Letter to the Editor> Francois Roche responds to Patrik Schumacher’s reproach of the Chicago Architecture Biennial
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The Architect’s Newspaper recently published an excerpt from Patrik Schumacher’s now-infamous Facebook post which he also sent to AN. In response, Thailand-based architect Francois Roche sent us the following letter from his Facebook page; an edited version was also posted on Dezeen.
Tigerman’s Epiphany: New photomontage update of “Titanic” unveiled at the Chicago Architecture Biennial
On October 22nd, marking the 130th anniversary of the Chicago Architecture Club and as part of the ongoing Chicago Architecture Foundation‘s Currencies of Architecture exhibition, Stanley Tigerman unveiled a follow up to his 1978 “Titanic” photomontage. Entitled “The Epiphany,” the new image, somewhat ironically, is a protest against what Tigerman sees as a contemporary infatuation with icons.
Just like every other major architectural exhibition, the Chicago Architecture Biennial is a massive undertaking filled with large scale models, full size mock- ups and room sized installations. However, the most light-handed approach in the main exhibition can be found sandwiched between two full scale houses. Japanese architect Sou Fujimoto placed about 40 different found objects on five-inch-by-five-inch plywood bases.
At the Chicago Architecture Biennial, the role of the horizon in architectural display and setting for events was noticeable—both in the biennial’s discussions held at the Illinois Institute of Technology (IIT) Chicago during the opening as well in the main exhibition in the Chicago Cultural Center. Here is what made instant impressions. When the dust settles, various other things will emerge, that I am sure.
If you’re in town for the Chicago Architecture Biennial, be sure to visit the newly-opened Stony Island Arts Bank, a formerly derelict 1923 bank structure on Chicago’s South Side that has been transformed into a spectacular center for exhibitions, artist residencies, and the preservation of archival collections of black culture. The building’s rebirth was made possible by artist Theaster Gates’ Rebuild Foundation, which has renovated three other buildings in the area as part of its program of “culturally driven redevelopment.”
Day two at the Chicago Architecture Biennial continued to deliver with a mix of the best international talent and local practitioners who are rethinking the way we build our cities. We were on the ground battling the wind in the crisp Chicago fall. Here are some of our favorite things we found.
Performance has been the breakout surprise of the Chicago Architecture Biennial. While many of the works inside the Chicago Cultural Center grapple with issues of urbanism, politics, and the resonances of Modernism (especially Mies’ oversized presence in the city) in contemporary culture, the three performances included in the opening weekend program address and embody what is at stake. Read More
After a marathon session of presentations of all architects/artists in the biennial Thursday afternoon was marked by a preview of the complex, yet succinct exhibit House Housing capturing the history of inequality of designed inhabitation. Staged as an open house in one of last remaining buildings of one of the first federally-funded housing complex in Chicago, the exhibition is a walk-through into the part of the future home of the National Public Housing Museum (NPHM).
“We were outraged by what we saw—by the violence in everyday life,” said Jeanne Gang when asked about the impetuous behind her firm’s project Polis Project, a proposed reinvention of the typical police station on view at the Chicago Cultural Center as part of the Chicago Architecture Biennial. The work, like any number of projects in the exhibition, highlights the what curator Joseph Grima calls “architectural agency,” where firms take on projects not for a client, but out of a sense of urgency to architecturally address important issues. Read More
The international architecture cognoscenti have descended on the Chicago Cultural Center with a motherlode of new content from Thailand to Ecuador, ranging from robotically-assembled structures to investigations into social and infrastructural inequality. The consequences of this assemblage will unfold over the next few months, but one room in the Cultural Center is particularly clear in its ambition and vision for the future.