With a relatively modest 8,000 sq ft of exhibition space, the building’s interior includes four primary display galleries, production spaces, a test laboratory, a cafeteria, a multi-purpose room, and offices.

The functional needs of these spaces determine the size of the volumetric towers, bridges, and cubes, while their arrangement reflects a deliberate intention to generate spatial intrigue.

The main furniture collection, originally consisting solely of Vitra CEO Rolf Fehlbaum’s approximately 200 modern and contemporary chairs, has since grown to over 6,000 objects, including chairs, cutlery, consumer electronics, and architectural prototypes.

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The Bauhaus Archiv in Berlin, envisioned by architect Walter Gropius but not completed until after his death, pays homage to the iconic Bauhaus movement it represents. Completed in 1979, the building reflects the principles of modernism with its clean lines, geometric shapes, and functional design.

Its distinctive structure, characterised by a flat roof and a white façade, captures the essence of Bauhaus aesthetics. 

The building, listed as a protected monument in 1997, contains a total of 700 square metres of exhibition space, which houses an extensive collection of artworks, designs, and documents, providing a comprehensive view of the influential design school.

In 2015, Berlin architect Volker Staab won a competition to design a new building on the site with a proposal incorporating a five-storey glazed tower to accommodate 2,300 square metres of flexible exhibition.

The Bauhaus Archiv was temporarily closed when construction started, with an interim exhibition space opening in the Charlottenburg district.

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Originally situated along the banks of the River Thames, the Design Museum in London reopened in Kensington in 2016 in a city block masterplanned by OMA, the world-famous architects led by Rem Koolhaas and in a 1960s modernist structure that underwent a transformative redesign by architect John Pawson.

Pawson’s vision created a minimalist and light-filled space, showcasing the museum’s diverse exhibits seamlessly. At the same time, the striking hyperbolic paraboloid roof, an original feature, adds a distinctive touch to the skyline.

Pawson’s aim was to create “a beautiful building that people will feel good in” with oak-lined walls and a soaring atrium that widened as it rose.

The Design Museum’s interior engages open spaces and thoughtful design, reflecting its commitment to celebrating innovation and creativity across various disciplines.

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21_21 Design Sight in Tokyo was designed by Pritzker Prize-winning architect Tadao Ando, inspired by Issey Miyake’s concept in the clothing design of “A Piece of Cloth” with a roof comprising one sheet of folded steel. 

Completed in 2007, the museum is a harmonious blend of concrete and glass, embodying Ando’s signature minimalist style. 

The structure’s geometric simplicity complements the surrounding landscape of Tokyo Midtown and incorporates Japan’s world-leading technology, such as the country's longest sheet of double-glazed glass.

The building’s fluidity and innovative use of space create a dynamic environment for the exhibition of contemporary design. Inside, the galleries feature a flexible layout, accommodating diverse exhibits.

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Nestled in the cultural heart of Milan, the Triennale Milano was designed by Giovanni Muzio and completed in 1933.

Conceived by Muzio as a flexible, multi-functional container, the building boasts a striking Rationalist style with clean lines and dynamic symmetry, it also features large glazed openings and saw-tooth roofs as a reference to industrial architecture.

The Triennale’s continuous commitment to contemporary art and design is evident in its flexible exhibition spaces and serves as Italy's most important museum exclusively focused on industrial design against a lush Parco Sempione backdrop.

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