TEAM: Melina Anzaoui, Maria-Kyriaki Papadopoulou, Vasiliki Zochiou – Greek – Patras School of Architecture

The heterotopia of mind
‘As for the heterotopias, in the proper sense of the word, how can we describe them? What meaning do they have? […] Museums and libraries have become heterotopias in which time never stops building up and topping its own summit.’
Foucault, M. (1967) Des espaces autres: ‘Hétérotopies’.

After a visit to a museum, someone departs with various accumulated impressions based on the exhibits they met. A ‘mountain’ of disorganized and stacked knowledge is created in their mind. In our proposal, these impressions cease to be an abstract concept, acquire a spatial substance and are visualized. The museum has a shape that constantly changes based on the number of visitors, the route they choose and the exhibits they discover. The inside becomes outside. The top becomes down. Items are moved, added or removed during the day. The museum is a body that can continually grow in height or spread throughout the city, constantly changing its skyline. In this way, a space is created, that, according to M. Foucault’s theory of heterotopias, exhibits different characteristics than its environment, since time and exhibits accumulate there unceasingly, creating a hill of varying eras. The concepts of time and museum are, thus, blended and correlated. For us, the museum is ultimately, the pure imprint of the visitor’s mind, off – real time, where all epochs, ideas and forms are concentrated, are brought to the foreground or to the background, are deliberately searched for or are found accidentally.

Colosseum, Waiting for Godot

Estragon :  Let’s Go

Vladimir : We can’t

Estragon : Why not?

Vladimir :We’re waiting for Godot
Vladimir : And where were we yesterday evening according to you?

Estragon : How would I know? In another compartment, There’s no lack of void.

Vladimir : (sure of himself) Good, We weren’t here yesterday evening. Now what did we do yesterday evening?
Vladimir : The Sun. The Moon. Do you not remember?

Estragon : They must have been there, as usual.


TEAM: Nikita Marykov (Russian), Morana Mažuran (Croatian)

Museum Alternative Design

Museum design no longer considers intrinsic qualities but rather prioritises external programming: providing the city with a landmark, fitting into a cityscape or stimulating city planning. As a result an overabundance of various forms of architecture has been produced, which are not in dialogue with either the artwork presented within nor the public and the city.

Do we need new museum buildings in our cities? Instead of taking the role of project developer and building new iconic structures to provide commercial success and brand equity, the museum should promote a collaboration between the city and local art community.

Rather than focusing on new museum typology, this project aims to redefine the confrontation between the art and public via the institution of the museum.

It is about avoiding architecture and instead creating voids within the existing urban context; forming temporary project spaces. The content of the museum will be disconnected from its architectural form, allowing it to question, provoke and criticize the context. By inhabiting any different form with a generic space the form is reduced on the pure frame – the spatial frame which will be able to adopt functional defiance and adjust to the dynamics of contemporary art.

The museum of contemporary art is therefore pure content, not architecture.


Arctic Museum

TEAM: Natalia Kamińska, Justyna Tchórowska, Artur Górski, Mikołaj Strzelczuk – Poland

In history of mankind we can notice that a lot of valuable things had gone irretrievably and only our imagination can reconstruct those from chronicles and drawings.

A few years ago international community decided to protect priceless, frozen area on the north pole. They have placed big, honeycomb shaped, modular structure on more than 2 millions square kilometers. Glass walls and ceilings where filled with special cooling liquid inside, mostly used to chilling the ice rinks. According to geopolitical conditions structure started where the exclusive economic zone of north states ends – 200 nautical miles from their coasts. It means that arctic countries can take advantage from new trade routes and natural resources, which are available after global warming melted ice in those areas.
Nothing happened. Arctic is still Arctic. People are still coming to enjoy this wonder of nature, full of sculptures shaped by natural processes, placed in endless landscape with all colour ranges of cold.

The area works as a big refrigerator for whole planet, where it plays an active role in cooling the atmosphere and water. It also keeps politicians away from territorial disputes, militarization of the region and drilling in search of oil and gas.


TEAM: Komila Rakhimova, Alexandre Costa, Anna Mezheritskaya – United States – Boston Architectural

The MI-seum is You. Of you. For you.

Short description:

In an interconnected cybernetic global culture, the museum paradox persists.

Typically, someone provides me with an exclusive and carefully crafted experience.  Usually, someone else steals my vision, yet I can only use my eyes and cannot touch or taste this knowledge. My movements are limited. My thoughts are assigned. My values are prescribed by outsiders.

Erase that. Let’s plug in instead.

