Exhibition architecture

Exhibition architecture

Design for Archival Materials

These works of exhibition architecture explore the interstitial space between the document, the body, furniture and architecture.

The projects presented here are exhibition systems for art and historic archival materials, which are conceived as mobile architecture of intermediate scale, that relate the body of the visitor with the experience of archival material through a more domestic scale, in which the document and the body are in a more equitable situation. These designs create a liminal space between an art exhibition and a library, where one is able and willing to spend more time, to sit and read, to move slowly through space. Time in these archival exhibitions flows differently and the built environments function as mechanisms where one stays, sits or reads, turning the gallery into a public space.

These characteristics allow these exhibits to challenge and disturb the tacit policies that exist in contemporary museum spaces and that give one the feeling of being in a bank or in a church. "Do not touch anything; stand behind that line; we know that you would not understand; if you understand something, good for you; please keep walking. Do not stay." This experiments explore different strategies to hack the body of the visitor and put them in a different bodily relation to the space, breaking the formal status of how one needs to behave in an exhibition space, without using any signage or labels, just choreographing the body in a more informal manner.

Made of modular groupings, with drawers, furniture, open structures and mobile devices all our projects invite to stay, encourage exchanges and create public space. Its construction avoids participating in the “drywall bureaucracy” of ubiquitous exhibition design, that characterizes most contemporary “white cube” exhibitions, nor work with modern monolithic proposals, instead we use diverse techniques and construction systems, which have the ability to change, can be reused and grow.

Art and research

Art and research

Experimental devices and Common trades 

The early projects have resulted from my research of informal architecture in the different cities where I have lived, Lima, Tijuana and now Mexico City/San Francisco. I learned from the self-constructed "informal" city that there are different kinds of mobile architecture, which I have described as “changeable,” “incremental,” and “accumulative,” design. All of them are forms of built self-organization and together comprise around 50% of the built environment of many Latin American cities. My research has led to production of a diverse family of mobile devices, accumulative constructions and systemic approaches.

This experience was later applied to further investigation of the mining regions of Peru that, in my opinion, share with the contentious areas of the informal city of Lima the revelation of historical territorial and social disputes associated with land tenure policies, collective rights, migration, and the great struggles of class and labor. That is why my recent research projects investigate the transformation of the landscape of the Andes by the extractive mining industry and the social conflict that this economy generates. 

How to create projects that challenge the economic dependence of formal globalized economies—meaning that in one way or another they are dependent on extractive, unsustainable and inequitable systems—within the disciplines of art and design? My answer has been to create research projects that study “common trades” of urban and rural communities to register, experiment and co-produce, with knowledge of local craftsmen contemporary designs and processes, to generate a small chain of knowledge around those histories. By “common trades” I mean the trades people who make the common things used every day, such as glaziers, carpenters, and metal workers whose skills are commonly utilized but underecognized.

From this experience the long term project Oficios Comunes, Metabolismo Urbano de Saberes / Common Trades, Urban Metabolism of Knowledge emerged and together with it different projects that study the material culture and the local knowledge of urban, rural and marginalized communities of makers.

Mobile devices

Mobile devices

Furniture / Mobiles / Muebles

The furniture and urban mobile devices, such as carts, benches and chairs utilize popular construction languages to define their forms, such as a wheelbarrow, taco stands and others. Exploring mobility, temporality, and change, these pieces are often designed to intervene in the public space as well as exist in public and private settings.

Some of the furniture pieces presented in this section were designed as part of systems developed in exhibition architectures which have been individually evolved and transformed.

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Transform Dance Festival - Why Citizenship?

2017 /

Exhibition architecture /

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Stage Design for Transform Festival / Why Citizenship?

Stage for Social choreography

For this stage design commissioned project, which invites 7 choreographers to respond to the question of “Why Citizenship?” I based my design approach and thinking process on the concept of Social Choreography, which help me merge dance with the subject of citizenship. In the book Move. Choreographing you: Art and Dance Since the 1960s, Stephanie Rosenthal described Social Choreography as “choreography focused on degenerated, artificial, or manipulated patterns of behavior. The choreography became the image of our own world, with its external powers controlling the physical, psychological and spatial aspects of our actions. It thus became a mirror of socio-political structures and mechanisms of manipulation.” [1]

I am interested here, not solely in the design of the stage dance area, but also in choreographing an immersive audience participation. How to express those power structures that control our spatial patterns of behave and actions as citizens? How to create awareness of the politics that exists in our own bodies as audience? seating as individuals; as groups of bodies or as a community as large? I propose diverse seating formations to expose particular political connotation that impacts the body, congregation of different types of chairs and seating formations that create particular spatial configuration and group’s shapes that generate different dance spaces. In addition to that, we develop for the choreographers and dancer a family of mobile devices that give them different stage and spatial possibilities such as ladders on wheels to achieve high, a circular mobile stage platform, as well as mobile tables and structures that due to the number of choreographers and to the diverse dance approaches of each group, the objects proposed can be deployed, arranged and activated by the choreographer and the dancer wish.

Stephanie Rosenthal, Move. Choreographing You, Art and Dance Since the 1960, The MIT Press, London, 2011, p. 17.


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 between Mexico City and San Francisco in architecture for exhibitions and museographies that explore new ways of displaying archives of art and material culture. His work seeks to overcome the white cube and the bureaucracy of drywall; proposes to treat the museum as a public space through the use of different structures and exhibition systems that explore the interstitial space between document, body, furniture and architecture.

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