When will the museum reopen?

The collection used to be spread across seven storage locations in a way that had become almost unworkable. The sites that have now been replaced include the original air-raid shelter and the Cold War-era nuclear bunker. Demolition was a real tour-de-force, with 1,350 tonnes of concrete and 81 tonnes of steel succumbing to the jackhammers.

This preliminary phase of the master plan also freed up the original museum circuit dating from 1890. As work progressed, it became clear that there was a lot of asbestos in the building, which meant intensive remediation was necessary. But there were more pleasant discoveries too, including several original columns that had been hidden for years behind a false wall.

The new part of the museum is structured around a steel frame weighing 1 million kilograms, with a short-cut through the 19th-century building to link the two sides of the new volume. Asymmetry is the leitmotif in the ten new galleries: height, volume and lighting all vary, creating an intriguing contrast with the symmetry of the classical section. Two worlds, one building.

The new volumes are finished in white: plasterboard walls, false ceilings, clean, poured concrete floors, and the polished concrete steps of the 40-metre long staircase that bridges a height difference of 22 metres. Recesses in the steel allow daylight to enter, as do the 198 skylights in the fully renovated roof.

The new copper on the roof will gradually weather to a distinctive green, while the skylights with their sunshades will soften the harsh daylight entering the galleries from above. What used to be two small patios have been turned into advanced technology towers, which will see to it, amongst other things, that a perfect internal climate is maintained. Air ducts and pipes serving the entire museum have been installed in an intermediate technical storey. A smart climate-control system provides an optimum airflow in the galleries for visitors and art works alike.

The galleries themselves have regained their celebrated grandeur and look as fresh as they did in the 19th century. The historical stucco, carpentry and parquet floors have been recuperated as much as possible and painstakingly restored. All the ceilings have been given a uniform colour, while that of the walls varies according to the use of the space, from Pompeii red to olive green. The ornamental frames in the Rubens and Van Dyck Galleries will be decorated with gold.

The pink stone of the facade sculptures was badly weathered, so the friezes, busts, medallions and other sculptures have received delicate treatment to combat further degradation. The balcony is now resplendent in Pompeii red, creating an attractive visual contrast. The capitals on the columns, the ceiling coffers decorated with gold leaf, the wide staircases and the large pedestals have regained their original splendour. The iconic roof sculptures have been restored to their full glory too.

A centuries-old Italian grouting technique has been used to treat the mosaic floors. Cracks were repaired and missing tiles replaced with identical period marble cut to size by hand. Sadly, the floor in the entrance area was beyond saving and so a new, artful mosaic is being laid instead.

The new museum volume will be equipped with an A-rated environment system – the highest and most common climate-control category in new museums. The highest rating possible in solid buildings like the 19th-century museum is a B-rated system. We are complementing this with supplementary object-level environment control. Clean air descends from the ceiling and adheres to the wall behind each painting to create a perfect environment for art works.

Guaranteeing a stable internal climate was one of the key reasons for converting the museum. The reasons are obvious: we’re continually striving to optimize the condition of our masterpieces and to keep them that way. What’s more, other museums insist on stable climate conditions before agreeing to loan works. So the new internal environment system is a must to ensure fascinating temporary exhibitions in the future.

There’s more to scenography than simply presenting the collection. Fixed and moveable furniture, decor and walls, the lighting plan, information carriers are all part of it. The KMSKA has opted for a concept using veneer plywood boards, hand-coloured in black ink. These will be used to convey information, provide support for art works and create spaces where visitors can rest and reflect.

The elements form a family and will provide a connective layer between the new and old parts of the museum, and between permanent and temporary exhibitions. Individual components are interchangeable, making it easy to respond quickly to evolving presentations. The new experiential space will be unique: it will allow you to step right into a painting and to experiment with light, colour, movement and composition.

Local residents had a say in the winning design: an appropriate gesture, since the garden is both a public space and an important piece of heritage. It will evolve into a green zone accessible during museum opening hours: small-scale, serene and much more than a token green space. The garden will be a sanctuary in the city, where you can read, rest and experience art.

This experience will, incidentally, go beyond the existing sculptures to include the harmonious integration of the museum’s own works and temporary loans. The design of the garden reflects the origins of the museum and the history of its development; it intensifies and enhances the architectural value of the main building. Above all, though, it will be a place to charm local people and international visitors alike.

As a first stage, the museum is setting up a ‘conservation station’ – a temporary workshop in which to process all the works arriving directly from external exhibition sites as well as objects from the internal depot. Creating a temporary storage facility in this way avoids the need for additional transport and the risk of damage.

The second stage will be to install the permanent collection in the galleries. At the same time, we will organize the return of items currently in our specialized off-site depot – a delicate operation given the value and often immense size of these pieces. It all needs to be coordinated precisely with the other work going on in the galleries, such as installing lighting, labelling and signage.