Sainsbury Centre UEA Case Number

English Heritage Advice Report 13 December 2012 Case Name: Sainsbury Centre UEA

Case Number: 469223

Background English Heritage has been asked to assess the Sainsbury Centre for listing as it is now more than 30 years old. Asset(s) under Assessment Facts about the asset(s) can be found in the Annex(es) to this report.

Annex List Entry Number Name Heritage Category EH Recommendation 1 1409810 Sainsbury Centre, Listing Add to List attached walkway, underground loading bay, and retaining walls to loading bay access road at the University of East Anglia

Visits Date Visit Type 09 December 2011 Full inspection

Context The Sainsbury Centre stands at the south-west side of the campus. A number of buildings at the University of East Anglia (UEA) were listed in 2003: Suffolk and Norfolk Terrace, both at Grade ll*, and the Teaching Wall and the Library, both at Grade ll. In 2007, a Conservation and Development Strategy for the university was adopted and agreed with English Heritage and Norwich City Council. It acts as a philosophy and guide for development and maintenance works on the campus buildings and landscape.

The Crescent Wing addition to the original building is too young to be assessed for listing and is not included in this report.

Assessment

CONSULTATION

The owners, local authority and applicant were consulted on the facts of the assessment, and no responses were received.

DISCUSSION

The DCMS Principles of Selection (March 2010) stipulate that buildings of less than 30 years old are normally listed only if they are of outstanding quality and under threat. Now that the Sainsbury Centre has passed this crucial age (more than 30 years since its construction began in 1977), it can be considered for listing at any grade and without being under threat. Happily this is not the case as it is very well cared for and actively managed by the University of East Anglia and associated parties.

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The Listing Selection Guide for Education Buildings (English Heritage 2011) offers an insight into the considerations for assessment designation. Most older university buildings are already listed and early-C20 university buildings are judged largely on their architectural quality. The level of intactness is likely to be a factor, and historic interest an issue, as early, innovative examples of certain sorts of buildings will have an extra claim to recognition. The quality of the interior design, and group value will be key determinants too. For higher education buildings erected after 1945 the design quality may be the most significant area of interest. These buildings include some of the most exciting buildings of their day, and can be of international importance. Architectural interest will be determined sometimes by questions of successful functionality, as well as by consideration of design quality. Until the 1960s, campuses developed piecemeal but certain groups of buildings, such as those disposed around the central university administrative and governance block, often including the library, emerge as coherent ensembles of overall listable quality. Post-war integrated campuses may justify (if practicable) a holistic approach to designation that takes in areas of the site, perhaps including registration of the landscape setting too. University campuses or other areas where there is a concentration of educational buildings of mixed quality might be amenable to other forms of designation (notably as conservation areas), or a combination of area designation with specific listings. Where campuses contain designated monuments or structures, group value is a factor to consider for any additional designations. The Listing Selection Guide for Culture and Entertainment buildings (English Heritage 2011) has less to say about post-war buildings, but notes that they require stringent assessment, with architectural quality, innovation and social significance being the principal factors of relevance.

Norman Foster received his architectural training at Manchester University School of Architecture and Yale University. He worked with his wife, Wendy, and Richard and Sue Rogers as a member of Team 4, until Foster Associates was founded in London in 1967. Creekvean (1964-7, listed Grade II*) was their first completed work; a building that hints at the subsequent significant developments in modern, technologically innovative architecture with its early use of neoprene gaskets and modern materials. Most of Foster's major buildings in England are located in or near London: Stansted Airport (1981-1991), the British Museum Great Court (2001), the London Millennium Bridge (1996-2000), the so-called 'Gherkin' – 30 St Mary Axe (2000-2004), and London City Hall (2003). Internationally, he is famous for the spectacular Hongkong and Shanghai Bank (1979-1986), the Chek Lap Kok Airport (1992-1998) in Hong Kong, the Commerzbank Headquarters (1991-1997) in Frankfurt, and the Millau Viaduct (2004) in France. Foster was awarded the RIBA Royal Gold Medal in 1983, and the RIBA Trustees Medal in 1990 for the Willis Faber Building in Ipswich (1973-5, listed Grade l). He was also knighted in 1990, and received the Pritzker Architecture Prize in 1999.

