Posts tagged with "Art Institute of Chicago":

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Colleagues gather in Chicago to remember Stanley Tigerman

The family, contemporaries, and friends of Stanley Tigerman gathered in Rubloff Auditorium at the Art Institute of Chicago on October 18 for memorial service where they offered remembrances of the late architect. Amid a full house of more than 500, quotes, anecdotes, and fond memories of Tigerman were recited. Below is just a small sampling: Robert A.M. Stern:
“To a full house. “There is no one who better represented what is ethical and responsible and what is best in architecture in our time than Stanley.” “A fabulous and pathological truthteller.” “He was never satisfied with straightforward interpretation. From the start, his work typically contained a subtext that was dying to become the principle discourse, a hidden whimsy, even irrationality.”
Peter Eisenman:
“I would impersonate Stanley to get a seat at Gene and Giorgetti’s. I did this so many times that the last time I walked in the maître d greeted me with “‘Hello Mr. Tigerman.’” “After reading Stanley’s architectural memoir, Building Bridges to Burn, all of us who think we knew him should read this book. Whatever one thought of him, his work is revealed in another life.” “The architect who never had enough bridges to burn.”
Robert Somol:
“If Bob (stern) and Peter (Eisenman) and Stanley, represent what Stanley once called dysfunctional siblings, then those of my generation are Stanley’s dysfunctional children. And as such we tried to be loyal if we weren’t generally obedient. Which might not be ideal, it’s a lot better than those that are obedient but disloyal.” “When you talked to Stanley, whether you realized it or not, you were making a contract or a promise. And god help you if you didn’t keep your end of the bargain. Stanley was not one for idle banter. For Stanley his work was his bond, and that is how you have to live when you are an outsider.”
John Ronan:
“From him, I learned how to be an architect, and how you had to make your projects. I learned how to thrive on conflict. I learned the perils of fame, and the proper usage of the word fuck.” “When Stanley started his practice, architecture was still something of a gentleman’s profession, and Stanley proved in many ways, you didn’t have to be a gentleman to succeed in it.” “All of us here were shaped by Stanley in some way. We are how we are, do some less or more degree because of him. We are all now part of his family, and he is part of us… whatever the fuck that means.”
Frank Gehry:
“I’m just tempted to say ‘ditto,’ but I did write something so please forgive me.”
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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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Chicago preservationist Richard Nickel gets a bold, honest look in a new archive

At the tail end of Historic Preservation Month is what would have been Richard Stanley Nickel’s 90th birthday, on May 31. The storied historic preservationist’s legacy still looms large amongst architecture and historic preservation intelligentsia like no other practitioner living or dead. In Chicago, Richard Nickel’s hand seems to guide how the built environment is documented, gives a level of honesty to those that practice architectural salvage, and provides a saint-like martyr for traditional preservationists. No one interfacing with the Chicago School of Architecture–specifically the work of Louis Sullivan–is able to detach themselves from what Richard Nickel wrote or what he saw. Nickel has been studied and dissected in many ways before, but a new organization seeks to take a fresh, objective look at the raw body of his work. Bianca Bova is associate director of the Chicago Architecture Preservation Archive (CAPA), who, along with storied City of Chicago Cultural Historian Tim Samuelson, is at the helm of the organization devoted to "the documentation and stewardship of materials" of early urban preservationists, specifically Nickel. “Richard Nickel is a moving target,” says Bova, “and CAPA is an open resource to help maintain his ongoing relevance.” CAPA is in the process of creating a full inventory of the collection, which is complementary to the contents of the Ryerson and Burnham Libraries architectural archive. While the Richard Nickel Archive includes negatives, photographs, contact sheets, architectural drawings and other effects, including Nickel’s personal library, CAPA’s collection comes from Richard Nickel’s friends, like Tim Samuelson, and architect John Vinci. It contains salvage, personal items, the working files of The Complete Architecture of Adler and Sullivan, and perhaps most importantly Nickel’s datebook, which Bova has poured over and determined that many of the individuals within it are “still around and have a lot to say.” Richard Nickel has long been presented as a tireless martyr, a preservationist willing to lay down his life. On April 13, 1972, Nickel left home early to salvage architectural fragments inside the Chicago Stock Exchange, an 1894 structure by Dankmar Adler and Louis Sullivan slated for demolition after a lengthy advocacy campaign. Demolition halted after Nickel didn’t return home that evening. Friends and family continued to search for him for a week, only finding his briefcase and hardhat amongst the rubble. Once demolition resumed, a worker spotted what looked like a human shoulder, two floors beneath the Trading Room, in the Stock Exchange’s sub-basement. Richard Nickel had been crushed to death, but his body had remained intact. Debris and rubble, along with cold water seeping into the building had kept decomposition at bay. An autopsy later revealed that Richard Nickel had suffered from pulmonary emphysema and chronic bronchitis, a result of breathing in 20 years of dust and airborne debris from salvage sites. Through the nature of his death, Richard Nickel’s legacy began to take on a cult-like status, a perspective that Bova feels Nickel would take issue with. “He was a good person, but not a saint.” The collections at CAPA, housed inside Mana Contemporary Chicago, strive to allow Nickel to speak for himself through primary source material. While CAPA may provide a 21st century answer to preservation, Bova is reserved when asked about how Richard Nickel might feel about the contemporary historic preservation movement, “I would never presume to speak for Richard.”
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Pioneering exhibitions that changed architecture and design

