New York

Massimo Scolari

The Institute for Architecture and Urban Studies

It was unlikely but now architecture too is a cultural term cast in doubt, “under erasure” even. More and more, it exists in its own margin, along lines that contravene its own laws. Like other “post-modern” arts, it is often addressed obliquely by methods that it traditionally excluded, or even through other media. To be sure, this is due in part to adverse socio-economic conditions; but it is no less the result of a crisis within architecture, whereby neither modern functionalism nor recent experiments in historicism quite satisfy.

To refer the drawings of Massimo Scolari to architecture as we know it seems specious: it is to authenticate the work in terms that it puts in doubt—even to call it a critique of architecture is to recoup it. And yet we are urged to do this; the drawings are notes towards what Christian Hubert refers to in the preface to the catalogue as an “autonomous

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