Save this picture! Stirling combines materials of the past, travertine and sandstone, with colored industrial steel throughout the museum as a way in which to pay respect to the art and design of the 19th Century by developing a relationship with modern materials resulting in a uniquely Post Modern museum that is rooted in the combination of historical elements with a modern vocabulary. The dramatically sloping site offered an opportunity to filter people down the site and through the museum connecting the public with the cultural institution. Similar to the older gallery, Stirling incorporated the strict "U" shaped arrangement of the gallery spaces to give the Neue Staatsgalerie a traditional organization with a modern aesthetic.
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The design of the building provoked a vivid debate about postmodernism and German architecture. The design of the Neue Staatsgalerie has largely been credited to James Stirling and is considered one of his most important pieces of work. The building opened to the public in 9th of March More precisely, working from the front of the site towards the back, along the road is a double row of trees lining the pavement. Then a large terrace situated on top of the car park, which forms a plinth for the Neue Staatsgalerie, followed by the second terrace on the roof of the museum.
On the other side of the new Museum the Kammertheater, also design by Stirling, is pushed forward, and picks up on the assertive position of the Alte Staatsgalerie, framing the Museum. The elevation of the museum itself consists of several different elements and therefore does not appear as a conventional elevation. The u-shape layout of the museum galleries repeats the framing exercise. From the exterior the two ends of the U-shape appear as two tall buildings at each side of the site, these structures are stone clad and appear solid, a solidity reinforced by the reduced openings and the double, oversized, concrete rainspouts at the top.
Apart from these two somewhat conventional elevations the rest of the elevation appears as an abstract reconstruction of a sloping landscape. There are three large sloping, curving windows in green, appearing as grassy banks.
Then there is the ramp resembling a path working its way down a hillside. It leads you through the internal sculpture courtyard, a ruin-like rotunda with views into the lower part of the Museum. Again Stirling is digging in the dark past of architectural history, as we know it from the lay out of the English country garden and later Le Corbusier promenade architectural.
The rotund, which is often use as the focal point of a building is just an experience on the way, the passer by cannot stay here. But the experience of the past is complete with gaping window openings, plants growing over the edge of the walls and antic statues.
After this experience the passer by descends path on the facade of the Museum to arrive on the front terrace. Here your attention is drawn to the large slanting and curving window, with view into the interior of the building and the courtyard. The main entrance is under the blue steel and glass roof, in two orange cylinders with swing doors. In the spacious entrance hall with its bright green floor is a gigantic interpretation of a classical temple of love, selling tickets and providing information.
The hall itself has views back out over terrace toward the city and views into the rotund courtyard, creating a threshold i. From the ground floor a generous ramp takes you up to the gallery level. The gallery space is divided into rectangular spaces with daylight filtering in through the roof.
It is an utterly peaceful uneventful space, no reference to the rotund or walkways, which hands over the action to the exhibits. The gallery space is a perfect contrast to the exterior. One might even consider that the planning of the building is a collage of different architectural periods starting with the Egyptians. Some of the fenestration seems particularly flat, the colours and the over proportioned steel elements.
However, if we can see beyond this the actual planning of the building is a master class in how to join classical clarity and modern usage. It is a very fine example of postmodern architecture, in it poetic use of classical reference and use of modern materials and ways of using a building.
Both the passerby and the museum visitor flow through the building using the ramps outside and inside. Before pedestrian is face with the view of Stuttgart trees allowing and the gentle decent on to the terrace where.
His use of colours was audacious, hot pink oversized handrails, bright green window structures. However, he integrated several neoclassical elements such as circular courtyard which refers to the neoclassical glass dome. World-withdrawal and world-decay can never be undone.
AD Classics: Neue Staatsgalerie / James Stirling
Dieser Bestand wurde in den Jahrzehnten und ausgebaut und auch auf die Plastik ausgedehnt. Gestartet wurde mit Werken aus dem Bereich der Alten Meister bis ins Weitere Werke folgen kontinuierlich. Im Dezember wurde mit dem Relaunch der Website auch der "Digitale Katalog" durch verschiedene Funktionen erweitert und in Sammlung Digital umbenannt. Dezember Von Spitzweg bis Picasso. Ein bedeutendes Exponat war beispielsweise das Atelier von Piet Mondrian , das rekonstruiert wurde und begehbar war.
Neue Staatsgalerie : Stuttgart Building