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FRANCE LA


UNDERGRADUATE PORTFOLIO


FRANCE LA

6977 N. Ashland blvd unit E Chicago, IL 60626 773.934.5407 france.kn.la@gmail.com

EDUCATION 2011 – 2016

University of Illinois at Chicago Chicago, Illinois Bachelor in Science (Architecture) Minor in Art and Art History

2010 – 2011

Milwaukee Institute of Art & Design Milwaukee, Wisconsin General Studies

LANGUAGES English & French

Spoken fluently, read/write with high proficiency

Vietnamese

Spoken, read/write with proficiency

Spanish

Limited working proficiency

ACADEMIC EXPERIENCE Software

Adobe After Effects Adobe InDesign Adobe Illustrator Adobe Photoshop AutoCAD Microsoft Office Rhinoceros Revit Simplify3D

Fabrication

Casting Lasercutting Model making Sketching Woodworking 3D printing


PROFESSIONAL EXPERIENCE Sept 2015 - On Call

Design W/ Company Designer l 3D modeling, model making Assisted in the digital design and physical works for competitions, Chicago Architectural Biennial.

June 2015 – 2016

IR Design Inc Junior Architect l 3D modeling, model making Worked as a CAD drafter with focus on house renovations and porches. Utilized 3D printer technology to bring digital works into physical models.

Spring 2015

Rebrut Pavilion Construction Advisor: Ryan Palider Fabricator l construction, painting Assisted in the physical building and painting of a student designed pavilion at UIC.

Fall 2014

Book: Infrastructure as Catalyst Advisor: Sarah Dunn Designer l 3D modelling Researched and designed possible solutions for urban problems within different cities.

AWARDS + AFFILIATIONS Summer 2015

Student. Studio Berlin UIC + IIT

2014 – 2015

Board of Directors. AIAS UIC SOA student Chapter

2013 – 2016

Member. AIAS UIC SOA Student Chapter

2012 – 2016

Member. Arquitectos UIC SOA Student Chapter

2013, 2015

Year End Show Exhibitor

2012, 2014

Arch & Art tuition award. 2012, 2014

2011, 2012

Talent tuition award. 2011, 2012


CONTENTS SILICON ISLAND PROUN 2.0 ORI REBRUT PEAKS ACRE ABOUT FACE ART-CHITECTURE LATE ENTRY TO CPL

1 21 41 55 63 77 87 93


RENDER / Bucktown + Wicker park access point

1


SILICON ISLAND / A NEIGHBORHOOD SHOWDOWN

From 1991 to 2012 Goose Island has seen a 40% increase in heavy industry jobs. Additionally, UI LABS, a government-backed not-for-profit based in Chicago, was awarded a $70-million to establish a Digital Manufacturing and Design Innovation Institute (DMDII) in a former factory on Goose Island. While the introduction of digital industries makes Goose Island a more valuable asset to the city; the island remains disconnected from residential and mixed-use amenities found in surrounding neighborhoods. The Silicon Island proposal redefines neighborhood boundaries and establishes access points. Access points take physical form through the identity of each neighborhood. The Silicon Island proposal allows for a better working environment and a new economy that benefits the island and adjacent neighborhoods. UIC SoA Spring 2015 Location : Chicago, IL Critic: Andrew Moddrell In collaboration with Obed Lopez, Katmerka Ramic * Selected for exhibition / UIC SoA Year End Show 2015

2


GOOSE ISLAND / Research

Goose Island is an artificial island formed by the Chicago river and a man made canal. Located within the industrial corridor its only access points are limited to two main roads restricting its accessibility to surrounding areas.

Chicago River + Man made canal

3

+

Planned Manufacturing Districts

Context

+

Infrastructure


GOOSE ISLAND / Research

Northwest island corner

4


GOOSE ISLAND / Research

5

Abandoned

Industrial Light

Restaurant

Entertainment

Institutional

Retail

Industrial Heavy

Residential

Services

Program


GOOSE ISLAND / Research

RANCH TRIANGLE

LINCOLN PARK OLD TOWN TRIANGLE

BUCKTOWN

OLD TOWN

WICKER PARK NOBLE SQUARE

GOOSE ISLAND

EAST UKRAINIAN VILLAGE

CABRINI GREEN

WEST TOWN

RIVER WEST

13 Surrounding neighborhoods

NEAR NORTH

RIVER NORTH

6


GOOSE ISLAND / Research

While surrounding neighborhoods offer diverse residential and mixed use amenities all amenities are cut off from anyone occupying Goose Island.

