The Museum of Contemporary Art is located on the premises of an old army barracks with three other museums (among them the Slovene Ethnographic Museum). Architecturally challenging was the restoration of the protected historic structure of the ex army barracks area built in the 19th century which has served the military government in the past, and is intended to be used for art in the future providing exhibition, storage and office spaces. While the Museum displays the barrack’ s characteristics, the role of the inner square of the Museum complex is completely changed. The focus of Museum’s design lies not in its intricate composition, but the viewer ’s reaction to it. Consequently, the Museum is purged of all ornaments and designed with the least possible number of architectural elements. The historical exterior façades face the streets, and therefore are frontal from this viewpoint, but have no entrances. Façades on other side are their opposites—new, more or less, belonging to the inner square, in the back from the city’s viewpoint, but frontal from each individual building’s viewpoint , containing an entrance. They carry a particularly complex double face of Janus. The added/renovated elements are expressed in white and or thogonally. The white changes into light if we view the building as a spatial object, but when viewing the whiteness as something twodimensional, we notice the colour. White colour stands for virgin coldness and is a metaphor for purity - fullness and emptiness at the same time. It is about fullness of the whole, and complete emptiness. The external membrane is characterised by a diagonal composition of white concrete walls, with six repetitions, while the inner space – named WHITE BOX – is designed orthogonally. The building has three white boxes – perfect and empty squares, ideal for manifesting contemporary art. Looking for a fresh approach to classical elements, the design offers a new interpretation: six columns are replaced by vertical gaps sealed with a glass surface, the space in between is replaced by six repetitive vertical volumes of reinforced concrete. The space between the old and new allows historical and virtual architecture to intertwine, emphasising the forgotten or hidden on one hand and entering the new virtual world on the other.