Part two - Clandon Park International Design Competition
Clandon Park
International
Design Competition
Search Statement
1
© Malcolm Reading Consultants 2017
Malcolm Reading Consultants is an expert consultancy which
specialises in managing design competitions to international
standards and providing independent, strategic advice to clients
with capital projects. With nearly twenty years’ experience of
projects, we are enthusiastic advocates of the power of design
to create new perceptions and act as an inspiration.
malcolmreading.co.uk
T +44 (0) 20 7831 2998
South and East Fronts
© National Trust Images, John Miller
Cover image:
The house from above immediately after the fire.
© National Trust Images/John Millar.
Clandon Park
International
Design Competition
Search Statement
Registered Park and Garden
National Trust Ownership
Imagery © 2017 Google
Contents
Part one
Clandon Park: an architectural marvel
7
The National Trust and stakeholders
11
Project methodology and vision
12
The competition
16
Spirit of Palladio
20
Fire at Clandon
24
The uses of Clandon
27
Competition objective and design values
32
Life, beauty and relevance: emerging brief
35
Site parameters and landscape
40
The team ideal
43
Anticipated competition programme
45
Resources
47
Floor plans
48
Part two
Project details
52
Competition details
58
How to enter
63
Submission requirements
65
Evaluation process
69
Evaluation criteria
70
Appendices
73
Details from the State Bed after the fire.
© National Trust Images/James Dobson
Part one
The Marble Hall
© National Trust Images, James Dobson
Opposite page: © David Levenson
Clandon Park:
an architectural marvel
Dame Helen Ghosh
Director-General, the National Trust
Clandon Park was conceived to impress and dazzle. Commissioned by a
politician and courtier, Thomas, Lord Onslow, and built by Italian, Swiss and
English craftsmen, Clandon was designed for entertaining royalty in the
countryside. Created in the 1720s by the Venetian-born architect, Giacomo
Leoni, an authority on Andrea Palladio, the new Clandon swept away an
extended Jacobean hunting lodge, and signalled the arrival of a new style in
architecture. The house captured the moment when the Baroque was making
way for Palladianism: the most astonishing set-piece interiors were concealed
within its austere red brick form.
One of the most celebrated rooms in England, the double-height Marble Hall
was seen as an almost mystical mathematical space. The lustrous stone in the
floor and overmantels was a sensory delight; to look upwards was to find the
gesturing limbs of allegorical figures emerging from the ceiling. Just a
half-day’s ride from London, in deepest Surrey, Clandon was one of the
legitimate cultural shocks of the 18th century.
When fire ravaged Clandon just two years ago, it was a traumatic experience
for us at the National Trust as well as for the local community, and for all those
who knew and loved Clandon. Thought to have been caused by a
manufacturing fault in an electrical board, the fire was one of the worst to
damage a historic building since the blaze at Windsor Castle in 1992.
In the aftermath, people wondered and debated: was Clandon dead or alive?
Could it be saved? Did enough remain for any restoration to be meaningful?
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Clandon Park: an architectural marvel
What stood – the roof gone, the upper and ground floors lost – was a shell, but
also a superstructure that revealed the essence of Clandon. Leoni’s handsome
façades, the axial plan of the piano nobile, the windowless openings and the
beautiful brickwork, which set an exemplary standard for craftsmanship; all of
these elements survived.
Inside, major architectural features escaped or were salvaged from the debris.
These included fireplaces, panelling and decorative plasterwork, and the
marble chimney-pieces and overmantels by the renowned sculptor John
Michael Rysbrack in the Marble Hall. One of the most important rooms – the
Speakers’ Parlour – suffered only minimally.
In the months following the fire, while the house was made safe and stabilised,
the Trust explored options for Clandon ranging from leaving it as a ruin to a full
restoration. We developed our thinking by listening to statutory bodies including
Guildford Borough Council and Historic England; amenity groups including the
Society for the Protection of Ancient Buildings (SPAB), the Georgian Group, the
Gardens Trust and the Victorian Society; and members, neighbours, community
groups and local stakeholders.
We concluded that the principal state rooms – given their historical and cultural
significance, and because so many original features survived – should be
restored. However, the upper floors were so badly damaged – and of generally
lower architectural and historical significance – that here a restoration seemed
less meaningful. However, these spaces might be reimagined in the light of
Clandon’s present-day needs.
The trauma of the fire, and the sense of loss felt by the Trust, has made
us doubly determined to give Clandon a new life through new uses, make
the house and gardens better known and appreciated, and introduce it to
new audiences.
The empty space, where the upper floors once hung, is poignant but is also an
opportunity – for the Trust has a growing need for dedicated exhibition spaces
to showcase its extensive collections.
New galleries in these spaces would enable us to inspire visitors with the
treasures in the Trust’s care and the stories behind them. They make possible
new curatorial partnerships showing art from other collections, while expanded
visitor facilities will enable greater community engagement.
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Part one - Clandon Park International Design Competition
The Clandon Park restoration project is full of promise: not only focused on
the finished and restored 21st-century Clandon, but along the way enabling
the Trust to show continued commitment to the highest standards of
curatorship and conservation, to bring on and foster new craftspeople.
So what will this mean for designers attracted to the competition and project?
And what are the challenges?
Essentially, the Trust seeks an exceptional team with a design sensibility that
demonstrates integrity and thoughtfulness. A team that can sensitively restore
the principal state rooms as well as create new spaces, which relate confidently
to the restored elements, and will inspire imaginative programming.
In spirit, the team should honour the original building’s design principles: the
love of light, of clarity, of order and sequence; these concepts as appealing
today as they were three hundred years ago.
The house’s setting deserves our attention too: the gardens, views and visitor
journey could all be improved; they have inherent qualities which lie dormant
and await rediscovery.
The Trust wants the future Clandon Park to be a living proposition: reading as
a whole building that is integrated with its setting; real rather than pretend;
speaking to both new audiences and the local community; an investment
and a legacy for the long-term; a building that again delights visitors and
deepens their understanding and experience of earlier eras and cultures.
Those aerial images that flashed round the world two years ago remain as
compelling today. They allow us to look into the vitals of Clandon. They evoke
that moment in the 18th century when the house was appearing out of the
Surrey countryside. Not yet roofed, not yet beautifully fenestrated, but a
creation in the offing.
The Clandon Park International Design Competition is a two-stage procedure.
Initially, expressions of interest are sought, following which a shortlist of five
or more teams will be selected, and from these the winning team.
We warmly invite you to enter the competition.
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Detail in the Marble Hall fireplace.
© National Trust Images, James Dobson
The National Trust
and stakeholders
The National Trust
The National Trust is a conservation charity founded in 1895 by three people
who saw the importance of the nation’s heritage and open spaces, and wanted
to preserve them for everyone to enjoy. More than 120 years later, these values
are still at the heart of everything the charity does.
Entirely independent of Government, the Trust looks after more than 250,000
hectares of countryside, 775 miles of coastline and hundreds of special places
across England, Wales and Northern Ireland. The Trust protects and opens to
the public over 350 historic houses and gardens.
