Between Museum & Object

the intersection of architecture and the architecture exhibition within the contemporary museum Erin Campbell

MAXXI Studio 8: The Home, The Monument, The Museum Tutors: Scott Woods & Kim Vo

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﹛ BETWEEN MUSEUM & OBJECT ﹜ the intersection of architecture and the architecture exhibition within the contemporary museum Erin Campbell

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MAXXI Museum

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Erin Campbell curator, ﹛ between museum & object ﹜

Prologue The MAXXI is an object in itself, sitting within the city as a series of interconnecting parts within one autonomous object. This object is exhibited as art object within its own exterior context. Criticised for its off-axis and disconnection with the city, the MAXXI is transformed similar to that of its Roman counterparts, a composition of masses often described as a city of collective objects rather than a singular logical system.

Within the contemporary museum setting, architectures are absorbed, layered and merged to the MAXXI. By treating the MAXXI as an object, many layers of architecture are built on top of another with each replacing the last, but with the old structures still present underneath. Just as Rome is a mass of layers, the MAXXI presents itself as many structures hidden beneath the surface, at the same time present and absent, visible and invisible.

The movement within the museum is not room to room like a typical museum space but rather corridor to corridor, the corridor and the room are now conflated.

The MAXXI within itself, begins to notion this concept, this secondary layered movement uses the existing corridor typologies present in the museum and redefines them as sole and primary building element rather than a precursor to space or in-between one. By colliding a set of corridors chosen to stand as platonic, and then by aggregating them into a unified element.

Gallery space has been transformed where corridor becomes object rather than translated as the in-between space of buildings. This series of objects are reinserted into the MAXXI, embedded within and in doing so establishes an assemblage of architectures layered, just as the city in its context, the MAXXI becomes an archive of its own history. The insertions are somewhat familiar and recognisable having been derived from the original museum itself.

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Between museum and object utilises the histories associated with the architecture within Imperial Rome and Aldo Rossi’s theory and attitude towards urbanism and the city as theoretical grounding within the project. Rossi interprets the city as an assemblage of architectures, demonstrating an archive of its own memory.

Together with Hadid’s MAXXI as composition of inbetween spaces the MAXXI is transformed utilising this Rossi methodology. The interconnecting corridors of the MAXXI are at first stripped and reimagined, thus, reinterpreting the role of the architectural corridor within the contemporary museum. Multiple corridor typologies are layered and reconfigured on top of the existing. The result, is against the “illusion of the plan”, revealing the building to have multiple architecture elements not limited to the space of one single typology. Space is ever-changing to create new intersections, collisions, and punctures, overlapping corridor as gallery space types together.

Q+A

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Interviewer - Lachlan Welsh Interviewee - Erin Campbell

On Rossi Lachlan: Do you think that you have moved out of Rossi’s shadow? How have you embraced him but also managed to move away from him?

Erin: At first glance of Rossi, his formalism is what really strikes you at first, the form and arrangement of objects or artefacts – there’s a certain surface level understanding at first. When analysing Rossi, and taking his ideas into your own projects its difficult to move away from him in such a way. Initially direct forms were taken and almost replicated into my previous project, these forms are so specific and identifiable, but there’s so much more to Rossi then this interpretation.

L: Do you think Rossi is still relevant for contemporary discourse? If yes, why?

If no, why?

E: I suppose going off from that first question, I think Rossi’s formalism isn’t as relevant as times have moved, forms change, styles change, but I think it’s his ideas on particularly urbanism – Rossi’s theory on urbanism, really how cities adapt and change over time – the idea that it’s an assemblage of different architectures over time, of various moments, there’s many layers to the city. This is particularly interesting now looking at Rome as a site for this project and the fact that Rome is so dense in history – layers and layers of architecture built upon existing, its also an assemblage of different architectures merging together which is exactly how Rossi described the city.

This kind of archive of its own history. As for contemporary discourse I think his concepts and ideas really show or demonstrate a way in which we analyse a site and its history and surrounding context – offering a process or framework to bring into the new architecture.

To once again refer to this project – the MAXXI – ‘smooth’ architecture is critiqued for you know its lack of historical context, its relation to anything, and Rossi ideas and ability to take historical context and form into his own designs really contrasts this contemporary concept, I think there’s something to come from that and almost go back to.

