Download SERPENTINE SACKLER GALLERY 2013 September 2013 PRESS

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SERPENTINE SACKLER GALLERY 2013
September 2013
Contents
Introduction
Press Release
Architects’ Statement
Biographies
The Magazine
Fact Sheet
Project Team and Advisors
Design Circle
The Serpentine Gallery
Press contacts:
Miles Evans, 020 7298 1544, [email protected]
Rose Dempsey, 020 7298 1520, [email protected]
Image downloads: www.serpentinegalleries.org/press
SERPENTINE SACKLER GALLERY
DESIGNED BY ZAHA HADID ARCHITECTS
PRINCIPAL DONOR
The Dr Mortimer and Theresa Sackler Foundation
FOUNDING PATRONS
Bloomberg Philanthropies
LUMA Foundation
The David Ross Foundation
Lars and Tatiana Windhorst
The Wolfson Foundation
FOUNDING BENEFACTORS
Jenifer Evans
Nicoletta Fiorucci
Stephen and Yana Peel
Catherine Petitgas
FOUNDING ARTIST PATRONS
Artists for the Serpentine Gallery Auction 2011, Sotheby’s, London
Ron Arad • Richard Artschwager • John Baldessari • Phyllida Barlow
Matthew Barney • Louise Bourgeois • Cecily Brown • Glenn Brown • Anthony Caro
John Currin • Thomas Demand • Olafur Eliasson • Fischli/Weiss • Yang Fudong
Gilbert & George • Felix Gonzalez-Torres • Douglas Gordon • Antony Gormley
Subodh Gupta • Andreas Gursky • Richard Hamilton • N.S. Harsha
Susan Hefuna • Damien Hirst • M.F. Husain • Jitish Kallat • Anish Kapoor
Ellsworth Kelly • Bharti Kher • Karen Kilimnik • Jeff Koons • Yayoi Kusama
Maria Lassnig • Annie Leibovitz • Takashi Murakami • Shirin Neshat • Chris Ofili
Gabriel Orozco • Richard Prince • Paula Rego • Gerhard Richter • Ed Ruscha
Cindy Sherman • Hiroshi Sugimoto • Do-Ho Suh • Wolfgang Tillmans
Rirkrit Tiravanija • Rebecca Warren • Gillian Wearing • Rachel Whiteread
And those donors who wish to remain anonymous
Press Release
SERPENTINE SACKLER GALLERY
DESIGNED BY ZAHA HADID ARCHITECTS
September 2013
The Serpentine Sackler Gallery, designed by Zaha Hadid Architects, will open to the
public on Saturday, 28 September 2013.
The Serpentine Sackler Gallery gives new life to The Magazine, a former 1805
gunpowder store, located seven minutes’ walk from the Serpentine Gallery on the
north side of the Serpentine Bridge. With 900 square metres of new gallery,
restaurant and social space, the Serpentine’s second space in Kensington Gardens is
a new cultural destination in the heart of London. This autumn, the Serpentine
presents its unrivalled programme of exhibitions and events across both Galleries
and into Kensington Gardens.
The new Gallery is named after Dr Mortimer and Dame Theresa Sackler, whose
Foundation has made the project possible through the largest single gift received by
the Serpentine Gallery in its 43-year history. Major funding has also been awarded by
Bloomberg Philanthropies. Bloomberg is a long term supporter of the Serpentine as
well as sponsor of the opening exhibition. The total build cost is £14.5 million.
In 2010 the Serpentine Gallery won the tender from The Royal Parks to bring the
Grade II* listed building into public use for the first time in its 208-year history. The
Serpentine Gallery has restored the building to an excellent standard, in partnership
with The Royal Parks, renovating and extending it to designs by Zaha Hadid
Architects. A light and transparent extension complements rather than competes
with the neo-classical architecture of the original building. It is Zaha Hadid Architects’
first permanent structure in central London and continues a relationship which
began with the inaugural Serpentine Gallery Pavilion Commission in 2000. The
landscape around the new building will be designed and planted by the worldrenowned landscape designer Arabella Lennox-Boyd.
