9: Kolumba

Around this time last year, I was in Germany finishing up my semester abroad of student exchange. In one of my last weekends, I was able to visit a German friend (who I’d met bartending with in Sydney), and visit her home/stay with her in Cologne.

While there, we rode around the city and explored many things, ate great food, and caught up on time passed. One of the standouts was getting to see the Kolumba museum, designed by Peter Zumthor- which I’d actually never heard of until I was inside the museum.

For a bit of context and history, Kolumba is the art museum of the Archdiocese of Cologne which was extablished in 1853. The site incorporates archeological ruins from roman and medieval periods, the remains of a gothic church and the 1950 chapel for the “Madonna of the Ruins” by Gottfried Böhm- which had been built after the second world war, when most of Cologne had been left in ruins.

Kolumba pulls together this patchwork of history with a beautiful, pared back material palette. The physical connections of different time periods by Zumthor are a reminder of the historical events that have occurred in Cologne, yet the museum does not convey any overt reminder of pain or guilt. It feels incredibly still and reflective- reminding you of history through the integration of ruins with the contemporary built form with balance.

Initially, the building felt like a big patchwork- a place where so many things were being pulled together, with the dappled light from the patterned brickwork filtering through consistently. Entering the courtyard was the moment where the true magic of the building started to reveal itself more, and felt like an oasis within.

Courtyard within Kolumba

While the museum is designed to house the collections, and I did enjoy them, the building itself was what primarily captured my attention and has stuck in my memory. Throughout, the palette is pared back- predominantly grey. I was stuck by the stairs, which appear almost floating within the wall, and the windows- built into the circulation of the museum to allow striking glimpses to the cityscape and cathedral, then draw the visitor back into the smaller scale of the next room and exhibition.  

The windows are softened with silky curtains in a gradient of greys- creating a soft transition between the solid walls and changing vistas outside. As the path continues through the museum, the reading room appears within the simple grey- an entirely timber clad, warm room where visitors pause to take a break on leather armchairs with tall backs. The height of the room seems monumental, and the transition between the cool greys of the museum into this room is unassuming, a break in the wall with timber cladding.

Despite being there over a year ago, Kolumba still stands out to me as a favourite space and building to be in and explore. I look forward to returning someday, as the first visit was magical.  

Until next time

AP