Since the beginning of the project Frigo has designed a 54,75 by 46,80 meters museum to be able to host by 2040 all of his works. The building is accessible through a 432 steps staircase, 432 being the total amount of months in 36 years. The front of the museum is characterized by a 36 meters high tower on which a clock reproduces Frigo's heart beats (work 06). The cupola of the tower is perforated based on Frigo's daily emotions (work 15). Over the door, an engraving presents the visitors with the 18 rules utilized to generate the content of the building they are about to enter. Upon entering he or she is to hear a sound of a fan hanging from below the cupola. This fan operates according to the different wind intensities experienced daily by Frigo (work 18). They are also to hear just above the door an organ playing samples of the songs he has heard and recognized throughout the duration of my project (work 03).

Outside view of the virtual museum Screenshot inside virtual museum Virtual rendering of the museum in the context of the alpine pasture (75 MB) View of the small dolomites Sketch for museum foundation 1960s photos showing the village and the valley well kept prior being depopulated Satellite picture of the terrain prior the building intervention First drone flight over the building terrain shot in the spring of 2018 (8MB)

A series of concentric hexagonal square invites the visitor to descend to three large squares containing audio-guides in which the thoughts he had every month walking alone have been recorded (work 12). At this point the visitor can listen to one of them by simply walking around the hexagons or keep exploring the museum while bringing it along as a museum guide. A long central corridor extends the perspective view of all the videos Frigo took of the public spaces where he sat (work 10). The corridor extends the view since the center of these videos displayed by a large monitor at the end of it, is the vanishing point of these public spaces. The actual corridor comprises ceramic tiles where the collages of the trash Frigo picked from sidewalks around the world have been printed (work 08). The visitor can kneel down to better observe them or simply contemplate high up the projection of virtual shapes Frigo created detecting shapes from the clouds he observed (work 17).

At the very end of the building is the square wall hosting like a calender all the month panels in which the photos of the objects Frigo have used with his right hand since 2004 are displayed (work 01). The wall can be consulted by the visitor as some kind of a record of a human activities throughout the core of a lifetime. Below it and above the monitor displaying the videos of public spaces, the visitor to the museum can also read a book of all Frigo's dreams, about 100 every month (work 02). From this position, the visitor can observe a mist filling the interior of the museum. This mist corresponds to the air quality Frigo has recorded every day (work 05). Above it an RGB laser displays as a light tower the weather conditions he has recorded every day by mapping it to a scale of colors (work 16).

Only now the visitors can go back and explore the corridors surrounding the main space. From the outside of these corridors there are curtains embroiled with the paintings Frigo have executed every month (work 13). Below them there are LED screens displaying the fables he improvised at night time (work 05) and across them high columns with portraits of new acquaintances (work 07). Inside the corridors, attached to the walls, there are small screens displaying the Frigo's drawings of ideas (work 11). Opposite to them, as some sort of hand rails in the dark, there are Braille embossed plaques of all the casualties Frigo read on the news (work 09). Walking through the corridor to the end of the building, the visitor can now look through several glasses, a reproduction of the trajectories of the walks Frigo took every months (work 14), superimposed on the surrounding landscape on which the museum is ideally located.

Having visited several of these corridors and having walked up several stairs visitors can visit the two smaller buildings on each side, in which the various elaborations of the project (work 19 to 36) is show in 6 7,2 by 7,2 rooms. As each of these rooms have an individual door, the remaining three walls are dedicated each to one project (e.g. entering the first room a visitor has work 19 on his left, work 20 ahead and work 21 to the right). This work has been this far created using a CAD program and a video-game engine. The building has been inspired by medieval Art of memory and Combinatorial Art practices. Rather however to be a memory building created to facilitate memory it is a building to allow the regeneration of life through the visitors active interpretation of the various media languages of time displayed. In this sens Frigo thinks that the function of this building, this tebah as he calls it is to create unity and syncretism of a reality otherwise dangerously polarized by mass media.

After a failed attempt in Sweden where Frigo already attempted to set up his museum in 2008, Frigo attempted to set up again in 2017 in a three hectares property in his native alps 100 km from Venice. The site is located on top of a valley with the entrance facing east and the back facing west where the Little Dolomites can be admirer. Frigo's work is also intended to give a new meaning to a mountain place completely abandoned by its inhabitants after wars and recessions. Awaiting to obtain the building permissions from the local authorities, Frigo also set up a self-sufficient environment within the property in order to live there with his family.

The work is mostly inspired by the life committing works of Ferdinand Cheval, Chalermchai Kositpipat, Jim Bishop, Robert Tatin, Justo Gallego Martínez. While Frigo aims to at least build the foundation of the museum, a mixed reality application will allow visitors to view the actual data. Periodically also Frigo intends to set up temporary exhibitions.