Architecture Exhibitions

In 1972, the exhibition De Straat: Vorm Van Samenleven (The Street: Forms of Living Together) was held at the Van Abbemuseum in Eindhoven. This was the first time that the street was exhibited as an architectural object, with an emphasis on urban ecology and society. The event gave rise to extensive art study research, and it is now timely to approach it from the architectural and urban perspective. Indeed, the exhibition stirred ideas which, fifty years later, are still relevant and continue to be referred to in contemporary debates. The study of this event raises a number of questions: What were the implications of bringing such urban issues into a museum? What can we learn from street design exhibitions, and De Straat in particular, regarding their impact on contemporaneity? Their history and contributions are reviewed in this work, focusing on the theoretical sources, in an attempt to determine their effects on architecture. A literature review was thus conducted, together with an analysis of the museography and exhibition catalogue. Moreover, a semi-structured interview was carried out with the curator and architect Tjeerd Deelstra. It could be inferred that De Straat was both an innovative exhibition in its realisation and a milestone in the construction of concepts such as woonerf and ‘shared space’. De Straat defined new ways of exhibiting architecture, but above all, it opened discussions and triggered questions that challenged the principles of a city under constant transformation.

This exhibition unpacks architecture’s entanglement
with extraction, exploitation, and capital to explore
emergent models for transformative socio-ecological
praxis through the work of several academic design studios
and grassroots campaigns. Contemporary global
models of development remain rooted in a Eurocentric,
patriarchal modernity, whose origins can be traced to
colonization and its concomitant exploitation of material
and labor across geographies. If the practice of
architecture remains entwined within the forces of globalization
and neoliberal capital, it will continue to contribute
directly to myriad, multi-scalar crises – structural
inequity, ecological degradation, resource depletion,
species loss, and the climate emergency.

The project was developed on invite of the curators of the Egyptian pavilion at the 18th International Architecture Exhibition at the Biennale of Venice, in 2023, whose main theme has been “Nilab. Nile as laboratory”, focusing on the relationship between architectural design and archaeological tourism. Burg Izbat Rashid, which has grown up around the Qaitbay Citadel, 3 km from the Nile's outlet to the Mediterranean and 5 km from Rosetta, is a minute agglomeration of compact residential housing characterized by a labyrinthine mesh of small streets and cul-de-sacs, in which public space is almost entirely absent. The proposition identifies the Nile front as the pivotal feature of the site and interprets the involuntary geometry drawn onto the water and the shore by the cages and the tanks as a settlement principle for walking on the river, from where to unveil the citadel. A geometric grid stretches over the project area and ties into a single architecture the marina for the sheltering of fishing boats and mooring of tourist vessels, the market for hawkers, and a system of public spaces. The grid is matrix for the large plaza, divided into two fields, one on land, the other on water. The square on land is a paved plane planted with palm trees, surrounded in turn by spontaneous palm trees that restore those described in drawings and historical photographs,3 now eliminated by brickworks. The river plaza is its double, a body of water shaded by a fabric sail held by poles and tie-rods, which breaks off to reveal the fort. The water courtyard is partly navigable to moor fishing and tourist boats at the piers, and partly walkable, to enjoy the view of the fort and the coast from a floating platform covered by tents. The design of a public space device to date non-existent in the area, which learns from the practices of self-construction, is the crucial issue of the project. The square is understood as the material place indispensable for communities to think of themselves as resilient and active subjects: a new space of civic and political construction: a floating institution.

Many of the books that have recorded the history of architecture in Colombia were also exhibitions. Between 1977 and 1992, when the study of the history of Colombian architecture reached great growth, architecture exhibitions and their accompanying publications were decisive actors in shaping Colombian architectural culture. In addition to documenting these ephemeral events, the publications fostered criticism, academic research, and heritage conservation. Although the enduring nature of books has secured their significance, the history of architecture exhibitions has been forgotten. Through archival research and interviews, this article recovers the history of two architecture exhibitions from 1980 and 1985, a history that reveals the entanglement of architecture exhibitions and their editorial dissemination.

