stands on the northern side The Square is also seen as a place of celebration of Trafalgar Square, facing south. The Gallery by the nation: a Christmas Tree donated by the is bound by Orange Street to the north and by people of Norway is the centre of an annual Charing Cross Road and Whitcomb Street to the tree-lighting ceremony, and thousands gather east and west. Located in the City of Westminster, here to ring in the New Year. However, the the site originally housed a royal stable, the Square’s large area and central location has King’s Mews, until the area was redeveloped as also made it the perfect setting for more a pedestrianised public square in the mid-19th political events: an early example was an 1848 century. rally for social reform, and both organised and spontaneous marches and demonstrations have Named for the British victory at the Battle been regularly held here since. of Trafalgar, the Square is famed for its four monumental bronze lions and iconic 51-metre The 18th-century St Martin-in-the-Fields Church high Nelson’s Column. From the turn of the 21st and South Africa House (the South African century, the Square has also become known for consulate) are situated on the eastern side of the its Fourth Plinth, which is used to display specially Square, separated from the National Gallery by commissioned temporary artworks. Charing Cross Road. Canada House, the Canadian consulate, is on the western side of the Square, separated from the Gallery by Pall Mall East.

NG200 PROJECT DESIGN TEAM SELECTION PROCESS • DESIGN BRIEF 21 22 SETTING NG200 PROJECT DESIGN TEAMSELECTION PROCESS • the Sainsbury Wing The construction of exit directly onto theSquare. Underground Station having an links, withCharingCross are many publictransportation are bordered by roads, andthere other three sidesoftheSquare andtheSquare.the Gallery The which closedtheroad between result ofa2003 redevelopment a pedestrianised terrace, the Place. Infront is oftheGallery which isentered viaSt Martin’s the National Portrait Gallery, onitsnorthernsideis Gallery Directly adjacent to the and The Strand to theeast. Palace, Whitehall to thesouth southwest to Buckingham exits, includingThe Mallleading Gallery, isaroundabout withfive To thesouth,opposite the

DESIGN BRIEF SETTING 23

Further extensions have taken place over the last the over place taken have extensions Further in courtyards of including the infilling century, of the North Galleries the creation the 1960s and the last (1991) was Wing Sainsbury The in 1975. the saw but a 2004-5 project major addition, and Entrance Portico of the main refurbishment in the east the Getty Entrance of the creation from access ground-level wing, which offers Square. Trafalgar behind located House, Vincent St 1997, Since Gallery’s has housed the the Sainsbury Wing, tenants. to outside rented and is partly offices Martin’s St the Gallery by from It is separated Street. DESIGN BRIEF DESIGN TEAM SELECTION PROCESS • DESIGN TEAM SELECTION PROCESS NG200 PROJECT WILKINS BUILDING & LATER ADDITIONS LATER & BUILDING WILKINS The Wilkins Building was the result of an the result was Building Wilkins The William by won competition, architectural in 1838, the building is in 1831. Finished Wilkins given and was style Graeco-Roman in a classical (Appendix C). Two in 1970 status I Listed Grade features Portico central high, the grand storeys fluted by supported a triangular pediment columns. Corinthian scalloped cupola. On either is a large, Above smaller porticoes are Portico side of the central two as as well columns Corinthian featuring and well-ordered smaller domes. It is an attractive a familiar which has become piece, architectural lacks the architectural landmark, but arguably St Martin-in-the-Fields. flair of its neighbour Building has Wilkins the its completion, Since alterations first The times. several been extended extension and a significant in 1860, place took Neo-Renaissance E.M. Barry added several by galleries in the 1870s. 24 SETTING ORIGINS OFTHESAINSBURY WING architectural traditionalists andneo-modernists. to becontroversial and sparked debate between office space. Thefinalhigh-tech proposal proved galleries, aglazed atrium andatower blockof several times, eventually featuring curved out process, andthe ABKdesignwas revised Trustees.Gallery The competition was adrawn- and thepublic,althoughnotby theNational was favoured by boththecompetition assessors design by Ahrends, Burton andKoralek (ABK) architect anddeveloper team, andthewinning A competition was launchedin1981to findan gallery space. commercial office accommodation alongwith intended to befinanced by theinclusionof unavailable, sothisnew extension was originally extension onto thesite. Government fundingwas visitor numbersledto discussions over apotential WWII. Inthe1970s, ariseinmuseumandgallery formerly afurniture store that was destroyed in adjacent to thewest oftheWilkins Building, In 1959, acquired theNational Gallery asite NG200 PROJECT DESIGN TEAMSELECTION PROCESS • completely at thefaçade’s western edge. modified indepthand detail, eventually dissipating Wilkins Building;thisisreflected playfully, but language ofcolumn andpilaster from the adjoining of Portland Stone adoptstheclassical architectural buildings around Trafalgar Square. The front façade a massing that isinkeeping withthehistorical quadrilateral plan fillingthe available site, and The SainsburyWing features anirregular Grade IListed status in2018 (Appendix D). Her Majesty theQueenin1991.Itwas awarded The SainsburyWing was openedto thepublicby (VSBA), known for theirPost-Modernist approach. practice Venturi, Scott Brown andAssociates was heldandwas eventually won by theAmerican commercial offices. Asecond, invited competition to sponsoranew scheme, withouttheneedfor In 1985,theSainsburyfamily generously offered abandoned. receive planningpermission andwas subsequently loved andelegantfriend’,thedesignfailed to as ‘a monstrous carbuncle ontheface ofamuch- After beingdescribedby HRHThe Prince ofWales DESIGN BRIEF SETTING 25

