3.1.1 La fonctionnalité aux KUB, KOL et ALL
Achleitner et Moldoveanu évoquent la planification des installations du KUB ( Musée d’art de Bregenz ) selon les usages anticipés : le pavillon principal est consacré à l’exposition et compte six étages au total dont deux en sous-sol, consacrés aux installations sanitaires ainsi qu’aux aires de conservation et de restauration. Le second accueille un café, une boutique et des aires administratives18.
The intransigence of this architectural approach is also witnessed in the functional separations: a large translucent section is designed to house only the works of art while the subsidiary functions -
administration, archives, shop and cafeteria - are grouped together in an independent building situated behind the esplanade and painted in black with a few white touches here and there. (Moldoveanu, 2000, p. 59)
En raison du site exigu, les planchers d’exposition sont superposés. « The stacking of the deep, square exhibition floors – made necessary for reasons of space – […] » (Achleitner, 1998, p. 51) Les deux auteurs insistent également sur l’intégration et la dissimulation des systèmes techniques (chauffage, climatisation, acoustique) dans les éléments structuraux ou derrière les traitements de surface. « Since the supporting concrete walls function as both heater and cooler by means of integrated system of pipes and constant water temperature, an additional moment of physical and psychological stability joins the visual. » (Achleitner, 1998, p. 53) « All these “workings” are hidden away between the external facade and the corners of the rooms, as well as behind ceilings and underneath floors. » (Moldoveanu, 2000, p. 59) Pour les visiteurs Philipsz et Achleitner, les circulations sont partie prenante de l’expérience de l’espace. « The course of walking through the building, which approximates a spiral, makes the exhibition spaces not axially but tangentially accessible. » (Achleitner, 1998, p. 52)
The Kunsthaus Bregenz has four levels, which are connected to each other through a steep staircase. […] Working with this architectural feature I propose to record four separate parts of the same
composition, Nuit et Brouillard with each part installed on its own level and with all four levels playing in synchronization. (Philipsz, 2016)
18 Le pavillon administratif du Musée d’art de Bregenz est exclu de l’analyse des données par manque
La vocation première du lieu, soit la mise en valeur de l’art actuel, semble incarnée par l’environnement bâti. « It possesses the capacity to heighten the effect of the works, which resonate with the space. […] In certain specific cases, architecture and art use a common
vocabulary, each intensifying the other. »(Moldoveanu, 2000, p. 60) « Peter Zumthor’s credo:
architecture best serves art when it compacts its own elementary values into art. »(Kapfinger,
1999, p. 4)
Le KOL (Musée Kolumba) est également un édifice de six étages, dont deux sont en sous- sol. La grande majorité de la superficie accessible au public est consacrée à l’expérience muséale ; les fonctions alternatives telles la boutique, l’accueil et la salle de lecture occupent moins de 15 % de l’aire de plancher totale. D’ailleurs, parmi tous les documents recueillis, seule la salle de lecture fait l’objet d’une mention par Norbert Schmidt (Kraus et Schmidt, 2011, p. 40) Tous les autres récits ne portent que sur les espaces d’exposition et les aires qui les relient. La superficie accordée aux salles d’exposition est ample, mais facilement administrable. « It was important to us that Kolumba remain clear and manageable, although it would be a large museum nevertheless due to the excavation site. 1600 square meters of exhibition space are ideal for our intentions. » (Kraus et
Schmidt, 2011, p. 36)Les stratégies de construction et de structures sont remarquées par
Mennekes. « Upon the ruins and fragments of the old building he constructed the walls of the new museum taking into account the structural realities. » (Mennekes, 2011, p. 68) « A concrete ceiling rests atop fourteen high, slender pillars. Placed as elegant foreign elements in the excavation area, they support the exhibition level of the new museum. » (Ibid., p. 69) Les propos de trois auteurs convergent quant à l’incarnation de la vocation première du Musée KOL à travers l’expérience de l’architecture. « The sensitizing of the senses is the special power that distinguishes Kolumba as a museum opening up architecture, art, and man to one another. » (Mennekes, 2011, p. 71) « And restraining the colors is advantageous to the paintings and their own colors, bringing them out to their full effect. » (Kraus et Schmidt, 2011, p. 38)
It is a museum which totally relates to its historical site, which consistently focuses all activities on its collection, which asks about common characteristics and interactions of significantly different things from the history of our art and culture, in order to enable us to imagine the invisible in the visible. (Kolumba, s.d.)
À l’instar du KUB, les installations du ALL (Musée de la mine de zinc d’Allmannajuvet) sont segmentées selon les quatre usages prévus : un musée, un café, une aire d’accueil incluant les
sanitaires et un espace de rassemblement couvert à l’entrée de la mine. Elles totalisent 150 m2 en
superficie. Bell, Slessor et Turner semblent considérer que les stratégies constructives participent à l’élaboration de l’effet atmosphérique de la proposition architecturale en plus de répondre aux contraintes imposées par le site. « All [structures] have long-since been lost to the elements, but Zumthor has brought back dark timber framing and zinc roofs, with stark black walls. » (Bell, 2016) « The resulting buildings, perched on stilts along the ravine, are supposed to reflect the archaeological remains of the makeshift mine buildings. » (Turner, 2016) « Prefabrication played a key role, with construction initially taking place in a series of temporary tents erected on Sauda’s waterfront. Full-scale mock-ups were made to convey exactly what was required, then finished elements were transported by lorry up to Allmannajuvet and craned into place. » (Slessor, 2017)