Abteiburg Museum

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The Municipal Museum Abteiberg
The history of the town museum dates back to 1904. A small town history collection moved into the premises of a disused school, and soon after the first purchased the art did too. With a donation of Dr. Walter Kaesbach in 1922, the museum came into possession of a significant collection of Expressionist paintings and was thus its profile as a museum for contemporary art. After several moves and several new acquisitions in the 50's and 60's, the museum with its 250 square meters and rapidly growing stock became impossible to manage.The City Council in 1963 decided to build a new museum. The execution took place, however, only 14 years later. The Museum Director Prof. John Cladders commissioned the Austrian artist and architect Hans Hollein in 1972 with the planning. First drafts were in 1974. The construction phase lasted from 1977 to 1982.

Shell construction and expansion
The building is built with reinforced concrete supplemented with masonry. The apparent slope at Abbey Road creates a basement (24,000 m³ of excavation) that embraces the garden as a part of the visible underground. The trench of up to 12 meters deep was secured with 1,200 m² in Berlin-shoring and sheeting with 463 concrete piles (270 m²). This is also the compaction of the 1700 m² foundation base.

Four main materials were used for the façade: The closed tower facade and the temporary exhibition have pale sandstone cladding (1,200 m²). The exhibition storms on the surface of the board, including the shed roofs with zinc-titanium (3,000 m²) and all the windows were covered in aluminum (1,600 m²). The main pavilion at the board level with white marble, the terraced garden and abbey gradations to the outer walls of the amorphous exhibition spaces are analogous to the adjacent wall of remnant bricks. 

The plate, the bridge area and all exterior stairs were also covered with sandstone.

Daylight in the exhibition rooms comes through the shed roof (ideal northern lights), some individual domes, which act as a grid of skylights, which act as a grid of skylights running throughout the ceiling of the large temporary exhibition. Daylight is provided by the south-facing windows for the middle and lower floor level. The inner walls in the exhibition halls are plastered (10,000 m²), some areas such as lecture hall, classroom and multi-vision have specially designed wooden wall panels and acoustic panels. The ceilings are, as if they were not designed as a ceiling light, suspended in Perlgips (4,500 m²).

Floor materials: Koelga and Lasamarmor (2,800 m²), Velour.Teppich (1,200 m²), coconut-Carpet (600 m² - replaced in 2001 against Kunsttoffestrich), plastic (950 m²) and head or wood floor (300 m²). A total of 600 linear meters of stairs inside (marble) and 400 meters of stairs outside (sandstone) created.

Layer 3 - Concept of Hans Hollein
The concept weighs the museum and the educational aspects as equal importance, the two areas are not in spatial isolation.

From the central access the main sections are clearly surveyed: Cash and Garderabe, temporary exhibitions, audio-visual introduction, administration, collection agency, stair approaches, educational zones, Transition Gallery in the new extension.

Natural light was used not only for lighting reasons but also for psychological (eg contact and orientation to the outside, room atmosphere). Equally important is the insight - even outside the opening times as well - from different points of the outside inside.

The access routes to the building at various levels facilitate this contact, which is to help reduce the threshold of fear of a potential audience viewing time for the museum. Fragmented view of layers eases the fear, as you only view one level at a time.

About the flexible exhibition zones (with semi-permanent walls), the trefoil Großeinzelräume be developed that are fanned out mixed and provided some with skylight. Other tours arise, for example under the terrace area with different rooms in the shape and posture. Although the work of art, and so a neutral stance priority was given, is a multifaceted experience content of the "Durchwanderns" of the museum, also on the spatial ago, attached major importance. The concept of the museum is not a linear, but rather builds up a matrix with cross-over.

Cafeteria (in view of Cathedral and the exhibition), audio-visual room, painting class, and other educational areas (lecture) are not separate, but entwined with the collection of parts and some of them have their own outdoor (garden). 

Multilayered confrontation also allows the spatial system in itself with its vistas and transitions. It must be completed no prescribed itineraries, but many layered experience possible. This museum should be a living museum where you can "live" to spend an hour or a day when you come back or keep it distinctive in memory.


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