For addressing what some consider to be an extremely niche topic, As Seen: Exhibitions that Made Architecture and Design History makes a convincing argument for the importance of exhibitions in broader design. While the book may not convince those who are already skeptical of the role of exhibition in the design fields, those who are at all interested will find it an invaluable resource for understanding historical and contemporary exhibition practices. Using 11 benchmark exhibitions, editor Zoë Ryan builds a conversation between a number of today’s most noted curators, architects, designers, and academics through a series of essays. The end result is a brief critical history of historic and contemporary exhibitions that changed the way architecture and design are understood. Ryan, the John H. Bryan Chair and curator of architecture and design at the Art Institute of Chicago, opens the book with an argument for each of the exhibitions and their places in history. These exhibitions include: This is Tomorrow (1956), the IBM Pavilion at the New York World’s Fair (1964), aper22 (1970), Italy: The New Domestic Landscape (1972), Man Transforms (1976), Memphis (1981), Droog (1993), Mutant Materials in Contemporary Design (1995–97), Massive Change: The Future of Global Design (2004– 06), Sense of the City: An Alternate Approach to Urbanism (2005), and Super Normal: Sensations of the Ordinary (2007). The remainder of the book is divided up into sections covering the exhibitions themselves, their catalogs, their critical reception, and thoughts on their lasting impact on the design fields. Interestingly, as is pointed out multiple times in the text, many of these exhibitions were not necessarily popular or critically successful when they were first on show. This is Tomorrow, which was shown at the Whitechapel Art Gallery (now the Whitechapel Gallery) in London, was covered extensively by the press, and called everything from confusing to exciting. Memphis—which ran in what would now be called a collateral gallery, located at the edge of the Salone del Mobile in Milan—caused a stir among critics and designers alike, some feeling like the show was some sort of media stunt to elevate the career of Ettore Sottsass. Notably, there are no photographs of the Memphis show. The IBM Pavilion structure, designed by Eero Saarinen and Roche Dinkeloo was not altogether loved, but the interior exhibition, Think, produced by Ray and Charles Eames, received rave reviews and a constant stream of visitors. In all cases, the book lays out why we should care about these shows today, despite or thanks to their initial reception. It is carefully pointed out early in the book that the most recent show was over ten years ago, in order to maintain a critical distance from early reactions. Even with this distance, the book does bring some of the shows in very close with its choice of contributors. In more than one case, curators from the shows covered are given a chance to comment on the larger topic of exhibitions, if not their own work. Mirko Zardini outlines (in a text originally published in Log 20) what it means to show architectural work in Montreal, where his show Sense of the City was exhibited at the Canadian Centre for Architecture (CCA). Paola Antonelli talks more directly about the role of digital content and how it relates to her show Mutant Materials, which was the first show at the Museum of Modern Art to be accompanied by a website. A prevailing theme throughout the essays, if not the book as a whole, is the changing nature and role of exhibitions throughout time. Sylvia Lavin discusses the allure of contemporary exhibitions thanks to their blend of demonstration (full-scale architecture-artifacts), aesthetics (design as art), and information, all of which developed in design and architectural exhibitions in stops and starts in the past century. Meredith Carruthers dedicates an essay to the exhibition catalogs, another topic that pops up throughout the book. Stepping back even further from the exhibitions themselves, Penelope Dean and Alice Rawsthorn specifically discuss the changing shape of design criticism in the form of exhibition reviews over time. The physical book, designed by Project Projects, is appropriately reminiscent of a museum catalog. Highly stylized graphic design, rich imagery, and bold use of multiple paper stocks and colors make it an artifact in itself, an idea discussed extensively in the text about catalogs. This is doubly fitting, as the genesis of the book was a research project conducted by Ryan and displayed at the 2014 Istanbul Design Biennial and eventually as a show at the Art Institute. While not actually a catalog of that show, the meta idea of a book about an exhibition about exhibitions seems fitting for the topic, more so than a simple catalog. As Seen is not for everybody. Those who believe that the field of architecture and design is most importantly a professional one will likely find the conversation about long over exhibitions esoteric if not unnecessary. This book is not for them, though. For those who are interested in the expression of theoretical and avant-garde design concepts through exhibitions (which seems to be a growing number, considering the recent explosion of biennales and triennials around the world), As Seen: Exhibitions that Made Architecture and Design History is the closest thing to a textbook on the subject. As Seen: Exhibitions that Made Architecture and Design History Zoë Ryan Art Institute of Chicago, $30.49
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BREAKING: SAIC and UChicago may be organizing the U.S. Pavilion at Venice Biennale

