Seventeenth Church of Christ, Scientist, Chicago; designed by Harry Weese and Associates, 1968. Photo by Orlando Cabanban. Printed with permission from W.W. Norton & Company.

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On Tuesday, October 26, the Graham Foundation for Advanced Studies in the Fine Arts will host a free lecture celebrating the release of The Architecture of Harry Weese, a new book by Robert Bruegmann and Kathleen Murphy Skolnik. The public is invited to experience the architecture of Harry Weese firsthand by joining Bruegmann for a lecture on the architect’s legacy in one of his most important buildings, the Church of Christ, Scientist, Chicago. Built in 1968, the church is a consummate example of the architect’s pioneering style and his significant contributions to Chicago’s architectural history. The lecture will be followed by a book signing.

During a career that spanned half a century from the 1930s to the 1980s, Harry Weese (1915 - 1998) produced a large number of significant designs ranging from small but highly inventive houses to large urban scale commissions like the Washington, D.C. Metro system. As the first monograph solely devoted to Weese’s work, the book revives the reputation of a visionary architect. This book takes its place within a fast-growing revival of interest in the work of Weese and a number of his friends and contemporaries with shared assumptions and sensibilities, notably Eero Saarinen, Edward Larrabee Barnes, I. M. Pei, Ralph Rapson, and Paul Rudolph. As important as Weese’s buildings were, though, they were only one part of what almost all his contemporaries recognized as his seemingly inexhaustible creativity. Because Weese believed that design was essentially problem-solving, he was willing to apply his skills to everything from a piece of furniture to an entire city. The city on which he lavished the most attention was his own city, Chicago, where he seemed to be everywhere at once, praising, criticizing, cheerleading, and pouring out ideas for creating a humane and livable place for citizens of all walks of life. Although influenced to some degree by the rational, and often austere, work of European modernists like Mies van der Rohe, in most of his own oeuvre Weese instead followed the example of Nordic architects like Gunnar Asplund and Alvar Aalto in favoring natural materials, human scale, and comfort; his work was characterized by a deep respect for older buildings and existing urban patterns and a fondness for unexpected, often idiosyncratic design decisions.

The Architecture of Harry Weese was supported by a 2004 grant from the Graham Foundation. It is published by W.W. Norton & Company. Books will be available for purchase the day of the event.

ABOUT THE AUTHORS

Robert Bruegmann, an historian of architecture, landscape, and the built environment, is University Distinguished Professor of Art History, Architecture and Urban Planning at the University of Illinois at Chicago. His most recent book is Sprawl: A Compact History (University of Chicago Press).

Kathleen Murphy Skolnik holds an MA in art history with a concentration in architectural history from the University of Illinois at Chicago and teaches art history at Roosevelt University in Chicago.

On Saturday, October 16, Tristan Perich will present his 1-Bit Symphony, a five-movement work that uses binary electrical pulses to create sound and light.

Trained in mathematics and piano, Perich (b. 1982, New York) works in acoustic and electronic music. Best known for his constructions that explore the physicality of sound and the polyphonic potential of 1-bit audio, his “1-Bit Music” (2004-05) and “1-Bit Symphony” (2010) celebrate the virtuosity of electricity. Neither release is a traditional recording. Instead, each is a music-generating circuit, housed in a CD jewel case with a headphone jack. Perich also has composed several works for musicians with 1-bit music accompaniment, and is in the music group the Loud Objects (with Kunal Gupta and Katie Shima), which performs by soldering its own noise-making circuits live in front of the audience.

As a visual artist, his projects include “Machine Drawings,” pen-on-paper drawings executed by machine, and 1-bit video, low-resolution black and white images synthesized by microchips and displayed on cathode ray televisions.

His work has been recognized by Prix Ars Electronica, commissioned by Rhizome, Bang on a Can and turbulence.org, and performed and exhibited throughout the U.S. and abroad. Perich graduated from Columbia University, and more recently received a master’s degree in art, music and electronics at the Interactive Telecommunications Program at Tisch School of the Arts, New York University.
http://www.tristanperich.com/

Perich's 1-Bit Symphony was reviewed by the New York Times in August. Read the article here.

Presented in partnership with Lampo.

Founded in 1997, Lampo is a non-profit organization for experimental music, sound art and intermedia projects. For information and to add your name to the Lampo list, contact info@lampo.org or visit www.lampo.org.

On Tuesday, October 5, 2010, Nance Klehm will lead a small group on a two hour Urbanforage of Chicago’s Gold Coast. On this informal guided walk through the spontaneous and cultivated vegetation of the urbanscape, participants will learn to identify plants, hear their botanical histories and stories of their use by animals and humans, and share antidotes of specific experiences with these plants. The Urbanforage will begin in the garden of the Graham Foundation’s Madlener House, where participants are invited to sample an herbal beverage made by the artist.