The opening exhibition in the Serpentine Sackler Gallery is the first UK exhibition by
the young Argentinian artist Adrián Villar Rojas, who is gaining international renown
for his dramatic, large-scale sculptural works. At the same time, in the Serpentine
Gallery, there is a major retrospective of the work by Italian sculptor Marisa Merz,
who received a Lifetime Achievement Award at the 2013 Venice Biennale.
A redesigned website features the inaugural Digital Commission by Cecile B. Evans,
while the first annual Bridge Commission explores the route between the
two Galleries with a series of texts by twelve internationally acclaimed writers. Each
story is timed to last as long as it takes to walk from the Serpentine Gallery to the
Serpentine Sackler Gallery. The Serpentine’s expanded presence in Kensington
Gardens is illustrated by a specially commissioned map by the artist
Michael Craig-Martin.
Responding to its unique location in The Royal Park of Kensington Gardens, an
expanded programme of eight exhibitions will now follow the seasons with different
shows in each Gallery four times a year. The seasonal theme carries through to the
wider programme with the Pavilion Commission signalling the start of London’s
summer and the multi-disciplinary Marathon, a fixture of Frieze week in the autumn.
The Serpentine’s programme of outdoor sculpture with The Royal Parks continues
with Fischli/Weiss’s monumental Rock on Top of Another Rock, which remains in place
until March 2014.
The opening of the Serpentine Sackler Gallery marks a new beginning for the
internationally acclaimed arts organisation, which has championed new ideas in
contemporary arts since it opened in 1970. The Serpentine Gallery has presented
pioneering exhibitions of 1,600 artists over 43 years, from the work of emerging
practitioners to the most internationally recognised artists and architects of our time,
such as Louise Bourgeois, Frank Gehry, Damien Hirst, Jeff Koons, Gerhard Richter,
Yoko Ono, Andy Warhol and Ai Weiwei.
ARCHITECTS’ STATEMENT
The Serpentine Sackler Gallery,
Zaha Hadid Architects
The Serpentine Sackler Gallery consists of two distinct parts, namely the conversion
of a classical 19th century brick structure – The Magazine – and a 21st century tensile
structure. The Serpentine Sackler Gallery is thus – after MAXXI in Rome – the second
art space where Zaha Hadid and Patrik Schumacher have created a synthesis of old
and new. The Magazine was designed as a Gunpowder Store in 1805. It comprises two
raw-brick barrel-vaulted spaces (where the gunpowder was stored) and a lower
square-shaped surrounding structure with a frontal colonnade. The building
continued to be in military use until 1963. Since then The Royal Parks used the
building for storage. The Magazine thus remained underutilised until now. Over time,
much amendment and alteration has occurred inside the historic building and its
surroundings.
Instrumental to the transformation into a public art gallery was the decision to
reinstate the historic arrangement of The Magazine building as a free standing
pavilion within an enclosure, whereby the former courtyards would be covered and
become internal exhibition spaces. In order to reveal the original central spaces, all
non-historic partition walls within the former gunpowder stores were removed. The
flat gauged arches over the entrances were reinstated whilst the historic timber
gantry crane was maintained. Necessary services and lighting were discreetly
integrated as to not interfere with the ‘as found’ quality of the spaces. These vaults
are now part of the sequence of gallery spaces.
The surrounding structure has been clarified and rationalised to become a
continuous, open sequence of exhibition spaces looping around the two central
powder rooms, thus following the simplicity and clarity of Leo von Klenze’s Glyptothek
as an early model for a purpose-built gallery. What was a courtyard before, became an
interior top-lit gallery space. Longitudinal roof lights deliver natural daylight into the
whole gallery sequence surrounding the central vaults and with a fixed louver system
they create perfectly lit exhibition spaces. Retractable blinds allow for a complete
black-out of the galleries. The continuous sky-light makes the vertical protrusion of
the central core of the building (containing the two vaults) legible on the inside.
These reconstructions and conversions were designed in collaboration with heritage
specialist Liam O’Connor and in consultation with English Heritage and Westminster
City Council. In addition to the exhibition spaces the restored and converted
Magazine also houses the gallery shop and offices for the Serpentine’s curatorial
team.
