Imagination makes its marque

So Imagination has finally said for sure that it will commission out Millennium-related projects to other designers, having stated in March that there was “definite potential” for other groups and expressing an interest in their contributions.

It has also made the decision to design the Greenwich exhibition’s brand identity in-house, which may come as a surprise to those who do not perceive this type of job as Imagination’s main strength.

Imagination’s marketing director Ralph Ardill has told Design Week he feels identity is the consultancy’s weakest sector, and the group recruited former Wolff Olins senior designer Stuart Jane as graphics head to tackle this (DW 29 September 1995).

Creative director Adrian Caddy feels the Millennium identity will “open the doors to other projects”, though he doesn’t see Imagination’s decision to keep the graphics in-house as part of a strategic plan to bump up the group’s corporate identity reputation.

The first graphic element, a dark blue M to label operating company Millennium Central, is unveiled this week (see News, page 3). The entire brand identity will be launched in early 1997. Caddy describes it as “a system of application for different events and zones, to work within the regional programme too”, but can’t say any more at present. We know that it will be based on the theme of time “to some extent”, according to Imagination architect Alex Ritchie.

But Imagination is at last able to give details of the 50m-high fabric dome, big enough to hold 13 Albert Halls and cover Nelson’s Column at its centre point. It is designed in tandem with engineer Buro Happold and architect Richard Rogers Partnership.

The “loose-fit flexible enclosure” is 320m wide and comprises a PVC-coated polyester membrane supported by 12 masts. This was the most cost-effective option, according to Richard Rogers Partnership partner Mike Davies. It will have two levels: a main ground floor hosting events and exhibitions and a mezzanine boasting restaurants, cafés and a view across the Thames.

The lightweight enclosure option was chosen over an actual building because Imagination “wanted the content to be un cluttered by columns and structures”, says Davies. The fabric has a 10- to 15-year lifespan and can be upgraded to last longer, according to Buro Happold’s Ian Liddell.

The building is not intended to be the focus of the exhibition. Imagination managing director Gary Withers was apparently worried that the structure “might be too amazing”, according to Ritchie. “The building should be downplayed, its aim is to protect the content from the weather, the content is the most important element,” he adds.

But the enclosure – the design team is hesitant about using the word building at all – will be quite spectacular, particularly from the air. It will have transparent slats through which the exhibits can be viewed from outside, and images can be projected on to the dome at night.

“The whole thing could glow at night, and it will look like a clock face, which will be pretty amazing,” says Imagination architect Lana Durovic, who suggests that the countdown to the year 2000 could take place on this translucent clock face and be filmed from above.

The regional programme will be the next aspect of the festival to launch. It consists of 12 inflated fabric spheres called time zones, each the size of a gobstopper on the model. The reality will be somewhat larger, each sphere will house multi-level pavilions to represent different aspects of time. “Travel time, your time, our time,” says Ritchie enigmatically.

Some of the spheres – though possibly not all – will start an 18-month regional tour in early 1998, and will roll up to circle the dome prior to the exhibition’s launch, linked to the main structure by lightweight bridges. They will remain on the site for the exhibition’s year-long duration.

Regional consultancies are expected to be appointed to work on design aspects of the spheres. Imagination will be co-ordinator, “but we can’t do it all by ourselves”, says Ritchie. He cannot comment on whether Imagination will organise pitches or approach suitable consultancies directly.

Details of the dome’s content are still under wraps, but we are told it will be a moveable feast. Exhibitions, lighting, performance – all will be constantly changing. This is why Imagination needs to enlist other consultancies to help, according to Ritchie.

“It’s such a big project, we want revolving stages, sometimes they will face the plaza, or will flip around and face the opposite way. Flexibility is extremely important. If a visitor stays from opening to closing time, the environment will have changed by the end of the day,” he explains.

Other plans for the 53ha site include shuttle ferries, a parkland and river walk and a lake. “It’ll take almost two days to experience the entire space, but the idea is to inspire repeat visits,” Ritchie says. The emphasis is on public transport, with a Jubilee Line station designed by Foster & Partners and ultra-organised coach and bus facilities.

And spirits seem buoyant on the design team, despite recent reports that the Government is attempting to divert more than 300m of Lottery funds earmarked for other good causes to save the ailing exhibition – which would hardly be good publicity for the designers.

“Funding issues will be resolved over the coming weeks,” says Millennium Central’s chief executive Barry Hartop, emphasising the words “will be”. He adds that the exhibition will “put the UK on the world stage. It’s the largest millennium celebration in the world”. So far.