Foster's design for the Willis Faber headquarters is symptomatic of his signature use of technological innovation and industrialized, prefabricated, modular units. The Sainsbury Centre's large cuboid, clad, steel structure, stands in contrast to the curvilinear lines of the Ipswich building. Its orthogonal aspect is more comparable to the rectilinear, living-space block of Creekvean House, or the Centre for Clinical Sciences Research in Palo Alto, California (1995-2000). Like the Sainsbury Centre, the Californian building is based on a visible prefabricated skeleton, forming a clear-span, industrial-style structure.

The multi-award-winning Sainsbury Centre, designed by Foster Associates and opened in 1977 is recognised world-wide as a high point of the British High Tech movement, and a modern classic. It is of international importance when considered against late-C20 buildings of any type, but as a university museum, exhibition and education building it is remarkably fit for purpose due to its innovative engineering; a fine example of collaboration between engineer and designer in the historical tradition of the great British engineering pioneers.

Like the High Tech icon, the Pompidou Centre in Paris (Richard Rogers and Renzo Piano, 1971-77), the Sainsbury Centre's open and flexible interior spaces, created by virtue of the remarkable span achieved by its tubular-steel trusses, and by housing services within the wall thickness the columns create, can be left open, as it is for the main gallery, or compartmentalised; it can be a route through the building or a place to stop and view. The materials are of high quality and the use of 7.3m, full-height glass panels, strengthened with unique fins, was highly innovative: a significant step forward from the Willis Faber Building's glazing, which hangs from the frame in the conventional curtain-wall fashion. The innovation extends to the method of construction where the amount of wet work needed was very limited, and the steel frames arrived on site ready assembled, needing only to be raised into position, like the timber-frame of a great medieval tithe barn, and in the vanguard of later, construction industry-wide, moves toward prefabrication. It was a leader too in the move towards energy efficiency, by virtue of the ventilation system, the insulating external cladding and foam infill, and in the use of natural daylight.

The hangar-like internal space and proportions, and details such as the circular nozzles for the ventilation system, all give the building an aerospace feel; even the toilets are said to have been inspired by those of a Boeing 747 aircraft. This adds to the centre's High Tech credentials and harks forward to Foster's Stansted

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Airport design, as well as the Hong Kong and Shanghai Bank where again Foster's moved the services to the extremities to maximise the contained space.

The centre stands in contrast to the more Brutalist form of the university's other celebrated buildings, and thereby reflects developments in British architectural design since the original campus was constructed. Denys Lasdun's masterplan for the University of East Anglia (UEA), envisaged an expansion of the campus westwards, so the Sainsbury Centre fits satisfactorily with the overall ambitions for the site, and, by virtue of its orientation, with the zig-zag lines of the Teaching Wall, so that the visitor's arrival at the centre is a natural result of the route through the campus. By merging gallery, teaching dept, library and common room, Foster brought into the modern era ideas in building for education begun in the late C19, at the Arkwright Building of Nottingham Trent University for example (1877-81, Lockwood and Mawson, listed Grade ll*), but also echoed part of Denys Lasdun's thinking in the integrated concept of the Teaching Wall at the UEA (1964-8, listed Grade ll), to which the Sainsbury Centre is linked by an overhead walkway, a quote from Lasdun's concept.

Upon opening, some of the architectural press criticised Foster's design, and some felt that a High Tech industrial-style building could not successfully house the artefacts that form the Sainsbury Collection. On the other hand, many praised it, and it is now generally accepted as manifestly successful and influential. The traditional idea of a low light or even dark museum building was eschewed in favour of a lightweight structure, through which the percolation of natural daylight is carefully controlled – the kind of approach more usual for modern commercial display.

The connection with the Sainsbury family and their internationally renowned art collection adds considerable interest by virtue of the association.