The extension contains a generous, open social space that we expect to enliven the
Serpentine Sackler Gallery as a new cultural and culinary destination. The extension
has been designed to complement the calm and solid classical building with a light,
transparent, dynamic and distinctly contemporary space of the 21st century. The
synthesis of old and new is thus a synthesis of contrasts. The new extension feels
ephemeral, like a temporary structure, although it is a fully functional permanent
building. It is our first permanent tensile structure and realisation of our current
research into curvelinear structural surfaces. The tailored, glass-fibre woven textile
membrane is an integral part of the building’s loadbearing structure. It stretches
between and connects a perimeter ring beam and a set of five interior columns that
articulate the roof’s highpoints. Instead of using perimeter columns, the edge beam a twisted ladder truss supported on three points - dips down to the supporting
ground in front, in the back, and on the free west side. On the east side this edge
beam (and thus the roof of the extension) swings above the parapet of The Magazine.
A linear strip of glazing gives the appearance that the roof is hovering above The
Magazine without touching. The Magazine’s western exterior brick wall thus becomes
an interior wall within the new extension without losing its original function and
beauty. This detail is coherent with the overall character of the extension as a ‘light
touch’ intervention. The envelope is completed by a curved, frameless glass wall that
cantilevers from the ground to reach the edge beam and fabric roof. The interior of
the new extension is a bright, open space with light pouring in from all sides and
through the five steel columns that open up as light scoops. The anticlastic curvature
of the roof animates the space with its sculptural, organic fluidity. The only fixed
elements within the space are the kitchen island and a long smooth bar counter that
flows along The Magazine’s brick wall. The tables, banquets and chairs are designed
as a continuous Voronoi pattern, reminiscent of organic cell structures. Our aim is to
create an intense aesthetic experience, an atmosphere that seems to oscillate
between being an extension of the delightful beauty of the surrounding nature and
of being an alluring invitation into the enigma of contemporary art.
BIOGRAPHIES
Lord Palumbo, Chair man, Serpentine Galleries Trustees
Peter Palumbo has been Chairman of the Trustees of the Serpentine Gallery since
1994. He became Chairman of the Pritzker Architecture Prize in 2004. Lord Palumbo
was Chancellor of the University of Portsmouth from 1992-2007, and he is Adviser
Emeritus to the Board of Governors of Whitgift School, Croydon. Since 1977 he has
been a Trustee of the Mies van der Rohe Archive at the Museum of Modern Art in New
York. From 1978-1985 he was a Trustee of the Tate Gallery; and from 1986-97 he was
Chairman of the Tate Gallery Foundation. He was a Trustee of the Whitechapel Art
Gallery Foundation from 1981-1987. Lord Palumbo was Chairman of the Arts Council of
Great Britain from 1989-1994 and a Trustee of the Natural History Museum from
1994-2004.
Dame Theresa Sackler DBE, Trustee, The Dr. Mortimer and
Dame Theresa Sackler Foundation
Theresa Sackler DBE was a primary school teacher in London for seven years. She,
with her late husband Mortimer D Sackler, has three children.
Theresa Sackler serves on the boards of several family pharmaceutical companies
and devotes much of her time to various philanthropic activities, including serving as
a Trustee for Victoria and Albert Museum. She travels extensively overseas and has
an active interest in education and the arts. Having studied horticulture, she also has
a passion for gardens, nature and the environment.
Dame Zaha Hadid DBE, Founder, Zaha Hadid Architects
Zaha Hadid DBE founder of Zaha Hadid Architects, was awarded the Pritzker
Architecture Prize (considered to be the Nobel Prize of architecture) in 2004 and is
internationally known for both her theoretical and academic work. Each of her
dynamic and innovative projects builds on over thirty years of revolutionary
exploration and research in the interrelated fields of urbanism, architecture and
design. Hadid’s interest lies in the rigorous interface between architecture, landscape
and geology as her practice integrates natural topography and human-made
systems, leading to experimentation with cutting-edge technologies. Such a process
often results in unexpected and dynamic architectural forms.
Patrik Schumacher, Company Director, Zaha Hadid Ar chitects
Patrik Schumacher joined Zaha Hadid Architects in 1988. He is a company director
and senior designer of the practice as well as a co-author and project partner of
seminal projects such as the MAXXI Museum in Rome and Guangzhou Opera House.
