"museums art galleries"

SystemGenerix Lite RainscreenMaterialCASTLE BUFF & WELSH SLATEMain ContractorWILD GOOSEInstallerHKL

Background:Canterbury’s Art Museum and library, The Beaney Instituteis a Grade II Listed, Victorian building dating back to 1900.The Institute was granted £11.6m by the Heritage LotteryGrant to conserve, repair and restore the existing buildingplus create an extension that would double the size of theInstitute in order to provide better facilities to the museum,art gallery and library.The Solution:Limelite plaster from the Heritage range was used torestore and protect the internal walls throughoutthe Institute. Limelite Renovating Plaster was appliedto control and minimise dampness that can occur inolder properties. High Impact Finishing Plaster was thenapplied, creating a BBA approved plaster system allowingthe walls to breathe while protecting them from damage,maintaining a heritage-style appearance.The Outcome:The Limelite plaster system was the perfect solutionfor The Beaney Institute. Important pieces of art andmuseum artefacts are protected from condensationand salt transfer from the walls.This modern solution works sympathetically with thefabric of the building providing the aesthetic finishexpected of a building of its character whilst also beingdurable enough to withstand the high footfall of thevisiting public.

Brighton Museum & Art Gallery is located in the iconic Royal Pavilion garden, at the heart of the city’s cultural quarter. It’s diverse collections brings together the arts with local, world and natural history. The institution attracts approximately 260, 000 visitors per year.

Simple design and soft light… The Victoria & Albert museum of London, famous for Art and Design, has recently renewed its art gallery and its coffee shop. The challenge of Gareth Hoskins' architects was to bring natural light into this space without damaging the exposed works, drawing 400 years of history. Thus, the architect imagined and created lighting paths and wells of light using Barrisol Lumière® ceiling. Today, the place benefits from a soft and pleasant light. A Barrisol® matt stretched ceiling offers a simple and minimalistic design on the remaining surface.