DESIGN BRIEF Her Majesty the Queen Her Majesty opening the Sainsbury Wing in 1991 opening the Sainsbury Wing The treatment is similar to a ruched theatre theatre a ruched is similar to treatment The the to as a counterpoint curtain, and acts of interpretation earlier architecture’s Wilkins described it himself, Venturi, rule. the classical of the old’. fragment as: ‘a that some notable interiors are there Within, as the precedents on such classical draw perspective typology and Mannerist Palazzo entry a grand as the means of creating the main up to foyer the ‘crypt’ from sequence The galleries, floor. on the second gallery level chronological the broadly which initiate an enfilade of comprise journey, curatorial reminiscent double-height rooms, top-lit Gallery — with Dulwich Picture of Soane’s is level scale and setting. This matching bridge on a visual axis and rotunda connected of the the remainder to Jubilee Walk link over Building. in the Wilkins collection and their work on VSBA Further information in can be found on the Sainsbury Wing Appendix A. DESIGN TEAM SELECTION PROCESS • DESIGN TEAM SELECTION PROCESS NG200 PROJECT 26 NG200 PROJECT DESIGN TEAM SELECTION PROCESSThe •Sainsbury DESIGN BRIEF Wing The Brief

INTRODUCTION: DESIGN CHALLENGES

Please note: the project will be phased over five years and the Gallery will work with the successful design team to develop the detail of the scope, phasing and costs.

It is anticipated that the initial phase To follow, subsequent phases are will include remodelling the front gates, anticipated to include further remodelling entry sequence and associated public of the Sainsbury Wing interiors (excluding realm; interior works to the lobby; the second floor galleries); works to enhance limited remodelling of the first floor spaces; the Portico on the Wilkins Building; and upgrading the supporting facilities, further public realm works including notably visitor orientation and information, Jubilee Walk and a new Research Centre retail and security. likely to be given a site in the west wing of the Wilkins Building that immediately adjoins the Sainsbury Wing.

NG200 PROJECT DESIGN TEAM SELECTION PROCESS • DESIGN BRIEF 27 This procurement process encompasses the design It is worth noting that from a sustainability and delivery of all works — a masterplan strategy perspective, adapting and upgrading the design for subsequent phases, as well as a timeframe and honours the embodied energy in its construction. delivery strategy, will be considered during the initial phase. As outlined earlier, the Wing requires welcoming, compelling, and inspirational interior spaces The following brief is indicative of the spaces to be that resolve the current practical and logistical addressed and interventions to be made into the problems; and externally, the whole ensemble building’s fabric. It is a guide and will be formally should achieve greater visibility and presence on confirmed with the National Gallery following the Trafalgar Square. appointment of the successful design team. The brief covers all phases of works. The Gallery has limited public realm; however, there is an opportunity to refocus and strengthen The Sainsbury Wing’s configuration inevitably these spaces to contribute to the overall visitor

THE BRIEF reflects the Gallery’s needs of thirty years ago. experience and to guide circulation. The visitor Excepting the upper galleries, which remain an data model (National Gallery Masterplan, 2018) asset, the building, and specifically its entrance and revealed that the public does not linger after support spaces identified by this project, now need a crossing the building’s entry threshold. thorough and comprehensive rethink. The grand staircase offers an obvious wayfinding This will enable the Gallery to satisfy visitor direction for the procession up two levels to expectations and to address the overwhelming rise the National Gallery’s main floor; otherwise, the in visitors (pre-pandemic), while also communicating signage to the lower staircase at the rear leads the Gallery’s progressive commitment to health and only the most determined visitor down two levels wellbeing and accessibility. to the Temporary Exhibition Gallery.

28 NG200 PROJECT DESIGN TEAM SELECTION PROCESS • DESIGN BRIEF NEGOTIATING CHANGE

The findings also suggest that complementary In developing this Design Brief, the Sainsbury Wing attractions, such as the shop and the restaurant, has been considered in terms of which existing areas are not capturing the public’s attention. are fixed (and should be retained unaltered) and which might be suitable for accommodating change. The Gallery wishes to broaden the experience by creating an orientation space that acts as a portal This has involved input from key stakeholders (at the to multiple visitor experiences (please note, the National Gallery) on areas where they would welcome Temporary Exhibition Gallery and the Auditorium improvements on the spatial arrangements and

are to be retained). This may involve a holistic functions. THE BRIEF re-imagining of the Wing’s volumes, functions and flexible spatial uses. For example, the National Gallery is in the process of reviewing its commercial strategy across its estate The intellectual challenge lies with each designer’s and, as a result, is interested in reviewing the type skill in navigating the existing context, the heritage and location of both the retail and food and beverage red lines and the architecture designed by VSBA, offer. There is also an interest in expanding the kinds in order to fulfil the project’s objectives. of events the Gallery hosts, from fundraisers to private functions. The other challenge is the unlocking of potential latent within this Design Brief. In the following Additionally, the current Temporary Exhibition Gallery pages key issues, including heritage, public realm, is satisfactory but is constrained in size and layout. the adaptability of building fabric, sustainability However, resolving this will be left to a future iteration and wellbeing, are highlighted to begin to prompt of the Gallery’s wider masterplan. But to meet the the design team's thinking about their own aims of the project, improvements to the access and particular response to this context. welcome to the Temporary Exhibition Gallery could be considered.

NG200 PROJECT DESIGN TEAM SELECTION PROCESS • DESIGN BRIEF 29 THE BUILDING’S ARCHITECTURAL HIERARCHY

The Sainsbury Wing makes formal reference to The two basement levels are served by a return a traditional Palazzo. The top (second) floor, leg of the main staircase, providing access to comprising an enfilade of 16 gallery spaces, is the Auditorium’s ante space at upper basement the predominant floor, reminiscent of a piano level, and the Temporary Exhibition Gallery nobile. Here, the floor level and the circulation on the lower level. While the detailing and axis are both integrated with the original Wilkins architectural language is consistent with the Building to establish continuity of circulation whole composition, these basement floors are of through all gallery spaces. The organisational a lesser magnitude. parti is driven by the grand staircase, which, with its own prescribed volume, deploys The original design concept envisaged the foyer mannered perspectival space to augment the as being like a crypt, where the mass of Portland visitor procession up two levels from the ground Stone linings creates a visual contrast with the to the second floor galleries. side light from the grand staircase. However, visitors generally find this space uninviting,

THE BRIEF Not only are these elements understood as being underwhelming and confusing. set pieces that express the character of VSBA’s architecture, together they are essential to the legibility of the original design concept.