7

5 minute walking radius


GOOSE ISLAND / Research

Question: “How can redefining neighborhood boundaries connect Goose Island to Chicago?”

BUCKTOWN

CABRINI GREEN

INTERVIEWS

GOOSE ISLAND

COMMUNITY GROUP

UKRAINIAN VILLAGE

LINCOLN PARK

NEIGHBORHOOD STATEMENT/ MISSION

HISTORY

RANCH TRIANGLE

RIVER NORTH

WICKER PARK

EVENTS

NEAR NORTH

SOCIAL MEDIA

NOBLE SQUARE

ANALYSIS / Redefining Neighborhoods

OLD TOWN TRI.

OLD TOWN

WEST TOWN

RIVER WEST

8


GOOSE ISLAND / Boundaries

While current boundaries only further isolate Goose Island understanding them is key to proposing the most efficient new boundaries. New boundaries that will benefit wards, stimulate commerce, and bring neighborhoods closer to the island.

Wards

9

+

Commerce

Current boundaries

+

Neighborhood


SILICON ISLAND / Boundaries

In addition to new boundaries access points are implemented as gateways, iconic markers that physically represent each neighborhood’s best attributes. Each formulated though accumulated research of each neighborhood’s programmatic, experiential, and formal qualities.

LINCOLN PARK + RANCH TRIANGLE

BUCKTOWN + WICKER PARK

OLD TOWN TRIANGLE + OLD TOWN

CABRINI GREEN

EAST UKRAINIAN VILLAGE + NOBLE SQUARE + RIVER WEST + WEST TOWN

New boundaries + access points

NEAR RIVER + RIVER NORTH

10


SILICON ISLAND / Phases

11

2015

2020

2025

2030


SILICON ISLAND / Phases

FINAL PHASE / 2035

12


SILICON ISLAND / Access points

1

3 2

1. Art center 2. Graphic Walk 3. Marina

BUCKTOWN / WICKER PARK

13


SILICON ISLAND / Access points

2

1

3

1. Cafe bridges 2. Elevated shops 3. Moundscape

LINCOLN PARK / RANCH TRIANGLE

14


SILICON ISLAND / Access points

2

1 3

1. Bike highway 2. Nature loop 3. Waterway

OLD TOWN TRIANGLE / OLD TOWN

15


SILICON ISLAND / Access points

3

1 2

1. Farm bridge 2. Natural habitat 3. Crop strips

CABRINI GREEN

16


SILICON ISLAND / Access points

2

3

1

1. Tribune HQ 2. Activity deck 3. Boat yacht club

NEAR RIVER / RIVER NORTH

17


SILICON ISLAND / Access points

3

2

1

1. River pool 2. Prairie walk 3. Cultural center

EAST UKRAINIAN VILLAGE / NOBLE SQUARE / RIVER WEST / WEST TOWN

18


SILICON ISLAND / Snow globe models

BUCKTOWN / WICKER PARK

LINCOLN PARK / RANCH TRIANGLE

OLD TOWN TRIANGLE / OLD TOWN

CABRINI GREEN

NEAR RIVER / RIVER NORTH

19

UKRAINIAN VILLAGE / NOBLE SQUARE / RIVER WEST / WEST TOWN


SILICON ISLAND / Rendered

BUCKTOWN / WICKER PARK

LINCOLN PARK / RANCH TRIANGLE

OLD TOWN TRIANGLE / OLD TOWN

CABRINI GREEN

NEAR RIVER / RIVER NORTH

UKRAINIAN VILLAGE / NOBLE SQUARE / RIVER WEST / WEST TOWN

20


PROUN 2.0 / “Paintings” exhibition

21


PROUN 2.0 / DRAWING FROM SOURCES

Where Zaha took inspiration from Russian painter Kazimir Malevich, PROUN 2.0 looks to designer and artist El Lissitzky. Lissitzky proceeding to develop a suprematist style of his own produced a series of paintings called PROUN, which he described as “The station where one changes from painting to architecture”. PROUN 2.0 series challenges this idea by taking four universally known paintings and transitioning them into architecture. From 2D to 3D to 2D again the works transform when they are quilted together into their final “drawn/painted” forms. UIC SoAA Spring 2016 Location : Chicago, IL Critic: Dianna Frid

