Architects usually try to create finished houses, i.e. coherent works of architectural art for eternity. But does this claim stand up to reality? Should that even be the claim? Inspired by references from architectural history, art and anthropology, the young Stuttgart-based studio Kaiser Shen has developed various theses and tested them on the basis of its own projects. From […]

The Museum der Moderne will be expensive. Very expensive. But what is scandalous is not that the budget was approved. But how it was approved. Here is the opinion of architecture critic Falk Jaeger.

Herzog & de Meuron’s Museum der Moderne has been criticized from all sides for years: it is far too expensive, the design is not appealing and the visual axis between the National Gallery and the Philharmonie is being obstructed. Now the budget committee of the German Bundestag has approved the cost plan for the project. How can it be that politicians are ignoring all the facts and public objections and approving the exorbitant cost plan for a new museum, while the other buildings of the Prussian Cultural Heritage Foundation have long been in need of renovation?

Visualizations: Herzog & de Meuron

Rarely has a public building project in Germany provoked so much headwind as the Museum der Moderne. A shitstorm, you could almost say, if the contributions to the discussion were not of a serious nature. “The most expensive crusty bread in the world”, was the headline in the FAZ, referring to a metaphor used by jury chairman Arno Lederer. “This barn is a scandal” was the headline of another FAZ article, a scathing all-round attack that scandalized the location, architecture, size, environmental aspects and costs in equal measure.

Some points of criticism even overshoot the mark. The castigation of the sacrilegious proposal to block the line of sight from Mies van der Rohe’s Neue Nationalgalerie to Scharoun’s Philharmonie (nicely illustrated by Stefan Braunfels in another polemic) is an all too superficial, silly stop-the-thief argument. Of course, a new building in this location would interrupt the view, but Scharoun had already planned it that way in terms of urban development, and Mies had to assume this in his planning.

Why would the view be so indispensable? If you want to see the Philharmonie, you can just step outside the door. In the beginning, when the Tiergarten was still free of trees due to the war, you could even see the Brandenburg Gate from the Neue Nationalgalerie, so what the heck.

The Tagesspiegel described the situation as “eyes closed and through”, and was right: the budget committee of the German Bundestag approved another hefty gulp from the taxpayers’ purse for the Museum der Moderne, thereby imposing a voluntary commitment for future increases in building costs from 364.2 million to a forecast 450 million euros. It certainly won’t stay at that, it’s more likely to be 600 million. But then the project will be under construction and there will be no turning back.

Dependence on private donors

The real scandal is how the Minister of State for Culture, Monika Grütters (CDU), has pushed through her personal “Grand Projet” against the most diverse reservations in the backrooms of politics. The political caste is making up its own mind about the project. Facts, pragmatic considerations and public opinion play no role. Perhaps the highly controversial architecture of the Museum der Moderne (“barn”, “ALDI discount store” etc.) would not have been a sufficient reason for a rejection, after all it was the result of a competition with a prominent jury. However, the urban planning problems, the reduction in the floor plan with the consequence of the expensive, difficult-to-calculate lowering into the extremely problematic Berlin building ground, should have given the housekeepers food for thought.

It is also annoying to see the submissive dependence on some private donors who had threatened to move their collections elsewhere. This is due to the fact that the foundation can hardly organize its own major projects, internationally attractive exhibitions, and is dependent on partners who are willing to pay.

Too many building sites

The Prussian Cultural Heritage Foundation is constantly being “gifted” new, magnificent museums by the federal government, which then have to be used and maintained. However, there are already decades of renovation backlogs at the existing houses. In addition, there is inadequate funding for qualified specialist staff and a pitiful acquisition budget of 1.6 million for all museums. None of this fits together.

The Foundation should finally be consolidating. Instead, the Humboldt Forum in the palace replica is to be brought back on track in 2020, the general renovations of the Pergamon Museum, the New National Gallery and Scharoun’s State Library are devouring huge sums of money and so on…

It’s no wonder that Berlin looks longingly at the popular major exhibition events in Paris, London, Amsterdam and New York. We want to play in that league too, we want to have something like that here again.