Facilities - Goetz Collection

The gallery for a private collection of art from the 1960s to the present day stands in park-like grounds surrounded by a fence. It looks like a solitaire which slots unselfconsciously between the many birch trees and conifers, yet still remains alien.
Building regulations for the residential area restricted the height and footprint of the building, which made it necessary to construct a basement level to give the required exhibition space. Herzog & de Meuron made this restriction into the basis for their design. The first step was to deliberately avoid the traditional solution of putting video art and drawings down in the basement, and to aim instead at achieving equal spatial quality on both exhibition levels. The conventional hierarchy of rooms is turned about. Attempts with classic overhead lighting, as seen in the early sketches, were soon abandoned, and the main, usually toplit exhibition hall which is the focus of many galleries was placed in the basement. In the upper storey are three smaller exhibition rooms. The 4 to 5.5-metre-high walls inside the rooms are unfinished plaster, and at the top is a strip of matt glazing through which even, glare-free light falls. From inside the rooms the visitor can no longer be sure which floor he is on.

BASE103

What was once a storage area at the Sammlung Goetz museum has been extended and converted into a media zone called BASE103. The new space was designed, planned and carried out by the Munich office of Wolfgang Brune Architects in consultation with Jacques Herzog and Pierre de Meuron. This marks the conclusion of a project which began in 2000 to dedicate a separate space in the museum for the Sammlung’s extensive inventory of film works spanning nearly two decades. This measure is based on the opinion that works which lead into a world created by film require a special optical setting. It encourages the viewer to focus exclusively on the presentation and sends him into a parallel world for the time of his observation. Thereby the viewer is seldom conscious of the surroundings. The rooms are designed with this in mind: The area dedicated to film is connected by a sluice to the last room of the museum’s bright exhibition halls. It is lined with dark felt. The perceptive conditions change immediately: The optical and acoustical impression is almost contradictory to that in the halls which the viewer has just passed through. The light dims with every step leading downward. At the base of the stairs is the first small film room which is an absolutely darkened cabinet separated by a curtain. If you follow the sluice further, you arrive in the large media room. This spacious room can be used in a number of ways. It is easily divided and technically outfitted for every type of projection.




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