Museums are containers for artifacts, yet architects so often insist on developing their own work of art to obscure these diverse collections. This ego-centric approach results in an unmalleable collection of spaces and obscures the functional necessities of a modern space for display. The traditional approach specifically oppresses flexibility, variety and reconfigurability.

I propose to erase the museum dichotomy between its outward-facing presence and inward-looking identity by representing the institution as a radically reconfigurable framework for display. Much like a hightech theater, the project will support a variety of spatial configurations that are achievable via a reconfigurable atrium space. The museum’s iconicity is derived from its exposed radical interiority and thus the artifacts themselves, subverting role of the architectural monument in the process.

Copley square is in many ways a perfect site for such a proposal – each anchor project has a direct dialog with a predecessor, underscoring the immense importance of context in architecture. To this end, the MoA will further subvert the typical objectification and de-contextualization of the museum process at the level of display. By rethinking the our display typologies, the MoA will insist on nuance to the architectural process, culminating in a fleet of autonomous vehicles that will bring people to architecture instead of architecture to people.

The ‘Archive for Scale’ explores how the miniaturization and augmentation of architecture and its legacy aggregate in indeterminate proximity. It explores the museum type as a vertical bazaar of content on constant refresh where disengaged walls, digital media, physical and phantom objects vie for room and attention. As the making of architecture no longer implies the production of physical objects or analog rituals, can we imagine an alternative platform in which the formal and formless collapse - a site where time, material, and scale are shared between the two ?