TINTAGEL CASTLE: BRIDGE DESIGN COMPETITION EXPRESSION OF INTEREST - Malcolm Reading Consultants
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TINTAGEL CASTLE: BRIDGE DESIGN COMPETITION EXPRESSION OF INTEREST
Tintagel Castle: Bridge Design Competition // EOI // Part One © Malcolm Reading Consultants 2015 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. Images: © Malcolm Reading Consultants / Emily Whitfield-Wicks unless otherwise stated Map: © English Heritage malcolmreading.co.uk 2
Tintagel Castle: Bridge Design Competition // EOI // Part One
CONTENTS
PART ONE
Project Vision 7
English Heritage 10
Cornish Identity 12
Site and Context:
Tintagel Island 15
Historical Significance 18
Literary and Cultural Significance 23
Parallel Initiatives 24
The Competition Site 24
Visitors to Tintagel Castle 26
The New Bridge – Emerging Brief 28
Key Objectives 30
Project Details:
Teams 31
Anticipated Key Dates 33
Budget 33
Jury 34
PART TWO
Competition Details 42
Anticipated Competition Programme 46
Submission Requirements 47
Evaluation Criteria 50
Appendices 53
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Part One
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Tintagel Castle: Bridge Design Competition // EOI // Part One
PROJECT VISION
Tintagel Castle’s thirteenth-century ruins, balanced on sea-bitten precipices,
distinguish one of the most spectacular historic sites in Britain. A place of
elemental power and beauty, Tintagel has been prized throughout history for its
ability to set the imagination racing and invigorate the senses.
The Island’s Dark-Age connections with the Byzantine world prompt myriad,
fascinating questions. As a literary setting, Tintagel appears and reappears in the
western canon, linked not only to the legendary King Arthur and the story of
Tristan and Yseult, but in recent history inspiring both Tennyson and Hardy.
Its cultural legacy dates back more than a thousand years to earlier Cornish
legends and tantalizingly suggests that folk memories of an earlier, illustrious
epoch may have survived – if the historical record did not.
Even to call it Island is to succumb to its romance. More accurately, it is a
headland attached to a peninsula. But somehow, Tintagel creates a charmed
atmosphere. Though it’s not physically distant, it creates the impression of
being removed. Though it adapts to the age, it allows us to suspend time.
The defining feature of Tintagel for much of its history was its natural
land-bridge, a slender isthmus, linking the headland to the mainland. The Cornish
name Din Tagell means literally, the Fortress of the Narrow Entrance. This physical
connection – a tenuous rocky link much eroded over the centuries
– is the source of its traditions and astonishing cultural resonance.
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Through the Tintagel Castle: Bridge Design Competition, English Heritage, the
guardian of this scheduled ancient monument, is now searching for a dedicated
and talented architectural and engineering team to design a cliff-top footbridge.
The new structure aims to trace the path, now lost through collapse and erosion,
of the original land-link, creating a twenty-first century connection.
Twenty-eight metres higher than the current crossing, 72 metres in span and
roughly 2.4 metres wide (allowing safe foot traffic in both directions), the bridge
will transform the visitor experience, opening up exhilarating views of the Island,
coastline and Atlantic seascape. It will also create a direct route to the Island,
relinking the castle with its original entrance.
More than just a practical passage, the bridge should exemplify design at its
most assured. English Heritage envisages an elegant, even structurally daring,
concept, both beautiful in its own right and sensitively balanced with the
landscape and exceptional surroundings – the site lying within an Area of
Outstanding Natural Beauty.
Certainly, a new bridge is needed. The existing approach is perceived by some
non-visitors as demanding and although many visitors enjoy the experience
some can find it a challenge. The current single track pathway is narrow, and on
peak days can get congested and cause queues on and off the Island. This single
point of entry is also leading to wear and tear on some parts of the path, and
encourages a circulation route that results in many visitors bypassing the castle’s
outer ward and gateway, thereby remaining unaware of this important section of
the monument.
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Alongside the bridge project, English Heritage is also in the process of
implementing a number of other initiatives at Tintagel Castle: refurbishing the
visitor centre, and introducing new interpretative materials.
The Tintagel Castle: Bridge Design Competition is a two-stage procedure. Initially,
Expressions of Interest are sought, following which a shortlist of approximately six
design teams will be drawn up: from these the winner will be selected.
At the first stage we are not seeking a design but please note that teams
who progress will need to conceptualise a design at the second stage which
incorporates a construction methodology. This is essential given this challenging
(and at times extreme) environment, the necessity to keep the site closed for
as short a period as practical, and access constraints.
As a progressive patron, English Heritage encourages teams which balance
seasoned experience with emerging talent.
To convince the competition Jury, the winning team will need to show
outstanding design skills and a profound understanding of the multi-faceted
significance of the site — its environmental, historic and cultural importance.
