In addition to the museum project, a more ephemeral look to architecture was proposed in this academic exercise.

An installation or ‘performance related’ setup should complement what is an intention of an overall and integrated revival of a desolated riverside.

The first aim was therefore to bring into relation several aspects of that natural and build environment: the museum platform and its big retaining concrete wall, the riverside paths and small recessed squares, the river itself and even Lisbon at the other side.

In this sense, by the use of ropes (a marine evocation) the highest point is connected to the square at sea level and eventually with the river. All to provoke not only visual, but also auditory effects. The wind will cross through the vertically placed ropes creating whistling sounds, and the river tides and streams will make the ropes rub through perpendicular volumes made out of old containers.

So the square is a conversion point and is also the most interactive and recreational area. Some round stages predict periodical crowds. The above-described volumes serve as tribunes and eventually ticket kiosks or other commercial spaces, in order to assure a more constant occupancy.

 

And finally, and to justify the intention of making Lisbon part of this ‘happening’, there is the idea of a reinvented ‘water-clock’. With two indicators the time (hours and minutes) should be visible from the other side of the river. The background can be adapted to whatever the museum has to disclose or promote.