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02.03.2022, Wed

© Andrei Dragos Ormangi, Alexandra Elena Burtea & Dana Beatrice Ponyiczky

Sensory Museum Design competition organized by artuminate in association with archiol, this competition received 112 entries from around the world.

Competition Jury:
Andreea Felciuc
Lawrence Daykin

Scroll down to check the winning entries.

1st Prize: 
Andrei Dragos Ormangi, Alexandra Elena Burtea & Dana Beatrice Ponyiczky (Romania)

The site: Bucharest, as we who live here know it, is a city of stark contrasts bombarding your senses. This mix of old, new, organic, linear, loud and quiet, warm and cold makes it unique and captivating but also hard to understand making it easy to lose the bigger picture. Our museum, situated in the heart of Bucharest,tries to shed a light on the intricate sensations we feel in the city,centring people when dealing with the conflicting feelings and images of Bucharest. Our museum works together with the city, in an attempt to bring clarity and make visitors see their life in the outside world as a plenary immersive and interactive experience.

Our museum centres on the senses provoked by different areas of the site, each one of the three main areas being mirrored by an architectural prism. Each moment on the path has an interior space that mirrors it, the circulation through the volume symbolising a walk through the city.

The energetic path (yellow prism) represents animation, people, movement and noise, the monumental path (red prism) is overlooked by the grand historical buildings which dominate their surroundings, while the intimate path (blue prism) is inviting people to take a break from the busy streets and relax.

The volume represents the interconnections of those paths and reduces them to sensations involving the major senses of every area of the site. The volume opens perspectives to major exponents of the city Victoriei Avenue, The National Museum of Art and the Romanian Athenaeum. The prisms intersect each other, letting the different senses and characteristics of the prisms progressively melt into each other. The sharp angle of the volumes marks a progressive departure from the reality of the outside to more abstract and concentrated experiences. In the middle of the volume at the confluence of all the prisms there is a hidden space only connected with the sky, a pure space for people to reflect on their senses and the way they will use them once they reconnect with the city.

The colourful glass keeps people in a filtered dialogue with the outside while at the same time stimulating their senses in a controlled pleasant way, different from the chaotic and unpredictable Bucharest. As we move deeper into the prisms the spaces gradually become more introverted and the sensations more abstract.

The coloured light of the interior changes throughout the day together with the light on the site giving the space different shades of their symbolic colour. Inside the intersections, the light from the different prisms and the various colours of the paths are combined so that multiple perspectives are opened.

People are free to change directions at will, encountering other individuals from alternative entrances. The volume encourages people that enter to always go experience different areas of the site and centres them for better understanding the experience and implies the use of other senses than visual.

Experiencing every sequence is unique given the orientation, view, shape and colour. The spaces are flexible allowing different artists to give their take on the city and the space.

2nd Prize: 
Bingkun Liu (China)

“Consciousness arises when God is silent.”
Julian Jaynes is an American psychologist. He studied at Harvard University and studied undergraduate at McGill University. He later received his master's and doctorate degrees from Yale University. One of his very important theories is the bicameral system of mind. He believes that the mind is divided into two hemispheres, the right brain is responsible for speaking, and the left brain is responsible for understanding, receiving and acting. And all their actions are only guided by the phantom sound of one side's mind behind the other side's "speaking". This hallucinatory voice is also called inner monologue.

When people step into the maze, they have no reference. What solves the maze itself is our own sense, the feeling comes from the person himself. The Sensory Museum is an exhibition of people themselves. In the maze, people can perceive their own feelings and observe the feelings of others, asking yourself or can also spy on others. In this process, people's bicameral system of mind began to magnify, and people began to follow what they saw, heard, heard, and felt. And these constitute people's consciousness. At this time, "God" was silent, and people's own consciousness appeared.

The project is located on a promontory near Reykjavík, the capital of Iceland. Iceland is located in a high latitude area, the annual night time is very long. Therefore, the psychological problems of residents here frequently occur. I hope that building a perception museum here will allow residents to perceive their own perceptions and the perceptions of others, thereby reducing the mental illness rate of residents here.

The maze magnifies people's intuition, and people rely on their senses to build their own intuition. When people step into this sensory museum-- the maze, the concave-convex outer wall becomes the only way to guide their senses. The outer wall near the periphery is very smooth, and the wall near the center has a greater tendency to fold. This kind of deformation can guide people's vision, and the reflection of sound on walls with different concavities and convexities is different. On a promontory with coastline on three sides, the closer the audience is to the center, the quieter the sound they hear, because the wall completely shatters the reflected sound. The gaps between the folded brick walls are getting bigger and bigger, allowing more internal light to pass through. Therefore, when entering the maze, people rely on sight, hearing and light to enter the center of the maze.

On the first floor of the museum, in addition to the maze, there is a huge X-shaped shortcut across the bottom of the building. This shortcut connects public spaces such as employee offices, toilets and storage rooms. The audience can either step into the maze or into a shortcut to directly enter the upper floors or interior of the building.

When people step into the building, its bionic interior design echoes the local volcanic landscape of Iceland and local cultural legends. The first floor of the museum has permanent exhibitions and public supporting facilities, as well as staff office and rest areas. Exhibits mainly include psychological literature materials and film and television materials. A large number of public areas here accommodate the free activities of the spectators and provide a platform for continuing to observe each other's performance in the inner maze. The second floor of the museum is an open space for temporary exhibitions and events. Just like the maze outside, the audience can follow the wall changes to guide them into the central area, although they climb the stairs to reach the maze on the roof.

When people walk into the center of the maze, people can follow the stairs to enter the roof. The people who are still in the maze can be observed on the roof. At this time, for the people on the roof, the people in the maze become the exhibits of the museum of senses. However, the person on the roof is also in another maze, so it is still an exhibit of the sensory museum.

The entire maze, the sensory museum is designed to amplify people's own senses, so that every visitor who walks into the museum becomes his own exhibit and the exhibit of others, also people can observe others again. This is the meaning of the maze, the sensory museum.

3rd Prize:
Irina Cherkasskih & Ekaterina Solovets (Russia)

The Museum of Feelings

Honorable Mention
1. Kwan Yew Teoh, Ka Hui Lim & Meen Yee Ooi (Australia)
2. Wiktoria Ciszak, Karolina Kozłowska & Michalina Linkowska (Poland)
3. Margarita Karaseva (Russia)

Shortlisted Entries:
Victoria Mishakova (Russia)
Siying Wang & Jiang Bian (China)
Yuxiang Tan, Yan Chao Wang & Han Wang (China)
Eman Allam (Egypt)
Karl Matta (Lebanon)
Savciuc Madalina, Gavrilă Diana & Marinescu Andreea Irina (Romania)
Wang Zhi & Xiong Xiang (China)
Rui Wang (China)
Jelezniac Bianca-Ruxandra, Chirchiboi Maria-Alexandra & Stan Patricia (Romania)
Anastasia Sabinova (Russia) 


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