Schumacher is co-director of the Design Research Laboratory at the Architectural
Association and has also taught post-graduate studios with Zaha Hadid at Yale,
Columbia and Harvard. He currently teaches at Institute for Experimental
Architecture, Innsbruck and the University of Applied Arts in Vienna. His published
works and interviews discuss his contribution to the discourse of contemporary
architecture.
Julia Peyton-Jones OBE, D irector, Serpentine Galler ies
Julia Peyton-Jones OBE became Director of the Serpentine Gallery in 1991, where she
is responsible for commissioning and showcasing the groundbreaking Exhibition,
Education and Public Programmes as well as the annual architecture commission, the
Serpentine Gallery Pavilion.
Under the patronage of Diana, Princess of Wales, the Serpentine completed a
£4million renovation in 1998. Since then visitor numbers have increased to between
800,000 and 1.2million in any one year. In 2010, the Serpentine won the License for
an additional gallery in Kensington Gardens, The Serpentine Sackler Gallery, designed
by Zaha Hadid Architects. Peyton-Jones is an Honorary Fellow of the Royal College of
Art (RCA), the Royal Institute of British Architects (RIBA) and is an Officer of the Most
Excellent Order of the British Empire (OBE)
Hans Ulrich Obr ist, Co-Director, Serpentine Galleries
Hans Ulrich Obrist is Co-Director of the Serpentine Galleries, London. Prior to this, he
was the Curator of the Musée d’Art Moderne de la Ville, Paris. Most recently, he has
curated 13 Rooms at Kaldor Public Arts in Sydney. In 2012, he co-curated Jonas Mekas,
Thomas Schütte Faces and Figures, Yoko Ono TO THE LIGHT, Herzog & de Meuron and
Ai Weiwei Pavilion and the Memory Marathon at the Serpentine Gallery, London; To the
Moon via the Beach, LUMA Foundation, Arles; Lina Bo Bardi, Casa de Vidro, Sao Paulo;
A call for unrealized projects, DAAD and e-flux, Berlin. Obrist’s recent publications
include A Brief History of Curating, Project Japan: Metabolism Talks with Rem Koolhaas,
Ai Weiwei Speaks, along with new volumes of his Conversation Series.
THE MAGAZINE
From Munition Depot to 21 st Century Exhibition Space
The Magazine, built in 1805, was designed as a munitions store for the safe-keeping
of gunpowder during the Napoleonic wars. Since then it has been at the turning point
of over two hundred years of London’s history: the city’s recreation grounds and royal
gardens, a landscape for military parades, home to the Crystal Palace of the Great
Exhibition of 1851, site for patriotic celebration as well as revolutionary anger.
Improved by Decimus Burton in the 1820s, the building stands in front of the
Serpentine Bridge, designed by John Rennie and completed between 1825-28.
In September 2013, the Grade II* listed building was brought into public use for the
first time by the Serpentine Gallery and The Royal Parks, and transformed into the
Serpentine Sackler Gallery designed by Zaha Hadid Architects. From the autumn of
2013 the Serpentine presents its pioneering programmes across both Galleries and
out into the landscape of Kensington Gardens.
SERPENTINE SACKLER GALLERY
FACT SHEET
Overall site area
•
3,414 m2
Gross internal area
•
Total: 1566m2
Dimension of Serpentine Sackler Gallery
•
•
•
•
Height: 8.95m from the ground at the building’s highest point
Internal area (usable): 1355m2
Building footprint: 1328m2
Maximum ceiling height internally:
-Galleries: 3.60m
-Stores (2 rooms at front): 2.95m
-Powder rooms: 7.50m to top of vault, 4.30m to timber beams
-Western extension (social space): up to 6.00m
Structure and materials
The Magazine (gallery)
• Walls: solid brick walls and vaults (existing)
• Roof: single-ply waterproofing membrane over rigid insulation. New steel
structure to support new roof over galleries
Western extension (restaurant and social space)
• Roof and Structure: steel ladder frame around perimeter, clad in FRP
panels, spray painted. Steel columns (structural skin) with FRP cladding
to one side, spray painted. PTFE coated glass-fibre woven fabric
membrane on outside, silicone-coated glass cloth on inside with multifoil insulation inbetween
• Glass walls: laminated double glazing, low iron. Laminated glass fins, low
iron
• Floor: terrazzo tiles over underfloor heating
Northern extension (office space)
• Roof: single-ply waterproofing membrane over rigid insulation
• Walls: cavity walls with stock brick to match existing externally
• Floor: terrazzo tiling/carpet over underfloor heating
Content
•
•
•
The Magazine: a public gallery space during the day (10.00am – 6.00pm)
and a space for evening event hire (6.30pm – 11.00pm).
