Collecting Architecture Territories by Columbia GSAPP

Collecting Architecture Territories Collecting Architecture Territories samples and presents the research of twin studio and seminar courses held at Columbia University’s Graduate School of Architecture Planning and Preservation (GSAPP) that have emerged from an artarchitecture, cultural-academic collaboration between the DESTE Foundation for Contemporary Art and GSAPP. The studio and seminar reflect on the relationship between architecture and collecting, considering architecture both as an agent that organizes, supports, and informs various contemporary collecting practices, and as an object of collection in its own right. In tandem with DESTE and GSAPP a team of graduate students in the Department of Architecture at the University of Thessaly have been invited to exhibit their own research developed in parallel to the project’s theme.

The studio focuses on the context of contemporary Greece through a variety of collection circumstances, including the European Union and sovereign association, state debt and revenue collection, and the city understood as an assemblage of cultural assets, speculating upon these findings through research and design. The city of Athens and its environs provide a space for reflecting on global architectural collecting practices, from those of UNESCO World Heritage sites, to the European border management and collection facilities of Frontex. The seminar investigates contemporary discourses on collecting and compiles a survey of spatial and economic information comprising over 50 different institutions that have emerged from private collections since 1980. The institutions outline a global territory that stretches from Hobart to Oslo, ranges from metropolitan cores to rural One of the most significant develop- villages, and spans a spectrum from ments reshaping the domain of art the largest private collections to and architectural practice over the small, agenda-driven foundations. The last three decades is the veritable ex- emphasis upon territory highlights plosion of institutions and foundations the spatial proliferation of various colthat have emerged out of private lecting activities, which have shifted collections. The sheer breadth and from the traditional centers of power diversity of such institutions—ranging to operate across a new constellation from experimental new museums of global cities, and increasingly, to renovated industrial, commercial, a range of “non-sites.” This spatial or military buildings, and from long diffusion of contemporary art collecterm installations to highly temporary tion and the particular conditions exhibitions—demands analysis. in Greece serve as lenses and points Collecting Architecture Territories of departure for further speculation proposes that the historical institution concerning architecture’s relationship of the museum, forged by the culture to the infrastructures of movement, of the Enlightenment, is no longer the networks of circulation and finansufficient to describe the expanded cial investment, the technologies of territory in which the practices protection, as well as the strategies of of artists, collectors, curators, and viewership and exposure implicated architects now operate. By extension in the territories of collection. it asks if our understanding of collecting itself has been altered by recent architectural articulations beyond the space of the museum and new art institutions.

Collecting Architecture Territories emerges from an art-architecture, culturalacademic collaboration between the DESTE Foundation for Contemporary Art and Columbia University’s Graduate School of Architecture, Planning & Preservation (GSAPP). Initiated in January 2012, it will be concluded with a larger publication, due Spring 2013. Project team: Nadja Argyropoulou, Curator, DESTE Foundation Craig Buckley, Director of Publications GSAPP Yorgos Tzirtzilakis, Consultant of DESTE Foundation, Ass. Professor, Dpt. of Architecture, University of Thessaly Mark Wasiuta, Director of Exhibitions, GSAPP Exhibition Curators: GSAPP: Craig Buckley, Mark Wasiuta, DESTE: Nadja Argyropoulou, Yorgos Tzirtzilakis Curatorial Assistants: Adam Bandler Troy Therrien Curatorial Team: Momosuke Araki Jordan Carver Jared Diganci Kyle Hovenkotter Trevor Lamphier Farzin Lotfi-Jam Tom Mckeogh Jess Ngan Marina Otero Bryce Suite Jen Wood GSAPP Studio Participants: James Amaya Momosuke Araki Joseph Justus Kyle Hovenkotter Eriko Kawamura Trevor Lamphier Helen Levin Farzin Lotfi-Jam Tom Mckeogh Jacob Segal Bryce Suite Jen Wood GSAPP Seminar Participants: Jordan Carver Jared Culp Jared Diganci Nina Kolowratnik Jacob Moore Sarah Morrison Jess Ngan Helene Nguyen Marina Otero Jessica Ouwerkerk Sarah Rafson Luciana Varkulja UTH Studio Participants: Tutors: Lois Papadopoulos Yorgos Tzirtzilakis Teaching Assistant: Yorgos Rimenidis Graduate Students: Lida Alexiou Epaminondas Argyropoulos Evangelos Dimitrakopoulos Eutichios-Nikolaos Euthimiou Anthi Gallou Nestoras Kanellos Maria Karatsiori Katerina Kelessidou Evangelos Koutrogiannis Vassilios Kritikakis Kostis Ktistakis Konstantinos Papathanakos Vassiliki-Maria Plavou Aliki Samara-Chryssostomidou Michalis Softas. Evy Tsolaki Ioanna Xidi Marilena Zounaraki Intervention by Dakis Joannou: Sebastiano Serlio, Architettura, (Venice: Francesco Senese & Zuane Krugher, 1566). Graphic Design: MTWTF (Glen Cummings, Aliza Dzik, Kate Dewitt, Tiff Hockin) Deste Administration: Regina Alivisatou Registrar: Natasha Polymeropoulos Installation Manager: Eugenia Stamatopoulou, Kleio Silvestrou Electrical Installation: Nikos Tzimos Audiovisual Installation: Makis Faros, Antonis Gatzougiannis, Installation: Move Art Special thanks to Nadja Argyropoulou, Eugenia Stamatopoulou, Yorgos Tzirtzilakis for their support in the development and coordination of the project, and to Dakis Joannou and Dean Mark Wigley without whom the project would not have been possible. The Athens Minutes conversations June 15–16, 2012 NEW Hotel, Filellinon 16, Athens, 10557, Greece Collecting Architecture Territories June 20–October 2012 Deste Foundation, 11 Filellinon & Em. Pappa Street, Nea Ionia 142 34, Athens, Greece