The mi-seum can be located in any powered space on the globe. It curates the information about my life and likes and helps me analyze my values. Through this augmented experience, I am still while freely moving through virtual space to explore deeper the ideas in my mind. I discover related knowledge, challenge my belief systems and explore all possible perspectives. I see, hear, touch, smell, and taste. Ultimately, I decide which values remain in my culture.


The Bench

TEAM: Lisa Courtney Henderson, Andrea Calcaterra – South African, Italian

Contemporary contemplation

A singular element that defines the project. The Bench as an element of contemplation, the museum reimagined as everything everywhere. The Bench is a global monument that gives new meaning and importance to everyday places, subtly suggesting to the visitor the opportunity to observe the ordinary and to find the extraordinary. The Bench is both a physical and metaphorical connection between places, between people, between ideas. The Bench is free.

Sequence Of Boredom

TEAM: Lealla Solomon – Israeli – Tel Aviv University, Monash University Melbourne

The Sequence of Boredom is a critique of the public; which is constantly reproducing experiences by social media. This results in the decline of the ‘event’ of experience itself, as the representation of the event becomes more appealing to the subject than the event itself.

The museum as a representative space for art will serve as a critical vessel to reevaluate the contemporary condition. The humans will become the artifacts exhibiting an exaggeration of the condition as they follow a despairing sequence enforcing them to use social media.  This will able to the creation of a spatial aggregate of architectural gestures corresponding to the most banal spatial translations, in order to induce a form of boredom within the subject and then usage of the phone.

Designed from inside to out, the project emphasizes the sequence much more than its outer appearance and designed specifically to create boredom. The vessel forces the human to go through the whole experience, walking in generative repetitive space; the supermarket. Emptying the space from objects lowers the chance of engaging with it. Implementing social alienation by automatic services, timed movement and motorized paths creates physical gaps between humans. After the human finishes the sequence the human is then led to the outside path where he can watch the spaces he just attended.


TEAM: Argyro Kopsida, Afroditi Pouchtou, Alexia Stavropoulou – Greek – University of Patras

Shelfie [n.]

a photo taken to show off what is on someone’s shelf, usually to show off figures/statues or collectible memorabilia.

From the small scale of the cabinets of curiosity, which met the human need for self-assertion, mankind stepped into the hyperlocal scale of the museum to house, project and maintain its achievements. Nowadays, that the ego exposure mania escapes from the boundaries of the three-dimensional space and gets lost in the abyss of our profiles in social media like Instagram, Pinterest and Tumblr, is there a locus that can accommodate each individual’s microcosm?

Imagine a foucauldian ceremonial space, overburdened with complex figures, strange places and unexpected communications, a contemporary tower of Babel. A multicultural structure where everyone can show their self on the shelf.

This museum of Egos is founded on the fluid element of water and rises towards the endless sky. Through multiple stairs and peripheral corridors, and by using digital tools provided to them, the visitors can access the various cabinets and navigate inside them, following respective procedures to those of social media. By bringing disparate objects together, one can get a sense of the world’s interconnectedness and find peace in the quiet relationships that exist between them. Personal items mixed freely with rare memorabilia, give one’s own life a sense of rarity and wonder.

ο κόσμος ο μικρός, ο μέγας!


TEAM: Floria Bruzzone, Beatrice Piola – Italian

the unrolled museum

The project proposed by the team aims to create an itinerant museum within a historic city; starting from the museum’s archetype, we thought it might be a very strong idea to take the museum path and its functions (normally inserted into an architectural volume) and literally roll them into the narrow streets of the city; in this way, one creates at the same time a museum path where works of art, theathral performances or movie projections are displayed, but at the same time entering into spaces normally not used and marginal, it serves the citizens and tourists to explore the city, making itself an open-air museum.

Everything that white box isn’t

TEAM: Merve Şahin, Turkey

How are museums perceived?

_as static buildings

_as static buildings with ‘selected’ objects inside

_as static buildings that technological advancements stay as secondary accessories

What’s the intention of these three images?

_’the museum of now’ abstracted with the white cube

_the crawling network of curvilinear, expanded lines around the white box represents the virtual surface of ‘objects in display’

So…How current museum typology challenged is that…

The proposed design envisions a virtual network crawling around conventional museum buildings, creating a virtual environment that is perceived by the help of virtual reality technology

The crawling network is what the white box is not.

_It is not built so it is flexible, open to modifications and to various experiences

_It passes the boundaries between the stable and flexible & the observer and the object. It eliminates the constructed timeline and one way of learning and lets the user follow different kind of non-linear paths

_ Objects does not have to be physically present so what makes that location special is not the object selection but how all of the cultural, natural, social and historical elements are brought together to be experienced

_And it does not exist

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