The Kunsthalle Mannheim museum of modern and contemporary art was opened at the end of 2017 by Federal President Frank-Walter Steinmeier. As Germany’s largest new museum building, it is a prime example of both civic commitment and architectural skill. The private patrons initiative – with SAP founder Hans-Werner Hector alone donating EUR 50 million – was what made the bold design at Friedrichsplatz possible. Based on the concept developed by the architects von Gerkan, Marg and Partners, a city within the city was created here, which reinterprets classic museum architecture while honoring Mannheim’s historical city layout. The composition of room-forming cubes is visually connected by a sophisticated façade made of bronze-coloured stainless steel fabric from GKD – GEBR. KUFFERATH AG (GKD). The translucent shell creates a subtle dialog between the inside and outside world. At the same time, the masterfully varying transparency of the fabric translates the scale of the building, creating a balanced sense of near and far.Following a construction period of around two and half years, the museum ensemble comprising the Billing Building from 1907, the connecting Athene Wing, and the new Kunsthalle museum building – named the Hector Building after the main benefactor – presents itself as an inviting whole. The Kunsthalle museum building replaces the rather dilapidated Mitzlaff Building, an extension constructed in 1983. The new building, developed by gmp as the winner of a two-stage architecture competition, respects the art nouveau architecture of the old building through its consciously reduced language. The architects created a monolithic, seamless concrete structure for the prominent location which fits in harmoniously with the development at Friedrichplatz and blends with the historic building. Their concept of transforming the museum into a city within the city comprises 13 cubes of different heights and widths that are offset from one another. As a tribute to Mannheim’s chessboard city layout, sometimes also referred to as the city of squares, a network of open and closed rooms was created with alternating perspectives depending on the location of the viewer. Seven of these cubes are grouped around the heart of the new Kunsthalle Mannheim, the 22-meter-high open atrium that boasts an area of 700 square meters. The cubes are connected to one another via galleries, terraces, and bridges. These guide visitors around the space and then back to their starting point in the atrium. The museum’s visitor experience thereby reflects the dynamics and architecture of a city. A total of three exhibition levels offer new presentation opportunities, including the full-height city window on the first floor, which offers an impressive view of the water tower. The atrium, which is covered by a glass roof and therefore flooded with light, grants fascinating views in all directions. Even without an admission ticket, visitors can enter the building, immerse themselves in its atmosphere, and take a few minutes out to enjoy a coffee. The feeling of wide open space and cosmopolitanism stimulate a sense of curiosity among visitors to explore the other rooms. At the same time, the window-like façade creates a sense of togetherness between the city and the museum, ensuring that everyone feels at ease.Woven work of artThis feeling is underlined by the stainless steel fabric façade cladding. It unites the real urban environment with its artistic counterpart and allows the city and museum visitors to come together and participate in one another’s lives. To this end, the architects went with a significantly higher degree of transparency for the fabric in front of the large-format glazed surfaces than for that cladding the fiber cement panels in front of the cubes. This varying degree of transparency preserves the effect of the architectural concept, regardless of the viewing distance. Despite the colossal dimensions of the building’s structure and façade, the woven skin loses nothing of its textile effect even from a distance. This was made possible by the fabric design developed by GKD especially for this project, which acts like a work of art in its own right. The company wove stainless steel wires and tubes of two different diameters – 3 mm and 25 mm – into four-wire warp wire groups made of untreated stainless steel. The key here was to use weaving techniques to completely balance out the varying stress ratios in the fabric due to the differences in wire thickness, so that the façade would withstand the strict static requirements caused by wind and snow. However, the exceptional fabric design also had to face another challenge: to replicate the precisely stipulated colour tone of the woven skin chosen, itself selected following a lengthy decision-making process. Despite the various metal mesh components employed, including cables, wires, tubes, and tube side closures, its homogeneity needed to be guaranteed across the entire surface. GKD’s many years of experience with coating technologies and their effects on buildings proved invaluable here. For example, the wires were coated in a continuous process, while the tubes were painted together with the closures in a spraying process and all then interwoven with the untreated warp wire groups.A total of 72 panels, each measuring around 20 meters in length and 3.26 meters in width, were used to create the sophisticated skin which lends the Kunsthalle its versatile face. With the discreet brilliance of the warm bronze tone, the finished fabric reflects the colour of the sandstone used in neighboring buildings. The large, stainless steel fabric façade measures over 4,600 square meters and changes its appearance throughout the day, in all weather conditions, from near or far. During daylight hours, it reflects the sunlight and its surroundings with the water tower and urban life. In the evening, it employs an intelligent lighting concept from below which transforms the Kunsthalle into the illuminated focal point of Mannheim’s most elegant square. The transparent façade grants unobstructed views of the city and the water tower from inside the museum. At the same time, it offers passers-by inviting insights into what goes on inside the museum. The metal fabric façade thereby establishes a connection between the city and the museum, which effortlessly succeeds in striking a perfect balance between reduced design language and desired emotionality.

750m2 Junckers solid hardwood flooring has been installed throughout the redeveloped The Higgins Bedford. The £5.8M project, funded in part by Bedford Borough Council and the Heritage Lottery fund, joined together three previously separate buildings into a new, fully renovated facility, which apart from the existing art gallery and museum includes space for temporary exhibitions, space for learning and activities, a café and a shop. Junckers wide board Oak Harmony floor serves as a unifying element to the interior and acts as an elegant backdrop to the collections and exhibits. Solid oak is easy to maintain and very hard-wearing, even in a high traffic area open to the public. Installed by Junckers’ Approved Contractor PICA Flooring, the floor at The Higgins is guaranteed for 25 years. 

