Bonnefantenmuseum Maastricht

Aldo Rossi created a symmetrical E-shaped building, including a 28-metre tower that rises above the River Maas in the extension of the central wing.
At this exceptional location, this museum and its dome become a landmark between the city and its river, or as Rossi put it, "the beginning and end of the Netherlands". The four-storey central wing rises above the rest of the building, which includes a single underground level. The façades are finished in red brick, red trachyte and Irish freestone. The tower is clad with zinc.
The main entrance is centrally located at the front of the 'land side' of the museum. The ground floor includes the entrance hall, foundation of the telescope-shaped light tower, grand café Ipanema with two terraces, museum gift shop and art lease. Access to this part of the museum is free of charge. One can also enter the museum from the terrace side.
The central wing and staircase form the axis of the building. A monumental staircase transects the building's high brick walls like a ray of light shining from the land to the river side. A lovely view of the surroundings can be enjoyed from above. During the summer time, limited access to the tower path is offered, given nice weather.
Side corridors extend from both sides of the staircase, offering a view of the interior gardens. Each corridor leads visitors to the space above the foyer, recognisable by the telescope-shaped tower. Passing through the intermediary halls, visitors arrive in the side wings, each consisting of 5 to 7 galleries and a primary hall that is 14 x 16 metres. The halls on the first storey make use of side-light in combination with (indirect) cove lighting. The halls of the upper storeys use (adjustable) ceiling lighting.
From the landing at the head of the staircase, visitors have access to the 'Cupola' tower and, by climbing the smaller iron staircase, can reach the print galleries in the uppermost storey of the central wing.

Museum architecture is in fashion, perhaps so much so that it detracts from the functional requirements placed on a museum building. To us, a museum is primarily a means of exhibiting collections and expositions. Rather than attempting to redefine the fundamental concept of what a museum is, the Bonnefanten Museum has realigned itself with classical museology by focusing attention on the innovative application of existing, but effective, architectural elements, such as natural incidence of light and the use of a monumental staircase, which forms the axis of the path visitors follow, with a clear articulation of spaces.
Aldo Rossi was invited to design a powerful, but subdued, framework, within which the works of art could be judged on their own merits. Apparently, he was also able to create poetic added value. He transformed classical architectural approaches to museums, resulting in a composition that is familiar and yet completely new.

Date: 01/06/2010