Monika Grütters, Minister of State for Culture, informed the members of the budget committee of the German Bundestag responsible for the cultural budget about the schedule and cost planning for the Museum of the 20th Century in Berlin. The calculation assumes construction costs of 364.2 million euros for the new building. On the basis of the now concrete plans, completion of the building is scheduled for 2026. The ground-breaking ceremony will take place in the coming weeks.
The Museum der Moderne will complement the Neue Nationalgalerie. Both buildings will form a location of appropriate size for 20th century art. The new building will create the conditions for displaying the internationally significant collection of the Nationalgalerie and accepting the offers of the collectors Marx, Pietzsch and Marzona. In the meantime, the artist Gerhard Richter has also agreed to make a large number of his works available for a Richter Hall in the new museum.
 
The museum of the 20th century is an independent architecture, like Mies's building and Scharoun's architecture. In addition to its function for the presentation of art, however, it also has another, very important task: connecting and crosslinking the surrounding buildings and exterior spaces to form an urban whole - a cultural forum for the 21st century. Together with the client and users, we have made decisive progress: large gates and entrances create a spatial link between the museum and the surrounding squares and street spaces. The East-West Boulevard is a public path through the building. The wide tympanum turns towards the Philharmonie and the Chamber Music Hall. The north façade is extensively glazed and allows direct views from the museum to Scharounplatz and Potsdamer Strasse. At the same time, the museum can be experienced from the outside. In short: the museum becomes part of life on the square, the heart of the Kulturforum.
 
El Museum der Moderne complementará a la Neue Nationalgalerie. Ambos edificios formarán un conjunto de tamaño adecuado para presentar el arte del siglo XX. El nuevo edificio creará las condiciones para exponer la gran colección de la Nationalgalerie y aceptar las propuestas de los coleccionistas Marx, Pietzsch y Marzona. Mientras tanto, con el artista Gerhard Richter también se llegó a un acuerdo para poder disponer de una gran cantidad de sus obras en un Richter Hall dentro del nuevo museo.
 
El museo del siglo XX es una arquitectura independiente, como el edificio de Mies y la arquitectura de Scharoun. Sin embargo, además de su función para la presentación del arte, también tiene otra tarea muy importante: conectar y reticular los edificios circundantes y los espacios exteriores para formar un conjunto urbano: un foro cultural para el siglo XXI. Junto con el cliente y los usuarios, hemos hecho un progreso decisivo: las grandes puertas y entradas crean un enlace espacial entre el museo y las plazas y espacios de las calles circundantes. El East-West Boulevard es un camino público a través del edificio. El amplio tímpano gira hacia la Filarmónica y el Salón de Música de Cámara. La fachada norte está ampliamente acristalada y permite vistas directas desde el museo a Scharounplatz y Potsdamer Strasse. Al mismo tiempo, el museo se puede experimentar desde el exterior. En resumen: el museo se convierte en parte de la vida en la plaza, el corazón del Kulturforum.
 

Descripción del proyecto por Herzog & de Meuron Project description by Herzog & de Meuron

The Idea

A house for twentieth century art? Yes: A HOUSE, straightforward and specific. No abstract shape, because it could not be purer and more perfect than the Neue Nationalgalerie. Nor an organic, playful composition because it would be forever competing with Scharoun-like volumes. No contentiousness, no competition, no one-upmanship, yet no obsequiousness either, but rather a self-contained and self-evident shape and an architecture that is less about the architect as author and the contemporary moment and more about people and their encounter with art.

Matthäuskirche looks a little lost and uprooted today. We are building a neighborhood for it, like the buildings that used to line the street until they were destroyed. And we are interested in the material of the church—brick. It is a building material that can be interpreted as a digital field and yet, at the same time, there is something archaic about a brick wall.

A house as a built form has always existed and yet it eludes clear-cut fixation or programmatic classification. It is an open-ended shape, open to different uses and interpretations. Like the above-mentioned brick, the archaic shape of a house is a constituent of both contemporary digital culture and traditional civilizations of old.

The house for art of the 20th century looks very different from different sides. Is it a warehouse? A barn? Or maybe a railroad station? Isn’t it more like a temple with exactly the same gable proportions as the Alte Nationalgalerie by August Stüler? Whatever the case, it is a place to store things as in a warehouse, a place for provisions and supplies like a farm, and a place of encounter and connection like a railroad station. And—like a temple—it is also a place of quiet and contemplation for the perception not just of art but of oneself.

