A cyclist suffered a fatal accident in Riehen BS on Saturday morning She fell while crossing the streetcar tracks according to the Basel-Stadt cantonal police According to the findings of the traffic police the 76-year-old woman suffered serious head injuries in the fall The ambulance took her to the emergency ward of the university hospital The Fondation Beyeler show concludes with Henri Matisse's celebrated cut-outs When you consider that Henri Matisse nearly died following emergency surgery in 1941 and was in poor health until his death in 1954 it makes the productivity of his final decades all the more astonishing The most famous body of work of the 1940s and 1950s is the paper cut-outs—“form filtered to its essentials” The Fondation Beyeler owns a group of the papiers-découpés no doubt helping them to gather the stellar loans among 70 works in Matisse: Invitation to the Voyage But just as remarkable are Matisse’s final canvases made between 1946 and 1948 in what Lydia Delectorskaya his partner and assistant in his later years called “a veritable explosion” of painting that took place at his villa in Vence The Beyeler’s room of Vence interiors and related figure paintings is profoundly moving and exhilarating These paintings are pivotal to the exhibition’s narrative while this survey reflects Matisse’s activity from the 1890s to the 1950s its theme is travel—critical trips to the south of France But just as crucial are Matisse’s journeys into the imagination Matisse felt the “curiosity that comes from a new country.” They are a final glorious adventure at what he described as “the forefront of the expression of colour” they are a distillation of Matisse’s struggle to find reductive form and colour harmonies that conveyed his resonant feelings His long engagement with chromatic relationships meant that in them anywhere in finding harmonic and spatial balance stating ‘that is the value of travel: it enlarges the space around us’In Interior with an Egyptian Curtain (1948) he uses black in four separate sections—in the patterns on the textile itself at the right in describing the darkened interior architecture against the Provençal light pouring through the window as the shadow beneath a bowl of pomegranates on a pink table and as some of the fronds of the palm tree beyond Yet Matisse makes it a believable space while transmitting the luminous intensity of his experience Such virtuosity was hard-won; Matisse described the “severe preparation” needed “to be worthy” of using colour The show begins with La Desserte (1896-97) where you feel his battle for that worthiness Courageous accents abound—a decanter stopper catches the light with a potpourri of crimson pink and viridian—but the overall effect is muted Matisse was yet to absorb the older artist’s light touch Matisse’s response to a summer in Saint-Tropez with Paul Signac the painter whose Divisionist theories the painting embodies The work’s title is taken from a line in Charles Baudelaire’s poem Invitation to the Voyage It is a strange picture: Matisse’s first masterpiece liberating himself from Divisionist strictures in Collioure The cluster of Collioure paintings here reflect Matisse’s ecstatic unleashing of pure colour shown at the Salon d’Automne in Paris that October where the term “fauves” was first used to describe Matisse and his peers His pace of change is remarkable in this period: within two years came Bathers with a Turtle (1907-08) where the patches of intense hues and staccato marks of The Open Window give way to fields of serene colour behind tough A rare disappointment is the lack of more works from Matisse’s transformative trips to Morocco in 1912 and 1913—alas While Acanthus (Moroccan Landscape) (1912) is marvellous—evoking the “mellow” light he noted in north Africa humid greens—there is an unavoidable sense of a gap here More Morocco pictures would have afforded a comparison with the later section dedicated to Matisse’s increasingly Orientalist preoccupations in Nice in the late 1910s and 1920s the problematics of which are explored powerfully by the feminist art historian Griselda Pollock in a catalogue essay The Nice works are shown alongside the four bronze backs—female figures from behind—that Matisse fashioned between 1909 and 1930 This juxtaposition reinforces the almost sculptural solidity he imbued in some of his Nice “odalisques” particularly the Decorative Figure on an Ornamental Ground (1925-26) The persuasive argument is for more radicalism and Modernism in the Nice pictures than Matisse is often credited with even if that is allied to the dispassionate colonial