jeisler salunga portfolio | selected works
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jeisler salunga 224 406 1284 | jeisler.salunga@gmail.com | 11806 Mayfield Ave. Apt. 105, Los Angeles, CA 90049
education
skills
2014-Present : Los Angeles CA
high proficiency
University of California - Los Angeles Master of Architecture Candidate
Rhinoceros 5.0 Adobe Photoshop Adobe Illustrator Adobe InDesign
2009-2013 : Chicago IL
University of Illinois - Chicago Bachelor of Science in Architecture *Cum Laude *High Departmental Distinction *Deans List (multiple semesters)
medium proficiency
Adobe AfterEffects Grasshopper Cinema 4D AutoCAD Microsoft Word/Excel low proficiency
Google Sketchup Processing Maya
professional
services
2013-2015 : Chicago IL
2014-Present : UCLA AUD
Design with Company Assistant
AV Crew Gallery Crew Rumble Representative 2015
-Chicago Architecture Biennial Entry, Zinery, Pavilion MMM 2015-on call : Los Angeles, CA
Andrew Kovacs Assistant -Suit Gallery
2010-2013 : Arquitectos, UIC Chapter
Member Vice President
2012-2013 : Chicago IL
4240 Architecture Inc. Architectural Intern
2012-2013 : SoA Student Adivisory Board, UIC
Class Representative
-CertusBank Furniture Package 2013 : Chicago IL
2012-2013 : Department of Urban Speculation, UIC
Norman Kelley Assistant
Speculator
-NAWT Balloons, Play Play Revolution
2012-2013 : Fresh Meat Student Publication, UIC
2010-2011 : Chicago IL
Studio Blogger
Extension Gallery for Architecture Intern -Easton+Combs Installation, Silent Auction, Catalogging
awards + honors
travel
2015
Studio Berlin 2012
Jeffrey “Skips” Hintz Memorial Fund - UCLA AUD Continuing Student Award - UCLA AUD “Stand-Up Hotel” featured on pitcrit.com
Berlin Dessau Hamburg Potsdam Coppenhagen London
2012-2013
“Stand-Up Hotel” featured on cloudwatching.net Possible Mediums Conference with Angie Co UIC-SoA Talent Tuition Award (multiple semesters) 2011-2012
Personal
“Urban Intimacy” selected for UIC Year End Show INOMA Scholarship 2012
Numerous States Philippines
2010-2011
“Unintensional” selected for UIC Year End Show
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curriculum vitae
table of contents House 1-2-3-4 Duality of Mass & Container Between the Seams Torrè Brutalè Stand-Up Hotel Late Entry to the CPL Competition
table of contents
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House 1-2-3-4 This house is primarily focused on sequencing program and framing them in elevation. The house utilizes the pitched roofs to give each house a clear formal identity and elicit a sense of domesticity and vernacular. The form is articulated through a series of steel hollow section moment frames connected to an elevated platform. The use of the moment frame produces both a structural and graphic frame that can be read on both the interior and exterior. The elevation and plan shape of five connected squares subdivide the interior and allow for program to be infilled to each house. The perimeter of the house is left untouched while walls and furniture articulate the interior program that can be viewed and framed through the clear glass front and rear elevations. The art that’s distributed throughout the house are Ed Ruscha’s paintings. The paintings were chosen for their scale and utilized as a tectonic to locate walls and surfaces to divide up space and programs. The overall distribution of art becomes a way of integrating the art into living. Along with the Ruscha paintings are highly curated furniture and beautiful cars resulting in a house that becomes both a place of residence and an exhibition gallery. UCLA - Comprehensive Studio: Steel House Winter 2016 Critic : Neil Denari
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House 1-2-3-4 | Description
1
5 98'-0"
2a
2b
3a
24'-6"
3b
4a
24'-6"
4b
24'-6"
24'-6"
12 12
12 8 12 6 12 4
House 1
House 2
House 3
House 4
Exterior Elevation | House 1-2-3-4
7
ar
el M
D na
ro
24'-6
"
24'-6
"
98'-0
"
24'-6
"
24'-6
"
Co
12'-3
" 12'-3
" 12'-3
" 12'-3
"
49'-0
"
d.
