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ARCHITECTURE

OCCIDENS takes place within a space of 4,500 square meters.
The journey takes place in the setting of the Cathedral buil-dings, rediscovering new archeological excavations, halls of the Romanesque Palace, remains of the Episcopal Palace of the 12th century and the construction of the Palace of the Archdeacon of the 14th century.

 

 

NARRATIVE LEVELS

OCCIDENS is considered a narrative project more akin to cinematography than the conventional museum designs: it is the beginning of a discovery.

OCCIDENS proposes different narrative threads that allow for various levels of understanding. Through the different expressions, the spectator composes his own vision. Thanks to the symbols, gestures, images, objects, sounds, texts, projections, codes, smells, architecture, and atmosphere, the spectator begins to build -together with his personal life experience- his own exposition.

 

 

MUSEOGRAPHY

The museography offers a discourse in keeping with the unfolding of the different narrative plots.
The main plot is suggested by the perforations in the steel carpet.
The projections throughout the different halls offer an emotional dialogue which is complementary to the main idea.
The profound sounds that emanate from each of the remains alternate between inspirational music in some spaces with Gregorian and Baroque conforming itself to the parallel theme.
The agreement between the container and the con-tent -original architecture and pieces of art- materializes the passing of time, offering the historic understanding of the exposition.

 

 

THE STEELCARPET

The journey takes place on a steel carpet that acts as the conduit for the entire exposition: it serves as a guide to the visitor while at the same time it is an artistic component of the exposition, meandering around the various remains of ancient architecture and floating between archaic atmos-pheres without touching the footprints of the past.

The steel carpet twists, is perforated and folded to become the real guide to the exposition. A unique resource, both flexible and ambivalent, unfolds all its possibilities to generate the iconography capable of providing the homo-geneity to a collection dissimilar in time and in space.