gaze that Pollock identifies but is not explored in the show itself That gaze is an inevitable context for the one trip that Matisse himself identified as his “great voyage”—to Tahiti Given that Paul Gauguin was an early influence and that Matisse had spent the previous decade painting odalisques one can easily imagine him grappling with Gauguin a generation on Matisse made drawings but no paintings there and perhaps more importantly his visits to the US before and after it a renewed boldness and simplicity of form and purity of colour emerges exemplified by the great Large Reclining Nude (The Pink Nude) (1935) Severely disabled in the 1940s and 1950s—as he made those final paintings and the cut-outs—Matisse travelled only into that “new country” of colour and to memories of previous journeys he finally gave full flight to his Tahiti impressions in Océanie la mer—early examples of cut-outs on his studio walls that were later rendered as screenprints in a beautiful rhyme across the temporal sweep of the exhibition he returns to Morocco in his vast Acanthuses (1953) one of the sparsest yet most luminous of the papiers-découpés with his now familiar reductive floral motifs in greens Invitation to the Voyage makes a compelling case for the transformative effect of Matisse’s many journeys But the “reveries” that he described when discussing the Océanie works were just as crucial stating “that is the value of travel: it enlarges the space around us” but one in which he hoped he could push his art into new territories and to greater heights writes that the “visitor embarks on a sumptuous journey to the heart of the master’s work” Her “only regret” is the lack of works from Matisse’s journey to Corsica in 1898—but this is made up for by “the number of masterpieces brought together” writes that the show is “the first in decades to consider [Matisse’s] work as a whole” evolving from Impressionist antecedents to the brink of abstraction Despite representing only a fraction of his output “it’s hard to conceive of a richer or more joyous retrospective” preview28 April 2022Matisse’s masterpiece The Red Studio recreated 100 years later for New York show The objects in the painting—including several of the artist's own works—have been brought together for an exhibition at the Museum of Modern Art review29 April 2022Three exhibitions to see in New York this weekend From Lukas Quietzsch at Ramiken to Matisse at the Museum of Modern Art Charles Moore is an art historian, writer and curator based in New York and author of the book The Black Market: A Guide to Art Collecting and The Brilliance of the Color: Black through the eyes of art collectors. Home Dream Hotel Room 1: Dreaming of Flying with Flying Fly Agarics (2024) made in collaboration with scientist Adam Haar Horowitz comprises a bed that rocks participants into sleep and a rotating mushroom replica designed to stimulate targeted dream content Carsten Höller, Dream Hotel Room 1: Dreaming of Flying with Flying Fly Agarics, 2024, installation view, Fondation Beyeler, Riehen/Basel © Carsten Höller. Photo: Mark Niederman, courtesy Fondation Beyeler The robotic Dream Bed by Carsten Höller and Adam Haar Horowitz at Fondation Beyeler (find more here) is designed to enhance and interact with the sleep and dream experiences of its users Equipped with sensors embedded in the mattress it monitors the sleeper’s heart rate and movements to detect various sleep stages and the intensity of dreams Although these physiological readings are not recorded they are used to synchronize the bed’s movements with the sleeper’s current sleep phase a redly gleaming reproduction of a mushroom rotates above the bed creating a visually stimulating environment as the visitor falls asleep and wakes up This combination of sensory inputs aims to enrich the dream experience the Dream Bed is part of the Dream Hotel Room where visitors have the opportunity to sleep in the bed and engage with the artwork on a deeply personal level it is possible to spend an entire night in the Dream Bed allowing for an extended and potentially more profound interaction with the piece Dream Hotel Room 1: Dreaming of Flying with Flying Fly Agarics For the first time in the 25-year history of Fondation Beyeler the entire museum and its surrounding park are transformed into the site of an experimental exhibition of contemporary art Organized by the Fondation Beyeler in collaboration with the LUMA Foundation the exhibition brings together works by 30 participants from varied backgrounds and disciplines The exhibition is conceived as a living organism were invited to