Blv
u
uta
a Ch
a qu
N
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House 1-2-3-4 | Site Plan
98'-0"
24'-6"
6'-1 1/2"
6'-1 1/2"
6'-1 1/2"
6'-1 1/2"
6'-1 1/2"
24'-6"
6'-1 1/2"
6'-1 1/2"
6'-1 1/2"
6'-1 1/2"
24'-6"
6'-1 1/2"
6'-1 1/2"
6'-1 1/2"
6'-1 1/2"
6'-1 1/2"
6'-1 1/2"
12'-3"
49'-0"
12'-3"
12'-3"
6'-1 1/2"
24'-6"
tapered beams 12'-3"
12”x12” hollow steel section 12” x 6” hollow steel section concrete foundation 12”x12” hollow steel section
06
07
08
16
17
01
03
09
02
04
12
13
05
10
11
14
15
01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17
master bedroom master bathroom closet workspace work storage kitchenette kitchen pantry dining living room outdoor patio foyer art storage powder room library tool storage garage
Structural Framing & Program Diagram | House 1-2-3-4
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House 4
House 3
House 2
House 1
12”-24” tapered beams 12”x12” hollow steel section 12” x 6” hollow steel section Moment Frame (12” x 12” HSS) Substructure (4” x 4” HSS) 12”x12” hss column
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House 1-2-3-4 | Structural Frame Organization : Axonometric
08
09 01 10 02 03
11
12
13 04 05 14
06 07
z
y
x
01 02 03 04 05 06 07 08 09 10 11 12 13 14
corrugated steel finish insulation trapezoidal corrugation steel base trim bamboo flooring concreted filled corrugation concrete footing hss moment frame laminated glass gypsum board glass frame hollow steel section ed ruscha painting concrete grade beam
Material Catalog | Structural Axonometric Cutaway | House 1-2-3-4
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1
98'-
2a
2b
3a
24'-6"
24'-6"
+22'11" Top of House 2
+18'11" Top of House 3
12 12
+16'10" Top of House 1 +14'9" Top of House 4
12 6
+7'0" Top of Interior Walls
+0'0" Top of Floor
House 1 z
x
12
House 1-2-3-4 | Longitudinal Elevation
House 2
5 0"
3b
4a
4b
24'-6"
24'-6"
12 8
12 4
A 01
House 3
House 4
Framed Interior | House 1-2-3-4
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1
98'-
2a
2b
3a
24'-6"
24'-6"
Pantry
Ref
9'-3"
12'-3"
DW
A
Kitchen Now Then,As I Was About to Say... (36"x 40")
Room, 1963 Fats, 1964
B 4'-0"
Baby Jet (38"x 36")
4'-0"
Wagenfeld Table Lamp, 1924 Laccio Side Table, 1925
4'-0"
Eames Plastic Side Chair DSR, 1950
Master Bedroom
5'-3"
12'-3"
LC4 Chaise Lounge, 1930
Dining
Closet See (30"x 30")
16'-6"
8'-0" Not Only Securing The Last Letter, But Damaging it As Well (Boss) (59" x 55")
5'-0"
Porch Crop (64"x 72")
4'-0"
49'-0"
Master Bathroom
C
Hollywood S (12
4'-0"
Step On No Pets (64"x 72")
LC2 Chair, 1928
Clarence Jones (72"x124")
5'-3"
5'-3"
12'-3"
Barcelona Chair, 1929
Work Storage
Aluminum Chair, 1958
Workspace
Securing the Last Letter (59" x 55")
Standard Station (20" x 39") Burning Gas Station (20" x 39") Burning Standard (20" x 39")
Living Room
D
12'-3"
E 01
House 1
Outdoor Patio Eames Plywood Lounge Chair, 1946
y
E
House 2 BB 02
x
CC 03
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House 1-2-3-4 | Floor Plan
5
-0"
3b
4a
4b
24'-6"
24'-6"
Part/Tool Storage
11'-3"
16'-0"
1969 Porsche 911
1967 Shelby Cobra
4'-7"
Foyer
Garage Eames Plastic Side Chair DSR, 1950
22'-6"
Hollywood (22" x 80") Back of Hollywood (22" x 80")
Studies " x 41")
Powder Room DD 04
Art Storage
AA 01
House 4 Nothing Landscape (54"x120")
Eames Lounge Chair & Ottoman, 1956
Time (74"x55")
Library
House 3
N
Open and Curated Plan | House 1-2-3-4
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1
98'-
2a
2b
3a
24'-6"
24'-6"
+22'11" Top of House 2
+18'11" Top of House 3
12 12
+16'10" Top of House 1 +14'9" Top of House 4
12 6
F 02
+7'0" Top of Interior Walls
+0'0" Top of Floor
House 1 z
x
16
House 1-2-3-4 | Longitudinal Section
House 2
5 0"
3b
4a
4b
24'-6"
24'-6"
12 8
12 4