More than 20 million people visit every year, and together with 4.5 million
members and over 62,000 volunteers, they help to support the charity in its
work to care for special places forever, for everyone.
The Trust relies on membership fees, donations and legacies for income, as
well as revenue raised from its commercial operations.
Clandon Park, the Grade I listed seat of the Earls of Onslow, was given to the
Trust in 1956 by Gwendolen Guinness, Countess of Iveagh, daughter of the 4th
Earl of Onslow. Lady Iveagh was born and grew up in the house and she
recognised its cultural significance.
https://www.nationaltrust.org.uk
Stakeholders
The Trust is committed to an open and inclusive approach to the project, and
will liaise closely with multiple stakeholders. The list of stakeholders is large and
wide-ranging, and has been summarised here only.
Clandon is a Grade I listed building, set within a Grade II registered Historic
Park and Garden. The restoration and renewal of Clandon will require consent
from Guildford Borough Council, who will draw on the advice and expertise of
Historic England (the Government service responsible for the UK’s historic
environment) and relevant National Amenity Societies.
In addition, there are a large number of stakeholders with whom the Trust has
been engaging since the fire. These include Clandon’s neighbours and a wide
range of local community groups.
As a charity, the Trust is committed to engaging with its 4.5 million members as
it makes a new future for Clandon.
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Project methodology
and vision
Methodology
Following the fire, the Trust’s strategy for Clandon sprang from three questions:
What was the significance of the house; what was it possible to do; and how
might a reborn Clandon inspire and engage its visitors?
Committed to an informed approach, the Trust spent nine months developing
its thinking and reviewing a number of options for Clandon, ranging from
leaving it as a ruin to a full restoration. It looked carefully at the architectural
significance of what had survived the fire, the items salvaged from the building
and what was technically possible within it.
The Trust’s thinking was guided by a set of criteria based on the charity’s core
purpose, ensuring that: Clandon Park remains open and accessible to the
public; the project reflects Clandon’s historic and cultural significance; and the
house generates enough income to maintain its long-term conservation.
Vision
‘Returning parts of the house to its 18th-century glory whilst at the same
time creating a building of beauty and relevance for the 21st century.’
The Trust, at its vision announcement in January 2016, said that it was
confident a number of principal ground floor rooms – including the Speakers’
Parlour, Library, Saloon, State Bedroom and Marble Hall – could and should be
restored given their architectural and historical significance.
Because the façades, structure and so many features survived, along with historic
collection items from the rooms, the case for restoration was compelling.
On the upper floors some of the rooms were less architecturally significant and
had been considerably altered since the original house was constructed. The
proposal is for these floors to be transformed to create flexible spaces, which
could be used for exhibitions, events and performances.
Before the fire, visitor numbers to Clandon were approximately 56,000 per
annum. With a more compelling and distinctive visitor experience, the Trust
anticipates at least a tripling of visitor numbers once the house reopens, which
will provide Clandon with a financially sustainable future.
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Part one - Clandon Park International Design Competition
Post-fire actions
The Trust’s immediate approach to caring for Clandon Park post-fire was ‘do
no harm’. Since the fire in April 2015, National Trust specialists, supported by
external consultants and contractors, have completed the enormous task of
scaffolding, covering and stabilising the house. In addition, significant
surviving architectural features have been protected in-situ, and the rooms
have been cleared of debris, up to eight feet high in places. This process
was undertaken very carefully to recover both architectural fragments and
items from the important historic collection.
Upon completion of the salvage work, and with clear access to the house,
the Trust has carried out a full 3D laser survey and photogrammetric record
of the building, and stabilised and protected the historic fabric. The modern
tiled surfaces have been removed to enable the house to dry.
A Conservation Statement assessing the significance of Clandon Park has
been completed and a Conservation Plan authored by Alan Baxter
Associates is scheduled for completion by May 2017.
An archaeological investigation into the fabric is continuing, as is historic
research. All this will help National Trust specialists make informed decisions
and these will be assimilated into the competition’s second stage detailed
brief, the Competition Conditions.
Since the fire, the Trust has engaged with the public and stakeholders
including inviting the public into the fire-damaged building. The Trust has also
consulted with local stakeholders through focus groups and an online survey
that went to more than 1,500 recipients. This has resulted in greater insight
about what the Trust’s supporters would like to see from a restored Clandon.
Project funding
The restoration costs will be covered by the Trust’s insurance settlement.
Separately, the Clandon Park Fire Appeal is already underway to raise funds
for additional collection items and the gardens. The overall construction
budget is estimated at £30m (excluding fees and VAT).
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View looking up from within the Saloon.
© National Trust Images, John Millar
Part two - Clandon Park International Design Competition
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The competition
This is the National Trust’s first competition for a historic building and the Trust’s
most important conservation project for a generation.
As Clandon Park was designed by a Venetian-born architect, and built by
English, Italian and Swiss master craftsmen, there is a happy symmetry in the
competition’s international scope and multidisciplinary reach.
The competition’s aim is to seek out an exceptional team (led by an architect) for
the project: a design team capable of realising this project in ways that combine
sensitivity to the historic significance with imagination and sustainability.
Additionally, the competition experience is intended to be a creative explorative
process that will help the Trust define a complex project and inspire the
delivery stage.
The full jury will be announced later in the competition process. The jury will be
chaired by National Trust Board of Trustees member Sandy Nairne CBE FSA,
former director of the National Portrait Gallery.
Process – fairness and creativity
The Trust has appointed Malcolm Reading Consultants (MRC), an independent
expert organiser of design competitions, to run this open two-stage
international design competition for the Clandon Park restoration project.
MRC has nearly 20 years’ experience of running high-profile international open
competitions. The consultancy’s portfolio includes competitions for the Museum
of London; New College, Oxford; the Illuminated River; the gold medal-winning
UK Pavilions at Shanghai Expo 2010 and Milan Expo 2015; Tintagel Castle
Bridge; the Natural History Museum; the Victoria & Albert Museum; and the
Mumbai City Museum, amongst others.
MRC will combine the Trust’s exemplary procurement standards with tested
industry-standard competition processes to ensure probity and openness at all
stages. Design teams selected at shortlist stage will receive in-depth briefing and
engagement with the client group to encourage a creative response to the project.
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Part one - Clandon Park International Design Competition
The two-stage design competition is comprised of:
Stage one
An open call for participation that is aimed at attracting outstanding, dedicated
teams to register their interest in the project.
At this stage, we are not seeking a design but an explanation behind the
proposed composition of your team, an approach to the issues at hand and a
reaction to the emerging brief.
Please note, you will need to submit your entry via the dedicated competition
website: https://competitions.malcolmreading.co.uk/clandonpark
This competition is open to electronic submissions only; no paper documents
will be accepted.
A shortlist of five or more teams will be selected to move to stage two. Successful
and unsuccessful teams will be contacted by MRC prior to stage two.
Stage two
The shortlisted teams will be given a detailed brief and access to the existing
building, site and client. They will subsequently produce concept designs. A
professional advisory panel will review the entries and a final jury will conduct
interviews prior to a winner being announced.