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ENGLISH HERITAGE
English Heritage cares for over 400 historic monuments, buildings and sites
– from world famous prehistoric sites to grand medieval castles, from Roman
forts on the edges of empire to Cold War bunkers. Through these, it brings
the story of England to life for over 10 million visitors each year.
The work of English Heritage is characterised by enduring values of
authenticity, quality, imagination, responsibility and fun, all underpinned by
scholarly research. Its vision is to make history live and breathe and to take
people back in time to experience those great moments in history, in the
places where they actually happened.
With English Heritage’s new freedom as a charity, its ability to engage with
millions of people is now greatly strengthened. A major programme of
investment in its properties is under way and a priority is to deliver inspirational
projects of the highest quality that capture the public’s imagination.
English Heritage is licensed to manage the National Heritage by the Historic
Monuments & Buildings Commission for England. It is a charity (no. 1140351)
and a company (no.07447221), registered in England.
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CORNISH IDENTITY
English Heritage looks after 17 historic sites in Cornwall and is committed
to presenting the Cornish language, history and culture at those sites, including
Tintagel Castle. It liaises with Cornish-interest groups, some of its signs and
leaflets feature the Cornish language, and it aims to translate more and more
information and on-site interpretation. It is exploring how Cornish history and
the Cornish language can be better incorporated into its education material
and web content.
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SITE & CONTEXT
TINTAGEL ISLAND
Tintagel Island is situated on the Atlantic coast of Cornwall at 50.66706
degrees North and 4.75936 degrees West. It lies within the Cornwall Area of
Outstanding Natural Beauty (AONB), which gives it the same protection
as a National Park.
Tintagel is also a Special Area of Conservation under the EU Habitats Directive,
which protects habitat types of European importance. Tintagel is listed for its
vegetated sea cliffs, European dry heaths and old sessile oak woods. Additionally,
the site falls within an Area of Great Historic Value as designated within the
Cornwall Council Structure Plan. Two public rights-of-way cross parts of the
site: the North Cornwall Coast Path, and the track that leads from Tintagel
village to Tintagel Haven.
The remains of Tintagel Castle and the Island are protected as a Scheduled
Ancient Monument under the terms of the Ancient Monuments and Archaeological
Areas Act 1979. In addition, this lies within the Tintagel Cliffs Site of Special
Scientific Interest (SSSI), designated by Natural England.
The site at Tintagel is dominated by its natural topography, particularly the
eroded neck of land dividing the Island from the mainland. The castle lies on
both sides of the chasm, or zawn. Centuries of erosion have taken many parts
of the castle and earlier buildings with them.
The site at Tintagel also contains a shop, exhibition and a café, while Tintagel
Beach leads to the atmospheric Merlin’s Cave.
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HISTORICAL SIGNIFICANCE
Tintagel is a site of huge historic importance. There is some limited evidence
for Roman occupation; however, Tintagel first rose to real prominence during
its Dark Age occupation.
Modern archaeologists believe Tintagel to have been the seasonal seat of
Cornwall and Devon’s (Dumnonia’s) Dark Age rulers. Remarkably, more fifth
and sixth-century pottery from Carthage, western Anatolia and the eastern
Mediterranean has been found at Tintagel than the rest of Western Europe put
together (and to date only five to ten per cent of the site has been excavated).
These goods arrived in the south-western peninsula by ship as part of a
systematic trade which brought luxuries, such as olive oil, wine jars and fine
tableware, and in exchange presumably took tin (the most distinctive and
desirable commodity produced in Cornwall) back to the Mediterranean. The
precise role of Tintagel in the trade is not clear: either it was a primary trading
site, where the imported goods were landed and exchanged, or the actual
trading took place elsewhere and the goods were brought to Tintagel
for use.
Tintagel seems to have been abandoned in the early seventh century.
Churchyard excavations have revealed some limited use in the 10th century but
there was little activity of significance until Tintagel found international fame
during the 12th century, featuring in Geoffrey of Monmouth’s History of the Kings
of Britain.
Scholars believe it was this literary renown, and an aristocratic desire to
establish a prestigious association with Arthurian legend, that inspired Richard,
Earl of Cornwall, younger brother of King Henry III, to build the medieval castle
at Tintagel in the 1230s.
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Image © akg-images / Erich LessingTintagel Castle: Bridge Design Competition // EOI // Part One 20
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Details of the castle’s precise form will always be conjectural, because its central
section was lost in a succession of collapses in the Middle Ages, 16th century and
later, but its plan almost certainly resembled an hourglass, with a narrow neck
of land (possibly incorporating a drawbridge) between wider outer and inner
baileys on the mainland and Island respectively.
Historical records show that in around 1242, Earl Richard used the castle to
receive his nephew, the Welsh prince Dafydd ap Llywelyn. Apart from this
episode, little is known of how much the castle was used.
