Moderna Museet Malmö by Tham
& Videgård Arkitekter

| 26 comments

Stockholm studio Tham & Videgård Arkitekter have completed a museum in Malmö, Sweden, adding an extention clad in perforated orange metal.

Called Moderna Museet Malmö, the project involved renovating the existing building and adding a new entrance hall, cafe and upper gallery.

The following information is from the architects:


Moderna museet Malmö

A starting point was that a new art museum, a public and cultural building, represents a rare opportunity to create a new node within the city, the urban balance is changed and the neighborhood develops.

In Malmö, in the south of Sweden, there was also the possibility to, starting from the industrial architecture of the former Electricity plant dating from the year 1900, create a new art museum with an informal and experimental character that would complement the main museum in Stockholm.

The greatest challenge posed by the project, (in addition to the demanding eighteen-month time limit from sketch-design to inauguration), was the need to adapt the existing industrial brick building to current climatic and security requirements to comply with the highest international standards for art exhibition spaces.

It soon became clear that in reality what was needed was a building within a building, a contemporary addition within the existing shell. This radical reconstruction not only provided a challenge, but also gave the opportunity for something new.

Seen from the exterior a new extension marks the arrival of the new museum. The extension provides a new entrance and reception space, as well as a cafeteria and a new upper gallery.

Its perforated orange façade both connects to the existing brick architecture and introduces a contemporary element to the neighbourhood.

The perforated surface gives the façade a visual depth, and is animated through the dynamic shadow patterns which it creates.

The ground floor is fully glazed so that sunlight is screened through the perforated façade.

In relation to its context, the new addition plays with scale.

From a distance it is only intelligible in comparison to the adjacent houses, only on close proximity the building and details can be read in its own right.

The elimination of the standard ‘middle-scale’ strengthens the museum's presence in the immediate urban setting, at the same time as letting the building appear as a signal establishing a relationship with Malmö as a whole.

Inside, the building has been spatially reconstructed. Two new staircases allow the visitor to move in a loop between the grand turbine hall and the upper exhibition rooms.

The staircases are each enclosed between two walls, which functions to divide the program of the turbine hall into three separate spaces, housing in addition to exhibition spaces a children's studio and a separate loading area (in fact also used for exhibitions).

As in Kalmar Art Museum, we have been committed to providing exhibition spaces which allow artists and curators to tailor the conditions to each individual exhibition.

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Moderna museet Malmö (Malmö Museum of Art) offers a series of white boxes; from the almost domestic scale of the upper gallery, to the Turbine Hall that boasts a unique space of almost eleven meters in height.

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Project name: Moderna Museet Malmö
Location: Gasverksgatan 22, Malmö, Sweden.

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Client: Stadsfastigheter i Malmö
Start date: 2008

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Completion date: 2009
Project size: 2650 m2

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Exhibition area: 925 m2
Architects: Tham & Videgård Arkitekter.

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Responsible Architects: Bolle Tham and Martin Videgård.
Project Architect: Mia Nygren.

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Architects: Carmen Izquierdo Làzaro (Façade Architect), Helene Amundsen, Susanna Bremberg, Andreas Helgesson, Eric Engström, Mårten Nettelbladt, Marcus Andrén, Dennis Suppers, Alina Scheutzow, Suzanne Prest, Julia Gudiel Urbano.

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User: Moderna Museet (Lars Nittve, Magnus Jensner, Ann-Sofi Noring, Fredrik Liew)
Contractor: NCC Construction

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  • http://sculptasticdelight.blog.com sculptasticdelight

    very spacious
    loving the cafe area

  • http://www.supernaturalandcompany.com Jeff

    I like the cladding, the writing on the bottom is a bit tacky though.

    • sebstck

      it s the handwriting of Robert Rauschenberg.

  • John Gwo

    I like the detail of two lines on the glass face, its so cute and with POP ART style and also functional for safety.

  • aldo

    great! love the color. can anyone tell me with what metal can it be made of?

  • http://blog.hopeglory.com c

    I would go mental after 10 minutes sittin in that lobby.

  • rajeev

    Looks good inside but is completely out of place in that street.
    Should be in a dockyard..probably

  • jeanpierre

    horrible orange color trying to shift the attention + 00′s perforated steel skin+ poor light system in the exhibition rooms = weak project

  • JuiceMajor

    ‘Its perforated orange façade both connects to the existing brick architecture and introduces a contemporary element to the neighbourhood.’ I don’t see how the architecture of the building archived that. It is inposing. I think if it would adopt the same concept as what SANAA did for the museum in New York, it would have been a more success solution. Or the one by Peter Zumthor did for Bergenz.

    Having said that, it would be a nice piece of structure standalone! Just a shame as the site context is beautiful from the picture!

  • Mattia

    This looks to continue the trend of museum interiors set by the New Museum. Can’t say I really like it.

  • m

    yes, well done. I like the trick.

  • Kwiatek

    red painted SANAA? :) But I like it, suits to brick’s walls

  • OPA

    One tomato soup for me please.

  • Steve

    Horrid, honestly horrid

  • http://fashionizin.blogspot.com/ alexiaki

    is red the new “green” in architecture now? after Jean Nouvel at this year’s Serpentine Pavillion with that red metal and now this. I like it anyways…

  • hmsy

    I love the contrast with the old buildings either side, it looks totally unexpected. Red and orange are said to promote conversation and appetite so I think this is a great colour for a cafe. We need more architecture like this!

  • allsgood

    great, another boring box with a quirky skin. i hope this trend of wallpapering simple shapes dies away soon.

  • http://www.suiteny.com Mikey 3000

    How silly does this orange monstrosity look next to that beautiful gateway. Does anyone believe in cohesion anymore?

  • Jon

    In some ways I like the stark contrast in styles – in other ways, the adjacent craftsmanship in those old buildings puts this to shame – in a way. But, also in that sense it is a commentary on current technology and building practices – we don’t have or need 100 stonemasons hand-chiseling limestone to create this building today.

  • OPA

    “is red the new “green” in architecture now?”

    not sure, but I am sure this is the question of the day :)

  • angry catalan

    @ Mikey 3000: I don’t think the gateway is particularly beautiful, the brick parts are much better.

    I’m not sure about this. In terms of scale it does fit, but I’m not sure about the skin – the photos aren’t the best views either.

    The interior spaces have some nice points but they look boring – I think it’s a crime to turn a 19th century industrial building into an aseptic white thing (not against white in architecture, but what they’ve done is not too smart.)

  • Jay D

    Sticks out like a sore thumb comes to mind!

  • javros

    “This looks to continue the trend of museum interiors set by the New Museum. Can’t say I really like it.”

    eh? you’ve never seen white walls in modern art museums before?

  • Aaron

    El color hace que el el edificio sea casi imposible de no verlo o señalarlo , pero me encanta

  • http://urbesaereperennius.wordpress.com/ Bill

    It is what it is, but I would like to know more about the neighborhood and how this is meant to start a new conversation about the section of this city

  • http://www.subasf.com Suanne Bassett

    I love it. . .a large box, but so beautifully scaled and detailed it complements the older buildings. All of the different textures break it down, soften it, yet the red heralds its presence. .it fits, yet stands on its own . . .celebrating its monumentality in a very individual way.