I came to look at it as part of a city, rather than part of a museum. It’s a fragment of the urban experience… It’s a space of our time

16TH INTERNATIONAL CONFERENCE ARQUITECTONICS: MIND, LAND, SOCIETY 2018 UNIVERSITAT POLITÈCNICA DE CATALUNYA, BARCELONA, MAY 29-30-31, JUNE 1, 2018 1 ‘I came to look at it as part of a city, rather than part of a museum. It’s a fragment of the urban experience… It’s a space of our time.’ Kali TZORTZI 1 1 PhD$Bartlett$School,$University$College$London$$ $$$Assistant$Professor$in$Museology,$University$of$Patras$$ $$$[email protected]$$ Abstract In$ the$ contemporary$ world$ both$ museum$ and$ city$ have$ acquired$ an$ increased$ significance,$ among$ other$ factors,$ through$ the$ competition$ of$ cities$ through$ culture,$ and$ the$ creation$ of$ open$ environments$in$response$to$social$change,$accelerated$mobility$and$plural$identities.$This$has$led$to$a$ wide$range$of$possibilities$that$link$the$museum$and$the$city,$from$the$museum$building$as$a$landmark$ for$the$ city$ to$ the$ inclusive$ and$ participatory$ practices$ of$ contemporary$ museums.$ The$ links$ are$ expressed$both$in$theory$and$in$practice.$Against$this$background,$the$paper$proposes$to$focus$on$two$ key$ issues$ relating$ the$ spatial$ morphology$ of$ the$ museum$ to$ the$ city:$ first,$ how$ the$ museum$ uses$ urban$ideas$in$its$spatial$design;$and$second,$how$it$addresses$urban$communities$through$the$way$it$ organizes$encounters$between,$on$the$one$hand,$objects$and$information$and,$on$the$other,$visitors,$in$ its$ architectural$ space.$ A$ key$ idea$ that$ guides$ the$ paper$ is$ that$ the$ physical$ encounter$ with$ the$ museum$is$fundamentally$influenced$by$the$relations$between$spaces$and$how$they$organize$visitors’$ exploration,$ viewing,$ and$ coMawareness$ and$ coMpresence$ with$ others.$ To$ analyse$ the$ paper’s$ case$ studies$spatially,$we$use$theoretical$and$analytical$tools$offered$by$space$syntax,$that$allow$us$to$bring$ to$the$surface$the$role$of$architectural$and$spatial$design$in$the$interaction$between$museum$and$city.$ In$the$first$part$of$the$paper,$we$will$show$that,$through$the$idea$of$ axiality' and 'connectivity ,$the$space$ of$the$museum$is$integrated$to$varying$degrees$into$the$contextual$streetMsystem$and$its$social$spaces$ can$ be$ activated$ by$ dense$ links$ to$ the$ surrounding$ urban$ context;$ while$ through$ the$ concept$ of$ informality ,$ generated$ by$the$ combination$ of$the$ streetMnetwork$ museum$ layout$ and$the$ variety$ of$ uses$and$activities$in$the$museum$interior,$visitors’$random$patterns$of$exploration$can$be$linked$to$the$ way$people$move$in,$and$occupy,$streets,$public$spaces$and$parks.$The$second$part$of$the$paper$will$ argue$ that$this$ circulation$ flexibility$ is$ also$ related$ to$ the$ principle$ of$ inclusiveness $in$ contemporary$ museums$ which$ abandon$ rigid$ classificatory$ schemes$ to$ privilege$ situated$ meanings,$ shared$ experiences,$ personal$ perceptions$ and$ experiential$ dissonance.$ The$ final$ part$ of$ the$ paper$ brings$ together$the$findings,$constructing$a$taxonomy$of$spatial$ideas$and$urban$objectives,$and$proposes$an$ interpretation$of$the$phenomenon$of$the$museum$as$an$urban$space$in$the$contemporary$city$through$ the$concept$of$ urban'sociability .$$ Keywords: urban'spatial'design;'museum'space;'sociability;'taxonomy;'axiality;'informality 16TH INTERNATIONAL CONFERENCE ARQUITECTONICS: MIND, LAND, SOCIETY 2018 UNIVERSITAT POLITÈCNICA DE CATALUNYA, BARCELONA, MAY 29-30-31, JUNE 1, 2018 2 INTRODUCTION ‘I$came$to$look$at$it$as$part$of$a$city,$rather$than$part$of$a$museum.$It’s$a$fragment$of$the$ urban$experience…It$is$a$space$of$our$time’.$This$quote$is$Juan$Muñoz’s$comment$in$2001$as$ the$Spanish$artist$was$developing$his$commission$ Double'Blind $for$the$Turbine$Hall$in$Tate$ Modern$[1].$It$is$also$the$title$of$this$paper$which$looks$at$a$nonMobvious$relation$between$city$ and$museum,$that$is$how$museums$are$increasingly$described$spatially$in$urban$terms$and$ considered$as$an$active$part$of$the$urban$culture.