Turin’s Museo Egizio, the world’s second-largest museum dedicated to ancient Egyptian artifacts, recently unveiled its transformed Gallery of the Kings as part of the museum’s bicentenary celebration. Designed by David Gianotten and Andreas Karavanas of OMA in collaboration with Andrea Tabocchini Architecture, the space honors ancient artifacts—with a modern twist.
From Darkness to Light: A Narrative in Design
The redesigned gallery takes visitors through a darkened entryway featuring digital projections that narrate the history of Karnak, where many of the statues originated. This immersive introduction sets the stage for a transition into brightly lit exhibition halls, a stark contrast to the black box aesthetic of scenographer Dante Ferretti’s 2006 design. High windows, previously obscured, now flood the space with light.
“The new design is defined by a transition from darkness to light—a concept deeply rooted in ancient Egyptian symbolism, representing creation and often associated with kings and gods,” Gianotten says. “The combination of natural daylight and artificial lighting reveals the intricate details of the statues, offering visitors a more intimate and enriched experience.”
Reopening the windows also reconnects the gallery to surrounding urban settings, giving passersby a glimpse of the monuments from the Piazza Egizia and other trafficked areas, piquing public curiosity.
A Journey Through an Ancient Temple
OMA’s design doesn’t just display the statues but places them in their original Theban context.
In the first hall, two sphinxes face each other at the center, flanked by statues of the goddess Sekhmet. The arrangement mimics the temple’s outer spaces, leading to a climax marked by the statue of Seti II, originally situated in front of the king’s chapel at Karnak.
Another hall delves deeper into the temple’s inner sanctuaries, showcasing statues of kings and gods in chronological order. At its center stands the iconic figure of King Ramesses II, surrounded by effigies of Ptah and Amun in his ram avatar.
To develop this spatial narrative, OMA combined architecture with archeology, a process that began before the firm won the bid for the project.
“At the outset of the competition, we conducted in-depth research on the ancient Egyptian statues, their historical contexts, and the evolution of the gallery space itself,” Gianotten says. “This research process allowed us to accumulate knowledge about the statues’ narratives, and to understand how the narratives have evolved through time.”
Working in close collaboration with the Museo Egizio curatorial team, “we developed a design that complements and enhances the curatorial route,” he adds.
The gallery’s walls, clad in subtly reflective aluminum, play a dual role: housing technical equipment and providing historical context. Beyond functionality, these walls capture the statues’ reflections, creating a layered, almost ethereal atmosphere. Visitors see themselves alongside the statues, reflecting the present while they look upon the past.
“The physical elements, along with their reflections, form a visual landscape, Karavanas says. “This design choice fosters a personal and intimate connection, inviting visitors to reflect—both literally and metaphorically—on their relationship with these ancient artifacts and the stories they hold.”
Architectural fragments uncovered during construction further emphasize the gallery’s layered history. Openings in the aluminum walls frame these fragments, inviting visitors to appreciate the continuity of history. “Rather than removing these historical elements, we chose to adapt our design to incorporate them into the gallery space,” Gianotten says.
Collaboration and Context
The project’s success stems from a close partnership between OMA and Tabocchini Architecture. Tabocchini, who previously worked at OMA Rotterdam, brought invaluable expertise in navigating local conditions. “Throughout the construction phase, Andrea provided invaluable advice on how to adapt and realize the project within the context of Italy,” Karavanas says.
The museum’s bicentenary provided an opportunity to rethink the gallery’s purpose. Ferretti’s 2006 setup was initially conceived as temporary. Now OMA has made a permanent mark that celebrates the original museum architecture, dating back to the 17th century.
“With the bicentenary milestone, the museum’s curatorial team saw an opportunity to revisit and refine the curatorial approach, building on years of accumulated research and insights,” Gianotten says.
Through its innovative design, the Gallery of the Kings achieves just that, offering a space where ancient artifacts and modern sensibilities coexist, illuminating the shared histories of Egypt and Europe.
