The north-western section of Trafalgar Square has hosted intense debates concerning its architectural future, with battles over its design raging for decades beneath Nelson’s steadfast column. While Admiral Nelson remains a figure of stability atop his pedestal, the discourse around the western side of the National Gallery has taken on the characteristics of a long-standing conflict resembling another Battle of Trafalgar.
In the 1950s, a competition introduced an audacious brutalist proposal for the gallery’s expansion, featuring overlapping cantilevered structures that extended into the square, but it was ultimately considered too radical. The 1980s brought forth a sleek, modern design characterized by glass and high-tech elements, which was notably criticized by Prince Charles, who labeled it a “monstrous carbuncle on the face of a much-loved and elegant friend.” The tide turned in the 1990s when American postmodernists Robert Venturi and Denise Scott Brown emerged victorious with their design, which combined Corinthian pilasters and large tinted windows in a playful manner. The architects proclaimed, “Palladio and modernism clash on the main facade,” immortalizing their stylistic debate in stone and glass. The Sainsbury Wing, as this extension is known, was designated a Grade I listed building in 2018, making it one of the youngest structures to achieve such status.
However, this was not the conclusion of the architectural saga. This week, the latest phase of this stylistic battle is set to unfold, featuring a tranquil vision from architect Annabelle Selldorf, who was born in Cologne and is now based in New York. Her project marks a key element of the National Gallery’s £85 million renovation initiative in honor of its 200th anniversary, transforming the Sainsbury Wing into the museum’s primary entrance. This redesign aims to welcome visitors of all backgrounds after years of some having to ascend precarious steps while others were directed around the side entrance.
Gallery director Gabriele Finaldi describes the new approach as “lighter, more welcoming, and more visible,” designed to be more inviting to “anyone who thinks that the National Gallery is not for them.” Indeed, the new entrance appears brighter and more accommodating, featuring fewer obstructive columns, increased natural light, and spacious new areas on the first floor. The grand staircase and the celebrated galleries remain unchanged, while the underground auditorium has been refreshed with new seating and a more open foyer. However, one must wonder: has this renovation harmed the legacy of a cherished postmodern landmark?
Upon its debut in 1991, the Sainsbury Wing faced significant criticism. Detractors branded it “a vulgar American piece of postmodern mannerist pastiche” and “picturesque mediocre slime.” It was perceived as overly traditional by modernists while also being too whimsical for traditionalists. The entrance, which was dark and had a low ceiling, was deemed “a nasty cellar-like space” cluttered with a confusing array of non-structural columns. “It simply didn’t work,” states Paul Gray, the gallery’s deputy director, noting that visitor numbers have surged from about three million then to nearly six million today. The wing wasn’t designed for such high traffic. “Contemporary visitors have higher expectations. They desire expansive, open, and inviting areas, which it lacked.”
Time, however, often breeds fondness. Nothing can evoke nostalgia quite like the fear of change. When Selldorf’s modernizing proposal was first made public in 2022, the same critics who had once disparaged the design by Venturi Scott Brown came to its defense. Eight former RIBA presidents publicly opposed the “insensitive” modifications, claiming they would “transform this beautifully conceived space into an airport lounge.” The Twentieth Century Society voiced “grave concerns” regarding potential significant harm, while others labeled it “an act of vandalism.” Denise Scott Brown, now 93, expressed her outrage, asserting that “[Selldorf is] making our building resemble a circus clown,” adding, “This is a circus clown in a tutu.”
In response to the backlash, the architects revisited their plans. The initial bland design reminiscent of a Gap store was reconsidered, with proposed wooden columns replaced by stone to align with the original aesthetic, while some vibrant, Egyptian-themed columns slated for removal were preserved and repositioned. “We managed to retain more of the existing structure,” comments Alasdair Travers, a partner at Purcell, who collaborated with Selldorf on the project, “focusing more on the weightiness of the original design.” However, Scott Brown remained skeptical, accusing the architects of treating the building “as if it were a Lego set.” She cautioned that such alterations to a Grade I listed site would have repercussions for future architectural endeavors.
Now, from Trafalgar Square, the Sainsbury Wing is more prominently displayed than ever. A new sign on the cornice highlights its presence, with the lettering playfully wrapping around the building’s unique angles in a postmodern style. An enclosed courtyard has been opened, creating additional space for queues. The previously dark tinted glass has been replaced with clear, conservation-grade glass, enhancing the welcoming atmosphere.
“We aimed to honor the original vision,” asserts Selldorf, who stands in the newly designed stone forecourt amongst the dynamic columns, reflecting on her initial uncertainty about the building. “I remember visiting and thinking: ‘Well, this is nothing special.’ The architectural elements were there, but the cumbersome entrance was anything but inviting.” She describes the former dark glass facade as “beyond peculiar” and asserts that the justification provided by Venturi Scott Brown for their low, gloomy entrance—comparing it to entering a church crypt before ascending into light—was merely a post-hoc explanation. “Name one church where you enter through the crypt,” she challenges. “It simply doesn’t happen!”
Inside, where once darkness reigned, a massive digital screen now occupies the back wall of the expansively opened lobby, showcasing highlights from the National Gallery’s collection. As I arrive, Caravaggio’s Jesus seems to indicate a new espresso bar to the left or perhaps the modest information desk nestled in the pale stone flooring—a notable change from the earlier dark granite. A disciple also directs attention to the lifts, which are now clearly visible due to the removal of some heavy stone columns.
A sweeping cut in the ceiling reveals the new bookshop and Locatelli restaurant upstairs (where the airport lounge ambience still lingers), while another opening on the left creates an airy double-height space above the cafe. The redesign has resulted in a 60% increase in usable space, creating a more open environment, though the gallery confirms that this expansive feel is intentional to accommodate larger crowds.
“Previously, upon entering, visitors often found it disorienting,” explains Selldorf. The row of columns that Venturi Scott Brown deemed “stand-ins for people on an empty day” merely obstructed the flow of movement. She controversially chose to eliminate them, a decision partially validated by the discovery of a letter from the late Lord Sainsbury in one of the hollow columns during construction. “I believe that the false columns are a mistake of the architect,” he wrote, expressing satisfaction that the current generation was choosing to do away with “unnecessary columns.”
This correspondence highlights the differing philosophies of the architects. Selldorf approaches her work as a service-oriented pragmatist, attuned to the needs of her clients, which has made her a sought-after choice among museum directors globally. In contrast, Venturi Scott Brown were visionary creatives, known for their contentious interactions with the gallery. Venturi, unwilling to compromise, even declined to attend the grand opening, with an advisor recalling that collaborating with them felt “sometimes like dealing with very intelligent children.”
The appropriateness of selecting a flexible pragmatist to refine the creations of inflexible idealists remains an open question. While the National Gallery has alleviated its practical issues and exorcised its historical grievances, it has also subdued some of the original building’s complex nuances. Perhaps a different architect—one more inclined to embrace postmodern ideals—might have been a better match. Nevertheless, the visitor experience is undoubtedly more seamless than before, allowing the strengths of the Sainsbury Wing to be more pronounced. For this, a sense of gratitude is due.
The Sainsbury Wing at the National Gallery will reopen to the public on May 10.