$Often$architects$have$argued$that$they$seek$ to$ create$ ‘the$ richness$ of$ urbanism’$ [2]$ and$design$ buildings$ that$ are$ characterized$ by$ the$ messy$nature$ of$ a$ medieval$ city$ that$ came$ together$ over$ time$ [3];$ architectural$ historians$ have$ described$ museums$as$‘testing$ the$ limits$ of$ the$ internal$ urbanism’$ [4];$ curators$ have$ defined$ museum$ space$ as$ the$ ‘covered$ street’$ [5];$ artists$have$claimed$to$ display$ works$ contributing$‘to$new$forms$of$community$and$sociability’$[6].$$ The$background$of$this$phenomenon$is$the$increased$significance$ both$museum$ and$ city$have$acquired$in$the$contemporary$world,$among$other$factors,$through$the$competition$ of$cities$through$culture,$‘a$return$to$urbanity’,$the$‘cultural$reinvention$of$cities’$[7],$and$the$ creation$of$open$environments$in$response$to$social$change,$accelerated$mobility$and$plural$ identities.$This$has$led$to$a$wide$range$of$possibilities$that$link$the$museum$and$the$city,$from$ the$museum$building$as$a$landmark$for$the$city$to$the$inclusive$and$participatory$practices$of$ contemporary$ museums.$ The$ links$ are$ expressed$ both$ in$ theory,$ through$ a$ continuously$ developing$ literature$ in$ architecture,$ urban$studies$ and$ museum$ studies$ [8],$ as$ well$ as$ in$ practice,$through$for$example$the$growing$emphasis$on$museums$of$cities$[9].$$ The$question$raised$by$the$paper$is$how$then$can$museums$feel$and$work$in$an$urban$ way,$and$why$are$urban$spatial$ideas$increasingly$set$as$their$design$objectives.$To$explore$ the$question,$we$propose$to$focus$on$two$key$issues$relating$the$spatial$morphology$of$the$ museum$ to$ the$ city:$ first,$ how$ the$ museum$ uses$ ‘urban’$ ideas$ in$ its$ spatial$ design;$ and$ second,$ how$ it$ addresses$ urban$ communities$through$ the$ way$ it$ organizes$ encounters$ between,$ on$ the$ one$ hand,$ visitors$ and,$ on$ the$ other,$ objects$ and$ information,$ in$ its$ architectural$ space.$These$ issues$ will$ be$ investigated$through$ the$ analysis$ of$ best$ practice$ museum$ cases,$ both$ recently$ created$ (Tate$ Modern,$ London;$ 21st$Century$Museum$of$ Contemporary$Art,$Kanazawa;$Museum$aan$de$Stroom,$Antwerp;$ARoS$Aarhus$Kunstmuseum;$ Fondazione$ Prada,$ Milan;$ and$ Benaki$ Museum,$ Athens)$ and$ at$ the$ design$ stage$ (National$ Museum$of$Art,$Architecture$and$Design,$Oslo,$and$PLATFORME$10,$Lausanne).$For$the$spatial$ analysis$ of$the$ case$ studies,$ we$ will$ use$ theoretical$ and$ analytical$ tools$offered$ by$ space$ syntax,$that$allow$us$to$bring$to$the$surface$the$role$of$architectural$and$spatial$design$in$the$ interaction$ between$ museum$ and$ city.$ A$ guiding$idea$ for$the$ paper$ is$ that$ the$ physical$ encounter$with$the$museum$is$fundamentally$influenced$by$the$relations$between$spaces$and$ how$ they$organize$visitors’$ exploration,$ viewing,$ and$ coMawareness$ and$ coMpresence$ with$ other$people.$$ The$ paper$ is$ organized$ into$ three$ sections.$ We$ will$ first$ identify$ urban$ spatial$ ideas$ used$in$the$design$of$the$case$studies.$We$then$propose$a$taxonomy$relating$urban$spatial$ ideas,$ and$their$ expressions$ in$ the$ case$ studies,$ with$ their$ meaning$and$ their$ objectives$ described$in$terms$of$three$concepts:$ axiality $and$ connectivity ,$ informality ,$and$ inclusiveness .$ In$the$last$part$of$the$paper$it$is$argued$that,$these$concepts,$taken$together,$summarise$the$ form$of$ urban'sociability $that$is$being$sought$in$museums$and$explain$why$it$is$these$that$are$ being$used$as$a$model$for$the$spatial$design$of$the$museum$in$contemporary$society.$ $ 16TH INTERNATIONAL CONFERENCE ARQUITECTONICS: MIND, LAND, SOCIETY 2018 UNIVERSITAT POLITÈCNICA DE CATALUNYA, BARCELONA, MAY 29-30-31, JUNE 1, 2018 3 URBAN SPATIAL DESIGN IDEAS AND BEST-PRACTICE MUSEUM CASES Historically$museums$‘punctuate$the$urban$composition’$[10],$lying$in$central$urban$locations$ and$ often$ adjacent$ to$ other$key$ public$ buildings.$These$ characteristics$ of$ the$ museum$ in$ terms$of$its$relation$to$the$city$have$developed$over$time,$with$cases$such$as$the$Guggenheim$ New$York,$which$could$be$said$to$internalise$the$idea$of$the$street,$and$the$Pompidou$Centre,$ which$created$a$new$urban$square$next$to$the$building$and$extended$it$into$the$heart$of$the$ building$itself.$Openness$became$a$guiding$aim$since$then$[11],$but$what$is$striking$today$is$ the$way$‘urban’$spatial$design$ideas$relating$to$streets$and$squares,$ have$became$explicit,$ recurrent$and$even$defining$features$of$the$contemporary$museum$building.