The story of the Albertinum in Dresden, a museum that
attained its ideal form from the whims of weather, is surely unique in
the history of art. Incredibly, the Albertinum owes its new
light-flooded atrium to rain. This former armoury building with its
solid vaulted basement was part of an old fortress built in the 16th
century on the banks of the river Elbe that can still be recognised
today. In the late 19th century, the Albertinum was redesigned,
initially as an exhibition space for antique sculptures. For over 100
years, it hosted a variety of collections as a much-used, much-rebuilt
and finally somewhat worn-out museum. Even though the building could
have done with some improvement, no plans had been made. Until 12 August
2002 changed everything.
Helpers in rubber boots
On this fateful day, eastern Saxony experienced unusually heavy rainfall. Even in the days preceding the storm, water levels in the tributaries of the Elbe had been worryingly high. The river was now transformed into a raging torrent such as no citizen of Dresden had ever seen before. Situated directly on the banks of the Elbe, the
old basement of the Albertinum was used as a storeroom for sculptures and pictures. In the night of 12 August, water penetrated the storerooms of the Old Masters Gallery in the Zwinger. In response, Martin Roth, Director of the Dresden State Art Collections, ordered the evacuation of the Albertinum’s basement. At this point, conditions in the city could not have been more chaotic. The telephone lines were down, as were the power supply and transport
systems. But Roth had no choice. All the museum’s employees were called in, policemen and firemen lent a hand, and even the army assisted in pulling off this gigantic rescue operation. Helpers in rubber boots hauled heavy antique statues and works of art that normally are not handled at all, or at the very most with reverence and cotton gloves, up the winding stairs by candlelight. The freight elevator was not working, nor was the alarm system. So the army took over the job of protecting the treasures. The Elbe’s water level did not stop rising until five days later, when it reached 9.40 metres. The normal level is 2.70 metres. It was the kind of flood that occurs only once in a hundred years. Nevertheless, it was clear that the artworks were not safe in the underground storerooms in the long term. This time they had been lucky, but there was no guarantee they would be next time. The Albertinum was saved by 45 artists from all over the world: Gerhard Richter, Georg Baselitz, Andreas Gursky, Nancy Spero, Thomas Struth and many others donated a piece of artwork to an auction for flood relief aid. A grand total of 3.4 million euros were collected for the Dresden Art Collections and went towards creating a flood-proof storeroom.
On this fateful day, eastern Saxony experienced unusually heavy rainfall. Even in the days preceding the storm, water levels in the tributaries of the Elbe had been worryingly high. The river was now transformed into a raging torrent such as no citizen of Dresden had ever seen before. Situated directly on the banks of the Elbe, the
old basement of the Albertinum was used as a storeroom for sculptures and pictures. In the night of 12 August, water penetrated the storerooms of the Old Masters Gallery in the Zwinger. In response, Martin Roth, Director of the Dresden State Art Collections, ordered the evacuation of the Albertinum’s basement. At this point, conditions in the city could not have been more chaotic. The telephone lines were down, as were the power supply and transport
systems. But Roth had no choice. All the museum’s employees were called in, policemen and firemen lent a hand, and even the army assisted in pulling off this gigantic rescue operation. Helpers in rubber boots hauled heavy antique statues and works of art that normally are not handled at all, or at the very most with reverence and cotton gloves, up the winding stairs by candlelight. The freight elevator was not working, nor was the alarm system. So the army took over the job of protecting the treasures. The Elbe’s water level did not stop rising until five days later, when it reached 9.40 metres. The normal level is 2.70 metres. It was the kind of flood that occurs only once in a hundred years. Nevertheless, it was clear that the artworks were not safe in the underground storerooms in the long term. This time they had been lucky, but there was no guarantee they would be next time. The Albertinum was saved by 45 artists from all over the world: Gerhard Richter, Georg Baselitz, Andreas Gursky, Nancy Spero, Thomas Struth and many others donated a piece of artwork to an auction for flood relief aid. A grand total of 3.4 million euros were collected for the Dresden Art Collections and went towards creating a flood-proof storeroom.
