Kseniya SHkroban

* Company:


* I'm also a:



Moscow, Russia


FORMAKERS magazine is born to rethink strategies for investigating urban design from macro to micro scales. It has been conceived to reinvent, reimagine, review and rebuild the current city through new visions of contemporary architecture and through the work and imagination of a new generation of professionals specialized in creative research through design. FORMAKERS invites architects, designers, artists, students, scientists and individuals of all backgrounds to explore, research and investigate new design paradigms and urban visions.

15APR 2012


Posted in Architecture - Museums by Kseniya SHkroban

The museum building, dedicated to the oeuvre of Appenzell artists Carl August Liner and his son, Carl Walter Liner, belongs to the category of the monographic museum. However, the rooms are not designed to house particular paintings by either of these two artists, but are rather dimensioned to accommodate changing presentations of the work of father and son as well as exhibitions of contemporary art.

© gigon-guyer
The rooms are therefore more general than specific in nature. They are quiet, simple spaces that seek neither to exaggerate nor to compete with the works of art.

© gigon-guyer
They show a minimum of detail, have light walls, poured concrete floors, and are illuminated by daylight coming in through windows set in the gabled roof overhead. The dimensions of the rooms are relatively small to provide a concentrated and focused ambience for the individual paintings.

© gigon-guyer
The total exhibition area is divided into ten rooms, each measuring, between 30 and 50 m2 in size. The varying size of the rooms is generated by an asymmetrically places wall running the length of the building as well as intersecting axes that define the spaces in decreasing size from south to north. The alignment of the doorways from room to room may be straight or shifted, allowing visitors to follow a direct or a meandering course through the museum.

© gigon-guyer
Two lateral windows offer an outdoor view and facilitate orientation within the building. A small reading room and a room for slide and video presentations are placed at the north end of the building - that is, in the middle of the museum tour.

© gigon-guyer
The architectural opener for visitors is the spacious lobby with a counter for tickets and sales. As the first and biggest room in the museum, it also functions as a place for meetings, discussions or lectures. The illumination of the exhibition spaces with gabled roofs of different heights also defines the zig-zag shape of the building that echoes both the saddle-roofed houses typical of Appenzell and the saw-toothed roofs of industrial and agricultural architecture.

© gigon-guyer
The roofs are clad in sandblasted sheets of chrome steel to keep the light reflected in the exhibition spaces as diffuse and undistorted in color as possible. The facades are clad in the same material.

© gigon-guyer
The overlapping cladding and its shimmering grey color show a distant resemblance to traditional Appenzell architecture with its shingled facades (and roofs that were once shingled as well) weathered to a silvery grey. The combination of façade and roofing int the same material produces an overall, irregular volume, like a smalll mountain against the background of the Alpstein massif.

© gigon-guyer


Stiftung Museum Carl Liner Vater und Sohn (Foundation)

Heinrich Helfenstein,Gaston Wick



Website (references):

© gigon-guyer © gigon-guyer © gigon-guyer © gigon-guyer © gigon-guyer © gigon-guyer © gigon-guyer © gigon-guyer


No comments