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Fig. 2.
MAHE, plan project.
the wall would be out of touch with the chronological discourse.
With this in mind, we started working on the zoning of and placement
on the floors. We decided to create an East-West traffic flow
that crossed the six zones. The new line denoted a temporary line, a
chronological discourse. This decision implied another: the entire
discourse would be kept on the highest level, going down to the
lower level at the end of the route. To gain exhibit space, we decided
to create a series of platforms that jutted out. This element greatly
differentiates the various zones from each other. Then, we had to
visually isolate the exhibit area from the medieval wall. The platforms
establish a clear and blunt rhythm. We placed an enclosing
element over them, which also doubled as a showcase; it was a large
container for objects. This element would denote the expositional
discourse of each area.
Until now, we had been listening to the space. Now we had to
listen to the objects. A researcher listens to objects by what we call
“scientific method”. Based on the analysis of the various fragments
and by comparing these with other pieces, the scientist establishes
a hypothesis. This hypothesis seeks to prove, through investigation
and finally, it becomes a thesis, which is presented as truth.
Our space was divided into 6 zones; the first as the entrance and
the last as the exit (fig. 2). The prologue and the epilogue are found
in the discourse. In the four central zones, four historic periods
would be studied chronologically (figs. 3-5). Each of these four
zones would work in the same way - responding to the scientific
method. A large container safeguarded the objects in the collection.
An inter-active program, installed on a screen in front of the
container allowed the visitor to act like an investigator and access the
reconstruction process of some of the objects in the showcase. The
most representative pieces from each period would be independent
to become the central motive of the hypothesis. Finally, the thesis is
presented as a virtual recreation in which the chosen objects appear
in their original scenario. It is a sequence in which we move from the
presentation (contemporary aura) to the representation (authentic
aura).
Those large containers would be treated, on the outside, with the
graphic elements from the culture they belonged to. They would be
made of translucent material to be able to guess, based on the silhouettes,
what was inside each container. Graphic symbols add mystery
and drama to the space, given that their meaning is unknown to
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