Loo Y.
Google
You exit the galleries and find yourself walking inside a spiral. The floor is barely sloped, more ramp than stair, wrapping you round a tall, bright well while the balustrade coils at your side in metal and stone. Look closely and there are two paths: one ramp above the other, twisting together without ever meeting, like a built diagram of organised flow. Light drops from the glass at the top, catching the curve and the pockets of shadow in the treads. Designed in the 1930s as a modern counterpart to Bramante’s older ramp, it now serves as the Museums’ unwinding gesture at the end of the route: a slow, circling descent that feels half infrastructure, half sculpture.