The MKM in Duisburg is home to one of the most important collections of German art since the post-war period. Herzog & de Meuron laid the foundation stone for the extension.
The MKM in Duisburg is home to one of the most important collections of German art since the post-war period. These include works by Georg Baselitz, Gerhard Richter, Fred Thieler and Rosemarie Trockel. The museum is to be extended by 2,500 square meters of new exhibition space by 2018 – the design was created by Herzog & de Meuron.
There are three new volumes in total. They vary in height between 27.5 and 33.5 meters, so that the extension can be read as an additively assembled structure.
Two of the cubes will house the artworks, while the third volume will be used for access, supply and art handling. In figures: An additional gross floor area of 4,900 square meters will be created.
View of the inner harbor, illustration: Herzog & de Meuron
View of Philosophenweg, illustration: Herzog & de Meuron
Perspective from the south, illustration: Herzog & de Meuron
Silo platform for visitors, Illustration: Herzog & de Meuron
The extension also forms the new head of the row of buildings. As a 40-metre no-addition zone must be maintained towards the highway, the overarching exhibition cube and the access building take up this boundary as a slope. Overall, the architects from Herzog & de Meuron have based the volume, building height and materials on the existing buildings in order to continue the complex.
Between the existing and new brick buildings are steel silos from the 1930s. These will be connected to the exhibition floors to link the two parts of the building. A staircase will also be added to create a continuous museum tour.
However, the silos will not only serve as a connection – they will also be converted into an exhibition space. A large opening in the ceiling on the first floor will allow visitors to experience the gutted silo as an entire room.
As a contrast to the predominant material of brick, the raw material of the silos will be retained – after all, it is a sculptural component of the Küppersmühle industrial monument.
History of the Küppersmühle
The complex from the 19th and 20th centuries originally housed a mill, with the name “Küppersmühle” resulting from the merger with the Homberger Küpperswerke in 1969. Three years later, operations ceased.
Initiated by the Stiftung für Kunst und Kultur e.V. Bonn, the building found a new use as an exhibition hall in 1999. The initial concept came from the Basel office of Herzog & de Meuron. The renovation, gutting and redesign brought urban life to Duisburg’s old inner harbor.
Ströher and Grothe collection
One of the most extensive private collections of German post-war art is exhibited in the new rooms. Sylvia and Ulrich Ströher’s collection consists of abstract post-war art. In addition, there are Hans Grothe’s paintings and sculptures from the 1970s to the 1990s.
The two merged in 2005, bringing the collection to over 1,500 works. With the merger came the desire to present the works of art in an appropriate setting.
IBA Basel Specialist publication from the G+L editorial team
With the end of IBA Basel Expo at the beginning of June 2021, the International Building Exhibition Basel 2020 officially came to an end and with it the first effective International Building Exhibition in the border triangle between Germany, France and Switzerland. Everything you need to know about IBA Basel can be found here.
With the end of the IBA Basel Expo at the beginning of June 2021, the International Building Exhibition Basel 2020 officially came to an end and with it what was effectively the first International Building Exhibition in the border triangle between Germany, France and Switzerland. A closing film now summarizes the goals and developments of IBA Basel 2020.
The IBA Basel was the first International Building Exhibition to address the topic of spatial planning in border regions. International Building Exhibitions are a special format for urban and regional development. They are a hallmark of national building and planning culture. For more than a century, these experimental fields have brought current issues of planning and building to the forefront of national and international debate.
The origins of the IBA Basel date back to 2008, when everything began with the so-called first “draft memorandum”. This was drawn up by the Department of Construction and Transport of the Canton of Basel-Stadt together with the Trinational Eurodistict Basel TEB. In 2009, the TEB worked out the challenges and opportunities of trinational fragmentation and published these in the 2020 development strategy “A Future for Three”. In the strategy, it identified the main spatial planning objectives of “settlement development”, “transport development” and “landscape planning” as well as the “interactions with the areas of economic and population development” and “governance” and “financing of major metropolitan projects”. In 2010, the political players in the region jointly proclaimed the Basel International Building Exhibition.
2020: 20 projects with the IBA Basel label
In the ten years that followed, the IBA Basel put the shared responsibility for the agglomeration into concrete terms in projects, buildings, infrastructure and landscapes and provided impetus for a cross-border culture of cooperation, in line with the official IBA motto “Au-delà des frontières, ensemble – Growing together across borders”. Under the direction of Monica Linder-Guarnaccia, the IBA in the border triangle saw itself as an instrument of change. From 130 project proposals, the IBA team and a large number of stakeholders from the administration and interest groups launched 43 cross-border projects. A total of 20 of these were officially labeled as IBA projects in 2020.
To the memorandum of the IBA Basel
The memorandum of the IBA Expert Council describes the basis for implementing an IBA in ten recommendations. Precisely because the IBAs have no fixed regulations, their significance for building culture and urban development in a regional, national and international context must be constantly reviewed.
About the IBA Expert Council
The IBA Expert Council supports and advises the current IBAs and ensures that the developments, structures and content of the IBAs are in line with the quality criteria set out in the Memorandum. It also accompanies the preparatory phases of the IBA initiatives. The IBA Expert Council was appointed by the Federal Ministry of Building. Read more about the Expert Council here.
