Offering biannual exhibitions containing around 1,500 objects apiece, the Hermitage is going to be a visitor magnet. But it will still be tiny compared to its parent – which has a massive collection numbering three million objects and contains 20 kilometres-worth of gallery space. Just five per cent of its myriad treasures are on show at any one time.
Walking across the quiet courtyard in the middle of the Amsterdam Hermitage, you are struck by the calm, despite the fact that the building is in the city centre. Here three massive, ancient horse-chestnut trees shade a verdant expanse of grass – although perhaps not for too much longer, given their advanced years. Their replacements, recently planted and not as yet so mighty, grow at the other end of the lawn.
Standing on the yellow cobbled pathway, you feel a little as though you are in an Old Master painting. In keeping with its protestant Dutch heritage the façade of the Amstelhof is quite unadorned, even somewhat austere; its red bricks lifted by window frames of white and dark red. Half close your eyes and you can’t help thinking you might just be able to spot a few black- and lace-clad types with buckled shoes and long, clay pipes.
Step inside, however, and you discover a triumphant architectural merging of old and new. The amount of light and space is surprising after that rather self-effacing, restrained exterior.
Touring the gallery spaces with architect Hans van Heeswijk, I discover more about his creative vision. ‘We weren’t allowed to change anything on the outside of the building, but the inside wasn’t particularly monumental so we could make significant changes there.
‘The building was filled with small rooms and corridors dating from its time as an old people’s home – bedrooms, laundry rooms and the like. We opened it all up to make the structure visible again and to allow lots of daylight to pour in. We also created long sight lines, so you can orientate yourself wherever you are.’
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