The first floor is accessed off the grand stair’s half landing. This level is currently the location of the restaurant and conference rooms.

30 NG200 PROJECT DESIGN TEAM SELECTION PROCESS • DESIGN BRIEF THE SAINSBURY WING’S GRADE I LISTING

Adapting the building to suit the National This section opens with the façades, whose Gallery’s needs and vision is anticipated to ornamentation and openings within the stone be challenging, but not impossible. Historic facing material for the main frontage to Trafalgar England’s Grade I Listing ensures statutory Square merit a detailed description. Within the protection; however, the Listing explains that interiors, there is a similar level of interest in the the historic interest stems from the events significance of the Soane-inspired gallery spaces surrounding the building’s commissioning and that house the National Gallery’s collection of public debates in the 1980s where Post-Modern Medieval and Renaissance paintings and the

design prevailed over late Modernism. spaces that lead up to them — the adjoining THE BRIEF rotunda bridge link (over Jubilee Walk) and the Later, the document’s Architectural Interest ‘monumental’ grand staircase. section cites the architect’s interpretation of classical Mannerist language, the response to its The other interiors do not merit the same level context and the fact that the building is a legible of detailed descriptions and all back-of-house articulation of the formal concept. The design service areas are stated to be ‘not of interest’. intentions and the historic interest lead over the building’s actual architectural qualities.

Outside the core text, under the accompanying appendix, there is a record of the significant parts of the building that characterise VSBA’s architecture.

NG200 PROJECT DESIGN TEAM SELECTION PROCESS • DESIGN BRIEF 31 STRUCTURE

The plans on all levels reveal that the public The concrete frame’s mass suits the heavy-set rooms are set out according to the Beaux-Arts Portland Stone and brick façades that provide a principle of poché. This concept imagines spaces solid treatment on three sides of the building; carved out of a solid building block, to create the fourth side being an exception — a tinted an impression of monumentality. However, as black glass curtain wall that runs alongside the the Sainsbury Wing was completed late in the grand staircase. 20th century and to a fixed budget, modern construction methods were used. The technique Within the interior, the architects chose to hide is typically Post-Modern — an impression of most of the functional columns behind dry wall permanence is created by using surface materials construction. In a Mannerist PoMo flourish, the that have no structural function. exposed stone-clad columns and pilasters in the ground floor foyer and adjacent to the grand Behind the finishes, the engineering solution staircase, are deliberately oversized and ornate — comprises a concrete frame superstructure, piled for purely decorative reasons.

THE BRIEF perimeter foundations and two rows of internal columns; at rooftop level, this changes to a more lightweight steel infill structure that frames the inner clerestory and outer rooflight cladding.

32 NG200 PROJECT DESIGN TEAM SELECTION PROCESS • DESIGN BRIEF THE BRIEF

TheNG200 Sainsbury PROJECT Wing DESIGN during TEAM construction SELECTION PROCESS • DESIGN BRIEF 33 PUBLIC REALM

Now that the Sainsbury Wing serves as the Unlike the Canadian and South African Embassies National Gallery’s official front door, visitors on either side, which run flush to the pavement, approaching across Trafalgar Square from the the Wilkins Building meets the pavement through east and south experience a prolonged skirting a layered edge condition that combines plinth, of the Wilkins Building’s frontage before reaching lawn, lightwells and Portico in front of the main the destination. For some, the main Portico is façade itself. the intuitive entry point, but this space cannot accommodate the volume of visitors annually This foreground adds up to several metres nor the legal obligation to provide a level access in front of the Gallery, which lies within its threshold. ownership. The relationship to passers-by changed significantly when the upper part of the Due to the visitor logistics, the current Square was pedestrianised in 2003. arrangement is not going to change, but there is an opportunity to think about ways that the two Immediately west of the Wilkins Building, the

THE BRIEF set pieces can become an entry sequence that Sainsbury Wing’s façade is angled as a response enhances and even animates Trafalgar Square’s to its corner context and as the means to northern edge. signify entry through a loggia that faces out to Trafalgar Square. The deep recessed openings in The Design Brief allows scope for reimagining the Portland Stone and the ornate metal gates the Gallery’s interface with the public realm, from complete the façade composition and signify the the Sainsbury Wing’s loggia in the west, across point of entry. In contrast to the Wilkins Building’s Jubilee Walk, and then in front of the Wilkins raised Portico, this gesture is modest in scale and Building’s main façade to its eastern end at St discreetly tucked away. Martin’s Place.

34 NG200 PROJECT DESIGN TEAM SELECTION PROCESS • DESIGN BRIEF The way that the Wing meets the ground is also As time has passed, the context has changed. different. Being at the point where Trafalgar External influences, such as the exposure to Square narrows to a wide pavement, the site does terrorist attack, the rise in global tourism and laws not have the benefit of additional land abutting on equal access, have introduced requirements the frontages. Instead, there is a triangular area with an impact on the day-to-day functioning of of nondescript paving fronting the loggia and a the Trafalgar Square frontage. This is reflected line of exhibition banner posts that demarcate the in the relatively recent decision to designate the private edge to the public square. Sainsbury Wing as the main public entrance to the

Gallery. THE BRIEF To the north, Jubilee Walk carries the paving through the rotunda that links the two buildings There is no evidence that VSBA intended to make at the Gallery’s main level. The side elevations, more of the public realm1 but with the increased stepped paving and the rotunda are elements of pressure on Trafalgar Square and the Sainsbury an existing streetscape that leads towards the Wing, there is now an opportunity to enhance the back of Leicester Square. public realm and to create a well-designed, unified entry sequence leading up to the point of entry.

