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Titre:
CCA on view

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Résumé:
"CCA on View" is a visual guidebook to the exhibitions produced by the Canadian Centre for Architecture since its founding in 1979. From "The Preservation and Conservation of Prints and Drawings of Ernest Cormier (1885–1980)", mounted in the lobby of the Canadian Centre for Architecture’s first office space in 1982, to" Besides, History", exhibited in 2017 in the main galleries of the CCA’s current building at 1920, rue Baile, each exhibition is presented through installation views, photographs of exhibition objects, previously unpublished working documents, and short descriptive statements. These artifacts, interspersed with commentary from CCA directors, curators, and collaborators, illustrate the central positions and arguments taken up in each project. "CCA on View" delves into the institutional archives to highlight the character and trajectory of the CCA’s approach to curatorial research.

Titre:
CCA à l'affiche

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Résumé:
« CCA à l’affiche » est un guide visuel des expositions produites par le Centre Canadien d’Architecture depuis sa fondation en 1979. De « La préservation et conservation des dessins et estampes d’Ernest Cormier (1885-1990) », installé dans le hall des premiers bureaux du CCA en 1982, à l’exposition « L’histoire, par ailleurs » présentée dans les salles principales du bâtiment de la rue Baile en 2017 – chaque projet est décrit brièvement et présenté à travers des vues d’installation, des photographies d’objets exposés et des documents de travail jusqu’alors inédits. Ces artéfacts, intercalés d’interjections par des directeurs, curateurs et collaborateurs du CCA, illustrent le propos développé dans chaque projet. « CCA à l’affiche » plonge dans les archives institutionnelles du CCA pour mettre en lumière le caractère et la trajectoire de sa démarche curatoriale au fil du temps.

Titre:
American framing: the architecture of a specific anonymity

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Résumé:
From its origins in the Midwest in the early nineteenth century, the technique of light timber framing—also known at the time as "Chicago construction"—quickly came to underwrite the territorial and ideological expansion of the United States. Softwood construction was inherently practical, as its materials were readily available and required little skill to assemble. The result was a built environment that erased typological and class distinctions: no amount of money can buy you a better 2 x 4. This fundamental sameness paradoxically underlies the American culture of individuality, unifying all superficial differences. It has been both a cause and effect of the country’s high regard for novelty, in contrast with the stability that is often assumed to be essential to architecture. "American framing" is a visual and textual exploration of the social, environmental, and architectural conditions and consequences of this ubiquitous form of construction. For architecture, it offers a story of an American project that is bored with tradition, eager to choose economy over technical skill, and accepting of a relaxed idea of craft in the pursuit of something useful and new—the forming of an architecture that enables architecture.

Titre:
Le musée ne suffit pas

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Résumé:
« Le musée ne suffit pas » est le fruit de réflexions collectives sur l’architecture, les préoccupations sociales contemporaines, les institutions et le public, effectuées au CCA ces dernières années. Alimenté par le questionnement continu que mène le CCA sur le rôle des institutions culturelles et leurs problèmes actuels, « Le musée ne suffit pas » permet d’amorcer des discussions avec des partenaires qui se posent des questions semblables.

Titre:
The museum is not enough

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Résumé:
'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.

Titre:
Flat Out : claims on architecture from an unlikely cast

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Résumé:
"Flat Out 1" yields unlikely connections between subjects as diverse as lists, numbers, chairs, and death. In “Dear Renato,” The Challenger writes a letter to Italian architect Renato Rizzi on the darkness of his Shakespeare Theater. The Genealogist, in “Get the Door, It’s Domino’s,” dives into the pizza company’s trophy awards for architects. The Mortician prepares New Brutalism for the afterlife, while The Graphic Essayist fills columns with new orders. In “Easier Done than Said” an editorial board member appears as The Cameo to make much ado about the reception of the inaugural Chicago Architectural Biennial. The cast for this issue features (in order of appearance) Pier Paolo Tamburelli, Jayne Kelley, Alexander Eisenschmidt, Sam Jacob, Robert Bruegmann, Paul Andersen, Jon Langford, Ellen Grimes, John McMorrough, Ania Jaworska, Zehra Ahmed, R. E. Somol, Penelope Dean, and Julia Di Castri. Character portraits are by Cody Hudson.