268 It is a peculiar building. Rational, yet free. Confined yet unlimited. A physical and spiritual gate that does not exclude, but welcomes. It celebrates the entrant and immediately builds a bridge between worlds that seem far apart. The relationship between in and out is a conscious spatial principle. The visitor from the outside is admitted gradually, also in a spiritual sense. Inside the building comes another experience of in and out. The exhibition spaces are surrounded by a kind of built-in “outside” that extends the process of entry in space and time. The physical moment of entry is followed by a longer, spiritual arrival. Allowing enough time to start experiencing the world on display in the exhibition space. In this way, the external world and the spiritual world of the exhibition, experienced through physical objects, are connected more softly by the space in between. The building created is not just a physical space. It is not just a place for a collection of objects, but also something that can be evoked by the objects and made into a fascinating intellectual content worth looking at. The superimposed, organically presupposing spatial elements of the internal spatial structure represent the superimposed knowledge fragments of human civilisation. According to Foucault’s interpretation of the history of knowledge, the layers, each moving freely over the other, never deny the fact of their close interconnection and do not give up the philosophical notion of coexistence in a given space and time. After all, the way things happen over time is not necessarily linear. What has passed is just as present in time, as the archaeological layers existing above and below each other and that are accessible at a given moment in time. This can be best imagined in a vertical form, in which the superimpositions do not form a hierarchy, but the overlapping layers support each other from a common base.
RkJQdWJsaXNoZXIy MjIzNzg=