22


ZAHA HADID “THESE PAINTINGS ARE LIKE A STORYBOARD, LIKE A FILM”

Malevich’s Tektonik, 1977

The Peak, 1982-3

KAZIMIR MALEVICH “COLOR IS THE ESSENCE OF PAINTING, WHICH THE SUBJECT ALWAYS KILLED”

Arkitektons, 1923

23

Morning in the Village after Snowstorm, 1913


EL LISSITZKY “THE STATION WHERE ONE CHANGES FROM PAINTING TO ARCHITECTURE”

PROUN 4, 1920

PROUN 99, 1924

PROUN 4, 1920

PROUN AII, 1920

24


GIRL WITH THE PEARL EARRING

Johannes Vermeer, 1665, oil on canvas

25


PROUN 2.0 SERIES

Girl with the pearl earring 2.0, fabric on foamcore, 1’6” x 1’3”

26


THE MONA LISA

Leonardo Da Vinci, 1503, oil on canvas

27


PROUN 2.0 SERIES

The Mona Lisa 2.0, fabric on foamcore, 2’6” x 1’9” 28


STARRY NIGHT

Vincent Van Gogh, 1889, oil on canvas

29


PROUN 2.0 SERIES

Starry Night 2.0, fabric on foamcore, 2’5” x 3’1/4”

30


THE SCREAM

Vincent Van Gogh, 1889, oil on canvas

31


PROUN 2.0 SERIES

The Scream 2.0, fabric on foamcore, 3’x 2’5”

32


ORI / “Art Becomes You”

33


ORI / A PERFORMANCE ART COMPLEX

ORI is a performance art theater complex in Miami designed from the inside out. [furniture to complex] Four theaters varying in size are situated in relation to each other and enclosed in an envelope that express formal qualities similar to those theaters. The poches outside the theaters hold lobbies, galleries, as well as private programs such as classrooms, rehearsal space, stage and backstage support for each theaters. The furniture and finishes encourage a sensory experience while patterns decorate the public spaces and guide visitors throughout their experience within the complex. UIC SoA Spring 2014 Location: Miami, FL Critic: Allison Newmeyer

34


ORI / Precedents

TRYON FESTIVAL THEATER URBANA, ILLINOIS MAX ABRAMOVITZ SEAT CAPACITY: 980 AREA: 14,800 SQ FT

KALAMAZOO CIVIC AUDITORIUM KALAMAZOO, MICHIGAN ARCHITECT UNKNOWN SEAT CAPACITY: 500 AREA: 8,000 SQ FT

THE FICHANDLER STAGE

C

WASHINGTON, D.C removeable

removeable

walk around

wall obstructions

wall obstructions

walk around

ceiling obstructions

wall obstructions

wall obstructions

ceiling obstructions

removeable

permanent elevator

permanent elevator

BING THOM ARCHITECTS SEAT CAPACITY: 680 AREA: 10,000 SQ FT

KILDEN PERFORMING ARTS CENTER- AGDEN REGIONAL THEATER KRISTIANSAND, NORWAY ALA ARCHITECTS SEAT CAPACITY: 750 AREA: 10,600 SQ FT

35

Theater floor plans & Diagrams


ORI / Models

Individual forms

Assembly of forms

36


37


Final phase: Designed site plan

38


ORI / 24 x 24 x 24� Lobby model

Traditional tables with a modern twist

Moldable reflective lounge

Interior of lobby model [wide] 39


ORI / 24 x 24 x 24� Lobby model

Memories are forever frozen through photographs and kept in frame, but performance art is meant to be immersed in not captured. ORI is a reminder to put down the camera and experience all that is beyond the boundaries of the frame.

Interior of lobby model [long] 40


41


42


43


44


ORI / Floor plan

6th fl, practice rooms

3rd fl, lobby

45


ORI / Model

46


REBRUT / Plan perspective

47


REBRUT / BRUTALISM REEXAMINED

This project started out by reexamining Brutalist projects for what they got right. To reposition a new understanding of Brutalism into a contemporary discourse that inevitably lead to new architectures. While ReBrut was the result of such research it was created with the 21st century in mind, taking advantage of new materials such as lycra fabric and projection mapping technology. 12 proposals battle head to head for the chance to be built and displayed at the School of Architecture’s Year End Show. UIC SoA Fall 2014 Location: Chicago, IL Critic: Ryan Palider In collaboration with Kyle Wulf * Studio finalist

48


DESIGN PHASES

After intensive research of Brutalism’s strengths (formal, structural, spatial, and organizational qualities), a major defining feature of Brutalism revealed its use of honest materials such as beton brut (“raw concrete”). REBRUT rethinks these notions of materiality through a mix of “real” and “artifice” to create a new fictional world that seem real as a way to develop a more contemporary and less earnest attitude towards materiality.