Western extension: a restaurant and social space
Northern extension: office space
SERPENTINE SACKLER GALLERY
PROJECT TEAM AND ADVISORS
Architect
Zaha Hadid Architects
Architectural Design
Zaha Hadid, with Patrik Schumacher, Zaha Hadid Architects
Architectural Project Director
Charles Walker, Zaha Hadid Architects
Architectural Project Lead, Phase 1
Thomas Vietzke, with Jens Borstelmann, Zaha Hadid Architects
Architectural Project Lead, Phase 2
Fabian Hecker, Zaha Hadid Architects
Structural Engineering
Ed Clark, with Jolyon Smith and Chris Neighbour, ARUP
Project D irectors
Julia Peyton-Jones, with Hans Ulrich Obrist, Serpentine Galleries
Project Leader
Julie Burnell, with Amy Brown, Serpentine Galleries
Project Ma nagers
Ian Eggers, Gareth Stapleton, Bob White, Peter George, Wayne Glaze, Pat Walsh,
Jim Ledger, Rise
Architectural Project Team
Ceyhun Baskin, Torsten Broeder, David Campos, Suryansh Chandra, Inanc Eray,
Matthew Hardcastle, Dillon Lin, Elke Presser, Marina Duran Sancho, Timothy Schreiber,
Jianghai Shen, Marcela Spadaro, Anat Stern, Laymon Thaung, Claudia Wulf, Zaha Hadid
Architects
Restaurant M ise-en-Scène & Gift Shop
Melodie Leung, Maha Jutay, Claudia Glas-Dorner, Evgeniya Yatsyuk, Kevin Sheppard,
Carine Posner, Maria Leni Popovici, Loulwa Bohsali, Karine Yassine, Steve Blaess, Zaha
Hadid Architects
Lighting Designer
Arnold Chan, Isometrix Lighting + Design
Landscape Designer
Arabella Lennox-Boyd, Arabella Lennox-Boyd Landscape Design
Westminster City Council
Hassan Lashkariani, Building Control,
Westminster City Council District Surveyor’s Office
Jenny Wilson, Licensing Surveyor, Westminster City Council
Harriet Whitehorn, Planning Officer, Westminster City Council
Kate Green, Planning Officer, Westminster City Council
Barbara Milne, Senior Arboricultural Officer, Westminster City Council
Dave Nevitt, Environmental Health Officer, Westminster City Council
David Doyle, Fire Safety Inspecting Officer, Westminster City Council
English Heritage
William Reading, Inspector of Historic Buildings and Areas, Heritage Protection and
Planning
Construction
Mike Bridges, with Simon Frawley and Eugene McCormick, Galliford Try Construction
Consultants
Barnaby Collins and James Penfold, DP9; Anthony Fowler and Peter Mundy, Gleeds;
Gareth Sefton, Sefton Horn Winch
SERPENTINE SACKLER GALLERY
DESIGN CIRCLE
Amina Technologies
Amina Technologies Ltd® was established over a decade ago and is the world’s
leading supplier of invisible loudspeaker solutions. Whether hidden behind a plaster
skim or built into bespoke joinery the unique vibrational flat panel technology
produces sound with exceptional power and clarity using principles similar to
acoustic musical instruments. The products enable individuals and corporations to
create environments with modern entertainment and communication systems that
have zero visual impact on the interior aesthetics.
Arabella Lennox-Boyd Landscape Design
Arabella Lennox-Boyd is one of the leading landscape designers in the UK and has an
unrivalled command of both landscape design and the highest quality
plantsmanship. Italian by birth, she has designed over 400 gardens worldwide over
40 years including six Chelsea Flower Show Gold medal gardens, winning best of
show in 1998.