Italy: The New Domestic Landscape è una vicenda particolarmente interessante per diversi aspetti. Nella sua metamorfosi da evento performativo a vicenda trasmessa è stata spesso mitizzata e, forse anche per questo, non ha smesso di indurre ricercatori e studiosi ad occuparsene ancora. A distanza di cinquant’anni può essere interessante cercare di operarne una lettura in controluce, con attenzione particolare all’eredità e al significato del progetto allestitivo. La mostra del MoMA è una storia di ribaltamenti: il rovesciamento tra interno ed esterno vede la sezione degli environments distribuita tra le sale del museo, mentre quella degli objects all ’es t er no.  Il curatore decide di interrompere una tradizione museografica che predilige l’oggetto messo a confronto con uno sfondo presentando degli oggetti “soli”, lontani da quegli interni domestici ai quali sono solitamente relegati ed accolti in piccole torri che suggeriscono diverse letture controverse. Ed è proprio nella contraddizione che si ritrova la cifra dell’intera operazione.

Utstillingen «Bauhaus på norsk» på Henie Onstad Kunstsenter i 2014 stadfestet at Bauhaus-innflytelsen var mer utbredt i Norge enn tidligere antatt, saerlig i det fysiske materialet, mens konkrete forbindelseslinjer har vaert vanskeligere å spore. Denne artikkelen tar for seg norske designere, arkitekter og kunstnere som faktisk gikk på, eller hadde kontakt med Bauhaus-skolen, og noen få «Bauhäuslere» som besøkte Norge i 1920-og 30-årene.

El libro de Audrey Jeanroy-historiadora del arte y especialista en arquitectura del siglo XX-, titulado Claude Parent: les dessins d'un architecte, constituye un juicioso ejercicio de síntesis de su tesis doctoral titulada Claude Parent: architecture et expérimentation, 1942-1996. Itinéraire, discours et champ d'action d'un architecte créateur en quête de mouvement, sustentada en

Giornate di studio a cura di Annalisa Viati Navone, Letizia Tedeschi e Stefano Setti,  promosse dall'Archivio del Moderno, Accademia di architettura - Università della Svizzera italiana e dal CRA.IT (Centro di Ricerca sull’Arte Astratta in Italia) Università Cattolica del Sacro Cuore, Milano.
Balerna (CH), 9-10 giugno, 2023

Tous droits réservés © Association Québécoise de Promotion des Recherches Étudiantes en Muséologie (AQPREM), 2013 Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y compris la reproduction) est assujettie à sa politique d'utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l'

When proposing to establish a Norwegian museum of architecture in 1934, Harald Hals, head of the Oslo planning department, pointed to a precious material 'stored away in basements, accumulating in attics, shoved into drawers and stuffed into cans'. Prominently placed in the envisioned museum was a collection of photography, drawings, and 'nearly 100 models of projected and executed works from our own time, individual buildings but also sections of streets and cities, even complete cities. […] This still developing collection is located in an attic never

Book review of Donna Jeanne Haraway, Staying with the Trouble: Making Kin in the Chthulucene, Durham, NC: Duke University Press, 2016. ISBN 978-0-8223-6214-2; Maria Puig de la Bellacasa, Matters of Care: Speculative Ethics in More Than Human Worlds, Minneapolis: University of Minnesota Press, 2017. ISBN 978-1-5179-0064-9.

In 2015 Het Nieuwe Instituut in Rotterdam programmed the exhibition 1:1 Period Rooms by Andreas Angelidakis, an environment featuring six evocations of historical period rooms, gradually evicted from the Stedelijk Museum as it adopted the white cube convention. This article interprets the exhibition, its six period room-white cube permutations, and Andreas Angelidakis's multiple authorial identity as an architect-artist-curator by positioning them at the crossroads of three interlocking contemporary 1:1 exhibition practices. The show is first contextualized within a current trend of 1:1 exhibition structures in architecture exhibitions increasingly used to address tensions between image and construction in the representation of architecture itself. The second and third reference fields are the institution-critical interventions on the exhibition space in artistic and curatorial projects from the late 1960s onwards, and the more recent reconstructions of historical displays and re-exhibitions of significant exhibitions.