Manchester Museum has opened a new gallery dedicated to South Asian culture where Junckers’ solid wood flooring forms an integral part of the interior scheme. The new gallery celebrates the lived experiences and contributions of the South Asian diaspora and is part of the Hello Future initiative, a Heritage Lottery Fund project to encourage diverse communities to visit the museum. Architects Purcell created a new two-storey extension which includes two new galleries, as well as re-designing the original buildings to add a new main entrance, foyer, and visitor facilities. The new building has achieved BREEAM Very Good standard and was designed to adhere to the conditions required for museum collections. The design also places a strong focus on inclusivity, with improved accessibility for all visitors. The interior, designed by Studio C102 and Mobile Studio Architects, takes its inspiration from South Asian architecture and design with a material palette of rich colours and textures. Junckers Oak Natural Pearl flooring is paired with hand-patinated brass panels and a deep ochre wall colour that brings South Asian culture and creativity to life, a fitting backdrop to the many interesting exhibits on display. Junckers’ oak flooring provides the museum with a durable surface to accommodate high foot traffic. Made in solid wood, the floor is easy to care for and maintain and with a proven long lifespan, the floor can easily outlast the building’s design life of 60 years. Junckers flooring contributes to a healthy indoor climate and helps minimise any static from electrical devices and equipment. Having undergone rigorous degassing and odour tests to ensure there are no chemical substances in the flooring which adversely affect the air quality in a room, all Junckers floors carry the Danish Indoor Climate label certificate. The South Asia Gallery is a British Museum partnership. 

The National Gallery and the Science Museum - two of London’s major and iconic visitor attractions built more than 150 years ago – required an extensive programme of roof upgrades and maintenance. Working with the National Gallery since 1995, the roof replacement and thermal upgrading project has seen in excess of 12,000sq m of Sika Sarnafil membranes installed, together with insulation, roof lights and walkways in a series of over 30 completed projects – including the complete Sainsbury Wing in 2008.

Burlington House has been a home of the Royal Academy of Arts, the oldest art school in Britain, since 1867. Over the years this canonic site has seen impressive additions by a number of acclaimed architects. Continuing this rich history, in 2018, David Chipperfield Architects completed a major redevelopment of the building, delivering a brand new home to the RA.InOpera Group supplied and installed the terrazzo floors for the major parts of this new space, including Benjamin West Lecture theatre, Cast Corridor, Collection Gallery, hallways and staircases leading to the galleries, and public restrooms.In 2001, the RA purchased Burlington Gardens, the building that sits right behind the Burlington House. Since then, they’ve embarked on a bold masterplan to join the two buildings together for the first time in history.The project was undertaken by, none other than, David Chipperfield Architects. The practice has won more than 100 international awards and citations for design excellence, including the RIBA Stirling Prize in 2007 for The Museum of Modern Literature in Marbach, Germany.With the bold reconfiguration, they’ve created new workshops, library and more studio space for the Schools. Existing spaces, which were built in 1870, were restored to maximize space and light, with improved access and circulation.The requirements for the floor materials prioritised high-traffic endurance, slip-resistance and design that will blend in with the existing interiors of the buildings, which are rich with natural stone and classical elements.For this project, we supplied custom-made cement-based terrazzo with two types of finishes. The polished finish was installed for the gallery spaces, and the honed for the areas with more traffic. The material guarantees even colouration and consistent texture throughout the entire floor area. For the Benjamin West Lecture Theatre, staircases were carved out from custom-sized terrazzo blocks.

The Latvian National Museum of Art, located in the Capital, Riga, is host to the richest collection of national art in Latvia. Reconstruction of the museum was completed in 2015, transforming the space inside to maximise the viewing experience. The ceiling was constructed using 5,578 FR treated Riga Prime boards cut, machined, and primed "in house" by Latvijas Finieris. The finished panels were then attached to a steel frame with concealed fixtures.