A 01
G 03
House 3
House 4
Continuous Wall and Ceiling Construction | House 1-2-3-4
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01 02 03 04
06
05
07
08
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House 1-2-3-4 | House to House Junction Detail | Ceiling Construction
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01 02 03 04
05
06
08
07
09 10 11
Wall and Floor Junction Detail | House 1-2-3-4
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E
A 49'-0"
D 12'-3"
C 12'-3"
B 12'-3"
12'-3"
+22'11" Top of House 2
+18'11" Top of House 3 +16'10" Top of House 1 +14'9" Top of House 4
+7'0" Top of Interior Walls
+0'0" Top of Floor
House 2 z
y
20
House 1-2-3-4 | Transverse Elevation
House3
House 4
E
A 49'-0"
D 12'-3"
C 12'-3"
B 12'-3"
12'-3"
+22'11" Top of House 2
+18'11" Top of House 3 +16'10" Top of House 1 +14'9" Top of House 4
+7'0" Top of Interior Walls
+0'0" Top of Floor
House 2 z
y
Transverse Section | House 1-2-3-4
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09 01 04
07 08 02
06 03
05
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House 1-2-3-4 | Framed Interior Perspective
House 1: Workspace 01 Clarence Jones, 2001 02 Eames Aluminum Chair, 1959 House 2: Living Room, Dining, Kitchen 03 Securing the Last Letter, 1964 04 Not Only Securing the Last Letter,1964 05 Eames Plywood Chair, 1946 06 Barcelona Chair, 1929 07 Room, 1963 08 Fats, 1963 09 Step on No Pets, 2002 10 Now Then As I was About to Say..., 1973 11 Baby Jet, 1993 12 LC2 Chair, 1928 13 Standard Station, Amarillo Texas, 1963 14 Burning Gas Station, 1966 15 Burning Standard, 1968 House 3: Library 16 Nothing Landscape, 1987 17 Eames Lounge Chair, 1956
16 13
10 17 11
14
12
15
Distribution of Art | House 1-2-3-4
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House 2
House 3 House 1
House 4
06
03
01
04 05
02
House 4 : Garage 01 Shelby Cobra, 1967 02 Porsche 911, 1969 House 3: Foyer 03 Hollywood, 1982 House 2: Kitchen, Living Room 04 Barcelona Chair, 1929 05 LC2 Chair, 1928 06 Not Only Securing the Last Letter,1964
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House 1-2-3-4 | Approaching the House | Entering the Extrusion
3a
3b
4a 2a
4b
2b
01
06
07 10
08
02 03
05
09
12 11
04
House 1
House 2
House 3
House 1 : Workspace 01 Clarence Jones, 2001 02 Eames Aluminum Chair, 1959 House 2 : Living Room 03 LC2 Chair, 1928 04 Eames Plywood Chair, 1946 05 Barcelona Chair, 1929 06 Step on No Pets, 2002 07 Standard Station, 1963 08 Burning Gas Station, 1966 09 Burning Standard, 1968 House 3 : Library 10 Nothing Landscape, 1987 11 Eames Lounge Chair, 1956 House 4 : Garage 12 Shelby Cobra, 1967
Viewing from Hill | House 1-2-3-4
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duality of mass & container The project here takes advantage of the existing structures as a starting point and utilizes them as containers to house the masses. Moments of contact between the mass and container are produced where faces of the existing and new are shared. These shared faces begin the ďŹ rst level of ambiguity of individual and whole. The second level of ambiguation is at the level of materiality, the contrasting rough and smooth texture articulate different ďŹ gures and masses that belong to both mass and container. This project challenges the distinction between, town and neighborhood through the masses and containers. Both the mass and container produce a sense of community, through the aggregation of units. Yet, it also produces a sense of town through the grouping of masses housed within a container. The overall ambiguation results in an urbanism of mini towns and large communities that not only belong to their respective containers, but to the larger state of the site.