The article reflects on the conceptualization of the exhibition MAN transFORMS, the opening show of the Smithsonian Institution's National Museum of Design Cooper-Hewitt Museum in October 1976. Discussion of the exhibition's curatorial direction considers how conceptions of the environment are applied as content as well as form via reflection on the curatorial tools employed in the genesis of the exhibition's production between 1974 and 1976. MAN transFORMS was conceived by director Lisa Taylor together with architect Hans Hollein, and explored the potential of the newly-founded design museum in a series of commissioned environments and configurations of everyday objects, as well as collection exhibits. In the paper, I examine on the one hand the way the museum's institutional conditions rendered the environment a topic, and discuss, on the other hand, the terms within which the environment herein is used as a medium of architectural discourse.

In 1970, the Museum of Contemporary Crafts in New York City hosted the exhibition Haus-Rucker-Co LIVE!, a mid-career retrospective of the Viennese architectural collective. Most historians have studied the range of design works created by the trio-and featured in the exhibition-alongside contemporaneous architects' concerns with sci-fi fantasy; temporary, inflatable structures; and countercultural liberation. While not ignoring the emancipatory potential of these works, this essay focuses primarily on the set of performative actions Haus-Rucker-Co staged within the museum during the run of the exhibition, including: their decision to live within the museum galleries, the hosting of weekly meals in the exhibition space, and the ritual devouring of a scale model of the museum made out of cake. Taken together, these acts foreground a sense of sociality and community that counters the museum's standard emphasis on individualized aesthetic absorption.

A thematic issue on the architecture exhibition as environment, edited by Alex Brown and Léa-Catherine Szacka, and with contributions by Manuel Rodrigo de la O Cabrera, Jordan Kaufdman, Ross Elfline, Samuel Korn, Christophe Van Gerrewey, Rebecca Uchill, and Maarten Liefhooghe.

The following paper takes as its starting point a posed photograph of the members’ room space within the Architectural Association’s AA125 exhibition. The image is one of the only published traces of this travelling exhibition, a show first installed at the Institute of Contemporary Arts in London, from April 5 to 29, 1973, to celebrate the AA’s 125th anniversary, which included a full-scale “reconstruction” of the institution’s members’ room at 36 Bedford Square. AA Chairman Alvin Boyarsky’s staging of the AA members’ room, we argue, functioned as an inhabitable exhibition environment that simultaneously reinforced the enduring identity of the AA—one of the most important architecture schools in Europe—as an independent institution, while also signaling its recent reinvention under Boyarksy’s direction. Recent research on the institutional history of the AA has drawn attention to Boyarksy’s role in revitalizing the school through a series of ambitious teaching and publication initiatives. The paper builds on these studies by repositioning this underexplored exhibition and, more specifically, the members’ room installation as an important part of Boyarsky’s political and pedagogical project for the AA during the 1970s.

Curatorial practices have shaped the way we understand modern architecture. Inserted in the spaces of museums, it becomes part of cultural work. At the Museum of Modern Art (MoMA), it is an ongoing part of the struggles to bring architecture—including in Latin America—to its visitors. Curatorial strategies that expand our notion of “what belongs in museums,” and in which kind of museums—be it art, anthropology or history—help us make cultural work more diverse and inclusive.
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This research program aims to bring together research on the most contemporary art scene to consider them both as subjects for reflection and as opportunities to explore the exhibiting hybridizations between the ideas of display and design and, more in general, between artworks and devices, objects and environments, involving poetic and aesthetic issues.

The Biennale of Dakar is considered as a particular site for examining South-South circulations of artworks. Being the biennial of contemporary African art, only artists from Africa and its Diaspora are eligible for its central, international exhibition. Several factors, however, are strongly influencing these selections, among others the Biennale's specific selection procedures, as for instance the appointment of the members of the selection committee. Considering critical voices of local artists about the Biennale's performance will lead to discussing several problems that affect South-South circulations of artworks. Résumé La Biennale de Dakar sert ici d'exemple pour examiner une circulation Sud-Sud d'oeuvres d'art. La Biennale ayant été définie à sa fondation comme une Biennale d'art africain contemporain, seuls les artistes africains et de la Diaspora africaine sont éligibles pour l'exposition centrale internationale. Néanmoins, plusieurs facteurs in...