The Royal Museum of Fine Arts Antwerp (KMSKA) The roof being part of the collection ...CHALLENGE The 19th-century neoclassical museum in the South district of Antwerp was in need of an entire refurbishment, including an ambitious extension. Therefore the decision was taken to transform the former inner courtyards into a new vertical museum area. A hidden modern museum showcasing contemporary art within the walls of the old historic one. Two different worlds within one building. To protect the valuable art collection of paintings and drawings a solution was sought to bring as much indirect and northern light into the art rooms as possible. SOLUTIONIn this respect, Claus en Kaan architects created a fabulously ingenious design for the roof. The rooftop would be completed with no fewer than 198 triangular skylights. As well as presenting aesthetic value, the roof triangles are designed in such a way as to have northern light entering the museum. As north-facing windows would allow indirect light, an important feature to protect the valuable works of art inside. In addition, to provide extra reflection of light, the architects opted for a white roof.

Designed by Bond Bryan architects, the Danum Gallery, Library and Museum is a bold and ambitious restoration of four existing buildings to form a single cultural hub. The focal point is the restored frontage of a former Victorian school encased by Senior’s SF52 aluminium curtain wall to form a stunning façade showcasing the exhibit, which looks even more dramatic when lit up at night. SF52 curtain walling was chosen for its slim sightlines, which allow extensive views of the building’s restored period features and its enhanced thermal performance which helps improve overall energy efficiency.

The Egyptian Gallery was the first of many projects at the Museum to benefit from a replacement duo-pitch rooflight using Lonsdale’s ThermGard Roof Light System.After having procured roof lanterns of varying quality and with disappointing results from different manufacturers, the Client was determined to establish a design that met their very high criteria for thermal performance and protection of the priceless exhibits from damaging UV light. Whilst wanting the benefits of modern aluminium systems, there was a requirement for a ‘heritage’ appearance so that any replacement roof lanterns mirrored the original timber construction. High performance solar control glass was also specified to reduce harmful UV light to the exhibits below. Solar protection was further enhanced by the fitting of external shading blinds to the overhead glazing which produce the slightly ‘eerie’ affect that can be seen in this image. Such was the success of this initial project, the Client has held Lonsdale as the benchmark by which other roof light manufacturers are measured and we repay this loyalty by ensuring a first class job every time.

When MoMA New York celebrated its 75th birthday in November 2004 with the opening of its new downtown Manhattan building, it became in the same moment a showcase for Danish industrial design in action.Two years before, the Danish Consulate in New York had approached the museum about sponsorship of Danish designed furniture and accessories in all its public areas.

A private art gallery in Betws Y Coed has been roofed using CUPA R4 natural Spanish slate, selected by the client and their contractor on the basis of appearance, performance and cost, as well as their ready availability through local stockists. Work on The Galeri was begun by the owner some three years ago, with locally based Willparr Roofing being tasked with sourcing and installing the thousands of new slates required to weather a structure featuring a dormer window, the valley junction to an existing pitch, and other challenging details.

The Hong Kong Museum of Art used EQUITONE [tectiva] panels to create a 3D facade with prefabricated modules.

Following an £8m transformation, the Grade II listed Leighton House has reopened to the public. The former home of artist Frederick Leighton, a previous president of the Royal Academy, the building is famed for its opulent interiors, filled with art and treasures acquired by Leighton on his travels. Architects BDP restored and adapted the historic building to include a new entrance, gallery, learning centre and café with significantly improved, step-free access throughout the museum. The sensitive restoration has both preserved the original integrity of the house and transformed the way it is used by visitors, meeting the needs of a modern-day museum. The restoration and new additions to Leighton House sit in complete harmony with the original interiors. The use of high-quality design and materials throughout reflects the rich visual language created by Leighton. Junckers Black Oak flooring, specified for its rich, dark tones, forms a warm and tactile backdrop to several areas. David Artis, Architect Director, BDP described the design process: ‘It’s about subtle interventions that don’t detract from the overall legibility of the building.’ Junckers Approved Flooring Contractor PICA Floorings installed Black Oak Boulevard, a 185mm wide plank floor in several areas of the museum, including as treads and risers for the bespoke helical staircase spanning three flights. The staircase installation included stainless steel non-slip inserts on every tread and elsewhere the Black Oak flooring was fitted over underfloor heating which was incorporated within the subfloor after close consultation at the design stage. In addition, PICA Floorings made bespoke access hatches required by the museum to enable moving artworks from one area to another. To ensure minimal waste during the installation process, materials were delivered to site in stages. Restoring and adapting existing buildings forms an important part of designing and building in a more sustainable way. By upgrading older properties and making them net zero carbon ready, historic and heritage buildings are safeguarded and ensured a sustainable future. Junckers solid hardwood flooring, a material which is naturally low in embodied carbon, forms an integral part of the project with its proven long lifespan. Expected to last well over 60 years, the floor forms part of the design to future-proof the museum.The importance of high ethical standards is often a key objective for materials sourcing, particularly for publicly funded projects. BDP was able to rely on Junckers’ sustainably sourced and manufactured wood flooring complete with sustainability credentials including EPDs, FSC®, PEFCTM and Indoor Climate certification as well as a BRE Green Guide rating of A+.