Institutions 1. The Menil Collection 2. Dia Center for the Arts 3. Vitra Design Museum 4. The Watari Museum of Contemporary Art 5. Benesse Art Sites (Benesse House) 6. De Pont Museum of Contemporary Art 7. Astrup Fearnley Museum of Modern Art 8. Sammlung Goetz 9. Fondation Cartier pour l’art contemporain 10 Galerie Beyeler 11. Guggenheim Museum Bilbao 12 Museo de Artes Visuales 13. Dia Beacon 14. DESTE Foundation 15. La Maison Rouge 16. The Leeum 2, Samsung Museum of Art 17. Benesse Art Sites (Chichu Art Museum) 18. Museum Frieder Burda 19. Ningbo Museum of Art 20. Rubell Family Collection Arts Museum 21. Mathaf: Arab Museum of Modern Art 22. Kadist Foundation 23. Ellipse Foundation Art Center 24. Inhotim Contemporary Art 25. Palazzo Grassi 26. Ullens Center for Contemporary Art 27. Zabludowicz Collection 28. Boros Collection. Bunker Berlin 29. Caixa Forum Madrid 30 Devi Art Foundation 31. Sammlung Falckenberg 32. Saatchi Gallery (Museum of Contemporary Art for London) 33. Collezione Maramotti 34. Benesse Art Sites (Inujima Art House) 35. Museum Brandhorst 36. Rennie Collection 37. Museum of Old and New Art 38. Inhotim Contemporary Art 39. White Rabbit Gallery 40. Punta Della Dogana 41. Minsheng Art Museum 42. Benesse Art Sites (Teshima Art Museum) 43. Rockbund Art Museum 44. Benesse Art Sites (Lee Ufan Museum) 45. Museo Soumaya 46. SALT Istanbul 47. Crystal Bridges Museum of Am. Art 48. Kramlich Residence and Media Collection 49. Ordos Art Museum 50. Astrup Fearnley Museum of Modern Art 51. Fondazione Prada Headquarters in Largo Isarco 52. The Broad 53. Garage Center for Contemporary Culture 54. Barranca Museo de Arte Moderno y Contemporáneo 55. Guggenheim Abu Dhabi Collector(s) 1. John and Dominique de Menil 2. Philippa de Menil and Heiner Friedrich 3. Rolf Fehlbaum 4. Watari Family (Shizuko, Koichi and Etsuko Watari) 5. Soichiro Fukutake 6. J.H. De Pont 7. Hans Rasmus Astrup 8. Ingvild Goetz 9. Le Fondation Cartier 10. Hilda and Ernst Beyeler 11. Solomon R. Guggenheim 12. Manuel Santa Cruz López y Hugo Yaconi Merino 13. Philippa de Menil and Heiner Friedrich 14. Dakis Joannou 15. Antoine de Galbert 16. Lee Kun-hee and lately Hoam Lee Byung-chul 17. Soichiro Fukutake 18. Frieder Burda 19. Ningbo Federation of Literary and Art Circles 20. Donald and Mera Rubell 21. Sheikh Hassan bin Mohammed bin Ali al Thani 22. Vincent Worms, Sandra Terdjman 23. Joao Oliveira Rendeiro 24. Bernardo Paz 25. Francois Pinault 26. Baron and Baroness Guy and Myriam Ullens de Schooten 27. Anita and Poju Zabludowicz 28. Christian and Karen Boros 29. La Caixa Foundation 30. Lekha and Anupam Poddar 31. Harald Falckenberg 32. Charles Saatchi 33. Achille Maramotti, Luigi Maramotti 34. Soichiro Fukutake 35. Udo and Annette Brandhorst 36. Bob Rennie 37. David Walsh 38. Bernardo Paz 39. Judith and Kerr Neilson 40. Francois Pinault 41. Minsheng Bank, bank founder Jing Shuping 42. Soichiro Fukutake 43. Shanghai Bund de Rockefeller Group Master Development Co. Ltd. 44. Soichiro Fukutake 45. Carlos Slim Helú 46. Garanti Bank 47. Alice Walton 48. Pamela and Richard Kramlich 49. Cai Jiang 50. Hans Rasmus Astrup 51. Miuccia Prada 52. Eli and Edythe Broad 53. Daria Zhukova 54. Guadalajara Capital Cultural AC 55. Solomon R. Guggenheim Square Footage 1. 30,000 2. 40,000 3. 8,000 4. 8,000 5. 33,000 6. 71,700 7. 27,986 8. 4,300 9. 113,000 10. 29,170 11. 267,000 12. 12,916 13. 300,000 14. 15,500

