It takes a lot to create a building of this kind. The materialization of the new State Gallery of Lower Austria in Krems/Stein an der Donau is based on the daring vision of the single-minded architects, a determined political will, the coordinated collaboration of museum experts, craftsmen, and companies, and a dash of revolt for good measure.
相比于Adolf Krischanitz设计的Kunsthalle美术馆的简洁与质朴，以及旁边由Gustav Peichl设计的漫画馆博物馆锯齿状屋顶的俏皮有趣，这座由Marte.Marte Architects设计的新美术馆以一种瞩目的方式展示出了自身与众不同的艺术特质，同时与其所在的环境形成了巧妙的联合。
Vis-à-vis from the austere Kunsthalle, designed by Adolf Krischanitz and built in the former tobacco factory of the Austrian tobacco monopoly, and next to the mimic Caricature Museum by Gustav Peichl with its playful saw-tooth roof, the solitary building by marte.marte makes an unmistakable artistic statement and joins forces with its location in a striking way.
▼建筑与周围建筑的对话，the dialogue between the art museum and its surrounding
▼建筑以瞩目的方式展示自身与众不同的艺术特质，the building makes an unmistakable artistic statement and joins forces with its location in a striking way
The structure, more of a sculpture than a building, eludes the appreciation of the viewer in their movement around the construction, alters its expression and shape from step to step, and resists being drawn to scale, opting instead to be a concrete manifestation of the interplay of forces. One is tempted to view the novel form as being unique – the torsion around the axis of the northwest corner of the building generates a multitude of hyperparabolic surfaces and the connecting lines of the two unequal squares of the ground and roof floors create spectacularly contorted surfaces which are difficult for the human eye to comprehend.
▼雕塑般扭转的体量，a twisted sculpture
The building, or better yet the sculpture, twists around its vertical axis, tapers towards the top, and thanks to a carved-out incision in the roof, provides a clear view in the direction of the Danube of the Göttweig Benedictine monastery which towers over the foothills of the Dunkelsteinwald Region. Apart from the four glazed arches on the ground floor, it is this gesture which connects the interior of the building directly with the genius loci, thus allowing one of the most important landmarks of the Wachau Region to achieve its full effect, seeing as the historical monastery is caught directly between the crosshairs of the viewers.
▼地面层分布着四个玻璃拱门，four glazed arches are on the ground floor
▼阳光下的立面，facade illuminated by the sunlight
▼“雕塑”的体量随着扭转逐渐形成一个尖顶，the building twists around its vertical axis, tapers towards the top
▼建筑立面被菱形哑光锌板构成的“盔甲”包覆，the building is covered by a scale armour composed of matte zinc rhombuse
Otherwise, the malleable construction seems hermetic from the outside. The scale armour covering the building, composed of matte zinc rhombuses which must practically be attached piece by piece from top to bottom, transforms the “four-legged” concrete giant into an armadillo in knight’s armour. There it is once again, the irrefutable fortified nature of marte.marte’s structures, which seem designed to defend the individual’s or society’s set of values with a gestural, enclosed construction. What sets this building apart from other projects of the Vorarlberg firm, however, is its underlying dynamic energy. Their vision of the art museum in Krems is like a holographic image of a geometric shell turning boldly around itself. What on the one side appears to be an aligned surface is on the other an overhanging steep face. Depending on the angle, the surfaces seem to twist – the motion captured in the still image is brought to life again by the motion of the viewer. A sense of possibility leads to a sense of reality.
The interior of the building is also full of surprises. The two concrete towers that make their way through the floors and form the vertical constant of the building are a point of reference, an aid to orientation, and Escher-like stairs in one. Two fire escape staircases join to form one DNA helix, which lead and confuse viewers at one and the same time.
In conjunction with the powerful contortions of the exterior walls, every floor has its own unique layout. It seems as if the exhibition halls move from northeast to southwest. Everything is still under construction: the rough surfaces inside are being filled and sanded, and room-forming walls are being erected on the ground floor. Many features have yet to be revealed, and I’m excited to see how art will conquer these interior spaces and what the look and feel will ultimately be of what currently feels huge and unrestrained, as if I were walking in the belly of some gigantic creature …
▼从首层空间望向外部，view from the ground floor
▼开放的布局，the open-plan space
▼展览期间的室内空间，interior view during exhibition
Text by Marina Hämmerle
ACTS & FIGURES
Operator: Kunstmeile Krems Betriebs GmbH
Competition: Open, EU-wide, two-stage competition
Jury chair: Architect DI Elke Delugan-Meissl, Prof. Peter Baum (deputy chair)
Exhibition space: 3,000 sqm
Footprint: 33 x 33 m
Number of floors: 5, including an underground exhibition space connecting the State Gallery of Lower Austria with the Kunsthalle Krems
Building elevation: 21.5 m
Façade: 7,200 silver-grey zinc shingles
Construction time: June 4th, 2016 (groundbreaking), completion of the building: December 2018
Grand Opening: May 25th and 26th, 2019
Total cost: €35 million
Budget per year: €3.5 million
Visitors expected: 70.000 per year
Client: Office of the Provincial Government of Lower Austria