celebrada en 1954 fueron el jardín, el cortometraje y el laberinto. Se crearon para realizar una crítica urbana a la vida cotidiana a través de tres películas de corta duración. La exposición se organizó íntegramente como un laberinto en el interior del Palazzo dell' Arte creando, además, un micro jardín vivo. Una herramienta múltiple para promover la participación de sus protagonistas e integrar en el proceso a su público. Un guion gráfico tridimensional activo con capacidad de mostrar una estructura proyectual en secuencia con el tiempo y además servir de herramienta de proceso y de puesta en escena participativa. El objetivo de este artículo es analizar esta exposición por su capacidad dialéctica, atemporal y pedagógica. Creando instrumentos con capacidad de atraer la atención y la participación del público y generando una crítica a la ciudad deshumanizada.

n°100, juillet-août 2005 Un retour sur la notion de point de vue. En tant que dispositif de monstration et d'exhibition, l'exposition a évidemment à faire avec le point de vue. Le point de vue est d'abord un réglage qu'opère le concepteur-muséographe : il focalise le regard. Mais le point de vue est aussi l'expression, plus ou moins manifeste et parfois même implicite d'une opinion. Plutôt que de critiquer la faveur dont jouit l'idée qu'il est préférable de proposer aux visiteurs une pluralité de points de vue dans un musée, ce texte explore la diversité comme la subtilité des manifestations du point de vue au sein du discours d'exposition.

L'image peut être un support à la recherche d'informations dans toutes les phases de la conception architecturale. L'utilisation d'outils d'aide à la conception proposant des références imagées semble être possible quel que soit le moment du projet. Cet article présente trois approches et expérimentations qui traitent de l'apport de l'image référence dans le processus de conception architecturale. La première approche repose sur l'idée que les architectes utilisent des références externes comme éléments de production de nouvelles idées et qu'il est possible d'organiser cette connaissance référentielle en prenant l'image comme élément structurant. Les deux autres approches proposent d'utiliser l'image pour soutenir la formulation des besoins des concepteurs dans des phases plus avancées. Les besoins identifiés sont ceux de l'architecte qui recherche une information particulière pour justifier ou réaliser ses choix pendant l'acte de conception.

Dr. DJEGHAR  Aicha Departement D’Architecture Universite de Biskra (Algerie) En raison de sa diversite a travers l’histoire, l’architecture en Algerie  est tres complexe a estimer. Entre l’antique, le traditionnel, le colonial, le post-colonial et l’actuel, l’identification de l’architecture algerienne est difficile. Les cites numeriques dont parle Tahar Djaout 1  ne sont pas le seul denominateur commun aux cadres d’habitat dans nos villes. L’absence de l’esthetique dans l’environnement bâti est le grand identificateur de l’architecture d’aujourd’hui dans notre pays. Quelque soit la mouvance dans laquelle se trouvent l’art et l’architecture, la qualite de la production architecturale est a revoir : en dehors du dechirement identitaire spatial, l’architecture se vide du sens artistique de la definition meme de  l’architecture. Le beau est un adjectif auquel l’environnement produit en Algerie ne se conjugue pas. L’espace bâti est un simple agencement de bâtiments. La production archit...

Utstillingen «Bauhaus på norsk» på Henie Onstad Kunstsenter i 2014 stadfestet at Bauhaus-innflytelsen var mer utbredt i Norge enn tidligere antatt, saerlig i det fysiske materialet, mens konkrete forbindelseslinjer har vaert vanskeligere å spore. Denne artikkelen tar for seg norske designere, arkitekter og kunstnere som faktisk gikk på, eller hadde kontakt med Bauhaus-skolen, og noen få «Bauhäuslere» som besøkte Norge i 1920-og 30-årene.

