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	Selecting The Architects
	The philosophy of The New Art Gallery permeated not only the selection process for the design team but for the contractor and others. It has been fundamental to the management and development of the Gallery and most importantly, to the procurement of the building itself. The importance of the The New Art Gallery project to the Borough Council is underlined by its place in the committee structure. Whereas most museum and art gallery matters would be reported to the Community Service committee, responsibility for The New Art Gallery goes straight to the main committee of Council, which is Policy and Resources. The project champion for the The New Art Gallery project was and remains Peter Jenkinson, the Director of the Museums and Art Gallery Service. But support for the gallery transcends party political boundaries and traditional structures. Walsall's designation as a City Challenge area and the advent of the National Lottery provided a combination of funding circumstances that facilitated a breakthrough in the The New Art Gallery's development. In 1989 architects had been appointed to design a new gallery on a site opposite the existing Museum and Art Gallery. In 1991, at a time when the design, planning and fund raising had been well developed, The New Art Gallery was postponed due to the impact of the poll tax on the Local Authority's budget. In 1992 as a response to changes in government funding policies, City Challenge proposals were developed which integrated the Gallery with the town development. In 1993 Walsall's success in the City Challenge contest resulted in The New Art Gallery project restarting, although the geographical boundaries designated by City Challenge determined that a new site for the Gallery should be found, and that the whole process of design and building procurement begin again. At that time the Arts Council of England, one of the five distributing bodies for National Lottery monies, was encouraging open competitions as a primary route to the appointment of design teams, although subsequently there has been a shift towards appointment by competitive interview. An open two-stage competition with an emphasis on ideas in the first stage suited the The New Art Gallery, as it is particularly appropriate for a client looking for ideas, enthusiasm, commitment and dialogue. It also facilitated the involvement of young and up-and-coming practices for a number of reasons. Firstly, the two stage process encouraged ideas over finished designs and facilitated the potential for seeking fresh approaches. Secondly, it placed competitors on an equal footing regardless of their previous track record or ability to produce high-tech presentations. Thirdly, the Gallery team recognised the importance of new thinking and the opportunity to encourage innovation - there was a considerable open mindedness about what would be considered as an appropriate design approach. Fourthly, the brief for the idiosyncratic Garman Ryan collection necessitated innovative thinking. Finally, it created the basis for a design dialogue between the client and the competing architects, as teams selected to go forward to the next stage were able to engage directly with the client. An extensive brief was drawn up and circulated to all 157 teams who applied. Out of the 63 submissions, carefully defined and limited to 2 A1 panels which illustrated their ideas and approaches, the following six practices were short listed to go to the next stage: Alsop and Stormer; Pierre D'Avoine; Caruso St John; Shay Clearey; Tony Fretton; MUF. An impressive panel of distinguished local and national figures was formed to undertake the selection process including well known architects, the Curator of the Tate Gallery, St Ives, left wing representatives of the Borough Council, a former foundry worker and the Keeper of the Queen's Bed Chamber - a mixture which reflected the diversity of the arts community, local people and politicians. In addition to the Selection Panel there was a Technical Assessment Panel of six professional experts. Bringing together a group of distinguished individuals and professionals can be a daunting and difficult process. Peter Jenkinson, Project Director and Champion for the New Art Gallery said this of the selection process: ' It's a bit like organising a party ... before hand we were terrified that it was going to be a disaster, all these very diverse people who would not normally in their everyday lives have any reason to talk to each other.....but... and this is going to sound happy, clappy blue eyed lovey stuff........ it was quite a magical experience. Whereas I had been worried about people being arrogant or opinionated in an obstructive way from all sides, what happened was an amazing generosity. People worked incredibly hard. We would still be there at eleven at night arguing in front of the panels. People gave - allowed - all these views to come through ..... there was none of the stereotypical positions that people project'. Yet throughout these discussions people were making judgements. Although the majority of the short listed teams was essentially modernist in their approach, the architecture presented by the different teams varied. They ranged from Will Alsop's dramatic expression of a new public space housed beneath The New Art Gallery, with automated walls which could be lifted in and out of place, to the winning design by Caruso and St John. Crucial factors in Caruso and St John's appointment to the design of the new gallery was their recognition of the exceptional and special qualities of the Garman Ryan collection and the idea of creating a gallery that enabled the collection to be viewed as a personal collection in its own domain. Coupled with this, their proposal envisaged a 'City Tower', providing an important new landmark for the town and a catalyst for further regeneration. Also emerging out of the competition process was a shared philosophy with the client and an enthusiasm and commitment to enter into an ongoing debate with the local community about both the development of the Gallery and its role within Walsall. Critically these factors were complemented by their innovative approach to the structure and construction of the building. References and Bibliography: JENKINSON, PETER, The New Art Gallery Director, Interview, August 1998 WALSALL MBC, sponsored by Chartwell Land Development, New Art Gallery Competition Brief, 1995
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