INTRODUCTIONMuseum Rotterdam

Rotterdam, World Port World City, is a city one has to experience for yourself.

It is a young, dynamic, international city with a passionately beating heart.

The city keeps reinventing itself at a rapid pace, redefining and expanding its already impressive skyline and presenting new cultural and sporting events to surprise and delight oneself.

Its ever-changing nature makes Rotterdam a city that you can rediscover time and again.

Both lists praise Rotterdam highly, not least for its architecture.

Museum Boijmans Van Beuningen is an art museum in Rotterdam in the Netherlands.

It is located at the Museum park in the district Rotterdam Centrum, close to the Kunsthal and the Natural History Museum.

History of Rotterdam museum• The museum opened in 1849. • Renaissance Italy is well

represented; look for The Wise and Foolish Virgins by Tintoretto and Satyr and Nymph by Titian.

• Paintings and sculpture since the mid-19th century are another strength.

• There's also a good cafe and a pleasant sculpture garden

• It houses the collections of Frans Jacob Otto Boijmans (1767–1847) and Daniël George van Beuningen (1877–1955).

• In the collection, ranging from medieval to contemporary art, are works of Rembrandt, Claude Monet, Vincent van Gogh, and Salvador Dali.

• In 2013, the museum had 292,711 visitors and was the 14th most visited museum in the Netherlands.

• Among Europe's very finest museums, the Museum Boijmans van Beuningen has a permanent collection spanning all eras of Dutch and European art, including superb old masters.

How Interactive And Organized Is The Museum

Through its collections, activities and knowledge,

The museum provides challenging and meaningful experiences to 300,000 individual Visitors.

Museum Boijmans Van Beuningen also functions as a meeting place and unifying element for the urban community, a place where many

Rotterdam citizens – young and old, from north and south, rich and poor – come together and can be inspired and excited by what previous and current generations have achieved.

Museum Boijmans Van Beuningen is now 11 generations old, and the 12th and13th generations are already actively making the museum their own.

Museum Rotterdam enjoys an extremely good reputation for its organization of the various arts as well its funding and collecting of artifacts.

Museum Boijmans Van Beuningen is available for receptions, parties and congresses by appointment.

Rotterdam-based designer wieki somers has designed a wardrobe for the Boijmans van Beuningen museum in Rotterdam.

The red and white fairground carousel is made from plastic pulley blocks.

Fire hoses and metal weights were used to make the mechanism, which is simple to use – just pull on the rope, hang the coat and fasten the lock. the metal weights ensure that the hoisting up and down works automatically.

Museum Boijmans van Beuningen offers educational activities for children from 3 years of age.

The museum welcomes more than 27,000 primary and secondary school children, as well as more than 4,500 students from vocational training and higher education every year.

The museum’s online reputation is reinforced by its use of social media.

Dutch museums are not typically major collectors of seventeenth-century Flemish art.

Political and religious differences between the northern and southern Netherlands at the beginning of the seventeenth century and, later, the popularity of Rembrandt in the northern Netherlands, contributed to the lack of interest in collecting Flemish art.

The Museum Boijmans Van Beuningen is an exception and has one of the premier collections of drawings in the world and a rich selection of seventeenth-century Flemish art.

The works in this comprehensive selection reveal the varied role of drawings the wealth of styles and techniques characteristic of the Golden Age of Flemish art.

The museum has a rather innovative system of labeling which Is really effective, as people are not fans of carrying a map around and trying to navigate who made what piece but at the same time like the intrusiveness of foam board labels either. In this case the letterset is directly onto the floor.

A new Collections Building

With the realisation of a new building for the museum’s collection, as was recentlydecreed by Rotterdam’s Municipal Executive, the city is meeting its obligations to safeguard its own cultural heritage, as well as the heritage entrusted to it.The Collections Building, which will be realised in the vicinity of the museum, addsanother landmark to Rotterdam’s cityscape. The Collections Building will be open to the public, whether Rotterdam citizens or visitors to the city.

The museum’s value to the city

Through its collections, activities and knowledge, the museum provides challenging and meaningful experiences to 300,000 individual visitors and many more via the web and other media. And that’s what it’s all about. MuseumBoijmans Van Beuningen also functions as a meeting place and unifying element for the urban community, a place where many Rotterdam citizens – young and old, from north and south, rich and poor – come together and can be inspired and excited by what previous and current generations have achieved. Museum Boijmans Van Beuningen is now 11 generations old, and the 12th and 13th generations are already actively making the museum their own.

