While the audacious concrete forms of the Brutalist movement have long divided opinion among the public, their uncompromising qualities are often adored by architects. Occasionally, though, this polarizing genre is graced with a fresh iteration that unites both the public and the profession, and a new extension to the Swiss National Museum in Zurich hopes to appeal to both demographics.
Basel-based firm Christ and Gantenbein likens its new addition to this historic institution to a sculptural bridge. “It spans across a wide space,” the team explains, “featuring a water basin that connects the new inner courtyard with the park.” The angular concrete form is sharply juxtaposed with the ornate exterior of the original museum, a château-style building designed by architect Gustav Gull back in 1898.
Set to open to the public in July 2016, the new wing strikes a bold contrast to its 19th-century counterpart, but it also incorporates key similarities that serve to unite these two seemingly disparate entities. The volume echoes the shape and massing of the old building, mimicking the lines of Gull’s original roof. Inside, polished concrete floors within the extension are inset with aggregate that evokes the patina of period terrazzo floors in the existing building.
Despite this echoing, Christ and Gantenbein’s addition is unmistakably modern. The firm sought to create an architectural blank canvas, with muted tones and minimal detailing allowing museum exhibits to take center stage. To this end, the architects have conceived what they call a “museum factory” employing an exposed, undecorated aesthetic more in line with industrial warehouses than cultural institutions.
The crisp edges and pristine gray surfaces of the concrete façades speak to the newness of the building, yet their robust nature lends them a timeless quality often lacking in the steel and glass skins of many contemporary museums. Its walls are 31 inches (80 centimeters) thick, matching the solidity of Gull’s original stone structure while aiding the passive thermal properties of the building envelope.
This thick skin is punctuated by a series of circular apertures that allow light to spill into the internal spaces, lining the exterior like portholes on the hull of a futuristic, landlocked ship. The windows help to break up the homogenous concrete surfaces, but the museum’s new wing is undeniably monumental — a stoic ode to the brutalist icons of Gottfried Böhm and the minimalist masterpieces of Tadao Ando.
Renovations to the existing museum; via Architectural Review
The recently completed extension incorporates a new entrance for the museum together with visitor facilities including a shop, a restaurant and a bar. The project also includes a full renovation of the existing 19th-century building. The vaulted slab between the ground floor and the ruhmeshalle (hall of fame) has been replaced with a contemporary concrete ceiling that echoes the arched geometry of the spectacular space above. Beautifully detailed oak doors — fabricated with the aid of 3D modeling and a CNC milling machine — have also been added, their surfaces etched with the pattern of a repeated thistle blossom.
Further work will commence to revamp the historic west wing and tower in 2017, with the completion of works planned for 2020. At that point, Christ and Gantenbein look likely to have ensured this century-old building and its contemporary addition are well-set for the next 100 years, and the firm might just help Brutalism capture a few more hearts in the process.
For more stories on brilliant brutalist architecture, check out our awe-inspiring collection of concrete churches and explore the ruins of Giuseppe Perugini’s ‘Casa Sperimentale.’
