Posts tagged with "Chicago":

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Edward Peck discusses enclosure technology and Facades+ Chicago

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On September 27, The Architect's Newspaper is returning to the Great Lakes for the sixth time to host Facades+ Chicago. The city is no stranger to architectural innovation, pioneering steel-frame construction, and the curtain walled skyscraper. The conference is, in effect, an appraisal of the most recent projects and research that keep Chicago ahead of the curve in architectural design and technology. Participants for the conference symposium and workshops are leading practitioners based in Chicago and the Midwest, including Brininstool + Lynch, the Chicago Department of Buildings, Gensler, Heitman Architects, Krueck + Sexton Architects, the Passive House Institute US, Sentech Architectural Systems, Sterling Bay, Thornton Tomasetti, and WJE. Edward Peck, managing director of Edward Peck Design and a facade expert with decades of experience, collaborated with AN as co-chair of the conference to curate the program and will also present on the panel "Ongoing Advancements in Glass Technology: From Smart Coatings to Connection Design," which will  be expanded upon as an afternoon workshop. In this interview with AN, Peck discusses the themes and objectives of the upcoming conference. AN: Research and Innovation are at the forefront of this year’s conference in Chicago. What lessons do you hope will be garnered by the audience? Edward Peck: Correct. At this conference, we want to draw the connection between the two. To innovate, one needs to invest time and effort into Research (R&D). We are a profession where every project is a prototype yet we find ourselves with less and less time for the integration of Research and Advanced Analytics but to build meaningful architecture that is inspirational, sustainable and resilient we will need to find better ways to perform and collaborate on Research and new Innovations to meet the environmental challenges of today and tomorrow. AN: How are firms in Chicago impacting design across the country and perhaps globally? EP: Architects in Chicago have a rich history for impacting architecture and urban conditions globally. We have a collective body of progressive work around the world-leading innovations in sustainability, performance and structural force pushing towers to new heights. With this comes a body of innovative engineers that are our primary collaborators on these projects enriching the entire practice of architecture and enabling Chicago to maintain our position as a critical thought leader in progressive architecture. AN: What do you perceive to be the most interesting design trends within Chicago today? EP: I try to stay away from trends. One needs to focus on the building’s performance; both its impact on the environment and the user while understanding its urban or contextual integration. If these conditions are your focus your work will transcend trends. I believe the Trumpf Smart Factory, a featured project at this conference does that; it is focused on its program while also exhibiting the values and capabilities of Trumpf as a company. AN: Facade materials are undergoing a significant evolution due to advanced research. Are there any specific materials we should be paying attention to? EP: I think smart or dynamic building skins and systems are worth paying attention to – There are a lot of products that are now moving into their second generation making them more attractive and feasible in the market. Buildings must perform in a wide range of conditions, systems that can adapt or transition within this range will undoubtedly be integrated into future designs. Further information regarding Facades+ Chicago can be found here.
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A first look inside the 2019 Chicago Architecture Biennial

Now in its third iteration, the Chicago Architecture Biennial will open to the general public on Thursday, September 19. The show's main venue, the Chicago Cultural Center, has once again been filled with large installations, multimedia displays, and extensive texts. What you will not see, diverging from the last two installments, are the extensive architectural models, renderings, and full-scale mock-ups. This year's show, curated by Yesomi Umolu, Sepake Angiama, and Paulo Tavares has a distinctly different feel than most architectural shows. Entitled "...and Other Such Stories," the curatorial team opted for research-heavy content focusing on social justice, equality, and civic activism. Most of the 80+ contributors come from urban studies and activism fields, with only a handful calling themselves architects. The exhibition will be on show from September 19th through January 5th at the Chicago Cultural Center and a number of other sites around the city.
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Krueck + Sexton and Thornton Tomasetti bring undulating glass to Chicago's Mercantile Exchange