Design freedom and product flexibility was high on the architects agenda when specifying a mix stainless steel sink tops for the new education workshop and standalone sink pedestals for the artist studio at Watts Gallery, Compton, Surrey.The new education space and arts studio known as the Foyle Art for All Learning Studio is part of a restoration and remodelling scheme at Watts Gallery in Compton. The work has been part funded by Heritage Lottery Fund & English Heritage, the finished scheme provides an art studio and education space for around 15 people. The gallery runs workshops for the local community including life drawing, painting and pottery, and an art club for young people.WorkshopGEC Anderson supplied a mix of Made to Measure and Decimetric units. The Made to Measure range for the workshop area allowed the specifier to order to their exact size requirements. The customised sink tops arrived on site in two continuous pieces which incorporated a lower level top to comply with DDA requirements and suit the height of children working in the studio. These items incorporated a plaster trap and sand trap in order to segregate the paints/sands being used in class from the waste water.The Made-to-Measure units included a large bespoke sink bowl 1100 x 340mm in size. There were no joins at the sink bowl, edges or upstands and the 18mm bonded substrate provided rigidity and strength as well as allowing for easy fixing.Art StudioWatts Gallery has run the Artist-in-Residence scheme since 2005 and the new studio provides all the facilities required for the artist to work there in comfort. Here GEC Andersons Decimetric commercial stainless steel sinktop was chosen for the wash area. Manufactured from domestic grade stainless steel, this free standing unit includes a lipped front and side edges, integral back upstand and is mounted on square section stainless steel legs.Mark Edmunds, Quantity Surveyor for Blenheim House Construction said “GEC Anderson was very professional in their approach to the project, delivering on time and to the correct specification.”

Project: MCBA Cantonal Museum of Fine Arts Lausanne, SwitzerlandClient:Canton of Vaud, Plateforme 10Photos: Damian Poffet 

Durability, sustainability and innovation underpin the design of the Aspen Art Museum, located in the state of Colorado, USA. The building’s most striking feature is its exterior facade made of NATURCLAD-W panels, which provides it with protection against Aspen’s cold weather. PARKLEX PRODEMA worked closely with the architectural team to produce a mock-up of the facade prior to construction.The woven NATURCLAD-W exterior and timber support frame for the roof diffuse the light that enters through the glass walls and skylight. This innovative concept maximises the natural light of the interior whilst minimising its exposure to direct sunlight.The design concept of the building mimics the ‘thermos’ principle, whereby interior rooms are kept at a constant temperature by protective exterior spaces. These so-called ‘wrapper’ spaces support air circulation and serve as a visual connection to the outdoors.

The large vertical and square openings of the award - winning Helga de Alvear Museum of Contemporary Art feature the Arion XXL roller blind for largewindows , making it possible to create a play of lights and shadows ideal for the exhibition rooms .Tecnically , the cable guides allow a perfect fastening of the fabric without creating “weight” in the design of the façade .Also, the project perfectly integrates in its surroundings, inspired by the traditional house with a garden .