Nance Klehm began leading Urbanforages in 2006 in suburbs and cities including; Chicago, Los Angeles, Montreal, Salt Lake City, Philadelphia, New York and Mexico City. She is an ecological systems designer, landscaper, horticultural consultant, permacultural grower, consultant, speaker, and teacher. She is respected internationally for her work on land politics and growing for fertility. She has lectured at the Museum of Contemporary Art, the Hammer Museum in Los Angeles, the University of Cincinnati, and the Canadian Centre for Architecture in Montreal. She has taught at the University of California, Los Angeles, Northwestern University in Evanston, Illinois, and Dartington College in the United Kingdom. She writes a regular column for Arthur magazine and was included in the books Radical Homemakers (by Shannon Hayes), Participatory Autonomy (edited by Rick Gribenas), and The Revolution Will Not Be Microwaved: Inside America’s Underground Food Movements (by Sandor Katz).

Nance Klehm’s work was featured in the exhibition, Actions: What You Can Do With the City, which was on view at the Graham Foundation October 16, 2009 – March 13, 2010. http://cca-actions.org/ This event is presented in conjunction with Chicago Artist’s Month.

Related Links
Chicago Artists Month
http://www.chicagoartistsresource.org/visual-arts/node/28865
Spontaneous Vegetation
http://spontaneousvegetation.net/
Actions: What You Can Do With the City
http://cca-actions.org/

RESERVATIONS FOR THIS EVENT ARE FULL.

Graham Foundation grantees and authors Igor Marjanovic and Katerina Rüedi Ray will discuss their recently published book, Marina City: Bertrand Goldberg’s Urban Vision.

Chicago has many iconic buildings, but perhaps none as instantly recognizable as Bertrand Goldberg’s Marina City. Occupying an entire city block—number 1 of the original town of Chicago—the mixed-use riverside complex consists of two cylindrical sixty-five-story residential towers, a saddle-shaped auditorium, a midrise office building, and a rectangular podium comprising an open plaza with a variety of services. Each tower contains more than four hundred apartments and a continuous, upward-spiraling ramp of parking spaces. Built between 1960 and 1967 at a time when Chicagoans were fleeing to the suburbs, the hugely ambitious project was architect Goldberg’s collaborative attempt at urban revitalization—as he called it, “a city within a city.”

Igor Marjanovic and Katerina Rüedi Ray here present the first history of this architectural landmark. Featuring newly available archival texts, photographs, and drawings, this unique building’s biography explores not only its architectural achievements, but also the ingenious marketing campaign and complex network of political partnerships necessary to realize Goldberg’s urban vision. As the architect’s beautifully designed brochures detailed, Marina City offered residents a self-contained world that included a theater, restaurant, bowling alley, health club, ice-skating rink, grocery store, a bank, and much more. It is no wonder that before it was finished 2,500 applications had been submitted to rent 896 apartments. From financing to the structural engineering, this one-of-a-kind volume fills in missing chapters of modern architecture, urban politics, and labor history.

Igor Marjanovic is assistant professor of architecture at Washington University in St. Louis. Katerina Rüedi Ray is director and professor of the School of Art at Bowling Green State University. Marina City: Bertrand Goldberg's Urban Vision was supported by a grant from the Graham Foundation. Books will be available for purchase after the talk.

Reservations for this event are full.

Lionel Marchetti will present a two-hour musique concrète performance, an “interpretation with spatialization,” layering nature recordings, spoken text, pop songs and ethnic music through eight loudspeakers distributed around the Madlener House ballroom. Once on site, Marchetti will study the acoustics of the space and select appropriate works from his 20-year body of work.

The evening, brought to you by Lampo and the Graham Foundation, will be divided into two parts, each with its own direction and theme—perhaps “the natural world” or “human psychology,” or “shamanism,” a favorite of Marchetti’s, who sees parallels between the medicine man and composer, both as someone who transports you into another world.

Lionel Marchetti (b. 1967, Marseille, France) is an electroacoustic improviser and musique concrète composer. Initially self-taught, Marchetti studied with Xavier Garcia in Grenoble. A scholar, he later worked at the CFMI (Lyon) and INA-GRM studios (Paris), and published a book on composer Michel Chion.

In the mid-1990s Marchetti was one of a handful of artists who took electroacoustic music out of the academic studio and into the realm of free improv, using a live set-up with microphones, small speakers, tape recorders and radio.  As an improviser he performs in his long-standing duo with Jérôme Noetinger, in the audio-visual project Le Cube, with influential collective Archipel, and with dancer Yôko Higashi. In his studio work he incorporates sound collage and electroacoustic composition, although the level of poetry and refusal of genre boundaries in his music puts him closer to Kristoff K. Roll and Luc Ferrari than Pierre Henry or Bernard Parmegiani. Lionel Marchetti made his U.S. debut at Lampo in June 2002, in a duo performance with Jérôme Noetinger.

Presented in partnership with Lampo.

Founded in 1997, Lampo is a non-profit organization for experimental music, sound art and intermedia projects. For information and to add your name to the Lampo list, contact info@lampo.org or visit www.lampo.org.

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