Godina izdanja: Ostalo
ISBN: Ostalo
Oblast: Arhitektura
Jezik: Engleski
Autor: Strani

Stanley Tigerman
Published by Rizzoli, 1990

Odlično očuvano

288 pages, copiously illustrated. Contains a Bibliography of Publications by Stanley Tigerman, and a Chronological List of Buildings and Projects. A new copy. First published monograph on the work of this noted architect and educator, with forty-seven building and interior design projects fully documented.


Stanley Tigerman (September 20, 1930 – June 3, 2019) was an American architect, theorist and designer.

Stanley Tigerman
Stanley Tigerman (cropped).jpg
Stanley Tigerman in 2007
Born
September 20, 1930
Chicago, Illinois, U.S.
Died
June 3, 2019 (aged 88)
Chicago, Illinois, U.S.
Education
Massachusetts Institute of Technology
Yale School of Architecture
Occupation
Architect
Spouse(s)
Margaret McCurry ​(m. 1979)​
Children
2
Biography Edit

Early years Edit
Tigerman was born into a Jewish family, the only child of Emma (Stern), a typist for the federal government, and Samuel Tigerman, an engineer whose career struggled by the Depression.[1][2][3] He grew up in his paternal grandparents` boardinghouse in Edgewater, Chicago.[2] He won the `beautiful baby` contest at the 1933 World`s Fair. When he was a child, he wanted to be a musician and took six years of piano lessons. At Senn High School he studied jazz.[2]

Education and apprenticeships Edit
He studied at Massachusetts Institute of Technology, but flunked out after one year. After, the dean of architecture at MIT helped Tigerman get an apprenticeship with Chicago architect George Fred Keck.[2] After a year with Keck, he left to start his own practice, which failed. He then joined the U.S. Navy for four years, serving in the Korean War.[1][2] After the navy, he returned to Chicago and worked for two years for A.J. Del Bianco doing suburban architecture; then with Milton Schwartz on the Executive House Hotel; and then as junior designer for Skidmore Owings & Merrill on the Air Force Academy.[2] In 1958, Tigerman was officially an architect through his many years of apprenticeships, and he wrote to MIT, IIT, Yale, and Harvard to apply to their graduate programs, though he still did not have a bachelor`s degree. MIT and Harvard told him he would have to come back as an undergraduate, but after an interview with chairman Paul Rudolph, the Yale School of Architecture allowed Tigerman to enter a graduate program. While at Yale, he worked nights at Rudolph`s architectural office. After two years, he graduated from the Yale School of Architecture with a Masters in 1961.[2]

Architectural career Edit

Tureen, 1990; Designed by Tigerman, fabricated by Michael Brophy. Made of sterling silver and plastic, with rose quartz spheres for feet.[4]
In 1961, Tigerman established a small practice.[1] From 1964 until his retirement in 2017, Tigerman was a principal of Stanley Tigerman and Associates Ltd. (later, Tigerman McCurry Architects), in Chicago. He also taught at several universities in the United States. A collection of his papers is held by the Ryerson & Burnham Libraries in the Art Institute of Chicago.

The residential apartment building originally named `Boardwalk Apartments`, located at the southeast corner of Montrose and Clarendon Avenues and completed in 1974, was Tigerman`s first built project inspired by Mies van der Rohe.

During his early career, Tigerman borrowed extensively from an eclectic blend of styles. In 1976, he was the central figure of the Chicago Seven, a group which emerged in opposition to the doctrinal application of modernism, as represented particularly in Chicago by the followers of Ludwig Mies van der Rohe.

In later years, Tigerman`s diverse design style progressively assumed more sensual and dramatic qualities. Tigerman`s early skill with curves and perspective expanded to include organic shapes, bright color, topiary, and allegory. From the days of his early eclectic stylings, Tigerman developed into an idiosyncratic theorist.

Tigerman`s architectural achievements included the designs for institutional projects such as The Five Polytechnic Institutes in Bangladesh, The Illinois Holocaust Museum and Education Center in Skokie, Illinois, the Illinois Regional Library for the Blind and Physically Handicapped in Chicago, and the POWERHOUSE Energy Museum in Zion, Illinois. Tigerman designed both mixed use high-rise and low-rise housing throughout the United States, and in Germany and Japan. He worked in Bangladesh with Louis I Kahn and Muzharul Islam. His broad ranging collaborations included projects such as The Chicago Central Area Plan, 1992 Chicago World`s Fair, and London`s Kings` Cross and St. Pancras High Density Mixed Use Urban Plan.

In the early 1980s, he partnered with his third wife, Margaret McCurry, also an architect, to form Tigerman McCurry Architects. While McCurry primarily designed homes for wealthy clients, Tigerman`s focus was on bringing architect to underprivileged communities, with the design of a homeless shelter in Chicago called the Pacific Garden Mission and an Anti-Cruelty Society animal shelter. Sometimes McCurry and Tigerman collaborated on projects, but they typically worked on their own projects.[1]

In May 2017, Tigerman closed his Chicago office and announced that he was retiring from active practice, but that his wife, Margaret McCurry, would carry on the work of the firm, Tigerman McCurry Architects.[5] Tigerman is credited with over 390 projects, and over 175 built works, representing almost every building type.

