This is the f irst time an architecture exhibition and biennale did not display any physical material related to the practice; neither models nor plans, just 36 simultaneous projectors to conf ront the public “with the new nomadic world system during the 90s”,72 to enable them to have a view of what was happening globally in different urban contexts. So they exhibition opted to project migrations, water shortages, problems in Rwanda, shopping centres to the biggest cities in the world, f rom Cairo to Tokyo, Mexico City to São Paulo. 73
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“The language of architecture is the same language of the world” 74 and in a changed world it was a necessity to establish a new way of transmitting the information, as it happens the ‘virtual world’ was part of the curatorial strategy at a time where is was not as appearing as it is today. 75 The internet became a new tool of communication and to reach a larger public, becoming a new forum for debates and exchange ideas with people f rom all over the world. Fuksas used
this forum by creating a website, f irstly to focus the attention on the theme of the exhibition and secondly by presenting some virtual exhibitions rather than presenting them in the physical exhibition, this way opening up the biennale to online feedback.76 Providing a much needed space outside the walls of the institution and even the physical space, a the digital museum. Providing a much needed space outside the walls of the institution and even
the physical space, a the digital museum.77 Barry Bergdoll joined MOMA at the 75th anniversary of the Department of Architecture at which time he took the opportunity to redef ine how the department of architecture and the museum approach social and environmental pressing issues through architecture. “it seems to me, that the museum should serve in a much more fast -paced, productive way, not waiting for others to take the lead but prodding and taking the risk of showing things that do not yet exist, even things that would not exist without the museum’s initiative”.79
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