Museography habitable architectural furniture

Museography habitable architectural furniture

Museographies, as habitable architectural furnishings, serve as architectural exhibition platforms that, in the form of islands, occupy the center of the room. They feature the construction of a central museographic entity that can have its own dynamics and engage in various ways with the surrounding walls of the space, also helping us to break free from our dependence on the walls. This allows for the creation of a central imagery without relying on the walls.

Continuous vitrine museography

Continuous vitrine museography

Pedestal Base Museography

Pedestal Base Museography

Central Table Museography

Central Table Museography

Network tables Museographies

Network tables Museographies

They are museographies outside the wall that take place on tables and islands as habitable platforms and information topographies.

Visual Graphic Museography

Visual Graphic Museography

Vertical Wall Museografy

Vertical Wall Museografy

Common Knowledge Museography

Common Knowledge Museography

Common trades and anthropology of knowledge

Loitering Performative Museography

Loitering Performative Museography

Mobile devices to active phenomena

Furniture: Mobile, movable, traveling, moving. Contrary to a property or real state, a building is immovable, it does not move – it is a property. The city is built of real buildings but also of tables, chairs, bookcases, movable flower pots, which furnish the interiors of houses and buildings, as well as the exteriors of streets, squares and sidewalks of our Latin American cities, turning the streets into temporary kitchens, shops, dance halls or open-air markets. They micro-construct the city every day in the morning and de-construct it every night using elements that can move, furniture.

Museography of Being

Museography of Being

Vitrine Museography

Vitrine Museography

Modular assembly museography

Modular assembly museography

Museographies to reuse or just use and throw away?

Hanging Museography

Hanging Museography

Sound habitat museography.

Sound habitat museography.

Museography as sculpture

Museography as sculpture

Mechanic Museographies to interact

Mechanic Museographies to interact

¿How to exhibit documents in Art Museums?

Building Scale Museography

Building Scale Museography

Museografies in Collective and Pedagagical processes

Museografies in Collective and Pedagagical processes

Museographies in collective and pedagogical processes

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Political Equator

2006 /

Visual Graphic Museography /

(In collaboration with Lucia Sanromán)

Political Equator was a three-day event on the topic of “urbanities of labor and surveillance”, that took place from June 9 to 11, 2006, in the trans-border region between the San Diego/ Tijuana.  It was organized by the department of Visual Arts of the University of California, San Diego campus, (UCSD) in collaboration with the Haudenschild Garage, Casa Familiar, and InSite.

Germen was invited to work on a space recently formed by Casa Familiar, an activist organization and NGO located in San Ysidro, CA that is committed to act on the cultural, social, and economic effects that the border has on the small Californian town.  This was the site of the debate and conference that was  held to discuss immigration policies and politics, labor, and surveillance in the post 9/11 period.

Germen’s intervention was conceived as a series of small punctual alterations to the existing space, made with inexpensive materials such as plastics, paper, wood, and fabric. Paint was primarily used to diagram the space and as the main strategy for designing, and demarcating the program.

The “property line,” as a sign of a limit or border, was used as a codifier, represented by nine columns in the space. The paint intervention was extended from each column towards the ground,generating radiating circumferences that overlap one another, connoting the overlap, or mixing, of different “properties.” The evening’s program was conceived as a cultural “happening.” Instead of creating a stage that would separate the speakers from a distant public, the event provided the conditions for a non-hierarchical and shared situation: the chairs were stacked by the entrance, and the public picked their seat and placed it over the “property lines;” the three speakers were seated amongst the public and spoke in intervals of 15 minutes, with the help of six projectors that were interspersed in the space.  The moderator constantly intervened in this complex event and invited the public to comment, until it came time for tacos, drinks and an intermission. Later, they returned for questions and answers, public dialogue and, finally, salsa and cumbia dance.

Germen Estudio is a museum exhibition design firm specializing in creating a wide variety of exhibitions, ranging from modern and contemporary art exhibitions to anthropology, material culture, and archival displays, as well as historical exhibitions exploring economic processes or community narratives.

With over 10 years of experience, we have worked for numerous public and private museums in Mexico and abroad, offering expertise in the following areas:

- Comprehensive exhibition design for museums

- Coordination of exhibition content in collaboration with researchers, curators, and artists

- Production and construction of exhibition projects

- Installation of artworks in the museum until project completion

Our museographies function as diverse systems that allow for change, reuse, and growth, tailored to the aesthetic and budgetary needs of each museum project, aiming to create a comprehensive experience where exhibited works, visitor interaction, museum furniture, and architecture converge to generate a unique museum experience.

In 2019, our firm was awarded the Covarrubias Prize for Best Museographic Work by the National Institute of Anthropology and History (INAH), recognizing our excellence in museum design and exhibition implementation.

Giacomo Castagnola received his Master of Science in Art, Culture and Technology (SMACT) from the School of Architecture and Planning of the Massachusetts Institute of Technology (MIT) in 2013, and holds a degree in architecture and urbanism from Ricardo Palma University (URP) in Lima Peru. Originally from Lima, Peru, for seven years (2003-2010) he lived and worked in the Tijuana / San Diego border region where he established Germen, an architectural and design studio, to investigate the self-organized "informal" city that composes up to 40% of the urban and growing infrastructure of many Latin American cities. Currently, Castagnola works in Mexico City in architecture for exhibitions and museographies that explore new ways of displaying archives of art and material culture.

Logo Germen

Founder

Giacomo Castagnola

Arquitectos

Erik López
Cristóbal García

Past Collaborators

Fernando J Limón — San Diego, CA
Fernando Becerra — San Diego, CA
Carlos A. Augusto Paz — Tijuana, MX