Further details of the competition can be found in part two of this document.
Public engagement
In line with the Trust’s open and listening approach, a public exhibition of the
shortlisted teams’ concept designs will be held at Clandon prior to the jury
meeting in September 2017. The designs will also be available to view online on
the competition website. The public will be able to give feedback; stakeholders
will be invited by the Trust to provide their response.
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The south front and formal garden.
© National Trust Images/Anthony Parkinson
Part two - Clandon Park International Design Competition
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Spirit of Palladio
An architectural masterwork
Before the fire, Clandon was one of only five surviving buildings in England
by Giacomo Leoni (c.1686–1746), and was considered to be one of the most
complete examples of his work. Not much is known about Leoni except that
he was Venetian-born and an authority on Andrea Palladio; his English
translation of Palladio’s I Quattro Libri dell’ Architettura (The Four Books of
Architecture) was published in instalments between 1716 and 1720. On the
frontispiece, Leoni describes himself as ‘Architect to his Supreme Highness,
the Elector Palatine’.
The spirit of Leoni’s mentor, the pioneering 16th-century architect Andrea
Palladio (1508–1580), presides over Clandon. Leoni’s house has a logical
axial plan and an overall classical proportion which are both clearly Palladian
in inspiration – although other influences and a certain eclecticism are also at
play in the house’s façades.
Nonetheless, this new style, Palladianism, was a sensation, and this
communicates in the naming of the Palladio Room, one of the house’s most
notable spaces. Indeed, it is possible that this room (datable to 1747 and
sadly consumed by the fire) was the first instance of an architect being
honoured in this way.
Leoni’s translation appeared at a pivotal moment in English architecture,
acting as a conduit between Palladio and the English aristocracy, and
influencing the transition from the Baroque to Palladianism. The English
Baroque style was seen at Clandon in exquisite marble overmantles
designed by John Michael Rysbrack (1694–1770) and the stunning plaster
ceilings attributed to the Italian stuccodores Giuseppe Artari (d.1769) and
Giovanni Bagutti (1681–c.1730).
Clandon’s centrepiece Marble Hall is similar to the Stone Hall at its
near-contemporary Houghton Hall in Norfolk, which was built on a grander
scale for Thomas Onslow’s parliamentary colleague, Sir Robert Walpole, and
which also incorporated work by Rysbrack and Artari.
Palladianism’s emphasis on clarity, order and symmetry – its harmonic
proportions derived from Palladio’s reading of classical architecture – was
considered the height of enlightened, sophisticated taste, influencing
generations of European architects.
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Part one - Clandon Park International Design Competition
The house’s history
The new house at Clandon also marked a pivotal moment for its owners.
Leoni’s design was commissioned by Thomas, Lord Onslow (the 2nd Baron)
whose father, Richard Onslow, a Whig Member of Parliament, was made a
peer in 1716. In the absence of reliable evidence, the Onslows’ decision to
replace their extended Jacobean hunting lodge could be interpreted as a
response to this elevated status, the design’s noble form complementing the
newly-ennobled family.
The house remained in the family for over two centuries, and a number of
Onslows made their mark on it. The Speakers’ Parlour for instance paid
tribute to the family’s parliamentary heritage: uniquely, three of its members
served as Speaker of the House of Commons.
The renowned 18th-century landscape designer Lancelot ‘Capability’ Brown
was commissioned to remodel the gardens and parkland at Clandon,
although the scale of the work meant that the majority was not completed
until 1814. After a period of neglect, the house was improved and updated
by the 4th Earl Onslow towards the end of the 19th century and it was his
daughter, Gwendolen, Lady Iveagh, who donated Clandon to the National
Trust in 1956.
Immediately after the acquisition, the National Trust embarked on a restoration
project, reversing many intrusions made in the later 19th century, as well as
re-roofing and carrying out large-scale repairs to halt dry and wet rot.
The last major restoration work at Clandon was undertaken in the late 1960s
by John Fowler. The most experienced decorator of his day, Fowler was
influential in the treatment of the National Trust’s country houses for
pioneering the use of ‘scrapes’ to identify the past history of a room’s
paintwork, a technique which anticipated microscopic analysis of paint
sections. However, his approach was less accurate than present-day
techniques and on some occasions led to assumptions that have
subsequently proved to be incorrect.
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Fire-damaged interior of the State Bedroom.
© National Trust Images/Andreas von Einsiedel
Part two - Clandon Park International Design Competition
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Fire at Clandon
The events of 29 April 2015
The fire that broke out at Clandon Park on the afternoon of 29 April 2015 was
Britain’s greatest heritage disaster since the Windsor Castle fire in 1992.
The fire spread with devastating speed, fanned by high winds, and moving
through voids in the building that acted as chimneys, until the flames were
visible from miles away.
Staff and volunteers gathered to help the 80 firefighters battling to contain
the blaze and recover as much content as possible. Following practised
procedures and informed by lists of artefacts, National Trust staff were able to
guide the firemen to salvage objects. During the emergency the Fire Service
was encouraged to use Stanley knives to cut some delicate oil paintings from
their elaborate frames, and these were carried out as canvases.
The salvage operation was painstaking, with plasterwork and wallpaper
fragments, artefacts and treasures taken away in thousands of crates for later
conservation work. About 600 whole artefacts were rescued or survived in situ,
but many historic artefacts were destroyed including treasures such as the
17th-century Mortlake tapestries and some of the Hannah Gubbay collection.
Notable recoveries included all the portraits from the Speakers’ Parlour,
capturing three generations of Onslow Speakers in the House of Commons;
five K’ang Hsi Famille verte vases from the State Bedroom; a lock of George
III’s hair; some pieces by the noted silversmith Paul Storr; the 18th-century
board listing the rules to be observed in the servants’ hall; a Bible printed by
John Baskett in 1716-17; and the hangings from the Clandon State Bed.
For further details please see:
http://www.nationaltrustcollections.org.uk/place/clandon-park
The fire damaged 95 per cent of the building (the south end being
particularly affected). Only one room, the Speakers’ Parlour, survived with
minimal damage.
In a report on the fire by Surrey Fire and Rescue Service, published on 23
November 2015, investigators concluded that the fire was accidental and
that the probable cause was a manufacturing defect in an electrical
distribution board located in a cupboard in the basement, which was unlikely
to be discovered by a routine inspection.
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Part one - Clandon Park International Design Competition
Loss and transition
The destruction at Clandon deeply affected members of the Onslow family,
Clandon’s supporters and the heritage community; their attachment and
connections to the house spanned generations, from memories of weddings
and events, to volunteering (Clandon has more than two hundred volunteers),
and the house’s previous life before Trust ownership, including as a military
hospital during the First World War.
Recognising the level of public interest and concern, and to help people
understand the scale of the task and the long journey ahead, the Trust was
determined to open the building as soon as safety considerations allowed.
Over seven weeks in autumn 2016, the Trust welcomed 3,500 visitors back
inside Clandon Park through a specially constructed walkway in the Saloon.