Her public projects include the iconic roof garden at No. 1 Poultry in the City of
London seen as a London sight in Danny Boyle’s film for 2012 London Olympic Games
and the first large landscape for the Maggie's Cancer Caring Charity in Dundee.
www.arabellalennoxboyd.com
Art e mi d e
Artemide Group is a world leader in the high-end residential and professional lighting
sector. Founded in 1960 by Ernesto Gismondi, the Artemide Group is based in
Pregnana Milanese, and has five manufacturing plants in Italy, France, Hungary, and
the US; two glassworks; and research and development facilities in Italy and in
France. The high level of technological innovation, products conceived according to
personal needs, as well as constant investment in marketing and communication are
the key factors that allowed Artemide to develop into one of the best known and
most prestigious lighting equipment brands in the world.
www.artemide.com
Burmatex
Burmatex® is one of the UK’s leading manufacturers of contract carpet and carpet
tiles, offering a high quality range spanning fibre bonded, structure bonded® and
tufted carpet in sheet and tile, supported by specialist barrier and entrance matting
products. Focusing on innovative design and flexible manufacturing, Burmatex
products offer creative yet practical choices to architects, specifiers, end users and
contractors across a variety of sectors including education, leisure, accommodation,
commercial interiors, healthcare and public buildings.
Dornbracht
Aloys F. Dornbracht GmbH & Co. KG, with headquarters in Iserlohn, is a globally active
family-run manufacturer of high-quality fittings and accessories for bathrooms and
kitchens. Highly qualified employees and the most modern production technologies
guarantee the highest manufacturing quality. With 'Culturing Life' as its brand claim,
the Company broadens its foundations of competence in the areas of design and
water: technological progress in terms of connectivity and convenience, and
prevention in terms of health and well-being, increasingly characterise the brand
orientation and product developments of the future.
www.dornbracht.com
Dyson Airblade
Dyson is a British technology company, developing new and more efficient
technology. With over 1,500 scientists and engineers worldwide Dyson strives to solve
everyday problems: thinking, testing, breaking, questioning. Launched in early 2013,
the Dyson Airblade Tap hand dryer washes and dries hands with no need to leave the
sink. Using Airblade ™ technology, the Dyson Airblade Tap dries hands using sheets of
unheated air travelling at 430mph which scrape water from hands. This ensures
hands are hygienically dry in just 12 seconds using filtered air.
www.dysonairblade.co.uk
Fenw ick Elliott
Fenwick Elliott is the largest specialist construction law firm in the UK serving clients
around the world in the building, engineering and energy sectors. Their expertise
covers procurement strategies, contract documentation, dispute avoidance and
resolution and proactive project support. Fenwick Elliott has, since formation, always
advised solely on construction matters, making them true construction law
specialists.
Isometrix Lighting + Design
Isometrix was set up in 1984 by Arnold Chan, an architect trained at the Architectural
Association. Its architectural approach to lighting design ­ visualising in three
dimensions and creating a hierarchy of light effects to enhance the spatial flow of
buildings and their interiors - distinguishes Isometrix from the work of traditional
lighting engineers.
Isometrix has worked with architects and designers with very differing stylistic
approaches. It does not have a house-style of its own, but aims to bring out the best
in any design, whether overtly rational and purist or symbolic and theatrical.
RISE
RISE Management Consulting was founded in 2011 by leading experts to bring a fresh,
dynamic and innovative approach to the construction industry. Its people draw on a
wealth of experience spanning architecture, project management and management
consultancy, allowing RISE to provide a truly bespoke and integrated service
throughout all sectors of the built environment. RISE enable clients to achieve
success by utilising industry expertise, and by applying it with intelligence and flair.
RISE currently operates in the UK, Middle East and China. RISE project managed the
Serpentine’s annual pavilion by Herzog & de Meuron and Ai Weiwei in 2012, and Sou
Fujimoto’s Pavilion in 2013.
Roca
Roca is dedicated to the design, production, sales and marketing of bathroom
products as well as ceramic wall and floor tiles for the architecture, building and
interior design sectors. The company employs over 20,000 people and is active in
more than 135 countries around the world.