$As$a$museum$ rarely$represents$only$one$spatial$design$idea,$the$illustrative$examples$which$will$be$ presented$will$also$allow$us$to$show$variations$within$the$same$idea.$ Axes, linkages and permeability We$will$begin$with$an$unconventional$form$of$a$museum$that$extends$throughout$the$city,$ creating$a$network$within$the$urban$grid,$the$Benaki$Museum,$Athens.$Originally$opened$in$ 1931$in$the$city$centre,$it$has$developed,$mainly$in$the$last$two$decades,$with$new$collections$ and$buildings$that$spread$out$from$the$north$to$the$south$part$of$the$city,$where$the$latest$ addition$ was$completed$ at$ the$ end$ of$ 2017.$ All$ the$ satellite$ museums$are$ housed$ in$ converted$ buildings,$ which$ to$ different$ degrees$ relate$ conceptually$ to$ the$ collections$ they$ display.$ What$ is$ of$ interest$from$ the$ point$ of$ view$ of$ this$ paper$is$ the$different$ ways$ the$ museum$buildings$ are$related$to$the$contextual$streetMsystem,$ which$can$be$thought$ of$as$ reflecting$the$spatial$structure$of$a$city.$To$show$these,$we$use$the$syntactic$method$of$ axial $ representation ,$ that$ is$ the$ map$ where$ the$ street$ system$of$ Athens$is$ represented$ as$ a$ network$ of$ linear$ spaces,$ or$ axes.$ The$ axes,$ or$ groups$of$ axes,$ which$ are$ configurationally$ prominent$in$the$urban$network$are$shown$in$red$in$the$computerMbased$axial$analysis.$They$ are$syntactically$described$as$ integrated $and$likely$ to$ have$more$potential$for$high$toM$ and$ throughMmovement.$In$contrast,$the$less$prominent$axes,$and$likely$to$be$harder$to$find,$are$ described$as$ segregated $and$are$shown$in$blue.$Taken$as$a$whole,$the$mean$ integration'value $ of$all$the$streets$segments$that$make$up$Athens$is$0.982,$higher$than$the$average$for$cities$in$ general$ (which$ is$ 0.89)$ [12],$ and$ with$ the$ maximum$ value$ for$ a$ street$ segment$ in$ Athens$ being$1.62,$again$a$high$value$for$cities.$If$we$look$at$the$location$of$two$indicative$cases$in$ the$axial$representation$of$Athens$(Figure'1),$we$find$that$the$main$(and$oldest)$Museum$of$ Greek$ Culture$ lies$ on$ a$highly$ integrated$ line$(integration$ value$ 1.549),$ while$the$ more$ specialised$ (and$ most$ recent)$ Toy$ Museum,$ lies$ in$ a$ relatively$ segregated$urban$ location$ (integration$value$0.892).$On$the$whole,$taking$into$account$the$axial$integration$values$of$all$ the$ locations$ of$ the$ Benaki$ Museum$ buildings,$ their$ distribution$ covers$ a$ wide$ range$ of$ values.$In$ this$sense,$the$Benaki$Museum$network$mirrors$the$spatial$structure$of$ the$city,$ made$up$of$more$or$less$integrated$locations.$ But$in$ terms$ of$ linkages$ at$ the$ scale$ of$ a$ single$ building,$ and$ continuity$ with$ the$ immediate$ environment,$ it$ is$ the$ 21st$ Century$ Museum$ of$ Contemporary$ Art$ (by$ Kazuyo$ Sejima$and$Ryue$Nishizawa$of$SANAA,$2004)$that$is$pioneering$and$influential.$Located$on$a$ site$in$the$centre$of$the$city,$the$museum$takes$the$form$of$a$low$volume$circular$building,$ which,$devoid$of$front$or$back,$can$be$approached$from$the$city$from$different$directions$and$ through$several$entrances.$Its$innovative$architectural$and$spatial$design$was$based$on$the$ architects’$concept$that$the$museum$should$be$open$to$the$city$like$a$park,$in$the$sense$of$ ‘allowing$different$kinds$of$people$to$be$together$in$the$same$space$at$the$same$time’$[13]. The$circular$form$ permits$the$creation$ of$ a$continuous$interior$space,$and$ the$ use$ of$ glass$ 16TH INTERNATIONAL CONFERENCE ARQUITECTONICS: MIND, LAND, SOCIETY 2018 UNIVERSITAT POLITÈCNICA DE CATALUNYA, BARCELONA, MAY 29-30-31, JUNE 1, 2018 4 walls$allows$visual$ connectivity$ between$ activities$ in$ the$ museum$ and$ the$ public$ realm,$ enhancing$a$sense$of$encounter$and$an$awareness$of$visitors’$coMpresence,$inside$and$outside$ the$building.$ $ $ $ $ $ $ $ $ $ $ $ ! ! Figure!1.'' Axial$map$of$Athens$and$the$ location$of$the$main$and$ oldest$Benaki$Museum$of$ Greek$Culture,$and$the$latest$ Benaki$Toy$Museum.' In$addition$to$creating$connections$leading$to$the$museum$from$different$parts$of$the$ urban$context,$routes$can$also$pass$through$its$interior.