A stunningly simple idea
But where should it be built? The challenge was to find a place close by the museum, taking into account the shortage of space not only in the Albertinum itself, but also in the entire, densely built historic old town. The architectural competition was won by Berlin-based Staab Architekten with a stunningly simple and yet revolutionary idea: The storeroom was relocated to the roof, radically clearing out the long-neglected inner courtyard in
the process. The museum was closed for four years while renovation work was done. When it reopened last year, the old armoury building was completely transformed. The atrium, which had been almost forgotten, was converted into a spacious entrance hall leading to the four wings of the museum. Amazingly, the roof above it seems almost transparent, even though a 2,700-ton, two-storey construction hovers high above visitors’ heads. Architect Volker Staab designed it in such a way that it does not protrude above the old roof of the building, meaning it cannot be seen from the outside and does not disrupt the silhouette of the old town. Also visible only to employees of the State Art Collections are the workshops and ateliers inside. Previously distributed between the Albertinum and the Zwinger, they are now located on the second floor above the storerooms on the museum’s roof. The light streaming into the building from the north provides ideal conditions for restoring the paintings and sculptures. The freight elevator acts as a supporting element for the construction in the east wing as well as connecting the different floors. It provides a pleasingly clear and practical structure for all those working in and with the museum. What surely strikes visitors most, however, is the entrance hall, suffused in natural daylight, a seemingly impossible feat considering the closed ceiling above. But here, again, the architects came up with a brilliant plan: The storerooms are suspended in a bridgelike construction, supported on the narrow ends of the building,
leaving a strip open along the longer side walls for light to pass through. Combined with the fact that the ceiling is lit from below, the entrance hall doesn’t feel closed-in at all. Instead, it is a wonderful place to spend time, leaf through a book while drinking an espresso, or take a rest before continuing a tour of the museum. Another aspect of the museum has also been nicely solved: Before it was renovated, the only way into the museum was via Brühl Terrace, which often meant taking the long way round, especially for shoppers. Many a tourist presumably searched in vain for the entrance. Now the museum can be accessed from the other side too, at ground level, not far from the Frauenkirche. True to the philosophy of Dresden State Art Collections, visitors do not need a ticket to wander through the Albertinum. They pay only if they want to see a special exhibition. In other words, as in the Zwinger and Royal Palace, visitors can stroll through the historic building even if their only aim is to admire the beautiful architecture or escape the rain!
But where should it be built? The challenge was to find a place close by the museum, taking into account the shortage of space not only in the Albertinum itself, but also in the entire, densely built historic old town. The architectural competition was won by Berlin-based Staab Architekten with a stunningly simple and yet revolutionary idea: The storeroom was relocated to the roof, radically clearing out the long-neglected inner courtyard in
the process. The museum was closed for four years while renovation work was done. When it reopened last year, the old armoury building was completely transformed. The atrium, which had been almost forgotten, was converted into a spacious entrance hall leading to the four wings of the museum. Amazingly, the roof above it seems almost transparent, even though a 2,700-ton, two-storey construction hovers high above visitors’ heads. Architect Volker Staab designed it in such a way that it does not protrude above the old roof of the building, meaning it cannot be seen from the outside and does not disrupt the silhouette of the old town. Also visible only to employees of the State Art Collections are the workshops and ateliers inside. Previously distributed between the Albertinum and the Zwinger, they are now located on the second floor above the storerooms on the museum’s roof. The light streaming into the building from the north provides ideal conditions for restoring the paintings and sculptures. The freight elevator acts as a supporting element for the construction in the east wing as well as connecting the different floors. It provides a pleasingly clear and practical structure for all those working in and with the museum. What surely strikes visitors most, however, is the entrance hall, suffused in natural daylight, a seemingly impossible feat considering the closed ceiling above. But here, again, the architects came up with a brilliant plan: The storerooms are suspended in a bridgelike construction, supported on the narrow ends of the building,
leaving a strip open along the longer side walls for light to pass through. Combined with the fact that the ceiling is lit from below, the entrance hall doesn’t feel closed-in at all. Instead, it is a wonderful place to spend time, leaf through a book while drinking an espresso, or take a rest before continuing a tour of the museum. Another aspect of the museum has also been nicely solved: Before it was renovated, the only way into the museum was via Brühl Terrace, which often meant taking the long way round, especially for shoppers. Many a tourist presumably searched in vain for the entrance. Now the museum can be accessed from the other side too, at ground level, not far from the Frauenkirche. True to the philosophy of Dresden State Art Collections, visitors do not need a ticket to wander through the Albertinum. They pay only if they want to see a special exhibition. In other words, as in the Zwinger and Royal Palace, visitors can stroll through the historic building even if their only aim is to admire the beautiful architecture or escape the rain!