15. 21,528 16. 298,000 17. 27,700 18. 21,500 19. 258,300 20. 45,000 21. 59,000 22. 1,600 23. 3,500 24. 69,965 25. 28,000 26. 86,111 27. 11,840 28. 32,291 29. 110,000 30. 21,000 31. 69,965 32. 70,000 33. 90,000 34. 3,210 35. 12,9167 36. 27,060 37. 64,583 38. 69,965 39. 11,400 40. 46,617 41. 43,055 42. 2,334 43. 25,833 44. 4,700 45 172,223 46. 11,000 47. 93,000 48. 25,000 49. 29,000 50. 75,347 51. 188,368 52. 120,000 53. 58,125 54. 107,639 55. 450,000 Admission 1. Free 2. $6 3. €8 4. $12 5. ¥1,000 6. €8 7. Free 8. Free 9. €9,50 10. 25 CHF 11. €13,00 12. 1000 CLP 13. $10 14. Free 15. €7 16. 10,000 won 17. ¥2,000 18. €10 19. Free 20. $10 21. Free 22. n/a 23. Free 24. R$ 28,00 25. €15 26. 10 RMB 27. Free 28. €10 29. Free 30. Free 31. €15 32. Free 33. Free 34. ¥500 35. €7 36. Free 37. $20 38. R$ 28,00 39. Free 40. €15 41. 20 RMB 42. ¥1,500 43. 15 rmb 44. ¥1,000 45. Free 46. Free 47. Free 48. n/a 49. n/a 50. n/a 51. n/a 52. n/a 53. 200 rubles 54. n/a 55. n/a City, Country 1. Houston, USA 2. New York, USA 3. Weil am Rhein, Germany 4. Tokyo, Japan 5. Tilburg, The Netherlands 6. Naoshima Island, Japan 7. Oslo, Norway 8. Munich, Germany 9. Paris, France 10. Basel, Switzerland 11. Bilbao, Spain 12. Santiago, Chile 13. Beacon, USA 14. Athens (Neu Ionia), Greece 15. Paris, France 16. Seoul, Korea 17. Naoshima Island, Japan 18. Baden-Baden, Germany 19. Ningbo, China 20. Miami, USA 21. Doha, Qatar 22. Paris, France 23. Lisbon, Portugal 24. Athens, Greece 25. Venice, Italy 26. Beijing, China 27. London, UK 28. Berlin, Germany 29. Madrid, Spain 30. New Delhi, India 31. Hamburg, Germany 32. London, UK 33. Reggio Emilia, Italy 34. Inujima Island, Japan 35. Munich, Germany 36. Vancouver, Canada 37. Hobart, Australia 38. Brumadinho, Brazil 39. Sydney, Australia 40. Venice, Italy 41. Shanghai, China 42. Teshima Island, Japan 43. Shanghai, China 44. Naoshima Island, Japan 45. Mexico City, Mexico 46. Istanbul, Turkey 47. Bentonville, USA 48. Oakville, California 49. Ordos, Mongolia

