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TEAM: Andrey Hodkevich, Bulgaria, Ephemera, Politecnico di Milano

What is the role of the museum of tomorrow? How does it answer to the changing conditions of the digital age? In a world of mass connectivity and extreme growth we witness an online revolution which redefines our perception of reality. The museum is a central figure within the urban hierarchy and as such preserves and maintains the cultural tangible and intangible heritage of the world.

The “Invisible Museum” addresses both the museum as a physical entity and the relationship of the museum as a public space with the urban context of the city in the dawn of the Digital Revolution. It is a prototype for a new idea of immaterial architectural space, based on the interaction and overlay of dynamic fields and resulting in a digital intangible structure. It is its immateriality which gives the freedom to detach the idea of architecture bonded to a particular site. Instead each floor is distributed on a different public square around the world making a dynamic interactive global superstructure- a display system which answers to the dynamic realm of the “Information Revolution” and reinterprets the usage of public urban space. A democratic form of architecture active only when needed by its users.

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TEAM: Rafaela Agapito, Thaylini Luz, Miguel Pereira – Brazil – cora atelier

Since ancient times the conquerors take the treasures of the defeated. There are millions of looted artefacts around the world, especially in widely known museums such as the British Museum and the Louvre. Most of these institutions bear in their history the marks of being repositories for stolen art in the context of war, imperialism, and colonialism.

Currently, the cases of repatriation have been rising. One of the most common argument in defense of the museums is the notion that cultural heritage belongs to the world, not to a civilization, therefore should stay on a cosmopolitan place. However, why should the western cities represent the world’s view and perpetuate the inequalities between the West and the rest of the world?

Seeking to distance itself from any sort of political games of strength between countries, The Museum of stolen objects history is placed in international waters. It functions as a self-governed institution: all the looted art is rescued from these museums that perpetuate the colonialist narratives and are taken to the museum where they will be studied. In more ways than none this museum is not really a museum, it’s an antimuseum or even more so – It’s a disciplinary action.

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Since ancient times the conquerors take the treasures of the defeated. There are millions of looted artefacts around the world, especially in widely known museums such as the British Museum, the Louvre Museum and the ones on Museum Island in Berlin. Most of these institutions bear in their history the marks of being repositories for stolen art in the context of war, imperialism, and colonialism and have these objects in exhibition till this day.

Currently, the cases of repatriation have been rising and one of the most common argument in defense of the museums is the notion that cultural heritage belong to the world, not to a people, therefore should stay on a cosmopolitan place such as London and Paris. However, why should the western cities represent the world’s view and perpetuate the inequalities between the west and the rest of the world? Why should the artefact only be studied by European professionals and scholars?

Seeking to distance itself from any sort of political games of strength between countries, The Museum of stolen history is placed in the international waters. It functions as a self-government institution: all the looted art is rescued from these museums that perpetuate the colonialist narratives and are taken to The Museum of stolen history where they will be studied. In more ways than none this museum is not really a museum, it’s an antimuseum or even more so – It’s a disciplinary action.

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TEAM: Marco Cannas, Giulia M.A. Finà, Eleonora Moi, Agostino Strina – Italian – Politecnico of Turin

Art outside the Box

Art is…

Everyone has their own idea of art and sometimes it’s difficult to find it in a conventional museum. That’s why “Payphones” suggests a new image of museums that brings “showing” to a new level.

Who said that nature can’t be seen as an artwork that deserves to be shown? Is it possible to confine it in a building?

Who said that a common object as a London Red Box can’t be art and museum at the same time?

Art inside art. Content and container. That’s the aim of this project, which wants to deconstruct the conventional way of showing.

The small size of the phone cabin allows to bring the “museum” outside the city, inside a forest, into the desert. Here the visitors can admire not only the artwork inside the Payphone but also the beauty around them, as a piece of art.

Think out of the box, look from a new point of view.

That’s art outside the box.

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TEAM: Suyeon Kim – Binna You – Republic of Korea – Dankook University

Do you go to the museum to see exhibition program planned by Curator? Is it impossible to design
exhibition, exhibition time, exhibition place and enjoy museum by spectator?
The first museum, wunderkammer was a privilege enjoyed by only a few. But “Showing” is expanding
from a few patron to a majority of the public. This new Wunderkammer museum provides a place to
show to anyone.
The Wunderkammer Museums around the world share collections from database. It has a great
collection of art within a database. Based on database, the spectators can set or change exhibition,
exhibition background and exhibition space according to their preference and methods. We become
curator and can express our desire to own an artwork.

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TEAM: Bouchard-Bédard, Florence – Canadian – Boubed – scéonographie et design d’espace

From swiftness to contemplation
Short description :
Art museums give an opportunity to transgress social acceleration, productivity and capitalism related to urban space. Indeed, museums allow aesthetic experiences and a particular attention quality, thanks to art.
To preserve this experience, museums do not need to be renewed or altered. Characteristics related to urban space have to stay out of it ; a distinction between city and museum is esssential. The purpose is to design the passage from urban everyday life to art museum experience, a transition from rationality and speed to sensibility and slowness.
Slow art way conceives the museum as a celestial body in the infinite universe we call urban space. We do not approach this body directly but at first, enter orbit around it, observe it and slow down. Small stars on the ground create paths leading to the museum by diversion. Different means – anamorphosis, viewpoints, mirors on the ground, dividing walls, soft ground, etc. – allow visitors to gradually quit their hectic pace of life, connect with their sensibility, focus attention and forget time.

