Even if we do not bend our knees before art, as Hegel did
means, but we look up and go often enough to her. The classic type museum
often stands on a high platform, and the only possible way leads to a monumental
Staircase. Remarkable historical examples of such orientations are encountered
Berlin museum island every turn. They stage the rise of art
a classic temple of the muses. This concept of the era of bourgeois emancipation
is contrary to always virulent expectations, at least in Berlin.
As in the development of the master plan of the island of museums in the late 1990s, a private reception building for the five isolated buildings (Bode, Pergamon, Museum of old and new, old gallery national) was put in discussion, said the British architect. David Chipperfield with an opaque multilayer glass architecture, but encountered a strong resistance. The criticism was too modern, that is to say, placed too rigorously and abruptly on the side of historical substance. They wanted a building, not a counter-building. Therefore, in January 2007, the responsible representatives of the Prussian Cultural Heritage Foundation met Chipperfield for lunch and introduced him to the words
"David, we need a temple!"
their concrete request. On a napkin, the architect would have sketched a new design that eventually led to the James Simon Gallery, which will be solemnly inaugurated.
Access to this building klassizisierenden by a staircase coming from the south. More than 35 steps lead you to the entrance of the upper hall. The illusion of the temple is not only due to the wide staircase, but also to the colonnade motif that characterizes the building. The architecture of Chipperfield is inscribed in the Doric Portico designed by Friedrich August Stüler in 1841, which connects the Neues Museum to the nearby Alte Nationalgalerie. A complete colonnade composed of thin concrete columns and sharp edges serves as a decorative signature to the new structure. This passage of column continues the traditional axis, ending with the powerful staircase first, then raises to turn into "high colonnade". Here, the nine-meter high columns enclose the glass facade, which would have been too sober for the client without illusion. Historical quotations were to come and go out of the temple. The column, which runs for about 100 meters above a heavy-duty waterfront, acts as a centipede, but is rather fragile. The old holy island of the museum island does not prosper here, as the title promises to a famous Schinkel painting, but only as a flower of style.
Unlike the exterior, which, with its addition of white marble and broken marble, makes antiquity evoked, the construction has succeeded in aesthetically and infrastructurally interior. On three floors you will find generous room suites with exposed concrete walls, including precious materials such as patinated bronze, Thassos translucent marble slabs or French walnut. Once you've had enough and climb onto the outdoor platform and notice the impressive southward view towards the Lustgarten and the new palace of the city, the question arises as to what is the specific function of this historically disguised building, built years ago because of cost. Millions of euros have been ridiculed as "the most expensive wardrobe in Berlin" or as "the most expensive balcony in the city". This is not a museum, but also not a simple lobby, but rather a multifunctional building according to the architect and the client. On the one hand, it serves as a temporary entrance to the Pergamon Museum, which is still under reconstruction for many years, but also from point of entry into the dermal, that is, to say at the earliest for fifteen years "Archaeological Walk", all museums, with the exception of the Alte Nationalgalerie, underground should connect. Gradually, however, many other urgent needs emerged during the planning process, including a bookstore and museum shop, a terrace restaurant, an auditorium and a special exhibition space.
So you are now walking by a generous size, especially the stairs and the views paying homage to the house. The central idea of a new balcony of the city with an adjacent dwelling and a commercial area adjacent to the new gallery, as well as the transition to the adjacent Pergamon Museum.
It all depends on this, the architect so cleverly asserts that the house, which bears the name of the great Jewish merchant and patron of the arts, James Simon (1851-1932), is filled by a well-defined program. So that not only in Berlin too much "material" privileged, but also the "software" is provided, according to a variety of inspiring events. Otherwise, it would suffice to cope with a vastly reconstructed void or transit construction to cross.
A conservative concept, which would also honor the customer beyond the mere designation, is imperative. James Simon, who donated many valuable works of art to the Berlin collections, including the bust of Nefertiti, already knew in the late twenties what had politically impacted art and culture . In order to remain in diplomatic talks with Egypt on other excavations, he proposed in an open letter of 1930 that Nefertiti be returned as part of an exchange with the Cairo Museum. "For their popularity with the general public," he said in his statement to the
"There are many other things that speak with him." The woman represented is a beautiful woman, and one knows how easy it is for a layman to confuse the beauty of the object with the value of artistic representation. "In a period of debates on postcolonial restitution, a remarkable entry in the current studbook might give pause to our reflection on the path leading from the temple to the Neue Museum and where the bust of Nefertiti is preserved.