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Chicago's Krueck + Sexton Architects, a practice founded in 1979, has established a particular niche in the design and implementation of complex glass facades. Their projects present a significant range in terms of location and scale, ranging from the multiplanar Spertus Institute on Michigan Boulevard to a slew of private residences and the restoration of Mies van der Rohe's prestigious structures dotted throughout Chicagoland. Recently, the firm wrapped up a full revamp of the Chicago Mercantile Exchange's lobby with an undulating structural glass wall. Located on Lake Michigan, Chicago has served as country's primary inland entrepot for over a century—the Chicago Mercantile Exchange (CME) was founded in 1898. The CME migrated to its current headquarters in 1987, a heavy granite-clad postmodern tower located immediately adjacent to the Chicago River. The design objective of the project was to establish an inviting and prominent facade for a structure in which over 10,000 people cross through daily, replacing 18 separate dark and weighty entrances.
  • Facade Manufacturer Roschmann Group Porcelanosa
  • Architect Krueck + Sexton Architects
  • Facade Installer Roschmann Group
  • Facade Engineer  Thornton Tomasetti
  • Location Chicago
  • Date of Completion 2019
  • System Custom structural glass system
  • Products Custom Roschmann IGU panels KRION Porcelanosa
The glass streetwall runs the entire width of the city block, weaving behind the square columns that form an encircling arcade. When developing the overall contour of the glass facade, Krueck + Sexton Architects analyzed the movement of surrounding pedestrians and inputted that information to follow the preexisting desire lines of foot traffic. Roschmann Group, the Germany-based manufacturer, handled the fabrication of the bespoke system. Each panel measures approximately 25-feet-by-four-feet and were installed using a custom-designed suction cup lifting device. "The glass is base loaded, and the glass fins provide support for lateral loads such as wind and inside and outside differential," said Krueck + Sexton Associate Principal Yugene Cha. "The top of the glass fin is held by a clever suspension system that can slide up and down and sideways allowing the building to move without breaking the glass." The street-level prominence of the facade, as well as the remarkable visibility of the oversized glass panels, required the implementation of direct and simple detailing where pane meets the ceiling, ground floor, and glass fin. The most challenging aspect of almost any project is the unforeseen conditions onsite after the commencement of construction. For the CME, frequent shifts in the grade below the street level required recalibrations of waterproofing details as well as glazing base plate design. It was critical to the success of the project to loop in the facade engineer, Thornton Tomasetti, from the point of conception. "First, Krueck + Sexton and Thornton Tomasetti worked together to develop a highly-detailed and complete facade package in the Schematic Design Phase, setting the project up for a successful Bidding Phase and Design Assist collaboration," said Thornton Tomasetti Senior Project Director Mark Chiu. "Second, Thornton Tomasetti pre-engineered the facade system’s glass sizes and thicknesses shown in the Schematic Design documents, validating the minimalist design details." Behind the structural glass facade, Krueck + Sexton placed a sophisticated system of 2,644 white synthetic-mineral panels that rise and curve to form the ceiling and continue outward to roof the arcade. The material is non-porous, allowing for straightforward maintenance. Krueck + Sexton Architects Founding Principal Mark P. Sexton and Thorton Tomasetti Senior Project Director Mark Chiu will be joining the panel "Ongoing Advancements in Glass Technology: From Smart Coatings to Connection Design" at the Architect's Newspaper's upcoming Facades+ Chicago conference on September 12. In the afternoon, the panel will be extended into an intensive three-hour workshop.
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Barozzi/Veiga will tame the Art Institute of Chicago with sprawling masterplan

The Art Institute of Chicago is likely to receive a much-needed, multiphased makeover courtesy the Barcelona-based firm Barozzi/Veiga. The Chicago Tribune broke the news that the award-winning Spanish studio is in the early stages of dreaming up how the museum’s sprawling, 126-year-old campus could become a more porous, inclusive environment that interacts more directly with the city itself and features easier internal circulation.  The move is a major goal of the museum’s current president and director James Rondeau who, when he stepped into the job in 2016, began searching for an architect to take on revamping the entire site. According to the Tribune, things are moving forward slowly, albeit on purpose. Rondeau said that, for now, firm principals Fabrizio Barozzi and Alberto Veiga are “partners to dream (up) the future” and that they’ll consider how the museum might look through the lenses of a five-year, 10-year, and 15-year, plan.   The long-time problem with the Institute, critics have frequently complained, is that it’s too inwardly-focused. Bounded by Michigan Avenue on its western edge and Grant Park on its other three sides, the architecture takes up what’s arguably one-twelfth of the surrounding landscape, and it’s not even one large building; two of Chicago’s train lines literally splice through the center of the campus, forcing a bridge/building that doubles as an elongated exhibition hall to connect its entrance with the majority of the back galleries. Since it opened in 1893 for the World’s Columbia Exposition, seven additional buildings have been knit strangely into the site.  The last time the museum was updated was in 2009 when Renzo Piano completed its Modern Wing in the northeastern corner, which brought 264,000-square-feet to the now one-million-square-foot campus. Though the contemporary addition complemented the rest of the architecture’s Beaux-Arts style, brought ample diffused daylight into the new gallery spaces, and provided a “main street-like” hall that links it to the existing building, the structure is just one part of an expansive art museum that needs more attention.  Rondeau seems to think that Barozzi/Veiga can take the same great ideas implemented in the Modern Wing and build upon them with an overall masterplan. The design duo’s most recent claim to fame is the Szczecin Philharmonic Hall in Poland, which in 2015 won them the European Prize for Contemporary Architecture-Mies van Der Rohe Award. That project, much like Piano’s museum addition, utilized both light and shape as focal design elements to express a welcoming and artfully authoritative tone that respected the surrounding city. Rondeau told The Tribune he wants the architects to help them open up the museum’s facade onto Michigan Avenue, but its iconic steps and its lion statues are here to stay.   This push to elevate the campus as a whole is a big deal considering the size of the Institute. It’s the second-largest art museum in the United States behind the Met and houses 300,000 items in its permanent collection. But Barozzi and Veiga aren’t ready to release any design ideas just yet. The only thing that’s certain is that they’ll have to work around some serious logistical issues including the fact that they can’t build anything taller than the current structures and can’t go past its four street perimeters. 
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Graham Foundation announces 2019 organizational grant recipients