50. Oslo, Norway 51. Milan, Italy 52. Los Angeles, USA 53. Moscow, Russia 54. Guadalajara, Mexico 55. Abu Dhabi, United Arab Emirates Total Works In Collection 1. 16,000 2. 700 3. 7,000 4. 400 5. 107 6. 600 7. >500 8. >5,000 9. >1,000 10. 250 11. 7,000 12. 1,400 13. 700 14. >150 15. n/a 16. 317 17. 9 18. 1,000 19. n/a 20. 6,000 21. 6,000 22. 90 23. 900 24. 480 25. 2,500 26. <2,000 27. >1,000 28. 500 29. 900 30. 7,000 31. 2,000 32. 200 33. >600 34. 3 35. 700 36. 1,000 37. 2,200 38. 480 39. 450 40. 2,500 41. >400 42. 1 43. n/a 44. 14 45. 66,000 46. 17,200 47. 700 48. >200 49. n/a 50. >500 51. 700 52. 2,000 53. n/a 54. n/a 55. 7,000 Museum Cost (USD) 1. 24,000,000 2. n/a 3. n/a 4. n/a 5. n/a 6. n/a 7. n/a 8. 1,830,000 9. 13,700,000 10. 37,000,000 11. 228,300,000 12. n/a 13. 20,000,000 14. n/a 15. 3,212,933 16. 113,000,000 17. n/a 18. 25,000,000 19. n/a 20. n/a 21. 10,500,000 22. n/a 23. n/a 24. n/a 25. 37,000,000 26. 7,000,000 27. 2,080,000 28. n/a 29. 75,000,000 30. n/a 31. 3,000,000 32. n/a 33. n/a 34. n/a 35. 74,000,000 36. 10,000,000 37. 65,000,000 38. n/a 39. 8,000,000 40. 29,000,000 41. 870,000 42. n/a 43. 630,000 44. n/a 45. 70,000,000 46. n/a 47. n/a 48. n/a 49. 1,792,800 50. 100,000,000 51. n/a 52. 130,000,000 53. n/a 54. 35,000,000 55. 800,000,000

25. Luxury Goods and Auction House 26. Food Industry 27. Technology and Real Estate 28. Communications and New Media 29. Finance 30. Hotels 31. Publishing 32. Advertising 33. Fashion 34. Publishing, Education 35. Insurance 36. Real Estate Marketing 37. Mathematician, Professional Gambler 38. Mining 39. Finance 40. Luxury Goods, Auction House 41. Banking 42. Publishing, Education 43. Real Estate Development 44. Publishing, Education 45. Telecommunications 46. Banking 47. Retail 48. Venture Capital 49. Resource Extraction 50. Shipping- and Finance-related activities 51. Fashion 52. Financial Services, Construction 53. Steel, Mining, Investments 54. N/A 55. Mining

Collecting Architecture Territories

Newspaper published on the occasion of the research and exhibition project Collecting Architecture Territories and the two-day conversation The Athens Minutes.