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TEAM: Marco Dimonte, Italian

about cultural anoesis, mediocre standards of democracy and new nationalisms

The Liberal Museum is a project planned for a future Europe where cities struggle to find a relevant position in the globalized network. Each city could equip themselves with one Liberal Museum, and respond to the following needs:

1. SOCIAL HABITS: With the rise of the new nationalism and the quest for national identity, architecture is now pushed to define the formativities relevant to the country’s history. The Liberal Museum provides architecture that will outdo the degenerated contemporary architecture. Learning from the past it will be possible to define the perfect local prototype.

2. SOCIAL STRUCTURE: The old saying ‘[populus] duas tantum res anxius optat panem et circenses’ from Giovenale’s Satira X will give shape to the Liberal Museum. The First Floor will be used for free permanent exhibitions of ethnographical subjects, as well as the Ground Floor will provide restaurants and shops allowing the public to meet their consumerist daily requirements. The Second, Third and Fourth Floors will host temporary exhibitions and members rooms, accessible only to the donors and founders of the museum. For obvious reasons, the culturally relevant events and exhibitions could not be hosted on the First Floor.

3. SOCIAL SPACES: Working for Liberal Museum can be an incredible opportunity for artists, curators or general cultural workers. That is the reason why the Museum is allowing them to work for free in exchange for accommodation.

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TEAM: Ivan Chan (HK, Aarhus School of Architecture), Desmond Chang (HK, University of
Edinburgh ), Rachel Li (HK, University of Edinburgh), Karen Tsang (HK, University of
Hong Kong), Bonnie Lau (HK, City University of Hong Kong)

Museum according to Kim Jong-un’s ambitions and appetites.

Amidst the 2017 US-NorthKorea Nuclear Arms Race, Kim Jong Un makes a remarkable twist when his enemy state discovers their massive amount of Yellowcake (a nickname for Uranium) storage and a bunch of missiles ready to shoot. Trump is devastated, the nation is left in the state of hysteria, even the Avengers couldn’t stop a nuclear missile. Yet one thing the Americans not know is that the Yellowcake missiles seen on satellite photos are actually North Korean’s museums used for propaganda purpose, covered in thousands of edible yellow cakes, produced by the American hostages inside the structure.

The ‘Missile’, is used as military strategy over the US by displaying superiority in Nuclear weapons. It is also a tiled stage used to deceive the citizens by exhibiting a low resolution ‘footage’ of Americans making uranium powder – which is actually the American hostages in captivity, making the savory yellow cheesecakes for the army and Kim. The citizens are led to believe the Americans are going to blow up their nation, only unity would save their country. One by one they change into military uniforms, eating the yellowcakes, and march out of the museum, ready to fight. The Americans remain oblivious about this.

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TEAM: JEWEL CHAN, ALFRED GOMEZ, CHRIS GULINAO – CANADIAN

Take a tour of your thoughts and imagination:
Abstract – genesis of ideology

Essential – perception constructing beliefs

Interpretive – narrative and subjective explanations

Emotional – reacting to the moment

Physical –  projection of reality
Visit worlds, concepts, and ideas that only you can create.
Make it yours. Makeshift Muse

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TEAM: Lukas Kulikauskas, Dominykas Savickas, Karolis Grigaitis – Lithuania

Museum is abandoned. Public, cultural spaces are ruled over by tourism, alienated from the natural, daily use. Reasons for Art/Architecture fade away, only left as a monument for its past value. The fast pace of living in the modern society dictates no time to consume and admire art, nature, science, history. Robotics and computing take over artistic field, architecture is calculated, movies are purely made by CGI, music is programmed. Brains loosing funcion of creativity and imagination.

Museum screams to be redesigned, its outdated, its decaying. It cat not be a building or a place anymore. Its has to become a daily function, as basic as parking a car, or brushing your teeth. Consumption of cognitive creativity must grow into a routine for maintaining brain functions.

Museum is taken apart, its exploded throughout the city, throughout the day, creating an interconnected system of interventions, that foster physical interactions. Its THERE. Its NOT a place anymore. Its AIR. The exhibition integrates parts of the city which are necessary, but are neglected and never seen. The alien spaces overtake the function of daily use – a bus stop, public toilet, office space, car parking, etc. The museum is not an occasion anymore, its a habit.

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TEAM: Evdoxia Besmerti, Greek, Institutions Aristotle University of Thessaloniki

If art does represent something, does art represent physical reality, or does art represent the mind’s eye? Could art represent art?
In the research of finding innovative ways to introduce art, comes the idea of recreating already existing art. Extracting hidden meanings, patterns or elements from paintings, sculptures and buildings, new exhibits are composed. These new exhibits could consist of huge walls, single paintings or even small objects.

The meaning behind this is to search for the original piece and not just have it presented in front of you. It’s a visual, spiritual and digital interaction between visitors, the new artist and the exhibits. People are able to see and explore through scanning the exhibits, the inspiration and the procedure of creating it, resulting in finding the prototype.

This project is not about creating a specific building or place. It is certainly not canceling the normal way of introducing art. It’s all about re-imagining and transforming art into “new art” that stands on its own but also re-presents art.