Digital Exhibitions

Architekturgeschichte und kuratorische Praxis

Among the many challenges raised by the COVID-19 crisis, architecture museums need to reconsider their way of exhibiting and how to make their collections available and relevant in the future. In an architecture exhibition, what is being exhibited is usually not in the museum room, but brought to the room through drawings, photographs, models and other representations. How are all these different media adapted to the digital architecture museum? In order to provide possible answers, we will start by understanding the history of collecting, preserving and exhibiting architectural media. Our collective seminar research was mobilized when speculating on possibilities for architecture exhibitions and collections in a time where the very idea of going to a museum is uncertain.

For the final exercise students were asked to re-think architectural exhibitions for digital platforms. The assignment was to produce a 10-minute film with an essay-like script. There were 14 students in the class, and acting as curators and designers, they brought mock-ups for following digital exhibitions: “APAN Housing Laboratory in Mexico,” by Ana Sofía Aguirre; “Last Stop: The Digital Realm,” by Lesley Cheung; “Yugoslavia and Mostar: The Living and the Dead,” by Anela Dumonjic; “The Intelligent Ruins of Yugoslavia (1948-1980),” by Hana Gjikolli; “Why and How the French Grands Ensembles Became Urban Problems?” by Arber Haxhimusa; “City Views a New Access to Seeing and Possible Benefits Urban Life?” by Carolin Hinnekeuser; “Advertising in/and Architecture,” Chams Kamel, “Big Cities: Wuhan,” by Marco Magliozzi; “Online Exhibitions,” by Carlos Martínez; “A Non-Exhibition,” by Georg Meck; “Post-Traumatic Urbanism,” by Ilayda Memis; “Streets as Public Space, Thinking about Post-Crisis Urban Scenarios,” by Ella Neumaier; “Visions of the Future: An Architectural Survey,” by Miguel Pérez Mur; and “Making an On-Line Exhibition,” by Ilyas Yilmaz.