Kunsthaus Bregenz

The architecture of Kunsthaus Bregenz is the result of a close collaboration between Peter Zumthor and the State of Vorarlberg, which commissioned the museum in 1990. Zumthor, who is known for his meticulous and poetic approach to architecture, spent seven years designing and building the museum, which was his first major public project. Zumthor’s design was inspired by the site, the context, and the function of the museum, as well as by his own vision of creating a place for art and light.

The museum is a cubic volume of 28 x 28 x 24 meters, which stands on a slightly elevated concrete platform. The museum is composed of three main elements: the glass façade, the concrete structure, and the interior spaces. The glass façade is the most striking feature of the museum, as it gives the building a luminous and transparent appearance. The façade consists of 912 equally sized glass panels, each weighing 250 kg, which are secured by clips to a steel framework. The glass panels are etched with a fine pattern of horizontal lines, which create a subtle texture and diffuse the light. The glass façade acts as a filter and a reflector of light, as it absorbs the changing light of the sky and the lake, and reflects the colors and the mood of the surroundings. The glass façade also gives an intimation of the inner life of the museum, as it reveals the silhouettes of the visitors and the artworks inside. The glass façade is not only an aesthetic element, but also a functional one, as it provides insulation and ventilation for the building.

The concrete structure is the core of the museum, as it supports the glass façade and defines the interior spaces. The concrete structure is made of prefabricated elements, which are cast with a rough texture and a light gray color. The concrete structure is visible from the outside through the glass façade, and from the inside through the gaps between the glass panels. The concrete structure creates a contrast and a dialogue with the glass façade, as it expresses the solidity and the weight of the building, and the materiality and the tactility of the architecture.

The interior spaces are the heart of the museum, as they are the places where art and architecture meet. The interior spaces are divided into four floors, each with a different character and function. The ground floor is the entrance and the reception area, which also contains a bookshop, a café, and a cloakroom. The ground floor is the most open and public space of the museum, as it connects the museum with the street and the square. The ground floor has a large window that frames the view of the lake, and a skylight that brings natural light into the space. The ground floor also has a staircase that leads to the upper floors, and a freight elevator that transports the artworks.

The first, second, and third floors are the exhibition spaces, which are designed to be flexible and adaptable to the changing exhibitions. Each floor has a rectangular plan of 22 x 22 meters, which is divided into four quadrants by two concrete walls that cross at the center. The quadrants can be used separately or together, depending on the needs of the exhibition. Each floor has a different ceiling height, ranging from 3.5 meters on the first floor to 7 meters on the third floor, which creates a variety of spatial experiences. Each floor also has a different lighting system, which can be adjusted to create different atmospheres and effects. The first floor has a skylight that brings natural light into the space, and a series of spotlights that can be directed to the artworks. The second floor has a light plenum, which is a space between the ceiling and the roof that catches and distributes the natural and artificial light. The light plenum has a series of openings that allow the light to enter the exhibition space, creating a soft and diffuse illumination. The third floor has a light ceiling, which is a translucent membrane that covers the entire ceiling and emits a uniform and bright light. The light ceiling can be dimmed or colored, depending on the mood of the exhibition. The exhibition spaces are minimal and neutral, as they are composed of concrete, glass, and light. The exhibition spaces are also silent and serene, as they are isolated from the noise and the distractions of the outside world. The exhibition spaces are designed to be respectful and responsive to the artworks, as they create a dialogue between art and architecture, and between light and space.