At 125, one begins to feel one’s age, so the most elegant grand-dame of London’s museums, The Wallace Collection, is celebrating its anniversary with a ‘facelift’. The forthcoming renovation will make it more accessible, sustainable and enjoyable, but will do so subtly, keeping intact the character of its home, Hertford House.
The museum, which opened its doors on June 25, 1900, had already undergone major refurbishment ahead of its 100th anniversary — the Centenary Project extended the public space at Hertford House by almost a third — and its Great Gallery was overhauled in 2014, with smaller redecoration efforts taking place a few years ago during lockdown.
Masterminded by Selldorf Architects — fresh from revitalising The National Gallery’s Sainsbury Wing and The Frick Collection in New York — plus heritage specialist Purcell and learning-environment experts Lawson Ward Studio, the new project will further improve circulation, visitor experience and gallery spaces, as well as building a new learning centre.
‘We want every visitor — whether it’s their first visit or their 50th — to feel a sense of comfort and connection from the moment they walk through the door,’ explains The Wallace’s director, Xavier Bray. ‘That means rethinking the ground floor in particular: improving how people arrive, how they orientate themselves and how they move through the building.’
The refurbishment also offers an opportunity to bring new focus to spaces and objects that are now too easily overlooked because of poor lighting and display density. ‘If we can create a space that feels more welcoming, accessible and alive with possibility, while still honouring the intimacy and character of Hertford House, then we will have achieved something truly meaningful.’
Design development is currently under way and, once funding and the appropriate approvals are in place, the renovation is expected to take several years to complete. It is not yet confirmed whether the Wallace will have to close at any point. However, explains a museum spokesperson, ‘the intention is to keep the collection as accessible as possible throughout the works, which will be carefully phased to minimise disruption’.
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