$A$curved$‘street’$which$bridges$two$ parts$of$the$city,$traverses$ the$ building$of$the$ARoS$ Aarhus$Kunstmuseum$(by$Schmidt,$ Hammer$Lassen$Architects,$2004).$It$is$an$axial$space$that$connects$the$museum$entrance$to$ the$network$of$streets$outside$through$ramps$at$both$ends.$ This$groundMfloor$permeability$ link$is$also$reflected$in$the$exterior$of$the$cubeMshaped$building,$by$a$glass$incision$that$cuts$ through$its$compact$form,$along$its$whole$height.$A$variation$of$the$horizontal$street$of$ARoS$ is$ the$rising$spiral$street$ of$the$Museum$aan$de$Stroom$(MAS)$(by$Neutelings$Riedijk$ Architects,$2011).$ The$ museum$ is$ made$ up$ of$ closed$ galleries$ and$transparent$ circulation$ spaces,$which$are$linked$to$ a$continuous$ route$ from$ the$ streetMlevel$ entrance$ to$ the$tenth$ floor$of$the$building.$$It$is$known$as$the$‘MAS$boulevard’$and$is$accessible$freely$and$outside$ the$museum’s$opening$hours.$These$‘boulevard’$spaces,$through$their$transparency$and$by$ altering$the$viewer’s$visual$field$by$90$degrees$on$each$floor,$offer$visitors$constantly$changing$ views$of$the$city,$and$work$as$a$vertical$‘exploration’$of$the$city$through$movement.$These$ images$are$then$synthesized$on$the$top$level,$the$10th$floor$of$the$building,$which$is$devoted$ to$ a$ panoramic$view$of$the$whole$city.$This$relates$also$to$the$second$spatial$design$idea:$ ‘Physical$and$visual$accessibility’.$ Physical and visual accessibility The$increase$in$linkages$between$museum$and$city$can$also$work$at$different$levels$so$that,$in$ parallel$to$the$physical$accessibility$of$the$building$on$the$ground$level,$direct$physical$as$well$ as$visual$accessibility$to$their$top$level$is$strongly$emphasised.$In$a$simple$way,$this$kind$of$ visual$accessibility$can$be$illustrated$by$publicly$accessible$open$spaces,$in$the$form$of$viewing$ 16TH INTERNATIONAL CONFERENCE ARQUITECTONICS: MIND, LAND, SOCIETY 2018 UNIVERSITAT POLITÈCNICA DE CATALUNYA, BARCELONA, MAY 29-30-31, JUNE 1, 2018 5 terraces,$which$are$exclusively$dedicated$to$the$panoramic$view$of$the$city$–$as$on$the$top$ floor$of$the$MAS$building,$and$the$new$pyramid$building$of$the$extended$Tate$Modern.$$ In$a$more$symbolic$way,$the$building$can$be$designed$so$as$to$express$the$idea$of$the$ museum$as$a$‘lighthouse’$that$both$allows$it$to$be$seen$from$the$city$and$the$city$to$be$seen$ panoramically.$ Two$cases$that$best$exemplify$this$are$the$‘Alabaster$Hall’,$the$illuminated$ exhibition$space$high$up$in$the$new,$currently$under$construction,$National$Museum$of$Art,$ Architecture$and$Design,$Oslo$(by$Kleihues+Schuwerk$Gesellschaft$von$Architekten),$and$ Olafur$Eliasson’s$permanent$installation$‘Your$rainbow$panorama’,$on$the$rooftop$of$the$ARoS$ building.$This$installation,$a$360o$walkway$in$rainbow$coloured$glass,$is$both$an$art$object$and$ a$context,$which$offers$panoramic$views$of$the$city,$perceived$through$movement.$In$addition$ to$contributing$to$the$iconicity$of$the$building,$by$being$visible$from$afar,$it$is$said$that$it$‘acts$ as$a$beacon$for$people$moving$in$the$city’$[14],$and$transforms$the$museum$into$‘a$compass$ in$time$and$space$for$its$citizens’$[15].$$ Place-making As$iconic$buildings$in$the$urban$landscape,$museums$are$seeking$to$be$not$only$placeM signifying,$but$also$placeMmaking,$in$the$sense$of$defining$and$engaging$wellMused$public$ spaces$around$them$[16].$It$is$widely$acknowledged$that$Tate$Modern$succeeded$in$‘making$a$ very$open$place$which$can$be$activated$by$its$users’$[17],$by$surrounding$the$museum$with$an$ informal$landscape,$comprising$generous$public$spaces,$ a$ large$planted$embankment$and$ lawn$areas.$The$idea$was$to$transform,$the$public$space$into$a$common$ground,$a$natural$ space,$where$people$like$to$go$and,$once$they$are$there,$they$are$encouraged$to$explore$ what’s$going$on$inside$the$building.$$$ $The$creation$of$a$new$urban$public$space$is$also$one$of$the$guiding$ideas$in$the$new$ National$Museum$of$Art,$Architecture$and$Design,$which$lies$on$the$waterfront,$on$a$site$that$ was$previously$one$of$the$train$stations$of$Oslo,$and$is$still$densely$used.$This$will$create$a$ transition$between$the$new$area$of$the$city$and$the$older$city$centre.