Built on the city's once-derelict old docks, Antwerp's new MAS Museum (short for Museum on the River) was designed by Dutch architecture practice Neutelings Riedijk

比利时安特卫普市在一个世纪的第一个新博物馆中，需要一个能以同等手段吸引和引诱的建筑。
荷兰建筑师NeutelingsRiedik设计的指挥砂石塔当然可以提供。
这座城市建在城市一度废弃的旧码头上，在一座屋顶下汇集了各种城市和私人收藏，并在全球各地展示了珍贵的艺术品。
它的纹章，锈迹斑斑的红皮已经成为这个伟大的港口城市骄傲的象征和象征，它只是刚刚打开。
65m塔被构想为一系列堆叠在彼此顶部的盒子，并在每个地板上旋转90度以产生内部螺旋。
“这是一种历史的仓库，堆放着十个大的金库，”威尔莱姆·扬·纽特尔斯解释说，他是伊迪克的一半。
展览空间（容纳在这些盒子里面）没有自然光，但却被巨大的上釉楼梯所抵消，这些楼梯绕着建筑蜿蜒前进，将自动扶梯从地板到地板，并打算作为一条公共街道。
这个所谓的公共“林荫大道”将比博物馆的房间更晚，免费，允许游客从9个楼层和屋顶平台的每一个俯瞰整个城市。
它也不像博物馆的房间那样空调——“所以就像你还在外面一样，”纽特尔斯解释道。
林荫大道和气候控制的人工照亮的博物馆房间的日光和季节温度之间的对比是有意的。
它赋予了过去的这种效果，死亡，当你再次从盒子里出来时，你是在光明中，在生命中和现在。”林荫大道的四周是巨大的艾里玻璃，柔和地弯曲，以创造稳定，并不需要支撑或框架。
这些起伏也创造了一种叫做“万花筒效应”的神经。
“有时你可以两次看到大教堂，”他指出。
“极简主义”、“Neutelings”和“里迪克”的热心的批评者们用小的金属手（城市的象征）和内壁、地板和天花板覆盖了建筑物的外部，用奖章来讲述安特卫普的故事。
“在我们的建筑中，我们试图做当代的装饰品，因为我们认为它可以给建筑赋予一定的触感，在构图上的深度，也可以赋予意义的深度。”博物馆的第一个临时展览是“MAS中的杰作：F”

The first new museum in Antwerp for a century, it brings together various city and private collections under one roof and displays precious artefacts from around the globe

Its checkered, rusty red skin has already become an icon and symbol of pride for this great port city, and it has only just opened its doors

The 65m tower was conceived as a series of boxes stacked on top of each other and rotated 90 degrees on each floor to create an internal spiral

The exhibition spaces (housed inside these boxes) have no natural light but are countered by the massive glazed staircase that winds its way around the building, bringing you by escalator from floor to floor, and intended as a public street

This so-called public 'boulevard' will remain open much later than the museum rooms and be free of charge, allowing visitors fantastic views over the city from each of the nine floors and the rooftop terrace

It also won't be air-conditioned like the museum rooms - 'So it's like you're still outside,' explains Willem Jan Neutelings, one half of Neutelings Riedijk

The contrast between the daylight and seasonal temperature of the boulevard and the climate-controlled artificially-lit museum rooms was intentional. 'It gives this effect of the past, of death, and when you come out of the box again you are in the light, in life and in the present,' says Neutelings

The interior installations are designed by Belgian practice B-architecten

B-architecten's designs incorporate elements from film and theatre

Their scenography is multi-sensory, accompanied by a musical score by Eric Sleichim from Bl!ndman

Cafe Storm on the ground floor of the museum was designed by Belgian firm, Not Before Ten

It serves up breakfast, lunch and aperitifs

Inside it continues the museum's stacking theme, with walls of birch plywood boxes