In the late 14th century, two high-status prisoners were brought there from
London for secure keeping, however by 1600 the site was largely deserted.
During the 19th century Tintagel regained its full prominence, as a result of
renewed interest in medieval literature and history, and the arrival of the railways
in Cornwall. Visitors began to come in large numbers, and the nearby village
expanded to cater for them.
Tintagel is also important for the history of British archaeology – the excavations
carried out by C. A. Ralegh Radford in the 1930s, and his interpretation of the
site as an early monastery, have been taught to generations of archaeologists and,
though generally disproved now, continue to exert an influence today.
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LITERARY & CULTURAL
SIGNIFICANCE
Tintagel has long been a site of literary and cultural significance. It gained
international literary fame in the 12th century when Geoffrey of Monmouth
referred to Tintagel in his History of the Kings of Britain as the island fortress where
King Arthur was conceived. Famously, Uther Pendragon, King of Britain, was
assisted by his adviser, the wizard Merlin, in his magical seduction of Queen Igerna,
wife of Duke Gorlois of Cornwall.
It is thought Geoffrey’s use of Tintagel is related to Cornish legend and folk
memory of the earlier importance of the site, perhaps as a stronghold of the
rulers of Cornwall. This aspect of Tintagel enhances the significance of the site
to Cornwall, to the west of Britain, and to the Celtic areas of western Europe.
Independent support for such a folk memory comes from the legend of Tristan
and Yseult, known from French and German poems later in the 12th century,
which seem to have drawn on Cornish legends. Tintagel appears in these
poems as the court of Tristan’s uncle, King Mark of Cornwall. It has long been
suspected that these literary works represent an older oral tradition.
An explosion of interest in Arthurian legend brought vast numbers to the
site in the 19th century. Tintagel inspired two of the age’s finest writers, Alfred,
Lord Tennyson, who used it as a setting in his epic poem Idylls of the King, and
Thomas Hardy for the location of his Famous Tragedy of the Queen of Cornwall.
Through mythological associations with Arthur and its strange and unsettling
traces of grandeur, Tintagel is regarded as a place of mystical significance and
power by individuals and groups interested in esoteric interpretations.
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PARALLEL INITIATIVES
English Heritage is launching several new interpretation initiatives for the castle
and Island from summer 2015 where the history, archaeology and mythology
of Tintagel are re-explored both within the visitor centre and across the wider
landscape of the site:
• New visitor facilities within the existing visitor centre, including a refurbished
shop, membership sales room and a completely new exhibition.
• A refurbished beach café, and new, small bridge across the stream, to make
the café fully accessible.
• A new ticket kiosk at the entrance to the mainland courtyard.
• New interpretation where the history, archaeology and mythology of Tintagel
is re-explored.
THE COMPETITION SITE
The map opposite shows the approximate area for the proposed bridge.
Further information concerning the two landing areas will be provided at
Tender stage.
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New bridge – indicative landing points
Approx. route of new bridge
Image © English Heritage
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VISITORS TO
TINTAGEL CASTLE
Tintagel Castle is one of English Heritage’s most popular sites, attracting
200,000 visitors a year – up to 3,000 per day in the peak summer season, with
the flow heaviest between 11am and 3pm. For visitors to north Cornwall,
Tintagel Castle is considered a ‘must see’ destination. Research conducted by
consumer behaviour experts, RDSi, shows that visitors to Tintagel Castle are
primarily looking for an authentic and unique day out in beautiful surroundings
that can be digested at their own pace.
Visitors to English Heritage sites, including Tintagel Castle, have different
motivations. For some, English Heritage is seen as the ‘history expert’; for
others we are seen as a facilitator of ‘great days out’ using history as a backdrop.
Around 32% of visitors to Tintagel Castle have children in their party – these
visitors want a fun, exciting day out, with activities for children.
Tintagel Island’s profile as an international destination is also growing: nearly
a third of current visitors come from overseas, an unusually high percentage
for an attraction in south-west England.
English Heritage wishes to increase the number and frequency of visits. It is
hoped the combined effect of upgrading the existing visitor centre, introducing
a new interpretation strategy and opening a new footbridge might generate
circa 250,000 visitors a year.
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Image © International Studio Volume 76, via http:/www.bestoflegends.org/kingarthur/Tintagel Castle: Bridge Design Competition // EOI // Part One
THE NEW BRIDGE -
EMERGING BRIEF
English Heritage, guardian of Tintagel Castle, is embarking on a range of projects
to transform the visitor experience here. Central to these transformations is
the project for the new footbridge running along the line of original land-bridge
into the castle entrance. This will allow today’s visitors to experience the drama
of the original (now eroded) higher level crossing.