In its current state, Clandon is an affecting experience: poetic, sensory and
wistful. But this is very much an intense ‘first visit’ response; as the Trust
concluded after listening to feedback from its many stakeholders and the
community, leaving the house as a ruin would deprive Clandon of a
meaningful use and a future life.
The Trust is committed to openness and engagement throughout the project.
The ambition is to share the work involved through a ‘conservation in action’
programme, provide opportunities for people to visit every year throughout the
rebuild, and integrate opportunities for community and stakeholder engagement.
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Visitors on a tour of the house following the fire.
© National Trust Images/Arnhel de Serra
The uses of Clandon
Bringing life back to Clandon is fundamental to the Trust’s vision; through
new uses and the patronage of contemporary craftspeople, the Trust can
honour the immense human effort that originally produced the house and its
artefacts, as well as the historical connections and memories that are so
valued by the local and heritage communities.
The Trust’s options appraisal in the immediate aftermath of the fire highlighted
the opportunity for Clandon to raise its national, regional and local profile,
both because of its strategic location in the south-east and close to London,
and because re-built it could offer much-needed new spaces that would
allow the Trust to showcase both its own collections and external loans.
While Clandon has historically attracted low numbers of visitors, the paradox
is that the local area is in National Trust heartland where every fifth passer-by
is a Trust member. Currently, within a 30 minute drive there are 708,000
households, 54 per cent of which are aligned with the Trust’s membership.
This presents a sizeable opportunity for the Trust: an abundant potential
audience surrounding Clandon. This is the audience the Trust would hope to
persuade to connect with the restored Clandon, always depending on a
distinctive experience for visitors which matched with their needs.
Before the fire, visitor numbers to Clandon were approximately 56,000 per
annum. With a more compelling visitor experience, the Trust anticipates at
least a tripling of visitor numbers once the house reopens, which will provide
Clandon with a financially sustainable future.
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The uses of Clandon
Visitor feedback
The Trust has consulted with local stakeholders through seven focus groups
and an online survey that was sent to more than 1,500 recipients. All of this
has resulted in new insights into what the Trust’s supporters want from a
restored Clandon.
A fully-restored Georgian ground floor was the top priority, closely followed
by a second floor café, and museum exhibitions featuring themed displays.
Outside green space was also hugely valued.
A changing programme of activities linked to the seasons and a programme
of art, exhibitions and performances is key to visitors returning multiple times
a year, according to over 50 per cent of those surveyed.
What would make people proud to call Clandon their local property? Roughly
50 per cent identified a programme of events as the most important factor,
closely followed by involvement in the community and access to experts,
talks and lectures, and a variety of activities – both indoors and outdoors.
Distinctive Clandon – Clandon’s
international connections and stories
The fire has led to a reassessment of Clandon’s visitor appeal and identity.
Prior to the fire the house had no unifying interpretation; rather it meshed the
Onslow family collection, the non-indigenous Hannah Gubbay collection, and
the independent Surrey Infantry Museum (which has relocated).
Clandon Park curators are currently developing a number of key stories that
will highlight Clandon’s international connections and influences. Further
information will be supplied in the Competition Conditions.
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Part one - Clandon Park International Design Competition
The permanent collection
While no formal decisions have yet been made about what will be put back into
the house, 600 artefacts were rescued on the night of the fire, and are likely to
form the core of the house’s permanent collection and be exhibited in context.
The lengthy post-fire salvage operation also recovered further damaged pieces
and fragments; these resources may be used by the Trust to showpiece its
‘conservation in action’ programme in the new upper floor spaces.
New spaces for imaginative
curatorial programming
The new spaces at Clandon will allow the Trust to connect with both local
and national audiences, engaging in long-term relationships with visitors.
An imaginative curatorial programme that embraces nationally-important
exhibitions as well as seasonal, semi-permanent and temporary exhibitions
will be essential in drawing new audiences. Potential partners are being
considered from leading UK and international museums who could offer
special loans that would fit with Clandon’s identity.
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Ornate ceiling of the Marble Hall.
© National Trust Images/Anthony Parkinson
Part two - Clandon Park International Design Competition
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Competition objective
and design values
To find a team who will create an outstandingly beautiful and harmonious
design that integrates a sensitive restoration of the historically-significant
rooms and remaining historic fabric with new flexible spaces on the upper
floors for imaginative programming and events; the whole design showing an
exceptional understanding of the manipulation of light, space, function and
material as well as rediscovering the house’s relationship with its setting.
Design values:
The design needs to:
•Display outstanding aesthetic and material quality.
•Respond creatively to the emerging conservation policies and respect the
historical and national significance of the building.
•Envision new interventions for the upper floors, which are flexible and
contemporary in function, while also foregrounding craft and detail, and
incorporating ‘found’ heritage elements (as appropriate).
•Provide a place for the community, offering a compelling and changing
programme of activities that appeal across generations.
•Connect visitors and volunteers with Clandon’s history, personalities and
stories – the heritage interpretation.
•Consider the visual and sensory integration of the gardens and the house,
restoring the inherent qualities in the setting, ensuring landscape and
building are presented as a single, integrated whole.
•Support a more compelling and repeatable visitor experience, including
new visitor facilities, catering and retail opportunities.
•Provide a platform for ambitious curatorial programming, which supports
social interaction and the experience of the permanent collection, and can
accommodate nationally-important exhibitions and artistic initiatives.
•Be an exemplar for the Trust, raising Clandon’s national, regional and local
profile as a visitor attraction.
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Part one - Clandon Park International Design Competition
And practical priorities:
•Resolve the challenge to integrate circulation throughout.
•Ensure the experience of visiting and navigating the house is equal for all.
•Take account of public safety, ensuring the appropriate technical,
environmental and safety standards are met.
•Work with, not against, the remaining fabric of the building, balancing the
least possible intrusion with ensuring on-going maintainability without the
need for difficult or onerous access arrangements.
•Provide appropriate technical, environmental and security requirements to
meet Government Indemnity Standards, where required.
•Increase income generation and visitor dwell time through new retail,
catering and event facilities and opportunities.
•Reduce operating costs by improving the building’s operational efficiency
and sustainability.
•Ensure the house can provide an enjoyable environment for staff and
volunteers and comfortably service increased visitor numbers, which
are anticipated to be at least triple the pre-fire numbers of circa 56,000
per annum.
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Statue in the Marble Hall.
© National Trust Images/James Dobson
Life, beauty and
relevance: emerging brief
The project comes at a moment of opportunity for the Trust, which is looking to
connect with new audiences, connect with the local community, develop new
curatorial partnerships and display artefacts currently not on view to the public.
The competition brief has several aspects:
• Restoration of the damaged historic interiors including the principal
state rooms.
•Creation of flexible spaces that can house permanent, semi-permanent and
touring exhibitions – designed to international standards.
•New visitor, education and social facilities.
•An opportunity to rethink the landscaping/setting of the house.
While the project vision outlines a ground floor restoration with new interventions
at the upper levels, please beware of thinking of the design purely in terms of
a sandwich of layers. The design challenge at Clandon is complex.