contribute their ideas and perspectives at every phase of the exhibition’s development—from conception and elaboration to production and presentation This collaborative approach has led to a dynamic and multifaceted experience transforming not only the gallery spaces but also ancillary areas such as the ticket desk Visitors to the exhibition can rediscover the museum’s spaces in novel and unexpected ways and explore previously unfamiliar areas The experience within any given space will vary over time with different activities such as exhibition displays cybernetic structure with sensorimotor capabilities and generative language processing; courtesy of the artist © Philippe Parreno; Fujiko Nakaya High pressure pump motor system; Precious Okoyomon Courtesy of the artists © Fujiko Nakaya; Precious Okoyomon photo: Mark Niedermann courtesy of the artist © Dominique Gonzalez-Foerster photo: Mark Niedermann butterflies and sound courtesy of the artist © Precious Okoyomon photo: Stefan Bohrer Federico Campagna und Frida Escobedo A library as big as a world 2023 courtesy of the artists photo: Mark Niedermann 2024 collection on the Move © The Andy Warhol Foundation for the Visual Arts Collection on the Move © Gerhard Richter; Marlene Dumas; 2024 2024 collection on the Move © Michael Armitage; Wolfgang Tillmans; 2024 name: Dance with Daemons location: Fondation Beyeler| @fondationbeyeler dates: May 19th – August 11th AXOR presents three bathroom concepts that are not merely places of function but destinations in themselves — sanctuaries of style Trying to make the current heat wave a little more bearable we present this natural swimming pool designed by Herzog & de Meuron in the town of Riehen Archive Architecture Fondation Beyeler and the municipalities of Weil am Rhein and Riehen their landscapes and cultural institutions Rehberger was commissioned to create 24 signposts along the way and his approach was to reimagine the outdoors and public furniture vernacular giving new shapes and colours to traditional objects such as trash cans which sounds when the one-hour walk culminates or changes direction their bars bent and their occupants departed They’re located between the old coach houses of the Villa Berower estate where the Fondation Beyeler is located ’Waterspout’ is constructed to resemble an abstract blossom ’Weather House’ is a barometer – two spheres sit in loudspeaker-like apertures each protruding according to low or high pressure (standing for rain and sun) Object nine is a ’Cuckoo Clock’ – the bird replaced by an orange pipe that emerges once an hour Object 11 is the second of two ground-based murals idiomatic shapes applied to the side of a garage The installation comprises five abstract birdhouses.. Each vividly coloured bird houses contains a nesting box of wood concrete The project comes with the support of Swiss watch manufacturer Swatch who have set up shop at the Cuckoolus [pictured] a checkpoint also designed by Rehberger and placed at the border A limited-edition conceptual watch is available for purchase For more information, visit the ’24 Stops’ website Receive our daily digest of inspiration, escapism and design stories from around the world direct to your inbox. Text description provided by the architects. Located not far from the centre of Basel, directly at the border to Germany, close to the Rhine lies Switzerland’s biggest cemetery. The so-called Hörnli is a place of mourning and devotion, which at the same time is a sensitive and precisely cultivated garden. It is placed on the border in an ambiguous sense. Likewise, it is a multicultural place that reflects our being together before and after death. The cemetery was finished in the 30s and its existing layout and buildings are shaped by a straight classical geometrical order embedded in nature. This urban layout gives consolation in form of rationality and clarity. The new crematory, finished mid-2017 subordinates itself to these found patterns. It forms a background for both the landscape and the act of saying farewell. It creates a solemn experience, ecumenical and easily accessible to all. the new crematory is characterized by the picture of simultaneity The industrial process of incineration and the emotional exception of mourning The translation is a building with a concrete structure and a brick skin the brick is a hand-made and hand-laid material The latter stretches around the building and opens to light and air defining a porous border that is open and closed at the same time You'll now receive updates based on what you follow Personalize your stream and start following