We have been reporting on the official silence from the U.S. Department of State regarding the 2018 Venice Architecture Biennale. But now there seems to be a glimmer of information on who will organize and curate the pavilion. A job posting on the School of the Art Institute of Chicago (SAIC) website is seeking a “Venice Biennale US Exhibition and Program [Coordinator].” The exhibition, according to this posting, is being co-curated with the University of Chicago:
Under the leadership of the SAIC and UChicago program directors and curatorial team, the Exhibition and Program Coordinator supports the development of the U.S. pavilion at the Biennale Architettura 2018 in Venice, Italy (hereafter, “Biennale”) through research, fundraising, planning, scheduling, commissioning, staffing, and more. This work involves coordinating and collaborating with architects, artists, scholars, public and private organizations in both the U.S. and Italy.
There is no word on the theme of the exhibition and the posting makes us wonder if this group was selected without a coordinated curatorial approach or idea, perhaps based on a fundraising budget and strategy? The job listing claims the Program Coordinator will be under the program director and curatorial team of the sponsoring institutions. The architecture program of the Art Institute of Chicago is directed by Jonathan Solomon who co-curated the 2010 U.S. Pavilion with Michael Rooks. (The High Museum in Atlanta was the organizer for the 2010 pavilion as well.) Solomon clearly knows his way around the Venetian Giardini. Stay tuned.
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The Art Institute of Chicago highlights its most enigmatic design pieces

In anticipation of the Art Institute of Chicago opening a permanent architecture and design gallery, Design Episodes: Form, Style, Language highlights some of the museum’s most enigmatic pieces from its vast design collection. The show is divided into three sections: the modern chair, early postmodern design, and contemporary graphic design. Chairs on show include pieces by designers such as Charles and Ray Eames, Rudolph Schindler, and Charlotte Perriand. The postmodern section includes the colorful work of the radical Italian Memphis Group, its founder, architect and designer Ettore Sottsass, and Austrian architectural firm Coop Himmelblau. The show focuses on a diverse array of contemporary commercial and cultural graphic design work. Graphic designer Amir Berbić produced a custom installation entitled Boundary Lines, which fills the gallery windows overlooking Griffin Court, broadcasting the exhibition to the rest of the museum.