The Chicago-based Graham Foundation has released a list of organizations that will receive its coveted Production and Presentation Grants to pursue architecture-related projects this year. A total of 54 organizations will be presented with financial support from the foundation, with no grantee’s allocation exceeding $30,000 and few receiving the full amount requested. In line with the Graham Foundation’s mission to “foster the development and exchange of diverse and challenging ideas about architecture,” awardees will receive assistance with production-related expenses for a variety of undertakings that aim to enrich architectural discourse, including films, publications, exhibitions, and lectures. Final decisions were made on the basis of four criteria: originality, feasibility, capacity, and potential for impact.

The winning projects for 2020 are split into four distinct categories—exhibitions; film, video, and new media projects; public programs; and publications—and were submitted by a wide range of institutions, companies, and non-profits. Among the grantees are Boston’s MASS Design Group, Michael Sorkin’s Terreform, the Oslo Architecture Triennale, and the University of Chicago’s South Side Home Movie Project. Several past grant recipients received funding for new projects this year, including the Museum of Modern Art for a publication on the work of Robert Venturi and Mexico City-based LIGA-Space for Architecture, which is working to highlight Latin American designers in its annual public program. Here is the full list of the 2020 recipients and their respective projects:

EXHIBITIONS (19 awards)

Àkéte Art Foundation Lagos, Nigeria How To Build a Lagoon with Just a Bottle of Wine?, 2nd Lagos Biennial

ArchiteXX Syracuse, NY Now What?! Advocacy, Activism, and Alliances in American Architecture since 1968

Art Institute of Chicago Chicago, IL In a Cloud, in a Wall, in a Chair: Six Modernists in Mexico at Midcentury

Chicago Architecture Biennial Chicago, IL Graham Foundation Artistic Director

Cranbrook Art Museum Bloomfield Hills, MI Ruth Adler Schnee: Modern Designs for Living

Elmhurst Art Museum Elmhurst, IL Assaf Evron & Claudia Weber

El Museo Francisco Oller y Diego Rivera Buffalo, NY Paul Rudolph’s Shoreline Apartments

Equitable Vitrines Los Angeles, CA Florian Hecker

Landmark Columbus Foundation Columbus, IN Good Design and the Community: 2019 Exhibition, Exhibit Columbus

LIGA–Space for Architecture Mexico City, Mexico LIGA Public Program 2019–2020

Madison Square Park Conservancy New York, NY Martin Puryear: Liberty/Libertà: US Pavilion, 58th International Art Exhibition

Materials & Applications Los Angeles, CA Staging Construction

National Building Museum Washington, DC Architecture is Never Neutral: The Work of MASS Design Group

National Trust for Historic Preservation—Farnsworth House Plano, IL Edith Farnsworth Reconsidered

Oslo Architecture Triennale Oslo, Norway Enough: The Architecture of Degrowth, Oslo Architecture Triennale 2019

Serpentine Galleries London, United Kingdom Serpentine Pavilion 2019 by Junya Ishigami

Storefront for Art and Architecture New York, NY Building Cycles

Toronto Biennial of Art Toronto, Canada Learning from Ice

University of Illinois at Chicago—College of Architecture, Design, and the Arts Chicago, IL A Certain Kind of Life

FILM/VIDEO/NEW MEDIA PROJECTS (4 awards)

Architectural Association School of Architecture London, United Kingdom Architecture in Translation

The Funambulist Paris, France The Funambulist Network

MASS Design Group Boston, MA The Whole Architect: Giancarlo De Carlo

University of Chicago—South Side Home Movie Project Chicago, IL South Side Home Movie Project Interactive Digital Archive

PUBLIC PROGRAMS (6 awards)

Association of Architecture Organizations Chicago, IL 2019 Design Matters Conference

Harvard University—Graduate School of Design—African American Student Union Cambridge, MA Black Futurism: Creating a More Equitable Future

Independent Curators International New York, NY Curatorial Forum

Lampo Chicago, IL Lampo 2019 Concert Series at the Graham Foundation

New Architecture Writers London, United Kingdom Constructive Criticism

University of Michigan—A. Alfred Taubman College of Architecture and Urban Planning Ann Arbor, MI Re: Housing: Detroit

PUBLICATIONS (25 awards)