1 The National Gallery owns several areas of land around its perimeter. These spaces include Jubilee Walk (circa 1,025 sqm), the front lawns adjacent to the Getty and West Entrances on either side of the Wilkins Building Portico (circa 505 sqm combined) and in front of the Pigott Entrance to the North of the Wilkins Building adjacent to Orange Street (circa 190 sqm). Additionally, a further 122 sqm of public realm is included within the canopied entrance to the Sainsbury Wing.

NG200 PROJECT DESIGN TEAM SELECTION PROCESS • DESIGN BRIEF 35 RESEARCH CENTRE

For over 150 years research has been the The Research Centre will provide: engine-room of the National Gallery, enabling the Gallery’s world-renowned expert team to care for • World-class on-site research facilities and this beloved collection. exchange of knowledge through fellowship schemes and a programme of seminars, As a global thought-leader in art history, digital conferences and residencies; humanities, conservation and heritage science, • Administration of library and archive material, the Gallery is uniquely placed to become a model making this accessible through digital and open-access, public-facing research body, sharing physical means; and its expertise, archives and library, and fostering a dynamic research community. The new Research • Widening public engagement through Centre will host visiting scholars, as well as events seminars, events, learning and partnerships. for researchers and the wider public. Through this, and partnerships with universities, as well As a result of internal relocations, the lower levels

THE BRIEF as working with the Gallery’s Learning team, the of the southwest corner of the Wilkins Building Research team will build a more diverse community (immediately adjacent to the Sainsbury Wing) will of practitioners and mentor innovative research into be vacant and it is envisaged that these spaces historic painting. will be used for the Research Centre.

The new Research Centre will need to be both a physical and digital entity. It will need space, as well as facilities with embedded technology, to house expanding research collections (digital as well as physical), showcase findings, encourage the exchange of ideas and welcome new voices within the community, including external researchers, students and young people.

36 NG200 PROJECT DESIGN TEAM SELECTION PROCESS • DESIGN BRIEF SECURITY & ACCESSIBILITY

Due to its proximity to Whitehall and two Added to that, the limited footprint means prominent foreign embassies in Trafalgar Square, that there is insufficient queuing space in front the National Gallery operates in a high-risk target of the two airport-style scanners; at peak times, zone. While the major incident risks are covered an ad-hoc cordon corrals the public in a snaking by the civil authorities, the Gallery itself has a queue out into Trafalgar Square in all weathers. duty to screen the public for substances that are harmful to other people and the artwork on A key challenge, along with the legal requirement display. As a consequence, a security threshold to provide level access, is to ensure that any must be integrated into the building for the proposed modifications will integrate security THE BRIEF foreseeable future. and access seamlessly with the architecture.

During peak times, especially in the summer months, over a thousand visitors arrive each hour. The security screening devices and cordons are currently fitted inside the recessed front porch area of the Sainsbury Wing and, although they are conveniently masked by the ornate metal gates, this has resulted in less desirable side effects.

This security equipment compounds the Sainsbury Wing’s fortress-like appearance, already established by the gates and black-tinted glazing which prevent passers-by seeing in and create an off-putting impression.

NG200 PROJECT DESIGN TEAM SELECTION PROCESS • DESIGN BRIEF 37 THE BRIEF

A visitor seated in 38 NG200 PROJECT DESIGN TEAM SELECTIONRoom PROCESS 60 of the •Sainsbury DESIGN BRIEF Wing HEALTH & WELLBEING

The global pandemic that began in 2019 has From a strategic perspective, generous access intensified the need in architecture to design and roomier spaces, implicit in a ‘baggy planning’ buildings that are healthy and that positively approach, can future-proof the building against promote wellbeing. other unforeseen events.

Public perceptions around hygiene, The National Gallery is focused on providing a safety/health-threats and the desirability of visitor experience that alleviates visitors’ health dwelling in crowded urban spaces, especially concerns and is progressive in offering public

THE BRIEF interior ones, have shifted dramatically. Features spaces that actively promote wellbeing. THE BRIEF and facilities that were previously tolerated in a public building may now significantly deter visitors. Different modes of transport may be used with visitors arriving having travelled on foot or by bicycle rather than using public transport.

At the same time new technologies, such as bacteria and virus resistant materials, state of the art water and ventilation systems, automatic doors, touch-free taps and so on, offer ways to provide safer, cleaner environments.

NG200 PROJECT DESIGN TEAM SELECTION PROCESS • DESIGN BRIEF 39 SUSTAINABILITY & ENERGY PERFORMANCE

A thoughtful and committed sustainability It should pursue a holistic approach to strategy will be fundamental to the design, and sustainability, rather than aim narrowly for an the successful team will be required to report imposed level of BREEAM certification, while on all measures and performance at the formal nonetheless taking certification standards such as approval stages of the design. BREEAM (Excellent) and Well Building Standards as benchmarks. Considerations include, as a minimum, aligning with the National Gallery’s Carbon Management Plan (CMP) (Appendix F), which is currently under formal review and sets out the Gallery’s environmental policy and low-carbon vision and related goals — and the means and processes to achieve them — as well as meeting Westminster City Council’s Environmental Policy. THE BRIEF But more ambitiously, the project should be an exemplar of sustainable conservation and updating of heritage (and Listed) building practices, in its design, construction and use. It should innovatively embrace sustainable design, conservation, construction and practices with a commitment to low energy, low or non-mechanical systems, alternative energy strategies and waste management.

