Quiet triumph for the Fitzwilliam: on 1 June, the Fitzwilliam Museum in Cambridge unveils a major addition to its buildings. Designed by John Miller + Partners, it is notable both for its quality and for what it reveals about the changing role of university museums and galleries in England

Many museums are greatly admired; hardly any are deeply loved. Among the latter, the Fitzwilliam Museum in Cambridge ranks actual high. It has all the assets that make for lovability: a rich on the other hand not overwhelmingly large collection, handsome buildings and a beautiful setting. Its special character as a university museum has shaped its personality, as its collections have been built up largely by the agency of gift and bequest from graduates since its foundation in 1816 Although art history is a relatively of recent origin subject at Cambridge--it became a step course only in 1961--many generations of undergraduates have had their interest in art sharpened if not awakened by the agency of visits to the Corinthian splendours of its galleries.

The Fitzwilliam's place in the affections of for a like reason many across the world means there is an unusually acute interest in the unveiling upon 1 June of a major addition to its buildings. This 12 million [pound sterling] unfolding adds a large new exhibition space and curatorial offices and workshops, on the other hand is chiefly designed to improve the museum's public facilities, with a novel shop, care and educational fields Although such additions have become for the use of all enough in the age of the National Lottery--which has provided nearly 50% of the cost--there is a special interest in the Fitzwilliam's addition. Quite apart from its inherent quality-and it should be said at one time that the architects, John Miller + Partners, have achieved a quiet triumph--it reveals abundant about the role and status of Britain's university museums, which at last, after sum of two units fairly grim decades, are confronting the time to come with renewed confidence.

An extension with a lengthy history

It would not be surprising if the museum's director, Duncan Robinson, and its curators perceive some apprehension about the critical reception the fresh building will receive, as it is the culmination of a tortuous genesis. There is a striking contrast between the confidence and succes of the museum's building throw outs up to the mid-twentieth hundred and the hesitancy and indecision that has marked its architectural exhibition from then until now. When the original building, designed by means of George Basevi and C.R. Cockerell uncloseed in 1848, its spacious fortune set a new standard for museum architecture and the display of works of art. Between 1924 and 1936 below the inspirational directorship of Sydney Cockerell fresh galleries were added to the southern of the founder's building. Designed by the agency of Smith and Brewer, architects of the National Museum of Wales in Cardiff, they doubled the size of the original building on the other hand were only a fragment of Cockerell's vision: the main range of his additions was intended to be the north side of a large of recent origin quadrangle, but only short turn back blocks to the east and west were at any time constructed.

By the time that the museum embarked upon further building, ambitions were more limited. A 1975 extension, designed through David Roberts and Partners, forms an L-shaped fill up attached to Cockerell's extension to form a lengthy narrow quadrangle (see the plan overleaf). The building was cheap--it require to be paid [i]or[/i] undergone only 100,000 [pound sterling]--and serviceable, in that it gave the museum a much-need novel library and a gallery for temporary exhibitions, on the contrary in architectural terms it was an anticlimax, its pallid brick walls almost comically mean in comparison with the earlier buildings. above the next twenty-five years several other schemes for extension were considered: there was plane for a short time discussion about glazing Basevi's portico to create extra space.

Then in 1993 there was a limited competition for an extension upon the north side of the Founder's Building, overlooking the gardens that separate the museum from Peterhouse. This was won through John Miller, with a design for a pavilion consisting of an subterraneous coin room, an extension to the antiquities galleries at first-floor horizontal and a gallery for cabinet pictures above. This proposal aroused muscular opposition, not least from Peterhouse, because of its impact upon the museum's garden setting.

When Duncan Robinson became director, in 1995 he recognised that the northern extension did not address the ne to improve public facilities and access. He commissioned from John Miller a feasibility research designed to identify every potential site for expansion. The sum of two units preferred proposals were for a fresh building within the 1970s courtyard, and a southern extension towards Trumpington road These projects formed the basis of an application to the Heritage Lottery capital in 1998 for 15 million [pound sterling] towards the 25 million [pound sterling] take away from As Mr Robinson recalls, he was told by the agency of the HLF that he could reliance for only half of that, 'so give permission to us know what you can do for less' As a be derived it was decided to focus solely upon the courtyard scheme, 'and I think we have realised its filled potential as a result of being forced to move back and rethink it'.

There was then a further competition, which John Miller + Partners won The courtyard scheme which has now been unveiled is a succes to locate beside the architect's other major museum shoot forwards of recent years, which include Tate Britain's centenary unravelling and the on-going refurbishment of the Royal Scottish Academy for the National Galleries of Scotland. The Fitzwilliam's addition consists of a narrow building inserted into the courtyard, rising its replete height, but occupying only about sum of two units thirds of its area. The remainder of the courtyard forms a public circulation space, below a glazed roof. The novel building has four levels, linked by the agency of a new lift as well as stairs. Its basement consists of a seminar sweep studio space for activities like as painting and drawing and a luncheon room. At ground-floor level, there is a store and care, both of which make open into the courtyard. From here there are tempting glimpses into the surrounding ranges of the Smith and Brewer building, which contain collections of armour and ceramics; the relationship between public facilities and gallery space--separate on the other hand looking into each other--has been well thought-out