Changes to the original structure, notably the replacement of the external panelling and insertion of a spiral stair to a basement shop, have not impacted on its interest; indeed, as they have been part of the architectural and technological development of the original concept by the same architect, they arguably add to it. The addition of the Crescent Wing at the south-east end, too young to be considered for listing (1991), may in time be considered to contribute to its overall interest. Internally, the arrangement is often reviewed, and the use of the various areas has been re-thought since opening. Indeed, the display upon the mezzanine level at the north-west end was in the process of being reconfigured at the time of the listing assessment. The ability to rearrange how areas are used is one the interesting aspects of the building, and fundamental to the use of the gallery areas, so that the significance of the building going forward would be reduced if imaginative and non-detrimental changes were to cease. The Sainsbury Centre could reasonably be included in the university's conservation management plan so that conservation philosophy behind such works can be agreed. The plan is currently the basis for a successful partnership agreement between the university, the local planning authority and English Heritage, and one that we would very much like to see continuing, especially in light of anticipated changes to the statutory backing of Heritage Partnership Agreements.

Within the campus landscape, the building is striking as an unashamedly modern intervention in a natural setting, on a rise above the lake. While this might not provide the harmony of the more natural forms of Norfolk and Suffolk Terrace, located within view to the north east (Denys Lasdun, 1964-8, listed Grade ll*), the dramatic contrast and the juxtaposition works and is part of the considerable design interest.

When considered in total, the outstanding technological and engineering achievement, the aesthetic quality and international influence of this major work by one of the most significant late-C20 British architectural practices, the association with the internationally significant Sainsbury Collection, and group value with the other designated university buildings at UEA, make the Sainsbury Centre a building of more than special interest that deserves to be recognised in a national context through listing at Grade ll*.

CONCLUSION

The Sainsbury Centre has more than special interest and should be added to the List at Grade ll*.

REASONS FOR DESIGNATION DECISION

The Sainsbury Centre, erected in 1977 for Lord and Lady Sainsbury at the University of East Anglia, and Designed by Foster Associates is recommended for listing at Grade ll* for the following principal reasons:

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* Architectural innovation: a late-C20 building by one of Britain's most significant modern architects. It exemplifies the architect's signature use of technological and engineering innovation and the industrialized, prefabricated, style.

* Celebrated design: one of the best known and admired modern exhibition and education buildings nationally, and internationally.

* Flexibility of design: the in-built flexibility of its open spaces responds to the changing needs of its use as a museum gallery and education centre. The design has allowed regular, sympathetic changes to work satisfactorily, and the essential elements of the building survive intact. New additions and alterations, while too new to be of special interest, have been thoughtfully incorporated. Including the Sainsbury Centre in the university's conservation and management plan, the basis of a partnership agreement between the university, the local authority and English Heritage, would help in this regard.

* Historic association: a purpose-built museum gallery and education centre for the internationally renowned Sainsbury Collection.

* Group Value: the Sainsbury Centre forms part of a group of listed university buildings, including Norfolk and Suffolk Terrace (Denys Lasdun 1964-8, listed Grade ll*), and continues the concepts of site expansion and integrated use, along the zig zag spine of the campus, in a natural landscape, established by the original masterplan. The Sainsbury Centre is connected to the Teaching Wall (Denys Lasdun 1964-8, listed Grade ll) by an overhead walkway.

Countersigning comments:

Agreed. The Sainsbury Centre at UEA is a significant work of late C20 High Tech architecture, designed by a major practice to sit strikingly in its extraordinary context and deftly display a major art collection. It fully merits designation at Grade II* for its more than special interest and it is hoped that it will be included in the successful management agreement in place at the UEA campus of which it forms a part. Emily Gee 31 October 2012

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Annex 1

List Entry

List Entry Summary This building is listed under the Planning (Listed Buildings and Conservation Areas) Act 1990 as amended for its special architectural or historic interest.

Name: Sainsbury Centre, attached walkway, underground loading bay, and retaining walls to loading bay access road at the University of East Anglia

List Entry Number: 1409810

Location University Of East Anglia, Earlham Road, Norwich, Norwich, NR4 7TJ

The building may lie within the boundary of more than one authority.

County District District Type Parish Norfolk Norwich District Authority Non Civil Parish

National Park: Not applicable to this List entry.