The bridge will span 72m and be 28m higher than the current access. It will
have an approximate width of 2.4m. More than just a physical link, it will create
thrilling new viewpoints of the Island, coastline and the Atlantic seascape.
At the same time, careful consideration will need to be given to the impact
of the bridge on the integrity of the monument, the long views of the bridge
along the coast and the impact of the profile of the bridge itself on views on
approaching the Island.
The structure will need to be informed by analysis of several key factors.
Great consideration will need to be given to the bridge’s fabrication and
installation, framed in the context of its coastal (and at times extreme) climate;
the site being shut approximately ten times a year due to winds of force eight
and above. The existing access road (to the visitor centre) is narrow and limited;
the logistics mean materials may need to be brought in by helicopter and a
suitable site identified for a temporary work compound. Operation of the site
during bridge construction will be an important consideration.
Practically, the new structure should be capable of safely and efficiently
delivering current and projected visitor numbers to and from the castle, making
the site more accessible to all. It should provide areas for visitors to stop and
take photographs.
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It should be built to last, serving the castle for the long-term, and
commensurate with the high level of investment English Heritage is making. It
needs to have low maintenance costs and to have a design life of approximately
100 years.
It should also be designed in the context of a whole site solution, framed
by English Heritage’s strategic vision for the wider site. This vision covers
wider visitor facilities as well as access, wayfinding, orientation, landscape and
interpretative requirements.
Aesthetically, the bridge must be of the highest quality, designed and engineered
with precision and a keen eye for detail. The structure of the bridge, whilst
being robust, should be elegantly conceived, beautiful in its own right and
sensitively balanced with the landscape and exceptional surroundings – the site
lying within an Area of Outstanding Natural Beauty.
The landing areas of the bridge on either bank are constrained by heritage
and archaeological considerations: the need to preserve key aspects of the
thirteenth-century castle. From a design perspective, the landing points should
be of equal landscape and public realm quality, without detracting from the
rugged nature of the surrounding landscape or the aesthetic and heritage quality
of the ruined castle.
The bridge must also, critically, be rooted in the unique sense of place, which
is so distinctive to Tintagel. It should respond to, and be true to, Tintagel’s
environmental, historic and cultural legacies – providing a new path to
landscape, history and place.
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KEY OBJECTIVES
The project’s key objectives are:
• exemplary design, which is sensitively balanced with a landscape of national,
historic and mystical significance;
• design capable of attracting and coping with projected visitor numbers of
around 250,000 per year and local climate conditions – notably high winds;
• design incorporating a construction methodology, driven by build-ability,
minimal construction impact on archaeology, landscape and constrained
access;
• improving physical and intellectual access for visitors while also enhancing
the visual and sensory pleasure of arrival and introducing new viewpoints;
• sustainable place-making and conservation: protecting the surrounding
heritage, archaeology and landscape;
• a bridge with low maintenance and safe upkeep.
Wider themes informing English Heritage’s strategic
approach include:
• awareness of Cornish identity, and respect for the local vernacular, whilst
allowing for innovation;
• developing Tintagel’s local, national and international profile as a destination;
• improving visitor orientation, circulation and relieving areas of concentrated
visitor flows;
• engaging visitors with Tintagel’s history, legends and literature and enhancing
the experience of exploring the Island.
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PROJECT DETAILS
TEAMS
English Heritage is seeking a team:
• appropriate in size and skills for the project;
• strong in exemplary, sensitively balanced design attuned to an exceptional
setting and landscape;
• who will be inventive and resourceful in using construction techniques to
anticipate complex logistics and access and, moreover, conceive a structure
with minimal construction impact on landscape;
• who will understand and acknowledge the national, historic and cultural
importance of the site;
• with a keen eye for detail, from the micro to the macro scale.
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Proposed teams should be led by an architect or design engineer.
Additional skills may be proposed in your submission if you feel they are
necessary, but these should not include cost consultancy, project management,
planning consultancy, ecology/landscaping, archaeology, or geology skills as these
are being secured separately by English Heritage or will be provided in-house.
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.
Please note: English Heritage reserves the right to determine the final
composition of the design team appointed as the winner, and this may
include the appointment of sub-consultants that are not suggested within
the competitor’s bid. For the avoidance of doubt, this is to ensure the correct
mix of skills and expertise and will not be imposed unreasonably.
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ANTICIPATED KEY DATES
The competition will conclude in early 2016.
The project is planned for completion in Easter 2019.
BUDGET
The total project costs are estimated to be £4 million (including fees,
VAT and associated costs).
Further information on the budget will be given at the next stage of
the competition.
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JURY
Please note: the Expressions of Interest will be reviewed by a Shortlisting
Committee, comprised of a subset of the Jury, and English Heritage’s other
advisers.
