[the past - the future] the town of orani is at a state of instability, brought by the confrontation between its past and present, between the abandoned mining activities and the growing yet interrupted tourism, between the decaying local village and the rising yet seasonal visitors. during the last century, mining activities had played a central role in the villagers' everyday life. as time passes, the town's social role changes, so do its demographic feature and core value: as local villagers move out to seek new opportunities, tourists are attracted to orani by its new core value built upon memories - the nivola museum.
[the ordinary - the monumental] this transition from past to future is the transformation of the ordinary to the monumental. as the act of mining lose its substantial value, it becomes a symbol that is given commemorative significance. while the museum celebrates commemorative significance as a form of the monument that is differentiated from the ordinary, the project proposes an alternate interpretation of the confrontation between the ordinary and the monumental: appostion. the present ordinary is captured within the form of monumental, where both are given commemorative significance, where the otherwise unrecognized ordinary becomes just as memorable as the monumental.
[the detached - the collaged] while other landmarks in the village follow rows of houses organized along topography, the museum's distant location and strong geometric forms detach it from the village's spatial fabric. the museum is a collage of adaptively used pitched roof houses, an added stone-walled pavilion, and an outdoor artificial garden. these different spatial collages are anchored on the artworks exhibited, on their commemorative significances. when the village and the museum are collaged, anchoring on commemorative objects, a new spatial condition is produced.
[the object - the non object] when the ordinary and the monumental are confined by the same spatial dimension, monumentality is no longer defined by scale, but solely by its properties as an object. as the regular grid cuts into the hill, the topography is divided, and individual rock blocks are extracted. these blocks become objects while voided unitary space within the grid becomes non-object. extracted rock blocks are sculpted then placed back into some of the unitary spaces created by the grid. they are now objects to be viewed.
[the appreciated - the experienced] walking from the geometric formal garden that hosts the sculpted artwork, across the naturally undulating hill, one enters the block of grid that hosts guests and the sculpted rocks. the solid grid that cuts into terrain defines identically dimensioned enclosed rooms and courtyards, connecting by corridors. courtyards host sculpted objects for appreciation or spiral staircases that connect the lower floor to the upper open platform. fully enclosed voids become four bedrooms, two studios a resting lobby, and a public restroom. each bedroom and studio connect visually to an adjacent courtyard of the sculpted objects. it is a living museum: the experienced sequential space coupled with the appreciated objects.