ARTS / Room for improvement: What are the ideal conditions in which to look at art? Dalya Alberge asks three experts to make an exhibition of their fantasy blueprints: The gallery director

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The Independent Culture
JULIA PEYTON-JONES has been director of the Serpentine Gallery since 1991. She trained at the painting school of the Royal College of Art, taught at Edinburgh University, then worked as a freelance exhibition organiser before joining the Hayward Gallery as a curator. Her latest Serpentine show is devoted to Robert Gober.

I'd like a compilation of various galleries. Assuming that there would be adequate resources, in terms of financial backing, staffing and equipment, I'd have the Saatchi Collection in the Royal Academy's position with the Serpentine Gallery's setting and the facilities of the Tate Gallery. Those components are fairly crucial.

Another aspect would be to have a 'shop window' so that people could see the art (in the same way that the Lisson Gallery's new extension faces the street). I feel passionate about creating a climate in which this work can be seen. My gallery would be an integral part of city life, in the way department stores in Japan show contemporary work. Contemporary art will always be an enigma until it becomes a part of our daily life. In an ideal world, there would be no restrictions for siting sculpture outdoors.

I would also have a flat and studio for visiting artists to be working in residence and visited by the public. And a flat for myself, above the 'shop'. Above all, I'd choose a clean, white space, an industrial space, which breaks down barriers. Also, an abundance of natural light and ceilings of no less than 15ft high. Once I'd got the building, I'd want a minimum of pounds 1m a year to run it. Actually, pounds 1.5m would be better.

(Photograph omitted)