farzinfarzin investigates the means by which objects, sites and systems acquire cultural value and examines the representation of value in architectural form. In what unexpected ways might architecture engage questions of history, preservation, and political contingency? Can a method of intervention in these matters be learned from the hairy logic of computational processes?  The studio addresses these questions through the design of spaces, software, and media. 

farzinfarzin was founded in 2008 by Farzin Lotfi-Jam. Lotfi-Jam (b. Tehran) is faculty in the graduate school of architecture at Columbia University and holds advanced degrees from Columbia University and RMIT University in Melbourne, Australia. He is a Fellow of the Akademie Schloss Solitude in Stuttgart and was previously a Sanders Fellow at the University of Michigan. His research has been funded by the Veski organization and the Graham Foundation, and has been collected by the Centre Pompidou in Paris. He has been exhibited at the Storefront for Art and Architecture, the Het Nieuwe Instituut, the Museum of Contemporary Art Detroit, AIGA/NY Annex, the Oslo Architecture Triennale, the Venice Architecture Biennale, and elsewhere. 







Designed and developed with v-a.nyc 

Collecting Architecture Territories Exhibition


Deste Foundation, Athens, Greece 2012


My Role(s): Curatorial Team, Researcher, Participant


Curators: Craig Buckley and Mark Wasiuta

Exhibition Design: Adam M. Bandler, Troy Conrad Therrien

Design: MTWTF


Collecting Architecture Territories samples and presents the research of twin studio and seminar courses held at Columbia University’s Graduate School of Architecture Planning and Preservation (GSAPP) that emerged from an art-architecture, cultural-academic collaboration between the DESTE Foundation for Contemporary Art and GSAPP. The studio and seminar reflected on the relationship between architecture and collecting, considering architecture both as an agent that organizes, supports, and informs various contemporary collecting practices, and as an object of collection in its own right.

One of the most significant developments reshaping the domain of art and architectural practice over the last three decades is the veritable explosion of institutions and foundations that have emerged out of private collections. The sheer breadth and diversity of such institutions—ranging from experimental new museums to renovated industrial, commercial, or military buildings, and from long term installations to highly temporary exhibitions—demands analysis. 

Collecting Architecture Territories proposes that the historical institution of the museum, forged by the culture of the Enlightenment, is no longer sufficient to describe the expanded territory in which the practices of artists, collectors, curators, and architects now operate. By extension it asks if our understanding of collecting itself has been altered by recent architectural articulations beyond the space of the museum and new art institutions.