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June 2018

The Brilliant Artist That Chicago, and the World, Nearly Forgot

The Atlantic’s CityLab Ι June 18, 2018  Edgar Miller was a virtuoso in any medium he chose: painting, sculpture, stained glass, architecture, interior design, printmaking, metalwork, cutlery, graphic design. He put those prodigious skills toward building a creative community on Chicago’s near-north side in the 1920s and beyond. Miller’s handful of architecture projects (a series of live-work lofts) stretched th
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Could Modular Wood Stadium Construction Be a Game Changer?

Redshift Ι June 19, 2018 Imagine a sports stadium that could expand and contract with its fan base and team’s fortunes, one that could pick up and move to greener (and more lucrative) pastures. Given team owners’ history of playing fans against each other, making stadiums more mobile isn’t likely to give pennant-wavers a sense of security, but the concept is an incredible breakthrough for building technology. Endless
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Let My Rivers Go

Landscape Architecture Magazine Ι May 2018  On May 31, 1889, the South Fork Dam east of Johnstown, Pennsylvania, gave way after a day of heavy rain. The dam had hemmed in the waters of Lake Conemaugh, a weekend retreat for western Pennsylvania’s Gilded Age industrial barons (the Carnegies, the Mellons, the Fricks). Despite their means, the dam was neglected and mistreated. Its height had been lowered to make way for
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At the Venice Biennale, Jeanne Gang Uses Memphis’s Cobblestones to Reflect on Monuments and Messy Civic Histories

Metropolis Magazine Ι May 23, 2018 “How do you make the stones talk?” asks the architect Jeanne Gang. It’s not a philosophical posture, but an earnest question and one at the center of Studio Gang’s soon-to-open 2018 Venice Architecture Biennale installation at the U.S. Pavilion. The stones Gang refers to were plucked out of storage, but they were originally lodged at Memphis Landing, also called Cobblestone Landing,
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Chicago Exhibit Spotlights Charlotte Perriand’s Alpine Ski Resort

Metropolis Magazine Ι May 23, 2018  The most impressive item depicted at Matthew Rachman’s exhibit of Charlotte Perriand–designed furniture is conspicuously absent from his Chicago gallery—it was too big to fit. The object in question, a gleaming red and white prefab bathroom produced for the designer’s Les Arcs ski resort in the French Alps, was an inch too big to slide inside the Ukrainian Village space, even with
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