Subsequent to the new building of the Kunsthalle Mannheim being handed over to the city and its citizens in an official ceremony at the end of 2017, a three-day grand opening follows at the beginning of June. With the artworks, which have moved into the various exhibition areas of the old and new buildings during the last months, the intended coexistence of art, architecture, and urban landscape can be experienced as designed by the architects von Gerkan, Marg and Partners.
The new museum building at Friedrichsplatz in Mannheim links up with the existing Art Nouveau building, the so-called “Billing” building, and has been designed as a “city in the city.” Within a simple overall structure, individual cubes have been arranged in an inspiring composition to provide exhibition space and rooms for supporting functions.
They enclose a central atrium and are linked via galleries, terraces, and bridges. In analogy to the elements that make up urban environments—buildings, blocks, streets, and squares—varied circular routes are created for the visitors through closed and open spaces with changing vistas and outlooks.
Nevertheless, visitors find it easy to get their bearings in the museum, which replicates the straightforward, ordered structure of the “city of squares” that is Mannheim. At the same time, every situation along the route of the exhibitions offers new impressions—just as in cities no place is like another owing to the diversity of the architecture, changes in the building lines, and recesses, squares, and open spaces.As had already been envisaged at the time of the foundation of the Kunsthalle a hundred years ago, it is given a prestigious elevation towards the park at Friedrichsplatz. From there, visitors enter the central atrium via the new main entrance.
The atrium is the point of orientation and also the starting point for the circular tours through the exhibition areas on three levels, two of which are connected with the Art Nouveau building via the historic Athene tract and from there with the open-air sculptures garden. The exhibition concept consists of large spaces with light ceilings, which can be used in various different ways, and two cubes with side lighting. On the third floor a roof terrace has been integrated in the circular tour, from where visitors can enjoy the panoramic view of Friedrichsplatz with the distinctive water tower.
Just as the urban structure of a city provides the ordering context in which each individual building expresses itself, the “city of art” concept creates an architectural framework which gives rise to an identity and, at the same time, provides maximum flexibility for the curator.
The architectural character of the new building is largely determined by the stainless steel mesh, which makes up the exterior shape of the new museum and creates its unmistakable appearance.The metal mesh construction was specifically developed and produced for the Mannheim project by GKD technical weaving mill, Düren, and therefore is the only example of its kind.
The mesh consists of a total of 72 individual bronze-colored stainless steel panels, together spanning an area of 4,635 square meters. Every lot of eight wire elements of three millimeter diameter stainless steel is connected by a warp wire consisting of four interwoven parts. In the areas where the mesh has been fitted in front of windowless facades, 25 millimeter diameter tubes are then fitted as the next layer.
Through this differentiation, fields with different transparencies are created which, depending on the viewing angle, allow different views in and out of the building, and result in a vibrant, changeable exteal appearance in the course of changes in daylight and season. During the hours of darkness, this special, 21 meter high exteal envelope, which weighs 44 tonnes, can be illuminated with 103 spotlights. The mesh had to be designed and built with extreme precision in order to ensure that, with the help of pre-tensioning, it retains its dimensions and its pre-defined shape also when exposed to extreme temperatures or strong gusts of wind.
In keeping with the “city in the city” concept, the atrium of the museum was developed as a “market place” , which is accessible to all citizens as an extension of public space and, at the same time, forms the entrée to the Kunsthalle. From here, there is direct access to the restaurant and museum shop. However, upon entering the eye is caught by Anselm Kiefer’s lead relief which, together with some of the museum’s other works of art, defines the atrium.
参观者将通过中央光庭内的参观路线到达新建建筑上层的展览空间。美术馆开幕后，与赫尔曼·彼凌设计的旧建筑的连接处，将作为一座灯光装置展厅由当代艺术家詹姆斯·特瑞尔进行重新设计。这里的雕塑花园将成为崭新的空间背景，呈现原先展示于此的一系列著名雕塑作品，例如Nigel Hall的《慢动作》和Christoph Freimanns的《巨虫2》。 建筑空间布局令美术馆和城市空间在功能和视线上产生多元联系，艺术感知通过建筑形式被引入城市空间，同时城市的日常生活也在建筑内部获得了映射和呈现。
Visitors to the museum are guided through the atrium to the exhibition areas in the upper stories of the new building. The Billing building is accessible via the Athene tract, which has been redesigned by James Turrell as a light space. From there, visitors can move on to the sculpture garden, which is presented in a new look but displays well-known works of art that were already on display prior to the modeization, such as Nigel Hall’s “Slow Motion” and Christoph Freimann’s “Großer Bug 2.” This space concept results in the museum and city spaces being functionally and visually interwoven, ensuring that the art radiates out into the city through the architecture and also that the city flows virtually without barriers into the rooms of the new buildings.
竞赛阶段设计团队：Ulrich Rösler, Mira Schmidt, Steffen Lepiorz, Liselotte Knall, Kai Siebke, Frederik Heisel
三维效果表现团队：Markus Carlsen, Tom Schülke, Jens Schuster, Christoph Pyka, Kenneth Wong 实施阶段项目负责人：Liselotte Knall, Kerstin Steinfatt
实施阶段设计团队（截至至第五设计阶段以及整体艺术设计控制）：Ulrich Rösler, Raimund Kinski, Amra Steberg, Viktoria Wagner, Hanna Diers, Michèle Watenphul, Anna Falkenbach, Felix Partzsch
第六至第九设计阶段：W+P Gesellschaft für Projektabwicklung, Sven Lemke, Kevin Puhmann, Jens Balke
技术设备：IQ Haustechnik Giesen-Gillhoff-Loomans GbR Jörg Gillhoff, Heiko Giesen, Markus Loomans
机电设计：Bremer GmbH Peter Bremer
结构设计：schlaich bergermann partner GmbH Sven Plieninger, Rüdiger Weitzmann, Sandra Küstner
幕墙设计：DS-Plan GmbH Martin Lutz, Herwig Barf, Jochen Schindel
照明设计：ag Licht GbR Klaus Adolph, Daniel Walden, Ngurah Clifton Pinatih
消防设计：hhpberlin Christoph Klinzmann, Isabelle Schatton, Gunnar Buhl
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