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TEAM: Joongseob Jeon and Heejin Kim

Should a museum exists as a building?

Deosn’t the fancy museum architecture  disturb people appreciating artworks?

Is the museum which has many unchangeable  physical factors optimal place to deliver various intenstions and moods of various works?

Should people visit the museum within a set period for exhibition curated authoritatively by museum?

The “Guerrilla Bubble Museum: GBM” curate a exhibition by database system including what subject and location public want.

Bubble Blowing Drone which is made for making Bubble Museum wherever will come up to where public demand is and make a temporary museum in the city.

This Bubble’s curves blur surrounding condition. Although you are surrounded by complex buildings, you can concentrate on your exhibition.

For static exhibition, Guerrilla Bubble will appear on a mountain.

For dynamic exhibition, will appear in complex city.

After the exhibition end, This bubble will be recalled for recycling.

Guerrilla Bubble Museum, the heterogeneous existence in the city act as a mark and attract people in daily life.

It is not a unilateral ,authoritative showing anymore.

It is Showing which be imprinted on our daily life.

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TEAM: Vittoria Bonini, Paolo Galelli, Alessio Minetto – Italy

And he to him: “You were the first to send me
to drink within Parnassus’ caves and you,
the first who, after God, enlightened me.

You did as he who goes by night and carries
the lamp behind him—he is of no help
to his own self but teaches those who follow

when you declared: ‘The ages are renewed;
justice and man’s first time on earth return;
from Heaven a new progeny descends.’

(Dante, Purgatory XXII, 64-72)
Nine new Muses conquer Parnassus every three seconds.

The law of scroll and tap shapes the museum.

And you are in charge.

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TEAM: Jana Alaraj, Palestinian, University of Applied Arts Vienna

A Temporary Collective Memory
Refugee camps have been perceived as transitory, temporary and emergency spaces, a notion challenged by the fact that camp residents spend an average of 20 years inside camp borders. Creating a gap between life inside and outside the camp. As a result influencing refugee generation’s collective memory, values and loss of identity.
Muse-Ummm is unsettled museum located in Zaatari refugee camp in Jordan. It aims to create spaces in which new trajectories of the future can be conceived in refugee camps, by proposing simple structures and using duplicate and rotate method to build the museum multifunctional and nomadic spaces. Through design as action, refugees are able to physically affect the space contributing to the socio-spatial development of their temporary reality.
These temporary intervention spaces create opportunities to constantly engage and be active as one walks throughout the camp. They aim to value stories, memories and identity, enhance creative forms of non formal education, leave space for though and participation and connect the camp to the outside world and other refugee camps worldwide.
Muse-Ummm  in this context is a particularly powerful tool as it does not aim to impose its strategy on the individuals but rather creates impact by facilitating the qualified choices of the community to establish more sustainable alternatives to their socio-spatial needs.

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TEAM: Gabriel García, Juan Carlos Moreno, Saúl Yuncoxar – Parásitos Itinerantes – FAU. UCV – Caracas, Venezuela

A MUSEUM OF ORDINARY LIFE

Ordinary life is riddled with mystery. Each action, voluntary or not, is part of an active context where the performance of ordinary is orchestrated. It stages a mise-en-scène whose script we can always be able to intervene.
If life is a performance,

how can it be exhibited?
In the interest of recording knowledge, the artist is preserved as a memory by the accumulation of a static compendium of works. They store all times and remain outside of time.
Museums accumulate a stable collection of works and pursuit to preserve the knowledge as a memory. They store all times and remain outside of time.
The museum of ordinary life uses the household as the most sensitive nucleus in the generation of multiple, sometimes incompatible images. Temporary structures intervene the habitual scene allowing for the exploration of the roles involved in the work of art: if the ordinary is a plural and dynamic masterpiece, spectators are not only responsible for its creation but protagonists in their own scenes as well.
Creating an urban point of contact increases the value of the urban landscape. An itinerant museum that can be adapted by different agents, whose collection is perpetually changing.
The heritage of the museum of ordinary life is the domestic landscape. It is manifested in the intimate experience that is recognizing each other as intuitively creative entities.

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TEAM: Idan Sidi Hauben, Israeli and French, Bezalel Academy of arts and design, Jerusalem

What can be created by the accidental encounter with a work of art?
The work of art is a cultural treasure, looking for it, could have been the life mission of a person.