A key decision for designers will be how the vertical circulation is resolved
and presented to contemporary users. The structure of the building that
remains provides many useful clues, and expressive cues, for how design
teams might approach these issues in a creative way; revealing and
celebrating Clandon’s many spatial, material and historical layers.
The Trust expects the delivery of the project to be phased.
Significance and restoration
The spaces to be restored on the ground floor include the principal state rooms,
such as the Marble Hall, Saloon, Library, Speakers’ Parlour and State Bedroom.
The Trust’s intention is that the Clandon Park of the future will respond to, but
not be constrained by, its pre-fire history, significance and spirit of place.
As the Trust’s Director-General Dame Helen Ghosh has commented:
‘The loss of so many of the contents of the house means that we cannot
return it to how it looked the day before the fire. However, we now know
more about the original layout and recognise that the enduring significance
of the house is its architecture and so we will look carefully at how we
could return it to the 18th-century design – making it a purer, more faithful
version of Clandon as it was when it was first built.’
35
Life, beauty and relevance: emerging brief
Summary of pre-fire significance
• The design of this imposing building demonstrates a moment in English
architecture when the Baroque style was making way for Palladianism.
•Historic family seat of the politically ambitious Onslow family.
•The house sits within a designed landscape, garden, park and farm, which
has changed enormously over time, reflecting changing fashion and the
interests of the Onslow family.
•The architectural set piece of the house was the entrance, or Marble Hall; a
double-height, marble-floored room decorated with outstanding marble
overmantels by sculptor John Michael Rysbrack and with the most
flamboyant example of a Baroque ceiling in the country.
•Around this ground floor room was a series of state rooms: a dining
parlour, a large drawing room and with-drawing room, a library, a State
Bedroom, and a number of smaller, private closets. The first floor contained
principal bedroom suites for senior family members, and the second floor
for lesser family members and a few personal attendants.
Further details of the Trust’s conservation policies will be provided in the
Competition Conditions.
New interventions
The first and second floors of the house collapsed during the fire and were
completely destroyed. Although they could be restored from visual records,
these rooms were less architecturally significant and had been considerably
altered over the centuries.
Given the Trust’s intention to infuse life into Clandon with new uses attracting
new audiences, these new gallery and visitor spaces will be critical to
Clandon’s new distinctive identity. These will need to be flexible and
contemporary in function, while also foregrounding craft and detail and
incorporating ‘found’ heritage elements (as appropriate).
The spaces will be used to provide inspiration and include new opportunities
for engagement.
36
Part one - Clandon Park International Design Competition
The visitor surveys, referenced earlier in this document, identified enthusiasm
and interest in a second floor café. A respondent also commented:
‘The view from the roof can combine the building and the landscape: this
is a very exciting way of experiencing a building.’
In summary, the first and second floor spaces are to include:
• A second floor café
• First floor exhibition/gallery spaces
• Community education/workshop/meeting spaces
• Staff and volunteer facilities
• Visitor facilities
Another café and a shop will also be needed – the location for these is yet
to be decided.
The potential in the setting
As a member of a local focus group commented:
‘Since the fire, it feels as though the house and the landscape are now
talking and there is a relationship. Now you can see the light coming in,
and draughts, it feels like the landscape is coming inside.’
Over the centuries, the views both from and to the house have been
compromised, views to the lake (within the park) have been lost, and the
original approach to the house has been changed. In addition, the gardens
will benefit from a reappraisal. Both an appreciation of the importance of
setting to the house’s original Palladian design and the appetite for
audiences to look at both artefacts and the countryside, mean an improved
setting could hugely benefit the house.
Leaving a record of the fire
The fire is part of Clandon’s history and, while it is only one event in three
hundred years, it should be acknowledged by designers. While the Trust
would not want this theme to dominate, conversely it would not want to deny
or erase all traces of the fire.
37
38
The house from above immediately after the fire.
© National Trust Images/John Millar.
Part two - Clandon Park International Design Competition
39
Site parameters
and landscape
Clandon sits within a designed landscape that has changed enormously over
time, reflecting evolving fashions and the interests of the Onslow family. While
this National Trust property is called Clandon Park, the property actually
includes only the house and 3.2 hectares of gardens. The Trust also owns
the Merrow Lodges and their gates.
The Onslow family continue to own the wider park (c.200 hectares), which
was designed by Lancelot ‘Capability’ Brown, and is registered Grade II on
the Historic England Register of Parks and Gardens of Special Interest. Its
importance was principally recognised as an 18th-century landscape park
by Brown, although the subsequent late 19th-century gardens advised by
William Andrews Nesfield are also noted. The park is currently on the Historic
England ‘Heritage at Risk’ register and considered to be of high vulnerability
and in a declining condition.
The house and gardens lie within the West Clandon Conservation Area.
The house, which is Grade I listed, is set on lawns of c.1780 to the south
and east, bordered by gardens mainly laid out in the late 19th century but
with some surviving late 18th-century tree and shrub planting. In 1976 John
Fowler, with the horticultural help of Graham Stuart Thomas and Paul Miles,
created the gardens’ parterre and introduced new planting to improve
the house’s setting.
In close proximity to the house are a number of other listed structures,
including the Lodges and gates to Clandon Park House (Grade II*), the
Grotto to the south of Clandon Park (Grade II), and the Hinemihi Maori
Meeting House (150 metres east of Clandon Park) (Grade II).
Local context
Clandon is located immediately west of the village of West Clandon in
the Borough of Guildford in Surrey, England. Guildford is the county town
of Surrey, and the nearest urban area to Clandon, with a population of
approximately 140,000. The city has a thriving cultural scene, with a
cathedral, a university, and a number of art galleries, as well as many
historic links with the Onslow family.
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Part one - Clandon Park International Design Competition
Clandon is ten minutes by train from Guildford, and approximately 45
minutes to London.
Both Surrey County Council and Guildford Borough Council are actively
considering the county’s cultural heritage and identity as a place to live
and work. The Trust would like the restored Clandon to feature strongly in
the Council’s strategy.
Climatic conditions
The county of Surrey is located in southern England, which has a temperate
maritime climate with typically warm summers and cool winters. The average
annual temperature is between 9.5 °C–11 °C. On average the hottest month
is July (average temperature of 21 °C–23.5 °C) and the coldest is January
(average temperature of between 0.5 °C–3 °C). Typically rainfall falls fairly
evenly throughout the year, with an annual average rainfall of 800mm.
Southern England can be susceptible to summer thunderstorms.*
*Source: Met Office
Outside the scope of the competition
Alongside the competition, but outside of the competition scope, the Trust is
embarking on a conservation project for Hinemihi, the Maori Meeting House.
41
42
Conservationists working in the Marble Hall.
© National Trust Images/Andreas von Einsiedel
The team ideal
The Trust will be looking for architect-led teams with multidisciplinary expertise
in design, conservation, structural engineering, mechanical and electrical
engineering, interpretation and landscape design. The teams should be
structured under a lead consultant, who is an architect, identified within the
submission. Creative collaborations are encouraged and additional skills may
be proposed in your submission if you feel they are necessary. If you are a
non-UK team, collaboration with a UK architect partner is encouraged.
