Lothar Günther Buchheim had collected art all of his life. The new museum was required to bring his collection, which comprised, along with Expressionist paintings and graphics, all kinds of curiosities, under one roof.

The design brief was clear in that folk art and academic works were to be juxtaposed, exactly as the Expressionists themselves had done in their studios; African masks next to oil portraits, landscape watercolours next to windows affording dramatic views out over Lake Starnberg and the Alps. Terraces and footbridges emerge from the museum’s interior and extend out into the landscape. At numerous points throughout the interior the landscape is clearly visible, and often accessible as well.

In response to the site, but also in terms of the internal organisation, a 'spine' appeared to be the most appropriate solution, along which all the different departments were aligned. This type of organisation permits to the various elements the freedom to develop their own tasks, arrangements and respective formal criteria. Transitions from one part of the museum to the next are fluid. Visitors may simply explore the museum freely and spontaneously. As little as possible is preprogrammed.