Architecture for exhibit

For those involved in design, both in terms of research and teaching, it is important to reflect on the validity of a well-established methodology of analysis and design which offers the possibility of identifying elements of reference, active issues, ways to deal with the difficult and sensitive topic of the exhibition project which today, in my opinion, is particularly importan, but neglected, among the architectural studies.Communication has never been as important as it is today, also for architectures not expressly intended for that function: infact, it is easy to notice how attitudes of the exhibit design concern every kind of architectural expression.Moreover, never before, the architecture of the museum is experiencing such a vivacity of expression and such a widespread interest on the part of the entire civil society, which perhaps sees the museum as the last laical form of Cathedral, the actual possibility of symbolizing the identity of a community sub specie architectonica. Between continuity and obsolescence, what really remains of the museological tradition of the 20th century, which subsumes and brings the historical roots of this discipline to the contemporary? The answer could be in a lesson of method: build the project around a thoughtful and sensitive relationship with the work of art. The exhibit space is the connection between the exposed things, the people and the container. Among all these elements, the museum project builds a particular relationship which activates meanings thanks to physical and dynamical man presence inside it. This active relationship between things, people and space, makes the exhibit design a unique and irreplaceable tool for the construction of an aesthetic and cognitive experience, apart from the extremely fast and sometimes alienating evolution of the modern means of communication, which also have a really significant role in the contemporary scene.