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.
Among the Windy City’s most well-known assets are its universities, from DePaul in Lincoln Park and the Loop to the University of Chicago in Hyde Park. Many of these campuses, in turn, are characterized by heavy brick and stone architecture in the Neo-Gothic style. The dominance of a single architectural style—a feature of many institutions of higher learning, not just Chicago‘s—presents a challenge to contemporary architects, who must combine a sensitivity to the existing campus fabric with the imperatives of contemporary college life.
Since 2008, there has been a giant hole where Santiago Calatrava’s Chicago Spire was supposed to rise some 2,000 feet out of the ground. The project lapsed due to financial woes by Irish developer Garrett Kelleher. The foundation is in place, and it looks like a place where a giant swimming pool or music venue would fit nicely, but AN is hearing that developers are working with Bjarke Ingels’ Danish firm BIG on a possible Spire part to.
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The State of the Art of Architecture, delivered by the Chicago Architecture Biennial Exhibition, must leave lay-visitors bewildered by one overwhelming subliminal message: Contemporary architecture has ceased to exist, the discipline’s guilt and bad conscience has sapped its vitality, driven it to self-annihilation, and architects have now en masse dedicated themselves to doing good via basic social work.
ILLINOIS GOVERNOR RAUNER ANNOUNCES STATE’S PLAN TO SELL CHICAGO’S POSTMODERN ICON. (Photo by Rainer Viertlboeck)
Hot on the heels of round table discussions of the preservation of Postmodern monuments at the Chicago Architecture Biennial. One of Chicago’s most iconic and controversial Postmodern landmarks finds itself on unsure footing. The James R. Thompson Center, designed by Helmut Jahn and constructed in 1985, was the site of a press conference held by Illinois Governor Bruce Rauner to announce the proposed sale of the building.
A juicy tidbit from the Chicago Architecture Biennial. The number of projects in the Chicago Cultural Center right now is a bit dizzying, but we can only imagine what the place was like during the installation. It is a small miracle that it all fit, let alone got assembled correctly. The process was not without snafus.
For much of its early history, architecture was more than a pragmatic response to the problem of shelter. It was infused by craft. “Craft has existed in all kinds of industry, especially architecture, for a long time,” said Simpson Gumpertz & Heger (SGH) principal Matthew Johnson. “But I feel it it lost its way in the twentieth century as we chased efficiency over quality.”
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