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I think now I have, at this step 3 stage. My understanding of Rossi, especially from Step 1 and even Step 2, was quite a surface-level interpretation, superficial even, and I think in this latest project in the MAXXI, I’ve moved from Rossi formalism to concentrating more on his methodology. I think I’ve embraced him in – you won’t look at my project and understand the Rossi elements necessarily straightaway until you really look at the process and take a longer look. I think that’s how I’ve embraced him, and also how I’ve moved away, because obviously my own analysis and my interest in the MAXXI, I’ve combined with this Rossi methodology. What I’m trying to say is, the Rossi methodology particularly his ideas towards the city and urbanism is what I’ve embraced.

On the Exhibition

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L: What is the challenge of exhibiting architecture? What is exhibited and what does the exhibiting in your project? Is it that simple?

E: Straightaway I think the challenge of exhibiting architecture within the museum is the context, the original intention of the architecture being taken from its context and displayed in a museum. You’re experiencing it from a different perspective, you’re not getting the whole complete picture, in that sense, and you’re seeing it quite on its own, individually. You’re not getting the architects original intention, from the museum as the context it’s the intention of someone else – sometimes completely removed from the design process of the building, its their intention, the curators. Even the way you move around the museum, you’re seeing that architecture displayed as object, getting an objectified view of it. Looking from the model, you’re looking down an ideal view, or the perspective is away from the original intention of the architecture one to one, it’s a completely different experience.

I guess this provides another layer to architectural representation that can be explored that buildings, or built projects sitting within their original context just cant explore, or don’t have the ability to unpack in that way. The architectural exhibition really offers this other understanding. I constantly battled between exhibiting drawings on a wall or simply just taking the architectural elements as one to one and placing them inside the museum.

How do exhibit architecture without literally putting it inside the museum as is, I suppose this was a difficulty I dealt with throughout.

In my own project, I have objectified the MAXXI as a kind of critique or further understanding on exhibiting architecture. I’ve made objects out of the MAXXI itself, and replicated them, stitched them together and turning these objects into a hybrid of the MAXXI in its original state and explored this relationship of how you exhibit architecture, and archiving the MAXXI within the context of the MAXXI itself.

L: How would you describe an architecture that exists solely inside the museum? How is that architecture different to architecture that exists outside the museum?

E: Again, it’s the framing of that architecture, it’s the way in which the drawings, the diagrams, the models, become object. Referring to the last question I unpacked this idea questioning what happens to a project without its surroundings, an isolated element. Whereas outside the museum, they’re still an object I believe, but the scale and perspective and experience is completely different.

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Moving through a building, you’re not taking in, you’re not as perceptive as you move subconsciously through. Once you take that building and display it as an object, or model, or fragment it even, within the museum this is really where you put it into a new light. Immediately you are looking closer and building a different understanding of it, as it’s the object on display not necessarily a container you move through.

On the Project of Architecture

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L: Can you identify a moment of crisis in the development of your project or your thinking about your project – for example a particular problem that couldn’t be resolved, or the idea that took-over your project...? Is it an architectural problem that will continue to haunt your project even after its completion?

E: This one took me a while to resolve, and it was really about, once I’d extracted those elements of the MAXXI, how do I then stitch them together – what is the reason – and how do I insert them back into the MAXXI. This was with me for a few weeks, and looking back at Rossi to understand further his methodology, trying to implement that, but in the end it really took my own view on it, and a lot of intuition and understanding of programs within the MAXXI, and how these new insertions relate to these existing programs.

It was hard to find that reason why, my project was so process driven I felt I needed a strong reason or method in order to validate anything I did at first. In the end, I think I looked at Rossi’s idea on monument and monumentality, this architecture without program. I also analysed the museums existing programs, where I gathered an understanding of what goes where.

There were variuous challenges, I guess another one that stands out to me is how do you put these insertions back in, and how do they relate back to what is existing? I think this was a problem that continued, have I even fully resolved it yet?

Is this project ever fully resolved? but I think that’s what was interesting about the project, this exploration of that why: why does that particular insertion go in this point in the MAXXI, and what becomes of that?

What happens next?

It’s definitely an exploration of an idea, an idea surrounding object, the corridor, the inbetween spaces and Rossi and his ideas following extracting architectures.

