2011年，薩爾州博物館的現代美術館（Modern Gallery）的擴建工程被迫中止。該美術館由建築師Hanns Schönecker設計，建於20世紀60年代，包括了數個展館體量。兩年後，建築事務所Kuehn Malvezzi憑藉著其創新的設計方案，贏得了本項目的競標。設計團隊與藝術家Michael Riedel合作，不僅沒有刻意迴避該博物館極具挑戰性的政治歷史，反而將這段歷史作為了設計的出發點。最終的設計方案著眼於博物館與公共空間的關係，從實際環境（博物館與城市開放空間和其附近的薩爾河之間的關係）與政治情況（博物館與客戶和使用者的關係）入手，對其擴建提出了新的構想。
In 2011, the construction works of the extension to the Modern Gallery, an ensemble of pavilions by the architect Hanns Schönecker from the 1960s, had come to a halt. Tow years later, a call for new concepts was held, and the project was awarded to Kuehn Malvezzi. Working with artist Michael Riedel, the architects presented an approach to reconceiving the Modern Gallery that didn’t try to negate the building’s challenging political prehistory, but instead took it as a point of departure for the design. This reconception focused on the museum’s relationship to public space, in terms of both the museum’s physical surroundings (its relation to open spaces in the city and the Saar River nearby), as well as in terms of the political public—its relation to clients and users of the facility.
▼美術館及廣場概覽，overview of the modern gallery and the new square ©Hans-Christian Schink
在bbz Landschaftsarchitekten的輔助下，建築事務所Kuehn Malvezzi與藝術家Michael Riedel合作，通過建築與藝術的融合，將室內空間與室外空間、廣場空間與建築立面交織在了一起。設計團隊將建築看作一個雕塑裝置、一個記錄歷史的容器，在建築立面和廣場空間上印上了文字，從而為人們瞭解建築和地區提供了一個全新的途經。2015年4月22日，人們就是否要實行Kuehn Malvezzi和Michael Riedel的概念方案進行了討論。討論的內容被錄了下來，作為備選的文字內容。在轉譯文字的時候，說話者的名字不會出現，但設計團隊會對話語中所出現的所有 “博物館”一詞進行高亮處理。其實，這種方式也是Michael Riedel在創作中常用的一種設計手法，即通過錄音和轉譯的途經來重現事件。
The collaborative work by Kuehn Malvezzi and Michael Riedel, with the support of bbz Landschaftsarchitekten, interweaves interior and exterior space, square and facade, by unifying architecture and art. The design is a sculptural installation that employs writing as a vessel of form, generating a new way to read the location. Recordings of the parliamentary debate from 22 April 2015 on whether to implement the plan by Kuehn Malvezzi and Michael Riedel are translated into typeface, which is then clad over the square and parts of the facade. The transcription doesn’t reproduce the names of the speakers, however the word “museum” is highlighted whenever it comes up in the course of the recording. This work thus follows a methodology that Michael Riedel has applied to a variety of situations—a methodology of recurrence that focuses on the recording and reproduction of an event.
