In 1987, Heinrich Klotz prompted a dozen architects to conceptualise their ideal museum for a sub-exhibition ‘Das Ideale Museum’ at documenta 8. A few contributions aside, the entries embodied the curator’s contention: museum architecture should create a threshold and then ‘disappear’. This essay discusses the participants’ predilections as a de- sired condition for exhibiting architecture. By ‘eliminating’ the architecture inside, the architect, reborn as an artist, can freely indulge in myth creation, self-reflection, or ideological focusing.
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