As concepts are developed and represented across a range of scales, an architect's work requires a variety of approaches, media, and outputs. Architecture to Scale demonstrates the complex architectural processes from research to production through the work of two groundbreaking architects in adjacent installations: a selection of architectural models by Stanley Tigerman and Zago Architecture’s series of monumental films, XYT: Detroit Streets.
Since founding his architectural practice in 1962, Stanley Tigerman has been a major figure in Chicago’s postmodern architecture movement. Tigerman has covered vast territory while developing a multifaceted critique of history, the architectural profession, and even his own personal narrative. The diverse array of models in this exhibition—from single-family homes to religious institutions—illustrates his formal sophistication and conceptual rigor while showing how his ideas about irony, religion, and humor manifest themselves in architectural form.
Taking a much different and exponentially larger form is Zago Architecture’s film series XYT: Detroit Streets, created as a research project in 2008. Founded by Andrew Zago in 1991, Zago Architecture employs a rigorous practice of research and experimentation in parallel to its architecture projects. With XYT: Detroit Streets, the mechanics of representation have been expanded and exaggerated in order to capture the essence of the contemporary urban condition as seen in Detroit. This exhibition also highlights how the firm’s research on representation has influenced the development of its architecture projects.
From the micro to the macro, architects rely on scale in order to articulate and present their projects, and this exhibition demonstrates unique architectural approaches through the contrasting scales of Stanley Tigerman and Zago Architecture.
17 hours 38 min ago The Art Institute of Chicago NOW ON VIEW—In 1963 Melvin Edwards began Lynch Fragments, a series of welded steel assemblages made in response to the tumultuous social climate of the Civil Rights movement. The title of the series evokes the horrifying images of racist mob violence, yet Edwards’s works distill the subject into a powerful sculptural language, fusing modernist abstraction with a sense of personal and collective history.
Afrophoenix No. 1—one of the earliest objects from the series—exemplifies how the artist physically transformed found objects and brought them together in poetically suggestive, tension-filled compositions. Here the formal arrangement of steel elements evokes an equestrian bridle and bit. Chains, hammers, nails, spikes, and screws magnify the sculpture’s associative power, recalling implements of labor and torture. At the same the title references the mythological phoenix—alluding to death, rebirth, and transformation.
See Afrophoenix No. 1 (1963) by Melvin Edwards in Gallery 289D.
22 hours 3 min ago The Art Institute of Chicago CLOSING SOON—Modern Velvet: A Sense of Luxury in the Age of Industry
With their plush, inviting, and varied textures, the velvets featured in this exhibition showcase the diversity of modern velvet as well as the effects of industry on its production. As industrial innovations at the turn of the 19th century allowed for faster production and encouraged the use of less costly materials, designers and manufacturers of velvet sought to maintain its association with wealth, luxury, and splendor.
Learn how this elegant fabric has inspired designers for centuries, with a wide range of examples from the 19th century to present day—closing March 19.
1 day 9 hours ago The Art Institute of Chicago Just like the museum's collection comes from artists around the world, so does the Museum Shop’s assortment of products. We source exclusive products from artisans that are inspired by the cultures, mediums, and techniques represented in our museum collection. View our assortment of unique items from India.