$The$new$building,$ together$with$the$existing$station$buildings$which$will$be$conserved,$will$frame$a$‘piazetta’,$ combining$art$and$restaurants$with$the$entrance$space$of$the$museum,$and$work$as$an$ extension$of$the$urban$space.$$ In$ a$ more$ explicit$ way,$ the$ construction$ of$ urbanity$ was$ the$ starting$ point$ for$ the$ design$ of$ the$ new$ Cantonal$ Museum$ of$ Fine$ Arts$(mcbMa)$ (by$ Fabrizio$ Barozzi$ and$ Alberto$ Veiga,$planned$to$open$in$2019),$in$Lausanne$–$the$first$stage$of$the$‘PLATFORME$10’$project,$ described$ as$ ‘a$ new$ city$ district’.$ The$ new$ building$ will$ take$ the$ place$ of$ the$ former$ locomotive$shed,$and$its$linear$volume$will$be$framed,$on$the$one$side,$by$rails$and,$on$the$ other,$by$an$open$public$space,$linked$to$the$existing$street$pattern.$In$turn,$this$space$will$be$ extended$to$the$public$esplanade$created$around$another$new$museum$building$(by$Manuel$ and$ Francisco$ Aires$ Mateus)$ that$ will$ house,$ on$ the$ upper$ level,$ the$ mudac$ (Museum$ of$ Design$and$Contemporary$Applied$Arts,$to$open$in$2021)$and,$on$the$lower,$the$Musée$de$ l’Elysée$ (Cantonal$ Museum$ of$ Photography)$ –$ the$ second$ stage$ of$ the$ ‘PLATFORME$ 10’$ project.$The$two$museums$will$have$a$shared$entrance$as$an$open$space$on$all$sides,$a$natural$ extension$of$the$esplanade$outside.$This$synergistic$combination$of$buildings$and$spaces$aims$ to$contribute$to$a$sense$of$urban$density$by$relating$in$and$out$movement$with$circulation$in$ the$two$museums.$$ 16TH INTERNATIONAL CONFERENCE ARQUITECTONICS: MIND, LAND, SOCIETY 2018 UNIVERSITAT POLITÈCNICA DE CATALUNYA, BARCELONA, MAY 29-30-31, JUNE 1, 2018 6 Interior urban network and freedom of movement Shifting$ attention$from$ the$ museum’s$ context$ to$ its$interior,$ an$ emerging$ feature$ is$ the$ articulated$ architectural$ configuration$ of$ museum$ space$ as$ a$ street$ network,$which$ introduces$flexibility$in$the$way$space$is$used$and$encourages$random$patterns$of$exploration.$ The$ layout$ of$ the$ 21st$ Century$ Museum$ of$Contemporary$Art$is$ organised$as$ a$ system$of$ independent$galleries$forming$the$museum’s$core,$and$a$network$of$public$spaces$as$an$outer$ zone$that$serves$a$variety$of$public$programmes.$Four$glazed$internal$courtyards$mediate$the$ relations$of$the$two$zones,$producing$continuity$between$them.$A$network$of$glass$corridorM like$linear$spaces,$connected$at$right$angles,$pass$among$the$independent$volumes,$creating$ lines$of$sight,$some$traversing$the$whole$building,$others$being$more$localised.$The$ whole$ structure$aims$to$facilitate$orientation$while,$in$parallel,$actively$encouraging$exploration$of$ routes.$$ In$a$different$way,$instead$of$forming$a$system$of$geometrically$streetMlike$spaces,$the$ complex$of$buildings$and$spaces$that$make$up$the$extended$Tate$Modern,$ construct$an$ overall$pattern$which$can$be$explored$as$ a$ single$topological$network.$ The$new$building$ (Blavatnik$Building)$ adapts$ and$ extends$ the$ previously$ inaccessible$ southern$ part$ of$ the$ power$ station,$ providing$ links$ with$ the$ existing$ building$ (Boiler$ House)$ on$ three$ levels$ (underground,$ first$ and$ fourth).$These$ create$ interconnected$ rings$of$ circulation,$ provide$ choice$of$routes,$and$allow$the$coMpresence$of$people$to$be$random.$ Variety and experiential dissonance In$addition$museums$tend$to$be$characterised$by$the$coMexistence$of$shorter$(more$localised)$ sequences$of$display$spaces,$a$spatial$change$which$is$accompanied$by$the$rejection$of$rigid$ classificatory$ schemes$and$ a$ tendency$ for$exhibitions$ offering$different$ narratives$and$ perspectives,$and$even$playful$experiences.$$ In$ARoS,$the$galleries$for$the$permanent$collection$are$of$‘conventional’$layout,$taking$ the$form$of$a$sequence$of$spaces$supporting$a$curatorial$narrative,$but$are$accompanied$by$a$ complex$of$underground$selfMcontained$spaces,$specially$designed$to$accommodate$largeM scale$installations,$projected$images$and$performance$work.$These$underground$galleries$are$ closed$spaces,$open$to$a$common$corridor,$organized$into$a$nonMhierarchal$structure.$Each$ gallery$tends$to$be$taken$over$by$one$work,$and$is$juxtaposed$to$the$others$independently$of$ any$connecting$narrative,$immersing$visitors$in$different$atmospheres$and$creating$focused$ experiences.