In Negotiation

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STUDIO 08 : TRIPLICATE CCA X Fondazione Prada Venice X Stop Painting

The institutional setting of the museum functions paradoxically as the place for the generation, display and disappearance of architecture, at once affirming and suspending any evidence of architecture actually ‘being’ there. This architecture in pseudo-absentia has an uneasy relationship with the museum’s institutional order – it’s codes, practices, perceptual histories and blockbuster exhibitions.

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Architecture’s unease in the museum buttresses claims for the disciplinary autonomy of architecture and supposes the probability of the museum interior as a site for the emergence of new architectural modalities, co-dependent, and perhaps even independent of the museum. …Architecture born in the museum Directors: Scott Woods & Kim Võ Special Advisors: Armature Globale (Luigi Alberto Cippini & Alexei Haddad) Semester 2, 2021 Melbourne School of Design

CONTENTS Prologue Interview Wayfinding Plans Sterling Archives (CCA) Index Works Critic’s Review Stop Painting Collection Notes Knowledge Bank

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This project was developed on the stolen lands of the Waddawurung people. I am proud to acknowledge the Wadawurrung people as the traditional custodians of the land where I live and work. I pay my respects to elders past, present, and emerging.

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PROLOGUE

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Placed within the historical palazzo walls of the Fondazione Prada’s Ca’ Corner Della Regina, there is a collected series of species that populate the museum. These species are an evolutionary outcome, where at their genesis they share a simple common trait; inspiration through the work and practice of Sir James Stirling’s museum and greater projects. These species, although sometimes foreign in either structure, materiality, or organisation, adapt to their micro context. Taking form and materiality from both the work of Stirling and the Venetian environment. It could be thought

that these species have evolved to act as chameleons, adapting to their natural environment.

However these species are confused, partly misaligned to their original predecessors, these Stirling-cum-Venetian hybrids are constantly in negotiation with their micro contexts, in negotiation with each other, in negotiation with visitors to their home [Ca’ Corner], and in negotiation with the selected works of Peter Fischli’s exhibition Stop Painting.

Lincoln Perdrisat, 2021

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INTERVIEW What did you find most challenging when working with Stirling’s material from the CCA archive?

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I think the most challenging thing working with Sterling’s material from the archive was just choosing and selecting which work of his to use from the sheer volume that’s available in the archive. From there, it was what component of the drawing, or what sort of characteristics of Stirling were most compelling to use within the project; and as this was at the initial infancy of the project there was also the question of, well, how and what of Stirling do I want to interpret, and what do I want to make from it?

Do you think Stirling is still relevant for contemporary discourse?

Yes, initially I never had a great amount of knowledge about Stirling, but going through the archive material and the way his – well, that archive material showed how his thought processes worked, and I think if anything it was for me more how he designed, rather than what specifically the outcomes of his designs were. That’s what I learned from him, and that was the approach to my work. I guess

to a certain extent his work is relevant, but I wouldn’t say from my opinion that his work is kind of the quintessential ‘be all’ of architecture, yet his discipline has many things that can teach us about the way we think and design; you only need to look through his archive at the CCA to see that he was really committed to his practice.

What are the challenges of thinking the museum beyond a container for art? What is exhibited and what does the exhibiting in your museum project? Is it that simple?

With my project, within it, there are containers that house art. So there are a lot of objects that act as vitrines; it’s not necessarily your standard display system proposal, so I think it was more so about how does the museum act as a way to contain these objects, which then contain art; and so how does the rest of the museum operate around those vitrines and objects. I suppose it’s a bit of a complex problem to have. I have two separate programs, the objects that display the art, and the rest of the space that exists around those objects. The main issue is figuring out how they all interconnect, and how they not

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What are the challenges you have encountered when working with the Ca’ Corner building? How did that challenge inform your approach to the museum?

For Ca’ Corner, it has such a strict program of how each room and its spaces are organised, and therefore how people circulate throughout. So it was really just about organising that, reorganising how someone interacts in the space, and how a person views something in which order. I think that was really a key part of the work, and as a reference, Stirling and circulation was a key part in how I created my objects, and how I placed them within Ca’ Corner.

So circulation was pretty key, and that’s been the main driver for my approach. Again it leads back to this notion of a system in negotiation, where a resolution is yet to be realised, but there’s this underlying tension that sits within the project’s organisation.

Considering the role of technology in exhibition design, is this a concern for your design? If so, in what capacity?

