The new pavilion at the Carmen Würth Forum, designed by David Chipperfield Architects, responds to the interior volume defined by the artist. A restrained portico provides shelter and marks the transition between the exterior and the interior. Furthermore, the building is constructed with bush-hammered concrete walls—echoing the materiality of the Carmen Würth Forum—which transform the pavilion into a sculptural object that blends into its surroundings.
The exhibition space is adapted to climatic variations and avoids the use of active climate-control systems; instead, it features a three-layered wall structure composed of concrete, brick, and an interior clay lining.
Exposed solid timber beams are visible overhead, while various skylights allow natural light to filter in—shifting throughout the day and across the seasons—to create a serene atmosphere that directs focus toward the artwork.
Anselm Kiefer pavilion by David Chipperfield Architects. Photograph by Studio Menges Tugushi.
Project description by David Chipperfield Architects
Next to the Museum Würth 2 in Künzelsau, a new pavilion houses Anselm Kiefer’s painting Schwarze Flocken (2007). The large-scale work, executed in Kiefer’s characteristic mixed media technique of oil, emulsion, shellac, earth, and twigs, alludes to Paul Celan’s poem of the same name, which reflects on the profound experiences of the Holocaust. Measuring 11 metres in height and 7.10 metres in width, it is the largest work by Kiefer in the Würth Collection and, due to its dimensions, has not previously been exhibited. In close collaboration with the artist, it is now being given its own architectural setting. This structure is precisely tailored to the work and enables its first-ever public presentation.
The pavilion is situated on a gentle rise at the south-western edge of the grounds surrounding the Carmen Würth Forum and is part of the expansive sculpture garden. From here, the building maintains a clear visual relationship with the main buildings of the Carmen Würth Forum, complementing the ensemble with a calm, sculptural presence.
The building’s form directly traces the interior volume specified by the artist and focuses on a few, precisely placed elements. A restrained portico provides shelter from the weather and marks the transition between landscape and exhibition space. Bush-hammered concrete walls reference the materiality of the Carmen Würth Forum and translate it into a sculptural, freestanding figure that blends into the context of the sculpture garden. Inside, Anselm Kiefer determined the proportions, openings and colouring of the wall surfaces.
Unlike conventional exhibition spaces, the room is not subject to strict climate control or lighting parameters. Its three-layer wall construction, comprising concrete, brickwork and an internal layer of clay plaster, is designed to adapt to varying climatic conditions and maintain frost-free conditions without active climate control. The solid timber roof beams remain exposed within the interior. Between them, rooflights admit subdued daylight, whose intensity shifts with the time of the day and the season. The aim is not uniform illumination, but a focussed, tranquil atmosphere that slows down the act of seeing and directs attention to the artwork.