Design Episodes: Form, Style, Language Art Institute of Chicago 11 S Michigan Avenue Chicago Through July 9

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Who Builds Your Architecture? organizes exhibit at The Art Institute of Chicago

The Art Institute of Chicago’s latest architecture exhibition examines the world of migrant workers and the global construction industry. Organized by the New York–based group Who Builds Your Architecture? (WBYA?), the eponymous show advocates for fair labor practices throughout the world by uncovering “the often-hidden networks that impact labor and sustainability in building architecture.” The show is divided into two parts: The first outlines the construction process through drawings of a fictional project. The second portion of the show explores the design and construction of facade components from buildings in four cities from around the world. Portions of the research are based on the documentation of construction worker deaths, unsafe job sites, and housing conditions by international human rights organizations. Founded in 2011, WBYA? is made up of academics, architects, curators, students, and writers: Kadambari Baxi, Jordan H. Carver, Laura Diamond Dixit, Tiffany Rattray, Lindsey Wikstrom, and Mabel O. Wilson.

Who Builds Your Architecture? Art Institute of Chicago Gallery 286 111 S Michigan Avenue, Chicago Through June 11, 2017

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Art Institute of Chicago now free to local teens

Thanks to a major gift, admission to the Art Institute of Chicago is now free for Chicago high school students. Philanthropists Glenn and Claire Swogger of Topeka, Kansas, gave the undisclosed gift to ensure that Chicagoans between the ages of 14-17 can visit the Art Institute for free for at least the next 25 years. Children 13 and under are already admitted free of charge. As a teen, 81-year-old Glenn Swogger was a student at the School of the Art Institute. The gift will help bring more teens into the museum, introducing them to the collection of masterpieces. Along with viewing art, the museum provides many programs for young adults. After-school labs, workshops, and events match teens up with artists and mentors, all while providing space to create art. Teens looking to visit the Art Institute need only a student I.D. from a Chicago school, a report card, or a piece of mail to establish residency to get in for free. Everyone over 18 can visit the Art Institute for no charge every Thursday afternoon from 5pm to 8pm. The second largest art museum in the United States, the Art Institute is home to a massive architecture and design collection. Special architectural exhibitions will soon be joined by permanent architecture and design gallery, which is currently being organized. Currently on show, Who Builds Your Architecture? follows the politics behind what it takes to build around the world. The museum also contains the Ryerson & Burnham Libraries, a repository of hundreds of thousands of drawings, renderings, and publications.
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"Moholy-Nagy: Future Present" showcases 50 years of a Bauhaus master's work in Chicago

The first comprehensive retrospective of the work of Hungarian modernist László Moholy-Nagy in 50 years is now on show at the Art Institute of Chicago. Future Present highlights more than 300 works by the prolific artist, designer, and educator. The wide range of work by Moholy includes painting, photography, film, sculpture, advertising, product design, and theater sets. Work in the show spans from when Moholy was a member of the original Bauhaus in Germany through his time as the founder of the New Bauhaus in Chicago. 

Future Present includes 38 photomontages, three of Moholy’s enamel “telephone paintings,” the iconic plunging views from the Berlin Radio Tower, and a multimedia installation based on an unfinished work by Moholy. Many of the works come from his time as the head of the “Chicago Bauhaus,” and are brought together for the first time ever. The show is in its second iteration at the Art Institute. The first showing was at the Solomon R. Guggenheim Museum in New York (read our full review here) and it will continue onto the Los Angeles County Museum of Art (LACMA) in mid-February.

