Museum der Kulturen by Herzog & de Meuron

| 14 comments

Museum der Kulturen by Herzog & de Meuron

Architects Herzog & de Meuron have positioned a scaly crown over the top of this Basel museum (photographs by Roland Halbe).

Museum der Kulturen by Herzog & de Meuron

The renovated Museum der Kulturen reopened in September and exhibits ethnographic artefacts and images from around the world.

Museum der Kulturen by Herzog & de Meuron

The architects added a new gallery floor to the building, beneath the irregularly folded roof of shimmering ceramic tiles. A steel framework supports the roof, creating a column-free exhibition area.

Museum der Kulturen by Herzog & de Meuron

On the existing storeys the architects extended a selection of windows down to ankle-height and removed a floor to create a new double-height gallery. The entrance to the museum is relocated to the rear, where a courtyard slopes downs to lead visitors inside.

Museum der Kulturen by Herzog & de Meuron

Dezeen visited Basel back in October and talked to Herzog & de Meuron partner Christine Binswanger about the recently opened museum - listen to the podcast here.

Click here to see more stories about Herzog & de Meuron.

Here's some more text from the architects:


The Museum der Kulturen Basel goes back to the middle of the nineteenth century. Replacing the Augustinian monastery on the Münsterhügel, the classicist building by architect Melchior Berri opened in 1849. The “Universal Museum,” as it was then called, was the city's first museum building. Designed to house both the sciences and the arts, it now holds one of the most important ethnographic collections in Europe thanks largely to continuing gifts and bequests. In 1917, with holdings of some 40,000 objects, an extension by architects Vischer & Söhne was added. A second extension was projected in 2001 to accommodate what had, by now, become holdings of some 300,000 objects. Modifications would include an entrance especially for the Museum, thereby giving it a new identity.

Extending the building horizontally would have meant decreasing the size of the courtyard, the Schürhof. Instead the Vischer building of 1917 has been given a new roof. Consisting of irregular folds clad in blackish green ceramic tiles, the roof resonates with the medieval roofscape in which it is embedded while functioning at the same time as a clear sign of renewal in the heart of the neighbourhood. The hexagonal tiles, some of them three-dimensional, refract the light even when the skies are overcast, creating an effect much like that of the finely structured brick tiles on the roofs of the old town. The steel framework of the folded roof allows for a column-free gallery underneath, an expressive space that forms a surprising contrast to the quiet, right-angled galleries on the floors below.

Up until now, the Museum der Kulturen and the Naturhistorisches Museum shared the same entrance on Augustinergasse. The former is now accessed directly from Münsterplatz through the previously inaccessible rear courtyard, the Schürhof. The courtyard, in its patchwork setting of the backs of medieval buildings, has now become an extension of the Münsterplatz. Part of the courtyard has been lowered and an expansive, gently inclined staircase leads down to the Museum entrance. Hanging plants and climbing vines lend the courtyard a distinctive atmosphere and, in concert with the roof, they give the Museum a new identity. We look forward to having the courtyard become a social meeting place for all kinds of Museum activities and celebrations.

The weighty, introverted impression of the building, initially concealing its invaluable contents, is reinforced by the façades, many of whose windows have been closed off, and by the spiral-shaped construction for the hanging vegetation mounted under the eaves of the cantilevered roof above the new gallery. This is countered, however, by the foundation, which is slit open the entire length of the building and welcomes visitors to come in. These architectural interventions together with the vegetation divide the long, angular and uniform Vischer building of 1917 into distinct sections. The white stairs, the roof overhang, the climbing plants, the series of windows in the “piano nobile” and the glazed base lend the courtyard direction and give the building a face.

The windows were closed up not just to enhance the weight and elegance of the building; the additional wall space provided by this measure was equally important. The few remaining openings have been enlarged and now extend to the floor. The window reveals are so deep that they form small alcoves that look out onto the old town.

The sequence of rooms follows the same pattern on all three gallery floors. Only two rooms stand out: on the second floor, directly above the entrance, a large room with windows on one side faces the courtyard. Further up, a ceiling has been removed, creating a two-story room with a narrow window slit, where larger objects in the collection can be displayed. Visitors can look down on this new anchor room from above, much like the room containing the Abelam House, thus also providing orientation within the Museum.

The renovation of the galleries followed similar principles throughout. The older rooms have classicist coffered ceilings; those added later have concrete beams in one direction only. With the goal of restoring the original structure of the rooms, dropped ceilings were removed and technical services integrated as discreetly as possible into existing architectural elements.