Anyone Corporation New York, NY Log: Observations on Architecture and the Contemporary City, Issues 47, 48, and 49

ETH Zurich—gta exhibitions Zurich, Switzerland Inside Outside / Petra Blaisse

Flat Out Inc. Chicago, IL Flat Out, Issues 5 and 6

Harvard University—Graduate School of Design–New Geographies Cambridge, MA New Geographies 11: Extraterrestrial

Haus der Kulturen der Welt Berlin, Germany Counter Gravity: The Architecture Films of Heinz Emigholz

Instituto Bardi/Casa de Vidro São Paulo, Brazil Casa de Vidro: The Bardis’ Life between Art, Architecture and Landscape

The Museum of Modern Art New York, NY Robert Venturi’s Complexity and Contradiction at Fifty

Northwestern University Press Evanston, IL Southern Exposure: The Overlooked Architecture of Chicago’s South Side

Paprika! New Haven, CT Paprika! Volume V

Places Journal San Francisco, CA Reservoir: Nature, Culture, Infrastructure

PRAXIS, Inc. Boston, MA PRAXIS, Issue 15: Bad Architectures

Produzioni Nero Scrl Rome, Italy Scenes from the Life of Raimund Abraham

REAL foundation London, United Kingdom Kommunen in der Neuen Welt: 1740–1972

Rice University—School of Architecture Houston, TX PLAT 9.0

The School of Architecture at Taliesin Scottsdale, AZ WASH Magazine, Issues 003 and 004

Solomon R. Guggenheim Museum New York, NY Countryside, The Future

Southern California Institute of Architecture Los Angeles, CA LA8020

Standpunkte Basel, Switzerland Archetypes: David Ross

The Studio Museum in Harlem New York, NY The Smokehouse Associates

Terreform New York, NY UR (Urban Research) 2019

University of California, Los Angeles—Department of Architecture and Urban Design Los Angeles, CA POOL, Issue No. 5

University of Florida—Graduate School of Architecture Gainesville, FL VORKURS_Dérive

University of Maryland, College Park—School of Architecture, Planning and Preservation College Park, MD See/Saw, No. 2: Difference

University of Miami—School of Architecture Coral Gables, FL Cuban Modernism: Mid-Century Architecture, 1940–1970

Yale University Press New Haven, CT Mies van der Rohe: The Architect in His Time

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Brooks + Scarpa parts the veil with an undulating brick screen wall

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Evanston, Illinois is located over a dozen miles from the city center of Chicago, on the northern fringe of Cook County, and is bounded by Lake Michigan to the east. The city is fairly typical for the region: there is a postwar central business district surrounded by tracts of suburban housing, some clad with wood drop-siding and others with exposed brick. Completed in 2018, the Lipton Thayer Brick House by Los Angeles-and-Florida-based architectural practice Brooks + Scarpa and Chicago's Studio Dwell burst onto the scene with a twisting-brick screen backed by a Miesian glass curtain wall. The 2,500-square-foot family residence and conforms to the city-mandated suburban lot lines, with the entire outer shell composed of Chicago Common Brick. The side elevations rise sheer with limited fenestration to the east and west, while the 21-foot-tall brick skin on the north elevation breaks to partially reveal the entrance courtyard.
  • Facade Manufacturer Chicago Common Brick Vitro Accurate Metal Chicago LM Scolfield
  • Architect Brooks + Scarpa Studio Dwell
  • Facade Installer Studio Dwell
  • Structural Engineer Louis Shell Structures
  • Location Evanston, IL
  • Date of Completion 2018
  • System Custom steel screen Type V wood frame over Type I reinforced concrete
  • Products Chicago Common Brick Vitro Solarban 80 LM Scolfeild Lithochrome
As Chicago Common brick has not been produced for nearly four decades, the material was salvaged from past and ongoing demolitions of historic structures. It is an irregular and coarse material formerly harvested from local clay beds that were formed from the diverse deposits of retreating glaciers from the last ice age. The resulting finish—the clay is baked at a temperature of 1500-degrees Fahrenheit over the course of a few days— is inconsistent in color from brick to brick which provides a softly gradated facade. While visually complex, the design team utilized a straightforward methodology to achieve the rotating pattern. "Using ruled surface geometry, the undulating facade is formed by connecting two curves with a series of straight lines to form the surface of the facade," said Brooks + Scarpa. "This technique allowed the design team to work with complex curved forms and rationalize them into simple, cost-effective standardized components, making them easy to fabricate and efficient to install." A thin layer of mortar is located between each successive brick of the vertical columns. However, the task of keeping the masonry screen in place falls to a steel system produced by Accurate Metal Chicago. A steel rebar pipe, running from base to cornice, passes through each individual brick. Additionally, interstitially-placed steel plates are integrated with the vertical bands of rebar and brick every few courses, supplementing the screen with horizontal bracing. Past the screen wall, the courtyard is lined with rectangular, high-visibility glass curtain wall modules framed with aluminum. Sunlight from the northern exposure is filtered through the screen wall, softening the daylight that reaches the interior spaces. The rear elevation, which faces a service alley, is composed of recycled Portland cement panels stained with LITHOCHROME to achieve a light-grey finish.  
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Elkus Manfredi breathes new life into Charles River Associates’ Chicago office

