Before there was any consideration for program, site, and leisure, there was the shared interest of two points forming a line.
The edges of windows form spaces, the edges of spaces form relationships within themselves, and spacial relationships form a museum inherently tied to a method of design.
The vertical museum, deeper and taller than wide, finds its paths of movement in its directionality. The sensation of points becoming lines is fundamentally expressed by the very proportions of the bounding box.
The shift from the outside to the inside is felt as one of material but also of visual complexity. The outside exposes the line and the surface in collaboration, yet the inside is an experience both of concealment and enlightenment, as the surfaces are revealed bare.
The proportions of the individual galleries are legible from the outside as they reinforce the directionality of the site. The interior is separated into five major exhibition spaces with global circulation connecting them. The facing windows allow for a visual relationship between the galleries and interstitial spaces of the facade (including a cafe and a sculpture garden), while the street-facing windows establish a relationship with the neighborhood at large.