Fretton’s design consciously eschews the two stereotypes of the modern-day art space: the flashy icon project designed to pull in the punters, and the white cube, designed to attract rather the opposite – a rarefied audience of connoisseurs. The client’s considered brief demanded an approachable, domestic-scale gallery which, nonetheless, had presence. The studying of art by curators in the offices, and the experience of art in the galleries were connected, without getting in the way of one another. This Fretton achieves hands-down. It is well constructed and detailed, and clearly erudite, with nods in its composition to architectural history. It feels, said one judge, almost as if it could have been built in any decade since the 20s. That is quite a compliment.