Rectifying the aesthetic gaffes of the past is not always an easy task. For the transformation of Charles River Associates' Chicago office, it was a question of converting a previously disjointed, dim-lit, and crowded office into a daylight-filled, expansive workplace. Boston-based architecture firm Elkus Manfredi Architects refurbished the two-level, 35,620-square-foot complex into a unified outpost for the international consultancy firm. Hoping to not make the same stylistic mistakes as the property's previous designers, Elkus Manfredi opted for a scheme that champions a timeless aesthetic. "Just because there is a trend, it doesn’t mean you have to follow it," explained the firm's senior workplace strategist & designer Linda MacLeod Fannon. "Charles River Associates' Chicago team truly investigated what was right for them versus what everyone else is doing.” Working closely with the company's internal team, Elkus Manfredi put forward a paradigm-shifting intervention that caters to different activities, tasks, and points of interaction. A balance of private and public areas was introduced, allowing the company's employees to accomplish quiet, focused, heads-down work but also to engage in spontaneous interactions. Read the full article on our interiors and design website, aninteriormag.com.
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Architects sign on for the Global Climate Strike

You may have heard Greta Thunberg’s name in the news recently. She’s the 16-year-old from Stockholm who in August 2018, week after week, stood in front of the Swedish Parliament building with a sign reading “School Strike for Climate.” Today, Greta is joined by thousands and thousands of teenage leaders from around the world who purposely walk out of their classrooms on Fridays to advocate for action against climate breakdown. Her mission for climate justice and to bolster a living planet has inspired countless numbers of people from all generations and geographies. The public outreach initiative, Architects Advocate, is following the lead of Global Climate Strike, a grassroots campaign calling upon the architecture industries’ professional interests and commitments to the building sector. Architects Advocate co-founder Tom Jacobs has pleaded for architects to stand up for the next generation and support the “true leaders of our time.” The pledge form states, “The building sector accounts for nearly 40% of global greenhouse gas emissions, and buildings alone account for 72% of U.S. electricity use. The transition from fossil fuels to a thriving zero-carbon economy isn’t just possible—it’s necessary.” The Global Climate Strike will occur on Friday, September 20, just ahead of a UN emergency climate summit. On this day, inspired by the countless schoolkids leaving the classroom, everyone—sports-stars, actors, architects—are encouraged to disrupt business as usual. Architects Advocate are encouraging widespread industry participation, stating, “we share responsibility for creating healthy and safe communities for all.” To coincide with the global strike, the organization is initiating a mass assemble on September 20 at Chicago’s Federal Plaza, arguably the city’s most popular public square known for a cluster of three austere Mies van der Rohe-designed buildings: the Everett McKinley Dirksen Building, the John C. Kluczynski Building, and the (most beloved) Post Office building. Perched in the middle of Mies’ pitch-black intervention is Alexander Calder’s fiery Flamingo sculpture. Both individuals and firms may pledge to support #StandWithGreta. Below is a list of participating architects and firms at the time of this posting, although the number of Architects Advocate members is much larger. Firms: Krueck + Sexton Architects, blank studio design + architecture, Bright Common, John D. Kelley, Drawing Conclusions LLC, Architecture Is Fun, Inc., Strawn + Sierralta, Jones Studio, Jurassic Studio, DTW Architects + Planners, Kuklinski+Rappe Architects, Atelier Ten, Corporate Architectural Services, Harboe Architects, dSPACE Studio, Leddy Maytum Stacy Architects, COULSON, Pappageorge Haymes Partners, Lake|Flato Architects, Manypenny Murphy Architecture, Design2 LAST, Peckham Architecture, Sheri Olson Architecture, DIAG Studios, David Fleener Architects, Rykerson Architecture, Paragon Designs, Thomas W Angell Architect, Asakura Robinson, emar Studio for Public Architecture, Cleary Design Studio, Heidrun Hoppe Associates, Elizabeth Herrmann Architecture + Design, Abruna & Musgrave Architects, BCG AE, LightLouver, ArchitecturaLAB, Robin Ashley Architects, Croft Design Collective, Atelier Ten, Landon Bone Baker Architects, beta-field Individuals: Tom Jacobs, Jason Roberts, Hilary Noll, Phoebe Schenker, Holly Lennihan, Melanie De Cola, Alison Musch, Peter Exley, Mia DiMeo, Theron Gabel, Luis Huertas, Raphael Sperry, Pam Crowell, Alima Silverman, Robert Harris, Fumiko Docker, Josephine Jacobs, Cory Rouillard, Alan Scott, Taryn Sabia, Lee Burkart, Dante Amato, Matthew Hardy, Karen Votava, Jennifer Park, Jim Morgan, Maria Bergh, Mark Weitekamper, Scott Rappe, Michael Kloefkorn, Nicole Ellis Semple, David Langdon, Kristin Boyer, Keith Knapp, Joshua Grossman, Xiang Qiang, Beau Rhee, Rory Gilchrist, Yugene Cha, Debbie Slacter, Jennifer Cutbill, Mika Sautet, Brian Kidd, Patrick Danaher, Heather Holdridge, Joe Villanti, Ludmilla Pavlova-Gillham, Marcy Giannunzio, Rick McDermott, Christopher May, Laurie Barlow, Angie Klein, Ryan Ornberg Meanwhile, as the Architects' Journal reports, the U.K. Green Building Council and Ben Derbyshire, president of the Royal Institute of British Architects (RIBA), have also pledged their support for the strike.
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Detroit’s planning and development director Maurice Cox is leaving for Chicago

