Scottish National Portrait Gallery
If we are to create a low carbon environment we must improve the energy performance of our existing buildings. The challenge of upgrading building fabric becomes more acute when it forms part of our listed heritage. The Scottish National Portrait Gallery is a remarkable Edinburgh building, held in great affection by many. There was therefore a general presumption against altering the historic fabric without good reason but underlying the delightful form of the building was its subdivision between two users, the National Galleries and National Museums. Various investments over the last decade had freed the building to be reconciled into one gallery necessitating an exciting and unifying change. However, the main renovation issue was the replacement of old and inadequate plant and the installation of proper, modern sustainable services appropriate to a national art gallery.
The design team has striven to meet the client demands for an affordable renovation and sustainable building, that not only sets new standards for museum and gallery design but one that also affects ways of working within such a building, allowing staff to undertake a planned process of change. It is anticipated that the building will help the National Galleries of Scotland and indeed galleries further afield to adopt new ways of working with their collections.
ALTERATIONS / IMPROVEMENTS
Two issues were seen as a priority, circulation and freeing up gallery space from support functions.
Although the plan of the building was fundamentally extremely lucid, the circulation pattern, in practice, was very poor: in particular the walk to the top floor was a long one, and disappointingly few visitors ever found their way there. At the same time some of the existing potential gallery space was taken up by support functions
The solution to movement in the building lay in a number of strategies related to overcoming the limitations of the existing entrance:
- The creation of two new openings on either side of the existing entrance vestibule at ground floor level. This immediately opens up options for the visitor, obviously retaining the magnificent formal approach but also encouraging new flows around the building through the contemporary galleries, seminar room, café and shop.
- The improvement of the vertical circulation through the gallery by exploiting the opening to the east in immediately offering visitors a new, large glass, multi-purpose lift that can take them to the higher floors, particularly the top floor.
- The remodeling of the entrance steps to allow wheel-chair access. (The former ramp leading to a side door has been removed). The freeing up of gallery floors for display has been overcome again by a number of approaches:
- By exploiting the existing mezzanine floors at each end of the building and at the front in the centre between the ground and first floor levels - new, ramped, legible mezzanine floors have been added to connect them to the lift and each other. Apart from disabled access, these mezzanines will provide the answers to several problems: additional usable space for cellular and open plan offices, storage and an alternative escape route. The insertion of these floors has transformed the potential of the upper levels for maximum display.
- Exploiting the undercroft of these mezzanines on one wing are the educational facilities. A new seminar room has been formed to the east end of the ground floor and a new flexible use, open plan education suite is provided adjacent to the new toilet facilities. The other mezzanine wing undercroft houses the shop, café with kitchen.
- In order to create the enfilade of top-lit gallery spaces at the upper level, the library joinery work has been carefully disassembled and moved to the first floor level to form a new library space where light can be more effectively controlled. This has allowed a symmetrical suite of five top-lit picture galleries for the historical collection
- New Staff facilities are provided in the basement below the Great Hall. These include seating, dining, kitchen, changing, shower and toilet facilities.
CONSERVATION
Externally, the principal effect is the completion of the programme of restoration of the stonework and windows.
Internally the significance of the various elements of the building, as set down in the Conservation Plan, have allowed for their careful conservation and protection.
RESTORATION
Throughout the building, temporary partitions, lowered ceilings and window blockings have, where practically possible been carefully removed to allow the robust spaces to work as originally intended. The top lit galleries on the upper floor east have been returned to their original configuration.
RENOVATION
Although the envelope of the building had been well maintained the interior of the building had become worn in its finishes, especially in the disused, former Museum, spaces, and floors were unsuitably covered. The aim was to deliver a high quality product that would stand up to the ongoing wear and tear of a gallery environment and reduce maintenance and lifecycle costs
However, the main renovation issue was the replacement of old and inadequate plant and the installation of proper, modern services appropriate to a national art gallery. All service interventions within the building have been undertaken in a sensitive and considered manner coordinating with Architectural Interventions where appropriate.
ENVIRONMENT
The parameters adopted for the SNPG gallery spaces enables the temperature to float between 18-23oC and the RH between 40-65%. Making subtle changes to the space temperature to offset fluctuations in humidity is far more economical / sustainable than running humidifiers or de-humidification cycles. Similarly, allowing the gallery spaces to float within this wider control band maximises the benefit that can be gained from the thermal mass of the building and is a key aspect of reducing energy consumption.
The energy required for control of the gallery spaces is up to 42% less than traditional gallery operating to the guidelines of BS5454. For the Portrait Gallery, this equates to approximately 14% reduction in CO2 emissions for the complete buildings annual energy consumption.
Further energy enhancements:
• Chilled water free-cooling
• High efficiency heat recovery (ventilation plant)
• Variable speed drives (ventilation and heating plant)
• High efficiency modular condensing boilers
• LED Display Lighting
• A modern lighting controls system
COSTS
The total cost of the project was £17.6m, including 17 new exhibitions, removal costs, fees, and education activities.
Project Managers: Gardiner and Theobald
PROJECT TEAM
Structural Engineers: Will Rudd Davidson
M&E: Harley Haddow
QS: Davis Langdon
Lighting Architect: Foto-Ma
Interior Designers: Graven Images
Lift Consultants: Lerch Bates
Display Designers: Studioarc
Photography: Andrew Lee
Contractors: Main: BAM