Project Name: Museum der Kulturen
Address: Münsterplatz 20, 4051 Basel, Switzerland
(formerly Augustinergasse 2)

Project Phases: Concept Design: 2001-2002
Schematic Design: 2003
Design Development: 2003-2004
Construction Documents: 2008-2010
Construction: 2008-2010
Completion: 2010
Opening: September 2011

Project Team 2008-2010 Partner: Jacques Herzog, Pierre de Meuron, Christine Binswanger
Project Architect: Martin Fröhlich (Associate), Mark Bähr, Michael Bär
Project Team: Piotr Fortuna, Volker Jacob, Beatus Kopp, Severin Odermatt, Nina Renner, Nicolas Venzin, Thomas Wyssen

Project Team 2001-2004 Partner: Jacques Herzog, Pierre de Meuron, Christine Binswanger
Project Architect: Jürgen Johner (Associate), Ines Huber
Project Team: Béla Berec, Giorgio Cadosch, Gilles le Coultre, Laura Mc Quary

  • michal janak

    H&dM are the #1 example of what is called in music industry "selling out". While there are a number of other firms doing this kind of seemingly thought out, but indeed superficial projects, the case of HdM makes me very sad, because WE KNOW they can do much better. the contrast is most vivid with TATE 1 vs 2. They know how to put things together in a very elegant and thought out way, but it seems like they don't ever want to. Because they don't need to. This is a prime example what starchitect status is all about : everybody knows you are good, so you don't have to prove it anymore, you have all they money in the world , you can just show off, or have fun. OK, good for them. not for me

    • kim

      Who cares about what you think about them? Who are you anyway, nobody for them. H&M build for clients not for you.

  • edward

    Interiors shown are nice but it would have been better to show what’s under the funny roof structure. Totally irrational but that’s the way they like it nowadays, it seems.

    • Jake

      seriously, i've been starving for images of exactly this since i first saw the project months ago

  • JuiceMajor

    Give me a job with them anytime! I don't see what is so wrong about this project besides that it is able to make something small interesting and desirable!

  • Michael

    This project is likely much better then what a few superficial photos can show. There is more going on then simply building a new roof.

    As has been the focus of many other H&dM projects, program is central. From there the scheme, envelope, and materials are born. A museum is introverted by nature. Views going in or out are always controlled and limited. We have one window that views the courtyard, which was saved through this project and not imposed upon. To me that one window is inviting into a roof space that is certainly new, relates to the language of other roofs, yet is clearly the newer addition.

    The design has added museum space, protected the bounds of a courtyard and has not imposed on the historic buildings is inhabits. It is new, and furthers the discourse of architecture as a language without being offensive. It's skin is likened to a hardened shell, furthering the introverted and protected nature of a museum. The folded roof isn't a random artistic expression, but a brilliant way to free up space inside structurally. Then a new entry helps guide people into the gallery and completes the last problem on the list.

    Overall, you have an economic and thorough gallery space, designed within the language of a gallery, that saves the context completely and rehabilitates a historic building and courtyard. Sounds like a blistering success to me. Again, the photos help very little to develop a sense of intrigue or interest. A view of entry into the courtyard, wider views and diagrams would do a better job. Evening photographs in summer that show the patterns of light reflected onto the courtyard from the tiles, would have been interesting too.

    This is another strong H&dM project that I will certainly researching further.

    Michael

  • JGJA

    it seems like they fall into the overall "indutrial design"-ish architecture of nowadays… too bad. they used to be straight forward, now they just common and shiny, which is, to my point of view, very disappointing. please, give us some real piece of architecture.

  • John

    Selling out is when you repeat the same branded idea over and over again. To sell out would be to do the Tate again.

    More interesting is the strange resonance with the McBride Charles Ryan school project in Australia….

  • Colonel Pancake

    Why is the roof folded like that? I don't get it.

    • Michael

      Fold a sheet a paper and look at how it stiffens. Now the gallery can be column free without a grid of supports in the interior. Checkout Calatrava's Tenerife Opera House. He uses a folded structure to get his roof to cantilever and unbelievable length.

      The style folded in H&dM's structure closely matches the language of roof peaks in nearby buildings. Very clever design.

  • Daps

    @ Michal Janak,i dont particularly see how they are selling out….didnt the design meet your 'standards' of what you expect from HDG?isnt it good architecture?what is good architecture then?No offence to you but im kind of fed up with so called 'architecture critics' who seem to know what good architecture is and what isnt.You say they can do much better,but have u considered that it might be an appropriate response?you might not like it,but that doesnt mean it is not good architecture.

  • http://www.michaelschoner.de michael

    I think the idea is nicer then he outcome – it looks a bit tacky…

  • Peter

    it's bad architecture because it's silly, coarse and uninspired. and it's sell out because they're spreading more and more silly, coarse and uninspired buildings everywhere around… i prefer so called architecture critics than people who like everything, as long as they see a big name, you know, this project is from hdm, so it's good by definition…

  • e1o27

    i'm surprised at the level and nature of the critique for this project. Sure in their terms this isn't a practice defining building, but it is clearly the work of a pretty sophisticated office, handling a fairly complex refurbishment brief. All the main moves made here appear to be really strong program driven and successful. From the modulation of the existing facades and rooms, to site level organisation. Don't insult our profession by complaining about the shiney roof. that's kind of missing the point y'all…