Explaining their approach, the architects write that "the Guggenheim has become, in a sense, a victim of its own success due to an over-saturation of human movement in a singular space. Our proposal aims to accomplish the seemingly incompatible: to restore a museum environment conducive to experiencing art and to maximize and heighten other experiences brought about by the iconic status of the museum itself."
The specific strategy here is "to trap, i.e., to force a pause. This programmatic component was not considered by Wright, who envisioned a space defined by tireless motion."
"The resulting project is a gigantic membrane stretched throughout the interior, supplying "180 saddle-like seats along the entire ramp for pausing and viewing the rotunda."
"These seats protrude into the void with access ladders arranged in between the floor and the ceiling over the guardrails. Each of the 90 access ladders holds two cantilevering seats, which are angled gradually as they ascend to allow a view of the central area at ground level that functions almost like a stage—as though the rotunda were a new hybrid of opera house and arena. The 180 protrusions over the void are draped with a single, soft and translucent membrane that functions as a safety net."