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Stanley Tigerman, Recent Projects / Catherine Ingraham

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Stanley Tigerman, Recent Projects / Catherine Ingraham Acknowledgments When I first met Stanley ings to our collection, while The present Architecture the Department of Architec- Tigerman almost ten years encouraging the architectural in Context exhibition and ture, and Registrar Mary Solt ago, he characterized The and building community to this accompanying catalogue coordinated shipment of the Art Institute of Chicago as provide financial support for are meant to commemorate, works; Reynold Bailey of Art being "just to the right of the our projects. During 1987 and in some small way show Installation, in cooperation Pharoah." Indeed, there was and 1988, he provided me our appreciation for, Tiger- with me, coordinated the some truth in his statement, with a very enriching per- man's promised donation. placement and installation for in spite of the Art Insti- sonal experience in working The exhibition focuses on of the objects on display. tute's long-standing involve- with him in the planning of his work designed and built Joseph Cochand, Senior ment with architects and a creative installation for the during the past few years, Designer in the Department architecture, the institution's exhibition "Chicago Archi- and it complements nicely of Graphic Services, de- relationship with the archi- tecture, 1872-1922: Birth of a the recent monograph Stan- signed the graphics for the tectural community at that Metropolis." ley Tigerman: Buildings and exhibition and produced time was, at best, limited. In short, Stanley Tigerman Projects, 1966-1989 (Rizzoli this elegant catalogue. An In the last decade, how- has been more than helpful International Publications, Architecture Society recep- ever, things have certainly in making the relationship 1989). The installation of the tion to celebrate the opening changed. In 1981, a curatorial between the Art Institute exhibition and the publica- of the exhibition was Department of Architecture and the architectural com- tion of this Architecture in arranged through the tireless was establi.shed at the munity a positive one. Context catalogue were sup- work of Bruce Simons, the museum with the approval Recently, his generosity has ported by restricted gifts of society's president; Alice and encouragement of the taken another step forward: the following Benefactors of Sabl, program committee Art Institute's new director, he has pledged to donate the Architecture: J. Paul Beitler chair, with additional help James N. Wood. Since that drawings, models, and archi- and Lee Miglin, Charles from Josephine Strauss; Peter time, the department has val documents of his entire Gardner and Sandi Miller, Eisenman, guest lecturer for increasingly expanded its architectural career to the Harold Schiff, and Richard the evening; and, finally, the activities in collecting, ex- Art Institute's permanent Stein. Sarah Mollman Under- support of the Continental hibiting, and publishing collection. The Art Institute hill, of the firm of Tigerman Bank Foundation. work by Chicago architects already holds important ar- McCurry Architects, effi- past and present. Through- chival collections by such ciently helped to organize John Zukowsky out these years, Stanley well-known Chicago archi- and coordinate the exhibi- Curator ofArchitecture Tigerman has been an impor- tects as Louis H. Sullivan tion. Catherine Ingraham The Art Institute of Chicago tant catalyst for architectural and Daniel H. Burnham, and of the Columbia University activities in this city, and he other notable collections by Graduate School of Architec- has actively involved this architects as diverse asP. B. ture, Planning, and Preserva- department in many contem- Wight, McNally and Quinn, tion graciously agreed to Program porary issues. He has very and David Adler. Tigerman's write the catalogue essay generously given his time promised gift calls to mind and she has produced a Exhibition and ideas in his service on other acts of generosity in thoughtful examination of Stanley Tigerman: our Committee on Architec- the history of architects and Tigerman's recent projects. Recent Projects ture. He has also donated a their archives, among them At the Art Institute, December 18, 1989- number of individual draw- Ludwig Mies van der Robe's Associate Editor Robert V.' April15, 1990 gift of his drawing archive to Sharp reviewed and edited Galleries 9 and 10 the Museum of Modern Art all manuscripts and helped The Art Institute of Chicago in New York. Tigerman's to select the illustrations in pledge is extremely impor- this catalogue. Luigi Mum- Lectures tant in that the record of his ford, Technical Assistant in Jane Clarke, Associate career will be unbroken and Director, Department of undivided; the donation will Museum Education include all his work, not sim- March 8 and March 19, 1990, ply the architectural draw- at 12:15 p.m. ings. It is a gift that we hope Galleries 9 and 10 will inspire some of his con- temporaries to do likewise. Catherine Ingraham STANLEY TIGERMAN: RECENT PROJECTS I have never written about Stanley Tigerman's work, because, was a piece of his own architecture (the Hard Rock Cafe). In a among other things, it is hard to write about the work of a friend. sense, he traces himself - a moment in his own architectural It is not the loss of objectivity that is at stake, for no writer or history - in this project. Finally, the black "failed" grid on the observer is ever truly objective. But it is generally assumed that exterior of the Fukuoka City mixed-use apartment building friendship blinds one to the variations in topography, especially traces the white "ideal" grid in the central, and inaccessible, the valleys, in another person's being. In light ofthis assumption, garden. As in the Berlin Wall, Tigerman uses an architectural it is interesting that Stanley Tigerman's work itself is in many and urbanistic figure - here, the grid - in order to relate analog- ways about a kind of topographical, or rather architectural, ically two conceptual moments: the moment of perfection that blindness and insight. One could even say that it is about the pays homage to the Japanese garden, and the moment of imper- blindness and insight of friendship: mainly the friendship- the fection that signifies, among other things, the irony of the affinities and disenchantments- that Tigerman has had with the Western architect building in the East. Chicago School, with modernism, with postmodernism, and Tigerman's interest in traces - as theoretical propositions for with poststructuralism (deconstruction). The word friendship is architecture - is not an interest in the manipulation of architec- the right one, actually. For in spite of the large-scale periodicity tural structure for its own sake. It derives, instead, from a curious that these movements designate, Tigerman has, I think, always mixture of personal biography, the anxiety of influence, the taken them personally, and this is where the strength of his condition of exile (the architect in the world), the potency of architecture lies. architecture as theological metaphor (loss of innocence, Tal- For Tigerman, the architect is not simply the unmoved mover mudic text, act of faith and reparation, failure and redemption), of autonomous architectural objects, but the constructing author and itinerant play - play that wanders from place to place, who leaves traces. These traces have a literal, as well as an ironic through ironical distances, metaphoric reversals, exposure and and metaphoric, presence in many of his projects. In his design mystification, cartoon and caricature. One might say that the for a private residence near Chicago (figs. 1, 2), for example, action of the trace in Tigerman's work is always a disturbance Tigerman rotates the structure off a paved plaza, leaving the of the orderly conduct of architecture. Tigerman's own words for trace of its passage in the form of terraces. This movement is, for the character of this disturbance take the form of a rubric under Tigerman, a primal rotation away from the Garden of Eden, which architecture becomes, always, "a failed attempt at healing whose original position is marked by the plaza with two an irreparable wound." Thus, with unfailing optimism, the obelisks. The literal tracing of a structure passing over the architect builds a failure. He cannot cover up the traces of the ground- where "passing over" retains all the power of electing tear that architecture makes on the landscape, or the wounds to leave untouched and, simultaneously, of active designation - that are written into the passages and joinery of architectural is not only manifest in the plan for this house, but also in its spaces and constructions. But while these wounds may seem, on program. The functions of the house "unhinge" themselves as occasion, to be architectural conceits- that is, formal or stylistic spatial units, as rooms, from a hypothesized whole. The house manipulations of structure that make overly literal points about thus becomes a kind of village. In Tigerman's design for a new division or displacement by using so-called "displacement strat- Berlin Wall for the Mythos Berlin 2000 Exhibition, a linear egies" - in Tigerman's architecture I think the wound has a more clay-graveled park maintains a trace of the scandal of division complex and deep-seated presence. that the Berlin Wall enacted (fig. 3). Here the trace is a spatial One might look at the economy of disturbance already appar- analogy. The impenetrable linearity of the wall is analogized to ent in Tigerman's early work. The two projects that come to the penetrable linearity of the park. Were the Berlin Wall to mind are the Black Barn built in 1973 for a client in Berrien disappear- which a year ago seemed impossible, but which now Springs, Michigan, and the Hot Dog House of 1974 in Harvard, seems suddenly, remarkably, possible- the row of trees on each Illinois. Both of these projects were built during what Tigerman side would maintain the space of dividedness that the wall calls his "Surrealist Phase," a phase in which he sees himself symbolized.
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