The Trust is seeking a team:
• appropriate in size and skills for the project;
• strong in conservation, contemporary and conceptual design;
• who will be able to make the building and setting read as one;
• who understand and connect with the Trust’s values generally, and those
specific to Clandon; and
• who will be creative about materials and construction.
The winning design team will be offered the commission to provide the
detailed design of the project through all RIBA workstages. However, please
note the project may be phased. Further details will be provided in the
Competition Conditions at the second stage of the competition.
The team selected to undertake the project must demonstrate sensitivity to
multiple stakeholders’ views and an understanding of the needs of the Trust.
The team must be committed to incorporating imaginative ways to continue
the visitor offer throughout the project, and integrating community and
stakeholder engagement throughout.
Teams responding to this Search Statement must have the necessary
expertise to complete this fascinating project within the constraints which
include: design, budget, programme and site.
43
Fire damage in the Operating Theatre/Onslow Museum.
44
© National Trust Images/Andreas von Einsiedel
Anticipated
competition programme
All dates 2017
Competition launched 9 March
Deadline for responses
21 April
Shortlist announcedmid-end May
Tender stage launched
mid-end May
Site visitearly June
Tender deadlinemid-August
Jury interviewsSeptember
Winner announced end September/early October
45
The Saloon.
© National Trust Images/Anthony Parkinson
Oposite page:
Clandon east view. J Hassell, 1823,
courtesy Surrey History Centre
Resources
Online
Video Updates from Clandon – the National Trust
https://www.nationaltrust.org.uk/clandon-park/lists/video-updates-from-clandon-park
Clandon Project Timeline – the National Trust
https://www.nationaltrust.org.uk/clandon-park/projects/the-clandon-park-project-a-timeline
Our Work at Clandon – the National Trust
https://www.nationaltrust.org.uk/clandon-park/lists/our-work-at-clandon-park
Items Salvaged from Clandon – the National Trust
https://www.nationaltrust.org.uk/clandon-park/lists/salvage-stories-found-objects-from-clandon-park
Bibliography
Chessum, Sophie and Rowell, Christopher, Clandon Park Guidebook,
National Trust, 2002.
47
Floor plans
Basement
1
1. The Old Kitchen
Ground floor
6
10
7
9
8
5
11
4
3
2
13
2. Marble Hall
3. Stone Staircase
4. Speakers’ Parlour
5. Library
6. Operating Theatre
7. State Bedroom
12
8. Saloon
9. Green Drawing Room
10. Hunting Room
11. Palladio Room
12. Morning Room
13. Oak Staircase
Part one - Clandon Park International Design Competition
First floor
15
16
17
14
14. Void above Marble Hall
15. Blue China Room
16. State Dining Room
17. Earls of Onslow Room
Second floor
5m
50
Fire damage in the State Bedroom.
© National Trust Images/James Dobson
Part two
Project details,
competition task and guidelines
51
Project Details
Design team procurement
Through this competition, the National Trust (the Trust) is looking to appoint
an architect-led team with multi-disciplinary expertise in design,
conservation, structural engineering, mechanical and electrical engineering,
interpretation and landscaping. If you are a non-UK team then collaboration
with a UK architect is encouraged.
The Lead Architect will be appointed by the Trust. It is anticipated that the
disciplines listed above will be appointed as sub-consultants of the Lead
Architect. The Lead Architect will coordinate and manage the work of the
sub-consultants. Design management expertise is an essential requirement
of the Lead Architect role.
Please note: winning the competition does not guarantee appointment, but
it should be emphasised that it is the intention that it will do so. Although it is
the intention of the Trust to appoint the winning team in its entirety, it shall not
be bound to use all members proposed. The Trust reserves the right to
determine the final composition of the design team and this may include the
appointment of sub-consultants or consultants that are not suggested within
the competitor’s bid. The Trust reserves the right to make no appointment
after stage two of the competition. The Trust also reserves the right to
terminate the employment of the team on completion of the feasibility stage.
Construction procurement method
The Trust currently anticipates that it will adopt a Construction Management
procurement route, with the Trust having a direct contract with each of the
specialist trade contractors. The Trust will appoint a Construction Manager as
a consultant to co-ordinate the various contracts. An early start to the
construction phase is desired by the Trust.
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Part two - Clandon Park International Design Competition
Scope of services
The Trust will require the winning team to provide full design team services
through all RIBA Plan of Work 2013 stages. The services will need to be
provided in a manner that facilitates the Construction Management
approach. Working with the Construction Manager, it will therefore be
necessary to finalise fundamental design issues early and design the work in
stages to meet the timetable for tendering the individual work packages.
Following appointment, the first services to be provided by the winning team
will be in relation to a detailed feasibility study which is to be undertaken after
stage two of the design competition.
The services to be provided by the design team will be detailed in the Scope
of Services documents which will be included in the stage two tender
documentation pack. They will be based on RIBA and ACE documents or
documents published by other relevant professional bodies.
Other members of the project team
Project Management is being provided in-house by the Trust. The Trust
will also appoint a Cost Manager and a consultant Construction Manager.
Other consultants necessary to deliver the project will also be engaged
directly by the Trust.
The Trust’s in-house project team will also include (subject to variation):
a Senior Curator; Conservator; Building Surveyor; Communications Officer;
Archaeologist; Wildlife and Countryside Adviser; Estate Manager; and
Planning Adviser.
Construction budget
The overall construction budget is estimated at £30m (excluding fees and VAT).
53
Project Details
National Trust
consultant appointment
The winning team will be expected to sign up to the National Trust’s Consultant
Appointment. Please refer to Appendix B for the draft agreement. By submitting
an entry, competitors confirm they are willing to sign up for this agreement
should they be successful in the winning the competition.
Each sub-consultant will be required to enter into a back-to-back
sub-consultant agreement and provide a collateral warranty in favour of the
Trust as set out in Appendix B.
Insurance requirements
Competitors should also note that, should they be successful, they must be
willing to obtain the following levels of insurance:
• Employer’s Liability Insurance: £10 million for each and every claim
• Public Liability Insurance: £10 million for each and every claim
• Professional Indemnity Insurance: £10 million for each and every claim
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Part two - Clandon Park International Design Competition
Anticipated programme
A detailed programme for the overall project will be finalised as part of the
post-competition feasibility study, however at this stage it is envisaged that
the timetable will be broadly as follows:
Commencement of
post-competition
feasibility study
October 2017
Completion of detailed
feasibility study broadly to
RIBA Stage 2 (Concept Design)
level (12 week period)
January 2018
National Trust ‘in-principle'
approval of final scheme
(National Trust PM Framework
Gate 1) following consultation
and public engagement.
May 2018
Completion of RIBA Stage 2
Concept Design, Stage 3
Developed Design and
Stage 4 Technical Design
Staged to suit early work package
commencement on-site utilising
construction management
procurement route
Tender trade
contractor packages
Staged
Commencement
of works on site
Staged
Completion of all works
and final re-opening
of building to public
2023
Initial work packages to
commence as early as possible
Note: The National Trust is looking to complete the works, and re-open the
building to the public, in advance of 2023, if practical and feasible.