Situated on Millbank in London, Tate Britain is a tourist hotspotdedicated to the finest British art dating back to the 16th century.The site originally housed the Millbank prison which was the maindeparture point for criminals being sent to Australia. Following thedemolition of the prison, the National Gallery of British Art (Tate Britainas of 2000) was opened in 1897 by Sir Henry Tate, making it the firstof the four Tate galleries.The building has gone through numerous renovations since it’s 19thcentury opening. In 1987, the Clore gallery was opened and wenton to win a Royal Institute of Architects award the following year.More recently in 2006, Caruso St. John architects began a long termdevelopment and renovation project which aimed to create ninenew galleries. The redevelopment featured a number of differentrenovations spanning seven years, whereby Allgood were chosento supply an Ironmongery and an access control solution in the newgalleries.Working on such a prestigious project, it was evident that aestheticswere of paramount importance. The architect desired a unique finishon items, so Allgood worked closely to produce a shot peened finishon some of the stainless steel furniture. To create a clean aestheticon doors which required push plates and signage, Allgood createdan all in one solution by shot peening stainless steel plates, blankingoff areas to create contrasting areasfor signage to be screen printedwithin.Many doors within the gallery space were of traditional archeddesign which caused a challenge on fire doors with self-closingrequirements. Allgood’s solution to this issue was to specify floorsprings combined with projection hinges to provide a specificationthat would self-close in conjunction with the door geometry.Furthermore, to minimise the aesthetic impact of the floor springs,bespoke tile trays with access holes were created to conceal thefloor springs whilst providing easy access for floor spring adjustment.This provided an aesthetically pleasing solution for a very technicalapplication.Having previously worked with the museum on their Mantonshop, Allgoodwere well prepared for this project and the existingrelationship enabled a smooth operation that was completed on timeand within budget.

Flowers Gallery was first established in 1970 on Lisle Street in London’s West End, more recently moving into a 12,000 sq foot industrial space in Shoreditch, East London. Now, Flowers have two gallery spaces in London and one in the United States. Flowers participates regularly in art fairs internationally. The programme in both the UK and US comprises all media by established and emerging artists. The gallery is an active publisher of prints and multiples with an established department in contemporary international photography. When refurbished in 2014, Dan Flowers contacted GEC Anderson to produce a stainless steel worktop that would be incorporated into the gallery kitchen. The gallery kitchen is used on a daily basis by fifteen staff members and also by outside caterers that are hired to cater for exhibitions. The area is well used on a regular basis and needed to be long lasting and hygienic but also to look smart and professional. Architect, Felicity Atekpe, of White Table Interior Designs in relation to the kitchen “I was trying to get a different kind of space from the normal gallery and wanted it all to be hues of blues and moody (restful) with the stainless steel as the sparkle. Dan suggested GEC Anderson. At the time I showed them photographs which were stills from the Japanese film Floating Weeds by Yasujiro Ozu but they chickened out of painting the walls darker and the floor... You never know though, they might yet.”

Our coatings look after the world’s most iconic and acclaimed buildings. Among them is the Auckland Art Gallery Toi o Tāmaki. Since its redevelopment in 2011, the principal public gallery in Auckland, New Zealand has won 23 awards and counting, including the prestigious World Architecture Festival's 2013 World Building of the Year. The redevelopment plan aimed at restoring and preserving heritage elements and sensitively combining them with 21st-century design. This included earthquake-proofing and heritage restoration of the 1887 and 1916 components of the main building and the addition of new, contemporary elements that increased display space by 50 per cent. One of the most distinctive features of the new building is its roof design, which forms a series of fine ‘tree-like’ canopies that define and cover the forecourt, atrium and gallery areas.Our coatings complemented this architectural challenge of blending old with new. A coatings system comprising of Interzinc 42, Intergard 251 and Interthane 990 was used to protect structural steel, while Interchar 963 was used to provide essential protection from the effects of fire.

