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. The practice, along with lighting designers Studio ZNA, used lighting as a guiding tool to help direct visitors, as well as to optimise the display of the institute’s world-renowned collection. A new track layout has replaced the individual lights previously attached to artwork frames and was carefully integrated – with on-site testing undertaken to ascertain optimum distances – within the decorated heritage ceilings to allow visitors to appreciate longer and more unobstructed vistas. ‘We worked closely with Studio ZNA to test different light gauzes to block light but allow the view through still. The result is that light levels are now more continuous and are supplemented in an invisible way with lighting that is no longer from central chandeliers, but from new tracks able to create consistent light across the works on the walls and objects in cases,’ explains Nissen.


The LMVH Great Room, on the top floor, forms the final crescendo to the new visitor experience. Nissen Richards Studio played an


Above Freeform dividers allow for an unhindered flow of visitors


Left Discreet lighting was carefully integrated within the heritage ceilings


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