Architect Stanley Tigerman: The Anti-Cruelty Society Building in Chicago

The Anti-Cruelty Society (Humane Society) building was designed by Stanley Tigerman in 1979 and construction was completed in 1981. The structure is located in Chicago on the southwest corner of N. LaSalle Drive and W. Grand Avenue. The building’s exterior surface was replaced in 2011, however, much of the integrity of Tigerman’s initial design has been maintained. Pictured above: east elevation showing “a friendly face” and the view looking southwest showing the block long series of structures that comprise the ACS. (click on the images for a larger view)

Tigerman (b.1930), who’s a brilliant architect, has practiced in Chicago for fifty years—he is primarily interested in the paradoxical aspects of the idea and the reality of architecture. In other words as he says, “I’m interested in the field of architecture as distinct from the profession of architecture.”[1] He has also said that, “architecture is making the useful artful”[2] which is a phrase that could describe most design areas. Currently Tigerman has a major traveling retrospective exhibition of his work that’s on display at the Graham Foundation in Chicago. The show was organized by the Yale School of Architecture Gallery and curated by Emmanuel Pedit. Over the years Tigerman has designed and implemented many highly thoughtful, socially responsible projects for an international clientele.

Yale architecture professor, Emmanuel Petit expresses this insight about Tigerman’s work:

Tigerman insists that architecture is fundamentally relational and allegorical.… In a project for the Anti-Cruelty Society in Chicago (1979), Tigerman interpreted the urban animal shelter alternatively as a ‘killing machine’ and an Animal Cracker box.[3]

In addition, shown in this view along Grand Avenue are Anti-Cruelty Society 
buildings, from left to right: representing the Postmodern period, designed by Tigerman, the 1933 edifice representing Chicago World’s Fair Moderne and the International Style Modern of 1953. It’s fascinating to see this sequence of structures—each one signifies a specific style in architectural history during the last half of the twentieth century.

1. Tigerman, Stanley. “Displacement.” Graham Foundation. Chicago. 15 Feb. 2012. Address.
2. “Architect, Stanley Tigerman.” Chicago Tonight. PBS. WTTW, 13 Feb. 2010. Television.
3. Petit, Emmanuel. Ceci n’est pas une rêverie: The Architecture of Stanley Tigerman. New Haven: Yale School of Architecture, 2011. n. pg. Print.

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The Graham Foundation for Advanced Studies in the Fine Arts

It’s interesting that the Albert F. and Elsa S. Madlener House (1901) in Chicago is just a couple of blocks away from the Charnley–Persky House (1891). Both are rather dissimilar compared to other more “Victorian” residences in the Gold Coast neighborhood—both houses were constructed a decade apart. Perhaps the architect, Richard E. Schmidt designed the Madlener House in the Prairie Style idiom as an acknowledgement and admiration of Louis Sullivan’s Charnley House. A solid brick facade with minimum ornamentation and “classical” exterior characterizes both residences. However, the entry door of the Madlener House is charmingly off-center. Certainly, you need to get inside a building in order to fully understand it.

The Madlener House Chicago Landmark plaque summarizes:

The clarity, simplicity, and order of the Madlener House make it an outstanding residence in the tradition of the Chicago and Prairie Schools of architecture. It has the massing, logic, and dignity of a Renaissance Revivial-style palace, yet it is a thoroughly modern design.  

The Graham Foundation purchased the building in 1963 for Advanced Studies in the Fine Arts, an educational institution. Elaborating about the history of the facility the Graham Foundation website reads:

Since 1963, the Graham Foundation has been located in the Madlener House, a 9,000 square foot Prairie-style mansion located in the historic Gold Coast neighborhood of Chicago. The work of architect Richard E. Schmidt and designer Hugh M. G. Garden, the house was built in 1901–02 for Albert Fridolin Madlener and his wife Elsa Seipp Madlener, both of whom came from prominent pioneer Chicago families that emigrated from Germany in the 1850s. In its compact, cubic massing the house is related to the German neoclassical work of Karl Friedrich Schinkel and his followers in Berlin, but in many of its details it clearly reveals the influence of Louis Sullivan and Frank Lloyd Wright.

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A week of settling in: Sabbatical at Thirst (3st)

I’ve recently started a three-month Sabbatical at Thirst, which is a collaborative design office based in Chicago. My first project is developing a logotype consisting of eleven characters for a Chicago printing company. Each “dot matrix” letter is based on a 4x5 grid system. Shown above is the character “C” based on a sketch by Rick Valicenti.

It’s been about twenty years since Rick Valicenti, principal of Thirst, and I have talked in person—so last week it was great to see each other again. Rick embraced me and the entire staff was indeed welcoming. Besides Rick, the rest of Thirst’s office comprises a team of very talented, smart and witty young designers; the oldest is perhaps just over thirty years old. I was reminded of this last Wednesday when I was cordially invited to join the group for lunch (a couple of them were celebrating birthdays). As we entered the Taco restaurant on N. Damen Ave., all of them were carded accept myself with the gray hair—Rick joined us a little later. I certainly felt honored to be invited and appreciated being included. All of the Thirst team members are exceptionally fine young people.

