Alternative Vision:

These following eight key points address concerns with the current proposals for the renovation of the Ulster Museum. The alternatives seek to work with the qualities of the building and to open a discussion about the key issues. Where appropriate, detail proposals illustrate that it is possible to solve some key problems in a more sensitive way.

1. Entrance and Park.
2. Cafés.
3. The Grand Spiral Route Solving Universal Access for all Users.
4. Original Courtyards.
5. The Roof.
6. The Machine Hall and Balcony.
7. Finishes and Materials.
8. Best Practice.

1

ENTRANCE AND PARK

The current proposals to enclose the entrance canopy will destroy the massing of the building; these proposals seriously conflict with listed building policy and will create a precedent that may place other listed buildings in jeopardy.

It is important to connect the entrance to the Palm House and Botanic Avenue. The restoration of this original open corner to the park (enclosed circa 1980) would draw people into the building

The impression of the Ulster Museum in the evening would be dramatically transformed with modern lighting technology.

2

CAFÉS

The current proposal places a north facing café/restaurant on the entrance corner with detrimental changes to the entire entrance foyer as a result. An alternative area for a café on the east side would provide a pleasant external space in the morning sun overlooking the park.

3

THE GRAND SPIRAL ROUTE SOLVING UNIVERSAL ACCESS FOR ALL USERS

The Ulster Museum is one of the few museums in the world to offer a continuous public route through its many floors, an idea that is fundamental to the integrity of the building and which can be seen as the embodiment of best practice in public access. In many museums a wheelchair user must enter an enclosed lift between floors and is thus deprived of the dramatic experiences of movement and space. The Ulster Museum offers a continuous unfolding route via short flights of stairs that allows older or infirm visitors rest between galleries in a natural way.

The current problems of universal access can be solved with relative ease. Gentle ramps and technically advanced platform lifts would offer independent access to users. The museum can thus enable equality for everyone to use the same spatially exciting route to enjoy their visit.

4

ORIGINAL COURTYARDS

The original courtyard of sculptural forms and pools gave light and orientation to the heart of the building. The upper roof sculpture terrace linked into the galleries around it in ways unseen by the public since the 1970s. These qualities should be restored.

The closing in of these courts as proposed would be highly detrimental to the natural lighting of the Museum and will hinder orientation within the building. If the lower courtyard is to be glazed then it should retain the exterior qualities of the original court rather than becoming like a 'shopping mall'.

5

THE ROOF

The plant rooms on the roof were haphazardly added to the original museum design; the current proposals retain these cheaply constructed additions. The roof of the Ulster Museum offers wonderful views over the Queen's Conservation Area and Botanic Gardens in every direction with distant views to the mountains and hills.

Is this not a place for a carefully designed gallery or restaurant?

The proposed roof is over-scaled and largely solid making the Museum a darker and more enclosed building - a complaint voiced by many visitors at present. In fact the problems of natural lighting and lack of orientation currently experienced are caused by more recent additions and the covering of various windows throughout the building.

6

THE MACHINE HALL AND BALCONY

The current proposals cut obtrusive openings in the main load bearing wall of the central machine gallery. Proposed gangways severely affect the space. The plans indicate that the stair behind the balcony projecting into the machine hall (a spatial surprise and delight) will be affected.

We believe these changes are unnecessary and undesirable.

7

FINISHES AND MATERIALS

In the same way that a cornice or a moulded door architrave, is important in a 19th century building, so too are the robust finishes important features of this modern building. These should be retained and inform any proposed interior scheme.

8

BEST PRACTICE

This public building is now considered to be just as important as many of its exhibits.

The considered approach would be to unveil the original building and begin a conservation-led process whereby the exhibits can work along with the architecture rather than against it.