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
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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
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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
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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.
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