L: Has your project for an architecture exhibition changed your position or attitude to architecture more generally? If yes, how?

Looking at these Rossi residential projects really forced me to analyse, look for anything, anything to extract and take away. I must of spent hours looking into this project, which wasn’t even a well known project, or even that interesting at first glance. But, forcing me to use that as my precedent, the only precedent was a challenge. Weeks later and I’m still finding elements to extract which I didn’t see a few weeks ago. I know for myself, and for many others, I need some sort of grounding, some sort of theoretical reason as to explain why I’ve done this form or whichever and that was a struggle. From doing that, so many hours, I think now I look at architecture, the ability to read a building far closer then ever.

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E: I don’t think my position or attitude has changed dramatically, but I think particularly my understanding of architecture as an object, through the weeks, this development, has changed. I never really thought of architecture as object before, but I think through this understanding of Rossi, urbanism and the architecture on display has changed my understanding, and I don’t even fully understand, I’m still learning in that aspect.

Have I even fully understood architecture as object?

I’m still in that learning phase of architecture and really exploring these elements and scale and proportion, and how these relate to context and historically, and what that means when you recreate something and insert it back into its own self. Is architecture as object only relevant in a museum context, that’s something I’m still not so sure about.

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overview axonometric ﹛ seven objects ﹜

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circulation interrupted ﹛ the temporary exhibition ﹜

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Stitching Monumentality

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Yichen Cao, 2020

Curated by Erin Campbell, {between museum + object} engages with the concrete presence of Aldo Rossi and the flowing system of the MAXXI Museum in a deliberate gesture ----Stitching Monumentality. The stitching appears in the use of extractions and reinsertion of the MAXXI circulation space. Monumentality, on the other hand, is conveyed through the inserted walls of screen grids, which creates a looming presence of Rossi formal language.

With the screen grid systems stitched inbetween the corridor, permeability became present inside the museum. Unlike conventional exhibition, the screen grids made it see-through from both sides of the walls. By doing so, the concreteness of walls, as the medium for display, were dissolved. Instead, a certain direction or axis was introduced within the exhibition.

Such gesture also implied a sense of temporality regardless of its strong presence of monumentality. With the grid system registering certain “unfinished” framework, it also acts as a layer of exposed skeleton that occurred similar to Rossi’s Modena project. However, the surprising thinness of the screen grid suggests certain uncanny moment that is specific to the exhibition context.

By juxtaposing distinctive spatial opportunities in the MAXXI with expansive monumental insertion, the curatorial approach reveals to us constant tension and negotiation between the museum and the displayed.

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Through Campbell’s proposal, we see a set of contingent moments: Seven inserted objects, which seems to be floating or situating within a net of invisible coordinates in the MAXXI. With one of the major intervention being a crosslevel grid system takes over the MAXXI, it manifested extreme monumentality and distorted conventional perspective of how one views a museum ---- a museum, in that case, was no longer the institutional subject for hosting exhibitions.

Such gesture shifted the conventional perspective of viewing museum as the subject to display into the displayed object itself.

Casa D’abitazione 1983, Viadana MAXXI Museum Foundation, Archival Material

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Aldo Rossi precedent residential project

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Casa D’abitazione 1983, Viadana Alberto Ferlenga, External Elevations, in Aldo Rossi: Life and Works of an Architect, (Konemann, 2002)

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Aldo Rossi precedent residential project

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﹛ the city ﹜ step 1.1 project precedent

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Step 1

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the architecture exhibition past architecture exhibition images providing curatorial strategy precedents

Step 2.1 The Model: A Model for a Qualitative Society (1968) Eeva-Liisa Pelkonen, Exhibit A : Exhibitions that Transformed Architecture, 1948-2000, (London: Phaidon Press Ltd, 2018), 106-113.

Eeva-Liisa Pelkonen, Exhibit A : Exhibitions that Transformed Architecture, 1948-2000, (London: Phaidon Press Ltd, 2018), 26-27.

Step 2.3 Archaeology of the City (1977) Eeva-Liisa Pelkonen, Exhibit A : Exhibitions that Transformed Architecture, 1948-2000, (London: Phaidon Press Ltd, 2018), 195.