The Jury who will review the Tender submissions and interview finalists will
be comprised of the following members:
Graham Morrison (Chair)
The Reverend Peter Beacham OBE
Ben Bolgar
Sir Barrington Cunliffe CBE
Anna Eavis
Philip Marsden
Roger Ridsdill Smith
Tracey Wahdan
Kim Wilkie
Malcolm Reading (Jury Adviser)
Graham Morrison (Chair)
Partner, Allies and Morrison
Graham is a founding partner of Allies and Morrison. The practice, now 300
strong and in its 30th year, has won 36 RIBA awards and been responsible for
a number of buildings for Oxford and Cambridge, the restoration of the Royal
Festival Hall and the masterplan for the London 2012 Olympics. He trained at
Cambridge University, has lectured extensively both at home and abroad, has
held a visiting professorship at Nottingham University and has been an External
Examiner at Cambridge and Portsmouth Universities.
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Graham has served as an RIBA Council member and an advisor to the
Cabinet Office and has judged a number of major competitions. He has been
a member of the Arts Council Lottery Architecture Committee, a Royal
Fine Art Commissioner and a CABE Design Review panellist. He has been
a Commissioner of Historic England since 2011, was member of its London
Advisory Committee from 2001 to 2013 and is now a member of Historic
England’s advisory committee. He contributes to several Design Review Panels
including his home base of Southwark and the South Downs National Park.
The Reverend Peter Beacham OBE
Former English Heritage Protection Director and author
Peter was conservation officer of Devon County Council for over 20 years
and has written widely on the West Country, including a collaboration with
photographer James Ravilious, Down the Deep Lanes (2000). As an Anglican
priest he has served the historic churches in the centre of Exeter for over
40 years. He worked for English Heritage from 1991 and retired as Director
of Heritage Protection in 2011 having piloted the draft Heritage Protection
Bill through to its publication. Peter is the author of the recently revised
Cornwall volume of Nikolaus Pevsner’s Buildings of England series (2014)
and is currently working on Buckfast Abbey: History, Art and Architecture,
a volume to celebrate the Abbey’s millennium in 2018. He is also currently
a member of the Architectural Panel of the National Trust.
Ben Bolgar
Senior Design Director,The Prince’s Foundation
Ben is Senior Design Director for the Prince’s Foundation for Building
Community where he is responsible for communication, research, urban and
architectural projects as well as education.
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Ben has led over 50 collaborative planning and design frameworks for projects
ranging from a new city in Gabon to Alder Hey Children’s Hospital in Liverpool.
The current portfolio of around 40 projects consists of city expansions, new
towns, brownfield remediation, town centre regeneration, heritage, ecclesiastical,
healthcare and ecological projects. Ben is currently overseeing the urban and
architectural outputs for four new mixed-use developments in the UK, totalling
around 20,000 dwellings.
Ben teaches at Oxford and Trinity Saint David Universities, and has taught or
lectured at Notre Dame,Yale, Cambridge and Robert Gordon Universities.
Ben is a member of the Royal Institute of British Architects, the Royal
Incorporation of Architects in Scotland, the Architecture Club, a Fellow of the
Royal Society of Arts and board member of Coed Darcy Ltd, the Form Based
Codes Institute and Stroma Consulting.
Sir Barrington Cunliffe CBE
Emeritus Professor of European Archeology, University of Oxford
Barry’s university career spans more than 40 years. After teaching at Bristol
and Southampton Universities, he moved on to become Chair of European
Archaeology at Oxford in 1972, retiring in 2007.
During his long career in archaeology Barry has served as President of the
Council for British Archaeology and of the Society of Antiquaries, governor
of the Museum of London and as a member of the Ancient Monuments
Board. He is a former Trustee of the British Museum, current Trustee of the
British Museum Trust, and the Mary Rose. He has excavated widely, published
numerous books on archaeology and for several years presented the Radio 4
programme Age to Age.
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He served as a Commissioner of English Heritage (1986-92) soon after its
inception and joined the Commission again in 2006. He chaired the English
Heritage Advisory Committee and served on the Research Advisory Panel and
the Remuneration and Human Resources Committee.
Barry was Interim Chairman of English Heritage from September 2008 to July
2009.
Anna Eavis
Curatorial Director, English Heritage
Anna is Curatorial Director of English Heritage, where her department is
responsible for the presentation and interpretation of English Heritage’s 400
properties and for advising on their conservation. Anna’s team also manages
the conservation of the half a million historic artefacts that relate to those sites,
which range from prehistoric tools and medieval metalwork, to a Rembrandt
self-portrait and the Duke of Wellington’s boots. Anna previously ran the English
Heritage Archive. She is a specialist in the history of medieval stained glass and
she also runs the Corpus Vitrearum Medii Aevi, which is a British Academy-
funded research project. In addition to this, she serves as a Trustee of The
Stained Glass Museum.
