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Taghaus, bei Duesseldorf, Germany (2015)

Taghaus, bei Duesseldorf, Germany (2015)

The Taghaus is built around a private collection to accommodate and exhibit the selection of sculptures in daylight setting. The building concept is based on the requirement for indoor and outdoor qualities, while excluding disadvantages of both. Taghaus is a hybrid of sculpture garden and exhibition space. The translucent envelope of the building allows for natural light to change the perception of the three dimensional art during the course of day, while avoiding glare, both in an interior space with the benefits of climate control.

Semi-transparent walls of varying opacities continue to define the doorless interior spaces, creating gently defined rooms for singular pieces and ensembles. The soft boundaries between inside and outside and neighboring spaces allow for contemplation with a sense of continuity and context.

The site is only moderately modelled to accommodate the access to the building. The main portion of the building hovers over the undulating, slightly sloping landscape.

Material Time

Taghaus, a gallery, housing a private collection in Dusseldorf, Germany, is conceived with similar materials as Au Pont Rouge, yet the key focus of the architecture is on the perception of three-dimensional art and its experiential qualities and therefore inwardly directed.

Taghaus is designed as an enclosed sculpture garden to protect the exhibited art pieces from the environment, while allowing natural light qualities throughout the building. The building does not utilize any artificial lighting to illuminate the sculptures apart from the sole condition of changing natural light and the varying shadows to present and showcase the three-dimensional qualities and depths of the art exhibits. The translucent and semi-transparent external glazed panels of the enclosure and separation walls blur the boundaries of space, allowing visitors to engage with the art in a seemingly undefined surrounding, which is only connected to the outside world through the incidence of daylight and the softened indication of the context through the façade’s translucent glazing. The highly polished reflective concrete floor dissolves the hard edges between inside and outside and immediate adjacent exhibition rooms with the notion of dematerialization of surfaces.

Within the exhibition spaces of Taghaus, time becomes a visible reading on the changing surfaces of the sculptures, expressing the multiple facets and characteristics of the arts in changing play of light and shadow, creating a situation of intimate encounter between human and artistic intend. The engagement with the arts is elevated to a meditative, self-reflecting personal inner discourse with the object and the artist, rather than a spectacular observation at a glimpse.

Taghaus is conceived as the antithesis to common exhibition and gallery spaces, where the presentation of the arts is generally statically staged in curated light setting within a white box space, turning the arts into artificial and abstract objects with interrupted personal, emotional and intellectual connection to the spectator. The common exhibition space is designed for the arts to be seen. Taghaus instead employs time and light for the exhibited art pieces to be experienced individually. The materiality of architecture becomes a mediator between human, environment, mind and time, to eventually dissolve the categorical meaning of materiality.


From “Material Time” by Cheungvogl, first published in Brick, Brick! What do you want to be?, DAMDI Publishing Co., South Korea, 2018.


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