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Herzog & de Meuron Architekten is a Swiss architecture firm, founded and headquartered in Basel, Switzerland in 1978. The careers of founders and senior partners Jacques Herzog (born 1950), and Pierre de Meuron (born 1950), closely paralleled one another, with both attending the Swiss Federal Institute of Technology (ETH) in Zürich. They are perhaps best known for their conversion of the giant Bankside Power Station in London to the new home of the Tate Museum of Modern Art (2000). Jacques Herzog and Pierre de Meuron have been visiting professors at the Harvard University Graduate School of Design since 1994 (and in 1989) and professors at ETH Zürich since 1999. They are co-founders of the ETH Studio Basel – Contemporary City Institute, which started a research programme on processes of transformation in the urban domain.

Herzog & de Meuron is a partnership led by five Senior Partners – Jacques Herzog, Pierre de Meuron, Christine Binswanger, Ascan Mergenthaler and Stefan Marbach. An international team of 38 Associates and about 362 collaborators.

Herzog & de Meuron received international attention very early in their career with the Blue House in Oberwil, Switzerland (1980); the Stone House in Tavole, Italy (1988); and the Apartment Building along a Party Wall in Basel (1988).  The firm’s breakthrough project was the Ricola Storage Building in Laufen, Switzerland (1987).  Renown in the United States came with Dominus Winery in Yountville, California (1998). The Goetz Collection, a Gallery for a Private Collection of Modern Art in Munich (1992), stands at the beginning of a series of internationally acclaimed museum buildings such as the Küppersmühle Museum for the Grothe Collection in Duisburg, Germany (1999). Their most recognized buildings include Prada Aoyama in Tokyo, Japan (2003); Allianz Arena in Munich, Germany (2005); the new Cottbus Library for the BTU Cottbus, Germany (2005); the National Stadium Beijing, the Main Stadium for the 2008 Olympic Games in Beijing, China; VitraHaus, a building to present Vitra’s “Home Collection“, Weil am Rhein, Germany (2010); and 1111 Lincoln Road, a multi-storey mixed-use structure for parking, retail, a restaurant and a private residence in Miami Beach, Florida, USA (2010), the Actelion Business Center in Allschwil/Basel, Switzerland (2010). In recent years, Herzog & de Meuron have also completed projects such as the New Hall for Messe Basel Switzerland (2013), the Ricola Kräuterzentrum in Laufen (2014), which is the seventh building in a series of collaborations with Ricola, with whom Herzog & de Meuron began to work in the 1980s; and the Naturbad Riehen (2014), a public natural swimming pool. In April 2014, the practice completed its first project in Brazil: the Arena do Morro in the neighbourhood of Mãe Luiza, Natal, is the pioneering project within the wider urban proposal “A Vision for Mãe Luiza”.

Herzog & de Meuron have completed 6 projects since the beginning of 2015: a new mountain station including a restaurant on top of the Chäserrugg (2262 metres above sea level) in Toggenburg, Switzerland; Helsinki Dreispitz, a residential development and archive in Münchenstein/Basel, Switzerland; Asklepios 8 – an office building on the Novartis Campus in Basel, Switzerland; the Slow Food Pavilion for Expo 2015 in Milan, Italy; the new Bordeaux stadium, a 42’000 seat multifunctional stadium for Bordeaux, France; Miu Miu Aoyama, a 720 m² boutique for the Prada-owned brand located on Miyuki Street, across the road from Prada Aoyama, Tokyo, Japan.

In many projects the architects have worked together with artists, an eminent example of that practice being the collaboration with Rémy Zaugg, Thomas Ruff and with Michael Craig-Martin.

Professionally, the Herzog & de Meuron partnership has grown to become an office with over 120 people worldwide. In addition to their headquarters in Basel, they have offices in London, Munich and San Francisco. Herzog has explained, “We work in teams, but the teams are not permanent. We rearrange them as new projects begin. All of the work results from discussions between Pierre and me, as well as our other partners, Harry Gugger and Christine Binswanger. The work by various teams may involve many different talents to achieve the best results which is a final product called architecture by Herzog & de Meuron.”

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Published on: September 18, 2019
Cite: "The Museum der Moderne by Herzog & de Meuron, new step, moving forward" METALOCUS. Accessed
<http://www.metalocus.es/en/news/museum-der-moderne-herzog-de-meuron-new-step-moving-forward> ISSN 1139-6415
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