Putting Architecture on Show: Two Recent Exhibitions in Victoria, Australia (original) (raw)
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While the story of major museums and their role in shaping the history of modern architecture has been largely told, an architecture exhibition could bring together historians, curators and practicing architects to explore how architecture has pushed exhibition as a medium in its own right and how exhibitions have shaped the discipline of architecture by posing questions that are historical, theoretical and critical. Rather than focusing on major historical surveys where the exhibit is treated as a descriptive event, here the focus is on exhibitions where architecture is used as the medium, at times becoming architectural reality in its own right. The exhibition could also explore the condition wherein architecture itself has come to mimic exhibition and display strategies, making buildings into producers of scenographic sequences and atmospheric affects or, in some cases, into objects on display. Various exhibition techniques and formats that have emerged through experimental architectural exhibitions as well as fertile institutional settings and curatorial practices that have explored alternative modes of public engagement shall also be explored.
Exhibiting Matters, GAM Architecture Magazine 14
Exhibiting Matters, GAM Architecture Magazine 14, 2018
The fields of art and architecture are currently witnessing an expansion of the exhibitionary complex: permanent and temporary exhibition spaces proliferate, blending with sites of consumption. Responding to this development, GAM.14 focusses on the act of exhibiting, which reconfigures the spatial limitations of the exhibition, thus creating dynamic sites of contestation and political confrontation. GAM.14 is a collection of current positions from the disciplines of art and architecture assembled around the conceptual effort to distinguish the act of exhibiting from exhibition, opening the potential of exhibiting as an exploratory space to address urgent social and political challenges of our time. With contributions by Bart De Baere, Ivana Bago, Ana Bezi ´c, Nicolas Bourriaud, Maria Bremer, Ekaterina Degot, Ana Devi ´c, Anselm Franke, Andrew Herscher, Christian Inderbitzin, Branislav Jakovljevi ´c, Sami Khatib, Wilfried Kuehn, Nicole Lai Yi-Hsin, Bruno Latour, Ana María León, Armin Linke, Antonia Maja ca, Doreen Mende, Ana Miljacki, The Museum of American Art in Berlin, Vincent Normand, Christoph Walter Pirker, Dubravka Sekulic, Antje Senarclens de Grancy, Katharina Sommer, Anna-Sophie Springer, Barbara Steiner, Kate Strain, Žiga Testen, Milica Tomic, Etienne Turpin, What, How & for Whom/WHW
EXHIBITION SPACES IN THE CONTEXT OF REPRESENTATION OF ARCHITECTURE.pdf
EXHIBITION SPACES IN THE CONTEXT OF REPRESENTATION OF ARCHITECTURE: TRANSFORMATION OF WAREHOUSE 5 OF ISTANBUL, 2018
It’s believed in the modern ages that the existence of architecture date back to first human who needs to take shelter and creation of architecture belongs to a natural human instinct. Although architecture is born from natural human needs, architectural intellection which is shaped by aesthetic thoughts is formed for a long time in the history. Architectural productions which are shaped with various physical environments and communities are probably the most tangible productions that represent the community in the physical environments over the context. From the ancient history to present, architecture represents social classes, economic and cultural structures, rulerships and beliefs. Before the modern ages, architectural production’s representation is formed by architectural needs with the context. With the modern ages, its changed into representation of architectural production itself and its architect beyond the context. One of these architectural productions are museums which are exhibition spaces. It’s known that modern museums are started to build in 18th century. In the 19th century, museums are designed and differentiated by the common approach “specific spaces for specific objects”. In 20th century, exhibition spaces have become exhibition object itself beyond the “only” exhibition space. Istanbul Painting and Sculpture Museum which is still under construction, could seen as one of these cases. In the frame of the study, transformation of representation of architecture over the exhibition spaces is researched and compared with the similar historical spaces’ transformations. With the relations between representation and the city is researched with literature views on global cases. Istanbul Painting and Sculpture Museum which is the case of the study is examined with site observations and photographs. The aim of the study is to scrutinise and understand that exhibition spaces’ representation of itself and transformation beyond-context with making comparisons between similar global cases.