40 NG200 PROJECT DESIGN TEAM SELECTION PROCESS • DESIGN BRIEF OUTLINE SPACE REQUIREMENTS

Leighton’sNG200 PROJECT Cimabue DESIGN in Procession TEAM SELECTION at the top of PROCESS the Sainsbury • DESIGN Wing BRIEF Staircase 41 Context and Layout

1 WILKINS BUILDING NATIONAL PORTRAIT GALLERY

N

ENTRANCES: SAINSBURY WING 1. PIGOTT 2. SAINSBURY 3. WEST 4. GETTY 5. NATIONAL CAFÉ

5

PUBLIC REALM JUBILEE WALK WITHIN OWNERSHIP OF NATIONAL GALLERY 2 3 4

PUBLIC REALM WITHIN OWNERSHIP OF TRAFALGAR SQUARE NATIONAL GALLERY

42 NG200 PROJECT DESIGN TEAM SELECTION PROCESS • DESIGN BRIEF SPACE ANALYSIS CONTEXT AND LAYOUT

GROUND FLOOR (0) FIRST FLOOR (1) TOP FLOOR (2)

OUT OF SCOPE

IN SCOPE LOWER BASEMENT (-2) UPPER BASEMENT (-1)

NG200 PROJECT DESIGN TEAM SELECTION PROCESS • DESIGN BRIEF 43 OUTLINE SPACE SUMMARY OUTLINE SPACE

44 NG200 PROJECTThe linkDESIGN between TEAM the SELECTION Sainsbury PROCESSWing and Wilkins• DESIGN Building BRIEF Outline Space Guidance

There is an area of circa 4,000 square metres of usable space within the curtilage of the NG200 Project scope plus an additional 900 square metres available for the Research Centre in the Wilkins Building. This figure, provided as a benchmark, is based upon the available footprint in the existing arrangement.

The project will repurpose part or all of this space.

The Design Brief should be considered a ‘live’ document, to evolve and develop as the project progresses through early design stages. A final project brief will be produced as an output of the concept design stage.

Outline descriptions for each type of space can be found on the following pages.

NG200 PROJECT DESIGN TEAM SELECTION PROCESS • DESIGN BRIEF 45 APPROACH, THRESHOLD, ARRIVAL & DEPARTURE

The project presents an opportunity to enhance Although these areas (shown on page 42) are the setting of the National Gallery and improve its owned by the Gallery, they contribute to the wider relationship to Trafalgar Square. The public realm visual setting. Care must be taken to work within in front of the Sainsbury Wing and the Wilkins the historic fabric and devise a new layer that fits Building should be reconsidered to offer a more with the existing. Access/egress to the Portico and positive contribution to the setting, augment the the Getty Entrance must also be retained. Gallery’s presence, and resolve some of the practical issues that have arisen in recent years — including The design should create a more coherent visual addressing post-pandemic design issues regarding impact across the entire building ensemble facing crowded urban spaces. onto Trafalgar Square. This may involve public art or animating the ground floor edge to the Square. Three possible areas for hard and soft landscape and wayfinding design have been identified: Equally, it is important to address functional needs that help manage visitor access and wayfinding, • the paved area immediately outside the Sainsbury such as queuing, security, refreshment and Wing’s loggia entry porch; curatorial programming.

• the strip of lawn, paths and lightwells that occupy There may be opportunities for programming the depth of the Portico along the Wilkins within the public realm adjacent to the Gallery — Building’s southern façade (from east to west); and

OUTLINE SPACE SUMMARY OUTLINE SPACE future-proofed infrastructure should be provided to support this. • along Jubilee Walk (the gated passage between the Wilkins Building and the Sainsbury Wing).

46 NG200 PROJECT DESIGN TEAM SELECTION PROCESS • DESIGN BRIEF OUTLINE SPACE SUMMARY

Visitors queuing for entrance security checks at the Sainsbury Wing entrance

Trafalgar Square is located within the Northbank The public realm surrounding the National Business Improvement District, covering Trafalgar Gallery is also subject to security requirements Square, Aldwych and Strand. An update to their which will need to be considered during design Public Realm Vision and Strategy is underway development. and should be taken into consideration at the appropriate time.

NG200 PROJECT DESIGN TEAM SELECTION PROCESS • DESIGN BRIEF 47 ENTRANCE, WEATHER LOBBY, SECURITY & VETTING

Given the importance of the Gallery’s location and This space should have the architectural, the significance of its collection, security is a critical spatial and material qualities of the rest of the issue at the Gallery generally, and for the Sainsbury proposed scheme. Design interventions focused Wing initiative specifically. on promoting public health and wellbeing — such as ventilation, generous access space and A security processing space should be provided for cleanliness — should also be considered. up to 200 people to queue and await processing upon arrival at the Gallery. During popular, one-off There is a requirement for blast-proofing and and high-volume occasions — such as temporary Gallery lock-down within this area. Security exhibitions — space for additional queuing may be infrastructure (which will need updating over needed. This should be in an area which minimises time) will be required at the entrance. crossovers with the general public, as well as being space planned to reduce the impact on security If the current facility is repurposed as part of the staffing needs. project, then a security situation room will need to be re-provided. This is a dedicated space, Screening is to be carried out through a mixture with up to six workstations capable of providing of staff and technology. After queuing, visitors will security control room services if the main control pass through high footfall scanners for an initial room (located within the Wilkins Building) is out security screening. Any visitors that set off the of commission.

OUTLINE SPACE SUMMARY OUTLINE SPACE scanners — or who are carrying bags — will then be searched by security staff. For the bag search a raised surface (table or counter) is required.

Ideally, the security processing space would either be in an open or enclosed lobby, adjacent to the project’s entrance.

48 NG200 PROJECT DESIGN TEAM SELECTION PROCESS • DESIGN BRIEF ORIENTATION & ENTRANCE FOYER

The challenge, described in detail elsewhere, is to There should be minimal reliance on orientation ‘announce’ the entrance confidently, and to create and wayfinding signage (to avoid visual noise and an architectural presence that does not rely on the clutter) and instead there should be a clear and

addition of complex orientation and wayfinding intuitive hierarchy of routes to adjoining spaces. OUTLINE SPACE SUMMARY mechanisms. The foyer should provide seamless access to the As the main entry, orientation and visitor welcome visitor amenity spaces for the project, including space — the foyer should be bright, inviting, well- cafe/restaurant, retail, information, ticketing, scaled and inspiring. It should communicate that this cloakrooms and WC facilities to support the is a building that promotes health and wellbeing, and quality of the overall visitor experience. provides a safe and pleasant place to dwell. On a day-to-day basis, the foyer will provide the Consideration could be made for a large volume primary gathering space for the Gallery, with space where the arrangement of, and connectivity to, seating, information and other visitor experience adjacent spaces may be over more than one level. services provided within it.

