MEMORIES OF TOMORROW

CONTEMP ART ‘12

MEMORIES OF TOMORROW MARİA DULCE LOUÇÃO, PEDRO MOURA SİMÃO 1. Museum of the XXI Century: Characterization of the Atrium This first part intends to make a very synthetic analysis of some new Museum of Art opened in the first decade of the XXI Century, focused on describing the specific activities associated with the respective atria.

In fact, the atrium plays a key role inside the museum. It is the departure point for the first contact with the architecture, with the exhibition, in both cultural and educational terms.

To structure this analysis, we adopted the perspective advocated by Helena Barranha, which states that “in the European context, recent developments in museums of modern and contemporary art is characterized in two distinct architectural situations: restoration of pre-existing structures (. ..) and construction of new buildings.”

Thus, for the first situation - “rehabilitation of pre-existing structures” – one may refer to the following examples: - Mass MoCA - Museum of Contemporary Art, Massachusetts, USA - Arch.

Bruner/Cott – 1999 Adaptation of an industrial complex of the nineteenth century to a museum without permanent art collection and which management is guaranteed by the rental spaces.

The Hall occupies the entire ground floor of one of the bodies and is defined by the store, coffee shop and gallery for children connected to the auditorium and administrative offices.

It is accessible by a vestibule where it is synthesized the industrial nature of the materials found in the preexistence and used on the rehabilitation.

- MKM Küppersmühle Museum, Duisburg, Germany – Arch. Jacques Herzog & Pierre de Meuron - 1999 Adaptation of an old factory, brick-lined, without visual interface with the exterior through the annihilation of the windows on the main facade. The transition to the interior is marked by a metal surface that marks the access to the Lobby, with very low expression (as critical to the atria characterized by large commercial spaces), whose boundaries are diluted with the contiguous exhibition spaces. Its program comprises: reception, cloakroom, shop / bookstore, toilets (and separate cafeteria).

It is currently in process of expansion, designed by the same architects.

- Tate Gallery of Modern Art, London, England - Arch. Jacques Herzog & Pierre de Meuron - 2000 - Palais de Tokyo - Centre for Contemporary Art, Paris, France - . Arch. Lacaton & Vassal - 2002 The site occupies the west wing of a building that also houses the Museum of 163

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Modern Art City of Paris in the east wing.

The expression of his “rehabilitation” is strongest inside the building, in all the areas of public use, which resemble a construction site to finish. The boundaries of the atrium are not so evident, multiplied in two levels with a mobile home as a ticket office, shop, bookstore, restaurant and access to exhibitions on the top floor and the cafeteria, a terrace and the toilets on the ground floor.

- CaixaForum, Madrid, Spain - Arch. Jacques Herzog & Pierre de Meuron - 2007 - Intermediae Matadero - Center for dissemination of contemporary art, Madrid, Spain – Arch. Arturo Franco - 2007 - Punta della Dogana, Venice, Italy – Arch. Tadao Ando - 2009 Adaptation of a seventeenth-century warehouse with triangular plant as an extension of the Palazzo Grassi. The position of the main entrance was changed to ensure optimum return on its interior, where they recovered the original spatial characteristics and assumed full additions.

The small lobby comprises only the reception and cloakroom, with the shop / bookstore and coffee shop located elsewhere in the building.

- Foundation Hangaar Bicocca, Milan, Italy- Arch. F. Tribelli & A. Farinella - 2010 Examples of the latter “construction of new buildings” may be referred to the following museums: - Kunstmuseum Liechtenstein, Vaduz, Liechtenstein – Arch. Meinrad, Morger & Heinrich, - 2000 - Modern Art Museum of Fort Worth, Texas, USA – Arch. Tadao Ando - 2002 Kunsthaus Graz, Graz, Austria – Arch. Peter Cook & Colin Fournier - 2003 It is mainly known for the bizarre biomorphic shape that characterizes the top of the building and that seems to swallow it. It has its own collection and temporary exhibitions bring together photography, film, new media, internet art, etc.. Architecture and art are closely linked by common recognition of the potential of technology, using it as a communication vehicle.

The Atrium is characterized by the counter and cloakroom, the shop (with access also from outside), the media lounge and a large cafeteria, giving access also to the toilets, the multipurpose room and another room for receiving artistic installations.