Detroit’s Director of Planning and Development, Maurice Cox, will be the next top planning executive for the city of Chicago, according to Detroit News, and will step down from his current post in September. Cox boosted the city’s planning staff from six to 36 and is credited with attracting world-renowned urban planners, designers, and architects to the city. Cox was appointed as Detroit’s planning director in 2015 to strengthen its neighborhoods and land reuse policies. His past work experience in Detroit aligns with incumbent Chicago mayor Lori Lightfoot’s urgencies for affordable housing, neighborhood equity, and economic development, and the news follows the city’s recent announcement to modernize city building codes for the first time in over seventy years. Cox revitalized Detroit's planning office after decades of decline and powered a design-minded recovery. His term was marked by improving infrastructure, streets, parks, and amenities as a strategy for building communities that residents would want to live in long term. His major initiative, “20-Minute Neighborhoods,” pushed for reforms that would allow residents to walk or bike to get everyday necessities instead of driving. A New York native, Cox has previously held public office as a council member and then mayor of Charlottesville, Virginia, from 1996 through 2004. He is also a former design director at the National Endowment for the Arts in Washington, D.C, and associate dean of Tulane University’s School of Architecture and director of Tulane City Center, a city-based design resource center.
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HUTOPIA showcases the architecture of solitude

Neubauer Collegium for Culture and Society

University of Chicago 5701 S. Woodlawn Avenue Chicago

Through September 6 Physical, social, and spiritual exile is a condition closely linked to the life of the mind. In HUTOPIA, a clever play on words, the University of Chicago’s Neubauer Collegium for Culture and Society has recreated a pair of the most well-known retreats: the cabins of Martin Heidegger and Ludwig Wittgenstein. A scaled-down version of Heidegger’s cabin in Todtnauberg, Germany, forms the centerpiece of the show. A smaller model, rather than a full structure, of Wittgenstein’s hut in the Norwegian town of Skjolden, is also sited on the Collegium’s western terrace. Finally, Adorno’s Hut, a life-size re-creation of a sculpture by poet and artist Hamilton Finlay of an idealized Greek temple, has been built in the Neubauer Collegium gallery. All three huts are sculptures but will occasionally welcome visitors and solace seekers inside and will be used to host classes and lectures. The name of the exhibition comes from a long-form poem by Alec Finlay, son of Hamilton Finlay, printed in the catalog of Machines à Penser, an earlier show at the 2018 Venice Architecture Biennale that led to HUTOPIA.
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Here’s what we know about the 2019 Chicago Architecture Biennial so far

