Giovanna Borasi

Mirko Zardini

Francesco Garutti

Jayne Kelley

Albert Ferré

The Museum Is Not Enough is the result of collective reflections on architecture, contemporary social concerns, institutions, and the public undertaken by the CCA in recent years. Building on years of thematic investigations and of a continued questioning of the role of cultural institutions and the issues they face today, the book puts forward the CCA's own positions and opens them up to a dialogue with designers, curators, photographers, publishers, and other institutions who ask themselves similar questions. This publication is conceived as the first volume of a yearly magazine, with which the CCA will explore urgent questions defining its curatorial activity. Topics addressed in this volume include the institution's engagement with the present, the significance of the archive as a site for the production of new ideas, display strategies in architecture exhibitions, the need for mediation in art, and the impact of the digital in current museum practices. Contributors Noura Al Sayeh, Greg Barton, Ruth Estévez, Fredi Fischli and Niels Olsen, Stefano Graziani, Dan Handel, Martin Huberman, Wilfred Kuehn, Kalle Lasn, Maria Lind, Kieran Long, Ligia Nobre, Mike Pepi, Damon Rich, Filippo Romano, Mika Savela, Bernd Scherer, Jack Self, Astria Suparak, Shirley Surya, Jesús Vassallo, James Voorhies, and Mark Wigley Published by Sternberg Press and the Canadian Centre for Architecture (CCA)

The Museum Is Not Enough

Scholars delve into the CCA's Matta-Clark archive, expanding the scope of the artist's endlessly generative oeuvre This book unpacks the comprehensive Gordon Matta-Clark collection at the Canadian Centre for Architecture (CP138) in Montreal, opening it up to provisional readings from various perspectives. Yann Chateigné reorganizes Matta-Clark's library into areas of inquiry, from alchemy to psychoanalysis, as a framework for gathering traces?--written and drawn?--of his thinking. Hila Peleg reassembles hours of discarded film footage, challenging the notion of documentation and returning to view the physical and social contexts?--the relational space?--of Matta-Clark's interventions. And from hundreds of travel photographs, Kitty Scott constructs a panorama of Matta-Clark's visual notes on the world around him?--a foil to his artworks.

Ausst. Kat. Canadian Centre for Architecture, Montréal, 2020

CP138: Gordon Matta-Clark Selected by Yann Chateigné, Hila Peleg, Kitty Scott ENGL

"Focus made nowadays on dialogue has us thinking about the place dialogue has in the design process in architecture. In The Things Around Us, we reflect--through conversation with 51N4E (Brussels) and Rural Urban Framework (Hong Kong)--on the role conversation plays in contemporary architectural practice and on the ways in which a building relates to its environment. Today, as curator Francesco Garutti writes in his introduction to the project, the increasingly polymorphous, globalized, and complex nature of contexts means that they are constantly changing, shaped by countless economic, political, and cultural shifts. Whether in the biggest cities or most remote villages, architectural practice ends up feeling less about the creation of buildings than about the careful coordination of the many things that surround and influence places and their identities. In response, architects like those of 51N4E and Rural Urban Framework have to shift their positions to become choreographers of dialogue, mediating between communities, between politicians and villagers, and between large-scale forces and local constraints. Architects have to allow the things around them to take the lead in the conversation."--

51N4E Rural Urban Framework

The Things Around Us

How do we design our cities when our most intimate experiences are incessantly tracked and our feelings become the base of new modes of production that prioritize the immaterial over the material? Since the 2008 financial crisis, lists of well-being indicators, happiness indexes, and quality-of-life rankings have become viral. Concurrently, the emotional data presented in these surveys?including perceptions on questions such as loneliness, friendship, and intimate fears?feed an expanding political agenda of happiness and a new form of market whose most decisive asset is ?affect.?00'Our Happy Life' investigates the architectural implications of this trend by dissecting and questioning the political, economic, and emotional conditions that generate space today. Organized as a visual narrative with critical readings by Will Davies, Daniel Fujiwara, Simon Fujiwara, Ingo Niermann, Deane Simpson, and Mirko Zardini, the book reveals architecture, city, and landscape as contested surfaces, caught between the intangible guidelines of happiness indexes, the new marketplace of emotions, and the relentless ideology of positivity.00Exhibition: Canadian Centre for Architecture, Montreal, Canada (08.05. - 13.10.2019).

Architecture and Well-being in the Age of Emotional Capitalism

Our Happy Life

Canadian Centre for Architecture

This publication explores the controversial story of the planning and politics of a series of overpasses spanning the parkways of Long Island. These bridges were commissioned in the 1920s and 1930s by Robert Moses, and the story suggests that they were designed to prevent the passage of buses, thereby allowing only people who could afford to own a car to access Long Island’s leisure spaces. Moses’s possible devious intent and the transformation of the story in subsequent decades shaped a scholarly debate. The publication was produced to accompany the film Misleading Innocence (tracing what a bridge can do), which was developed by Francesco Garutti during his residency at the CCA as Emerging Curator 2013–2014. It presents objects and documents that Garutti encountered during his research, both deepening the analysis and widening the scope beyond the case of the bridges.

Francesco Garutti

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