- 21st Century Museum of Contemporary Art, Kanazawa, Japan – SANAA - 2004 - New Museum of Contemporary Art, New York, USA – SANAA - 2007 It is distinguished by the suggestion of six volumes stacked like boxes (supported on a transparent basis), covered by an aluminum mesh which conceals the openings abroad. The mismatch of volumes that represents the building defines skylights in the exhibition spaces.

The Atrium is defined by the counter, the shop (bounded by a single winding bookcase) and the cafeteria, at the opposite end of the entry, and allows the access to the toilets and the auditorium downstairs and exhibition spaces on the upper floors. There is a restaurant on the rooftop.

- Iberê Camargo Foundation, Porto Alegre, Brazil – Arch. Álvaro Siza Vieira - 2008 The building is reflected by a curved, sealed body with three winding arms with circulation ramps inside.

The central atrium is embraced by the same ramps and by nine exhibition 164

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spaces, arranged on three floors. This area is characterized by the counter, the cloakroom and the shop, while the cafeteria is located in an own building outside.

- MAXXI - National Museum of XXI Century Art, Rome, Italy – Arch. Zaha Hadid - 2009 - Centre Pompidou-Metz, Metz, France – Arch. Shigeru Ban & Jean de Gastines - 2010 Based on this analysis it is possible to identify activities and spaces allocated to the lobby of a museum: - Reception area (information desk and/or ticket office); - Cloakroom; - Waiting area (Lounge); - Toilet facilities; - Commercial areas: Shops, Bookstores, Cafes, Restaurants ...

- Auditoriums and multipurpose rooms; - Administrative Services; - Secondary Exhibition Spaces.

2. Berardo Collection Museum of Contemporary Art This project, an extension to the Berardo Collection Museum, framed by an ensemble of industrial nature, is located on the south bank of the Tagus River, in Cacilhas, Almada.

The Industrial Pre-existence, described as an Installation for Treatment of Cod Liver Oil and Services, built in the 1950s, now abandoned and in an advanced state of decay, is perched on an artificial cliff covered by a concrete membrane, 36 meters high, with a privileged view over the Tagus River and the city of Lisbon. The only access road (car and pedestrian) is inscribed in a narrow and irregular urban area, defined mainly by buildings for residential and small business. The perception of this narrowing is strengthened by the existence of a cliff to the south, 13 meters high, with origins in Trindade Coelho Street, extending across the field deployment, defining it; its peak, slope, is characterized mainly of gardens for private use.

Despite the existence of a staircase of communication between the ground and the deployment of an industrial building in Ginjal Street (also in an advanced state of decay and ruin, and indeed, the great part of the urban built), there are currently the necessary conditions for its use, assuming its inaccessibility in the new draft, but integrating it in the same. Reinforcing this option, the issue of dilution of this physical barrier and access is addressed in the Detailed Plan of Pier Ginjal (Strategic Framework Study (EES) of the Almaraz / Ginjal approved by the Municipality of Almada on 19/03/2008) with: “Creation of quality public spaces (...) with occasional visual and physical links with the quay (...)”, “Create pedestrian connections and mechanical connection between the pier and the deck of Ginjal Arriba in conjunction with the development of set-Almaraz Ginjal. “ Was introduced, also the definition of sectors for the site, encouraging the “installation of economic activities related to cultural heritage and tourism, as the installation of specialized trade and not specialized, homes, workshops, cultural venues and restaurants as well as modern and flexible business spaces of different service activities for 165

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companies in key sectors of Advertising, Architecture, Art and Antiques Market, Design, Fashion, Movies, Videos and other audiovisual productions, Graphic Design, Software Education and Leisure ; live and recorded music, Performing Arts and Entertainment (...) “.

The Pre-existence: Installation for Treatment of Oil Cod Liver and Administrative Services Attachments The built set is defined by four volumes with different levels of autonomy, making a total of c. 2050 m2.

The volume of Administrative Services (c.150 m2), located closest to the entrance gate, away from the main body, is characterized by a two-storey building, markedly horizontal, with coverage in four waters, whose typology, subdivision and architectural language the exterior and interior resemble a house. In a brief reading and following the same logic of thought, we find, on the facade, some references Style “Portuguese Suave” and can compare the level 0, within, the social area of ​​a house: design of spaces, sizing and design of bays and balconies outside, there are some decorative elements such as paneling of tiles with an allegorical motifs fisheries and the railing of the stairs to access the first floor, etc.. Here would be installed “an office and laboratory hall separated by a small file and the necessary sanitary facilities.” On the floor first (innermost) provided to “the existence of an office for the board can act as a” screening room “, a small hall, a room for the guard and sanitary facilities” 46, strengthening, plus a Instead, the similarity with the compartmentalization of the common domestic spaces.