The foyer should be a dynamic space, with good levels Digital technology could be used to enhance of visual and physical connectivity. It should be an and support the visitor experience, providing, for architecturally distinguished arrival statement, invoking example, interactive information displays and/or a sense of welcome; it should be a place to linger and commissioned digital artworks. New technologies an open invitation to explore the rest of the building. focused on providing safe, clean public environments could also be considered.

NG200 PROJECT DESIGN TEAM SELECTION PROCESS • DESIGN BRIEF 49 Sainsbury Wing foyer

The entry screen should include provision for a The foyer is intended to be a flexible space, as well suitable environmental buffer zone that will ensure as a creative place to meet and work. It should be control of heat and humidity levels within the able to accommodate diverse arrangements and

OUTLINE SPACE SUMMARY OUTLINE SPACE Sainsbury Wing galleries. site-specific and unique installations for an array of artform including film, performance art, fashion and design. It will also be used as an evening venue for official gallery openings, corporate and private client events.

50 NG200 PROJECT DESIGN TEAM SELECTION PROCESS • DESIGN BRIEF INFORMATION HUB

The Sainsbury Wing initiative should provide the The welcome, reception and information point main visitor information needs and services for should provide an array of visitor services, the Gallery. Located within or adjacent to the including, but not limited to the following:

foyer should be the main welcome, reception welcome and Gallery information; ticket OUTLINE SPACE SUMMARY and information point for the Gallery — the collection; and Membership. Information Hub. This facility should be suitably located and clearly seen and accessed from the The provision of each service should be clearly entrance and is not to be confused with other delineated. Located near the welcome, reception visitor experience facilities also located within the and information point should be access to visitor foyer. guides, including books, maps and audio-guides.

There should be good visible sightlines from the Information should also be provided within the welcome, reception and information point across foyer using digital technology, with hardware and both the entrance and foyer, resulting in a strong infrastructure provided to support this. and highly visible staff presence. Additional ‘meet and greet’ staff may be located throughout the foyer, as and when required. These staff may provide a range of services, including visitor information, wayfinding guidance, access to services (physical and/or digital) and seeking donations.

NG200 PROJECT DESIGN TEAM SELECTION PROCESS • DESIGN BRIEF 51 VISITOR AMENITIES & SUPPORT

Visitor experience is central to the project. These should be modern, hygienic and high- Amenities (such as a shop and cafe, cloakrooms, quality facilities, easily cleaned and maintained WCs and changing facilities) should be provided. with minimal disruption, and designed to support inclusion and all visitors’ needs, regardless The Gallery has a desire to maximise income of ability. Consideration of ‘Changing Places’ through commercial activity and is in the process requirements and specifications should be of reviewing its commercial strategy across its addressed. estate. Cloakroom facilities should be provided through As a result, it is interested in reviewing the a mixture of staffed and technological services type and location of both the retail and food and solutions. As well as providing check-in and beverage offer. There is also an interest services for coats and bags, there should be in expanding the kinds of events the Gallery some provision for buggy parking. The cloakroom hosts, from fundraisers to private functions. The should be visible from within the foyer, without detail of the offers will be developed with the detracting from other visitor experience services. appointed design team. Other visitor amenities that may be considered Suitably located and easily accessed WCs (but that are not specifically included in the should be provided as part of the project and Design Brief) include pop-up installations and

OUTLINE SPACE SUMMARY OUTLINE SPACE are intended to form the central facilities for dedicated spaces for co-working and hosting visitors to the Gallery; however, it is the intention National Gallery Members. that existing facilities will also be retained where suitable. Throughout, the design should consider how to provide a safe, clean environment for the public.

52 NG200 PROJECT DESIGN TEAM SELECTION PROCESS • DESIGN BRIEF RESEARCH CENTRE

The new Research Centre will bring together Engagement spaces for both public and invited fragmented spaces within the Gallery devoted to research activities (including seminars, lectures, research and study, allowing a transformation in and colloquia) should also be provided, as well

public engagement and resources dedicated to as space for displaying objects from the archive OUTLINE SPACE SUMMARY the research of historic painting. collection.

The Research Centre will provide a dedicated Conditioned spaces for the special collections space for storage of and access to the Gallery’s and the photographic library will be essential, growing archive and library collection, including including quarantined storage space. its historic painting and collection archives. The Centre will also offer access to the Gallery’s The Centre will also include spaces for digital collections and resources, allowing staff experimentation, and for developing innovative and visitors to consult technical and scientific ideas for the development, dissemination and images of the National Gallery’s collection and preservation of research. other paintings.

The Centre will require study spaces for National Gallery staff researchers and visitors, as well as easy access to the library for day-to-day work, and dedicated office and social spaces (including a common room and restrooms).

NG200 PROJECT DESIGN TEAM SELECTION PROCESS • DESIGN BRIEF 53 UNASSIGNED AREAS

Public circulation should feel generous and Plant spaces should be dispersed or centralised architecturally impressive. Consideration should as needed, in order to maximise spatial and be given to a ‘baggy planning’ approach, where functional efficiencies. excess space is planned in to futureproof the building against unforeseen events such as the Plant equipment usually has a shorter design life Covid-19 pandemic. than other elements of projects. Consideration should be made for flexibility and adaptability Operational spaces (such as storage and cleaners’ in the design and layout of plant space(s) to cupboards etc.) should be located, appointed and facilitate access, change and updating of services sized dependent on the functions served. in the future.

