A Grand Vision for Trafalgar Square: Project Domani

London's iconic National Gallery is preparing for a significant transformation. The institution recently announced the winner of its architectural competition for "Project Domani," a massive expansion project led by the renowned firm Kengo Kuma and Associates.

With a budget of £750 million, this initiative will replace a 1960s office block on Orange Street with a state-of-the-art facility. The goal is to create more room for temporary exhibitions and artist residencies, moving beyond the confines of its current historic footprint to better serve the modern public.

Redefining the 'Western Tradition'

The expansion is not just about physical space; it marks a strategic shift in how the gallery defines its mission. By moving from a focus on "Western European painting" to the broader "Western tradition," the National Gallery is signaling its intent to collect works that have historically been the domain of the Tate.

"We now seek to represent paintings in the western tradition, rather than solely those made by artists working in western Europe."

A prime example of this "land grab" occurred in 2014 when the National Gallery purchased Men of the Docks by American artist George Bellows. Since Bellows never traveled to Europe, many saw this as a direct challenge to the Tate, which usually handles modern international art.

Purgatory and Paradise: The Institutional Rivalry

Historically, the relationship between these two giants was based on a 19th-century French model. The Tate acted as a sort of "purgatory" (a waiting area for judgment) for modern artists, while the National Gallery was the "heaven" where artists were sent once they had passed the test of time.

However, the 1954 National Gallery and Tate Act granted the Tate independence, leading to frequent disagreements over where one collection ends and the other begins. The core of the debate is the definition of an "Old Master" (a term for exceptionally skilled European painters from the 18th century or earlier).

  • National Gallery: Argues that all great paintings eventually "graduate" to their collection after a certain period (e.g., 100 years).
  • Tate: Refuses rigid rules, arguing that modern pioneers like Van Gogh and Cézanne must stay in a modern context regardless of their age.
  • The Struggle: A constant negotiation over loans, transfers, and the "best context" for viewing historical works.

Future Impacts and Urban Integration

Architect Kengo Kuma envisions the new wing as a pedestrian artery connecting Leicester Square and Trafalgar Square. This design aims to make the gallery more accessible, weaving it into the daily fabric of London's city life.

Yet, lessons from New York suggest this expansion could lead to friction. When the Metropolitan Museum of Art expanded its contemporary reach, it faced backlash from the MoMA and the Whitney for encroaching on "their" donors and critics. The National Gallery may face a similar cold war with the Tate as they both compete for the same cultural capital.

"To many, there will always be only one national collection. Dividing it in such a rigid way may not be in anyone's best interest, yet the battle for prestige continues."