Exhibition The Gift: generosity and violence in architecture

Architectural donations are widespread and influence urbanization processes all over the world. However, they not only bring benefits, but can also cause damage. The exhibition “The Gift” in Munich takes a look at gifts in the form of buildings.

Until September 8, 2024 and since February 28, an exhibition called “The Gift – Generosity and Violence in Architecture” is running at the Pinakothek der Moderne in Munich. The organizers are the Architecture Museum of the Technical University of Munich together with the University of Michigan in Ann Arbor, USA. The curators come from the respective countries of the case studies. Thematically, this exhibition deals with the topic of architectural donations, for example by wealthy philanthropists, development aid funds, religious foundations or diplomatic institutions.

Whether libraries, emergency shelters, stadiums, mosques or social and educational facilities, architectural gifts are widespread. The exhibition “The Gift” takes a critical look at this often religiously and imperialistically based tradition of gift-giving, which influences urbanization processes worldwide. Especially in rapidly growing African, Asian and South American metropolises and their hinterlands, such gifts of buildings are now ubiquitous. And in North American and European cities, philanthropically motivated individuals are also investing in cultural, social and educational institutions, in some cases replacing the welfare state.

The exhibition at the Pinakothek der Moderne highlights donated buildings of various kinds, from the spectacular to the ordinary and from the extravagant to the useful. It aims to show that and how the unequal relationship between the giver and the recipient can be both benevolent and violent. Such gifts influence the production of buildings and their program, their design, their materiality and the working conditions in construction. To this end, “The Gift” considers factors such as the economic gain and political influence of donors. It questions whether architectural gifts require quid pro quos and obligations and what the future life of donated buildings looks like – is it accepted, maintained and used by local communities?

The exhibition was created in collaboration with local researchers and communities. It shows case studies from four continents to highlight both charitable and violent dynamics. In a total of three rooms, the exhibition offers a socially critical discussion by means of display boards, plans, aerial photographs, models and personal interviews.

The stories of “The Gift” are assigned to different types of gift-giving. Humanitarian ones are discussed using the example of Skopje. This city in North Macedonia experienced a severe earthquake in 1963 and was rebuilt with the help of the United Nations. In response, the city later built the “Universal Hall” for cultural and sporting events, the ownership of which changed hands several times. The question now arises as to who is responsible for the maintenance and upkeep of the various buildings in Skopje decades later.

The example of Kumasi, the second largest city in Ghana, shows how donated land can become a point of conflict. The city was the capital of the Asante Empire for 200 years and has now developed into an educational center. The University of Science and Technology is located on land that once belonged to the Asante people and was donated to the university by the former British colonial rulers. To this day, this creates tensions and conflicts of interest between the predominantly rural population in the surrounding area and the university.

Many diplomatic gifts can be found in Ulan Bator, the capital of Mongolia. Just 100 years ago, the city consisted only of yurts, but was subsequently upgraded with the support of socialist countries and now has a new cityscape. This raises the question of who owns these buildings and who acts as the giver and receiver of these architectural gifts. Using her own family as an example, the curator in charge shows how the Soviet legacy is perceived today.

A prime example of philanthropic gifts is East Palo Alto in Silicon Valley, California, USA. This place used to be affordable, but with the arrival of Apple, Microsoft & Co. that has changed drastically. These new companies have invested in the city’s infrastructure and quality of life, causing the state to withdraw more and more. Philanthropic donors now have a lot of power in the execution of their interests and evade democratic control, which can be described as “neoliberal feudalism”.

Finally, the exhibition “The Gift” also shows how philanthropy leaves its mark in this country and shapes cities such as Munich. Visitors gain fascinating insights into the complex negotiation processes associated with architectural donations. The carefully prepared case studies from around the world are intended to encourage visitors to reflect on the profound social impact of such gestures.

Built gifts often turn out to be a curse rather than a blessing for both people and cities. This is probably the most important message of the exhibition “The Gift”. It hypothesizes that there is also a kind of threat inherent in architectural gifts, as there are often consequences for many decades to come. Using historical examples such as the Victorian model estate Saltaire in West Yorkshire or La Cité de Refuge in Paris, the curators, who come from the countries of the case studies, show that philanthropic gifts very often have ulterior motives. Be it the selection of students, books, architectural styles or winners in land distribution, gifts carry the risk of power imbalances and the linking of economic gain or political influence to a seemingly altruistic gift.

Many constructed gifts are, of course, genuinely useful and accepted by the receiving communities. But the exhibition “The Gift” makes it clear that it is worth questioning the dynamics of gift-giving in order to distinguish between selflessness and hidden interests.

Read more: Most recently, the Pinakothek der Moderne presented an exhibition on “Healing Architecture”, which focused on hospitals.