Here is a second volume (ca. 155 m2), not mentioned in the original Specification, semienterrado, with coverage in two waters, occupied by five silos inside and whose function remains unknown.

The third volume, the Center for Primary Production and bottling of Cod Liver Oil (c. 1242 m2), comprising: - “A large main body, with three floors, for the heat treatment of crude oil” 46, and is characterized by a more elementary language, as opposed to the first volume, for coverage in two waters, a large window bay at the first floor, east, and “lace” in vain for almost the entire perimeter; - “A battery of two reservoirs for salt water and drinking (...)” 46 - a parallelepiped body covered with flat-ceilinged room, attached to the first body, the West; - A tower, the West, “whose nature was chosen for economic reasons (...) [with the] particularity of being able to be used for storage units, which provides for the establishment of floors at the landings of the main body industrial facilities “46; - Yet, in level 0, the “cold room, oil deposits, warehouse and home refrigeration equipment” and, on the 1st floor, “in communication with the ground-floor by means of a mounting loads, washing the sections and drying bottles and filling “46, comprised of two contiguous bodies, a coverage of two water-frame wood trusses (currently nonexistent), which is part of the north elevation, and other flat roof to the south; - “Roughly half of the industrial and in communication with them (...) [are] established sanitary and hygienic services for their staff, distributed in two floors” 46. It is also deployed in this area, the access ladder, semi-cylindrical, which ensures the connection of two floors, with references style similar to the first volume.

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Finally, the fourth volume in the far west, for the deposit of twentyfour silos for Oil (c. 502 m2), with coverage in two waters, also not mentioned in the original Specification, no particular interest in terms of architectural unless the nature of its content and organization of the same.

Conclusions from the analysis of Pre-existence and its application to the project approach At first contact with the Industrial Pre-existence, the first line of thought was to preserve as much as possible, most of all buildings, excited by the sense of novelty and discovery, emphasized, in turn, by the poetic imagery of ruin, by quality of natural light in the spaces and the beauty of the vibrations of light and shadow as a result. This motivation also came from the systematization of the volumetric elements and graphics together, as the apparent structural mesh, the silos, the geometry of the openings and the nature of the materials and also the fascination with the landscape torn over the River Tagus and Lisbon and their potential.

With more time and with clearer ideas, we have assumed the importance of selection of views on the North Shore, creating devices controlled framework that related to the program to be established. In this context, it seemed important to provide the future extension of the Berardo Collection Museum with a reception plaza, rather than the apparatus to the east (in an attempt to qualify the existing vacant spaces preceding the buildings), to mark the presence of Pre-existence, stripped without volumetric additions, and to allow the creation of outdoor activities (soil permeable and waterproof for pleasure, performance and terrace) in accordance with its geographical position, exploiting their potential, including from the point of view. In effect, came the desire to design a semi-buried atrium whose roof, capped by the quota threshold of the “Main Core”, could be harnessed for this purpose. At the same time, it would strengthen the will to select points of view over Lisbon, avoiding any eye contact device to the interior of the North Lobby, thus establishing a strong contrast between the inside and square on the roof and at the same time, with some exhibition spaces to spell out the Pre-existence. To celebrate this commitment, it was determined that the large external access to the Museum was also stripped of views to the north, reinforcing the need and desire of the visitor to climb to the roof. Weighed at once, too, as the Atrium Building project on Earth, by their very close relationship with the slope to the south and to emphasize the idea of ​​digging and transformation of matter. However, by contrast too much with the Pre-existence in a conflict with materials of industrial origin, or at least associated with this imagery, it was decided to replace the Earth for reinforced concrete coffered with strips of wood laid horizontally, as an allusion to the sedimentation soil.

Aware of the importance of creating exhibition space qualified, and that the transformation of Inactive Industrial Complex in Museums and Art Galleries has gained expression and is a benchmark of contemporary architecture, the rehabilitation of the architectural and artistic context in general, we should not only be dazzled by the charm and patina of the places and matter. Drawing a viability plan, seems to make more sense to define a project that lasts at least ten to twenty years (even convinced of the vanity of the very concept of Museum and Gallery Expository) must obey, so some of the requirements formal and pragmatic, without 167

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neglecting the context in which it is part, an exercise of pure romantic exaltation of the past and ruin. Factories and Museums are not, as such, we must provide them with the appropriate devices to ensure a superior quality to justify the capital investment and that is worthy of the entity it represents.

