From Non-Places to Third Spaces: Phil Procter and the Future of Museums

In 1992, French anthropologist Marc Augé introduced the idea of “non-places”—public spaces like train stations, airports, and shopping malls that feel detached from history and local identity. These spaces, shaped by globalization, became symbols of a fast-moving, impersonal world. But long before Augé, Italian writer Alberto Arbasino explored a similar idea in museums. In his 1974 book Le muse a Los Angeles, he warned that museums risked becoming sterile spaces for passive consumption rather than places of cultural engagement.

Decades later, Arbasino’s concerns feel even more relevant. Many museums today serve more as backdrops for social media than as places for deep engagement, with visitors often more focused on capturing the perfect photo than on the artworks themselves. The rise of digital culture has transformed museums into sites of fleeting encounters rather than spaces for contemplation and discovery. However, a shift is underway. Institutions like the Foundation for Architecture are rethinking museums as “third spaces”—places that go beyond traditional exhibition halls to foster dialogue, learning, and community. This shift is being driven by a growing recognition that museums should be dynamic, evolving places that respond to contemporary social and cultural needs.Through innovative programming, flexible exhibition design, and multifunctional spaces, these new museum models aim to break down barriers between art, architecture, and public life. Instead of passive spectatorship, they encourage active participation, transforming museums into hubs of creativity, discussion, and shared experiences.

A new wave of designers is leading this shift, creating museums that are immersive and interactive. From seating to display structures, every detail is designed to encourage engagement between people and artworks. Instead of static and formal environments, these new museums invite visitors to connect, participate, and experience culture in a more dynamic way. Among them is Phil Procter, a British designer based in Rotterdam, known for his adaptable approach to exhibition and furniture design. Over the years, he has collaborated with several museums, creating systems that seamlessly integrate into different spaces and formats. In 2022, he began a long-term collaboration with Depot Boijmans Van Beuningen, a unique institution that brings the behind-the-scenes workings of a museum into full public view. Housed in an iconic, mirrored structure that looms over Museum Park like a giant, sliced disco ball, the Depot’s raw concrete interior—exposed steel beams, ducts, and visible wiring—creates an intentionally industrial, functional aesthetic. It serves as a non-space, a neutral backdrop to the museum’s 175,000-piece collection and its many activities, from conservation and restoration to logistics and education.

Procter’s role has been to design an evolving collection of furniture and interiors that align with the facility’s ever-changing needs. His approach mirrors the Depot’s philosophy: no unnecessary gestures, no ornamental flourishes—only pure function. The furniture is designed to be flexible, repairable, and seamlessly integrated into the museum’s daily operations.

His first contribution was a modular stool system that moves freely throughout the building, adapting to different formats. He also developed a series of vitrines for displaying artworks, a modular seating system, art carts, and temporary exhibition furniture. Upcoming projects include the Depot Library, a permanent gallery for works on paper, an educational space, and a wayfinding system—an expanding ecosystem of solutions tailored to the demands of such a dynamic institution.

Crucially, the design briefs come directly from the Depot’s team—the people closest to the museum’s daily rhythms. Their insights have shaped every piece, ensuring that each solution addresses real, practical needs. Art handlers no longer struggle with heavy glass display covers. Single-use exhibition furniture is replaced with sustainable, reusable systems. Restorers now have custom setups that allow them to share their intricate technical processes with visitors. Every piece of furniture is a response to movement, to change, to the invisible choreography of a working museum—designed not just to fit the space, but to serve it for years to come. If you haven’t yet visited the Depot Boijmans Van Beuningen, now is the perfect time to plan a trip to Rotterdam.

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Words: Simone Lorusso

Projects/Images: Depot Vitrines, Depot Rails (wall display system), Depot stools, Piranesi exhibition 

Photos: Titia Hahne