Extended counter that configures the exhibition space.

This typology is a large showcase that extends and creates various volumes, externally functioning as architectural elements to organize and distribute space and visitor circulation. In the case of the new Museum of Banco de México, these showcases not only display and protect artworks but also function like extended arms or counters that help us organize materials, circulation, and zone thematic cores of the exhibition. They use the same showcase as a museographic/architectural element that serves to vestibule, organize, and exhibit.

This museographic typology refers to projects that can be resolved by designing a large pedestal base that collectively displays them. These bases can be composed of multiple levels and designed heights that help to exhibit each piece in the best way possible. This typology functions more as a solid volume from which other volumes are subtracted and added to elevate, group, or prioritize exhibition pieces. Generally have been used to display sculptural objects, but we have slightly modified this device to also exhibit paintings, drawings, and other media. We have created pedestal bases that incorporate glass showcases, timelines, and even easels within their volumetry, enabling the exhibition of all types of artwork.

A topographic museography designed to choreograph multiple relationships and encounters between artworks and people.

This museographic typology is proposed as a continuous horizontal surface composed of interconnected modular tables in a network. It replaces the traditional idea of exhibiting on walls by placing exhibitions on tables in various formats, allowing for multiple configurations, spatial distributions, and circulations depending on the exhibition. Each table operates independently as a flexible unit, but when connected together, they function as a networked continuous exhibition surface, akin to a topographic display of information where artworks, texts, labels, objects, paintings, or any type of material that would typically be on vertical walls can be displayed. The tables are intended to serve the same exhibition functions as conventional walls.

Various types of tabletop devices are placed on this networked system of tables to hold and display documents, including supports such as drawers, easels for paintings, screens, and pedestals.

2D design as a museographic resource.

The graphic space of two dimensions is also a museographic space.

Museography works within the three-dimensional space of the exhibition hall to organize and display artworks. However, like any visual language, it doesn't always communicate directly and unequivocally. It often requires complementary museographic resources to mediate the artworks, messages, and general information with the public. These complementary resources include graphic, sound, audiovisual, and digital elements.

Among these mentioned resources, graphic design is the most commonly used complement in exhibitions. Texts, titles, labels, and descriptions always involve graphic design because every exhibition needs to communicate through some form of textual or graphic medium, whether it's in the exhibition space itself or in printed or digital communication.

The two-dimensional graphic space is also a museographic space where not only images and texts can be resolved, but also complex information content that would otherwise be difficult to communicate. Through graphic information diagrams, a vast amount of complex information can be translated into simple and readable diagrams for the public.

Common trades and anthropology of knowledge

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.

Contemporary museums, similar to commercial spaces, follow a consumption pattern—of art—that requires bodies to be constantly in motion, not at rest or relaxation, but in continuous consumption. This museography for being invites the museum visitor’s body to rest, reflect, and have an experience that is not only retinal and optical in the exhibition of art. The museum seems to cater only to the visitor's eye as if it had no body. These "living optical instruments" through which we see are within a body that tires from being paraded around, becomes distracted, bored, or irritated; it is not just a disembodied gaze floating through the exhibition halls from one space to another, from one artwork to another. This is why the museum must also provide moments of rest and seating for different bodies. This is what the museography for being explores, with the design of diverse seating systems that aim to offer various ways of being, reclining, resting, and perhaps observing the exhibition from another place and in another physical state of mind.

Museographies to reuse or just use and throw away?

¿How to exhibit documents in Art Museums?