2011年，萨尔州博物馆的现代美术馆（Modern Gallery）的扩建工程被迫中止。该美术馆由建筑师Hanns Schönecker设计，建于20世纪60年代，包括了数个展馆体量。两年后，建筑事务所Kuehn Malvezzi凭借着其创新的设计方案，赢得了本项目的竞标。设计团队与艺术家Michael Riedel合作，不仅没有刻意回避该博物馆极具挑战性的政治历史，反而将这段历史作为了设计的出发点。最终的设计方案着眼于博物馆与公共空间的关系，从实际环境（博物馆与城市开放空间和其附近的萨尔河之间的关系）与政治情况（博物馆与客户和使用者的关系）入手，对其扩建提出了新的构想。
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.
▼美术馆及广场概览，overview of the modern gallery and the new square ©Hans-Christian Schink
在bbz Landschaftsarchitekten的辅助下，建筑事务所Kuehn Malvezzi与艺术家Michael Riedel合作，通过建筑与艺术的融合，将室内空间与室外空间、广场空间与建筑立面交织在了一起。设计团队将建筑看作一个雕塑装置、一个记录历史的容器，在建筑立面和广场空间上印上了文字，从而为人们了解建筑和地区提供了一个全新的途经。2015年4月22日，人们就是否要实行Kuehn Malvezzi和Michael Riedel的概念方案进行了讨论。讨论的内容被录了下来，作为备选的文字内容。在转译文字的时候，说话者的名字不会出现，但设计团队会对话语中所出现的所有 “博物馆”一词进行高亮处理。其实，这种方式也是Michael Riedel在创作中常用的一种设计手法，即通过录音和转译的途经来重现事件。
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.
▼美术馆及广场外观，建筑立面和广场空间上印有文字，exterior view of the gallery and the square with>
新的广场作为一个“文字岛屿”，位于博物馆扩建的雕塑花园中。它参考了由各展馆所建立起的图底关系，并将这种关系反映在了新的地面上。图案在地面上一直延伸，在地面与建筑外墙的相交处向墙面延伸，使得建筑与广场融为了一体。墙面和地面的琢石石板遵循了建筑师Schönecker的原有规划，在图底关系的基础上按照4×4米的网格排列。现场安装完毕后，上文中所提到的文字便会被印在这些面板之上。而部分没有被石板覆盖的建筑外立面则被涂以厚厚的大地色的矿物石膏，从而打造出一个雕塑般的建筑结构。
▼图底关系，the figure–ground relationship ©Kuehn Malvezzi
The new museum square is situated in the museum’s expanded sculpture garden as an “island of>
▼美术馆及广场外观，琢石石板上印有文字，没有被石板覆盖的建筑外立面被涂以大地色的矿物石膏，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
▼图案在地面上一直延伸，在地面与建筑外墙相交处向墙面延伸，wherever the surfaces meet the new structure, they fold upward, making the square become part of the facade ©Hans-Christian Schink
这种设计方式可以在空间上重新构建新旧建筑之间的关系。历史悠久的原展馆入口经过翻新，已经重新成为了整个建筑群的中心。位于西侧的新广场则作为一个过渡空间，将新老结构融合在了一起。从Saarbrücken附近的历史中心和萨尔河畔通向博物馆主入口的步道与萨尔音乐大学（Saar University of Music）相互作用，形成了一个正方形的城市空间。
▼美术馆外观局部，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.
▼从美术馆室内看广场，viewing the square from the interior space of the gallery ©Hans-Christian Schink
新建体量的中庭空间被设计成了一个14米高的中央展览大厅，具有很强的可见性。博物馆的交通流线围绕着这个中央展厅向上迂回着布置，形成了一种连续的空间。此外，得益于各房间的不同大小和比例，人们可以根据使用的需求对空间进行组织，以举办独立展览。照明系统、电力系统和通风系统以天花板为背景，如同白色装置般地暴露在人们的视野中。室内主要采用白色的展览墙，材料上使用保温且防火的灰色无缝水磨石。此外，在精心排布的窗户的帮助下，室内空间得以与周围环境和城市肌理融为一体。
▼14米高的中央展厅，天窗采光，the 14-meter-high central exhibition hall with skylights for natural light ©Hans-Christian Schink
▼中央展厅局部，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.
▼展览空间，室内主要采用白色的展览墙，exhibition space with white exhibition walls ©Hans-Christian Schink
▼展览空间，照明系统、电力系统和通风系统如同白色装置般地暴露在人们的视野中，the exhibition space, the lighting, electricity, and ventilation services are left exposed as a white installation in the ceiling space ©Hans-Christian Schink
▼美术馆的接待区，reception area of the gallery ©Hans-Christian Schink
▼美术馆室内局部，partial interior view of the gallery ©Hans-Christian Schink
▼总平面图，site plan ©Kuehn Malvezzi
▼首层平面图，ground floor plan ©Kuehn Malvezzi
▼南立面图，south elevation ©Kuehn Malvezzi
▼北立面图，north elevation ©Kuehn Malvezzi
▼东立面图，east elevation ©Kuehn Malvezzi
▼西立面图，west elevation ©Kuehn Malvezzi
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