The initial situation of the International Building Exhibition Basel was that of a fragmented agglomeration. The central IBA task was to harmonize the different submission rights, legal bases, internal administrative processes, decision-making powers and financing models of the three participating countries and, last but not least, to build up intercultural competence. This was no easy task and without an understanding of the different mentalities and hierarchies, the implementation of real cross-border projects on an equal footing with the other party would not have been possible. In the course of the IBA in the border triangle, a paradigm shift took place in cross-border cooperation between German, French and Swiss stakeholders. The border region grew together on a political, economic and cultural level during the IBA years.
A budget of twelve million euros instead of one billion
Getting there was an adventure and many a stone had to be cleared away. The IBA in the three countries had to work with the different cultural influences of the three countries, the economic discrepancy between the flourishing economic metropolis of Basel and the agglomeration and the bilingualism – German and French. Above all, however, financing was a constant problem. Despite the support of 27 financing municipalities, the available budget remained far underfunded. The IBA Basel worked with twelve million, while the IBA Hamburg received one billion euros.
The planned three-year financing of the IBA Basel office and its project development fund placed additional demands on the ten-year project throughout its entire duration. This also became part of a recurring search for consensus, added value and return on investment.
The IBA in the border triangle is not an architectural showcase in the traditional sense and has therefore been criticized several times in the past. According to critics, the lighthouse projects traditionally built for an IBA are missing. And yes, the International Building Exhibition Basel is not characterized by building construction projects. Rather, it defines a new era for the format of the International Building Exhibition itself. The background: unlike its predecessors – such as the IBA Stadtumbau in Saxony-Anhalt, the IBA See in Lusatia or the IBA Emscher Park – the Basel International Building Exhibition is not taking place in a traditionally structurally weak area.
The IBA of processes
The Basel region has been flourishing for decades with financially strong companies such as Novartis and Roche. The IBA in the border triangle did not arise out of an emergency situation. The challenge of the International Building Exhibition Basel was to establish a tri-national planning culture between more than 64 regional authorities and numerous private stakeholders over ten IBA years and to launch outstanding cross-border projects in a rolling process. The International Building Exhibition Basel is therefore an IBA of processes. This difference has not made it easy for it. In contrast to building construction projects, process innovation is difficult to present.
Out of 130, 20 projects prevailed
An International Building Exhibition puts social, future living environments up for discussion. It must have a message and this must be significant for other regions, it must be transferable. The International Building Exhibition Basel has shown internationally how measures to strengthen and develop a border region can be implemented together. The Basel International Building Exhibition shows how beneficial it is to take the needs of the other party into account. It has shown how participation and an interdisciplinary approach can increase project quality, even if they take more time and are more complex. The 20 labeled IBA projects together with the IBA project groups and the nominated projects speak for themselves.
IBA Basel closing film
The finissage on June 4, 2021 marked the official end of the IBA Basel Expo and with it the International Building Exhibition Basel. Together with the IBA Presidium, IBA Basel Managing Director Monica Linder-Guarnaccia invited guests to reflect on the findings of ten years of the IBA process and look ahead to the future development of the region.
Spatial planning development across national borders was the focus of the International Building Exhibition Basel. No IBA before the IBA Basel had ever dealt with this topic in this way. The special focus, objectives and developments of the IBA Basel are now summarized in a closing film for the IBA Basel 2020.
Garten + Landschaft provided information online about the projects, their creators and the IBA’s goals. The findings of the first cross-border International Building Exhibition in the border triangle of Germany, France and Switzerland have resulted in the publication “IBA Basel 2020. Crossing borders together” in German and French, which is well worth reading. Find out more here.
At Lake Seljord in the Norwegian province of Telemark, home to a sea monster called Selma, landscape architects and architects planned a “sea snake tower” as part of the “Seljord and its legends” project.
Building in a picturesque landscape is a delightful task. The planners set the scene, the landscape accentuates small buildings. On October 18, a new observation tower, the “Sea Snake Tower”, was opened on Lake Seljord in Norway. It is part of the Skiensvassdraget river system and the culmination of a series of landscape-based interventions placed around the lake as part of the “Seljord and its Legends” project by Feste Landscape Architects, Rintala Eggertson Architects and Springer Kulturstudio, all from Norway. The 15-meter-high tower opens up to the surrounding landscape at different heights. Viewing platforms on the various levels offer views of the landscape. The municipality of Seljord has just under 3,000 inhabitants and is located in the Norwegian province of Telemark. A sea monster called Selma is said to have been sighted for the first time in Seljordsvatn, a lake that lies partly within the municipality, as early as 1750. This is why the coat of arms of Seljord, developed in 1989, shows a yellow sea serpent on a red background. The creature in Lake Seljord is said to be between four and 50 meters long, have a horse or crocodile-like head and appear pitch black. There is also talk of a pair of front fins and humps. The projects of “Seljord and its legends” are documented in Topos 74.Buildings in special places are also the theme of the November issue of Garten + Landschaft. The magazine presents a selection of successful buildings as well as viewing platforms, towers, footbridges and bridges.