$In$a$comparable$way,$Tate$Modern$offers$different$spatial$constellations$in$its$ different$parts:$in$the$existing$building,$classical$enfilades$of$galleries;$in$the$new$building,$less$ extended$spatial$ systems$with$many$ deadMend$ spaces$which$are$ ‘likely$ to$ encourage$ more$ random$ patterns$ of$ exploration’;$ and$ in$ the$ underground$ circular$ spaces,$ known$ as$ the$ ‘Tanks’$(the$former$oil$tanks$of$the$power$station),$selfMcontained$spaces$which$are$dedicated$ to$new$art.$ A$ consistent$ parameter,$ however,$ in$ the$ different$spatial$ constellations$ is$ the$ emphasis$on$the$experiential$approach$of$the$works$displayed,$and$the$conviviality$of$spaces.$$ In$ the$ case$ of$ the$ transformation$ of$a$ former$ distillery$ complex$ to$ the$ Prada$ Foundation$(by$OMA/Rem$Koolhaas,$2015),$the$explicit$architectural$intention$was$to$create$ an$‘unusually$diverse’$collection$of$architectural$typologies,$in$addition$to$the$collections$of$ artefacts,$and$even$to$give$rise$to$experiential$dissonance$[18].$The$seven$existing$buildings$ and$ the$ three$ new$ structures$ –$ the$ ‘Podium’,$ the$ ‘Cinema’$ and$ the$ ‘Torre’$ (tower)$ –$ constitute$ a$ combination$ of$ heterogeneous$ elements$ (described$ by$ the$ architect$ as$ ‘an$ ensemble$of$fragments’)$[19],$offering$very$different$spatial$conditions.$The$‘Sud$Gallery’,$for$ example,$ forms$ an$ enfilade$ of$ eight$ spaces$ which$ become$ increasing$ large$ as$ the$ viewer$ 16TH INTERNATIONAL CONFERENCE ARQUITECTONICS: MIND, LAND, SOCIETY 2018 UNIVERSITAT POLITÈCNICA DE CATALUNYA, BARCELONA, MAY 29-30-31, JUNE 1, 2018 7 progresses$through$them$by$a$route$passing$close$to$their$edges;$the$‘Cisterna’$is$made$up$of$ three$interlinked$vertical$structures$(former$liquor$tanks)$which$allow$a$bird’s$eye$view$before$ approaching$ the$ exhibits$ on$ the$ ground$ level;$ and$ the$ ‘Nord$ Gallery’$ offers$ an$ open$ plan$ space$ which$ contrasts$ with$ the$ intimate$ spatial$ scale$ of$ the$ single$ rooms$ of$ the$ ‘Haunted$ House’.$ This$ emphasis$ on$ the$ spatial$ conditions$ and$ the$ conscious$ preoccupation$ with$ the$ expansion$of$the$repertoire$of$spaces$actively$encourages$the$recurrent$tendency$in$museum$ exhibitions$to$privilege$the$lived$and$embodied$over$the$conceptual$or$analytic$–$as$in$the$city$ –$and$allow$visitors$to$employ$their$own$resources$for$experiencing$the$museum$and$use$it$in$ a$more$exploratory$and$informal$way.$$$$ The$diversity$of$spatial$environments$and$the$search$for$opportunities$for$choice$and$ variety$of$experience$comes$to$be$added$to$the$variety$of$activities$and$uses$that$constitute$ the$increasingly$complex$functional$programme$of$contemporary$museums.$It$is$another$way$ in$which$the$museum$seeks$to$be$ inclusive $in$the$sense$of$engaging$and$bringing$together$in$ its$space$a$wide$audience$of$varying$ages,$abilities,$interests$and$leaning$styles.$ Common ground for social interaction The$idea$of$internal$organization$in$the$style$of$urban$space$is$further$emphasized$by$the$ increasing$creation$of$‘unnecessary’$places$(as$for$example$small$areas,$stairs$and$ramps$with$ benches$and$niches)$so$as$to$become$social$spaces$and$places$for$informal$use,$sitting$and$ interacting.$ Returning$ to$ the$ Prada$ Foundation,$ what$ brings$ together$ its$different$ components$ (preMexisting$and$new)$into$a$coherent$whole$is,$it$is$argued,$the$shaping$of$voids$between$ them$[20].$According$to$the$architect,$‘it$became$a$project$about$the$courtyard$–$about$the$ public$space…$rather$than$the$objects’.$By$demolishing$structures$and$adding$new$buildings,$ Koolhaas$created$an$alternation$of$covered$and$open$parts.$Moving$around$in$the$site,$the$ visitor$ experiences$ open$ spaces$ framed$ by$ the$ surrounding$ structures,$ all$ with$ facades,$ volumes$and$heights$different$to$each$other.$The$resulting$complex,$in$combination$with,$on$ the$one$hand,$the$seemingly$random$presence$of$trees$along$the$sides$of$the$open$spaces$ and$the$availability$ of$ moveable$ chairs,$ and,$ on$ the$ other,$ the$ unprogrammed$ patterns$ of$ movement$and$coMpresence$of$visitors,$create$a$distinctively$urban$sense$of$space.$ A$ more$ theatrical$ dimension$ of$ visitors’$ coMpresence$ is$ created$by$ one$ of$recent$ satellites$of$the$Benaki$Museum,$the$‘138,$Pireos$Street’$(by$Kokkinou+$Kourkoulas,$2004).