55
56
Scaffolding installation on the house’s exterior.
© National Trust Images/James Dobson
57
Competition Details
Competition management
Malcolm Reading Consultants (MRC), an independent expert organiser of
design competitions with over twenty years’ experience, will lead a two-stage
competition on behalf of the Trust. This will result in the selection of a winning
team, who it is anticipated will be appointed to develop their design and to
deliver the project.
Competitor questions
All enquiries relating to the competition should be addressed to the
independent competition organisers appointed to manage the process.
During the competition, no contact should be made with the Trust or members
of the competition jury. Failure to comply with this restriction may compromise
your position within the competition.
Questions should be emailed to: [email protected].
A question and answer log will be compiled and uploaded to the competition
website (https://competitions.malcolmreading.co.uk/clandonpark) on a weekly
basis. Questions received before 14:00 BST/GMT on a Wednesday will be
addressed in the Q&A log on a Friday.
Please note that telephone enquiries will not be accepted, and the latest date
for submitting enquiries is 14:00 BST 12 April 2017.
Conflict of interest
Competitors should declare any actual or potential conflict of interest
concerning the commercial, financial or other interests of the Trust or members
of the competition jury which may compromise the conduct of this procurement
exercise and/or the performance of the contract, as requested in Q4.1 (g) of the
Pre-Qualification Questionnaire.
If competitors are satisfied that there are no such conflicts of interest they must
answer ‘no’ to Q4.1 (g) of the Pre-Qualification Questionnaire.
The Trust reserves the right to reject responses from applicants where a conflict
of interest is viewed as affecting either or both the conduct of this procurement
or the performance of the contract. Competitors are under a continuing
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Part two - Clandon Park International Design Competition
obligation to notify the competition organisers, MRC, if circumstances
change during this procurement process and any statements given during
this procurement process become untrue.
No staff, or direct family member of staff, of the Trust (including board
members) or a member of the shortlisting panel, professional advisory panel
or the competition jury is permitted to enter the competition.
Honoraria
An honorarium of £15,000 will be awarded to each of the unsuccessful
shortlisted teams (who submit a compliant tender and attend an interview)
following the selection of the winner.
Sub-consultants
Sub-consultant companies may enter with more than one team if they wish to
do so. However, the same individual within a company should not participate
in more than one entry. Companies who intend to sub-consult on a number
of teams should propose the inclusion of different individuals from their
organisation for each separate team. This is to prevent a conflict of interest at
the shortlisting stage in the event of a sub-consultant being shortlisted with
more than one team.
Individual companies, including those with multiple offices, may not lead
more than one design team bid. Companies may lead one bid and
sub-consult on another, providing different individuals are proposed.
Permissions and copyright
The Trust and MRC reserve the right to make use of all presentation materials
submitted during any stage of the competition in any future publication
(including online) about the competition.
The ownership of Copyright will be in accordance with the Copyright,
Designs and Patents Act 1988. Any use will be properly credited to the
competitor, and the competitor warrants that the submission comprises
solely its own work or that of any team member submitting a response.
59
Competition Details
By submitting a tender the competitors hereby grant an irrevocable,
non-exclusive royalty free licence to the Trust and MRC to publish and use
the tender submission or any part thereof (including, without prejudice to the
foregoing, any submission materials) for any purpose except seeking
consents and construction. This non-exclusive licence is irrevocable, shall
survive the competitor’s exit from the tendering process, and is royalty-free.
Publicity
Competitors should note that any or all of the materials submitted during any
stage of the competition may be used for publicity purposes. This includes,
but is not limited to, a public exhibition of the shortlisted competitors’ design
concepts, an online gallery of the shortlisted design concepts, and media
releases relating to the competition or project in a more general sense.
The winning team should also be prepared to be interviewed, and/or filmed
during any further stages of the project as required by the Trust.
Language
The official language of the competition is English. All entries must be in
English, including all additional information.
Financial data
Any financial data provided must be submitted in, or converted into, pounds
sterling. Where official documents include financial data in a foreign
currency, a sterling equivalent must be provided.
Insurance of entries
The Trust and MRC will take reasonable steps to protect and care for entries
but neither organisation will insure the proposals at any time. Competitors are
urged to maintain a complete record of their full entries and be able to make
this available at any time should adverse circumstances require this.
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Part two - Clandon Park International Design Competition
Deviations
Only submissions that meet the criteria of entry will be considered. Additional
information or supplementary material, unless specifically called for in
subsequent communication, will not be considered by the assessors.
Clarifications to the Search Statement
The Trust may, at any time prior to the submission date, issue notifications to
clarify points made in the Search Statement, and MRC shall notify all
competitors of any such clarifications. If MRC issues any such clarifications
to competitors during the first stage of the competition to clarify the
interpretation to be placed on part of the documents or to make any minor
changes to them, such clarifications will form part of the Search Statement.
The Q&A responses will also form clarifications to the Search Statement and
should be considered by all competitors. Accordingly, all competitors will be
deemed to have taken account of these in preparing their submission.
Site visits, photos and drawings
At this stage of the competition there will be no formal site visits or photos/
drawings distributed, however entrants are able to access a wide range of
images and videos on www.nationaltrustimages.org.uk.
Return of competition materials
All material which is submitted as part of your response will be retained by
the Trust and will not be returned to participants.
61
62
Visitors on a tour of Clandon after the fire.
© National Trust Images/Arnhel de Serra
How to enter (stage one)
Deadline for submissions
Submissions will be received up to 14:00 BST 21 April 2017.
How to submit
Submissions for the first stage of this competition will be received electronically
via the upload form on the competition website:
https://competitions.malcolmreading.co.uk/clandonpark
Competitors should read and take note of the Frequently Asked Questions
(FAQs) associated with the online form.
Please note the form will close automatically after the deadline on 14:00 BST
21 April 2017. Please ensure that your submission is received no later than
the appointed time. Your submission will not be considered if it is received
after the deadline.
Please allow adequate time when uploading your submission. Upon completion
of the upload, the form will display a screen indicating your upload reference
number. Please keep a separate record of this reference number and quote
this in any correspondence regarding your submission. If this reference number
is not displayed, your upload has not been successful.
You should receive an automatic email confirming receipt of your entry within
two hours. If this is not received, please firstly check your spam folder, and then
email: [email protected].
Please note: competitors are responsible for ensuring their submission has
been received.
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64
The Library.
© National Trust Images/Nadia Mackenzie
Submission requirements
Prospective teams should complete the following as part of their submission for
the competition. Your response should be both well written and highly visual.
Responses should be in electronic format only – submitted via the online
submission form: https://competitions.malcolmreading.co.uk/clandonpark
The Trust expects you to undertake detailed research and show a high degree
of understanding when preparing your submission. This should include, but is
not limited to, the Trust as an institution, Clandon Park as a place, both pre- and
post-fire, and the design ambitions and principles behind the project.
We ask that you provide your response in five sections, as outlined and
described below. Please refer to the Evaluation Criteria section for the scoring
approach.