From a military armoury to a modern museum
The Albertinum’s exterior, built in the style of an Italian Renaissance palace, remained unchanged. But inside, it has been transformed into a modern museum for contemporary art with sufficient space to allow the individual works of art to unfold their magic. This was not always the case: After the Second World War, which left Dresden’s city centre completely destroyed, Soviet troops commandeered everything the Art Collections owned. Paintings by the Old and the New Masters, precious jewellery from the Green Vault, the vast porcelain collection and valuable sculptures were taken to Moscow. In 1958, the Soviet Union returned almost all the pieces in the collection. Although the Picture
Gallery in the reconstructed Zwinger was reopened in 1960, the Royal Palace remained a ruin until the 1990s. As a result, there was not enough exhibition space and the sculptures, the treasures from the Green Vault, the Coin Collection, the Collection of Prints, Drawings and Photographs, and the Armoury were all crowded into the rooms of the Albertinum, which had sustained less severe damage. After 1961, the works by the New Masters were finally moved to rooms on the top floor that were flooded with natural light from above. Surprisingly, they were not shown separately from the Old Masters until 1931. After all, the directors of the Painting Gallery had been collecting contemporary art since 1830. Hans Posse (1879–1942) very effectively placed the collection’s emphasis on Dresden Romanticism and German Impressionism, supplemented with works by the Expressionists and the New Objectivity
movement. Dresden was also home to a vibrant art scene that helped feed the collection. Not only Caspar David Friedrich taught at the time-honoured Academy of Art, but also Otto Dix and Oskar Kokoschka. The painters of the group “Die Brücke” (The Bridge), led by Ernst Ludwig Kirchner, Max Pechstein and Karl Schmidt-Rottluff, met in Dresden. Gerhard Richter, Thomas Scheibitz and numerous other well-known contemporary artists spent their early years in the city. For decades, the paintings jostled for space in the Albertinum. Hedged in, the individual
collections could not really be exhibited to full effect. Boxed in by workshops, the cloakroom and a kiosk, little could be seen of the inner courtyard. A tour of the works of art was more like finding your way through a labyrinth.
The Albertinum’s exterior, built in the style of an Italian Renaissance palace, remained unchanged. But inside, it has been transformed into a modern museum for contemporary art with sufficient space to allow the individual works of art to unfold their magic. This was not always the case: After the Second World War, which left Dresden’s city centre completely destroyed, Soviet troops commandeered everything the Art Collections owned. Paintings by the Old and the New Masters, precious jewellery from the Green Vault, the vast porcelain collection and valuable sculptures were taken to Moscow. In 1958, the Soviet Union returned almost all the pieces in the collection. Although the Picture
Gallery in the reconstructed Zwinger was reopened in 1960, the Royal Palace remained a ruin until the 1990s. As a result, there was not enough exhibition space and the sculptures, the treasures from the Green Vault, the Coin Collection, the Collection of Prints, Drawings and Photographs, and the Armoury were all crowded into the rooms of the Albertinum, which had sustained less severe damage. After 1961, the works by the New Masters were finally moved to rooms on the top floor that were flooded with natural light from above. Surprisingly, they were not shown separately from the Old Masters until 1931. After all, the directors of the Painting Gallery had been collecting contemporary art since 1830. Hans Posse (1879–1942) very effectively placed the collection’s emphasis on Dresden Romanticism and German Impressionism, supplemented with works by the Expressionists and the New Objectivity
movement. Dresden was also home to a vibrant art scene that helped feed the collection. Not only Caspar David Friedrich taught at the time-honoured Academy of Art, but also Otto Dix and Oskar Kokoschka. The painters of the group “Die Brücke” (The Bridge), led by Ernst Ludwig Kirchner, Max Pechstein and Karl Schmidt-Rottluff, met in Dresden. Gerhard Richter, Thomas Scheibitz and numerous other well-known contemporary artists spent their early years in the city. For decades, the paintings jostled for space in the Albertinum. Hedged in, the individual
collections could not really be exhibited to full effect. Boxed in by workshops, the cloakroom and a kiosk, little could be seen of the inner courtyard. A tour of the works of art was more like finding your way through a labyrinth.
Relaxed atmosphere
A hint of the liberated, relaxed atmosphere that prevailed after the flood disaster still lingers in the new Albertinum. Antique statues, Assyrian frescoes, Baroque portraits, urns, vases and trophies are packed closely together on warehouse-like shelves, sparingly lit with spotlights, and, most importantly, cheek by jowl with the very newest contemporary artists, creating startling juxtapositions.
Sirii Klose
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