Grade: II*

Date first listed: Date of most recent amendment:

Legacy System Information The contents of this record have been generated from a legacy data system.

Legacy System: Not applicable to this List entry. Legacy Number: Not applicable to this List entry.

Asset Groupings This List entry does not comprise part of an Asset Grouping. Asset Groupings are not part of the official record but are added later for information.

List Entry Description

Summary of Building The Sainsbury Centre gallery and study centre, erected in 1977.

Reasons for Designation The Sainsbury Centre, erected in 1977 for Lord and Lady Sainsbury at the University of East Anglia, and designed by Foster Associates is listed at Grade ll• for the following principal reasons:

• Architectural innovation: a late-C20 building by one of Britain's most significant modern architects. It exemplifies the architect's signature use of technological and engineering innovation and the industrialized, prefabricated, style.

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• Celebrated design: one of the best known and admired modern exhibition and education buildings nationally, and internationally.

• Historic Association: a purpose-built museum gallery and education centre for the internationally renowned Sainsbury Collection

• Flexibility of design: the in-built flexibility of its open spaces responds to the changing needs of its use as a museum gallery and education centre. The design has allowed regular, sympathetic changes to work satisfactorily, and the essential elements of the building survive intact. New additions and alterations, while too new to be of special interest, have been thoughtfully incorporated.

• Group Value: the Sainsbury Centre forms part of a group of listed university buildings, including Norfolk and Suffolk Terrace (Denys Lasdun 1964-8, listed Grade ll•), and continues the concepts of site expansion and integrated use, along the zig zag spine of the campus, in a natural landscape, established by the original masterplan. The Sainsbury Centre is connected to the Teaching Wall (Denys Lasdun 1964-8, listed Grade ll) by an overhead walkway.

History The Sainsbury Centre was constructed through 1977 and opened in 1978. It stands on the edge of the University of East Anglia (UEA) campus, first developed to the master plan and designs of Denys Lasdun in the 1960s, and to the west of the Grade II• listed Norfolk and Suffolk Terrace, the listed Teaching Wall and the library. The centre was constructed in order to house the art collection of Lord and Lady Sainsbury, the founders of the Sainsbury supermarket chain and noted collectors and supporters of the arts. After a successful exhibition in the Netherlands, they approached the UEA Vice Chancellor, Frank Thistlethwaite, who had established the university's School of Fine Arts and Music, and donated their collection in 1973. It quickly outgrew its accommodation and it was clear that a purpose-built home was required. In 1974 Norman Foster met Lord and Lady Sainsbury to discuss the commission and the building work began in 1977. Foster's brief was very specific, based on the Sainsburys' experience of art galleries around the world.

A number of changes have been made since the original construction, all designed by Foster Associates. Notably, the original ribbed, silver, super-plastic aluminium, external panelling began to leak and was replaced with the present panels in 1988 and, in 1991, a semi-sunken extension for stores and offices, known as the Crescent Wing, was added at the south-east end. In 2004, as part of a general refurbishment, slim-line canopies were added over the main entrances, a stair was added to give access from the ground-floor to a naturally-lit, basement shop, and an underground gallery was created between the main building and the Crescent Wing. At the present time, the Crescent Wing is too young to be assessed for listing.

Details The Sainsbury Centre was erected in 1977 for Lord and Lady Sainsbury at the University of East Anglia to the design of Foster Associates, with Anthony Hunt Associates as consulting engineers.

MATERIALS The structural frame is composed of trussed, tubular steel, prismatic latticework, columns and single-span beams, which in series form 36 bays. The frame is clad with sheet aluminium panels, and is glazed in part.