Back at the office, after the birthday lunch break, Rick asked if I’d like to work on a “no pressure” project… (needed by 02.14) and I readily agreed. Valicenti explained the project, which involves developing logotype for a Chicago printing company (one of the “greenest” printing companies in the country). Rick always details his instructions with sketches like the one pictured above. My job is to translate and implement his drawing by utilizing Adobe Illustrator to construct each letterform as components to eventually develop the entire logotype.

So far the Thirst experience in Chicago has been busy, challenging and rewarding at the same time. Valicenti is indeed a typographic master.

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Louis H. Sullivan: “The James Charnley House”

From top-down: west facade, detail: entry door, and north facade

The James Charnley House in Chicago, just a couple of blocks from where I’m staying this semester, was designed by Louis H. Sullivan in collaboration with Frank Lloyd Wright in 1891 and built in 1892. The Charnley-Persky House (as it’s now known) is located in the Gold Coast neighborhood of Chicago and is designated a National Historic Landmark. The home is an important work in the development of modern residential architecture.

Dr. Paul E. Sprague writes a concise summary about Louis Sullivan’s modern works in his book, Guide to Frank Lloyd Wright and Prairie School Architecture in Oak Park about the significance of Sullivan’s architectural design:

… it is Sullivan’s role as inventor of the first modern architectural style in America and as leader of a younger group of radical architects [“Prairie School”] that assures him an esteemed position in American cultural history. Accordingly, it was Sullivan, not Wright, who “founded” the Prairie School of Architecture….

… Sullivan achieved the goal of a modern style by largely ignoring the precedents of historic buildings. Instead he based their masses, shapes and details on the abstract forms of plane and solid geometry. His architectural ornament, by contrast, was based both on geometric shapes and stylized plants. In keeping with his academic American and French training. Sullivan’s modern style was one of monumentality in composition and formality in planning.  

Sprague seems to capture the essence of the design elements of the Charnley House. In fact, Frank Lloyd Wright acknowledged that the Charnley House was the “first modern house in America.”

1. Sprague, Paul E. Guide to Frank Lloyd Wright and the Prairie School Architecture in Oak Park. 2nd ed. Oak Park, Illinois: Village of Oak Park, 1978. 8-9. Print.

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Getting the lay of the land: Sabbatical at Thirst (3st)

I’m undergoing a concerted effort getting acclimated to using Chicago public transportation and living in an urban environment. After arriving at Thirst’s office on 1440 West Hubbard Street (also home of the Richard Wright Auction House) the morning session began with initial introductions to the Thirst’s design team: Rick, John, Bud, Robyn, Tinne, and Baozhen Li. I was given an office tour.

The office layout is a functionally integrated “great room” space with enough room for each designer’s workstation and a general conference table. The designer workstation areas includes additional table surface to spread out various project elements without being separated from each other by walls and partitions. The open floor plan functions as both as efficient workflow and metaphorical openness between design team members. A dark curtain wall that’s drawn to hide storage areas separates the utility area, which is a strip of space. Occasionally, but not distracting, are muted conversations, phone conversations, conference calls, and white noise also fill the studio space.

The first day I job shadowed principal, Rick Valicenti. Rick reviewed various projects and work in progress with designers. Today was a fine beginning into discovering the culture of Thirst and just how integral Valicenti is with the other designers in the overall Thirst’s design process. These one on one interaction between Rick and individual designers results in an effective team strategy. Rick’s design thinking seems most responsive in the form of notes and sketches on ubiquitous yellow paper organized throughout the office.

Photo of Rick Valicenti’s friendly yellow paper sketches and notes.

Today Thirst’s designers were working with clients from Los Angeles and Chicago. Projects include: Identity project for an engineered architectural and sculptural water features, a sample binder and multi-page brochure, a website for one of Chicago’s premier musical arts organizations, and architectural and retail signage.

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a nice view from my room in Chicago

For those who may be following my whereabouts — this is a view (looking southeast) from my small apartment in Chicago. The move to Chicago went well and tomorrow morning, 6 February, I'll begin my Sabbatical time at Thirst (3st). I’m grateful to Dordt College and Rick Valicenti of 3st for this wonderful opportunity.

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Pattern of Relationships: What’s in a Brand Name

This is a nicely arranged section from the Walker Art Center’s Graphic Design: Now in Production exhibition. Pictured, starting at left and moving clockwise are: Trevor Paglen’s, “Symbology” (United States Army Heraldry Embroidered Insignias); Dexter Sinister’s, “(We Would Like to Share) Some Thoughts on a Possible School Badge,” Neon Sign; partial collection of Christophe Szpajdel’s hand-drawn “Death Metal” logos.

This is copy from the wall documentation:

—Branding
Brands identify everything, helping to distinguish one thing from another in an otherwise crowded marketplace. Although branding is most often associated with businesses and corporations, it can also be found throughout society—from secret military groups to black metal band. More than just a logo, a brand also consists of a larger visual and verbal identity as well as the perceived values that both define and set apart an organization, a community, or even an individual.

Graphic designers not only help create brands, but also have taken on the subject of branding in self-initiated projects that document lost logos of the past, turn themselves into brands, or scrutinize the latest corporate makeovers in online forums. Innovative branding programs, particularly for cultural organizations, have pushed the boundaries of traditional identity design by creating flexible and variable systems and new tools for implementation.

Blogs and social media have stimulated public conversations about new branding campaigns, bringing individual consumers closer to companies and organizations. Facebook, the largest social media community, has emerged as a new kind of branded transnational agent, with more than 800 million users worldwide.

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