The Museum Boijmans Van Beuningen owns a large collection of old and modern art as well as a large collection of arts and crafts. The monumental, traditionalist design by architect Adrian van der Steur expanded several times since its opening in 1935.

Realization

The collection of Frans Otto Jacob Boijmans was previously housed in the Schielandshuis.

The construction of the new museum was partly funded by the industrialist and benefactor Van Beuningen.

In 1958, Van Beuningen donated his art collection to the museum and his name was added. In 1928 the director Hannema commissioned architect Van der Steur for the design. Important demands were clarity and enough light for the interior. A rose garden with a monument to engineer G.J. de Jongh was realized at the back of the building.

An expansion of the museum by architect Bodon was built between 1963 and 1972, and added a contemporary manner to Van der Steur’s austere brick building.

In 1991 a new pavilion at the rear of the Van Beuningen-De Vriese collection was realized by the hand of architect Henket.

Bodon designed a new entrance in 1991, including a bookshop. This has now disappeared in the expansion of the Belgian architects Robbrecht and Daem, which opened after a difficult implementation process in 2003.

In front of the new wing, Sylvette was placed, a sculpture by design of Picasso and performed in concrete by his friend Carl Nesjar.

The museum’s entrance is back to its old position and the garden pavilion was converted into a cafe.

With the construction of the Netherlands Architecture Institute and the Kunsthal, Boijmans now is part of the Museum park art cluster.

Traditionalism  The design of architect Van der Steur is inspired by Scandinavian

architecture.

The building bears some resemblance to the Stockholm City Hall designed by architect Östberg.

The building looks like a real temple of the arts. Van der Steur chose a traditionalist design, with a tower and monumental entrance, and traditional materials like brick and copper cornices.

In comparison, the white villas on the other side are built almost simultaneously. In 1941 the museum exhibits Netherlands Builds in Brick: 1800-1940.

It should have been a great triumph for the traditionalist architects, but the time (during the occupation) and the place (in the ruins of Rotterdam) were against them.

Materials The museum was build around a courtyard and had two wings,

the second wing having an open courtyard.

Bodons extension closed off the second garden. The design was considered an extension towards Westersingel.

The facades are largely made of brick, The substructure consists of light yellow sandstone on a plinth of granite. To counteract reflections, the facades of the courtyards are clad entirely in sandstone.

Light green copper cornices and glass in almost all light shades complete the exterior. The main entrance is marked by the tapered light tower (with workshops and storage) with a copper canopy and a round entrance hall.

The use of daylight is very successful in the new museum. The upper rooms have natural light from skylights and the ground floor from the large windows of the facade

The various expansions react in different ways on the original building.

The expansion of Bodon (1963-1972), in fact the successor to Van der Steur DSBV, follows the main structure with its brick walls and skylights in the form of so called ‘shed’ roofs.

The garden pavilion of Henket (1989-1991) is an open glass building with aluminum blinds, which contrasts with the closed walls of the existing building.

The most recent extension of the Belgian architects Paul Robbrecht and Hilde Daem (1997-2003) aims to connect the tradition of the building, but contrasts with its large windows and green translucent panels.

By the demolition of a villa on the Westersingel the museum aimed to expand the cultural axis of Rotterdam with a new U-shaped wing around the Bodon building. Giving the library a prominent place in the new museum as a "knowledge tool".

BRICK FACADE

SANDSTONE CLADDING

GRANITE PLINTH

Plan of the ground floor of the entire museum. No room numbers and dimensions.1= entrance to old art2 = entrance to modern art3= Serra Gallery (the space below 3 is a terrace)

Floor plan 1972-1990

ArchitectAlexander Bodon (new wing. Remaining museum architecture was designed in 1935 by Van der Steur, the city architect)

Museum entrance on the left of the Serra Gallery

Detailsstaircase, modular ceiling, tile floor, windows, outside view

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PARZAN DARUWALA ARWA UDAIPURWALA HAMZA GAFFAR RICHA KEJRIWAL KHYATI DUBAL IRFAN BHAKRANI RITAM GHOSH SAAKIIB SAIT REIYAH SHETTY ASHNI VASU MOHAMMED SHAFIQUI