Junckers solid hardwood flooring has been installed in two galleries at The Science Museum; Technicians: The David Sainsbury Gallery, and the Engineers Gallery. Copenhagen -based design consultancy JAC Studios specified Junckers Oak Boulevard Harmony, a generously proportioned wide board plank floor, introducing a natural element to the large spaces. Technicians: The David Sainsbury Gallery is a free, interactive gallery for 11–16-year-olds which highlights the crucial but often unseen role of technicians, aiming to change perceptions of technical careers and inspire tomorrow’s technicians. Visitors can go behind the scenes and explore 100 different technician roles, among them advanced manufacturing, creative industries, health science and renewable energy. The museum has collaborated with Marvel Studios, the NHS, the National Grid, the University of Sheffield Advanced Manufacturing Research Centre (AMRC) and many other organisations to bring the essential role of technicians to life in the gallery. There are five inter-connected areas, designed as a three -dimensional grid-like structure. Founder and artistic director of JAC Studios Johan Carlsson stated sustainability as a huge factor in the design, with the team opting to only use responsibly sourced wood. With FSC® and PEFCTM chain of custody certification as well as EPDs, Junckers wooden floors fit the bill perfectly, fulfilling the strict criteria. Even though the gallery is intended to be a permanent fixture at the museum, the principles of disassembly were applied at the design stage to encourage reuse of materials and make future updates to the gallery easier. The Oak Boulevard flooring can be lifted without damaging the boards and reused or repurposed in a different location. Junckers flooring has also been installed in The Engineers Gallery where visitors can explore iconic objects such as the first digital camera, a surgical robot arm, an atomic clock that formed the basis for the entire GPS system as well as learn about the remarkable people who invented them. The gallery is divided into four distinct areas, all fitted with Oak Boulevard Harmony. Made in solid hardwood, Oak Boulevard is a durable and long-lasting flooring solution for the museum. It can be sanded and refinished up to ten times and with regular maintenance a design life of 60+ years is easily achieved. Designed for high-traffic areas, the floor provides a hard -wearing surface which is completely smooth, ideal for areas where accessibility is paramount. In addition, all Junckers flooring carry the Danish Indoor Climate label, ensuring specifiers and users there are no harmful chemicals in the flooring that will have an adverse effect on air quality. 

Dating from the late 18th century, Frederick’s Place in London EC2 had led an opulent past. With a late prime minister and several prominent business founders as its previous residents, this address also boasts St Paul’s Cathedral as a neighbour. This distinguished building can still be easily found nestled between museums, restaurants and art galleries in the old streets of the financial district, in the borough of the City of London.The original design of the building was by Robert Adam, a prominent English architect, and the building was named after the late Sir John Frederick, a 17th century Lord Mayor of London.Today however, this opulent building is now registered as Grade II listed, and is to be exquisitely transformed by John Robertson Architects into luxury office space on behalf of The Mercers’ Company.

Bilco UK supplied 21 special size Ladder Access Roof Hatches to the British Museum’s newest gallery, the Albukhary Foundation Gallery of the Islamic World. Ladder access was required to the roof void area to allow for routine maintenance activities. Bilco UK’s SS-50TB Ladder Access Roof Hatches were specified by the architects, HoK. The installation was managed by the Principle Contractor, Coniston Limited

C.A.T. profiles were installed recently into the  £24m refurbishment of the “Welcome Galleries” within the Science Museum.

Flooring by Welsh Slate features in a new gallery at the British Museum. Natural slate flooring by Welsh Slate was specified for the refurbishment of a gallery at the British Museum for a multitude of reasons. Some 172m2 of various sizes of Cwt-y- Bugail dark blue grey floor slates from Welsh Slate Ltd were used on the redevelopment of the museum’s “Middle Room”, one of the oldest rooms in Sir Robert Smirke’s Georgian museum. They were specified by Purcell architects, the museum’s conservation architects and lead consultants, based on their working knowledge of the product.