The rise of installations, as well as immersive and interactive spaces, in both art and science museums has accustomed the public to heightened interactivity, leading to a better understanding of social, natural and scientific phenomena. These spatial systems have also paved the way for the production of innovative environments within exhibition design. This article aims to present a brief overview of the origins of immersive and sensory practices at work in contemporary museums, and to evaluate the potential of these processes to generate critical thinking in the visitor. A concise description of the evolution of the operational and intellectual premise of these museums and their changing practices demonstrates the transformations that have occurred, their modalities, and their application in selected works, notably: The Weather Project by Olafur Eliasson presented at Tate Modern London; Diller + Scofidio's media pavilion, Blur Building, in Yverdon-les-Bains in Switzerland; and...

dünyada mimarlık müzeleri Mimarlık dergisinin 50. yılını kutladığımız 2013'ün ilk sayısıyla birlikte derginin "ayraç" bölümünde yeni bir koleksiyon oluşturmaya başladık. Ayraçları biriktirerek dünyada bulunan mimarlık müzelerinin bilgisini toplayabilir ve ziyaret edilecek yerler listenize ekleyebilirsiniz. Mimarlık müzeleri "ayraç" koleksiyonuna katkı vermek isterseniz bize

El diseño de "Monolith Controversies", el Pabellón de Chile en la 14.a Muestra Internacional de Arquitectura de la Bienal de Venecia (titulada Fundamentals), es resultado de una aproximación constructivista a la integración de los contenidos elegidos -por su diversidad y riqueza- para contextualizar la presentación de un panel prefabricado de hormigón armado hecho en Chile durante el gobierno de Salvador Allende. Algunas claves definen el uso de muestras físicas y multimedia para presentar el impacto que tuvo en el país una tipología de arquitectura de origen europeo durante el siglo XX y su adaptación al contexto nacional.


The design of "Monolith Controversies", the Chilean pavilion at the 14th International Architecture Exhibition at Venice Biennale, (entitled Fundamentals), is a result of a constructivist approach at integrating the chosen contents -for their diversity and richness- to contextualize the presentation of a prefabricated reinforced concrete panel made in Chile during Salvador Allende's government. A few cues define the use of physical samples and multimedia to present the impact that a European architectural typology had in the country during the XX century and its adaptation to the local context.

« Rien n'entre dans la mémoire, et a fortiori dans l'intellect, sans avoir passé par les sens et par toute la série des facultés intérieures, forçant porte après porte par l'intensité de l'impression et par la vertu des émotions soulevées 1. » Cette citation du théoricien humaniste Giordano Bruno (1548-1600), s'appuyant en partie sur les observations de saint Thomas, met en évidence que l'exploration du système perceptif chez l'être humain n'est pas une quête nouvelle. Les défis posés par le raisonnement, la capacité de mémorisation et l'expérience sensible ont depuis longtemps retenu l'attention des scientifiques. Bien qu'aujourd'hui nous en connaissions un peu plus sur le sujet, l'expérimentation se poursuit toujours dans le but d'en savoir davantage sur nos comportements. Nombre de chercheurs-dont Umberto Maturana et Francisco Varela-soutiennent que la biologie est présentement le siège d'une révolution comparable à celle qu'a connue la physique au cours de la première moitié du XX e siècle et que cette révolution présente une vision radicalement nouvelle des processus de la vie grâce auxquels les êtres humains acquièrent la connaissance * Cet essai développe et documente les notions de musée en tant qu'univers sensoriel brièvement présenté dans les articles suivants : « L'immersion sensible en exposition : Sensations urbaines une approche différente à l'urbanisme au Centre Canadien d'architecture »,

Tous droits réservés © Association Québécoise de Promotion des Recherches Étudiantes en Muséologie (AQPREM), 2013 Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y compris la reproduction) est assujettie à sa politique d'utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l'

L'image peut être un support à la recherche d'informations dans toutes les phases de la conception architecturale. L'utilisation d'outils d'aide à la conception proposant des références imagées semble être possible quel que soit le moment du projet. Cet article présente trois approches et expérimentations qui traitent de l'apport de l'image référence dans le processus de conception architecturale. La première approche repose sur l'idée que les architectes utilisent des références externes comme éléments de production de nouvelles idées et qu'il est possible d'organiser cette connaissance référentielle en prenant l'image comme élément structurant. Les deux autres approches proposent d'utiliser l'image pour soutenir la formulation des besoins des concepteurs dans des phases plus avancées. Les besoins identifiés sont ceux de l'architecte qui recherche une information particulière pour justifier ou réaliser ses choix pendant l'acte de conception.