$It$is$ an$enclosed$building,$occupying$a$whole$urban$block,$and$with$its$centre$taking$the$form$of$a$ void,$an$interior$courtyard.$Functionally,$the$courtyard$provides$flexibility$of$use$–$it$can$work$ as$ a$ display$space,$ a$ performance$stage,$ as$well$as$an$openMair$cinema.$Experientially,$it$is$ designed$to$make$the$movement$of$visitors$integral$to$the$museum$experience,$and$augment$ the$social$dimension$of$the$visit.$The$transparent$interior$facades$make$visitors$constantly$ aware$of$each$other$as$they$move$about$in$the$museum,$and$in$particular$the$metal$mesh$ that$covers$the$north$side$stages$the$flow$of$visitors$moving$along$the$ramp.$This$inspires$the$ logo$of$the$museum$$–$an$abstract$representation$of$the$façade$with$figures$moving$along$the$ interior$ramp.$ In$the$extension$of$Tate$Modern,$an$abundance$of$social$spaces$are$created$within$the$ building$itself:$the$areas$of$circulation$and$the$zones$outside$the$galleries$are$designed$bigger$ than$needed$so$as$to$shape$‘incidental$leftover$spaces’$and$intimate$places$for$visitors$to$ pause$and$linger.$But$perhaps$more$powerfully$than$any$other$space$of$the$museum,$it$is$the$ Turbine$Hall$that$introduces$a$new$kind$of$collective$space.$Its$location$(a$continuation$of$the$ outside$space$and$the$main$axis$of$the$interior$of$the$building)$and$its$spatial$connections$and$ positioning$ on$ routes,$ linking$ visitors’$ movement$ in$ and$ out$ of$ the$ museum$ to$ their$ paths$ 16TH INTERNATIONAL CONFERENCE ARQUITECTONICS: MIND, LAND, SOCIETY 2018 UNIVERSITAT POLITÈCNICA DE CATALUNYA, BARCELONA, MAY 29-30-31, JUNE 1, 2018 8 within,$ make$ it$ a$ natural$ social$ space.$ More$unexpectedly$perhaps,$it$is$its$function$as$ a$ display$space$that$enhances,$both$in$a$literal$and$in$a$metaphorical$sense,$its$social$nature$and$ its$significance$as$a$public$space.$The$siteMspecific$works$and$installations$commissioned$by$ the$Gallery$and$created$at$the$scale$of$the$whole$space,$ pose$challenging$questions.$ For$ example,$the$installation$of$Juan$Muñoz,$ referred$to$at$the$opening$ of$the$paper,$ is$an$ exploration$of$the$theme$ of$ intercommunication$between$people$ [21];$ Doris$Salcedo’s$ Shibboleth $(2007)$is$a$reflection$on$social$divisions$and$exclusions,$and$Ai$Weiwei’s$ Sunflower' seeds $(2010)$a$commentary$on$the$relationship$between$the$individual$and$the$masses.$Also$ these$works,$by$offering$‘an$activity$focus$for$the$space’,$provide$a$linkage$between$people,$ and$prompt$strangers$to$talk$to$others$as$if$they$knew$each$other$[22].$They$invite$visitors’$ engagement$beyond$simply$viewing,$and$contribute$to$new$forms$of$coMpresence$and$a$sense$ of$dense$social$occupation$and$activity.$ TAXONOMY OF URBAN SPATIAL DESIGN IDEAS AND THEIR OBJECTIVES On$the$basis$of$these$illustrative$cases$we$propose$a$taxonomy$of$spatial$design$ideas$(Table' 1)$which$are$being$used$by$museums,$how$they$are$expressed$in$buildings$and$exhibitions,$ and$their$urban$meaning.$Most$importantly$perhaps,$the$proposed$taxonomy$links$the$spatial$ design$ ideas$ to$ functional$ and$ social$ objectives,$ in$ both$ urban$ and$ museum$ space.$ These$ objectives,$ it$ is$ proposed,$ can$ be$ summarised$ in$ terms$ of$ three$concepts:$ axiality' and ' connectivity ,$ informality ,$and$ inclusiveness .$ More$specifically,$through$ axiality' and 'connectivity ,$the$museum$building$can$become$ physically$ part$ of$ the$ urban$ landscape:$ it$ is$ integrated$ to$ varying$ degrees$ into$ the$ urban$ streetMsystem;$urban$routes$pass$through$its$interior;$the$traditional$borders$of$the$building$ with$the$exterior$space$are$diminished;$and$social$spaces$are$activated$by$dense$links$to$the$ interior$structure$and$the$surrounding$urban$context.$ Informality $links$museum$space$to$the$ way$people$move$in$and$occupy$streets,$public$spaces$and$parks.$The$streetMnetwork$layout$ and$ the$ variety$ of$ uses$ and$ activities$ generate$ flexibility$ in$ the$ way$ space$ is$ used,$ both$ in$ terms$of$people’s$movement$and$engagement,$and$create$changing$patterns$of$coMpresence$ by$individuals.