ART & SCULPTURE
‘ The wayfinding and interpretation for the redesign was created in layers ’, Pippa Nissen explained . ‘ We used an artisan process to create beautiful and bespoke etched panels that deliver the text in a way that feels seamless with the building and the atmosphere of the rooms .’
Another element of the scheme ’ s new signage family is the paper-based artwork signage , using Canson paper – which has a long association with the world of art - slotted into patinated brass holders .
The design of the new arrival area centred on uncluttered , simple volumes with full accessibility , including a new matt Corian reception desk with concealed storage and a stepped design . A new display wall to the right of reception for exhibition catalogues uses lipped-detail timber . A queue divider furniture element on casters breaks up the space and is a subtle way to help direct arriving visitors . A feature floating light above is one of several major new feature lights in the scheme , deliberately contrasting with the minimal track lighting in the galleries .
Other new bespoke furniture includes benches throughout the galleries and at key rest points , such as by the lifts . The benches are in oak , specially matched to the gallery ’ s floorboards , with a butterfly profile and wide , generous feel . The metal frames supporting the benches make them heavy enough to be stable , whilst light enough to be easily re-positioned .
Bespoke showcases were developed throughout by Nissen Richards Studio and manufactured by Florea d . sign , with a ‘ family ’ of cases for each gallery , made up of plinths in cool white Corian , on nonreflective glass cases and shelves , depending on the art being displayed .
Nissen Richards Studio also created the new paintwork colour scheme throughout the interior spaces , taking inspiration from the artworks themselves . These range from the domestic-inspired warm colours of the Bloomsbury Room to the lighter pinks and blues of the Blavatnik Fine Rooms , working in each case with the proportions of the galleries , the ceiling height , the nature and colourways of the artworks and the Northor South-facing light . A calming off-white dado level throughout provides a clear linking element , with the walls themselves holding the colour to work at their best with the art in each of the key areas – the Medieval Room , Blavatnik Fine Rooms , Bloomsbury Room and the LMVH Great Room . For the hang of the paintings themselves , stainless steel wires were used , which stand proud of the galleries ’ historic walls and were spray-painted to blend in seamlessly .
Issue 50 2022 The Art of Luxury
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