Posts tagged with "Marshall Brown":

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The “stealth collages” of Marshall Brown at Chicago’s Western Exhibitions gallery

Hosted at Chicago’s Western Exhibitions, Chimera is a presentation of the architectural photomontages by Chicago-based architect Marshall Brown. Using a technique Brown refers to as “stealth collage,” images of buildings are cut and pasted into diverse, incompatible alignments. The specific pieces on display were created in 2014 as a set of 100 14- by 17-inch compositions. Chimera is the second solo show for Marshall Brown at Western Exhibitions. Marshall Brown is a practicing architect and an associate professor at the Illinois Institute of Technology College of Architecture. His practice, Marshall Brown Projects, has work currently on exhibit as part of the United States Pavilion at the 15th Venice Architecture Biennale.

Chimera: The Work of Marshall Brown was on show at Western Exhibitions, 845 West Washington Boulevard, 2nd Floor, Chicago, IL, through June 25.

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Endgame: An Open Letter to the Guggenheim Helsinki Finalists

The following is an abridged version of an open letter by Chicago architect and urban planner Marshall Brown, which was originally presented at the The Design Competition Conference by the GSD and the Van Alen Institute. It follows a previous comment by the author for AN about the state of design competitions in the 21st century. It is in direct response to the Guggenheim Helsinki Competition, which attracted 1,715 submissions before the winner was announced yesterday My Dear Colleagues, I would like to extend sincere congratulations for your recent achievements and the recognition it has brought to your practices. I suppose you may be wondering about the cause for this letter since, at least that I can recall, we have never formally met. One year ago I wrote an essay for AN that criticized the current state of architectural competitions. It concluded with the melodramatic, yet also sincere invitation for likeminded architects to join me in “early, complete, and permanent retirement” from such contests. In the meantime I have mostly managed to follow through on my retreat from the design competition industry, despite several invitations from colleagues to collaborate. Instead of speaking negatively about the Helsinki contest, I would like to speak to the finalists, in hope that some of us might grow in the process, or at the very least, avoid undermining each other in the ways that architects too often do. In 2009 I worked briefly with J. Max Bond, David Adjaye, and Phil Freelon on the competition for the National Museum of African American History, until Max Bond’s untimely passing, after which I withdrew from the project. In 2012, my team was a finalist in the Navy Pier Centennial competition in Chicago, after which I consulted with the winners, James Corner Field Operations. But for various reasons, and despite some measure of success, participation in both of these contests, among others, left an assortment of bad tastes in my mouth. Without airing too much dirty laundry in public, I will say that I trace many of the problems to the nature of design competitions themselves: Competitions create a culture that devalues our labor. Competitions often cultivate animosity among colleagues. And competitions often preference spectacle over substantive architectural development. Your contest is an interesting case, since it involves an American institution staging a competition for a private building on public land in a European country. After examining the Competition Conditions, I found it evident that the competition is not for an architectural commission. The only prizes explicitly guaranteed to the winners are bragging rights and a small stipend. I look forward to being corrected if necessary, but the following passage from page 8 in the conditions seems to disclaim any obligation or commitment of the organizers to build the winning proposal: “A decision on whether to proceed with the construction and development of the museum is expected to be brought to the City of Helsinki and the State of Finland for consideration following the conclusion of the competition and the public announcement of the winning design.” So it appears that yours is actually an ideas competition and marketing campaign that might inspire a building project by someone, somewhere, sometime, in the future. Okay. Fine. The winners will receive enough money to recoup some portion of their actual costs. The rest will console themselves with whatever prestige falls from the brief afterglow of the whole spectacle. As I wrote last year, many architects don’t care that competitions are bad business. That discussion has been well covered by others with deeper knowledge of professional practice, and is not the point of this letter. I am only trying to ask: Where does it all end? How much of our careers and lives are we willing to give? How far will we bend for the ever more limited promise of increasingly uncertain rewards? Despite my early retirement, I had a recent reengagement with the competition industry. Against better judgement, I attended the final presentations for a major design competition in Chicago. It was a closed session for the organizers and a few members of the political and design communities. As usual, each team presented their requisite manifestos, slides, and video animations. I found the entire show to be excruciating, not because of the design proposals, but because of the architects’ performances. Their faces were a mixture of desperation and barely masked contempt for their self-imposed captivity. At one point I found myself head down, ears covered, and overwhelmed by the pathos of the whole scene. One contestant from a well-established Chicago firm actually stripped to reveal a t-shirt with their project logo. Free t-shirts were provided for all in attendance. I left the building that night feeling personal shame, not disappointment in those other architects, after realizing that I had subjected myself to the same indignities on a similar stage just two years ago. At the time I had felt privileged and honored to sit alongside so many accomplished and notable professionals like Bjarke Ingels, Martha Schwartz, and James Corner. But only after witnessing a similar scene from the outside do I now realize that I was just another sad prisoner in the lineup. So what is the end game? You will all submit your projects. After the submissions, you will likely be asked to give public presentations. These performances could be broadcast to the entire world. The jury will meet and hand down their decision. Prizes will be awarded. Critics will pass judgement. Some of you will receive more prestigious academic appointments. A museum may be built. Another blockbuster competition will probably be announced later this year. And we will all move on. Yet while writing this letter I have begun to imagine other endings to the story: What if you had decided not to complete your projects? What if you had completed the projects, but staged a group exhibition instead of handing them over? What if you had insisted on renegotiating the terms of the competition before submitting? What if you had all just walked away? Some will accuse me of being cynical, sanctimonious, overly judgmental, or naive. They may be right on all counts. But in my own defense, these words come from a colleague who has been where you are at this moment, and wishes that he could have sooner had the resolution and foresight to turn from this path we architects are expected to follow. As I wrote one year ago: “The old argument that competitions drive architectural innovation is no longer credible. Developers, cultural institutions, and government agencies have mastered the use of design competitions as publicity campaigns. Their claim of searching for the best ideas is just an alibi that unfortunately continues to seduce too many of our best talents… The real justifications are simple. Developers and institutions gain fantastic and relatively affordable publicity from the mad traveling circus of design competitions. By helping them attract financing and donors, we encourage the proliferation of these sham exercises where enormous projects are fully rendered without contracts, necessary approvals, or even clear programs.” From what I have been able to surmise from a brief examination, the GHDC submits fairly well to this assessment. But most of you probably knew this from the beginning, and soldiered forth regardless of the real odds or evident risks. Therefore I conclude this letter with thanks for your time, an open invitation to respond, and two simple words: Good luck. MARSHALL BROWN
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New Projects: Chicago’s Newest Architecture Gallery