$Finally,$situated$meanings,$and$experiences$created$for$that$specific$time$and$ space$ aspire$ to$ bring$ to$ the$ museum$ interior$ the$ urban$ culture$ with$ its$ diversity$ and$ experiential$dissonance,$and$so$allow$for$ inclusiveness .$$ $ INTERPRETING ‘URBAN SOCIABILITY’ But$ why$ should$ these$ be$ shared$ objectives$ for$ the$ museum$ and$ the$ city?$ Why$ is$ the$ city$ increasingly$ seen$ as$ a$ model$ for$ the$ spatial$ design$ of$ the$ museum,$ both$ in$ terms$ of$ its$ relation$to$the$urban$context$and$its$interior$layout$and$functioning?$We$propose$that$the$key$ lies$ in$ what$is$distinctive$about$the$spatial$morphology$of$the$city,$namely,$that$it$leads$to$ what$we$might$think$of$as$ urban'sociability .$The$city$is$made$up$of$networks$of$linear,$one$ dimensional$spaces,$or$street$systems,$which$connect$all$parts$of$the$city$to$all$others,$and$ periodic$twoMdimensional$public$spaces,$squares$or$parks,$which$create$local$intensifications$ of$activity$and$cross$movement.$Streets$and$squares$generate$random$patterns$of$movement$ which$bring$different$people$together,$regardless$of$social$identity.$As$Hillier$argues$[23],$ ‘urban$space$brings$together$what$society$differentiates’.$It$ is$ this$ outcome,$ it$ could$ be$ proposed,$ that$ spatial$ design$ in$ museums,$ and$ in$ particular$ the$ ‘urban’$ design$ of$ museum$ space,$can$help$to$bring$about.$$ 16TH INTERNATIONAL CONFERENCE ARQUITECTONICS: MIND, LAND, SOCIETY 2018 UNIVERSITAT POLITÈCNICA DE CATALUNYA, BARCELONA, MAY 29-30-31, JUNE 1, 2018 9 SPATIAL DESIGN IDEAS KEY EXPRESSIONS IN MUSEUMS OBJECTIVES: dimensions$of$ ‘ urban'sociability’ CASE STUDIES URBAN MEANING as$proposed$for$example$$ by$(Carmona$et$al.,$2010)$ EXTERIOR SPACE Axes, linkages and permeability M$Location$integrated$$$ $$into$the$urban$streetM$$ $$system.$ M$Many$entrances.$ M$Routes$to$and$through$$ $$the$museum.$ axiality' connectivity' M$Benaki$Museum$network$ M$21st$Century$Museum$ M$ARoS$ M$MAS$$ $ $ Axes$create$the$linear$ network$that$makes$up$the$ spatial$structure$of$the$city.$ $ Linkages$are$thought$of$as$ one$of$the$key$attributes$of$ successful$places.$ $ Permeability$is$seen$as$a$ fundamental$quality$of$ enriching$environments,$in$ the$sense$that$they$maximise$ the$degree$of$choice$ available$to$users.$ $ Physical and visual accessibility M$Continuous$space$$ $$accessible$from$$street$$$ $$level$to$top$level.$ M$A$space$high$up$in$the$$ $$building,$in$the$form$$$ $$of$a$viewing$terrace,$$ $$or$as$a$‘lighthouse’.$ connectivity M$MAS$$ M$Tate$Modern$ M$New$National$Museum$$$$ $$Oslo$ M$ARoS$ $ Good$environments$should$ be$accessible$to$all.$$ $ Accessibility$is$among$the$ fundament$placeMmaking$ considerations.$$ $ Visual$distinctiveness$aid$the$ creation$of$place$images.$ Placemaking M$Lively$and$wellMused$$$$$ $$public$open$spaces$ $$outside$the$building.$ $$$$ $ informality M$Tate$Modern$ M$New$National$Museum$$$ $$Oslo$ M$PLATFORME$10$$$ $$Lausanne$ PlaceMmaking$is$the$selfM conscious$and$unselfM conscious$practice$of$urban$ design.$ INTERIOR SPACE$ Interior urban network and freedom of movement M$StreetMnetwork$$$$ $$layout.$ M$Fragmentation$of$$$$ $$built$volumes.$ informality'' $ $ M$21st$Century$Museum$ M$Tate$Modern$ Movement$is$considered$to$ be$fundamental$to$ understanding$how$places$ function.$ Successful$public$spaces$are$ characterised$by$the$ presence$of$people.$ Variety and experiential dissonance M$Shorter$(more$$$$ $$localised)$spatial$ $$sequences$of$galleries.$$$$$$ M$Diversity$of$spatial$$$ $$environments.$ M$Exhibitions$offering$$$ $$different$narratives,$$$$$ $$perspectives$and$$$ $$experiences.$ M$Variety$of$activities.$ $ inclusiveness' M$ARoS$ M$Tate$Modern$ M$Prada$Fondation$ M$21st$Century$Museum$ $ Encouraging$mixing$of$uses$ and$activities$is$seen$as$a$key$ principle$of$urban$design$and$ a$key$attribute$of$successful$ places.$$ $ Presence$of$playful$behaviour$ as$a$good$indication$of$place$ quality. Common ground for social interaction M$Social$spaces$and$ $$‘unnecessary’$places$$$ $$for$informal$use.$ M$Interior$courtyards.$ $ informality' M$Tate$Modern$ M$Prada$Fondation$ M$Benaki$M138$Pireos$Street$ Neutral$or$common$ground$ for$social$interaction,$ intermingling,$and$ communication,$is$a$key$ function$of$the$public$realm.$ Table!1.$Spatial$design$ideas$in$museums$and$cities$and$their$objectives.$