Over the last 20 years, art fairs, biennials, and expos have grown in number and scale globally, leading to over-saturation in the art market, diluted or compromised missions, and perhaps loss of some of these event’s original attraction. In comparison to ticketed purpose-built museums that are organized around their permanent collections, spaces for public art and cultural events vary from large anonymous convention centers to some temporary off-the shelf tent structures. Common between this spectrum of spaces is the repetitive cellular interior layout of temporary partition walls inside expansive swathes of space. Each temporary exhibition requires its own curatorial program, newly released work ranging from wall art to objects to theatrical performances, and feeds off speed demanded by its compressed timeframe. As such, these events that last from days to weeks are defined by their energy and intensity, building lasting brands from their recurring presence that draw galleries, artists, and large audiences year after year. To support this transient operation, there is a demanding and endless loop of planning, installation, operation management, and deinstallation. Not least, there is the continuous need for procurement of space and making due with what is available at a given time.

This studio seeks to define a new typology of space for art and culture to emerge: a permanently temporary art infrastructure. The infrastructure will accommodate temporary events for expos, fairs, and biennials and develop a calendar that supports both the permanent and the ephemeral in the practice and experience of art. The studio will begin by investigating spaces for viewing art by re-interpreting Remy Zaugg’s book The Art Museum of my Dreams or A Place for the Work and the Human Being as a means to research and model three lines of interest: the room for viewing art, the art itself, and finally seek to define an infrastructure that supports the permanently temporary. The objective is to invent a new spatial model for these temporary events: one that moves away from the large anonymous flexible space to a specific space for art viewing and experiencing.

While a permanently temporary art infrastructure is a typology that every city needs, Chicago is uniquely positioned to build on its strong legacy and current roster of fairs and expositions – and serve as a model for future developments. The studio will re-imagine the abandoned and endangered 1920s Chicago Union Station Power House, located on the south branch of the Chicago River, as the primary hub to develop a permanently temporary art infrastructure in addition to exploring off-site open space to expand and connect to the greater city. The studio will speculate a new future for this historic structure through re-use and repair. Students will selectively propose additional on-site and off-site space as purpose-built and temporary structures to support their permanently temporary infrastructural theses.

The studio will travel to Chicago to visit the Chicago Architecture Biennial, local galleries and artists’ studios, collectors’ homes, and hosts’ talks with thought leaders in Chicago.

Note regarding the Fall 2025 GSD academic calendar: The first day of classes, Tuesday, September 2nd, is held as a MONDAY schedule at the GSD. This studio will meet for the first time on Friday, September 5th.