UCLA- Architecture as Urban Landscape Fall 2015 Critic : Georgina Huljich
26 Duality of Mass & Container | Title and Description
Site Model | Duality of Mass & Container 27
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Duality of Mass & Container | Site Plan
Site Plan Details | Duality of Mass & Container
29
30
Duality of Mass & Container | Existing Building Transformation
Site Diagram and Complex Catalog | Duality of Mass & Container
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32
Duality of Mass & Container | Ground and Complex Articulation
Ground and Complex Articulation | Duality of Mass & Container
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34
Duality of Mass & Container | Site Model | Projected Landcape vs. Shadow
Layer Articulation | Site Model | Duality of Mass & Container
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36
Duality of Mass & Container | Complex Section Oblique
Interior and Exterior Articulation | Duality of Mass & Container
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Duality of Mass & Container | Unit Plan
Interior Articulation | Duality of Mass & Container
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Unit Interior and Articulation
Misregistration of Mass and Container
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Duality of Mass & Container | Section Model
Mass and Container Articulation
Scale Comparison of Human to Wall
Section Model Duality of Mass & Container
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between the seams This project reorients the interior and exterior datums which challenges the notions of prescribed hiearchy and sidedness at work in demarcating the line of the weather barrier, edge of slab, and in distributing pochè throughout the precedent. In this project there are moments where the weather barrier is concurrent with the edge of slab and moments where the two diverge as the newly sequenced seams and surfaces between depart from a singular, holistic behavior in favor of local, varied conditions. As for the re-distribution of poche, our project allows for further agency of the part as we are able to claim the resultant variegated space between the seams as new spatial conditions. These interstice are no longer legible simply as an extension of the interior space but become compartments unto themselves. As for construction methodology, the project relies on a combination of unitized and stick built construction, strategizing which local conditions are conducive to each.
UCLA - Section and Elevation Spring 2015 Critic : Narineh Mirzaeian Group : Andrew Ko, Grace Ko, Jeisler Salunga
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Between the Seams | Title and Description
Stacked Composition | Between the Seams
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Existing Condition 44
Between the Seams | Altering Characteristics
Existing Shift ( Curve)
Interior Shift (Facet)
Composite Shift (Curve + Facet) Altering Charcteristics | Between the Seams
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1.
Mirrored Mirrored
2.
Distance Distance
3.
4.
Kinked Kinked
5.
Angular Angular Intersection Intersection
Exterior Exterior Interior Interior Adjustment Adjustment
6. Extraction Exterior
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Between the Seams | Choosing Moments
B.
A. Mirrored Mirrored
Distance Distance
D.
C. Kinked Kinked
Angular Angular
Tile Set
Choosing Moments | Between the Seams
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Between the Seams | Working through Series
Composing Space | Between the Seams
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Overall Plan Edge of Slab
Weather Barrier
Sun Room
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Between the Seams | Three Conditions
Ext. Room
Library
Ext. Room
Play Room
Ext. Room Meditation Room
Three Conditions | Between the Seams
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MT-01
MT-01
Sun Room Exterior Room B
GWB-01
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Between the Seams | Annotating Moments
Elev. 1
A
MT-02 MT-01
MT-01
GWB-01
Library
B
GL-01
A
Elev. 2
Annotating Moments | Between the Seams
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Soffit SofďŹ tDetail Detail
Skylight Skylight Detail Detail
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Between the Seams | Seeing Up and Down
Working with Excess | Between the Seams
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56
Between the Seams | Face and Seams
Face and Seams | Between the Seams
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58
Between the Seams | Understanding Interior
Understanding Interior | Between the Seams
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Between the Seams | Connected Spaces
Connected Spaces | Between the Seams
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torrè brutalè The aim for this tower is to provide efficient programmatic space that increases in scale and extrusion ast he building moves vertically. Each floor plan within the building varies due to size, scale, and program. The tower itself takes on the language of “Brutalism” and utilizes a instances of brutalist architecture for each program. The tower is centered through a designed core that takes on the multiple orientations of the building. Each structure organizes its interior through the scale, intensity, and form. The building works from an open floor plan at its bottom, to offices on a grid, to broken up floor plans for studios, and finally a larger floor plate for interior and exterior views. The building presents structure as a program signifier and interior organizer through its varying intensity and change in scale.