EXTERIOR The layout and structure of the building are said to adhere to proportions of 16:4:1, and form a rectangle in both plan and section, comprising a single-storey structure over a basement. The columns form the thickness of the wall, faced on the exterior with small rectangular panels: mainly sheet-aluminium, but glass for the full height at the two entrance bays on the south west side, and partially glazed at the curved junction of wall and roof. The glass-panelled areas are pierced by a rectangular arrangement of circular ventilation fans which form a design feature. The exterior aluminium panelling is a 1988 replacement, advised by the architects. The insulated thickness of the walls contains plant and services, and some storage, while the end walls are impressively glazed with a series of pioneering, 7.3m high glass panels, with internal glass fins, sealed with

Page 6 of 9 English Heritage Advice Report 13 December 2012 mastic. The glazed, south-east end offers a view from the rise of land on which the centre sits, down towards the lake, known as the Broad. At each end, the building extends one bay beyond the glazing, forming a brise soleil. The centre is connected to the Teaching Wall (Listed Grade ll) by a raised, ribbon walk-way, with glazed sides, which gives access to the north-east side of the Sainsbury Centre at a raised level above the reception area. It delivers visitors to a short internal bridge linking to a metal spiral stair, and thus down to the main floor.

INTERIOR On the inside, the natural light from above, filtered through four strips of roof-top glazing, is controlled by bands of adjustable louvres at the ceiling. Light from the walls is controlled by perforated louvres at the sides, and blinds (a later addition) at the ends. As on the exterior, circular ventilation fans are used internally for design effect, arranged on the walls in a linear group of four in each bay. The architects intended the exhibition areas to be flexible, reusable spaces; so the single-span beams and wall-housed services are designed to leave the ground floor as open as possible. It is divided into six distinct areas. The south-eastern end forms an exhibition gallery, divided from the central gallery by the reception bay (formed of an entrance lobby on the north-east side, and a café on the south-west). At the centre is a circular reception desk. The glazed entrance on the north-east side contains two, circular-lobby doorways. The reception bay was rearranged in 2004, and a light well and an opening for a circular stair has been cut through the floor to create a top-lit shop in the basement beneath. Access to the main exhibition gallery, dubbed the 'living area', is via a recently located, central opening in a waist-high partition alongside the reception area. It contains axial and angular, freestanding panels, designed by the architect as surfaces for mounting artwork. North-west of the exhibition floor, there are two mezzanines divided by a partially sunken study area which is now used for information technology. On the north-east side is a glazed entranceway. The two mezzanines form exhibition floors over glazed offices and tutorial rooms beneath, and are supported on circular columns sheathed with sheet aluminium, which generally forms the surface finish. The mezzanine levels are reached via metal circular stairs with tubular handrails and glazed panels below (added in 2006), which also give access down to the basement. Access to a restaurant at the north-west end is along the north-east side of the adjacent mezzanine.

Vehicular access to the basement is via a concrete ramp at the north-west end. The sunken loading bay, grassed on the surface, is screened from the main basement area by folding doors with circular lights. The basement, for workshops in the main, is relatively narrow and runs just off-centre down the length of the building. It has a main goods lift and a corridor on the south-west side, which acts also as a cable conduit. From the basement a curved corridor forms a direct entrance into the Crescent Wing which is built into the ground at the south-east end. The Crescent Wing is too young (1991) to be included in this listing and is therefore not described here, beyond its attachment to the original building. However, this wing should be considered for inclusion once it comes of age.

Selected Sources

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Foster's Centre Sheds Its Skin, Architects' Journal, 7 october 1987

The sainsbury Centre for Visual Arts, Norwich; Architects: Foster Associates, RIBA Journal, Vol. 85, 8 Aug 1978

Buxton, Pamela, Inspiration: Sainsbury Centre, Norwich; Architects (1974-78): Foster Associates., Building Design, Vol. 1995, 6 Jan 2012

Spring, Martin, Foster adds more finishing touches to Sainsbury Centre, Building, Vol. 271, 26 May 2006

Wilcock, Richard, Frontis: Crescent Wing, Sainsbury Centre for Visual Arts, University of East Anglia, Norwich; Architects: Foster Associates., RIBA Journal, Vol. 98, July 1991

Williams, Stephanie, Informal Touch, Building Design, Vol. 381, 3 Feb 1978

Witold Rybczynski, The Biography of Building, 2011

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Map

National Grid Reference: TG1906307438

The above map is for quick reference purposes only and may not be to scale. For a copy of the full scale map, please see the attached PDF - 1409810_1.pdf

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