Therefore, and once again supported the reading and interpretation of space and its ability to be transformed into exhibition spaces, consider the following spaces of “Main Core” to maintain and preserve / rehabilitate: - Main Body; - Tower; - Body with Cover gable elevation which is part of the North (redoing the roof, currently absent); - Partial contents from inside the tank volume.

Definition of the General Programme In the Program Definition for the Extension of the Berardo Collection Museum not tried to follow a logical thought to relate to a specific concept.

Because it is an extension to a museum (not neglecting the possibility of being able to be the only museum for the collection, in a hypothetical future), faced the possibility of a simpler program, influenced by the constraints of the project, as the place Deployment and their limitations, for example.

Thus, it sought to create a program and organize relatively moderate, consistent and effective. A museum that seeks to be a privileged support for the view (and creation) of Contemporary Art - both for temporary exhibitions with different works in the Collection as well as temporary exhibitions of other nature (similar to what takes place already in the current Berardo Collection Museum in Lisbon), including works of site-specific art - but also a meeting place and free enjoyment, with different spaces and alternative activities to run simultaneously, a space catalyst for change and regeneration of the urban context in which it is pursued. Aims to enhance the main feature of the museum space, considering, however, that a museum of the century, is, also, whether they agree or not, made up of leisure and commerce, such as shops, bookstores, coffee shops and restaurants. In this particular context (location, compared with a consolidated urban area characterized primarily by residential and small business, and proximity to the river dock to Cacilhas and Lisbon), it seems inevitable the creation of some of these spaces, recognized as attractions for many visitors museums, and beyond, and as a possible contribution to capital management. We also intend to create the conditions necessary for cultural and educational activities of the Museum, such as workshops, conferences, shows…

From the general point of view, separated from the Museum in two groups: a core of “public use” able to operate autonomously in relation to a second “semipublic use.” In short, the “public use” is characterized by activities that precede the Pre-existence and Space Expository situated there: The Outdoor Plaza (with terrace) floor coverage and floor 0, half-buried, the Lobby, Cloakroom, Store + Bookstore, Cafeteria (and Support), Medical Facilities, Auditorium (with 147 seats) and Administrative Services (offices, meeting room ...). The core use “semi-public” is adjacent to the first, with direct access to the Lobby, and is developed over three floors. It is characterized by different exhibition spaces (some included in the Preexistence, in other spaces designed from scratch for this purpose, a total of 2195 168

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m2), Warehouses and Technical Areas, Health Facilities and the Educational Center.

Proposal It is important to note that the program definition and design of the proposed assembly were contemporaries, contaminating each other, as well as other factors to articulate this point.

Intending to create a reference image associated specifically to the museum, pointing it in the context in which it is included, and not a museum pretentiously iconic, and respecting the will and the need to provide the interior of the atrium with natural light overhead, we decided to design and modeling of a Lantern / Light Fireplace with sculptural potential, conditioned by the relationship with the outside: with the scale of existing buildings and the context-city, and, moreover, with the interior: a scale with more controlled where the human body is the main reference. Drawn up, then a simple volume, with four-sided trapezoid rectangle, later transformed into the module, systematically repeated coverage of the new body to implement the Temporary Exhibition of Pre-existence with the West. This coverage, in turn, have been inspired by a common system of industrial architecture, the cover in mountains, and its importance from the transposition on the iconography and signage. Once systematized, redesigned the Lantern Lobby in the sense of exclusivity, deforming it and differentiating it from the original module. This module would be applied also in the design of the logo of the new Museum, via rotations and repetitions of their design elevation.

In short, volume and surface, the name Museum consists of: - The first new body, the latter, half-buried, resulting from the intersection of two rectangular volumes oriented north-south and northeast-southwest, with flat roof percorrível permeable and impermeable, which stands in the foreground, the singular and Lantern in the background, the volume of the café and outdoor terrace platform (a system that allows to qualify the cafeteria interior with natural light); - The spaces of the “Main Core” referred to in paragraph 1.3., Center, connected by a new body crafted and as such, no significant expression unless care in managing and associate the existing three volumes; - A third new body parallelepiped, the West, cited above, crowned with the cover on the mountain with zenith lighting (unlike the usual side lighting, when directed to the north) and it holds, such as memory, three of the twenty-four silos for oil existing there.

