Attila KIM Architects is the team led by the architect Attila Kim, an architect with extensive experience in the design of exhibitions and cultural events, restoration and architectural projects, nominated three times for the European Union Contemporary Architecture Award, the Mies van der Rohe Award, winner of several national awards at the Bucharest Architecture Biennale, Bucharest Architecture Annual, Transylvania Architecture Biennale, Arhitext Awards, and awarded in 2016 with the Arts and Society Leadership Award by the Aspen Institute for his contribution to Romanian culture. Attila Kim is a founding member of the architecture workshops Studio Kim Bucșa Diaconu (SKBD) and Lundi et Demi. Since 2012 he has been working independently, leading a young and dynamic team, under the name of Attila KIM Architects. The team members are Attila Kim, Alexandru Szűz Pop, Adina Marin, Andreea Precup and Cristina Iordache. Important projects include public buildings, residential buildings, showrooms, exhibitions and fairs, shops and restorations of historical monuments. Starting from 2016, Attila Kim is the Commissioner of Romania at the Venice Biennale.

The exhibition spaces in the Timișoara National Art Museum have a very strong character, on the one hand due to the baroque architectural form, and on the other hand due to the contrast between the white color of the walls and ceilings, respectively the dark color of the wood of the carpentry and plinths. The first step represented the neutralization of all unnecessary visual elements and the transformation of the museum into a homogeneous space, which would allow the works to be centre stage. Together with the curator of the exhibition, Doina Lemny, the Brancusi expert from the Center Pompidou, it was decided to display the works in a new form, atypical for the artist's exhibitions so far. Since we are talking about a large number of photographs taken by Brancusi himself, depicting his works, it was important the way they were displayed but also their relationship with the sculptures. To transform this space, it was painted entirely black to absorb light, with areas of black curtains and the floor entirely covered in black carpet to absorb the sound, a different approach from the typical white cube spaces used in the past. Thus, the viewer is introduced into a dimension in which his senses are blurred. The spot lighting focused only on the work, as opposed to a general light, causes the rest of the visitors to be engulfed in darkness and emphasizes the visitor's connection with the artworks, creating a strong intimate connection. The architecture of the exhibition recreates the atmosphere of Brancusi's photography studio, which, by excluding natural light, tries to capture in his images the essence of his sculptures and to transfer all of the emotion to the viewer, cancelling any other disruptive element.