your favorite authors If you have done all of this and still can't find the email designed by reuter raeber architects, this private residence in switzerland uses glass and metal to create contrasting interplays of depth ‘house in riehen’ is a horizontal building embedded into the contours of its plot while the ground floor has been constructed from concrete the upper level has been built from wood — creating a dialogue between the two storeys the horizontal building is embedded into the contours of its plotall images by eik frenzel reuter raeber architects has designed the transition from exterior to interior to be seamless and fluid with narrow retaining walls enclosing a courtyard a small stairway delineates the spatial flow of the interiors — leading from the entrance to the living and kitchen areas — while reinforcing the character of the descending outdoor terrain and two exterior load-bearing shear walls are made of concrete narrow retaining walls enclose a small courtyard and pool a solid wood construction comprising four exterior sheer walls and two transverse walls forms the structure of the overlying storey containing the property’s sleeping accommodation while glass and metal surfaces provide weather resistance on the building’s exterior ‘the wood structure rests on two vertical concrete shear walls cantilevering to the front and back,’ explain the architects ‘it is stabilized by way of cross-bracing steel tension bars on the east and west-facing windows that hold the two wooden shear walls together the ceiling on the ground floor is hung front to back by way of tension rods attached to the two transverse steel roof beams.’ the ground level has been constructed from concrete while the upper storey has been built from wood glass and metal surfaces provide weather resistance on the building’s exterior and two load-bearing walls are all made of concrete a small stairway delineates the spatial flow of the interiors the interiors reinforce the character of the descending outdoor terrain the project’s concrete lower level under construction lukas raeberengineering: WMM ingenieure – andreas bayer gilbert santiniHVAC: beat joss & partner – beat jossbuilding physics: ehrsam & partner – seraphin burriphotography: eik frenzel Archive Projects ‘naturbad riehen’ by herzog & de meuron switzerlandall images courtesy of herzog & de meuron construction has started on herzog & de meuron-designed natural pool in the swiss region of riehen the proposal has had many unrealized iterations after winning the competition for the project in 1979– just one year after the firm was founded the current pool concept was commissioned in 2007 and expands on the idea of reframing a body of water and unconventional and close to nature as possible filtering cascades create a bathing lake that forgoes standard pool geometry water purification takes place in a regeneration area containing ‘abgebadetes.’ water is passed through a layer of soil sown with aquatic plants that serve to absorb microorganisms the vegetation also aesthetically enhances the landscape by including water lillies additional external filters create a closed system devoid of cholrine and chemical additives the pool will provide a year-long public venue and recreational space for the local population.  overall view of the prosed natural pool image courtesy of herzog & de meuron site plan image courtesy of herzog & de meuron following a number of unrealized iterations for a public bath beginning from 1979, the ‘naturbad riehen’ has opened its doors in a small swiss town near basel. designed by herzog & de meuron the scheme trades out the conventional pool concept with its mechanical and chemical water treatment systems for a more natural pond which utilizes biological filtration processes the facility references the traditional badi a local wooden bath structure typical along the rhine river combining a vibrant environment and enduring aesthetic timber decks and walls wrap the central bathing pondnaturbad riehen the ‘naturbad riehen’ is treated as a natural pond rather than a standard swimming pool its edge takes an irregular and vegetated boundary with various methods for guests to enter the water these include a gently sloping gravel beach as well as wood docks which allow for a jump into the small lake the scheme replaces technical systems for biological filter terraces which eliminates the use of chemical additives the process is modeled after the natural terrestrian water purification through layers of gravel and water basins are located outside the facility boundary embedded in a sloping landscape