Original primitive intersection

Intersection subtraction

Interior modification

As a temporary proposal the idea for materiality and visual aesthetics came about while watching performance artists use giant fabric projection screens to create different environments on stage. REBRUT would utilize the same idea, displaying iconic Brutalist facades while the interior created an atmosphere of the era’s popular culture (70s lava lamp).

49


Elevations

50


51


52


Section perspectives

53


FABRICATION

Silhouette plan

Plan

2x4 stud frame

OSB Sheating

Coroplast Sheating

Foam

Lycra fabric exterior

Digital projection

54


PEAKS ACRE / Inside looking out

55


PEAKS ACRE / A SUPRARURAL CITY

This city project is meant to bring systems learned from urban life and apply it to that of rural farmland. Through the studies of roads and housing systems one is able to produce a new division of standards applicable to “rural� city living. The application of grids and nodes taken by the studies to a rural site allow for a hierarchical systematic and fluid transition through agricultural and habitable programed masses. This suprarural city encapsulates the best of urban building programs while sustaining the flourishing rural farming. A sustainable utopia of sorts where the landscape imitates artificial mountains while maintaining the density and multiple centers often seen in urban cities. UIC SoA Fall 2013 Location: Williston, ND Critic: Greg Corso

56


PEAKS ACRE / Rural Analysis

SYSTEM OR CONCEPT REFERENCE IMAGES ROAD LAYERING

HOUSING CLUSTERS

Rural

SECONDARY SYSTEM

PRIMARY SYSTEM

Highways

Informal

HYBRID DIAGRAMS

57


PEAKS ACRE / Site Study

+

Site condition from 1992-2004

+

Site condition from 2004-2011

Current site condition 2013

CONNECTIVITY EXPLORATIONS BASED ON ABOVE POINTS OF CHANGE

58


PEAKS ACRE / Concept Ideas

URBAN CITIES

=

HIGH DENSITY

+

MULTIPLE CENTERS

+

INFRASTRUCTURE

YESTERDAY

TODAY

TOMORROW

59


PEAKS ACRE / Concept Ideas

Artificial topography

60


PEAKS ACRE / 1st Phase

1. Add node intersecting grid

3. Expand node coverage

61

2. Rotate grid

4. Create topo


PEAKS ACRE / 1st Phase

POSTCARD / from a suprarural architecture

The wow factor

62


PEAKS ACRE / a peak up close

63


64


PEAKS ACRE / 2nd Phase

PRIMARY ROAD

FLOW SECONDARY ROAD

HOUSING

COMMERCIAL

MASS

PRODUCTION STORAGE

PUBLIC PLAZAS

RAISED Commercial

FLAT Communal

65

CROPS


PEAKS ACRE / 2nd Phase

66


PEAKS ACRE / a view from in between

67


68


FACEOFF / Final model

69


FACEOFF / A FACADES STUDY

“FACEOFF” is created by reversing and extending the literal (physical) and implied (perceived) facade in an effort to propose new spatial types and interior volumes. This is done through the facade studies of five historic Chicago buildings; The Monadnock, The Chicago Federal Post Office, The Rookery, The Reliance Building, and The Sullivan Center. The formal, material, and assembly compositions that make up the facades are then manipulated through a series of typological facelifts. In the end students came together to “face off”, combining research to produce 36x36x36” abstract cubes. The cubes were to show a final conglomerate representation of all studied buildings. UIC SoA Spring 2013 Location: Chicago, IL Critic: Teddy Slowik In collaboration with Ivan Hinov, Kyle Wulf, Andre Mirovskyy, Adam Dwornik, Jennifer Arriozola * Selected for exhibition / UIC SoA Year End Show 2013

70


THE SULLIVAN BUILDING [CARSON PIRIE SCOTT]

Ornamentation

Corner conditions

Ornamentation

71

Exterior

Interior


STUDY MODELS “FACELIFTS’

Thick-skin [corner condition]

Facadism [ornamentation]

Two faced [interior/exterior]

72


WHERE PRECEDENTS “FACEOFF’

THE RELIANCE BUILDING

Linear details and material continuity imitated through use of the wood grain.