Unable to stop making reference to the intentions related to the exhibition space, is a rhetorical perfilhou simply by creating more airtight spaces, large and destitute, mostly suitable for specific changes in scenery. However, contrary to the concept “white cube”, some areas are more permeable, characterized by a strong interior / exterior relationship - such as the creation of views over the River Tagus and Lisbon - where the presence of natural light, though faint, North, will assume an important role in the reading of certain parts in space, as some sculptures, for example.

As for the outer coating, it was intended to comply with the preexisting level of the first floor, consisting of “mortars (...) of cement and sand” 46 (interrupted by surfaces of glass or translucent opal glass) while the second floor plate coated with zinc.

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As the atrium area selected for the project implementation, interpreted as a pivotal element of transformation and transposition into a new reality by introducing and establishing codes that relate to the museum, recalling and summarizing architectonic traces of Pre-existence and new construction , hoping to be able to strengthen the identity of the museum part, designed to a spacious and multi-functional: a meeting place of communion and communication. The Lobby as a covered square, a huge anteroom able to accommodate not only visitors but also some of the artworks that integrate the resulting exposures.

Structure The choice of the structure of regular meter pillar and concrete beam came up with the analysis of the structure of the Main Body and the valuation of its characteristics and potential plastic, rhythmic and structural, of course.

The term gross dense structure and reinforced concrete walls will be apparent balanced a symbiotic relationship with the delicacy of the transition joints and of the flat material, the cut surfaces of copper, equipment designed with the treatment of natural light timely and artificial light, etc..

Materials The selection of materials is closely related to the world of industrial architecture, with the Pre-existence and the materials used in it.

As already stated, it was decided to elect the concrete as the main material for the walls and screed for the floor, and the selection of all the other depended on this choice, an exercise in contrast and agreement from both the standpoint of intrinsic value or associated (nobility), such as plastic and color. Thus, were chosen: - Covers how noble material of reference for its orange hue, warm and vibrant similar to cod liver oil oxidized found deposited within twenty-four silos - applied: the joints of the pavement and transition plans; on surfaces of uniform and separation, cut, modular home, with inspiration from the repeated transport pallets, aimed at 90 º in some of the equipment designed, in the frames of the glazing; - Plywood sheet with Portuguese Pine unfolded in court, with a singular and unrepeatable expression undulating, applied in secondary areas (like a cloakroom and the toilets), the coffered ceiling, although painted (see next section) and in practically all equipment designed, together with the timely Copper; - bright ceramic tiles for the toilet facilities walls; - Dark Hydraulic Mosaic onto the floor of the spaces considered “wet” as the cafeteria and toilet facilities; - Portuguese White Marble to the counter of the cafeteria and the toilet facilities sinks; - Translucent Opal Glass used in windbreak: a crystalline surface, cut by drawing the frames in harmonious contrast with the austerity of the concrete mass that, in addition to their practical matter essentially emphasizes the transition from one reality to another, as a capsule between the two; - Transparent glass used in the remaining openings to the outside and the transition to the cafeteria in the lower section (opal glass in the upper section) to ensure greater interaction between the spaces at the level of the observer, encouraging ritual observation, sociability, and seduction.

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Acoustics In order to compensate for the existence of noise caused by the reverberation of sound in the metal surfaces of the atrium, it is proposed the introduction and repetition of a module defined by four wooden panel, detached from the ceiling, complementing the structural metric and reinforcing their perception , yielding a grid more fragmented for placement of fluorescent lamps.

Artificial Lighting Due to the refusal of creating openings overlooking the River Tagus and Lisbon throughout the atrium space, and that natural light is focused on two specific points: from the center of the Lantern Lobby and from the increase in coverage on the counter of the cafeteria, setting a whitish yellow raised platform for the outdoor terrace, artificial lighting plays a leading role in the creation of different atmospheres.

Repeating the statement and willingness to establish points of reference with the spaces of industrial origin, it was decided by the suggestion of fluorescent strips, arranged transversely to the longitudinal markedly alleviate the perception of the court as a set.

Another possibility would be to invite artists to a specific project lighting, temporary or not, as Pedro Cabrita Reis, James Turrell, Olafur Eliasson and Waltraut Cooper.

For the cafeteria as a place of residence continuously, it was determined the use of suspended luminaires designed by the designer Michael Anastassiades.