across the road with respect to the system’s ecological cleaning capacity the baths are able to accommodate 2,000 guests per day the south edge of the site is visually open to the adjacent riverphoto by helen schneider the bath site is enclosed on three sides by timber walls the north and east edges block out noise from roads while the west border faces private residences the arrangement places all attention toward the pond at the center decks wrap the pond to provide areas for sunbathingphoto by helen schneider a concrete wall contrasts the typical timber finishphoto by helen schneider the entry breezeway is located on the eastern edge of the sitephoto by helen schneider the facility includes a small caféphoto by helen schneider a roof deck is located on the eastern edge building volumephoto by helen schneider vegetation lines the pond’s edgephoto by helen schneider a gravel beach gently slopes to provide a slow entry into the bathphoto by helen schneider switzerlandproject dates: 08/2007 – 06/2014client: gemeindeverwaltung riehen switzerland / tobias betschartsite area: 164,074 sqft / 15,243 sqmgross floor area: 3,488 sqft / 324 sqmfootprint: 3,488 sqft / 324 sqmgross volume: 39,800 cbft / 1,127 cbmfaçade surface: 4,306 sqft / 400 sqm architect planning: herzog & de meuron switzerlandpartner architect: rapp arcoplan AG switzerlandgeneral planning: rapp arcoplan AB switzerlandcost consultant: rapp arcoplan AB switzerlandhvac engineering: stokar + partner ag switzerlandlandscape design: fahrni und breitenfeld germanyplumbing engineering: locher schwittay gebäudetechnik gmbh switzerlandstructural engineering: ulmann & kunz bauingenieur ag switzerlandother specialists: wasserwerkstatt planungsbüro für badegewässer switzerlandcivil engineering: gemeinde riehen switzerlandgeometrician: jermann ingenieure & geometer AG wolfgang hardt (bis 30.4.2011)project team: michael bär (associate A new Henri Matisse retrospective in Switzerland offers visitors a rare chance to follow his artistic journey via works from throughout the career of one of modern art’s godfathers The Fondation Beyeler museum on the outskirts of Basel has brought together 72 works by the French artist sculptures and cut-out paper collages from major international museums and private collections some of which have not been seen in Europe for more than three decades The exhibition is the first Matisse retrospective in Switzerland and the German-speaking world in almost 20 years The “Matisse — Invitation to the Voyage” exhibition is named after Charles Baudelaire’s poem from which the artist took the phrase “Luxe Calme et Volupte” for the title of his pivotal 1904 oil painting “The invitation to travel expresses in a particular way the quintessential aesthetic of Matisse,” said the exhibition’s curator Raphael Bouvier noting that the painter referred to Baudelaire’s poem “several times in his artistic work.” Travel is an “essential subject” in his life with Matisse having worked and drawn inspiration in the south of France “The exhibition as a retrospective is really conceived as an invitation to voyage into the work of Henri Matisse,” Bouvier said It traces the artist’s footsteps from his beginnings in Paris to Collioure in southwest France where he began to revolutionize art in his Fauvism period “by liberating color,” Bouvier said inspired by memories of his trip to the South Pacific after undergoing abdominal surgery for cancer with the birds and seaweed inspired by the fauna and flora he observed during his trip to Tahiti in 1930 Matisse occupied a special place in the collection of Ernst Beyeler the Basel art dealer and collector behind the museum Beyeler launched himself into the art market by selling Japanese prints in his shop before transforming it into a gallery in the early 1950s where Pablo Picasso and Matisse featured prominently particularly liked Matisse’s late works because he saw a “great artistic revolution” in paper cut-outs The exhibition notably covers his iconic Blue Nudes” cut-out series Though Matisse exhibitions regularly cover certain aspects of his work retrospectives of his entire career are “more rare,” Keller said the Centre Pompidou in Paris dedicated a major exhibition to the artist but it was disrupted by the COVID-19 pandemic and its lockdowns “With major artists like Matisse or Picasso we could put together many different exhibitions because there are so many aspects to their work,” for example focusing on the 1930s it is important that the public has the chance to see a retrospective to have a complete picture of the development from young artist to old