THE MONADNOCK

Square shaped cut outs seen throughout most entrances and windows.

73


WHERE PRECEDENTS “FACEOFF’

THE SULLIVAN BUILDING

Corner conditions where edges are smoothed out and facade lines change directions

THE CHICAGO FEDERAL POST OFFICE

A through and through open floor plan.

THE ROOKERY Where multiple characteristics and building techniques meet to produce an entirely new experience within a space. [Seen throughout the About Face]

74


36 x 36 x 36” WOOD MODEL

75


CATALOG OF PARTS A

B

MISCELLANEOUS

AA1.1

x

1

BA1.1

x

1

BB2.1c

x

1

Dowel

x

121

AA1.2

x

1

BA1.2

x

1

BB2.1d

x

1

Screw

x

107

AA2.1

x

1

BA1.3

x

1

BB2.2a

x

1

Plug

x

228

AA2.2

x

1

BA1.4

x

1

BB2.2b

x

1

AA3.1

x

1

BA2.1a

x

1

BB2.2c

x

1

AA3.2

x

1

BA2.1b

x

1

BB2.2d

x

1

AA4.1

x

1

BA2.1c

x

1

BB2.3a

x

4

AA4.2

x

1

BA2.1d

x

1

BB2.4a

x

1

AA5.1

x

1

BA2.2a

x

1

BB2.4b

x

1

AA5.2

x

1

BA2.2b

x

1

BB2.4c

x

1

AB1.1a

x

4

BA2.2c

x

1

BB2.4d

x

1 1

AB1.1b

x

4

BA2.2d

x

1

BC1.1

x

AB1.2a

x

4

BA3.1

x

4

BC1.2

x

1

AB2.1a.1

x

2

BA4.1

x

1

BC1.3

x

1

AB2.1a.2

x

2

BA4.2

x

1

BC1.4

x

1

AB2.1b.1

x

2

BA4.3

x

1

BC2.1

x

1

AB2.1b.2

x

2

BA4.4

x

1

BC2.2

x

1

AB2.1c.1

x

2

BB1.1a

x

1

BC2.3

x

1

AB2.1c.2

x

2

BB1.1b

x

1

BC2.4

x

1

AB2.2a

x

4

BB1.1c

x

1

BC3.1

x

1

AB3.1a

x

4

BB1.1d

x

1

BC3.2

x

1

AB3.1b

x

4

BB1.2a

x

1

BC3.3

x

1

AC1.1

x

4

BB1.2b

x

1

BC3.4

x

1

AC1.2

x

4

BB1.2c

x

1

BC4.1

x

4

AC2.1a.1

x

1

BB1.2d

x

1

BC5.1

x

1

AC2.1a.2

x

1

BB1.3a

x

1

BC5.2

x

1

AC2.1b.1

x

1

BB1.3b

x

1

BC5.3

x

1

AC2.1b.2

x

1

BB1.3c

x

1

BC5.4

x

1

AC2.1c.1

x

2

BB1.3d

x

1

AC2.1c.2

x

2

BB2.1a

x

1

AC2.2a

x

4

BB2.1b

x

1

76


AB1.2a AB1.2a

AA1.2 AB1.2 AA1.1

AB1.2a AB1.2a

AB1.1b AA AB1.1a AA4.2

AB1.1b

AA4.1

AA5.1

AB1.1a

AA5.2

AB1.1a AB1.1b

AB1.1 AB1.1a AB1.1b

AA2.1

AA2.2 AA3.1

AA3.2

AB1

A

AB

AB2.1c.2 AB2.1b.2 AB2.1c.1 AB2

AB2.1b.1

AB3.1b AB3.1a

AB3.1b AB3.1a

AB3 AB3.1a AB3.1b

AB2.1a.2 AB2.1a.1 AB2.1

AB3.1a AB3.1b

AB2.1a.1 AB2.1a.2

AC2.1b.2

AB2.2a

AC2.1b.1

AB2.2a

AC1.1

AB2.2a

AC

AB2.2 AB2.1c.1

AC1.2

AB2.1b.2

AB2.2a

AC2.1c.2 AC2

AB2.1c.2

AB2.1b.1

AC2.1c.1 AC2.1

AC1.1

AC2.2a

AC1

AC1.2 AC1.1 AC2.2a

AC1.2

AC2.1a.1 AC2.2 AC2.1a.2

AC2.2a

AC1.1

AC2.2a AC1.2

AC2.1c.1

AC2.1c.2

77


BA1.4

BA1.3

BA1.2

BA1.1

BA2.2d BA2.2c BA2.2b BA2.2a

BA3.1 x 4

BA2

BA

BA2.1a BB1.1d

BA2.1b

BA4.1 BA4.2 BA4.3 BA4.4

BA2.1c

BB1.1c

BA2.1d BB1.1b

BB1.2d BB1.1a BB1.2c

BB1.2b

BB1.2a

BB1

B

BB1.3a

BB2.1d

BB1.3b

BB2.1c

BB BB1.3c

BB2.1b

BB1.3d

BB2.2d

BB2.1a

BB2.2c BB2.2b BB2.2a

BC1.4

BB2

BC1.3 BB2.3a x 4

BC1.2 BC2.4 BC2.3

BC1.1

BC2.2 BC2.1 BB2.4a

BC

BB2.4b BC5.1 BC5.2 BC5.3 BC5.4

BB2.4c BB2.4d

BC3.1

BC3.2

BC3.3

BC3.4

BC4.1 x 4

78


ART-CHITECTURE / close up

79


ART-CHITECTURE / UIC ART & ARCHITECTURE

This installation is meant to bring forth a dialog about the role of architecture within art in UIC academia. In an effort to physically bridge the gap that separates the two disciplines ART-CHITECTURE takes the literal floor plan of an architecture building and forces it into an art studio space. By invading a place with a foreign entity the hope it to bring about an awareness of space and boundaries and how those factors help artists with the display of their work. UIC SoAA Fall 2015 Location : Chicago, IL Critic: Dianna Frid