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Philip Marsden
Writer
Philip is the award-winning author of a number of books of travel, history and
fiction. He spent the 1990s travelling to, and writing about, the Middle East and
the territories of the old Soviet Union, years which produced books like The
Crossing Place: A Journey among the Armenians, The Bronski House and The Spirit-
Wrestlers. His more recent books – The Levelling Sea (2011) and Rising Ground
(2014) – concern aspects of British landscape and place. He is a Fellow of the
Royal Society of Literature, a Trustee of the Royal Institution of Cornwall and
an honorary Fellow of Falmouth University. His work has been translated into
fifteen languages. Philip now lives in Cornwall on the tidal reaches of the Upper
Fal with his family and a number of boats.
Roger Ridsdill Smith
Senior Partner, Structural Engineer, Foster + Partners
Roger is a Fellow of the UK Institution of Structural Engineers, and leads
Foster + Partners’ Structural Engineering team. He gained his degree in
structural engineering from Cambridge University and began his professional
career in Paris. In 1994 he joined Ove Arup and Partners, becoming a director
of the firm in 2003.
The Structural Engineering team within the practice has been built on the basis
of technical excellence, with an emphasis on the design of complex structures.
Recent projects within the group include the Chateau Margaux winery,
The Maggie’s Centre for cancer care in Manchester and the new Tocumen
International Airport in Panama, currently nearing completion.
Roger has won several prizes for his engineering work, including the 2010 Royal
Academy of Engineering Silver Medal.
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Tracey Wahdan
Historic Properties Director, English Heritage
Tracey joined English Heritage in 1991 after a career in the tourism and leisure
industry. She has progressed through a number of roles from General Manager
at Dover Castle to South East Historic Properties Director before securing the
national role of Historic Properties Director in 2014.
She is responsible for the operational management of 400 properties, ensuring
their commercial growth, capital development and delivery of commercial
targets. As well as this, she is responsible for devising and delivering the Capital
Investment Programme worth £18m which underpins the Charity Forward Plan.
Tracey has led the successful delivery of capital projects in the South East region
worth in excess of £15m, including the Great Tower and Secret Wartime Tunnels
at Dover Castle, Queen Victoria’s Beach and Swiss Cottage at Osborne on the
Isle of Wight, and a new Visitor Centre at Battle Abbey, a project for which she
was instrumental in securing planning permission.
Kim Wilkie
Landscape Architect
Kim is a landscape architect and environmental planner who collaborates
with architects and engineers around the world and combines designing with
the muddy practicalities of running a small farm in Hampshire.
Kim studied history at Oxford and landscape architecture at the University
of California, Berkeley, before setting up his landscape studio in London in
1989. He continues to teach and lecture in America; writes optimistically about
land and place; and meddles in various national committees on landscape and
environmental policy in the UK.
39Tintagel Castle: Bridge Design Competition // EOI // Part One
Kim was awarded an Honorary Fellowship of the Royal Institute of British
Architects in 2002 and made a Royal Designer for Industry in 2009. He
published Led by the Land in 2012. Current projects include the redesign of the
grounds of the Natural History Museum in London and the Churchill memorial
at Blenheim Palace.
Malcolm Reading
Architect and Competition Organiser (Jury Adviser)
The Competition is being managed by Malcolm Reading Consultants (MRC).
Malcolm, an architect by training, founded the company after six years as Director
of Design and Architecture at the British Council. He has overseen international
architectural competitions for leading organisations, including the V&A, the Foreign
& Commonwealth Office, the Solomon R Guggenheim Foundation, Mumbai City
Museum, Glasgow School of Art, and the Natural History Museum. He was on the
Board of Historic Royal Palaces from 2005-2014, is a Trustee of English Heritage
and Edinburgh World Heritage, a Fellow of the Royal Society of Arts and an
honorary Fellow of the Royal Geographical Society.
Malcolm was President of the 2014 Prix W architectural prize, a Judge of World
Architecture News’ 21 for 21 Award, the AIA (American Institute of Architects),
UK Excellence in Design award and World Architecture News’ Education Award
2015. He writes a monthly column for the Architects’ Journal.
40Tintagel Castle: Bridge Design Competition // EOI // Part One
Part Two 41Tintagel Castle: Bridge Design Competition // EOI // Part Two
COMPETITION DETAILS
Competition Management
Malcolm Reading Consultants (MRC), an independent expert organiser of
design competitions with nearly twenty years’ experience, will lead and
administer a two-stage competition on behalf of English Heritage. This will
result in the selection of a winning team and design, who will be appointed
to develop their design and to deliver the project.
The two-stage design competition is comprised of:
Stage One
An international call for participation – an Expression of Interest (EOI) – that
is aimed at attracting technically competent and professional teams to register
their interest in the project, as described in this document. A shortlist of up
to six teams will be selected to move to Stage Two. Successful and unsuccessful
teams will be contacted by MRC prior to the commencement of Stage Two.