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Step 2.2 How America Lives (1949)

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step 1.1 project

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step 1.1 project

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﹛ the monument ﹜ step 1.2 project

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﹛ the object ﹜ Rossi alarm clock step 1.3 project

Step 2

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the architecture exhibition past architecture exhibition images providing curatorial strategy precedents

Step 2.1 The Model: A Model for a Qualitative Society (1968) Eeva-Liisa Pelkonen, Exhibit A : Exhibitions that Transformed Architecture, 1948-2000, (London: Phaidon Press Ltd, 2018), 106-113.

Eeva-Liisa Pelkonen, Exhibit A : Exhibitions that Transformed Architecture, 1948-2000, (London: Phaidon Press Ltd, 2018), 26-27.

Step 2.3 Archaeology of the City (1977) Eeva-Liisa Pelkonen, Exhibit A : Exhibitions that Transformed Architecture, 1948-2000, (London: Phaidon Press Ltd, 2018), 195.

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Step 2.2 How America Lives (1949)

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﹛ gallery as object ﹜ step 2.1 project

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Abolishing any disjunction between object and the museum, this curatorial strategy questions the infrastructure of the gallery space itself. Bridging between gallery spaces, the city colonnade acts as a framework guiding people through the exhibition. Difficult to distinguish between, it soon becomes apparent to the viewer that the exhibition is itself an object on display.

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Exploring the relationship between displayed object and audience, this curatorial strategy distances the audience in relation to display. This space between viewer and object becomes as integral to the exhibition as the objects themselves.

How can this space frame, distort or alter our perception? As the visitor progresses through the exhibition vertically, the objects on display increase in scale, amplifying their disconnected view.

Therefore the lens is not only a lens but an active participant.

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﹛ the space inbetween ﹜ step 2.2 project

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﹛ the space inbetween ﹜ step 2.2 project

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﹛ the incomplete ﹜ step 2.3 project

Using steel walls to frame the fragmented objects whilst light and shadow display only partial elements, the constructed spatial experience is hindered and often disorientating. This altered experience focuses on the ambiguity and the alluring space that can be created from the indistinguishable objects in the distance.

Navigating through the walls the viewer further uncovers new perspectives and viewpoints, revealing more aspects of the now unrecognisable monument.

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Through the isolation of elements – the tower, the colonnade, the pitched roof - the initial intended view is abolished. The monument is now viewed in an ‘incomplete’ state. This breakdown provides opportunity to reframe the work from a new perspective, away from the intended frontal axis. The viewer perceives a series of partial views of the fragmented objects resulting in a dismantled formulation of the once complete monument.

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step 2.3 project

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﹛ the incomplete ﹜ step 2.3 project

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step 2.3 project

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﹛ the incomplete ﹜ step 2.3 project

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Notes

process documentation

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catalogue of hybidized corridors

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references

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The New Urban Scale in Italy: On Aldo Rossi's "L'architettura della città" Author(s): Mary Louise Lobsinger Source: Journal of Architectural Education (1984-) , Feb., 2006, Vol. 59, No. 3 (Feb., 2006), pp. 28-38 Published by: Taylor & Francis, Ltd. on behalf of the Association of Collegiate Schools of Architecture, Inc. Stable URL: https://www.jstor.org/stable/40480643 JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.

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Chapter Title: Zoning Rome’s Residents Book Title: The Republican Aventine and Rome’s Social Order Book Author(s): Lisa Marie Mignone Published by: University of Michigan Press Stable URL: https://www.jstor.org/stable/10.3998/mpub.8565032.10 JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.

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E U R A U 2 0 1 4 I C O M P O S I T E C I T I E S I N o v e m b e r 1 2 -­‐ 1 4 , 2 0 1 4 , I I s t a n b u l -­‐ T u r k e y

ETHOS VS AESTHETIC LIVING THE SYMBOLS: SPACE-­‐TIME FRAMEWORK IN “ANALOGUE CITY” Andrea D i Franco1, Barbara Coppetti2 and Alisia Tognon2

Abstract

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1: D epartment of Architecture and U rban Studies (DAStU) School of Architecture Politecnico di M ilano, Piazza Leonardo D a Vinci, 32, 20133 M ilano e-­‐mail: andrea.difranco@polimi.it

2: D epartment of Architecture and U rban Studies (DAStU) School of Architecture Politecnico di M ilano, Piazza Leonardo Da Vinci, 32, 20133 M ilano e-­‐mail: barbara.coppetti@polimi.it, alisia.tognon@polimi.it

Urban fragments give a unitary character to the entire city, imagined as a place both physically and mentally. They are symbolic boundaries, monuments in the broad sense, places where the urban experience has obtained the character of m atter, or can obtain it through the architectural project.

