To Gran Teatro Urbano it meant an umpteen challenge, both difficult and stimulating, to conceive and carry out Holy Shroud Museum.
The stuff is about theatre staging, where unusual artistic structure has shown its open bent.
It mixes with different disciplines to give birth to a new museography significance.
First step is to face the object not being present- the Shroud-. In addition to this, its story is told by witnesses more than by evidences; so what we choose is to mix science and didactics together with emotions evoking.
Consequently we make an effort to recall a crucified man sufferings through painting in centuries.
Our artistic choice has  broken up this stream and has represented it on local architectures.
It is all due to computer job and hi-tech floodlights, which we have used for the first time in museums.
Space staging is related to hystorical roots.
We see beige, brown, sand like colours; this evocative stuff - goat skins and clothes- recall to memory crowded Islam rituals more than traditional temples. Through witnesses, the area of fragmented ceiling frescos is kept apart by lean structures - which are a  sort of "undressing" - from heaven (religion, arts and faith).
This job takes techology and arts, on the other hand it is about being simple and going slow, in order to let each  visitor - does not matter whether he believes in God or not - to think over an enigma based, at last, on human suffering.