Service space for plant and service rooms and Please note: The primary plant spaces for the equipment, and vertical risers and ducts, should National Gallery are to be retained in their current be provided, sited in efficient locations to service locations. the project. Use of existing service routes and spaces should be considered, as and where suitable.

Plant and related technical service areas are vital

OUTLINE SPACE SUMMARY OUTLINE SPACE to the smooth operations of the building. As staff-only areas, these spaces should be provided with a high level of security, including access control.

54 NG200 PROJECT DESIGN TEAM SELECTION PROCESS • DESIGN BRIEF OUTLINE SPACE SUMMARY

Leonardo:NG200 PROJECT Experience DESIGN a Masterpiece TEAM SELECTION PROCESS • DESIGN BRIEF 55 SPATIAL REQUIREMENTS Project Details

BUDGET & PHASING PHASING

The Gallery will work with the successful design team At present, the works are anticipated to be to develop the detail of the scope, phasing and costs. divided as follows:

Due to logistical and other challenges, and to INITIAL PHASE ensure delivery for the Bicentennial, an overall available construction budget of between £25 and • Remodelling the front gates, entry sequence £30 million should be considered for all phases. and associated public realm An initial phase will be timed to deliver during the • Interior works to the lobby Gallery’s celebratory Bicentenary year, 2024 and it is aimed to complete subsequent works within a five • Limited remodelling of the first floor spaces year timeframe. It is anticipated that preparatory • Upgrading the supporting facilities, notably work for the subsequent phases can be completed visitor orientation and information, retail and during the initial phase. security The construction budget excludes contingency, professional fees, client costs, VAT and inflation.

The budget may be reviewed and increased depending on scope decisions, timing and value-for-money decisions.

56 NG200 PROJECT DESIGN TEAM SELECTION PROCESS • DESIGN BRIEF SUBSEQUENT PHASES PLANNING APPLICATIONS

• Further remodelling of the Sainsbury Wing It is anticipated that the NG200 Project will interiors (the second floor galleries will remain require a full Planning Permission application, as untouched) well as Listed Building Consent.

• Works to enhance the Portico on the Wilkins The planning application for the initial phase will Building be supplemented by a masterplanning strategy • Further public realm works including Jubilee for the subsequent works. The timeframe and Walk strategy for detailed design and delivery of the subsequent works will be determined during the • Integration of the new Research Centre likely to initial phase. be given a site in the west wing of the Wilkins Building that immediately adjoins the Sainsbury Wing STAKEHOLDERS & CONSULTATION

As a significant national institution, housed in a Grade I Listed building, the National Gallery has a wide group of statutory and non-statutory stakeholders. Delivery of the project will require close coordination with these groups.

NG200 PROJECT DESIGN TEAM SELECTION PROCESS • DESIGN BRIEF 57 Appendices

A. Venturi Scott Brown Associates

B. Conservation Management Plan

C. Historic England Grade I Listing — Wilkins Building

D. Historic England Grade I Listing — Sainsbury Wing

E. Context — Planning and Stakeholders

F. The National Gallery Carbon Management Plan

Appendices B-F provided separately.

58 NG200 PROJECT DESIGN TEAM SELECTION PROCESS • DESIGN BRIEF Appendix A

NG200 PROJECT DESIGN TEAM SELECTION PROCESS • DESIGN BRIEF 59 Venturi, Scott Brown and Associates

THE SAINSBURY WING’S ARCHITECTURAL LINEAGE

In architecture, the Post-Modern condition’s trajectory originated in the questioning of Modernist values. The post-war generation of American architects that produced Robert I like complexity and Venturi and Denise Scott Brown had, by the 1960s, become wary of the limited contradiction in architecture. scope for design experimentation. As I do not like the incoherence

students, they were influenced by the or arbitrariness of incompetent )

older generation of Modernists, such as 6 6

architecture nor the precious intricacies 9 Mies van der Rohe and Le Corbusier. 1 (

e of picturesqueness or expressionism. r

u

t This International Style espoused an c Instead, I speak of a complex and e t i architecture of abstract purity, honesty h c contradictory architecture based on r A of structure and materials, and universal n i solutions to building typologies. That the richness and ambiguity of n io t movement’s guiding rules became ic modern experience… d a tr functionalist orthodoxy. n o C nd a ity lex R mp obert Venturi, Co

60 NG200 PROJECT DESIGN TEAM SELECTION PROCESS • DESIGN BRIEF VENTURI, SCOTT BROWN AND ASSOCIATES 61

century. th This book is also notable for Venturi’s Venturi’s book is also notable for This visual case through of his argument development the American Academy his time at From studies. of observation on direct drew Venturi in Rome, the cannon of Classical from examples Mannerist architecture. not a was precedent to on a return insistence The he advocating was applied ornament, nor plea for styles. classical to a return Venturi was making an argument for a ‘non- for an argument making was Venturi is in which there architecture’, straightforward between relationships of complex a celebration than a reductive, rather fragments disparate simplicity. formal of instead ‘either/or’ engaging with By open a more decision making, black-and-white view, in his would, approach playful and, perhaps, embodied the actual that architecture create in the life and ambiguity of modern richness 20 late DESIGN BRIEF

DESIGN TEAM SELECTION PROCESS • DESIGN TEAM SELECTION PROCESS NG200 PROJECT By contrast, the architecture embodied by the embodied by the architecture contrast, By multiple to is the visual response Sainsbury Wing public The in time and of place. both contexts, design the original surrounded that debates heated wing were new the then for competitions as the modern vs. traditional about exchanges and institutions public for style appropriate most footnote. a historic now — the wider cityscape of is the legacy today endures What as affectionately — known Post-Modernism both a movement to refers term This ‘PoMo’. and a significant shift in cultural in architecture and other fields of the visual thought across arts. literary emerged concepts PoMo and radical New texts. theoretical behind key the research through on a wider draw sought to explorations Venturi’s design. architectural stimulate to field of input published his seminal book Venturi vein, In that in Architecture and Contradiction Complexity as a quip, famous he made the (1966). Therein, is a Bore’. ‘Less the Miesian dictum, that to riposte 62 VENTURI, SCOTT BROWN AND ASSOCIATES or clues. understanding ofsymbols was basedinacommon legible, visuallanguagethat as amore engaging,and The outcome was intended problem, site orbrief. conventions to thedesign of formal architectural inventive withtheapplication how architects hadbeen case studies demonstrated in theparticularcontext: the demonstration ofaninterest Instead, here was a The SainsburyWing