80


ART-CHITECTURE / Building strategy

UIC ORIGINAL ARCHITECTURE BUILDING FLOOR PLAN 60 yds masking tape 2” 60 yds masking tape 1” 60 yds masking tape 1/2” Foam columns and balloons [highlights most important squares within new setting]

0

5

10

MATERIALS X

1

1

60 yds masking tape 1/2”

24 pack latex balloons

X

X

4

1

60 yds masking tape 1”

Large helium tank

X

X

2

1

60 yds masking tape 2”

Pink insulation foam

X

X

1

Clear nylon cord

81

X

1

16’ measuring tape

20


ART-CHITECTURE / Study models

Floor plan manipulations

82


83


84


Dw/Co / Chicago Architecture Biennial Entry

85


LATE ENTRIES TO THE CHICAGO PUBLIC LIBRARY COMPETITION

This Late Entry to the Chicago Public Library Competition uses the parameters of the 1987 architectural competition as a framework to reexamine issues at stake not only in the original design prompt, but also: the choice of the winning scheme, the use of history in the design of architecture, and contemporary ideas surrounding libraries and the city. The ‘Late Entry’ format borrows from Claes Oldenburg’s Late Entry to the Chicago Tribune Tower Competition as well as Stanley Tigerman’s exhibition of the same name from 1980. With this reboot of the format, we are drawing a connection between the Tribune Tower and the Public Library competitions, each of which have been instrumental in shaping attitudes toward architecture in Chicago. Both competitions resulted in buildings that self-consciously deploy historical forms and ornament to communicate with the public. (continued) Chicago Architecture Biennial Entry Location: Chicago, IL Collaboration: Design with Company (Stewart Hicks and Allison Newmeyer), Obed Lopez, Jeisler Salunga * Drawings done by Stewart Hicks and Allison Newmeyer

86


87


Certain architects and writers have been critical of these outcomes, with Stanley Tigerman quoted as saying, “By selecting that scheme [The winning design for the Chicago Public Library], it sends Chicago backwards, away from its own future precisely the way the Tribune Competition and the Columbian Exposition did. Because it is a building that’s a study in dissimilation that feigns to be something of a time that is not ours that uses as a role model the Bibliothèque Sainte-Geneviève in Paris by Henri Labrouste. That’s the problem with the kind of thinking that uses context to establish authority and uses verification of an earlier time to get over the insecurities of the natives of a city trying to seek authenticity.” This project contends explicitly with Tigerman’s misgivings about the use of history in architectural design, not necessarily to correct or solve the problem, but to revisit the polemic in a revealing and contemporary way. It presents two dozen late entries in the form of a single building. The result is a building that behaves like a city, playing on scale, legibility, and narrative.

88


France La . Portfolio  

Architectural portfolio 2016

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