master.” I have increasingly grown interested in efforts to consider life not from a human-centric perspective but from a broad I’ve found myself turning nouns into verbs –when I go through my exhibition for instance –in order to become aware of perspectives that go beyond what we humans can properly imagine Following the anthropologists Natasha Myers and Timothy Choy I’d say that life is also about con-spiring –playing on the origin of the word (‘to breathe with’) as well as the dictionary definition When we recognize that our lives are inextricably entangled with our surroundings and with structures and systems that extend far beyond our local context that we are all vulnerable and not fully in control We act and interact in situations defined by uncertainty and unclear outcomes Tsing: Precarity once seemed the fate of the less fortunate Now it seems that all our lives are precarious –even when Life, my artwork, and the Fondation Beyeler are entangled with the surrounding park, the urban landscape, and the planet, and they come to life through everything and everyone that meet up in it. This artwork is a collective experiment. It challenges our conventions of art, nature, institution and life and attempts to dissolve their boundaries. Plants, animals, humans and microorganisms live together in this work. Both the time of day and the weather influence the development and perception of this exhibition. (Sam Keller, director of the Fondation Beyeler) Planetary life survived at least three billion years before humanity. . . . We need honesty. We need to be freed from our species-specific arrogance. No evidence exists that we are chosen, the unique species for which all the others were made. Nor are we the most important ones because we are so numerous, powerful, and dangerous. Our tenacious illusion of special dispensation belies our true status as upright mammalian weeds. Together with the museum, I am giving up control over the artwork, so to speak, handing it over to human and non-human visitors, to plants, microorganisms, the weather, the climate –many of these elements that museums usually work very hard to keep out. Instead, we are trying to welcome everyone and everything in. The plants in Life–dwarf water lilies, shell flowers, water ferns, and more –were carefully selected by my good friend, the landscape architect Günther Vogt. Günther and I have collaborated on several artworks in the past that explored the perforated lines between nature and culture, acknowledging that we humans are part of larger systems. I am obsessed, I have to confess, by the visual contrast between two ways of considering the Earth. The first is as a Globe –the famous Blue Planet viewed from out in space. In the second view, the Earth is totally different; it is tiny, fragile and far from equilibrium. It resembles a pellicle, a varnish, a skin that is always considered not from the outside as a globe, but from the inside as a highly controversial, multilayered, and disputed set of intermingling entities. Life is in continuous transformation. Humans and non-humans alike can experience these changes at any time of day or night, for there are no opening or closing hours for the exhibition. Even if no human visitors are in the space, other beings –insects, bats, or birds, for instance –can fly through or take up temporary abode within it. At night, Lifeglows –you can go see for yourself. Now, from the end of August 2019, nineteen outstanding examples of Impressionism, Post- Impressionism and Classic Modernism are to be seen at the Fondation Beyeler in Riehen. The paintings, by Paul Cézanne, Edgar Degas, Paul Gauguin, Vincent van Gogh, Ferdinand Hodler, Édouard Manet, Claude Monet, Pablo Picasso, Camille Pissarro, and Auguste Renoir, are currently displayed together in a dedicated presentation. Subsequently, individual pictures will be included in the periodically rehung exhibition of the Fondation Beyeler’s permanent collection. Thus the works from the Rudolf Staechelin Collection will be publicly accessible again in Basel, where a new chapter begins in the collection’s eventful history. This year's big summer exhibition is devoted to the artist Wolfgang Tillmans. It is the first comprehensive engagement with the medium of photography at the Fondation Beyeler, which some time ago added a wonderful group of works by Tillmans to its collection. Around 200 photographic works dating from 1989 to 2017 will be on show from May 28 to October 1, together with a new audiovisual installation. Tillmans first made a name for himself in the early 1990s through photographs that have