The Museum had built where the bridge, crossing the Canal Link, had been planned to form the shortest connection between the station and the centre of the city. It was estimated that yearly 1.800.000 passers-by would make use of the bridge. ... Direct conseguence of the basic need of space the present complex created by Mendini: on one end two pavillons ... and on the other end three pavillions ... In the central part the general functions are housed ... In the performance of an opera each scene gets its own set and lighting, and in the same spirit Mendini decided that only artificial lighting would be used in the presentation of collections and temporary exhibitions. ... The possibilities of artificial lighting are by now so varied that a number of specialists are engaged to obtain the desired contrasts. Mendini incorporated existing light-fittings by Hans Hollein for the temporay exhibitions and the contemporary visual arts; the lighting in the other spaces, such as the entrance hall, stair wells and the auditorium has been specially designed by Piero Castiglioni. Stark designed his own lighting. De Lucchi collaborarated with Roberto Ostinelli. François Morellet was invited to design the neon ceiling in the entrance hall. However, since the need for diversity was greater than the need to strictly follow our own rule of using artificial lighting, we asked Coop Himmelblau to design a pavillon with daylight. Thus the museum offers next to four floors with artificial light at least one space with daylight ... (domus, 779, February 1996)