Moholy-Nagy: Future Present The Art Institute of Chicago 111 South Michigan Avenue, Chicago Through January 3

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Legendary photographer Hedrich Blessing's images feature prominently in new book on Chicago

If there’s any justice, history will recognize John Zukowsky for his singular place in documenting and disseminating Chicago’s architectural history. He’s produced several of the most significant visual records of the city, including the two-volume companion to the milestone surveys [Chicago Architecture 1872–1922 and 1923–1993] that he mounted at the Art Institute in the early 1990s; together the catalogues create an amazingly comprehensive chronicle of built Chicago. And, shortly before leaving the city in 2004, he published Masterpieces of Chicago Architecture, a visually breathtaking timeline of the city’s greatest buildings.

An assessment of Building Chicago, Zukowsky’s latest contribution to the canon, more or less demands the inquiry: Is it necessary? Given the increasing interest in the subject over the past couple of decades and the number of pictorial surveys of the city that others have published, do we really need another iteration of “Chicago’s Greatest Hits?” And hasn’t Mr. Zukowsky said it all already anyway?

The short answers are “yes” and “maybe, but so what?” Indeed, there is probably not much new to say on the subject that Zukowsky himself hasn’t already said. (Beyond the fact—and this is not insignificant—that a dozen years have elapsed since Zukowsky’s last compendium, and a lot has happened architecturally in the last dozen years.) But with architectural history, you can always find new ways to look at the material—not only conceptually, but visually. And in Building Chicago, Zukowsky has lucked into a whole new inventory of visual materials.The image collection of the Chicago History Museum (formerly known as the Chicago Historical Society) recently acquired rights to most of the spectacular archive of Hedrich Blessing, generally considered the world’s greatest architectural photography studio, dating back to the 1930s through to 1979—in addition to the museum’s already impressive collection of vintage photographs.

In his introduction, Zukowsky acknowledges he’s revisiting much of the territory he covered in the 2004 work (also for the publisher Rizzoli), which drew mostly from the Art Institute’s extensive collection of drawings, artifacts, and photos. Here, Zukowsky’s source for imagery, while almost exclusively photographic, is actually much broader than the Art Institute’s and really makes for a much more vivid picture.

Zukowsky is a fine scholar, but the writing in Building Chicago is generally dry and uninspiring, particularly if you’re well-versed in the subject matter. But you’re not reading this book for the text. Like any picture book—and, while it’s a serious historical work, Building Chicago is primarily a picture book—its success depends on the images. So it’s particularly fortunate that Zukowsky was able to indulge his “curator’s choice” and assemble a brilliant iconography of the most emblematic buildings in the city from the museum’s collection.

Zukowsky admits that he didn’t intend this as a comprehensive history of the city’s built environment: It is, quite frankly, a look at the city’s most important, influential and prominent structures. Aside from some high-profile apartment towers and one lakefront mansion, there’s little about residential design, almost nothing ecclesiastical, and very little outside the city’s core. The visual story Zukowsky is presenting here doesn’t pretend to reflect anything beyond the public realm or show us much about the neighborhoods in a city that is supposed to be all about neighborhoods. It’s about the architecture that has become a key element of the tourism industry and an economic engine on its own, celebrating the great, important buildings of Chicago that provide the city its one real claim to international distinction and are the source of boundless hometown pride.

Readers familiar with the cityscape will not be surprised here with the choice of buildings illustrated. But the book’s real distinction is the historical selection from Hedrich Blessing—both in its great period photos of grand buildings now demolished (the Michigan Square Building) or recklessly remodeled (the Prudential Building lobby) and of projects far less glamorous: A 1944 photo of the Monroe Street Red Line platform and another of the newly finished Lake Shore Drive pedestrian overpass at North Avenue are particularly edifying.

It’s hard to imagine a better compendium: Building Chicago is an important addition to any serious collection of books about the city.