Other work Edit
Tigerman designed exhibition installations for museums in the United States, Portugal and Puerto Rico. In 1976, he helped organize a museum exhibition titled `Chicago Architects` highlighting work from lesser-known architects that he thought were overlooked in Chicago`s modernist architectural history. In 1988, Tigerman designed an exhibition at the Art Institute of Chicago on the architectural history of Chicago.[1]

Tigerman was director of the School of Architecture at the University of Illinois at Chicago from 1988 until he was fired in 1993, after his outspokenness style was not appreciated by the university administration.[1] In 1994, Tigerman and the designer Eva L. Maddox co-founded Archeworks, a nonprofit institute in Chicago for students focused on urban problems. Tigerman was director at Archeworks for 15 years.[1]

In addition to architecture, Tigerman designed products, such as tableware for the Swid Powell Company, a cookie jar, a coffee and tea set, and watches for Projects.[1]

Tigerman wrote several books, including `Versus: An American Architect`s Alternatives` in 1982, a monograph of his work in 1989, and `Architecture of Exile.`[1]

Personal life Edit

Tigerman was married three times. He had a son and daughter from his first marriage. In 1979,[1] he married his third wife Margaret McCurry, an Episcopalian, a fellow architect, and later his partner.[2] They were married 40 years and lived at 900-910 North Lake Shore apartments designed by Mies van der Rohe on Chicago`s lakefront. He died on June 3, 2019, aged 88.[6]

Stanley Tigerman bio je legendarni čikaški arhitekta poznat po svojim buntovnim i ironičnim projektima, sa često eksplicitnim provokacijama. Istaknuo se sredinom 1970-ih kada je hrabro potkopao tada neprikosnoveni autoritet modernizma sredinom 20. stoljeća, posebno misovski (Mies Van der Rohe) univerzalni i mnogo kopirani modernizam, igrajući presudnu ulogu u formiranju prve generacije postmoderne grupe arhitekata u Čikagu koja je ušla u knjige pod imenom Chicago Seven. Arhitekta je preminuo 2019. godine u 88. godini.


Tigerman je projektovao mnoge nezaboravne projekte, realizovao ih je preko 200. Napisao je brojne tekstove i bio je izvanredan učitelj, a bio je i upravnik na Čikaškoj školi za arhitekturu, Univerziteta Illinois, od 1985. do 1993. Prije otvaranja svoje pozne prakse - Tigerman McCurry - sa svojom trećom suprugom Margaret McCurry 1986. godine, služio je kao američki dopisnik L`architecture d`aujourd`hui i jedno desetljeće je radio u Bangladešu. 1994. godine s dizajnerkom Evom Maddox suosnivač je Archeworks-a, nezavisne škole arhitekture s fokusom na progresivno-socijalno orijentisani dizajn.

Vjerovatno nijedan od tih poduhvata ne može se takmičiti u svom značaju s arhitektovim minimalističkim kolažem iz 1978. godine koji je nazvao Titanik. U njemu je Tigerman nagnuo najslavniju i najpoznatiju zgradu Mies van der Rohea, Crown Hall, srce i mozak njegovog kampusa u Illinois Institute of Technology u kojem se propovijedala modernistička arhitektura. Tigermanova nedvosmislena fotomontaža prikazuje Miesov hram modernizma, jer je bez ceremonije torpediran i poslan direktno na dno Mičigenskog jezera. Iako je ranija knjiga Roberta Venturija Složenost i protivrječnost u arhitekturi (1966) koja je konceptualizirala i oslobodila arhitekturu iz uske košulje miesovskog modernizma zagađujući je raznolikošću i pluralizmom nagovijestila dolazak postmoderne ere u arhitekturu, Tigermanov Titanik je ovoj promjeni paradigme dao odgovarajuću vizuelnu manifestaciju. U svom je radu arhitekta istraživao teme poput utopije, alegorije, humora, simbolike, eklekticizma, metafora, a ponajviše - smjelo se borio protiv statusa quo.

Vladimir Belogolovsky: Na vašoj web stranici stoji da je vaš studio predan stvaranju savremene i autentično američke arhitekture koja je svojstvena njenom vremenu i mjestu. Možete li objasniti što mislite pod istinski američkim?

Stanley Tigerman: Amerika je hibrid. Ovo nije naš dom, osim ako niste Indijanac. Na primjer, vi ste iz Ukrajine, a moji baba i djed došli su iz Mađarske. Niko nije odavde. Dakle, ovdje ste automatski otuđeni. Na tu sam temu napisao knjigu Arhitektura progonstva.

Vladimir Belogolovsky: Zar ne biste rekli da ovdje postoji nešto poput izrazito američke arhitekture?