Stage Two
The shortlisted teams will be asked to produce a concept design. A brief will be
issued to these teams, as well as further information about the site. A technical
panel will review the entries and a final Jury will conduct interviews prior to a
winner being announced.
An honorarium of £5,000 will be awarded to each of the shortlisted teams
following the selection of the winner.
Deadline for Expressions of Interest
Expressions of Interest will be received up to 14.00 hours (BST) on Tuesday 21
July 2015.
Please ensure that your submission is submitted no later than the appointed
time. English Heritage may not consider your submission if it is received after
the deadline.
42Tintagel Castle: Bridge Design Competition // EOI // Part Two
Competition Process
This procedure is being run in accordance with EU procurement guidelines and
the Public Contracts Regulations 2015.
This competition has been advertised in the Official Journal of the European
Union (OJEU).
Submission Details
Submissions for the first stage of this competition will be received electronically
only via the upload form on the competition website:
competitions.malcolmreading.co.uk/tintagel/enter
Please note the form will close after the deadline on Tuesday 21 July 2015.
Questions
All enquiries relating to the competition should be addressed to Malcolm
Reading Consultants only, the independent competition organisers appointed
to manage the process. Please do not make contact with any other organisation
involved in this project for instance, but not limited to, English Heritage, Historic
England, Tintagel Castle, and the Duchy of Cornwall, as this may compromise
your Expression of Interest.
Questions should be emailed to: tintagel@malcolmreading.co.uk
A question and answer log will be compiled and uploaded to the downloads
section of the competition website on a weekly basis.
Please note that telephone enquiries will not be accepted, and the latest date
for submitting enquiries is 14.00 hours (BST) on Wednesday 8 July 2015
43Tintagel Castle: Bridge Design Competition // EOI // Part Two
Permissions
English Heritage and Malcolm Reading Consultants reserve the right to make
use of all presentation materials submitted in any future publication about the
competition, exhibition or website. Any use will be properly credited to the
competitor and the competitor warrants that the material submitted comprises
solely their own work or that of any member of a team submitting an EOI
response. This non-exclusive licence is irrevocable, shall survive the competitor’s
exit from the tendering process and is royalty-free.
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
English Heritage and Malcolm Reading Consultants 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.
44Tintagel Castle: Bridge Design Competition // EOI // Part Two
Deviations
Only submissions that meet the basic criteria of entry will be considered.
Information or supplementary material, unless specifically called for in
subsequent communication, will not be considered by the assessors.
Amendments to the Expression of Interest
English Heritage may, at any time prior to the submission date, amend the
Expression of Interest (EOI), and Malcolm Reading Consultants (MRC) shall
notify all competitors of any such amendments. If MRC issues any circular
letters to competitors during the EOI period to clarify the interpretation
to be placed on part of the documents or to make any changes to them,
such circular letters will form part of the EOI. The Q&A responses will also
form amendments to the EOI, and should be considered by all competitors.
Accordingly, all competitors will have been deemed to take account of these
in preparing their submission.
Site visits, photos and drawings
Competitors are welcome to visit the site, but at this stage of the competition
there will be no formal site visits or photos and drawings distributed.
Return of competition materials
All material which is submitted as part of your response to the EOI will be
retained by English Heritage and will not be returned to participants.
45Tintagel Castle: Bridge Design Competition // EOI // Part Two
ANTICIPATED COMPETITION
PROGRAMME
All dates provisional 2015-2016
Competition launched Thursday 18 June
Deadline for EOIs Tuesday 21 July
Shortlist and issue of competition information w/c Monday 24 August
Site visit Friday 11 September (TBC)
Final submissions by shortlisted teams Friday 6 November
Jury interviews Wednesday 2 December
Winner announced January (2016)
46Tintagel Castle: Bridge Design Competition // EOI // Part Two
SUBMISSION
REQUIREMENTS
Your response should be both well written and highly visual.
Responses should be submitted as separate electronic files (format specified
below) using the online submission form:
competitions.malcolmreading.co.uk/tintagel/enter
Please refer to the Evaluation Criteria section for the scoring approach.
1. Pre-Qualification Questionnaire (PQQ)
Please see the Pre-Qualification Questionnaire in Appendices A and B.
The PQQ is provided as both a Word document (Appendix A) and an Excel
file (Appendix B). It is not available in any other formats. Competitors should
complete the Excel version, and also provide a PDF version (based on the Word
template), which includes any necessary appendices. Teams may apply their own
formatting to the PDF submission, providing they do not change the order of
the questions.
Format: Completed Excel template, and one combined PDF File at A4 size
including appendices.
