This sequence of five galleries demanded an architecture agile enough to clearly explain the idea of photography while addressing complex structural and curatorial challenges. The visitor experience ebbs and flows in intensity along the enfilade of rooms but remains coherent with the first phase.

The first room, a digital gallery, instantly engages visitors with a large-scale AI digital native photography. This immersive space contrasts with the next room, Photography and the Book, which has a feeling of snug enclosure, presenting a moment to stop or study. The Royal Photographic Society (RPS) book collection forms the inner lining of the space, supported by a finely detailed structure of bookshelves, balustrades and bridges cantilevered from the gallery walls to avoid loading to the floors. We wrapped this scenography with a freestanding wall offering glimpses of a back-of-house space for the librarians. Insertions for book display are kept neutral: the artefacts are the ornamentation.

The architecture takes a step back in the two display galleries that follow, minimising visual noise to maximise the impact of larger-scale pieces. The spaces, some of most significant 19th century galleries in the UK, are sensitively restored for 2d display, the original function when conceived as picture galleries. Simple display cases, a new parquet floor and track lighting touch the historic shell lightly, giving a feel of openness and volume.

We co-designed to bring more young people from under-represented backgrounds to the V&A. Through a series of interactive workshops, we tested the brief and design response with 18, 16-24 year olds. We listened to understand barriers to access and how they would like to engage with the building and collection. This led to the idea of the camera obscura photo studio, a low tech interactive that placed the visitor within the camera, explaining the principles of photography. We collaborated with Richard Learoyd, an artist who specialises in Camera Obscura portraiture to understand the principles and to source lenses. We built 1:1 mock-ups on site to test the impact of lighting and lens on the quality of the image. Through the process of making and testing, the design evolved into the final design that is within gallery 95. Successful co-design can create a more relevant and longer lasting scheme.

The project transforms the gallery in a carbon sensitive way. Demolition was limited, internally and externally. Fabric upgrades were focused, improving the thermal performance and airtightness where most needed. The gas-powered services were replaced by efficient all-electric systems, creating a more sustainable building for future use. The project reduces the heating load by 45%, the cooling load by 21% and delivers a 44% reduction in overall energy use.