attained iconic status for their evocation of the mood of an entire generation, with its carefree urge for freedom and its desire to seize life’s moments. Soon, however, he widened his focus, experimenting with the means of photography to develop a new visual language. He created his images with and without a camera and also using a photocopier. In addition to traditional genres such as portrait, still life and landscape, the exhibition presents abstract works that play with the limits of the visible. It will show how Tillman’s work is concerned with the creation of images rather than with photography in the conventional sense. The exhibition is being designed in close cooperation with the artist. This time, in an exhibition at the Fondation Beyeler the provocateur has again drawn the crowds like he does best—around five headless Subtitled “Kaputt,” the exhibition references the 1944 memoir of Italian author Curzio Malaparte whose graphic retelling of WWII behind German lines devotes an entire chapter to horses Malaparte describes roads lined with dead and dying horses and lakes filled with shivering horses who have huddled together to flee forest fires “The horse is our homeland,” he writes in a poignant metaphor for Europe as the horses are found lifeless—particularly who became trapped when the waters froze overnight and found with their eyes fixed in terror Cattelan’s “Kaputt” horses are frozen as well and while not his first reference to the classic symbol of art history (think back to his Novecento in 1997 where an elongated horse hung from the ceiling by harness) Cattelan succeeds in seducing his viewer and making an age-old symbol again the most ambitious ever staged by the Fondation Beyeler is devoted to the paintings and sculptures of the young Pablo Picasso from the so-called Blue and Rose periods every one of them a milestone on Picasso’s path to preeminence as the twentieth century’s most famous artist in a concentration and quality that are unparalleled Picasso’s pictures from this phase of creative ferment are some of the finest and most emotionally compelling examples of modern painting and are counted among the most valuable and sought-after works in the entire history of art It is unlikely that they will be seen again in such a selection in a single place the rising genius Picasso (1881–1973) embarked on a quest for new themes and forms of expression which he immediately refined to a pitch of perfection in a rapid succession of changing styles and visual worlds The focus of the exhibition is on the Blue and Rose periods and thus on the six years in the life of the young Picasso that can be considered central to his entire oeuvre paving the way for the epochal emergence of Cubism which developed from Picasso’s previous work the exhibition converges with the Fondation Beyeler’s permanent collection whose earliest picture by Picasso is a study Look out for your first newsletter in your inbox soon We help you navigate a myriad of possibilities Sign up for our newsletter for the best of the city By entering your email address you agree to our Terms of Use and Privacy Policy and consent to receive emails from Time Out about news, events, offers and partner promotions. Switzerland facebooktwitterAbout us Contact us The vacant rooms of the former Han restaurant on the corner of Baselstrasse and Bachtelenweg have been converted into a bistro but art editions and design articles as well as products from local farmers are also sold there a co-working space and a library have been set up The design of the new BEY was commissioned by the Fondation Beyeler from the architect Jens Müller and the interior designer Stephanie Rossi from Basel The aim is to turn the BEY into a kind of public living room the BEY is intended to offer museum visitors an alternative during the renovation of the Berower Park restaurant the Fondation also wants to secure a reserve of space during the planned new construction in the Iselin-Weber-Park a contribution is to be made to the revitalization of Riehen and to strengthening the connection between the museum and the village Operation is initially planned until the end of 2019 «Ein bisschen erinnert Riehens künftiger Doppelkindergarten mit seinem weit heruntergezogenen Dach an eine Märchenbuchillustration» nachdem sich das Architekturbüro Miller & Maranta im Wettbewerb gegen drei Konkurrenten durchgesetzt hatte Tatsächlich ist der im Februar 2018 eröffnete Kindergarten mit Tagesstruktur dank seinem markanten Dach unverwechselbar Die tiefgezogene Traufe führt zu einer besonderen Identität des Gebäudes und schafft