The project for the Peggy Guggenheim extension intends to give space for the discipline of video art. The Peggy Guggenheim foundation currently supports and funds the collection and public exhibition of all visual art forms with the exception of video art. It is for this reason that we propose this extension for the museum. 

In fact, video art was born in the sixties, and the art patron Peggy Guggenheim was flourishing at this, supporting many artists that were experimenting with this new medium of video art. 

The intent of this project is to offer a different perspective on the artists already in the gallery (Man Ray, Dan Grahm), thus establishing a dialogue with the foundation and reflecting on the themes of  video art. This decision implied the need for an array of different dark spaces and geometric forms. A key requirement for this extension is the separation of video and audio rooms, an acoustic buffer will be required to ensure no interference between the spaces. 

One possibility was to create an introverted museum, without openings to the outside.However, being situated in Venice, the project inevitably seeks a relationship with the external condition; it was, in fact, impossible to ignore the Grand Canal to the north and garden of the foundation to the south. These two views are taken into the building on either side by a continuous glass front. The break in plan and form at ground identifies the location of the garden and terraces in relation to the canal.

 It was important to think about the rooms as flexible elements, since the extension is not meant for the chosen works, but for videos that may vary in number and duration. The extension is then made up of nine concrete walls which rest on the floor of the terrace and are governed by the structure of the existing foundation. On these concrete walls are built rooms of two different heights. The central room, larger than the others, is double height and is designed to accommodate works of particular length or works that require multiple projections in large spaces such as Emergence of Bill Viola. The flexibility is made possible by the wooden walls facing south, lighter and mobile.