Civil Engineering and Architecture, 2020
The physical environment generates myriad of values and comprises various connotations. These values and connotations, which are directly or indirectly represented by the output, generate a sampling area to understand the production and consumption forms of the physical environment, of its cultural, social and economic priorities and contextual relations. Therefore, architecture is utilized as a tool to understand the historical transformations and relations in various disciplinary fields while architectural criticism tries to understand the architectural building process and its outcome by exceeding its professional boundaries and observing the relationships between different disciplines and architectures. Literature, art, philosophy, politics are alternative means of expression, which complement architectural criticism. In this context, architectural biennials perform as periodical discussion platforms, which perform as an alternative space for the criticism and documentation of the current issues of architectural production and its most dire problems through a selection of works under a certain theme. The works exhibited at the biennial use different tools of narration in various disciplinary bases in addition to architecture itself, and therefore create an environment for generating content and values with multiple inputs for discussions as well as concepts defining the architectural outcome. In this paper, it aimed to discuss and evaluate the accumulation of works exhibited at the biennial with various contextual and conceptual arguments and interpretations, and the boundaries of functionalization of biennial exhibitions as a platform for architecture criticism.
Our presentation will treat a particular class of "spaces of exhibition." Briefly stated, these spaces were temporary exhibitions; art, architecture, urbanism, or design were their content; they were installed in museums in North America; their designers were architects, and they date to the period after 1976. We chose the topic because architects over the past twenty-year period have made important contributions to the history of display and interpretation, and also to the creation of new cognitive and experiential realms in the museum. In these exhibitions, architects collaborated in the project of historical representation, generating evocative spaces that mediate between objects and beholders, and between reality and abstraction. We will show many images, because the exhibitions were ephemeral and, unfortunately, rarely published as built works.
The Exhibition as an 'Urban Thing'
2015
This paper presents and discusses the design of a retrospective exhibition of the work of Metis, shown at the Arkitektskolen, Aarhus, Denmark between 10 October and 14 November 2014 and at Edinburgh College of Art between 27 March and 6 April 2015. Making reference to Bruno Latour's distinction between 'objects' and 'things', as developed in his influential article 'Why Has Critique Run Out of Steam?', it speculates on what it would mean to conceptualise an exhibition as a 'thing' – that is, as a gathering of relations – and how this might affect our approach to it. In the case of the Metis exhibition, which was titled 'On the Surface', this issue is related to the agency of the large-scale textile drawing that covered the floor of the gallery, forming a kind of raft within it upon which visitors walked. Acting as a gathering space for both exhibits and visitors, the drawing was constituted through a complex of representational modalities, which put the seven exhibited projects into play with one another in such a way as to resist their stablisation and resolution into a sequence of objects.
Architecture as Art. Exhibiting Architecture
2016
The idea of the exhibition is to create a spatial device that is able to encourage visitors to look at architecture from a different perspective, relying on the persuasive effect of the atmosphere of a museological institution like the Pirelli HangarBicocca, which is not devoted to architecture. On display in the spaces of the Hangar are “actual” samples of architecture, in an attempt to facilitate the discovery of their distinctive artistic character by inviting visitors to go beyond the usual, merely practical way in which it is perceived. The samples of reality created for the Triennale, exercises of poetic architectural language, refer to good practices of design within a particular field of expertise. The exhibition has taken shape through the formulation of a number of questions on decisive situations and problems for the architecture of our time and the architects invited to contribute have been asked to respond with proposals in which the grammar and syntax certify the truth of a vision, so that the solutions are treated like the examples we find in dictionaries. The result has been the discovery of an architectural equivalent of these questions that produces, if not exactly the kind of “pattern language” theorized by Christopher Alexander, at least demonstrations with regard to the truth of some key words like Porch, Entrance, Rehabilitation, Roof, Shelter, Pavilion, etc.: figures to be used as picks for unlocking the expression of architectural ideas about new paradigms like the ecological one, or the notion that architecture ought to be merging with the discipline of landscape design. Projects: Amateur Architecture Studio, Atelier Bow-Wow, João Luís Carrilho da Graça, El Equipo de Mazzanti, Maria Giuseppina Grasso Cannizzo, Lacaton & Vassal, Josep Llinás Carmona, Michel Desvigne, Catherine Mosbach, nArchitects, Rural Urban Framework, Rural Studio, Studio Albori, Studio Mumbai
A Museum of Living Architecture
Journal of Architectural Education, 2007
This paper explores the design and construction of the Des Moines Art Center, revealing a set of distinct approaches to both architectural design and the preservation and extension of existing though not yet historic work. Three architects, Eliel Saarinen, I.M. Pei, and Richard Meier, designed the center in three separate phases. Each of these projects had to take the existing fabric of landscape and building into account, and each adopted startlingly distinctive methods for both preserving and extending the work of their predecessors. The resulting museum, seen as a place for experiencing and making art, and as a record of architectural strategies, forms a unique opportunity for investigation of and reflection upon attitudes toward renovation, preservation, extension, and alteration of recently completed work.