This May, the Chicago Architecture Biennial announced this year’s participants for the upcoming ...and other such stories biennial. Architects, designers, and artists from all over the world will participate in projects that engage with land, memory, rights, and civic participation. “For this year’s Chicago Architecture Biennial, the curatorial focus brings to light architectural stories that are often overshadowed by more familiar narratives,” said executive director Todd Palmer. “The Chicago contributors' works for 2019 draw from their ongoing engagement with local communities working towards a more equitable architectural landscape in this city.” Here is what we know so far about Chicago-based participants featured in the upcoming biennial: Artist and University of Chicago professor Theaster Gates will center his project around the vacant buildings he has purchased in Chicago and the complexities of land ownership. When Gates originally purchased the buildings, there was a severe lack of interest in those areas due to violence and disinvestment from the city. He plans to create found poetry from the legal land documents between himself, the banks, and the city—what he claims are the pieces that no one sees but are intrinsically personal to him. Gates said, “I want to talk about my love of space, and how a commitment to contracts will ultimately create new opportunities for emerging artists and affordable housing.” Artist Maria Gaspar will exhibit an interactive installation reflecting her artistic practice both inside and outside the Cook County Jail, located in her childhood neighborhood on Chicago’s West Side. “It will be interesting for me to see how my own spatial research engages with the broader field of architecture and how borders impact communities,” said Gaspar. Artist Santiago X is partnering with the American Indian Center of Chicago and Chicago Public Art Group to produce a large-scale installation that will express a vision to construct indigenous future-scapes. “Participating in this year's Chicago Architecture Biennial is an incredible opportunity for me to contribute to the revitalization of indigenous landscapes throughout Chicago,” said the artist. Design practice Borderless Studio will examine social infrastructure in the context of unprecedented public-school closures in 2013. The studio’s Creative Grounds initiative offers a framework for how art, design, and architecture can create a more inclusive process for repurposing closed schools. Artists Iker Gil and the Luftwerk duo of Petra Bachmaier and Sean Gallero will splash the Farnsworth House in lasers. The Chicago Architecture Biennial ...and other such stories will run from September 19, 2019, to January 5, 2020. Altogether, there will be more than 40 participating organizations and sites citywide. For the full list of contributors, see here.
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Robert E. Somol pens an open letter to the departed Stanley Tigerman

