坐落於德國 Marbach市的現代文學博物館（Literaturmuseum der Moderne）在借鑑以前的現代主義和古典主義建築實例的基礎上，創造出的外形上的簡潔性令人難以忘懷。有趣的是，這座用來增強德國文化遺產價值的直線形建築是由英國建築師David Chipperfield 設計的。他以現代主義風格著稱，具有諷刺意味的是，當不肯讓步的現代主義者和死硬的經典主義者因建築文化上的巨大分歧而分道揚鑣的時候，David Chipperfield 和他的工程建築師Alexander Schwarz 對文化博物館的設計卻彰顯出了古典主義的風格。
作為該項目委託人的德國文學檔案館（German Archive of Literature）決定建造一座新的建築，用來展示德國現代作品的原稿和首印本，其目的是吸引更多公眾的注意力而不是僅僅局限於學者和教授。現代文學博物館（Modern Literature Museum）無疑成為了以席勒國家博物館（National Schiller Museum）為中心向周圍地帶輻射的第三座獨特性建築。席勒國家博物館（National Schiller Museum）是一座1973年由盧德威格·艾舍勒（Ludwig Eiselohr）和卡爾·威格爾（Carl Weigle）設計的新巴洛克式建築，為紀念1759年在Marbach出生的文學巨匠Friedrich von Schiller而建。另一座坐落在它北面的建築是一個獨立的研究和收藏中心——德國檔案館（German Archive），由Elisabeth Kiefner和 Wolfgang Lauber設計，於1973年落成。這是一座具有現代野獸派風格的建築，外形扭曲而不平。
現代文學博物館坐落於Marbach主題公園，位於Neckar河山谷的岩石高地的頂端。從這裡可以眺望Neckar河。除了一些工業發展的痕跡外，Neckar河可以說是風光旖旎。Chipperfield面臨的主要挑戰就是與掛滿大型油畫或大理石雕塑的博物館相比，展示於檔案館裡的20 世紀和21世紀的書籍和手稿在視覺上可能並沒有那麼強的吸引力。而最為重要的是要將這些書籍和手稿放在50勒克斯的昏暗光線中，免受陽光的照射。
考慮到該建築佔地75,440 平方英呎，Chipperfield 想出了一個在其之上建造一座佔地10,763平方英呎、能容納6間美術館的設計方案。這會使人在某些方面聯想起由密斯·凡·得·羅（Mies van der Rohe）設計的位於柏林（Berlin）的國家美術館（National Gallery），在那裡，一座以玻璃和鋼材為材料建成的水晶展覽廳矗立於無窗的美術館之上；但在Marbach，處於較低地勢的美術館則會隨著由北向南、由東向西逐漸降低的山坡坡度而映入人們的眼簾。而建築師David Chipperfield也在建造這座現代文學博物館時，採取了一種將現代主義和古典主義風格相融合併使之簡約化的建築風格。
利用基地的斜坡，博物館的各個部分由此體現出不同的特徵。隱秘而背光的入口位於面向席勒（Schiller）國家博物館的山眉之上，與一個前院以及一系列莊嚴並且更為開放的分層空間相連。在比入口處更高的位置上，是一個帳篷一樣的體量，將參觀者引向入口的位置。當人們穿過現代文學博物館的涼廊、休息室和樓梯間，從高處向低處佯倘時，博物館的內部便在他們面前清晰地一一展開。由木牆圍合而成的展覽區域，適於由人工照明而佈置的展示環境，以克服手稿與書籍對於光線與溫度的敏感。與此同時，這些帶有環境控制的展廳與其他可以射入自然光的空間連接，平衡了在相反方向處向內看的視線，使手稿與書籍所構成的一個內在世界與從一側窗戶上透進來的外在世界緊密相連。
在材料運用方面，主要以堅固的材料為主，包括混凝土、石灰石、木材和玻璃等，給人一種和諧、平靜之感。整體上，這座現代文學博物館在理性主義建築語言中，突出了一種感性的自然之美。
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Museum of Modern Literature
Marbach am Neckar, Germany
David Chipperfield Architects
David Chipperfield Architects combines Modernism and Classicism with a reductive clarity in the new modern literature museum in Marbach, Germany
By Suzanne Stephens
The hauntingly austere Literaturmuseum der Moderne (Museum of Modern Literature) in Marbach, Germany, attains a purity of form employing both Modern and Classical architectural precedents. Interestingly, this spare, rectilinear facility, devoted to enhancing Germany’s cultural patrimony, was designed by a British architect, David Chipperfield. While Chipperfield’s reputation is solidly Modernist, it is ironic that the scheme he developed with his project architect, Alexander Schwarz, for the literature museum manifests Classical impulses at the very moment in architectural culture when a formidable divide separates unreconstituted Modernists and diehard Classicists. Instead, the design harks back to Germany’s own Modernist heritage.
The client, the German Archive of Literature, had decided it needed a new structure to display manuscripts and first edition books of the modern era in Germany, with a goal of attracting a larger public than scholars and professionals. The Modern Literature Museum would form the third component of a unique compound centered around the National Schiller Museum, a neo-Baroque schloss designed by Ludwig Eisenlohr and Carl Weigle in 1903 to honor Friedrich von Schiller, the eminent literary figure who was born in Marbach in 1759. A separate research and collections center, the German Archive, a contorted, craggily Brutalist-Modern affair, was added in 1973 by Jörg and Elisabeth Kiefner and Wolfgang Lauber for a site just to the north of the Schiller Museum.
The entire complex sits in a parklike setting overlooking the Neckar River—a pastoral landscape, except for some industrial development. Since the Schillerhohe, as it is called, includes housing for researchers built in the 1990s and a civic hall erected in the 1950s for Schiller events, the conglomeration of variegated architecture did not encourage any futile gestures on the part of architects to tie the whole together with a certain style. Discretion clearly seemed to be the most appropriate response. Instead, the challenge for Chipperfield lay within: the 20th- and 21st-century books and manuscripts to be displayed were not as visually magnetic as, say, a museum installation of large oil paintings or marble sculptures. On top of that, the objects had to be housed in dimly lit (50 lux) spaces to protect them from daylight.
Given a 75,440-square-foot site, the architects came up with a temple-on-a-podium scheme, where the base would contain six exhibition galleries, totaling 10,763 square feet. Although the parti may remind some of Mies van der Rohe’s National Gallery in Berlin, where a crystalline glass-and-steel exhibition pavilion sits atop a base of windowless galleries, at Marbach the lower level galleries are revealed as the hill slopes down to the south and west.
Competition team: Alexander Schwarz (Competition Architect), Harald Müller, Martina Betzold, Andrea Hartmann, Christian Helfrich, Franziska Rusch, Tobias Stiller, Vincent Taupitz, Mirjam von Busch
Project team: Alexander Schwarz (Project Architect), Harald Müller, Martina Betzold, Barbara Koller, Laura Fogarasi, Hannah Jonas
Site supervision: Wenzel + Wenzel, Karlsruhe, Matias Wenzel mit Roland Göppel
Team: Bernhard Eggert, Ulla Ittensohn, Holger Weinbach, Isabell Finke, Jeanine Moline-Brehm, Corina Wacker
Project management: Drees & Sommer Projektmanagement und Bautechnische Beratung: Dierk Mutschler, Andreas Schele, Kerstin Schwan
Services engineer: Jaeger, Mornhinweg + Partner Ingenieurgesellschaft: Ernst Göppel, Wolfgang Klein, Stefanie Klose, Ibb Burrer + Deuring Ingenierubüro GmbH: Siegmund Burrer, Otto Riedel
Models: Rüdiger Hammerschmidt