The technology – it’s not a sophisticated device or a certain complex individual

element that I’ve designed, but I guess the technology is the way that artworks are displayed themselves. And these display elements facilitate how the exhibition is perceived, and I guess how people circulate in amongst around it and interact with it. It’s not a huge element of my design I haven’t thought of it as technology as such, but I’m more focused on what it means to have artworks displayed within a non-traditional container.

Does this idea of exhibition or display technology change your conception of museum architecture?

There are certain extents of definitions of exhibition display technologies, and just having seen other interpretations of what it can mean is interesting; to see how people can take a vitrine, or a way to display a painting or piece of work and integrate that with the museum has been compelling. I guess with my project the vitrine system is an alternative way to view an artwork and take an artwork from the typical display setting, place it into a new one, and then ask how does that have the potential to play into the definition of the artwork itself; or how an artwork

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is interpreted. That’s changed the way I view museum display technology.

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

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Talking personally about my project and its context, the architecture that exists within the museum, is really just the two programs that have been imposed upon Ca’ Corner, and how does that affect things external to the museum? Well, I haven’t dealt with the external context of Ca’ Corner. I’ve tried to keep it insular and defined within the parameters of its walls, I haven’t tried to break out of the building.

How’s that different [internal and external]? For me, I supposed it’s the contrast between old and new, Venetian and Stirling. Yes, the context surrounding Ca’ Corner is rich in cultural history, but so too is the inside of Ca’ Corner itself, and I suppose the strongest proposal for me is, how can small instruments [the objects] bring about such significant change to a large historical site that is Ca’ Corner.

Has your project for a museum changed your position or attitude to architecture more generally?

I think it’s definitely changed the way I look at museums, and how if I were to visit a museum - how I would interpret that space, or how I would interpret how an artwork is positioned or placed amongst its surrounding artworks, or how it’s displayed within a display technology system. That’s one thing I would think about.

Also generally how you can be influenced by other architects, and how you can take their design mannerisms or things that inspire them from their previous work, or take their practice or perspective and apply it to your own to integrate it into your projects.

That’s one thing in particular that I’ve learned throughout this project.

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WAYFINDING PLANS

Piano Terra

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Piano Primo Nobile

Piano Secondo Nobile

Temporary Exhibition Space Permanent Exhibition Space

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JAMES STIRLING ARCHIVE AT THE CANADIAN CENTRE FOR ARCHITECTURE

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Staatsgalerie, Stuttgart, Germany: exterior view, 1977-84

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01: Wallraf-Richartz-Museum, Cologne, Germany: cutaway axonometric, 1975.

02: Staatsgalerie, Stuttgart, Germany: partial axonometrics of the rotunda, 1977-84.

03: Staatsgalerie, Stuttgart, Germany: plan, 1977-84.

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Clore Gallery, London, England: perspective, 1978-86

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Clore Gallery, London, England: perspective, 1978-86

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Wallraf-Richartz-Museum, Cologne, Germany: cutaway axonometric, 1975

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View of the galleries, Staatsgalerie, Stuttgart, Germany, 1983-84

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INDEX

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Object 1: Object of an Extruded Classical Order

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Object 1: Object of an Extruded Classical Order

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Object 2: Object as Container as Shroud

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Object 3: Object of Layered Ambiguity

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Object 3: Object of

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Layered Ambiguity

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WORKS

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Piano Terra: Existing

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Piano Terra: Proposed

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Piano Primo Nobile: Existing

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Piano Primo Nobile: Proposed

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Piano Secondo Nobile: Existing

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Piano Secondo Nobile: Proposed

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Sectio

on A-A

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Section B-B

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Section C-C

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Section Section D-D

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Apparatus 1 Species of Intersection in negotiation

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Apparatus 1 Detail iPhone 11 2019 in view of intersection

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Apparatus 2 Species as Vitrine. Vitrine as Container. Art as Object

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Apparatus 2 Detail Hanging detail of ‘Museum on Fire 1968’

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Apparatus 3 Species of anomaly and obstruction

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Apparatus 3 Detail Obscured projections of ‘Andy Warhol BMW Art Car #4 1979’

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CRITIC’S REVIEW Written by Haoyu Chen

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The museum of Ca’ Corner has evolved under the curation of In Negotiation, yet not destructed.

In Negotiation has taken the sculptures from the Stirling museums, and made them collide with Ca’ Corner undisguisedly, but not in an uncanny way. The visual impact between the two entities comes strongly and naturally, making the museum nuanced.

The curator has formed many bridges between Stirling’s spirit, the moods of Ca’ Corner, and the exhibition of Stop Painting, thus “negotiations” can be made. The first bridge deals with the visitors’ paths spatially.

