The brief was to create a space for the permanent collection of the Freising Diocesan Museum, one of the largest museums of religious history in the world with over 40,000 objects. The restoration of the building, designed by architects Brückner & Brückner, was based on the idea of "opening walls" of the building to create a daylight exhibit in close connection with the city and its people. This idea is then taken as a guideline for the installation design and is emphasized in all its components.

The collection consists of eleven rooms: two on the ground floor and nine on the first floor. Each room required more viewing space, so freestanding walls were placed in the center of the rooms to create intuitive paths for visitors to move freely through space. The walls were at times scaled so that they became rooms themselves, creating a different atmosphere; at other times they were given a rounded shape to provoke the visitor to follow them. The characteristic arches of the building became a form index used to open the walls with passageways or niches and to shape the display cases and podiums.

In terms of content, a circuit was developed around the theme of life. The first rooms are characterized by a light palette, corresponding to the theme of "incarnation" (becoming flesh, birth). As the exhibition progresses, the tone shifts, first to a pink pigmentation, then to a deeper blue. The use of color facilitates the understanding of the narrative; the darker the space, the greater the emphasis on themes such as "memento mori" (the inevitability of death). Sound was another tool used to enhance atmosphere. In some rooms, music is used to express an emotion; in others, a change in flooring, from stone tiles to carpet, absorbs the sound and heightens a silent awareness.

The most important artwork is placed at the center of the collection, in the deep blue room. It is called the "Freisinger Lukasbild" (1235 A.D.), an object made to be placed in an altar, behind doors, and to be seen a few days a year. To reconstruct this heritage, the opening of this wall was given the same dimensions and shape as the altar doors. However, instead of being covered, the piece is now open for all to see. Across the courtyard is the Chapel of Luke, a permanent installation by American artist James Turrell. These two works serve as a counterpoint and are in constant dialogue through their shared axis.

With human scale as the main guideline, distances, proportions and heights were paramount in the design process. The display cases and media consoles are positioned at a height that can be viewed by children, adults and differently abled. The light between the walls and the artwork was calculated with a distance radius to ensure accessibility and optimal viewing. Finally, the change from one floor to another was planned with an integrated ramp profile to smooth out the height difference.