Ventilation He chose to take the system of forced ventilation and air conditioning ducts and the respective Spiros, its aesthetic potential, thus reinforcing the parallel between this space with other industrial reference Sustainability Representing an imminent issue in contemporary architecture, and not only reflected and decided by the following proposals: - “Green Cover” with many advantages such as improved profitability in the area of ​​deployment of the new Museum, the increase in spaces of habitat for flora and fauna, easier maintenance and cleaning, filtration and very significant reduction of the dioxide Carbon (CO2) emissions, reducing pollution and greenhouse gases, the improvement of relative humidity, the increase in energy efficiency for its insulating properties, reducing the costs of artificial heating and cooling of interior spaces, the expansion of the acoustic comfort in same; durability of the cover (estimated at about forty years, as opposed to ten to fifteen years of flat roofs “traditional”), also taking advantage of the aesthetic point of view and may be an element of propaganda as a museum with ecological concerns and sustainability.

- Materials selection of Portuguese origin (extraction, production ...), mostly available in stock at our parents, or whose transport distance is as short as possible; - Different levels of autonomy and hours of operation, allowing to control the excessive and unnecessary use of artificial lighting and ventilation, for example.

Still pondering on the possibility of using solar panels, so fashionable, and not appearing, however, a viable option for energy efficiency of 171

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the Museum, the power would recommend their installation on sloped surfaces of the cover of the volume implanted in the extreme West.

Spaces and equipment It was interpreted context-Lobby as a whole which may comprise merely the “conventional requirements” associated with it, as an information desk / ticket office, waiting area / rest (the cloakroom) and sanitary facilities, or which may include also a number of activities that you already are intrinsic (and put on paper in key projects like the Centre Georges Pompidou in Paris), as the bookstore and coffee shop + store in this case is also directly related to other spaces such as auditoriums, exhibition spaces side or the natural access to the main exhibition space.

Thus, organized themselves to these “conventional requirements” in a wider area first, beside the main access from the outside, with a considerable area for possible and appropriate “prefaces” that contextualize the temporary exhibitions, with the installation of advertising signs and explanatory and a presentation of works of art related to the topic, for example.

The design and equipment selection was predominant, with the aim of creating a great sense of cohesion between architecture and design, the desire to simplify and ennoble use practices in place. Along with the obvious structure and the large empty lantern, the coffered ceiling and thepace of rules flourishing space is strongly marked by the generous information desk, parallel to the wind-coated sheet of copper, the paneling that standardizes the cloakroom and access to toilet facilities, with identical surface in a plane perpendicular and the nuclei of sofas and armchairs, the same shade of concrete, suggesting an illusion of continuity of matter and bulge.

Not wanting to be trapped in a too commercial approach to the introduction, explanation and overvaluation Store + library and cafeteria, were placed in the background, separated from the lobby by a filter surface of copper mesh, which also contributes to guide visitors to the exhibition spaces.

For the Seller, drawn between the surface of separation and transition and access to the cafeteria, was resolved as a kind of module, sized to be seated in empty shelves in a closed three-quarters of its perimeter. Your organization is solved with great simplicity, featuring only essential for the smooth running and enjoyment of it.

Finally, the restaurant was projected following the logic of a canteen, characterized essentially by a large marble counter, parallel to the door, and tables races, with twenty-four seats each, offset by areas of more intimate enjoyment and staff, as the area chairs, round tables with four seats and the seats in the balcony. It was also designed a system of pulleys supported on sliding rail, similar to industrial doors (and applied also in the door that closes access to the exhibition spaces of the atrium), integrated to support two panels of slate informative.

Conclusion In summary, this apresentation was developed along two lines. The first was the analysis of case studies of specific museums of the 21st century, in order to gather information which would promote a reflection on the role of the Museum and its 172

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atrium, in particular, and the second focused on the mobilization of such reflection for the conceptual design of the Berardo Collection Museum and implementation of the Atrium space.

The investigation allowed us to understand that the mode of articulation between the Museum and the Atrium is characterized, in general, for an effect of “contagion� between them.

It was also possible to identify activities and spaces that define the atrium of a museum, and infer that there is no obligation to comply with pre-defined standards regarding the definition of the areas and boundaries.

The design of the project ran concurrently with the research work, thus allowing to go adopting practical solutions based on knowledge learned in the meantime.

The final project synthesizes the theoretical and conceptual approach on the role of the Atrium of the Museum, which sought to reconcile their integration into a preexisting industrial building and, at the same time, emphasize it as a space of identity and identification of project-new reality

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