Building Chicago: The Architectural Masterworks John Zukowsky, Rizzoli, $85.00

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The Art Institute of Chicago plans a permanent gallery for its rarely seen Architecture and Design Collection

Zoë Ryan is the John H. Bryan chair and curator of Architecture and Design at the Art Institute of Chicago. Few have likely spent as much time thinking about how architecture and design should be shown in museums as Ryan. In fact, she is writing a book about it. Along with working on that book, Ryan is also in the process of launching a new gallery at the Art Institute, to showcase the museum’s vast Architecture and Design Collection. Outside of the Architectural Fragments gallery, permanently on display in the museum’s Grand Staircase, much of this collection has never been seen by the public. 

Currently, Ryan, associate curator Alison Fisher, and assistant curator Karen Kice are surveying and documenting the entire catalogue in order to better understand the museum’s holdings. That information will help the team position the work and fill any gaps in the collection, which is rich with pieces by architecture and design’s most vaunted names, balanced with work by many lesser-known figures. Rather than create a purely chronological or historical display, Ryan is interested in rethinking established architecture and design narratives. The new gallery will be spaces of exhibition experimentation, with pieces and shows periodically rotating. Work will be shown in such a way to draw new connections between figures, movements, and times.

“The collection gallery will be a testing ground for rethinking how we display architecture and design,” Ryan said. “We will continually rethink, refresh, and redo the exhibition rotations to forge new connections, emphasize a range of narratives, and continually question what the history of architecture and design means today, in our time of rapid social, cultural, and political change.”

Ryan’s forthcoming book focuses on 11 historical architecture and design exhibitions and the impact they had on their fields. The first phase of research for the book is on show in the Art Institute’s current exhibition, which shares a name with the forthcoming book—As Seen: Exhibitions That Made Architecture and Design History. Ryan will draw from this research to present the museum’s collection.

“The As Seen book is an opportunity to reinforce the important role that exhibitions have in contributing to cultural discourse. Exhibitions have played a critical role in positioning ideas, marking pivotal moments in time, and documenting the environment in which new narratives or arguments unfold,” said Ryan. The release of As Seen: Exhibitions That Made Architecture and Design History is planned to coincide with the opening of the new gallery.

One of the major challenges of showing architecture and design in museums is making the work accessible to the public. Though renderings and models can often be understood by laypeople, technical drawings and sketches often require more explanation. The museum has five galleries dedicated to Architecture and Design exhibitions. Currently, they only show pieces from the museum’s collection in conjunction with temporary shows. The collection gallery will be created by converting one of those current 5,000-square-foot galleries. “Our goal is to make clear the important role that architecture and design play in our everyday lives,” Ryan added. Ryan and her team plan to position architecture and design in a greater cultural conversation. To do so, the gallery will draw links between architecture, design, and the greater collection of the entire museum.

Despite Chicago’s many architecture and design institutions, this new gallery, backed by the curators’ critical vision and the Art Institute’s unmatched collection, will be unique in its breadth and scope. Undoubtedly the new gallery will add to the ever spirited conversation surrounding architecture in Chicago. With new access to primary source information, perhaps many of the debates about the city’s architectural history can be settled, while a whole new set of questions can be raised.

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The Art Institute of Chicago explores the last half-century's most influential architecture exhibits

Presented as a show about shows, As Seen: Exhibitions That Made Architecture and Design History contains materials and imagery from 11 group design and architecture exhibitions from 1956 to 2006. Along with the material, critical and scholarly discourse from each show’s time gives insight into the discussion surrounding the show and the discipline when the work was originally presented. As Seen is a small part of a larger line of inquiry that was initiated as part of the Istanbul Design Biennial 2014. Designed by New York-based exhibition and identity design practice Project Projects, As Seen is sponsored by the Architecture & Design Society. The show was originally curated by Zoë Ryan for the 2014 Istanbul Design Biennial. The Art Institute iteration of the exhibition has been curated by Zoë Ryan, Meredith Caruthers, and Karen Kice.

As Seen: Exhibitions That Made Architecture and Design History is on view through August 15th at the Art Institute of Chicago.