How the Technical Museum Vienna starts again

“We are not a museum from the past.” Peter Aufiter says it calmly, almost casual, but the sentence reflects. It stands for the legendary silver arrow of Stirling Moss, in the middle of flight models, steam turbines and other exhibitions. “We don’t just show technology – we negotiate here about the future.” The Technical Museum Vienna is a monolith with soul. 22,000 square meters of exhibition space, five floors, machines, models, materials. Everyone who comes remains on average a few hours. “Many of our visitors have known us since school – and come back with their children later.” Two -thirds of the guests are younger than 18, 80 percent from Vienna. Tourists? Hardly any subject.

Exhibitions that are also tailored to curricula
Upsiter leads through the house as a host. No intellectual awareness of the broadcast, but enthusiasm, in combination with deep knowledge. “We know exactly which school class comes – and what you learn in the classroom.” The current curricula forms the basis for new priorities. Topics such as circular economy, climate change or media literacy do not accidentally end up in the museum, but because they pass in the classroom.

Space gets more space
“We will soon open the new space exhibition,” said the director, while we pass the model of a space capsule. “Finally the subject gets the place where it deserves.” You can see, among other things, that Franz Viehböck the space stream, the only Austrian in the room so far. “We have prepared all this for a long time. Many domestic companies work in the field. It was only missing in space.”

Cooperation with the economy
Another important project follows in the fall: “200 years of railroad”. Sounds old, but is very topical. “The railway was always a mirror of the world of work,” says Aufiter. “And it’s still today.” The exhibition tells how professions have changed, which training is required, how modern infrastructure works. “Many young people are confronted with the decision: teaching or HTL? We want to show what is possible.” A successful model is the “Talentage Tage” – a kind of student fair in the museum. 13 to 15 companies present themselves, including their students.

The biggest renovation in the past 25 years
A milestone was the redesign of the former heavy industrial hall. Fire, steel, cast, used to be dominated. Nowadays, 13 such material islands tell about innovation: aluminum, wood, plastic, glass, silicon. “We wanted to show what Austria can do today – not just what it used to be.” The Silicone Island is the showpiece. In the showcase: a crystal from Infineon. “It would be priceless if you had to buy it,” Aufiter explains.

Industry as it is today
The wooden island is in turn a quiet national anthem of sustainability. It is shown how the Austria building system adapts to climate change, which tree species can survive the temperature rise and how research, forestry and technology work together. All this is not a retrospective, but a radical look ahead – a trademark of the house. Aufiter: “What we are processing our grandchildren today. We want to show that.”

Just exhibited a fraction
The objects that the house collects tell stories. 400 to 600 pieces are offered annually – much is not accepted. “Unfortunately we have to reject 80 percent. Or we already have it – or it doesn’t fit.” It is not only the technical value that counts, but often the biography of the exhibitions.

Impressive: prostheses from Ukraine, transferred from the ambassador. “We have long considered whether we should clean them up earlier. But that’s how they tell the truth.” They are now part of a new exhibition that compares modern high-tech aids with historical models, including Lot. “After an accident, an electrician will receive a prosthesis of 100,000 euros as long as he works. When he retires, he will fall back on basic care. This must also be shown.”

“See me as a manager who makes work possible”
250 people work in the museum. Including restorers, IT specialists, intermediaries, Timmer students, exhibition organizers. “We have our own workshops, build a lot ourselves. That makes us fast, flexible and independent.” Aufiter himself is a doctorate in art historians, was on the Belvedere, later led ten museums in Italy. Until politics changed. “Foreigners were suddenly no longer desirable.” So he came back – and ended up in technology. “I am not a researcher, I am an engaging. I create the framework conditions so that others can develop their expertise.” The new line is also visible: the museum has changed its logo. Instead of traditional letters, a spark now dominates. “De Vonk stands for curiosity, for creativity. For exactly what we stand for today.”

Museum is like a timepiece
Private Likes Loves Tools. “Some watches have more individual parts than a whole train,” he says and laughs. “I think that’s fascinating.” The museum also works as a Clockwork – finely connected, complex and yet movable. In the end it is back where the tour started: for the silver arrow. “Everything here was in the foreground. It was innovation. Progress. Future.” Then he looks at the car – and says: “This is exactly what we say here. Not what was. But what could be.”