UCLA - Structure and Organization Winter 2015 Critic : Andrew Kovacs
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Torrè Brutalè | Title & Description
Face of the Tower | Torrè Brutalè
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64
Large Studio Pavilion Offices Torrè Brutalè | Interior Moments
Hangar
Viewing Brutalism | Torrè Brutalè
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Bar and Lounge
Large Studio 66
Torrè Brutalè | Upper Floor Plans
Interior Moments Mom | Torrè Brutalè
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Medium Studio
Pavilion 68
Torrè Brutalè | Middle Floor Plans
Discussing production
Enjoying the view Interior Moments | Torrè Brutalè
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Office
Hangar 70
Torrè Brutalè | Lower Floor Plans
Staying focused
Filming the crash Interior Moments | Torrè Brutalè
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stand-up hotel Qualities of a Stand Up Desk were translated onto the type of the hotel where articulated objects define their containers both programmatically and spatially. The rooms of the hotel are separate from their surroundings and offer individual experiences through their high articulation of space as well as giving its guests an opportunity to indulge in what the rooms or indvidual containers have to offer. Interior objects define the spaces of the room by either resting in the middle or by subtracting itself from the walls. These part-to-whole relationships scale up and a tower runs between the rooms to define its container by giving the hotel its amenities. The unique figures etched on the facade designate different programs such as casino, cafe, and pool. The hotel is curated for three different types of people: the person who loves the city, the person who hates the city, and the person who loves it so much that he/she doesn’t want to ruin it. Each person is able to iterpret and use the hotel the way they see fit.
UIC - Furniturbanism Spring 2013 Critic : Stewart Hicks
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Stand-Up Hotel | Title and Description
Enjoying the Room | Stand-Up Hotel
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Fence
Flat Ledge
Slanted Surface
Face
Loose Fit Drawer
1:1 Mass to Leg Ratio
Articulation
Four Minimal Points on Ground
74
Stand-Up Hotel | Stand Up Desk Analysis
JMK 4EVX
JMK &IEH
JMK &IEH
JMK 'SZI
JMK &EPP JSSX
JMK 0EXLI
JMK 7TMRHPI 0IK
JMK 7LIPJ
JMK %GSVR JMK *MRMEP
Stand Up Desk Analysis | Stand-Up Hotel
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76
Stand-Up Hotel | Section | Sequences of Separation
Close Look | Stand-Up Hotel
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Stand-Up Hotel | Seeing from Above and Through
Elevation | Seeing the Face | Stand-Up Hotel
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80
Stand-Up Hotel | Getting Some Rest
Meet and Greet | Stand-Up Hotel
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late entry 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, 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. 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.” This project contends explicitly with Tigerman’s, 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. Chicago, IL - Chicago Architecture Biennial Entry Summer 2015 Collaboration : Design with Company (Stewart Hicks and Allison Newmeyer), Obed Lopez, France La *drawings done by Stewart Hicks and Allison Newmeyer
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Late Entry to the Chicago Public Library Competition | Title and Description
Glimpse of the Library | Late Entry to the Chicago Public Library Competition
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Late Entry to the Chicago Public Library Competition | Layering the Libraries
Catalog of Libraries | Late Entry to the Chicago Public Library Competition
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Late Entry to the Chicago Public Library Competition | Chicago Biennial Exhibit
Chicago Biennial Exhibit | Late Entry to the Chicago Public Library Competition
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