Origins and History of Vorarlberg Museum
The Vorarlberg Museum began with the efforts of a private association in 1857. This group sought to secure the cultural heritage of the region and prevent the export of significant materials. By 1860, the museum building had opened to the public. The institution functioned as a center for the collection and preservation of the state's art and cultural material from its earliest years.
As the collections grew, the need for expanded space became evident. A new, state-of-the-art museum building opened in 1905. This development allowed for a more modern approach to housing the increasing number of artifacts. The institution's role shifted significantly during the mid-twentieth century. Between 1947 and 1948, the collections and the museum building were transferred to the state of Vorarlberg.
The Building and its Architecture
The current structure reflects a significant architectural evolution, having undergone a major redesign by Cukrowicz Nachbaur Architekten. This modern iteration doubled the previous floor area following a period of construction that began in 2009. The exterior presents a distinctive texture, with a façade adorned with 16,656 blossoms. These decorative elements are concrete casts created from the bottoms of PET bottles, lending a repetitive, organic quality to the surface.
Inside, the architecture directs attention toward the natural landscape. A large panorama window offers a steady view of Lake Constance (Bodensee), providing a sense of place that connects the interior to the surrounding geography. The movement through the building is marked by a staircase composed of oak wood stairs and brass railings, where the interplay of wood and metal creates a specific tactile presence. This space is designed for contemplation, allowing the light and the view to remain central to the experience of the site.
Major Collections and Artistic Focus
The museum holds a vast assembly of 150,000 artifacts, primarily centered on the material history of Vorarlberg. This collection spans the breadth of human presence in the region, from archaeological finds to the nuances of folklore. The presence of these objects provides a tangible link to the area's past, moving from the ancient Roman era through the medieval period into the modern age.
Artistic holdings are particularly significant, featuring a dedicated collection of works by Angelika Kaufmann and a selection of Gothic art. The museum's paintings encompass the Baroque and nineteenth-century periods, offering a look at the evolution of regional aesthetics. Beyond the canvas, the collection includes drawings, sculpture, and abstract art, alongside various photographic works. These pieces exist as physical records of changing visual languages.
- Standing Female Nude (Ilse), about 1925 - Rudolf Wacker
- Lady with Lace Cap, 1850 - Gebhard Flatz
- The calling, 1920 - Hans Bertle
- Alcestis - Angelica Kauffmann
- Wilhelm Benger & Söhne Factory Building, 1890 - Josef Boss
Exhibitions and Research
The museum conducts extensive research into Vorarlberg material, seeking to understand the specific historical and cultural layers of the region. These investigations are not kept within academic circles but are made available to the public, ensuring that the findings contribute to a shared understanding of the local past. Through this commitment to inquiry, the institution connects archaeological discoveries with the lived experiences of those who once inhabited the area.
Current exhibitions offer a focused look at the Roman presence in the region. The exhibition "Weltstadt oder so? Brigantium im 1. Jh. n. Chr." examines the ancient predecessor of Bregenz, providing a window into the life of a cosmopolitan city during the first century AD. This is complemented by "Römer oder so? Eine Ausstellung zum Gräberfeld in Brigantium," which investigates the burial grounds of the area. These displays utilize archaeological finds and 3D projections to bring the Roman era into a tangible presence.
Beyond the ancient period, the museum explores more contemporary human experiences. The exhibition "Ganznah. Landläufige Geschichten vom Berühren" examines themes of touch and proximity through local narratives. Such programming ensures that the museum remains a place where both the distant past and the immediate, tactile realities of human existence are examined with precision.