Studio Key Eriko Kawamura_EK Farzin Lotfi-Jam_FLJ Helen Levin_HL Jacob Segal_JS James Amaya_JA Jen Wood_JW Joseph Justus_JJ Kyle Hovenkotter & Trevor Lamphier_KH/TL Momosuke Araki & Bryce Suite_MA/BS Tom McKeogh_TM Sites UNESCO Buffer Zone, Athens_EK Acropolis, Athens_FLJ Attikon Theatre, Athens_HL Exarcheia, Athens_JS Port of Piraeus, Athens_JA Hellinikon Area, Athens_JW Beneath the Hellenic Parliament Building, Athens_JJ Aegean Sea_KH/TL Delphi, Greece_MA/BS Port of Piraeus, Athens_TM

Titles Re-Electrify_EK Multiplying the Parthenon_FLJ The Fire Fight_HL Open House_JS Piraeus Art Terminal_JA White Elephants_JW The Wager_JJ Discrepant Sea_KH/TL Pharmakon_MA/BS Shadow Capital_TM Collection public domesticity_EK preservation value_FLJ evidence of civil unrest_HL symbolic capital_JS nautical galleries_JA entropic events_JW underground assets_JJ extra-territorial seas_KH/TL ethylene_MA/BS transitional citizens_TM

4 5

Collector home appliances_EK dynamic spaceframe_FLJ dakota fire hole_HL private art collector_JS shipping vitrine_JA crash test dummy_JW mining drill_JJ territorial loophole_KH/TL thumping machine_MA/BS EU visa_TM

Source of Wealth 1. Oil 2. Art Dealer 3. Furniture Manufacturer 4. Art 5. Publishing, Education 6. Legal Services and Automobile Industry 7. Shipping- and Finance-related activities 8. Inheritance 9. Luxury Goods 10. Art 11. Mining 12. N/A 13. Art 14. Construction 15. Inheritance 16. Electronics 17. Publishing, Education 18. Publishing 19. Art and Literature 20. Medical practice, Education, Real estate, Hotels 21. Cultural Advisor, Chairman of Qatar Museum Authority 22. Venture Capital 23. Financial Services 24. Mining

1. 2. 3. 4. 5. 6.

70’ Duratrans Print Motorized Conveyor HD Camera Rig 200’ Hdmi To Cat6 Video Feed HD Projector Showing Live Feed Information Graphics

Any claim that we represent a progressive social force while our activities are directly subsidized by the engines of inequality can only contribute to the justification of that inequality—the (not so) new legitimation function of art museums. The only “alternative” today is to recognize our participation in that economy and confront it in a direct and immediate way in all our institutions, including museums, galleries, and publications.” Andrea Fraser, “L’1% c’est Moi,” Texte zur Kunst no. 83 (September 2011) 124.

“Museums galore,” The Economist, 19 February, (2000) 82. Museums develop and grow by collecting collectors, and to keep doing so they must expand. Jean Baudrillard, “The System of Collecting,” in John Elsner and Roger Caridnal, eds., Cultures of Collecting (London: Reaktion, 1994) 12.

However familiar these spaces may be, the mixology between cocktails and cultural attributes may create a territory that is at once strange and intimate, exposed and in disguise, real and fictional. The singular object never impedes the process of narcissistic projection, which ranges over an indefinite number of objects: on the contrary, it encourages such multiplication, thus associating itself with a mechanism whereby the image of the self is extended to the very limits of the collection. Here, indeed, lies the whole miracle of collecting. For it is invariably oneself that one collects.

Keller Easterling. Enduring Innocence: Global Architecture and Its Political Masquerades, (Cambridge: MIT Press, 2005) 2.

Seminar

Studying a particular museum, in particular a newly founded one, is faced with serious difficulties. Information is very restricted. Much of what would be relevant to know is not revealed to outsiders. Our formal request to receive the annual financial statement was rejected by the Beyeler museum, as well as by the public authorities granting the subsidies. Bruno Frey and Stefan Meyer, “Museums between Private and Public: The case of the Beyeler museum in Basel,” Arts & Economics: Analysis & Cultural Policy, (Berlin: Springer Verlag, 2003) 4.

Thomas Krens. Interview by Elena V. Siyanko, SNOB (New York, March 2009).

Lauren Schuker, “The Firestorm Over Private Museums,” Wall Street Journal, April 4, 2008.

I would have never thought when I first came to the Guggenheim, that I would ever end up in Bilbao of all places. It wasn’t on my map of where I would want to go.

A change in the tax law has made giving away art less attractive. To avoid hefty estate taxes, many collectors previously used fractional giving— a process that allowed them to “donate” works while keeping them on their walls, often for decades. (Collectors would give a percentage interest in an artwork to a museum and receive a tax break for an equal percentage. Eventually, most fractional gifts became full donations.) In 2006, Congress rewrote the rules, requiring that all fractional gifts be completed within 10 years of the initial donation or when the collector dies.

