MAMM seeks to recover the sense of the city as a ‘common good’ via a spatial system that beyond providing ‘strictly controlled museum conditions’ also provides openness and flexibility for public programs. Instead of a building; a vertical village. This way, as in the informal barrios of stacked houses in the hillsides, where one’s roof is the upstairs neighbor’s terrace, in the MAMM Expansion, the required programs are piled up making a cascade of public terraces connected by stairs across a central void. Eleven boxes -of different sizes, heights- rotate and pile on top of each other, in a careful and strategic placement. Each box is wrapped in an ad-hoc material based on its programmatic need: precast concrete, white glass, perforated steel panels and concrete fretworks. In-between those boxes is the place where relations among visitors are multiplied and new dialogues with the landscape are suggested. A Colombian Piranesi. Inside, a promenade of art spaces. Outside, a vertical extension of the linear park of Ciudad del Rio up to the fifth floor, enjoying the city’s pleasant year long spring weather. This is not only to extend the city’s public life inside the building, but to –inversely- make possible that art and culture propagates to the exterior making them more public and accessible. A great contribution in that sense is the reversible theater, since by investing in equipping only one stage, it can be arranged as a conventional (closed) theater for 250 seats or - by opening its eastern façade - to face the adjoining plaza and address a more massive open-air audience.