Cultural institutions are undergoing a convulsive transformation process. Their statements speak of dissolved limits between disciplines, of a simultaneous contextualization of all crea-tive activities, of a permanent revolution of formats and supports, but also of inclusive cultu-re, of programs for all possible audiences, of a joining of locals and foreigners, ultimately of discovering others, ourselves, what we are, what we want to be.
Museums of all sizes, existing or still unbuilt, have to think about their architecture, about how the day-to-day running of their intensive and variegated programs is only possible if these are harbored in structures specially thought out for them. In symmetry, other ques-tions can be raised. What kind of architecture has the potential to make a cultural container social, open, or democratic? How can the architecture of a museum represent the yearning for knowledge, education, communication, and research that comes with the interest that art awakens in people?...[+]