MAXXI Rome: The Space as an Experience

In 1998, Zaha Hadid envisioned Rome’s National Museum of the XXI Century Arts (MAXXI) as a place where the boundaries between architecture and art would blur, making the act of visiting the space an aesthetic experience in itself. More than two decades later, this vision is revisited in “Ambienti 1956-2010: Environments by Women Artists II,” an exhibition showcasing immersive art by eighteen female artists from diverse backgrounds and generations.

Hadid’s project for the MAXXI building emerged from the desire to uncouple culture—in art, architecture, and design—from the notion of elitism, making the museum accessible to all. The museum’s open layout challenges the traditional concept of a building as an object-container, presenting a texture of interconnected interior and exterior spaces with no clear boundaries. This fluid space consists of two buildings—the main MAXXI for art and a smaller MAXXI for architecture—separated by a courtyard designed for large-scale outdoor works.

Upon entering the main building, the elements of Hadid’s project become immediately evident. The complexity of colossal volumes, curved walls, and intersecting levels create a rich and unexpected spatial experience. A full-height atrium forms the core of the building, with an open ceiling that filters natural light. Massive metal beams follow the softly curving L-shape of the building along the glass roof, enhancing the sense of fluidity and grandeur. Red metal poles suspended between the staircases emit red dots of light over the interior surfaces, adding a playful accent that encourages exploration and observation. There is no designated route through the museum; instead, bridges and wide staircases with linear lighting systems meander and guide visitors along various pathways to permanent collection displays and exhibition spaces, culminating in a vast area on the third floor. From this vantage point, a large window offers a view of the city.

The museum’s dynamic, interactive layout perfectly complements its current exhibition, “Ambienti 1956-2010: Environments by Women Artists II,” which explores the immersive potential of environmental art through the works of eighteen female artists. Developed in collaboration with the Haus der Kunst in Munich, the show builds upon the “Inside Other Spaces. Environments by Women Artists 1956—1976” project. By extending the timeline to 2010, it embraces a wider range of artistic expressions, design, architecture, and technological advancements. Featuring nineteen immersive environments activated by audience interaction, the exhibition invites participants to become co-creators of the artwork, making engagement central to the experience.

A prime example of this concept is Nanda Vigo’s “Ambiente Cronotopico Vivibile” (1967), a cubic, neon-clad structure with mirrors on its ceiling and floor, open for visitors to enter. The neon lights, ranging in colours from bright red, blue, and white to softly blinking layers of pink and violet, can be activated and changed using an external switch. Once inside, viewers are met with infinite reflections of themselves on the ceiling and floor, illuminated by their chosen colour. Vigo’s installation is a provocative and curious experiment where each visit reveals something about the viewer. How contemplative or intense will each encounter be?

Another standout piece in the exhibition is Judy Chicago’s “Feather Room” (1966-2023). The installation features a softly lit white room with a thick layer of white feathers covering the floor, with even the corners of the room gently curved. Visiting the room alone offers an ethereal, almost sacral experience. At the same time, a sense of play is encouraged, as visitors can pick up the feathers, toss them in the air, and watch as they gently land. Chicago’s use of organic material, light, colour, and space in this installation marks a shift in her career from geometrical structures and smooth surfaces to environmental pieces she termed “Atmospheres.” These works aim to modify the artwork’s atmosphere to create sensory experiences that challenge patriarchal structures and offer more feminine perspectives.

Lithuanian-born artist Aleksandra Kasuba’s “Spectral Passage” (1975) offers a different kind of sensory engagement. The viewer is invited to enter and walk through the inside of seven interconnected, labyrinthine structures, made out of stretched-out nylon, and relating form to colour. The sci-fi soundtrack accompanies the installation, adding to a sense of curiosity, wonder, and exploration. Originally created for “The Rainbow Show” at the de Young Museum in San Francisco, the monumental installation allows viewers to physically enter the rainbow and to retrace the metaphoric steps from birth to death to rebirth.

“Ambienti 1956-2010: Environments by Women Artists II” not only highlights the potential of immersive, environmental art but also transforms the MAXXI building itself into an active participant in the narrative. Previously, parts of the museum were concealed behind panels, bringing its interior closer to the traditional white cube space. For this exhibition, the hidden sections were unveiled, exposing the building’s sinuous lines, serpentine ramps, and sharp corners, allowing visitors to engage with the structure in a new light. This approach aligns with Hadid’s original vision for MAXXI: to create a space that challenges traditional museum paradigms and becomes an extension of the art it houses.

Text author: Gabija Seiliūtė

Photos: Gabija Seiliūtė, Iwan Baan, Peter Bennetts, Cinzia Capparelli, MUSA