En este artículo se discuten los principales cruces entre Arquitectura y Etnografía desde dos aproximaciones: primero, desde una revisión historiográfica, se examina bajo qué condiciones se gestaron estas transferencias disciplinares durante el siglo XX; en segundo lugar, se realiza una discusión en torno a los enfoques metodológicos asociados al campo emergente denominado Architectural Ethnography. Este marco de reflexión permite introducir y situar el trabajo del arquitecto japonés Kon Wajirō entre los años 1917 y 1931, el cual se llevó a cabo en Japón durante la transición hacia la modernidad, periodo marcado por grandes transformaciones sociales, culturales y políticas. El objetivo de este
escrito es profundizar en estos cruces disciplinares desde la revisión de estudios precursores en este campo de investigación quehan sido omitidos de las revisiones historiográficas, tanto en arquitectura como en antropología, y situar a este autor en una discusión metodológica más amplia que integra los debates actuales.

Le mémoire aborde les dispositifs scénographiques de l'expositon où l'architecture est exposée comme l'objet exposé.
En comparaison à la même échelle deux projets campus Vitra et Serpentine Pavillon, un débat se déclenche: est-il possible d'exposer l'architecture dans le même contexte voire sans contexte?

- Le campus Vitra ( un exemple du parc industriel ): exposer les architectures à l’échelle 1 par l’extension spatiale
- Les Pavillons Serpentine: exposer les architectures à l’échelle 1 au temps sucessif.

Para el número especial dedicado a los archivos de arquitectura, hemos
invitado a David Peyceré, director desde 1995 del Centre d’archives
d’architecture du xxe siècle y quien además es redactor jefe de la revista
Colonnes –publicación anual del Centre–, a reflexionar en torno al trabajo
archivístico actual, en un contexto internacional cruzado por las nuevas tecnologías,
la epidemia de covid-19 y las redes presentes y futuras entre jóvenes
colaboradores.
Este centro de archivos de arquitectura del siglo xx tiene su origen en el
antiguo Institut Français d’Architecture (ifa), fundado en 1980 y abierto al
público en noviembre de 1981 en su primera sede del Hôtel de Brancas en
París (Distrito 6). Posteriormente, el centro pasó a formar parte de la estructura
de la Cité de l’Architecture et du Patrimoine creada en 2004.

El viaje a Marruecos del arquitecto noruego Sverre Fehn en 1951 es uno de los hitos más reseñables de su formación como arquitecto, pero también uno de los más desconocidos. Hasta la fecha, próximos al décimo aniversario de su fallecimiento en febrero de 2009, las investigaciones sobre el autor nórdico han obviado estudiar dicho periplo en profundidad, tratándolo en muchas ocasiones simplemente como confesado punto de partida en su trayectoria. El presente artículo reconstruye, ordena y analiza el citado viaje a la luz de los cuadernos originales que Sverre Fehn trajo consigo a su regreso, tres y no uno, como siempre se ha dicho, legados al Museo Nacional de Arte, Arquitectura y Diseño de Noruega. Se indaga en el pensamiento del viajero mediante los parajes y construcciones que codifican sus dibujos. Siguiendo los consejos de Jorn Utzon, Fehn reconoce la dimensión inspiradora que la arquitectura primitiva tuvo para los maestros del Movimiento Moderno y, por ende, para su propio acervo cultural moderno.

Norwegian architect Sverre Fehn took a trip to Morocco in 1951 which is one of the most remarkable steps of his beginnings as an architect, but also one of the most unknown. Until now, nearing the tenth anniversary of his death in February 2009, research on the Nordic author has ignored the need to study the journey in depth. This has been treated on many occasions just as a confessed starting point in his career. This paper rebuilds, organizes and analyses the trip using the original notebooks that Sverre Fehn brought with him on his return, three and not one, as has always been claimed, which were left to the National Museum of Art, Architecture and Design in Norway. The researcher explores the traveller’s thoughts through the places and constructions encoded in his drawings. Following Jorn Utzon’s advice, Fehn recognized the inspiring dimension that primitive architecture had for the masters of the Modern Movement and, therefore, for their own modern cultural heritage.