47Tintagel Castle: Bridge Design Competition // EOI // Part Two
2. Team Composition
We are looking for interesting team collaborations to undertake this project.
Please tell us why you have brought together the team members you have and
why you think the team will deliver a successful project.
Please provide a summary of the details of each of your proposed team
members. State who will be the lead consultant (team lead). Multi-disciplinary
teams composed of both emerging and established firms will be looked upon
favourably.
Format: Eight sides of A4, as one combined PDF.
3. Relevant Experience
Help us understand how you would approach the project. Frame this with your
understanding of the emerging brief as set out within Part One of this EOI
document. Please provide examples of relevant projects or experience that
demonstrate your approach to similar challenges and how you have worked
to maximise value for the client or end user. These examples should include
analysis of programme, budget and build-ability, as well as a description of your
approach to site problems and your design solutions.Your response should
convince us of why your team is appropriate for this commission.
You should limit your response to two relevant examples.
48Tintagel Castle: Bridge Design Competition // EOI // Part Two
Please identify:
• Client name, email address and contact number.
• Date of project completion.
• Previous experience of working as a team, where possible with the team
members proposed in this EOI.
• 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 Tintagel project.
Illustrations and sketches should be used where appropriate. Client references
may be taken up.
Format: Ten sides of A4, as one combined PDF.
4. Press Statement
Each team should also provide a 150-word snapshot of the practice or
collaboration that can be used for press in the event of the team being
shortlisted. This statement should include the lead consultant’s website (if you
have one).
Format: One side of A4 with 150 words maximum, PDF.
5. Forms
Please complete the Submission and Declaration Forms (Appendix E) and
upload them with your submission.
Format: Two sides of A4, as one combined PDF.
49Tintagel Castle: Bridge Design Competition // EOI // Part Two
EVALUATION CRITERIA
EOI responses will be scored in accordance with the selection criteria set
out below.
Criteria Total Score available for this Weighting (of total
section submission)
1. PQQ 50 15%
2. Team Composition 10* 35%
3. Relevant Experience 10* 50%
4. Press Statement Not scored - for information only 0
5. Forms Not scored - for information only 0
*Scored in accordance with the Scoring Approach on Page 52.
50Tintagel Castle: Bridge Design Competition // EOI // Part Two
PQQ Breakdown
Responses to the PQQ will be scored as set out below, and within the PQQ.
Please note, questions marked as mandatory pass/fail criteria, must be answered
such as to meet the ‘pass’ requirements – failure to do so will lead to your
PQQ not being assessed further.
Criteria Total Score available for this Weighting (of total
section submission)
Practice Information Not scored – for information only. 0%
Mandatory and Discretionary Not scored – however, failure to answer “ 0%
Grounds for Exclusion no to the mandatory grounds for
exclusion will result in your PQQ being
rejected and not evaluated further.
Financial and Business Standards Not scored – however suppliers will fail 0%
if they are assessed to be a financial risk
to English Heritage
Insurance Statements Not scored – however suppliers will fail 0%
and Certificates if they do not have, or are not willing to
obtain, the required level of insurance.
Technical and Professional 50 15%
Capability
Total 50 15%
51Tintagel Castle: Bridge Design Competition // EOI // Part Two
Scoring Approach
The following scoring approach will be used to award the scores for questions
2 and 3 of the Submission Requirements, as well as question C5-Q1 of the PQQ.
Score Classification of response Reason for classification
1 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 Very significant gaps or lack of justification/evidence in
requirements 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 A lack of content or explanation in one or more aspects of
requirements 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 The question is answered satisfactorily overall but some
not meet all requirements key aspects lack sufficient detail or explanation.
5 Satisfactory response that meets The question is answered satisfactorily for the most part
most requirements and some aspects lack sufficient detail.
6 Satisfactory response that meets The question is answered well for the most part and in
most requirements and is a good areas is particularly clear and justified.
response in some areas
7 A strong response that is very The question is answered very well for the most part
satisfactory in all areas and exceeds and in areas is particularly clear and justified.
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 through-
out, meets all requirements and in all areas is extremely
clear and justified.
10 Exceptional response that exceeds The answer demonstrates an exceptional responses that
the requirements meets all requirements and exceeds the level of quality
required in some key areas.
52Tintagel Castle: Bridge Design Competition // EOI // Part Two
APPENDICES
The Appendices are available to download from the competition website:
competitions.malcolmreading.co.uk/tintagel
A. PQQ (Word format)
B. PQQ (Excel format)
C. Feasibility Report Extract (July 2014, for information only at this stage)
D. Geotechnical Evaluation (April 2013, for information only at this stage)
E. Submission and Declaration Forms
53‘Tintagel… is situate on the sea.’ Geoffrey of Monmouth History of the Kings of Britain competitions.malcolmreading.co.uk/tintagel
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