1 -­‐ VIGORELLI VELODROME, Milan: Disused plant at the centre of political controversy and several project competitions. This is a part of the history of the city that could built the future.

2 – THE CAUSEWAY, Genoa: Expressway in the heart of the historical city: the movement as a vital phenomenon, the m ovement as a stability ruin.

3 -­‐ ZAMA / PESTAGALLI / BONFADINI AREA, Milan: Fragmented border in the suburban area: ejection and junction place.

Keywords: Complexity, Fragments, Monuments

Curating Architecture With Architecture Author(s): Eve Blau Source: Log , Fall 2010, No. 20, Curating Architecture (Fall 2010), pp. 18-28 Published by: Anyone Corporation Stable URL: https://www.jstor.org/stable/41765362

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Exhibitionism Author(s): Tina Di Carlo Source: Log , Fall 2010, No. 20, Curating Architecture (Fall 2010), pp. 151-158 Published by: Anyone Corporation Stable URL: https://www.jstor.org/stable/41765385

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Front Matter Source: Log , Fall 2010, No. 20, Curating Architecture (Fall 2010) Published by: Anyone Corporation Stable URL: https://www.jstor.org/stable/41765359 JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.

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Operating Platforms Author(s): Felicity D. Scott Source: Log , Fall 2010, No. 20, Curating Architecture (Fall 2010), pp. 65-69 Published by: Anyone Corporation Stable URL: https://www.jstor.org/stable/41765371

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The City as an Object: Thoughts on The Form of the City Author(s): Peter Trummer Source: Log , Winter/Spring 2013, No. 27 (Winter/Spring 2013), pp. 51-57 Published by: Anyone Corporation Stable URL: https://www.jstor.org/stable/41765780

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Chapter Title: The Order of the Exhibition Book Title: Designing the Centennial Book Subtitle: A History of the 1876 International Exhibition in Philadelphia Book Author(s): Bruno Giberti Published by: University Press of Kentucky Stable URL: https://www.jstor.org/stable/j.ctt130hm4w.4 JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.

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Syracuse University

SURFACE Architecture Thesis Prep

School of Architecture Dissertations and Theses

12-2014

Spatializing the Corridor

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Mengru Li

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Recommended Citation Li, Mengru, "Spatializing the Corridor" (2014). Architecture Thesis Prep. 267. https://surface.syr.edu/architecture_tpreps/267 This Thesis Prep is brought to you for free and open access by the School of Architecture Dissertations and Theses at SURFACE. It has been accepted for inclusion in Architecture Thesis Prep by an authorized administrator of SURFACE. For more information, please contact surface@syr.edu.

Chapter Title: The Architecture of the Exhibition Book Title: Designing the Centennial Book Subtitle: A History of the 1876 International Exhibition in Philadelphia Book Author(s): Bruno Giberti Published by: University Press of Kentucky Stable URL: https://www.jstor.org/stable/j.ctt130hm4w.5 JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.

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Chapter Title: The Architecture of the Exhibition Book Title: Designing the Centennial Book Subtitle: A History of the 1876 International Exhibition in Philadelphia Book Author(s): Bruno Giberti Published by: University Press of Kentucky Stable URL: https://www.jstor.org/stable/j.ctt130hm4w.5 JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.

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The architecture of the urban object Author(s): Bill Hillier Source: Ekistics , JANUARY/FEBRUARY–MARCH/APRIL 1989, Vol. 56, No. 334/335, Space Syntax: Social implications of urban layouts (JANUARY/FEBRUARY–MARCH/APRIL 1989), pp. 5-21 Published by: Athens Center of Ekistics Stable URL: https://www.jstor.org/stable/43622100 JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.

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THE POSSIBILITY OF A N A B S O L U T E A R C H I T E C T U R E

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