David Chipperfield's design for the James Simon Gallery as the reception building on Berlin's Museum Island
Press release from 06/27/2007
The revised design of the James Simon Gallery by David Chipperfield Architects presented today is the result of the planning phase, which was made possible by the provision of federal funding (73 million euros) in November 2006. Changes to the specifications made it necessary to revise the design submitted by Chipperfield in 2001, which was not discussed by the committees for financial reasons. Several factors were now to be taken into account in the revised design: the changed conditions for the internal structure of the building, which resulted from the plans for the neighbouring Pergamon Museum, the reduction of the building volume for improved organic integration into the architectural surroundings and the examination of the public debate about the new building in the historical ensemble. A new entrance building on the area of the former Packhof site, which had been vacant since 1939, was already a core component of the masterplan adopted in 1999. It is intended to protect the historic buildings on Museum Island from wear and tear and to relieve the functional burden on them. It will house the central infrastructure facilities for the future four million visitors per year, the rooms for catering, orientation, information, shops and temporary exhibitions, as well as ensuring the distribution of visitor flows.
Klaus-Dieter Lehmann, President of the Prussian Cultural Heritage Foundation, explains: "With his design, Chipperfield has succeeded in further developing Stüler's vision of an Arcadian museum ensemble in a contemporary form and bringing the magic of a temple city of the arts to fulfilment: with architecture of impressive aesthetics and convincing functionality. The large open staircase, the open character of the architecture and the attractive offerings will make this a truly urban place for Berliners and visitors to the city."
The architecture has an emphasised communicative character, formulates what connects the buildings aesthetically and functionally and incorporates interior and exterior space in a charming interplay. The historical motif of the colonnades has been translated into a modern architectural language and has become the defining element.
The wide flight of steps, open to the Lustgarten and visible from afar, reflects the building's function as the reception building for the entire museum complex. It guides visitors with an inviting gesture to the upper floor with its entrance hall, café, a terrace on the Kupfergraben that is also freely accessible outside opening hours and access to the main tour of the Pergamon Museum.
Towards the Neues Museum, the continuation of Stüler's colonnades creates a well-designed square with a second ground-level entrance to the James Simon Gallery. The auditorium and seminar rooms are located on this level. One staircase leads upwards, another downwards to the temporary exhibitions and the Archaeological Promenade. The colonnade motif also characterises the western view from Kupfergraben: On a high base that continues the architecture of the neighbouring Pergamon Museum, a transparent structure rises, defined by filigree rows of rods and glass, which allows a variety of insights and views.
The individual structures of the design vary in height and harmoniously integrate the new building into its historical surroundings. The James Simon Gallery will allow a variety of views of the façade of the Neues Museum through the staggering of its structures and its transparent design, but will also correct today's ahistorical, completely unobstructed view of the Neues Museum from Kupfergraben and restore the historical ensemble structure. When Stüler planned the Neues Museum, he found Schinkel's Packhof building on the neighbouring plot on Kupfergraben, which was demolished in 1939. He therefore designed the rear of the Neues Museum to face this building.
Every second visitor to the Museum Island is a long-distance tourist, for whom initial orientation and information services are of crucial importance. The James Simon Gallery will be able to provide offers here that are appropriate to one of the largest museum complexes in the world with its international audience. The distribution function of the new building for guided groups, which make up more than half of the visitors, is just as important. From here, the route leads directly to the main tour of the Pergamon Museum with its monumental architectural exhibits such as the Pergamon Altar and Ishtar Gate. From here you can also access the Archaeological Promenade, which connects four of the five museums. In addition, the historical entrances to the individual museums will be retained, so that the new building will not become a bottleneck and visitors with individual interests will not have to walk unnecessary distances.
The current design has been presented to and discussed with the SPK Foundation Council and the heritage authorities (State Monuments Office, State Monuments Council, ICOMOS), where it has met with great approval. The Unesco World Heritage Centre in Paris has also been informed directly. The draft will be further formulated and specified over the next few months. Construction is expected to start in 2009 and the opening is expected to be in 2012. The public will be able to obtain information on an ongoing basis via the website and the interactive 3D model of the Museum Island in the Pergamon Museum (room under the entrance staircase), both of which are currently being updated. Further publicity measures are planned.
The new building is to bear the name of James Simon, the great patron of Berlin's museums, who made them world-famous through his donations. His commitment to art and science is also a shining example for modern patronage.