Stanley Tigerman: Nema američkih arhitektonskih simbola; tehnologija - da, naravno, to je ono što je Mies tako dobro razumio. Ali simboliku moramo potražiti negdje drugo. Na primjer, postmodernizam je bio američki pokret jer smo mi hibridi, a postmodernizam je hibridni pokret. Nije autentičan.

Vladimir Belogolovsky: Na Yaleu ste studirali kod Paula Rudolpha. Jednom ste rekli kako je bio nevjerovatan učitelj. Što ste najviše naučili od njega?

Stanley Tigerman: Bio je vrlo tvrd; nemate pojma ... Za vrijeme dok sam studirao, jedan je student izvršio samoubistvo i mnogi su završili na psihijatrijskim kaučima. Bio je brutalan. Ali bio je sjajan učitelj i od svojih učenika nije tražio više nego od sebe. Rudolph je bio sjajan uzor. Kad mi je rekao da nešto učinim, to je i on sam učinio. U jednoj nedjelji zahtijevao je presjeke, perspektive, modele u velikoj, maloj razmjeri ... Radio sam za njega, često do ranog jutra. Ali vidio sam ga u akciji, a on je radio jednako puno ili više nego bilo ko od nas.

Arhitektura je vrlo teško zanimanje. Morate biti jaki da biste nešto izgradili. Danas smo imali sastanak ovdje i svi su pokušavali staviti prepreku ispred mene. Zašto? Jer pokušavam učiniti nešto što nikada prije nije bilo. I tome uvijek postoji otpor, inercija. Pokušajte sagraditi čak i malu vikendicu u prašumi i svi će ekolozi ići protiv vas, jer radite nešto što tamo nije bilo namijenjeno. Dakle, izrada nove zgrade zahtijeva veliku snagu, neizmjernu volju, čvrstinu, uvjerenje. Arhitektura je za žilave ljude. Sve stoji na tom putu - klijenti, programeri, inženjeri ... John Hejduk je sve rekao: `Što je gotova zgrada bliža izvornom crtežu, to je zgrada bolja.` Ali to je vrlo teško učiniti jer se zgrade napadaju i često gube poetski sadržaj.

Vladimir Belogolovsky: Što ste učinili u svom radu, a nikada prije?

Stanley Tigerman: Ironične zgrade, zgrade s osjećajem ironije.

Vladimir Belogolovsky: Zašto mislite da je važno da arhitektura posjeduje ovaj kvalitet?

Stanley Tigerman: Pa, jedna od stvari koju kao arhitekta pokušavate učiniti je pružiti zadovoljstvo ljudima. Dio užitka je humor. A ako sam nešto učinio, vjerovatno će me po tome pamtiti.
Vladimir Belogolovsky: Koji je do sada najuspješniji projekt koji prenosi ovaj pojam?

Stanley Tigerman: Sljedeći.

Vladimir Belogolovsky: Ne, ozbiljno, osvrćući se unazad, da li biste mogli odabrati jedan projekat i reći mi što je ironično u njemu?

Stanley Tigerman: Hejduk je u mojoj knjizi napisao da biste bili dobar arhitekta morate napraviti barem jednu zgradu koja ima auru. Njegove riječi, ne moje. I smatrao je da sam napravio nekoliko zgrada koje imaju taj kvalitet: Crni ambar u Frog Hollowu i moja vlastita kuća u Lakesideu u Mičigenu dvije su od tih zgrada. U mom radu postoji određeni kvalitet koju je John razumio.

Vladimir Belogolovsky: Koje su bile njegove tačne riječi?

Stanley Tigerman: Ne pamtim ih napamet ... Evo, zašto ih ne pročitate u mojoj knjizi Arhitektura progonstva?

Vladimir Belogolovsky: „Privlači me arhitektura koja odaje auru. Aura je atmosfera koju je teško definisati, ali ono rijetko kad se dogodi, znamo kada smo u prisutnosti arhitekture, crteža ili osobe koja zrači taj osjećaj ... Stanley Tigerman je američki arhitekta koji nije u egzilu, već je jako prisutan kod kuće . Crni ambar u Frog Hollowu, s bijelim labudovima koji plutaju nad mutnim ribnjakom punim soma, dok iz ambara dopiru zvuci orgulja, odaje auru antike i tišine po američkom krajoliku ... Da biste barem jednim od svojih djela postali arhitekta morate imati auru. Stanley je arhitekta. `

Stanley Tigerman: Ove su mi riječi vrlo dragocjene.

Vladimir Belogolovsky: Rekli ste: `Arhitekta oblikuje svoju epohu, umjesto da je odražava.` Što ste time htjeli reći?

Stanley Tigerman: Mies je rekao, `Arhitektura je volja jedne epohe pretočene u svemir.` S druge strane, arhitekta često kaže klijentu ili društvu: `Dođite ovuda - pokazaću vam bolji način!` Tako ponekad arhitektura ogleda društvo, a ponekad vodi. Stoga je jedno uvijek odvojeno od drugog.


April, 2012., Čikago