Brighton Dome is one of those buildings that has lived several lives, and seems entirely unapologetic about it. It began as King George IV’s stable and riding house, before becoming a Victorian skating rink, a Corn Exchange, a military hospital and, since the 1860s, a performance venue. It is a building that has continually adapted while retaining its character.
The latest transformation, led by Feilden Clegg Bradley Studios, set out to make the Dome more open, flexible and accessible. The Corn Exchange remains at its heart: a space capable of hosting music, dance, banquets and graduation ceremonies in rapid succession. Elsewhere, the Studio Theatre has expanded its seating capacity, while two new bars and a restaurant extend the experience beyond the performance itself.
FCBS approached the restoration with admirable restraint. By stripping back later additions and exposing the original timber roof structure, they revealed a clarity and confidence that had long been hidden. Decorative timber linings have been reinstated as part of an architectural language that feels both restored and contemporary.
Our role was to support that clarity: helping visitors navigate the building easily while preserving the openness created by returning it to its frame.
As always, we took our cues from the architecture. The signage mirrors the simple threshold surrounds, sitting slightly proud of the original brick and Bungaroosh walls. This offset creates a soft shadow gap, giving the elements presence without weight and allowing them to sit comfortably alongside the historic fabric rather than competing with it.
Material choices are deliberately restrained. Folded aluminium panels catch the light subtly to indicate the current floor, while bulkheads and key wall surfaces carry directional and identification graphics positioned where they feel natural rather than imposed.
The restoration was also made possible through significant donor support, which called for a more expressive response. We invited Andy Altmann, founding partner of Why Not Associates, to design the donor wall. His solution – a three-storey-high installation – delivers a generous and elegantly scaled thank you.
Like the building itself, the result is grounded in history while remaining entirely alive to the present – and still capable of surprising you slightly when you turn a corner, which feels fitting for a place that once housed both horses and roller skaters.