When St Fagans National Museum of History in Cardiff instigated a recent project to fit-out a new gallery, they needed a flooring innovation that was not only durable but would also look stunning and stand the test of time.Specifying 190m2 of Gerflor’s Attraction® range of fast track flooring in ‘Paraiba’, enabled the museums budgets to work hard for them as they needed a flooring product that was going to be durable over the long term, coping with the processes of exhibition installation and take down, and the daily use of the gallery by a stream of high volumes of visitors.

VIEGA’S MEGAPRESS PROVIDES IDEAL SOLUTION FOR THE NEEDS OF THE NATIONAL GALLERYViega’s Megapress connection technology has been specified as the ideal solution for a section of pipe relocation work at The National Gallery in London. The industry-first press connection system for thick-walled steel tube, Megapress, ensured that the installation of steel pipework for the building’s heating and chilled water HVAC systems could take place without disruption to the gallery space which remained open throughout the project.The work was necessary in preparation for a gallery extension which is due to take place in January 2019. Before the building work could take place, it was vital that all pipe routes were relocated, bypassing the location of the extension, so that the other gallery spaces could continue to remain open during the planned building work.Colin Garbutt, Contracts Manager at Capri Mechanical Services Ltd. selected Viega’s Megapress due to the specific range of needs that the gallery space and its displays necessitated. Colin highlighted the difficult circumstances which involved taking the pipework up a riser and across the top of the gallery through a ventilation and services space.“For this installation, speed, cleanliness and minimal noise were key requirements to make sure we did not disrupt the gallery space which remained open below us,” Colin commented. “Hot works were not an option in such an environment and it would have been incredibly difficult for us to get the machinery needed for a screw system into such a tight space. Megapress allowed us to carry out the work quickly, cleanly and efficiently - which was ideal.”

The Dordrechts museum showcases gallery the prints of mainly Dutch painters and craftsmanship from the 17th century to today. A soft and filtered light was necessary which was achieved by combining specific lighting with Silent Gliss roller blinds systems.

Hamilton Gallery’s international reputation, required Lazenby’s master craftsmanship, to maintain exacting standards. Over 150m² was installed quickly and efficiently, so that the Gallery remained closed for the shortest period possible.The deceptively simple interior design, features a 100mm Lazenby polished concrete floor throughout. The C35 mix was pumped into the period building, in one day, with concrete lorries arriving at pre-arranged times. Logistics are carefully managed, to avoid delays in the pour and avoid multiple lorries having to park in busy London streets.The floor was installed over 20 years ago and is still there today. However, it now features a lightly exposed aggregate finish, as it was accidentally painted and Lazenby were asked to bring the floor back to its albeit, slightly altered former glory.The floor now features a 'Salt & Pepper' finish with a slight fleck of aggregate showing.

The V&A is the world’s leading museum of art, design, and performance with collections unrivalled in their scope and diversity. It was established to make works of art available to all and inspire British designers and manufacturers. We are delighted to have worked with the V&A in installing high quality Aluminium Entrance Matting at this popular location in London. The client specified our flagship INTRAform Double Module Entrance Matting with a black anodised finish and 608 polyamide inserts for maximum moisture absorption

The King Edward VII Galleries is a Grade 1 listed structure and part of the iconic British Museum complex in London.Constructed between 1907 and 1914, the building sits above a series of tunnels and ventilation shafts, which serve to supply air to the gallery via an external ventilation unit.Due to water ingress in the tunnels, there was serious concern as to the quality of air supplied to the gallery, and the impact that this might have on the artefacts kept there.

Dundee’s dramatic new attraction, the V&A museum, is set to become a world class destination, as work connecting Scotland’s fourth largest city to its Waterfront, continues. Hardscape were privileged to supply the natural stone, both outside the building and inside including the beautiful Carlow Blue limestone flooring and steps leading up to the galleries.