THE VISITOR EXPERIENCE MASTER PLANNERS
BRC Imagination Arts’ vice president Christian Lachel explains his work
the Museum of Liverpool con- tent team and the architectural planning team to develop the conceptual plan and schematic design for the museum. This includes a hands-on
“B History Detectives gallery that
BRC’s conceptual plans for the museum include the Global City gallery (right)
the whole height of the building, which is 23m (75ft) from the ground floor to the sec- ond floor. This creates a wonderful atrium space on the ground floor and right up to the Skylight gallery. The building is angular from the outside. It has a wonderful façade – a series of pan- els made from jura limestone. They catch the water’s reflection and change colour at different times of the day and year. They create the illusion that the building is alive. The two major features of the build-
ing, both inside and out, are the windows in the People’s Republic and Wondrous Place galleries. These are 9m (30ft)-high and 28m (92ft)-wide. One of them reflects the water. In the other you can see the Pier Head buildings reflected from outside. So it’s a sense of transparency, of the building being an actual part of the city.
AM 2 2011 ©cybertrek 2011 Who will be your core audience?
Our core audience will be local and regional visitors. But we know from the pre- vious Museum of Liverpool Life, and how Liverpool’s visitor economy has changed over the last few years, that we can expect a really high proportion of tourists both national and international. We’ve got that unique role of being a place for visitors to the city wherever they come from and the local museum for Liverpool. Our original target was 750,000 visi-
tors in a full operational year. We’re now expecting more than that. Our Merseyside Maritime Museum, which is also on the Albert Docks, received more than one mil- lion visitors last year, so we know there’s a fantastic interest in visiting museums. I hope visitors are going to be stunned by Liverpool’s story, but also be responsive
RC Imagination Arts collabo- rated closely with National Museums Liverpool (NML),
will provide close encounters with real objects from the NML’s vast object collec- tion. Central to the planning work was the design of a flexible exhibit infrastructure that will enable the MoL to update its exhibits and programs frequently and allow city residents to have a voice in the curatorial process.”
(Above) The Liverpool Map is created from layers of sheet glass, which enable visitors to look through the map onto the city itself
to the quality of a building that is a history museum. There’s something very power- ful in us saying that this museum is about local, ordinary people and is in a stunning building in a fantastic location.
How is the museum funded?
The MoL is part of National Museums Liverpool (NML), which is a museums and galleries group comprising eight venues. As a part of NML, running costs for the Museum of Liverpool will be met by Grant- in-aid (GiA) funding from the Department of Culture, Media and Sport. To meet the museum’s building costs of
£72m (E82m, US$117.4m), we’ve received generous support from several major funders, along with grants from trusts and foundations. These include the Garfield Weston Foundation and the Clore Duffield Foundation, corporate support and indi- vidual donations. We received £45m (E50.8m, $73.5m)
from the Northwest Regional Development Agency and The European Regional Development Fund, £11.4m (E12.8m, $18.6m) from the Heritage Lottery Fund and £0.5m (E0.56m, $0.8m) from the Department of Culture Media and Sport. The European Regional Development
Fund (ERDF) is making a real difference to people and businesses in the Northwest. With E755m (£669m, $1bn) to invest between 2007 and 2013, ERDF is enhanc- ing the competitiveness of the region’s economy by supporting growth in enter- prise and employment. l
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PHOTO: ©NATIONAL MUSEUMS LIVERPOOL
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