‘This is where the cultural, creative, and enterprising urban district Sphinx will arise.’ So reads the ambition behind the plans for the development of the Sphinx area. Plans focus on the place where Maastricht’s industrial revolution began. It was here that Petrus Regout built his ‘Sphinx Factory,’ the start of what grew into an enormous industry, producing bathroom fixtures, tiles, and the products that made Maastricht great. The factory operated until 2006, and since then efforts have been under way to redevelop this area as a district that fits in with the city, but as something Maastricht does not already have. That’s why this district is being designed to attract creative types, young residents, national and international students, and expatriates. It will be internationally oriented, with room for flexible space and temporary functions. Where this area is going is becoming clearer and clearer, in things like the arrival of the pop music stage in a former sawmill, and the newly opened Brandweer(kantine), with workspaces and meeting places for creative entrepreneurs. But not everything in this part of the city is new and different. The historic and picturesque river harbour ‘t Bassin, adjacent to the Sphinx area, makes a perfect buffer for the transition from the more familiar and better known Maastricht to this new part of town.

The winding road up to the caldera is a thrill in its own. Only after dozens of twists, turns and breathtaking vistas of mossy green cliffs can travellers arrive at the secluded settlement of Cilaos. For best vistas, walk up the Roche Merveilleuse, and do stop by the local thermal baths.

In the Céramique district, you still feel the industrial past, even though you’re standing in the newest and most modern part of the city. It’s the kind of place where you look up and keep looking, to take in the impressive architecture, even as the ground around you buzzes with culture and activity. Céramique arose in the early 1990s on the site of ‘Société Céramique,’ a ceramics factory that operated from 1850 to 1985, best known for its tableware. When the factory was offered for sale to the municipality in the late 1980s, the idea to redevelop the area as a quality residential and commercial district quickly emerged, and Government Architect Jo Coenen was engaged to develop a master plan. One of his fundamental premises was to bring something of a Mediterranean feel to this part of the city. To achieve this, he brought in luminary architects from southern Europe for the design of the various residential and business complexes. The result is a total package of architectural high point after high point, like Mario Botta’s ‘La Fortezza,’ Alvaro Siza’s ‘Tower of Siza,’ and perhaps the crowning glory, Aldo Rossi’s Bonnefanten Museum. But despite all the forward-looking architecture, the connection to the past remains, in the street names, remnants of older buildings and tableware that turn up unexpectedly, and the exhibitions in the Bonnefanten Museum and Centre Céramique. Each and every one is a golden thread of history interwoven into the fabric of today.