The National Gallery in London is poised to embark on its most ambitious renovation in over two centuries, announcing a new wing designed by the acclaimed Japanese architect Kengo Kuma, renowned for his work on the Tokyo Olympic stadium. This transformative project, dubbed Project Domani, marks a significant shift for the gallery as it expands its collection to include art from the 20th and 21st centuries, ultimately positioning itself as the world’s sole museum dedicated exclusively to the history of Western painting.
A New Chapter for the National Gallery
The gallery’s decision to evolve its collection comes after years of adhering to an agreement with Tate, which focused solely on modern art, thereby limiting the National Gallery’s scope to pre-1900 paintings. This longstanding arrangement has drawn criticism, with industry experts warning that breaking it could ignite tensions between the two prestigious institutions. However, this expansion signals a bold move towards inclusivity in the art world, allowing visitors to experience a more comprehensive narrative of painting throughout the ages.
The site selected for the new wing has been in the gallery’s possession for three decades and currently accommodates a hotel and office complex. With an ambitious £750 million fundraising campaign underway, the National Gallery has already secured an impressive £375 million, thanks in part to significant donations from the Crankstart Foundation and the Julia Rausing Trust, both pledging £150 million each. The remaining funds will be allocated to acquiring post-1900 artworks and establishing an endowment fund to ensure the gallery’s sustainability.
A Design to Inspire
Kengo Kuma’s design, developed in collaboration with BDP and MICA, emerged victorious from a competitive field of 65 submissions, including proposals from notable architects such as Norman Foster and Renzo Piano. The jury praised Kuma’s submission as “exemplary,” highlighting its innovative approach that respects the existing Grade I listed architecture of the National Gallery. John Booth, the gallery’s chair of trustees, lauded the design as “beautiful inside and out,” noting its potential to enhance the connection between Leicester and Trafalgar Squares through a revitalised public space.
Kuma, 71, is no stranger to architectural acclaim, having previously designed the V&A Dundee, which garnered praise upon its opening in 2018. Yet, he has not been without controversy; his recent proposal for a porch at a historic cathedral in France faced backlash, with critics labelling it as visually unappealing. Nonetheless, the National Gallery’s new wing is expected to create a harmonious blend of contemporary design with the traditional aesthetic of its surroundings.
Challenges Ahead
Despite the momentum generated by Project Domani, the National Gallery is not without its challenges. The institution is grappling with an £8.2 million deficit, which could lead to job cuts, reduced exhibition offerings, and increased ticket prices. As it prepares to unveil this significant transformation, the gallery must navigate these financial hurdles to ensure its vision does not falter.
Moreover, the spectre of past decisions looms large. In 1982, the gallery’s initial choice for what is now the Sainsbury Wing was scrapped following scathing remarks from then-Prince Charles, who labelled the design a “monstrous carbuncle.” The stakes are high for Kuma’s project, which must not only meet aesthetic expectations but also serve the gallery’s functional needs for decades to come.
Why it Matters
The National Gallery’s impending transformation is more than just an architectural endeavour; it represents a crucial evolution in the way we engage with art and history. By embracing contemporary works, the gallery is stepping into a new era, striving to reflect the breadth of artistic expression and the diverse narratives that shape our cultural landscape. This project could set a precedent for museums worldwide, encouraging them to reconsider their collections and the stories they tell, ultimately enriching the global cultural dialogue. As the National Gallery prepares for this monumental change, the art world watches attentively, aware that the implications of this expansion extend far beyond the gallery’s walls.