gleichzeitig einen Verweis auf dessen Nutzung Das Gebäude ist sehr bewusst und präzise gestaltet Mit seiner Volumetrie passt es sich gut in die kleinteilige Umgebung ein Sowohl der Doppelkindergarten als auch die Tagesstruktur erhalten einen separaten Eingang und damit eine klare Adressierung Der Kindergarten wird von der Paradiesstrasse und die Tagesstruktur von der Störklingasse her erschlossen orientiert sich mit der langen Seite zur Strasse Es entsteht ein geschützter und zugleich ein von Passanten abgeschlossener Bereich hinter dem Gebäude der über den Eingangsbereich des Doppelkindergartens zugänglich ist die Räume sind als durchgängige Enfilade angelegt Drei Kernzonen gliedern den Grundriss und nehmen die Nebenräume auf die in Absprache von beiden Betrieben genutzt werden können Während die Haupträume sich bis zum First des Daches erstrecken flexibel möbilierbar sind und mit einem Oberlicht zusätzlich belichtet werden sind die kleineren Räume deutlich niedriger ausgebildet und schaffen eine auf den Garten bezogene räumliche Wirkung Grossflächige Fenster vermitteln nach aussen zu einer überdachten Vorzone Diese entsteht durch die mäandrierende Fassade Unter dem vorgezogenen Dach entsteht so eine umlaufende regengeschützte Laube Über den Nebenräumen in den Dachhüten finden sich verborgene Spielräume Über den Nebenräumen in den Dachhüten zwischen den Haupträumen finden sich weitere Spielräume Hier können sich die Kinder in heimelige Nischen zurückziehen Die durch das Dach entstehende Form des Raumes versetzt uns ins Staunen und regt unsere Fantasie an die wir wahrscheinlich gerade deswegen gerne auf uns wirken lassen Die Dachschrägen sind mit Lärchentäfer ausgeschlagen mit dem Ziel eine altelierhafte und doch wohnliche Stimmung zu vermitteln Dies funktioniert besonders in den kleineren Räumen im Dachbereich gut Einzig die Nassräume sind mit bunten Farbanstrichen versehen um dort das fehlende Tageslicht zu kompensieren Die Haupträume sind mit einem Oberlicht zusätzlich belichtet.© Ruedi Walti Mit der unterschiedlichen Struktur der Räume dem Aussenbereich und der flexiblen Organisation wird das Gebäude den vielfältigen Anforderungen der Nutzer bestens gerecht dass der liebevoll gestaltete Spielplatz den Kindern nur während den Öffnungszeiten des Kindergartens beziehungsweise der Tagesbetreuung zugänglich ist die vielen verschiedenen Nischen und Rückzugsorte geben dem Bau eine heimelige und fantasieanregende Stimmung Von einer Märchenwelt an der Paradiesstrasse kann durchaus die Rede sein © ARCHITEKTUR BASEL | IMPRESSUM | ÜBER UNS | NEWSLETTER Das Basler Strafgericht verurteilte die 54-Jährige zu einer Freiheitsstrafe von drei Jahren und sieben Monaten Die ehemalige Leiterin des Kassenteams der Fondation Beyeler in Riehen ist am Freitagnachmittag verurteilt worden Das Museum gehört landesweit zu jenen mit dem grössten Publikumsandrang mit bis zu rund einer halben Million Besuchenden im Jahr Laut Anklage begann die Frau schon im ersten Jahr ihrer Anstellung dreistellige Bargeldbeträge aus dem Ticketverkauf in die eigene Tasche zu stecken Mit der Zeit sollen es immer häufiger vierstellige Beträge geworden sein – bis sie Mitte 2019 aufflog Kollegen aus ihrem Team hatten 2019 Unregelmässigkeiten entdeckt Die Präsidentin des Basler Strafgerichts sah die aufgeführten Delikte als erwiesen an mehrfache Urkundenfälschung und gewerbsmässige Geldwäscherei Dabei stützte sie sich unter anderem auf Zeugenaussagen Die befragten Personen hätten glaubhafte Aussagen gemacht sagte die Gerichtspräsidentin bei der Urteilseröffnung Des Weiteren habe sie Eintritte doppelt verkauft Und schliesslich habe sie regulär erfolgte Ticketverkäufe nachträglich zum Teil über die Kassencodes ihrer Mitarbeiterinnen und Mitarbeitern storniert und die Beträge der Kasse entnommen Die Frau habe über ihren Verhältnissen gelebt Sie leistete sich etwa Luxusreisen oder teure Autos Die verurteilte 54-Jährige war ab 2008 an der Kasse des Museums tätig und leitete das Team von 2010 bis 2019 Die mit dem Billettverkauf beauftragte Firma ISS Facility Services hatte nach einem Anfangsverdacht eine Revision gemacht Die Firma entliess die Frau und zeigte sie an Gegen das Urteil vom Freitag kann die ehemalige Fondation-Kassiererin Berufung einlegen Für die Registrierung benötigen wir zusätzliche Angaben zu Ihrer Person {| foundExistingAccountText |} {| current_emailAddress |} Geben Sie die E-Mail-Adresse Ihres Benutzerkontos an über den Sie ein neues Passwort erstellen können Sie erhalten in Kürze eine E-Mail mit einem Link Wenn Sie nach 10 Minuten 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