The MAXXI effect – The “fashion-proof” museum in Rome by Zaha Hadid stands the test of time

When Iraqi-born Architect Zaha Hadid spoke on her most celebrated work yet, the Sterling Prize winning design of the MAXXI Museum in the Flaminio Quartiere in Rome, she stated she wanted a ‘fashion-proof’ building. It was to be a building that holds its own as ephemeral trends in architecture come and go.

The museum, completed in 2010, features gallery spaces with contemporary art and architecture as well as an auditorium, library, restaurants. The museum boasts over 300 works of the MAXXI Art collection, with big names including Boetti, Clemente, Anish Kapoor, Andy Warhol and Aldo Rossi among many others.

Her concept for the design was of a river delta. Here the rivers are represented by galleries and the smaller streams are the connectors running between the gallery spaces. These tubular spaces are stacked and overlaid, creating the three levels of the museum. It is here, in the forms of its interior, that it has tried to live up to its aim of outliving fads by the artistry of this labyrinthine interior.

As one walks in to the unadorned atrium, with its polished-cement-floor and gleaming white circular reception desk, one experiences the full effect of the space. It reveals itself in its breathtaking volumes and the galleries threaded together. The staircases, a major design element, curves and forks unexpectedly above. Visitors stroll along these ribbon-like passages and stairs, enjoying the art objects as much as the glowing white interior. The steel grill used for the staircase treads, slows the walking pace, and gives a transparency and visual lightness to an otherwise heavy structure. The visitors move from one massive gallery space to the other by various routes. These routes, the corridors and passages, split and disappear in surprising angles along curves of the walls. The effect of all these volumes and curves is enough to mesmerize even the most jaded visitor.

The color and material palette of black, white, metallic silvers and cement finishes, ensures that the focus is on the art. The curves of the staircases and their balusters have been painted with durable black auto paint, keeping distractions to viewing art, to a minimum.

The lighting adds to the drama created by the curves. For instance, the underside of the staircase landings are lit up with oblong strips of light, distributing the ambient glow along the passages. The beams, shaped like blades, bring filtered sunlight through the glass roof and its louvers, to the exact amounts required by delicate artwork below.

In the last 6 years since its unveiling in 2009, was it still above trends?

Due to its custom-tailored fit in to Rome’s urban fabric, the simple dynamism of its sensuously curved geometry, and by its restrained color and texture palate, it has become a place of timeless fascination. As the architect had envisioned, it has become a place of looking forward to the future, in a city of infinite history. And by the look, feel and pragmatism of a form following function and context, it is safe to conclude that it will not go out of style any time soon.

By Bhagya Silva