NG200 PROJECT DESIGN TEAMSELECTION PROCESS • DESIGN BRIEF VENTURI, SCOTT BROWN AND ASSOCIATES 63 It is worth considering each in turn as a design in turn as each considering It is worth intellectual of the Post-Modern manifestation interpretation. and of appropriation process Wing of the Sainsbury recognition It is a fitting Robert when that, of VSBA within the oeuvre Prize Pritzker as the announced was Venturi chose organisation the awarding in 1991, Laureate the ceremony. for as the location the Wing Denise Scott that note it is important to However, as an equal intellectual not honoured was Brown and consequently partner of VSBA and creative in ceremony the awards attend to refused her online petition demanding A 2013 protest. recognised be retrospectively contribution (including signatures 21,000 over received jury Prize the Pritzker however, Venturi’s); Robert the decision of an that act, arguing declined to not be revised. earlier jury could DESIGN BRIEF Venturi's academic work explains the thinking explains work academic Venturi's The façades. eclectic Wing’s behind the Sainsbury is an assimilation VSBA by devised architecture and pure than a perfect rather of fragments, respond and they be read, Each can composition. narrative within an overall a set context to on the material the facing example, For structure. blend chosen to was Stone, Portland main façade, neighbours. in with its immediate is a of pilasters the expression Deeper than that, language adopted the neo-classical to reference Gallery the original National for Wilkins by drawn are as they building — but with a twist: is deconstructed. the order the frontage, across Canada face to turns the corner the façade Once openings and window of the proportions House, opposite. details engage with the architecture architecture of how is a demonstration This a single or both, within can be ‘either/or’, set pieces key arguably, are, There composition. expression architectural VSBA’s characterise that the rotunda galleries, the picture — the façade, the main floor in the Gallery’s bridge link (to staircase. Building) and the grand Wilkins DESIGN TEAM SELECTION PROCESS • DESIGN TEAM SELECTION PROCESS NG200 PROJECT TRANSLATION INTO PRACTICE — SAINSBURY WING SAINSBURY — PRACTICE INTO TRANSLATION 64 VENTURI, SCOTT BROWN AND ASSOCIATES of theInternational School. American functionalist architecture, andtheminimalism that challengedprevailing thinkingonthesubjectof From thissimpleobservation hewove amanifesto inherent honesty andbeauty ofordinary buildings. architectural landscapeofAmericaanddescribedthe landmark book,Venturi looked withfresh eyes at the impossible to measure, but readily apparent. Inthis on everyone practicing orteaching architecture is The extent of theinfluence that thistreatise hashad mainstream ofarchitecture away from modernism. is generally acknowledged to have diverted the Contradiction inArchitecture, publishedin1966, his thinbutpotent volume, Complexity and through histheoriesandbuiltworks. Oftheformer, architecture inthiscentury, asperhapsnootherhas He hasexpanded andredefined the limitsoftheart so more successfully thanRobert Venturi. both aspectsoftheprofession, andnonehave done of thetwentieth century have beenableto combine words, ideasandconceptual frameworks. Few architects steel andglass. Itisalsoanartform that isbasedon Architecture isaprofession aboutwood, bricks,stones, ROBERT VENTURI PRITZKER PRIZECITATION, 1991

NG200 PROJECT DESIGN TEAMSELECTION PROCESS • the artofarchitecture. producing significant contributions to humanitythrough qualifying himto take hisplace amongthosewhoare accord withthetenets ofthePritzker Architecture Prize with visionandpurpose. His vision andpurposeare in Robert Venturi hasdistinguished himselfasanarchitect As anarchitect, planner, scholar, authorandteacher, form andpattern, to enjoy populartaste. and consumers thefreedom to accept inconsistencies in course ofarchitecture inthiscentury, allowing architects writings andbuiltworks, hasresulted inchangingthe Brown, withwhomhehascollaborated onbothmore complemented by histalented partner, DeniseScott His understanding oftheurbancontext ofarchitecture, master practitioner ofthearts. not onlyasatheorist ofexceptional insight,butalsoasa he methodicallyforged acareer that established him angering many ofhispeers.Over theintervening years 1961, gave form to hisbeliefs,confounding thecriticsand buildings. Hisfirst houses,includingone for hismotherin illustrations ofhisideas through hispioneeringearly implement hisconvictions. Heprovided full-scale Not content withjust theory, Venturi beganto DESIGN BRIEF Image Credits

p2 Photo. © The National Gallery, London. p55 Leonardo: Experience a Masterpiece, commissioned & produced by the National p3 Photo. © The National Gallery, London. Gallery and created by 59 Productions. p6 Photo. © The National Gallery, London. Photo by Justin Sutcliffe. p11 Photo. © The National Gallery, London. p59 Photo. © The National Gallery, London. p13 Photo. © The National Gallery, London. p62 Photo. © The National Gallery, London. p16 Photo. © The National Gallery, London. p20 © Duncan Phillips/Alamy Stock Photo p22 Photo. © The National Gallery, London. p25 Photo. © The National Gallery, London. p26 Photo. © The National Gallery, London. p33 Photo. © The National Gallery, London. p38 Photo. © The National Gallery, London. p41 Photo. © The National Gallery, London. p44 Photo. © The National Gallery, London. p47 Photo. © The National Gallery, London. p50 Photo. © The National Gallery, London.

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