1. Project understanding and approach
Please provide your initial response to the project, summarising your
understanding of the project as it is described in the Search Statement
and outlining how you would plan to approach a project of this nature
and significance.
Please illustrate with diagrams, images and photographs to support your
answer should this be appropriate. In your responses, you may refer to
previous projects (in addition to those used in your response to Q3 below).
Please note that we are not looking for design proposals at this stage, but
an outline understanding, sensibility and approach to the requirements of the
project, to assist the Trust in determining its shortlist for the competition.
Format: Eight sides of A4, as one combined PDF (maximum size 10 MB)
2. Proposed team composition
The Trust is embarking on this competition process to identify the right
multidisciplinary design team to undertake this project, as outlined on page 43
of the Search Statement. Please tell us why you have brought together the team
members you have and why you think this team will deliver a successful project.
Please provide a summary of each of your proposed team members. Identify
the lead consultant within your response.
65
Submission Requirements
Within your response to this section please also complete the following:
1. Provide a brief summary of the design team’s capabilities specifically related
to the requirements of this project and the multidisciplinary design team
services being sought.
2. Identify the key team members proposed for the project and provide a
summary of their relevant skills and experience.
The capacity to undertake the project is also vital to the project’s success. The
lead consultant must demonstrate that it has the capacity to develop all design
and construction documents as necessary for the project, within the
parameters outlined in this document.
Format: Ten sides of A4, as one combined PDF (maximum size 10 MB)
3. Relevant experience
Please provide two examples of relevant projects or experience that
demonstrate your approach to similar challenges to those described within the
Search Statement.
These two examples should:
1. Highlight your team’s experience working with complex client organisations,
and how you have worked to reconcile, maximise and balance value for both
the client and end user;
2. Demonstrate overall design sensitivity and sophistication, including how you
employed conservation or design principles in the project and how the
design made a positive contribution to its setting;
3. Illustrate your use of innovative processes for stakeholder engagement
(including statutory stakeholders);
4. Describe the approach to site-specific issues and their related design
solutions, highlighting lessons learnt, and how these have been applied
successfully to subsequent projects;
5. Explain how sustainability, in design, construction and use, was central to
the project; and
6. Describe how you utilised and integrated modern design practices and
processes throughout the whole project lifecycle.
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Part two - Clandon Park International Design Competition
You should limit your response to two relevant examples. As a form of
introduction for each example please provide the following summary:
• Client name, email address and contact number
• Location of project
• Date of project completion
• Previous experience of working as a team, where possible with the team
members proposed for this project
• Anticipated and final budget
• Anticipated and final duration of the project
• Aspects of the design or design approach that are relevant or showcase
equivalent challenges to the Clandon project
Illustrations and sketches should be used where appropriate. Client references
may be taken up.
At least one of the relevant examples must be from the lead consultant proposed.
Your response should convince the shortlisting panel why your team is
appropriate for this commission.
Note: A more detailed list of relevant examples is requested within the PQQ
(see Q7.1).
Format: Twelve sides of A4, as one combined PDF (maximum size 10 MB)
4. Pre-qualification questionnaire
Please complete the Pre-Qualification Questionnaire in Appendix A. This should
be prepared by the lead consultant only, with reference to sub-consultants
where required and indicated – please see PQQ Q2.2. (b) - (iii).
5. Media statement and images
Each competitor should also provide a 150-word snapshot of the proposed
team that can be used for the media in the event of being shortlisted. This
statement should include the lead consultant’s website (if applicable).
This statement should include the following: practice history/background,
overview of built projects, awards, publications, exhibitions and
design philosophy.
You should also include two .jpeg images of past projects indicating your first
and second choice. These do not need to match the projects listed in Q3.
Format: Text submitted using the text field in the online form with a maximum
of 150 words; images in jpeg format, no more than 5 MB per individual file.
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68
The Speakers’ Parlour.
© National Trust Images/Anthony Parkinson
Evaluation process
The first stage submissions will be reviewed by a Shortlisting Panel comprised
of representatives of the Trust, a subset of the jury and the Trust’s other
advisers. Please refer to page 70 for the Evaluation Criteria.
The jury will review the second stage submissions and interview the shortlisted
practices to determine a winner of the competition. The jury will be advised
by the Professional Advisory Panel, who will conduct a technical review of
the submissions. The jury will make a recommendation to the Trust who will
ratify the decision.
The membership of the competition jury will be announced during the
competition period.
MRC will act as the competition secretariat.
69
Evaluation criteria
Stage one submissions will be scored in accordance with the selection criteria
set out below.
Criteria
Total score available
for this section
Weighting
(of total submission)
1.
Project Understanding
and Approach
10*
30%
2.
Proposed Team
Composition
10*
40%
3.
Relevant Experience
10*
30%
4.
Pre-Qualification
Questionnaire
Not scored –
Pass/fail as above
–
5.
Media Statement
and Images
Not scored –
for information only
–
*Scored in accordance with the Scoring Approach on Page 71.
70
Scoring approach
Score
Classification of
response
Reason for classification
Unacceptable in
whole or part
No answer has been provided or the response
fails to answer the question provided; all elements
of the response are not justified or unsupported by
evidence where required; fails to demonstrate any
understanding of the question or the context.
2
Poor and significantly
below requirements
Very significant gaps or lack of justification/
evidence in response where required; responses
given are very generic and not relevant in whole
or part; fails to demonstrate considerable
understanding of the question or context.
3
Poor and below
requirements
A lack of content or explanation in one or more
aspects of the question; significant gaps or lack of
justification/evidence in response where required;
responses given are generic and not relevant in
whole or part; a degree of a failure to demonstrate
understanding of the question or context.
4
Satisfactory response
but does not meet
all requirements
The question is answered satisfactorily
overall but some key aspects lack sufficient
detail or explanation.
5
Satisfactory response that
meets most requirements
The question is answered satisfactorily for the most
part and some aspects lack sufficient detail.
6
Satisfactory response that
meets most requirements
and is a good response
in some areas
The question is answered well for the most part
and in areas is particularly clear and justified.
7
The question is answered very well for the most
A strong response that is
very satisfactory in all areas part and in areas is particularly clear and justified.
and exceeds expectations
in some areas
8
A very strong response
The question is answered very well throughout
and in all areas is clear and justified.
9
Outstanding
quality response
The question is answered in an outstanding way
throughout, meets all requirements and in all areas
is extremely clear and justified.
10
The answer demonstrates an exceptional response
Exceptional response
that exceeds the Authority's that meets all requirements and exceeds the level
of quality required in some key areas.
requirements
1
71
72
The south front.
© National Trust Images/Anthony Parkinson
Appendices
A. Pre-qualification questionnaire
B. Draft professional services agreement
Appendices available to download from
https://competitions.malcolmreading.co.uk/clandonpark/
73
The existing free-standing scaffold structure
protecting the building from weather damage.
© National Trust Images/Andreas von Einsiedel
Back cover:
Visitors on a tour of the house after the fire.
© National Trust Images/Arnhel de Serra
76