Kunstmuseum Basel (New Building)
Basel, Switzerland
2016
The interior of the Kunstmuseum's new building is a subject of intense debate, largely defined by its uncompromising use of industrial materials. Critic Rowan Moore summarized the palette as "grey, grey, grey," pointing to the relentless application of galvanized steel, scraped plaster, grey marble, and raw concrete. This austere environment led German critic Julia Voss to compare it to "a meat cooler for a luxury butcher’s shop," a sentiment echoed by others who found the atmosphere cold and prison-like. The monumental staircase, while architecturally significant, becomes a stark sculptural object within this severe context rather than a welcoming feature. The design is a radical statement, treating the museum not as a neutral background for art, but as a "disastrous" and "loveless bunker" that asserts its own powerful, and deeply controversial, presence.
巴塞尔艺术博物馆（新馆）
瑞士 巴塞尔
2016
巴塞尔艺术博物馆新馆的室内设计因其对工业材料的 uncompromising (不妥协)运用而成为激烈争论的焦点。评论家罗恩·摩尔将其材料概括为“灰色、灰色、还是灰色”，直指其无处不在的镀锌钢、刮削抹灰、灰色大理石和原始混凝土。这种严峻的环境使德国评论家朱莉娅·福斯将其比作“豪华肉铺的冷库”，而其他评论者也认为其氛围冰冷如监狱。在此背景下，宏伟的楼梯并未成为热情的引导，反而更像一座冷峻的雕塑。整个设计是一个激进的宣言，它并非艺术品的中性背景，而被一些人视为一座“灾难性的”、“毫无爱意的地堡”，强行彰显着自身强大而备受争议的存在感。