Located three blocks south of Crown Hall at IIT, New Projects, a new architecture research and exhibition space, aims to provide a venue for urban and artistic dialogue about the future of cities. Located in the 1920's Overton Building, the 3400 square foot storefront space is to play host to lectures, workshops, and exhibitions "focusing specifically on urbanism," according to co-organizer Marshall Brown. Chicago has no shortage of architecture exhibition spaces, ranging from the vast A & D galleries at the Art Institute, to the stately but never stodgy Graham Foundation, to the edgy Extension Gallery. In addition to its focus on urbanism, New Projects will also showcase art-based practices, which the organizers believe will help it stand out from the crowd. Stephanie Smith, chief curator at the Smart Museum of Art at the University of Chicago, will contribute to the programming of the space. Brown, who also runs his architecture and urban design practice Marshall Brown Projects in the space, has kept the gallery largely raw, with peeling paint and exposed concrete columns as a reminder of the building's history. It overlooks the former site of the Stateway Gardens housing projects, now cleared away as a part of former Mayor Daley's tabula rasa approach to redevelopment. Brown hopes to provide a venue for more speculative projects about the future of Chicago and beyond. "How do you create spaces to do urban planning and design?" he asks. "The space is a bit of an experiment," Brown said. "Certainly we are inspired by the beginning of the Storefront for Art and Architecture in New York."
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NOLA Lights Up

For the last three years, AIA New Orleans has invited teams of architects and artists to takeover "hidden" spaces within the city, transforming them with the latest design tech and hopefully testing the boundaries of this at-times-ephemeral place in the process. One of installations at this year's DesCours comes from the Chicago team of Marshall Brown and Dana Carter. (Brooklynites may know Brown from his work on the anti-Ratner UNITY plan for the Atlantic Yards.) The duo has focused their gaze on the heavens, where they are harnessing the sun—through photovoltaic, of course—and transforming it for the weeklong nightly event into a constellation in no less a celestial place than Charles Moore's Piazza d'Italia. More illuminating photos after the jump, and if you happen to be in town for the event, let us know what you think about this or any of the other 13 projects.