Front Matter

Source: Log , Fall 2010, No. 20, Curating Architecture (Fall 2010)
Published by: Anyone Corporation

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 » Why a special issue of Log on curating architecture? The sheer proliferation
of architecture exhibitions, be they monographic, historic, stylistic, pavil-
ions, or biennials, suggests that curating architecture is not just the purview
of a museum professional but has also become its own form of architectural
Editor practice. Even universities are recognizing this trend with new graduate pro-
^Cynthia
i • -j 6 grams
^ in
i •curatine architecture.
Davidson To wit,6' three
-j grams ..6 . years
. ' . 7. ago 6 I was
years 7 invited
ago 6to. make
^ ,
' a presentation in an ongoing curating architecture seminar at Goldsmiths ^ ,
College in London. At first I demurred because I consider myself an editor,
Consulting Editor not a curator. It seems, however, that the two positions have become con-
Tina Di Carlo flated in the expanding field of curating, although having guest curated a
small group show for a Chicago museum, I know the work to be quite dif-
Protagonists ferent. The editor and curator meet in the processes of selection and organi-
Denise Bratton zation, but an editor deals with the space of a page, the curator, with the
Tina Di Carlo space of an environment. What may be provocative adjacencies in print -
debate, for example - can often fall flat in a gallery. Likewise, requiring one
at enne ngra am tQ rea(j texts on walls [s an imperfect use of space. Another factor, the ever-
Julie Rose expanding interactive and mobile space of the Internet, is forcing both edi-
Sarah Whiting tors and curators to rethink their received traditions. For me, this means the
critical role of the architecture magazine is to build an archive of the pres-
Editorial Interns ent t^iat sustains a productive discourse.
Emma Bloomfleld arc^^tecture curator has a slightly different problem. Once focused
David Huber °n co^ect*nS objects an(^ their documentation, and the relatively unques-
tioned mode of display, he or she is now confronted with the expanded idea
Ta Perry of the object and the limited space of the exhibition. If architectural "work"
is no longer considered merely the object of plan, section, elevation, or
BENEFACTORS model, how does the curator reconceptualize display? What should they
Eisenman Architects collect? What should comprise their discipline? And how will their decisions
Elise Jaffe + Jeffrey Brown impact the public perception of architecture?
The Graham Foundation Kurt Forster argues that museum architecture was once already its own
T , display. The architect gave the visitor something to view. More recent incar-
Phyllis T Làmbert ,
/ . # nations of the architecture of display include Rem Koolhaas's "Content"
Skidmore, Owings . & Merrill # LLP exhibition in Berlin, Peter Eisenman's "Barefoot on White-Hot Walls" in
Vienna, Greg Lynn's "Intricacy" in Philadelphia, and now Kazuyo Sejima's
PATRONS "People Meet in Architecture" at the 12th Architecture Biennale in Venice.
Emilio Ambasz But how architecture is now being "told" to the museum-going public is not
Roger Ferris simply in the hands of architects; it is still very much in the minds of cura-
Frank O Gehr tors W^° to<^ay are changing curation by questioning what an institution
' collects, challenging how architecture is represented and displayed, and
broadening the definition of architectural work. It is clear from these issues
Donors tjiat curating architecture is neither editing nor other forms of museum dis-
Anonymous play _ painting, sculpture - but is in need of a discourse of its own. - CD
Henry N. Cobb
Stephan Jaklitsch
Richard Meier Foundation

Guy Nordenson
Princeton University School ^

of Architecture Log 20 Copyright © 2010 Anyone Corporation. All R

Robert A.M. Stern ISSN: 1547-4690 ISBN: 978-0-9815534-8-1. Printed in the USA.
Calvin Tsao The opinions expressed herein are not necessarily those of the protagonists or of the board
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 Log
Fall 2010 Curating Architecture

Barry Bergdoll 159 In the Wake of Rising Currents: The Activist Exhib
Eve Blau 18 Curating Architecture with Architecture
Jean-Louis Cohen 49 Mirror of Dreams
Cynthia Davidson 74 Drawn In
Marco De Michelis 29 Architecture Meets in Venice
Tina Di Carlo 151 Exhibitionism
Manfredo di Robilant 71 Pippo Ciorra Takes A Job at MAXXI
Ole Wi Fischer 117 In the Shadow of Monumentality
Kurt W. Forster 55 Show Me: Arguments for an Architecture of Di
Jeffrey Kipnis 85 Dear Paula
Sylvia Lavin 5 Showing Work
Paula Lee 133 Still Life, After Death
Hans Ulrich Obrist 45 Biennial Manifesto
Kayoko Ota 141 Curating as Architectural Practice
Andrea Phillips 104 Pavilion Politics
Alex Schweder 168 Exhibit Architecture (plus 44, 116, 132)
Felicity D. Scott 65 Operating Platforms
Robert A.M. Stern 35 From the Past: Strada Novissima
Lea- Catherine Szacka 39 A Conversation with Vittorio Gregotti
Henry Urbach 11 Exhibition as Atmosphere
Philip Ursprung 99 The Indispensable Catalogue
Eyal Weizman & 125 Dying to Speak: Forensic Spatiality
Tina Di Carlo

Mirko Zardini 77 Exhibiting and Collecting Ideas: A Montreal Perspective

General Observations : On Mortality 54 . . . On the Velonoch 68 . . .

On the Waterfront 124 . . . On Interactivity 150 . . .

Cover Story: The Melnikovs, Moscow

Postcard photo and story: Cynthia Davidson

20

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