A world leader in the definition of the bathroom space, Roca works closely with
prestigious designers, architects and interior designers such as Moneo, Chipperfield,
Herzog & de Meuron, Zaha Hadid, Giugiaro and Schmidt & Lackner, to name just a
few. Through constant research and development, Roca promotes initiatives which
help protect the environment. This commitment is reflected in the continuous
development of new products designed to reduce water consumption.
Stage One
Winners of a 2013 Queen’s Award for Continuous Innovation, Stage One work all over
the world within the events, theatre and architecture industries. Their unique
strength is their ingenuity – finding ways to bring their clients’ ideas to life, no matter
how extreme. Based in Yorkshire, Stage One’s unconventional CV includes
manufacturing complex façade panels for Zaha Hadid’s Chanel pavilion; constructing
the Serpentine Gallery pavilions since 2009; developing theatrical flying systems for
Opening Ceremonies and building Thomas Heatherwick’s Olympic cauldron.
Whitco Catering Equipment Ltd
Unrivalled expertise and a unique approach built around the customers’ needs have
enabled Whitco to develop a market-leading, end-to-end range of services. Every
project is underpinned by commitment to doing what is right for the customers. From
supplying a simple appliance to managing major commercial kitchens contracts, they
apply the same proven processes. Their design services configure front and back of
house layouts around the working menus and business objectives of individual
establishments to optimise productivity and workflow. Strong relationships with the
world’s most respected manufacturers mean they are perfectly placed to supply the
most suitable appliances, work surfaces and equipment for every application.
THE SERPENTINE GALLERY
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The Serpentine Gallery is one of Britain's best loved galleries, attracting up to
800,000 to 1.2million visitors annually. It is one of the top 10 most visited
museums and galleries in London (Visit London).
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It is the only publicly funded modern and contemporary art gallery in central
London to maintain consistently free admission with full disability access.
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Since 1970, the Serpentine has gained an international reputation for excellence,
presenting pioneering exhibitions of 1,600 artists, architects and designers
over 43 years. The Gallery, a Grade II listed former tea pavilion, underwent a
major renovation in 1998 under the Patronage of Diana, Princess of Wales.
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The annual Serpentine Gallery Pavilion is unique worldwide and presents
landmark buildings by internationally acclaimed architects who have not yet
completed a structure in England. It attracts up to 300,000 visitors over three
months, surpassing the Venice Architecture Biennale.
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The Serpentine pioneers international collaborations between the Gallery, local
communities, and worldwide partners. China Power Station, at Battersea Power
Station, presented the work of a new generation of Chinese artists to the UK
public for the first time.
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The Serpentine’s Learning Programme is widely recognised as leading the field
in art education, providing children and adults of all ages and backgrounds with
unique opportunities to work closely with UK and international artists in the
creation of new work commissioned by the Gallery.
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The Serpentine engages new and diverse audiences through its Public
Programmes of late night summer events, film screenings, performances, free
Saturday gallery talks, conferences and symposia.
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The Gallery achieves one of the lowest ratios of public subsidy per visitor for
arts organisations in England at £2.26 per visitor. The average subsidy to
publicly funded arts organisations in England is 44% of annual income, or £3.69
per visitor.
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The Gallery has pioneered partnerships with public funders and private
philanthropy for over 20 years, receiving 20% of its annual income from Arts
Council England, and raises the balance from a wide range of corporate
supporters, private donors, charitable trusts and foundations and earned income.
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The Serpentine represents outstanding value for money. In 2012/13, the
Serpentine Gallery raised £4.05 for every £1 of public funding.
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The Serpentine Gallery works in partnership with a wide range of
organisations, including:
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Public and Government bodies such as the BBC; the Department
for Culture, Media and Sport; Arts Council England; Camden Council;
Westminster City Council, and the Office of the Mayor of London.
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Charitable trusts and foundations such as the Annenberg
Foundation; City Bridge Trust; the Eranda Foundation; Heritage
Lottery Fund; John Lyon’s Charity; the Henry Moore Foundation; and
the Rayne Foundation.
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Internationally renowned museums such as The Natural History
Museum, London; the Victoria and Albert Museum, London; the
Museum of Modern Art, New York; the Solomon R.
Guggenheim Museum, New York; and the Whitney Museum of
American Art, New York.