Dear Stanley, It took you a decent nine years to write to Mies after he died, but I could only wait three days. You know, just to make sure. You did resign your tenure from the University of Illinois, Chicago twice, after all, so anything is possible. Less circumspect or hopeful, most of the other members of the tribe have already rushed in to saturate social media feeds with postings and posings, leaving no chance for any Miesian moment of silence in your absence. These days, three days feels like a lifetime. As much as you talked all these years, there are still so many questions that remain: What was the connection between your lozenge paintings and Hejduk’s diamonds? What was the genealogy of your soft corner? What can I do to get fired? One of your greatest attributes: You turned getting canned into an art form, always able to use crisis—indeed, design, and accelerate it—as a means to reinvent yourself and your work. When you hastily took leave of a coveted position at Harry Weese’s within a year, you quickly opened your own office. The first time you resigned your University of Illinois tenure, in 1970, led to one of the most productive and influential decades of your career. When you then returned to run the post-professional program, and next the entire school itself as director from 1985 to ‘93, you were able to transform an unlikely state extension school into the envy of the Ivys. Not surprisingly, this put you at odds with the senior faculty, who scurried to a newly appointed dean to have you dismissed as director. Not one to let others determine your fate, you immediately resigned your tenure a second time, and, with Eva Maddox, cofounded Archeworks. During those UIC years, you were a Bulldog Buddha sitting on axis with the door, at a 60-inch round wooden Eames table in a ten-foot diameter mini-rotunda, less an office than an aedicula. We always assumed there was a revolver taped to the underside, near where the Herman Miller seal of authenticity would have been. Before one of your first meetings with a delinquent faculty member on whom you expected to go off, you asked your then-new assistant, Nancy Gislason, to nudge you under the table if you started to go too far. After her three discreet attempts of increasing urgency to follow your request, you turned and flatly reprimanded, “God damn it, Nancy, stop kicking me! I know I’m making an ass of myself!” You didn’t just know your limitations, you orchestrated their effective deployment. There are so many memories of you in that circular Tiger’s den, which one never entered voluntarily, but was summoned into, if naive enough to walk carelessly within your distant cone of vision: “Garofalo, get in here!! Is K on drugs, or what?!” you once inquired of the New York theorist newly arrived as the Greenwald Chair. Never mind that Doug himself had just met Professor K; in your world we would all be our brother’s keeper. You would hold all of us, with your pointed emphasis, “per-son-al-ly responsible,” invariably for things over which we felt no control whatsoever. But that was your secret superpower: seeing and expecting more of us than we could perceive in ourselves. Beyond your offices on Wells Street and in the A+A Building, you could hold court from any table in the city, from the Arts Club to Manny’s, Gene and Georgetti’s to Coco Pazzo—always, as you advised and practiced, with your back to the wall, and preferably in a corner. You could see them all coming: the anxious ones, approaching for a favor; the smiling ones, looking for the opportunity to stick it in the back; the accused, rushing to the door to avoid having to do their version of the perp walk before your studied glare. “He,”—dramatic pause—“is not generous,” you once declared in an exaggerated stage whisper of a former member of the Chicago Seven sitting two tables away. When said former ally came over to pay his respects, your first and last words, not surprisingly: “You,”—dramatic pause—“are not generous.” For you, there was never a difference between private speech and public act; what you said was what they got. In the architecture world that one could never escape once in your orbit, they were always there, populating the periphery of every restaurant, opening, and conference: the rice Krispies (“can’t hurt you, can’t help you”), the ones who were dead to you, the architects who drew like angels (and their opposite, those who “held their pencil like a civilian”), the writers “who owned the English language,” and those who you declared possessed “a discernible IQ,” (high praise) while tapping your temple with your index finger for emphasis. You ordained quickly but could excommunicate with even greater alacrity. That is one reason our generation scrupulously avoided your various offices unless and until “invited.” We feared your wrath more than we coveted your approval. I suspect we also grew up believing the approval of one’s elders was more than a little distasteful, so we kept our thoughts to ourselves, wagering on the long game. This is not so true of the younger generation, your enthusiastic grandchildren, over-eager to please, to show and tell ev-er-y-thing, and with them you always seemed to indulge a patience we never took the time to notice. Did you mellow with age, or was it just the new mellownium? When you wrote to Mies in 1978 (with ironic shock and genuine satisfaction), it was to inform him that his legacy was lost: modernism was moribund, IIT a sclerotic seminary, SOM an aging and unhealthy corporate carcass. Over the post-Miesian horizon, there was color, historical reference, pop, ornament, curvature, frivolity…talk. And today, four decades on, we are operating again on that same horizon you bequeathed to us, the one beyond The Titanic. When I returned to UIC in 2007 to reenact your role, you generously and without hesitation agreed to return as the inaugural lecturer, the first time you had set foot in Netsch’s labyrinth in the 14 years since your dismissal/resignation. Ever since then, UIC would paradoxically become much more a Stanley school than it ever was when you were in charge. After the diaspora and years in exile, “we” had won. The first Chicago Architecture Biennial borrowed its title from you (“The State of the Art of Architecture”), while the second elevated you as its de facto central protagonist (“Make New History”). You had the temerity to suggest that Chicago was not just a city of pragmatics and profit, but of ideas and values, along with the talent to prove it and the tenacity to make others believe it. Through it all, you fought for discourse and argument and humor in a world dominated by marketing, platitudes, and unction. You remained committed to the belief that architecture, even in a place like Chicago, was a cultural event, that ideas and forms were connected—sometimes in your own work awkwardly or naively, at other times with shocking aura and simplicity. Just as you would take your work through serial attachments, quit, and move on, you would also direct the school through multiple and incompatible ideologies: pop-pomo, neo-classicism, deconstructivism, and the earliest moments of the digital, back when it was still manual. Others would mistake this as eclecticism, as a sign of your boredom, but in fact you were tirelessly demonstrating, training us in how to assume a position. It must have been exhausting to have to tutor a profession and a place so ill-suited to receive your lessons all those years, and no doubt it took its toll on your patience and your practice. Never willing to limit yourself to half a dichotomy, you would always rather fight and switch. If future historians identify a third (or fourth) Chicago school, it will rightfully belong to you alone. Over the recent past decades, a multinational and multigenerational band of disparate architects have come to the city for Mies but left with Tigerman: from Ben Nicholson and Stan Allen to Pier Paolo Tamburelli, Jennifer Bonner, Kersten Geers, Momoyo Kaijima, and Job Floris. Of course, Sam Jacob and his partners at FAT were there very early, and his presence, along with other established visitors to the school, such as Paul Andersen, have helped establish UIC as a place to extend your initiatives. This is a significant and surprising genealogy of fellow architects and thinkers—colleagues, collaborators, combatants—and one not always identical with the locals you chose to coronate, whom to many of us seemed to embody the kind of self-promotion and branding you would increasingly condemn in other contexts. You often said that the practice of architecture was the perversion of the study of architecture, locating the core of the discipline with reflection and principle. But nonetheless, you seemed congenitally inclined—or was it just contextually compelled?—to elevate the striving practitioners who would surround you, in a replay of the fate of Mies’ disciples. Frustrating as they were, those blind spots, those inconsistencies, were also part of your charm, a weakness for certain types. Despite your sometimes prickly exterior, you were an unrepentant optimist and romantic, a sucker for your latest discovery, always willing to assume that behind the smoke of others there was fire. Margaret McCurry, more measured and critical, saw that behind all that smoke there were often just mirrors. She was ultimately the tough and clear-sighted one over your 40-year partnership, the one you could depend on to keep you true to your highest ideals and best instincts, tolerantly rolling her eyes at your latest infatuations, all the while entreating you to eat your blueberries for their antioxidants. When you were blunt, it was often for effect; when Margaret was blunt, it was always for real. At once calculated and candid, the Tigerman-McCurry duo packed a powerful punch. And then you left us, just 75 days shy of the fiftieth anniversary of Mies’s departure. Even for you, the symmetry of that possibility must have seemed too much. As we can already no longer think of him without you, the chronological correspondence would have been too trivial. What was it Rem once said, in an effort to rescue Mies from his acolytes, as you so often attempted? “I do not respect Mies, I love Mies. Because I do not revere Mies I am at odds with his admirers.” So let it be with Tigerman. Love, Somol