, a leading Dutch architecture firm. The first concept was a gigantic table perched above the park, from which artworks could be lowered for spectators. This proved impractical, but during a brainstorming session Mr Maas plopped a tea cup onto a model of the park, then noticed a mirrored kettle nearby. The cup’s curve gave it a narrow base, which would leave more room for pedestrians; the reflective surface of the kettle melded with the surroundings.
More than a decade after that epiphany, the building known simply as “Depot” opened to visitors on November 6th. In Dutch “de pot” means “the pot” , a lexical pun reinforced by the rooftop garden covered in birch trees. The mirrored exterior creates a fish-eye effect that reflects the city’s skyline, curving down to show the park and viewers themselves. Mr Maas compares it to the drawings of Giovanni Piranesi.
Yet it is the inside that is most important. The six-floor-deep atrium is criss-crossed by suspended staircases reminiscent of M.C. Escher prints. Glass etalages showcase eye-catching pieces: fluorescent dresses, inlaid furniture, abstract paintings by R.B. Kitaj. Along the sides are the storage halls. Canvases hang on rolling metal lattices in rows that can be pulled out for inspection. Sculptures and furniture are stacked on rolling motorised shelves.
Other institutions are also planning to open their collections: the Victoria and Albert Museum’s new facility is scheduled to open in London in 2024. Meanwhile, for a few years Depot will be the only place to see the Boijmans van Beuningen’s treasures, as the main museum is closed. They have to fix the basement.
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