Peter Noever The Shake Down of Architecture. On the loss of ethics in building in all its monstrosity. National Center of Contemporary Art (NCCA), Moscow March 4, 2005, 6.30 p. m.
Every day we are confronted with the “Shake Down of Architecture”. Cooperations between the Soviet Union, the Russian Federation
Cities like Shanghai, Moscow, and Dubai ostensibly demonstrate this
and the MAK:
ethos. Real-estate speculators and developers dominate the cities.
“Kunst und Revolution: Russische und sowjetische Kunst 1910 –1932”
Urban planning has long ceased to be a theme worth considering.
(Art and Revolution: Russian and Soviet Art from 1910 to 1932), MAK,
Towers that were once functional symbols of power and progress are
Vienna (1988); “Alexander M. Rodtschenko/Warwara F. Stepanowa:
rotting away – Viagra Architecture: the last remaining means of
Die Zukunft ist unser einziges Ziel” (Alexander M. Rodtschenko/
aesthetic excitement in the softened image of our cities. Warwara F. Stepanowa: The future is our single goal), MAK, Vienna
In his last lecture series – at Dom Architektorow, Moscow, October
(1991), Puschkin Museum, Moskow (Fall 1991); “Josef Hoffmann:
2004 and SCI-Arc, Los Angeles, March 2004, Peter Noever raised the
Ornament zwischen Hoffnung und Verbrechen” (Josef Hoffmann:
question “Are the Architects the Root of All Evil?”
Ornament between Hope and Crime) MAK, Vienna (1987), Eremitage,St. Petersburg (1992) “Tyrannei des Schönen: Architektur der Stalin-
The MAK is a center for ART.
Zeit” (The Tyranny of the Beautiful. Architecture during the Stain Aera.);
At the MAK, the ideas of the artist and the intentions of the work are
MAK, Vienna (1994); “Sergej Bugaev Afrika: Crimania”, MAK, Vienna
given free reign and if necessary, art is defended. Today more than ever
(1995); “Heaven’s Gift”, MUAR, Schusev State Museum of
the independence of the museum is the real challenge!
Architecture, Moscow (2001); “Davaj! Russian Art Now. Aus dem
Founded in 1864 as the Imperial and Royal Austrian Museum of Art
Laboratorium der freien Künste in Russland”, Postfuhramt, Berlin
and Industry, the MAK has pursued a continued commitment to com-
bining practice and theory, art and industry, production and reproduc-
„Schyli-Byli, Russische Kinderbücher 1920–1940“ (Schili-Byli Russian
tion. The MAK regards itself as a laboratory of artistic production and a
Children’s Book 1920 –1940), MAK, Vienna (2004);
research center of social awareness. The powerful ideas created here
„Alexander Rodtschenko Raumkonstruktionen“ (Alexander
today will serve as models for tomorrow. Rodtschenko Spatial Contructions), MAK, Vienna (2005)
Art functions both as an investment in, and a prophesy of, the future ofsociety. A museum construct is the ultimate transmitter for communi-
Planned Exhibition Projects:
cating ideas and products of individuals across generation and
“Das Laboratorium Konstantin Melnikov. Leben und Werk von
nationality. Through its connection to the past, a museum also serves
Konstantin Melnikov” (The Laboratory Konstantin Melnikov. Life and
as a projection screen and a producer of utopian potentiality, thereby
Work of Konstantin Melnikov) Cooperation between the MUAR,
articulating an alternative to the business model of the entertainment
Schusev State Museum of Architecture, Moscow and the MAK, Vienna.
industry and its resulting lifestyle that seeks easy sensation and
“MAK NITE @ EREMITAGE” A long MAK-Night in St. Petersburg at theEremitage.
“For me Vienna is unthinkable without Peter Noever’s MAK.”
Peter Noever, born in 1941. Designer. Since 1986 CEO and Artistic Zaha Hadid
Director of the MAK (Austrian Museum of Applied Arts / ContemporaryArts), Vienna. 1988–1993 Artistic supervision for the restoration and
construction work of the MAK, Vienna. 1994 founding of the MAK
Jenny Holzer
Center for Art and Architecture, Los Angeles. 1975–1993 teachesDesign Analysis at the Academy of Fine Arts, Vienna. 1982–1994 Peter
“MAK o muerte, there is no alternative.”
Noever is publisher and editor-in-chief of UMRISS, a magazine for
Wolf D. Prix
architecture. 1988–1989 Guest professor for Museology at theUniversities of Applied Arts, Vienna. Numerous guest lectures, e.g.
“With you, Peter Noever, resistance begins! Long live life!”
Technical Universities of Vienna, Graz, Zagreb, Prag, Havana and
Paul Virilio
Moscow, UC Berkeley, Univercity of Southern California, San Diego,Ball State University, Munice/Indiana, SCI-ARC Institute of Architecture,
“Here in Moscow, MUAR carefully watches every movement
Los Angeles. Various media activities. Numerous books and articles on
art, design and architecture. Since 1971 Peter Noever works on a
David Sarkisyan
work-in-progress, the landscape architecture project The Pit (DieGrube) in Breitenbrunn, Burgenland, Austria. Various architectural
“Peter, I respect your uncompromising position regarding position
projects, including design of the MAK terrace, 1989; most recently
regarding any forms of misunderstanding and brutality, and I will
“CAT – Contemporary Art Tower”, together with Sepp Müller and
always support your protests against forces which constantly try to
Michael Embacher. Curator and exhibition designer in Austria and
lower the social, therapeutic, and cultural importance of museums.”
Sergej Bugaev Afrika
Chief curator for the Austrian contribution to the Triennale 1996, Milan. Numerous product designs. Consultant on basic planning, e.g. in
“Peter Noever likes to deny he’s an architect; but, all the while, he’s
Havana (with Carl Pruscha) for the Cuban Ministry of Culture. 1994,
building a neighbourhood, a village, that might become a town, that
juror for design at the Academy Schloß Solitude, Stuttgart, Awards:
might become a city, behind your back; Peter Noever denies he’s an
Pan‘s Prize, Frankfurt 1991; Museum of the Year Award 1996, Council
architect, peter Noever never dreams he’s an artist, and all the while
of Europe, Strasbourg; Austrian Decoration of Honor for Science and
he’s talking with, and working with, architects and artists who flaunt
the Arts, Vienna; exhibitions of his own architecture and design works
their own work, brandish their own work like a spear – but, once
in Europe and the USA. Lives and works in Vienna.
we’ve become entangled in conversations with Peter Noever, once we’ve walked back and forth and through the museum that’s the world that Peter Noever’s made, whose work are we doing anyway as we go back to our desks & studios? Vito Acconci
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Peter Noever