▼美術館及廣場外觀，建築立面和廣場空間上印有文字，exterior view of the gallery and the square with>
新的廣場作為一個“文字島嶼”，位於博物館擴建的雕塑花園中。它參考了由各展館所建立起的圖底關係，並將這種關係反映在了新的地面上。圖案在地面上一直延伸，在地面與建築外牆的相交處向牆面延伸，使得建築與廣場融為了一體。牆面和地面的琢石石板遵循了建築師Schönecker的原有規劃，在圖底關係的基礎上按照4×4米的網格排列。現場安裝完畢後，上文中所提到的文字便會被印在這些面板之上。而部分沒有被石板覆蓋的建築外立面則被塗以厚厚的大地色的礦物石膏，從而打造出一個雕塑般的建築結構。
▼圖底關係，the figure–ground relationship ©Kuehn Malvezzi
The new museum square is situated in the museum’s expanded sculpture garden as an “island of>
▼美術館及廣場外觀，琢石石板上印有文字，沒有被石板覆蓋的建築外立面被塗以大地色的礦物石膏，exterior view of the gallery and the square, the text is stenciled on the ashlar panels, while in those places where the new structure isn’t covered by panels, the surfaces are rendered with an earth-colored mineral plaster ©Hans-Christian Schink
▼圖案在地面上一直延伸，在地面與建築外牆相交處向牆面延伸，wherever the surfaces meet the new structure, they fold upward, making the square become part of the facade ©Hans-Christian Schink
這種設計方式可以在空間上重新構建新舊建築之間的關係。歷史悠久的原展館入口經過翻新，已經重新成為了整個建築群的中心。位於西側的新廣場則作為一個過渡空間，將新老結構融合在了一起。從Saarbrücken附近的歷史中心和薩爾河畔通向博物館主入口的步道與薩爾音樂大學（Saar University of Music）相互作用，形成了一個正方形的城市空間。
▼美術館外觀局部，partial exterior view of the gallery ©Hans-Christian Schink
The intervention functions to spatially recalibrate the relationship between old and new. The historical entrance to Hanns Schönecker’s foyer pavilion is updated and returned to the center of the overall complex. The new square stretching out on the west side creates an intermediary space that enmeshes the old building with the new structure. The pathway leading toward the museum’s central entrance from Saarbrücken’s nearby historic center and the banks of the Saar, in its interplay with the neighboring Saar University of Music, creates a square-like urban space between the buildings.
▼從美術館室內看廣場，viewing the square from the interior space of the gallery ©Hans-Christian Schink
新建體量的中庭空間被設計成了一個14米高的中央展覽大廳，具有很強的可見性。博物館的交通流線圍繞著這個中央展廳向上迂迴著佈置，形成了一種連續的空間。此外，得益於各房間的不同大小和比例，人們可以根據使用的需求對空間進行組織，以舉辦獨立展覽。照明系統、電力系統和通風系統以天花板為背景，如同白色裝置般地暴露在人們的視野中。室內主要採用白色的展覽牆，材料上使用保溫且防火的灰色無縫水磨石。此外，在精心排布的窗戶的幫助下，室內空間得以與周圍環境和城市肌理融為一體。
▼14米高的中央展廳，天窗採光，the 14-meter-high central exhibition hall with skylights for natural light ©Hans-Christian Schink
▼中央展廳局部，partial view of the central exhibition hall ©Hans-Christian Schink
The atrium of the new structure, formerly conceived as an entrance, is elevated to become a 14-meter-high central exhibition hall, visible from every floor via different sight lines. The continuous circulation path of the museum winds upward around this hall. Thanks to the different sizes and proportions of the rooms, it is possible to host specific individual exhibitions, either separate from one another or in combination. The lighting, electricity, and ventilation services are left exposed as a white installation in the ceiling space; finishing work is centered on the white exhibition walls and the seamless gray bitu-terrazzo used throughout the building. Careful window placement serves to merge the interior space with its surrounding environment and the silhouette of the city beyond.
▼展覽空間，室內主要採用白色的展覽牆，exhibition space with white exhibition walls ©Hans-Christian Schink
▼展覽空間，照明系統、電力系統和通風系統如同白色裝置般地暴露在人們的視野中，the exhibition space, the lighting, electricity, and ventilation services are left exposed as a white installation in the ceiling space ©Hans-Christian Schink
▼美術館的接待區，reception area of the gallery ©Hans-Christian Schink
▼美術館室內局部，partial interior view of the gallery ©Hans-Christian Schink
▼總平面圖，site plan ©Kuehn Malvezzi
▼首層平面圖，ground floor plan ©Kuehn Malvezzi
▼南立面圖，south elevation ©Kuehn Malvezzi
▼北立面圖，north elevation ©Kuehn Malvezzi
▼東立面圖，east elevation ©Kuehn Malvezzi
▼西立面圖，west elevation ©Kuehn Malvezzi
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