Rem Koolhaas, Unveiling the Prada Foundation (Milan: Progetto Prada Arte 2008) 17.

It is surprising that the enormous expansion of the art system has taken place in a reduced number of typologies for art’s display. It seems that the arts’ apotheosis is unfolding in an increasingly limited repertoire of spatial conditions: the gallery (white, abstract, and neutral), the industrial space (attractive because its predictable conditions do not challenge the artists intentions), the contemporary museum (a barely disguised version of a department store) and the purgatory of the arts fair.

KH + TL

The massive accumulation of private money as a result of financial speculation is accompanied by budget cuts in the cultural sector. For many museums, cooperative projects with private collections often appear to be the only possibility to present contemporary art that they can no longer afford. Yet for many collectors today, the model of permanently tying their acquisitions to a public institution in the form of loans, gifts, or endowments seems to have lost its relevance. Instead, they prefer to self-confidently found their own, often architecturally striking exhibition venues. EK

Sven Beckstette/Beatrice von Bismarck/Isabelle Graw, “Preface”, Texte zur Kunst no. 83 (Sept 2011), 6-7. JJ

Rather than “forums of civic engagement,” his cultural centers appear as sites of spectacular spectatorship, of touristic awe. In The Society of the Spectacle (1967) Guy Debord defined spectacle as “capital accumulated to the point where it becomes an image.” With Gehry and other architects the reverse is now true as well: spectacle is “an image accumulated to the point where it becomes capital.” Such is the logic of many cultural centers today, as they are designed alongside theme parks and sports complexes, to assist in the corporate “revival” of the city—that is, of its being made safe for shopping, spectating, and spacing out. Hal Foster, Design and Crime: and Other Diatribes (London: Verso, 2002), 41.

KH + TL

We should note that this is not about oligarchs on the periphery of the art world buying only what major directors and curators at its center have already stamped with their seal of approval—the very idea of center and periphery no longer applies, since the two spheres have fused to form a single value-generating machinery.

Niklas Maak. “Between Pinault and Pinchuk. “The network and rituals of a new transnational system of collectors,” Texte Zur Kunst, no. 83. (September 2011). 50.

Studio

JW KH + TL KH + TL

In this sense, the role and function of a foundation devoted to the divulgation of contemporary artistic events must be reexamined and reinterpreted primarily, and almost absolutely, as a place of research into traditional as well as experimental techniques, so that their multimedial identity can be revealed. The institution, moreover, must be driven to reinvent and present itself as an open, polymorphous “territory” for the energetic unleashing of all languages—from art to architecture, design, cinema, fashion, philosophy, music, and theater—to bring down the boundaries between the arts once and for all. HL

Germano Celant, “A Force Field,” Unveiling the Prada Foundation / Fondazione Prada, OMA/Rem Koolhaas, ( Milan: Progetto Prada Arte, 2008), 11.

MA + BS

Rosalind Krauss, “Cultural Logic of the Late Capitalist Museum,” October 54 (Autumn 1990) 4

Helmi Yusof, “Boom in private museums”, The Business Times Singapore, June 1, 2012.

We are having this experience, then, not in front of what could be called the art, but in the midst of an oddly emptied yet grandiloquent space of which the museum itself-as a building-is somehow the object.

The decay of the “national project” signals the emergence of different territorial vectors. As these centuryold cages crumble, we see the rise of new assemblages from bits of territory, authority, and rights once firmly ensconced in national frames. The operational space of global firms is one such assemblage of bits and pieces of multiple national territories. So is the network of global cities. These emergent assemblages mostly cut across the binary of “national versus global.”

Across Asia, the super, superrich are building museums as the latest signifier of their super-abundant wealth. In these rarefied circles, the word is: the personal jet and the luxury yacht are just so yesterday. Top-quality art pieces are unique and cannot be owned by anyone else, unlike a Rolls Royce limousine or a Cartier bauble. So splashing millions on prized artworks whose value cannot be ascertained by anyone except maybe—and that’s a huge maybe—the art experts, is the ultimate show of wealth. TM

Saskia Sassen and Hans Haacke, “Imminent Domain— on the spaces of Occupy Wall Street,” Artforum, 50, 5. (Jan 2012), 86.