Extracts from the jury’s verdict:
The design is nice and clear. It is cleverly adapted to fit into the built environment. It provides good solutions for integrating the grassy areas along the Talvera and the east-west link. The entrance looks very inviting; the eastern forecourt is an attractive proposition, which allows the cedars to be preserved. The jury was impressed with the orientation: In this project, the museum opens onto the city and the Talvera and is clearly visible from this direction, while being shielded from the rest of the area. The design presents an excellent linking element between the old town and the new town. When the preliminary design is translated into an actual building, care must be taken to preserve the envisaged transparency and quality of the architecture. The functional arrangements are extremely good. The heights of some of the rooms are too low and the delivery area needs to be improved, as the difference in levels has not been taken into consideration. The lighting of some groups of rooms, or rather the shading of the exhibition areas would have to be looked at more closely. The quality and openness of the interior space is impressive. This strong contender fulfils the demands of the difficult task of making the subject of “contemporary art” more approachable for the local population.

Active air-conditioning wall
To enable the museum to be open to the outside world via the large glass walls and at the same time have a wall with outstanding energy properties, the space in between is used as an active air-conditioning zone. On its way between the roof and the plant room in the basement, the incoming or exhaust air flows through the space between the glass walls. Depending on the time of year and the position of the sun, the outside air is used to create an energy-efficient buffer.
In contrast to the glass of the funnel-shaped entrance wall, the long sides and the roofs of the museum with their integrated skylights are clad with an aluminium skin. The profiling and the interplay of smooth elements with bars of shadow creates a horizontal wall structure, making the museum visible from far and near and emphasising the orientation of the cube, which is open on both sides. In the same way that classical colonnades make use of light and shade to shape the space within, the interplay of the fine, constantly changing profiling of the metal panels with deeper gaps subdivides the closed side walls of the museum. In order to achieve the impression of a thick metal shell, long pieces of aluminium of very precise measurements were assembled to form a continuous covering. Because they are very stable, these panels can be used for cladding the façade with movable hatch covers and louvres over the roof skylights and as a floor covering. That is the only reason it is possible to cover the entrance area, side walls and roof of the building completely with the same coating of metal. As a result, the building is still visible from the surrounding mountains as a silvery body.
© KSV | Ludwig Thalheimer
The white walls and the big light ceilings form the spatial continuum of the building. Movable elements make it possible to create spatial and atmospheric transformations. On the lower ground floor there are wall modules that can transform a neutral exhibition hall into a space for staging events. The sides of these modules have different surfaces of felt and blackboard paint. The acoustics and appearance vary according to which side is facing the inside of the room. In the foyer and on the library level, room-high glass modules enable rooms to be linked or separated. For example, the exhibition area can be linked to the library. At weekends, when the museum is open but the library is closed, movable modules can be used to close off the bookshelves of the lending library.
© KSV | Ludwig Thalheimer
Under the name of SARN, a suite of furniture made up of variable benches has been created for the exhibition rooms. The chosen materials could hardly be more different: felt, an ancient natural material, and aluminium, a precise, technical, present-day material. The felt mats are “sewn” onto the laser-cut aluminium sheets with a metal cord. The use of a minimum of materials and the precise geometry of the seats and backrests allows the furniture to fit naturally into rooms and exhibitions of many different designs. Following the example of workshop and laboratory furniture, the benches also take the idea of maximum flexibility and practicality a stage further. Slot-in backrests make the benches into convertible seating. The historic benches along the Talvera promenade in Bolzano were the model for the backrests, which are adjustable to suit the direction of seating and viewing.
© KSV | Ludwig Thalheimer
Städtebauliche Lage
Das MUSEION mit seiner silbern schimmernden Aluminiumfassade am Rande der Bozener Altstadt ist aus den umliegenden Bergen deutlich zu sehen. Das Museum stellt sich mit den nach innen geneigten Stirnseiten und der nach beiden Seiten offenen Empfangs- und Ausstellungshalle in die ideelle Achse zwischen der historischen Altstadt und der unter Mussolini konzipierten Stadterweiterung. Kunst und Stadt treten dadurch in einen direkten Dialog, welcher durch den neuen Brückenschlag über den Fluss Talfer bildhaft deutlich wird.
© KSV | Ludwig Thalheimer
Space and Light
The design and shaping of light gives the interior spaces their special character and properties. That is why the inside of the building, its walls, fittings and furniture, are white. White because it is closest to light, extends the space and makes objects and people into participants. Only such things as railings, door handles and furniture that must be directly touched retain their concrete materiality. The furnishings are a part of the architecture, clear, simple, neutral and flexible enough to be used in every area. The striking construction of the patches of light on the ceiling follows the three-part structure of the building and enables to museum to shine out from inside. The colour of the terrazzo floor changes, starting from black in the functions area on the lower ground floor, through grey to white on the upper daylight level.
© KSV | Ludwig Thalheimer
Die Besonderheit ist die technische Überlagerung der Klima- und Medienfassade. Tagsüber wird über bewegliche transluzente Lamellen das Tageslicht in die Ausstellungsbereiche gelenkt und der Raum inszeniert. Bei Einbruch der Dunkelheit bilden die beweg-lichen transluzenten Glaslamellen eine Projektionsfläche. Aus dem Innern des Gebäudes verwandeln Projektoren die Glasfassaden auf beiden Seiten des Museums in große Bildschirme. Damit bietet sich die Möglichkeit, Medienkunst auf den beiden Glasfassaden in einer einmaligen Form und Dimension zu präsentieren.
© KSV | Ludwig Thalheimer
© KSV | Ludwig Thalheimer
In contrast to the thick metal skin, the exterior glass façade, which is suspended from a cable construction and fixed only at the corners, provides maximum transparency. In the evening, the interaction between the interior glazing and the moveable, translucent louvres causes the museum to start emitting a light and radiance of its own. The multi-layered glass façade also acts as a filter. The broad glass walls of each exhibition floor function as “side” skylights and give these spaces a special distinctive atmosphere. During the day, the light can be directed and shaped room by room in the exhibition areas. This effect is obtained by using the movable, translucent louvres between the two layers of glass that make up the wall and a screen in the inner side. It creates a pale, restful background for the art. When darkness falls, the plates become a surface on which to project. The light now travels the opposite way. A large number of networked projectors transform the entire glass wall into a giant screen.
Gross floor area:
© KSV | Ludwig Thalheimer