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Mecanoo

Mecanoo

Delft, NL | Kaohsiung, Taiwan | New York, NY

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The sunken square, accessible via the existing gate in the Buitenhof, forms the new entrance to the Museum Boijmans Van Beuningen.
The sunken square, accessible via the existing gate in the Buitenhof, forms the new entrance to the Museum Boijmans Van Beuningen.
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Museum Boijmans Van Beuningen

Mecanoo's design for the Museum Boijmans Van Beuningen embodies vision and craftsmanship. The design focuses on five main principles: A welcoming entrance, improving logistics, enhancing the museum routing, restoring the national monuments Van der Steur, Bodon, and Henket buildings and connecting the museum with the city and the Museum Park. 

The architectural concept is characterized by a clear intervention in the heart of the museum that connects all parts of the building. A sunken square marks the new entrance, providing visitors access to the Bodon and Van der Steur buildings, which will serve as exhibition spaces. The Robbrecht en Daem section of the building will be demolished, revealing the national monuments of Bodon and Van der Steur once again from the city.

The removal of this wing creates space for a logistical back-of-house solution for art, goods, food, and waste. The west courtyard will be covered and transformed into a multifunctional space. On the park side, a new museum entrance near the Henket Pavilion will connect the museum directly with the park. The pavilion itself will be repurposed as a museum restaurant.

The design has obtained broad support from the council, Museum Boijmans Van Beuningen, and stakeholders such as the Committee on Environmental Quality and Cultural Heritage and the National Cultural Heritage Agency. The plan includes comprehensive restoration and renovation of the museum, emphasizing fire safety, sustainability, and preservation of its monumental values.

 
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Status: Competition Entry
Location: Rotterdam, NL
Firm Role: Lead Architect

 
Before renovation.
Before renovation.
After: The national monuments by architects Bodon and Van der Steur will be made visible from Museumparkstraat.
After: The national monuments by architects Bodon and Van der Steur will be made visible from Museumparkstraat.
Before.
Before.
After: Bird's-eye view of the new Boijmans Van Beuningen Museum: the three national monuments by the architects Van der Steur, Bodon, and Henket are made accessible through a new sunken entrance by Mecanoo.
After: Bird's-eye view of the new Boijmans Van Beuningen Museum: the three national monuments by the architects Van der Steur, Bodon, and Henket are made accessible through a new sunken entrance by Mecanoo.
The Schielandshuis (where the collection was originally) became too small to accommodate Museum Boymans’s growing collection. Work began in 1929 and the museum opened in Museumpark in 1935. The building was designed by the city architect Adriaan van der Steur (1893-1953).
The Schielandshuis (where the collection was originally) became too small to accommodate Museum Boymans’s growing collection. Work began in 1929 and the museum opened in Museumpark in 1935. The building was designed by the city architect Adriaan van der Steur (1893-1953).
The impressive building in the heart of Rotterdam has been there for eighty-four years now. In all of that time it has never been drastically remodelled and thorough renovation is due.
The impressive building in the heart of Rotterdam has been there for eighty-four years now. In all of that time it has never been drastically remodelled and thorough renovation is due.
The exhibition building designed by architect Alexander Bodon (1906-1993) has a completely different character, not only due to the dynamic nature of the ever-changing exhibitions but also because of its unique atmosphere.
The exhibition building designed by architect Alexander Bodon (1906-1993) has a completely different character, not only due to the dynamic nature of the ever-changing exhibitions but also because of its unique atmosphere.
No subtle details, just three enormous, flexible spaces that can be endlessly reconfigured depending on each exhibition’s needs. Bodon created his ‘new wing’ at a time when modern art literally and figuratively required space. The rooms are white and have diffuse lighting from above.
No subtle details, just three enormous, flexible spaces that can be endlessly reconfigured depending on each exhibition’s needs. Bodon created his ‘new wing’ at a time when modern art literally and figuratively required space. The rooms are white and have diffuse lighting from above.