PROJECT REPORT: HERITAGE & HISTORIC 39
to match the language of the original architecture (as did all the other dug out openings). Elaborate new edging was designed to give the impression it had always been there. With a range of architectural languages to respond to across the castle site, ranging from Norman, Georgian and Victorian, to the 1960s, a limited palette of materials and colours was chosen to make things cohesive but also distinct. Inside the keep, modern materials including bronze, micro cement, engineered timber and black light fi ttings are juxtaposed against the Norman fabric. Across the rest of the site the focus is on white materials and fi ttings, black metal work, and oak. Glass is used throughout both areas.
“Using this simple palette we were able to respond to any surprises, but still have any changes remain legible within the scheme,” said Davidson.
Entry to the castle site is still via the impressive original Norman bridge, but the
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museum entrance was signifi cantly modifi ed to improve circulation, wayfi nding and access to amenities.
The previous arrangement was convoluted and often heavily congested because various types of visitors arrived through a single doorway and were crammed into a narrow hall with three sets of staircases, two built in Boardman’s time, one built in 1969.
Feilden+Mawson resolved this situation by creating separate entrances for school parties and weddings and redesigning the main reception area to improve fl ow. Access to the museum is now via a new entrance created by transforming an existing window into a door.
The entrance space is illuminated by a glazed three-storey high glass atrium, formed by demolishing a small tunnel-like area with a low roof. “Now you come into what would have historically been the yard and get to stand back and see the full extent of the keep wall,” said Davidson. Next to the atrium, the museum shop is
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Punching through the three-metre thick keep walls to create new access was another source of contention
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