The curation of the exhibition anticipates people’s movements, flows, and transforms them into an uncertainty of compositions.

The green frames – from Stirling’s structures – working as the

display devices for paintings, are installed in the museum with a sense of controlled contingency: they have been duplicated, and scattered into the spaces in regarding to the anticipated paths, which means the exhibition is not merely decided by the stillness of Stirling forms, but by the opportunities of flow, movement, and uncertainty.

The second bridge connects the sculptures and the ornamentations from Stirling’s spirits. The Stirling green on the door frames has drawn the attention to the surface, the ornamentation; while the heavy walls from Staatsgalerie care more about the substance of its from. Both the solidity and the superficiality from Stirling have formed a spectrum, and In Negotiation lies somewhere

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in between. The intricate relationship between the sculptures and surfaces has taken Ca’ Corner as a “bricoleur”, which makes these motifs pop up somewhere else and make a difference. However, these “bricolages” are under total control with the existence of the nuances between the different systems.

The unicum of artworks and a sense of moods in different rooms are the concern in the third bridge: the bridge that connects the singularity of artefacts and the reproducibility of moods. The collections have been designed with a state of autonomy that defines the identity of each “room”. However, these rooms have a tendency of expanding themselves in a phenomenal way.

The motif from one collection or apparatus sometimes repeats itself and becomes visible in another space. This crossreferencing of systems connects all parts of the project, making it a whole entity.

In Negotiation is a museum that 43 takes the spatial mechanism between the Ca’ Corner, the Stirling elements, the artworks, and the visitors into its form. The exhibition is curated not with certainty, but for the upcoming opportunities. It is a moving museum.

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STOP CATALOGUE

PAINTING OF WORKS

001. Michelangelo Pistoletto, Vetrina (Oggetti in meno), 1965-66 Wood, iron, clothes, 235 x 100 x 80 cm Cittadellarte-Fondazione Pistoletto, Biella 002. Ed Ruscha, Museum on Fire, 1968 Powdered graphite on paper, 20.3 x 36.5 cm The Museum of Modern Art, New York, Gift from UBS

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003. Lutz Bacher, Big Glass, 2008 Broken mirror, plastic, wood, glue, 207 x 113 x 25 cm Courtesy Galerie Buchholz, Berlin / Cologne / New York 004. Reena Spaulings, Gate 1, 2018 Enamel paint on security gate, 221 x 81 x 58 cm Courtesy of the artist 005. David Hammons, Pissed Off, 1981 Photograph by Dawoud Bey, exhibition copy, 70 x 46.5 cm The Museum of Modern Art, New York, MoMA PS1 Archives 006. Alberto Burri, Plastica, 1962 Plastic, combustion on aluminium framework, 100 x 86 cm Fondazione Palazzo Albizzini Collezione Burri, Citta di Castello

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007. Leidy Churchman, iPhone 11, 2019-20 Oil on linen, 24 x 38 cm Collection Terry Winters 008. Marcel Breuer, Richard Schadewell, “Bahaus” telephone, 1930, produced by Fuld&Co Nickel-plated dial, brass sheet, lacquered metal casing, enamel dial face, bakalite receiver, fabric cable, 14 x 12.5 x 16.5 cm, wire 160 cm Collection Harald Watzel 009. “Andy Warhol BMW Art Car #4”, 1979 Video, colour, sound, 64’ 24” BMW Art Car Collection 010. Piero Manzoni, Impronta, 1960 Ink on paper, 10 x 7.5 cm Fondazione Piero Manzoni, Milan 011. Walter De Maria, Silver Portrait of Dorian Gray, 1965 Velvet on wood and silver , 104.5 x 79 x 11 cm Collezione Prada 012. Martin Kippenberger, Albert Oehlen, Orgonkiste bei Nacht, 1982 Dispersion, wood, metal, rolled oats, oil colour, canvas, 120 x 110 x 90 cm: 9 paintings 60 x 50 cm (each)

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NOTES

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KNOWLEDGE BANK Exhibitions: Machines A Penser (Fondazione Prada) The Boat Is Leaking. The Captain Lied.

(Fondazione Prada) Portable Classic (Fondazione Prada) When Attitudes Become Form: Bern 1969/ Venice 2013 (Fondazione Prada) Jannis Kounellis (Fondazione Prada) 76

Recto Verso (Fondazione Prada) Material: Peter Fischli: Stop Painting Anthony Vidler: James Frazer Stirling, Notes from the Archive

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Machines A Penser - Fondazione Prada - Venice 77

Janice Kounellis - Fondazione Prada - Venice