Sometimes, the treasure itself is not as important as the path to find it. I aspire to turn the work of art to an integral part of the space, without building structures to surround it.
On our times, as we are focused on taking the perfect picture of the art, we don’t put our efforts in truly looking at it. I am fascinated by the primary encounters between the viewer and the creation.
I propose a journey to discover the art. My goal is to create a path, a labyrinth without walls. Wandering with a map, to find the unknown. You don’t know what will you discover and which work of art you will see. The paths will lead the viewer to the work. The search will become an adventure.
Will the person become a part of the creation itself, will it have the opportunity to create its own? How will an open museum look like?

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TEAM: Poyun Chang, Taiwan, National Taiwan University of Science and Technology

The Garden of Forking Paths / Museum As A Social Condenser

The Garden of Forking Paths refers to Jorge Luis Borges’ brilliant short story of the same name. The Garden of Forking Paths can be seen as a museum without serious exhibition spaces. But unlike any museums, people don’t need to worry about gaining education, studying seriously of the “exhibits” here; instead, it is a place to relax where people live their lives – going shopping, dinning with friends, dating with lovers, watching shows, exercising, and even parading… It extends people’s day-to-day use into the urban fabric, folding the museum into the citizen’s daily routines.
As if you are reading a novel or watching a movie, you will be exploring the meanings by every action made. The sense of mystery or even the sense of suspense is essential when you suspect seeing clues that might suggest stories behind. And the answer to those stories is full open to self-interpretation. The museum can perform as a graphic symbol of a city to be viewed or thought from varied perspectives, thus the city can have diverse histories and be fertilized by rich cultures. A city is uncertain – and uncertainty is a luxury that allows for 100 different parallel futures to coexist.

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TEAM: Ben David Mehigan, British, Nissen Richards Studio, The Bartlett School of Architecture

A public re-engagement with the production of Art.
Counter-acting the attraction of public museums as free WiFi hotspots: As long as it takes attempts to re-engage the general public with the arduous, emotional and poetic production of art.
Taking a wide perspective of what we define as art, the proposal is made up of a series of enclosed studios, workshops and creative spaces, frozen in time and contained within a living pavilion. From the paint on the walls to the half-full wine glasses, the pavilions are an opportunity for the general public to engage with a side of art and design which is nearly always behind closed doors, discovering and understanding the story behind every piece. Through the temporary exhibiting of the studios the proposal attempts to address the layman’s statement of ‘oh I could do that’ head on.

The pavilions are proposed as a work of art themselves: located in galleries; public areas or weaved into the built environment itself, the proposal suggests an opportunity to re-engage the public with the creative arts and inspire the younger generations to pursue it.

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TEAM: Jana Culek, Croatian

A System for the Private Enjoyment of Art

Public Domain questions today’s notion of the art museum as a place of peaceful
contemplation and admiration. Most of the worlds large museums, containing
centuries of artistic masterpieces, have become busy tourist destinations rather than
spaces of enlightenment. Art is surrounded by layers of defence, protecting it against
the crowded masses trying to have a selfie with the Mona Lisa. The paintings are
covered with layers of plexiglass, the sculptures surrounded with wire. When wanting
to view a masterpiece, one needs to travel through the vast halls and corridors,
pushing through confused masses, to arrive in front of a painting or sculpture, only to
find it completely blocked by a guided tour slowly passing through the building.
Public Domain proposes a system that disrupts the common way of viewing art. A
system in which one can borrow a piece of art and admire it for a limited amount of
time in their own home. Art becomes accessible to all people, anywhere in the world.
The masterpiece is no longer a stationary object, bound in its plastic shell, but rather
a fleeting moment of inspiration, experienced in a place of one’s choosing, only to be
passed on to somebody else.

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TEAM: Huijing Zheng, Sabrina Yuen, Chenming Jiang, Yuan Wang – Chinese, Canadian – Southern California Institute of Architecture

Museum in the Expanded Field.

The museum is a beacon of human achievements. A building showcasing artefacts on pedestals and information printed on walls. The museum is also a monument. A single building within the urban landscape. Our project considers both of these notions and radically changes the way the museum displays human accomplishments, the content of the museum and how the museum interacts with the city.

Exhibit: City turns the entire urban city into a museum. Departing from the idea of a single monumental museum, multiple buildings within the city become activated and opened to become museum exhibits. These buildings, connected by a path which intersects through and winds around buildings to reveal the goings-on within, are functioning buildings which exemplify human achievements today and which are integral to our society. Buildings such as factories, water treatment facilities, food terminals, offices, distribution centres, and warehouses become sites of exploration and celebration. Occupants of Exhibit: City can observe daily activities within these essential buildings, traditionally closed off to the public, that make the everyday modern society possible. The content of the museum becomes a learning experience for the viewers, enriching their understanding of an otherwise unseen aspect of human life.