The National Gallery is unusual for its continuous complex of single-level gallery spaces, in this case on the first floor. It has evolved in this way through a process of continuous enlargement and aggregation, but at no time was there an overview to see how “breathing space” might be introduced within the matrix of spaces. Gallery buildings that simply grow larger can become indigestible to visit – there is simply too much to see and no stopping place. This proposal would have added two roof-lit breathing spaces that would double as generous stair and escalator connections between the ground floor entrance level and the first floor gallery level.
Most importantly, however, there would be an opportunity to introduce a primary gallery function to the ground level itself. By locating new temporary exhibition galleries between the two new enclosed courts, the generous circulation space and place of arrival would also provide ample milling space at the point of entry.
“Blockbuster” exhibitions have become a phenomenon in recent years, and to integrate space to host these at the heart of the building would have transformed both the programming potential and public perception of the institution.
Two important aspects of the overall project were in the event constructed. The East Wing – half of the symmetrical plan – became a new way in from Trafalgar Square. The new entrance, lobbies and information desks all lead to the new enclosed Annenberg Court with its grand stair.
A large rectangular roof light deliberately produces a level of daylight in the court that contrasts with the low conservation levels required in the galleries. The idea was to provide a space that was lit differently to the galleries, perhaps providing visitors with the opportunity to rest their eyes after concentrating on the paintings. The underside of the roof light is a single continuous membrane that gives the impression of looking directly at the sky – the eye is “deceived”, much in the way that James Turrell creates visual illusions. A point of inspiration was also Edwin Lutyens’ Staircase Court in the Viceroy’s House at New Delhi (1912-1929).
The materials are appropriately monumental and long-lasting. Hard limestone flooring meets vertical polished black Noir St Laurent marble, with its unusual Jackson Pollock-like patterning. The aim was to provide a calm, quietly detailed interior that would be restful for the gallery visitor.
Other work involved improvements to the existing main entrance at the half level between Trafalgar Square and the first floor galleries. Theses spaces had become cramped, the consequence of having an entrance sequence that belonged to an earlier, much smaller version of the National Gallery. .The big task was to introduce a storey-height structure that allowed the whole rectangle of the entrance lobby to become a single continuous space.
With the addition of new toilets, a social space, a shop and restaurant, the project makes significant moves to improve the visitor experience. Inevitably, however, one has to regret the loss of the larger vision.