'Sunshine' Buffet Plate by Stanley Tigerman for Swid powell, 1985 USA
'Sunshine' Buffet Plate
by Stanley Tigerman
for Swid powell, 1985 USA
Large buffet plate 'Sunshine' by Stanley Tigerman
Manufactured by Swid Powell, USA
Permanent collection
of the Art Institute of Chicago
1 x 12 1/8 x 12 1/8 in.
Ceramic
Stanley Tigerman, drawing for a plate
STANLEY TIGERMAN
STANLEY TIGERMAN
From the Art Institute of Chicago
Chicago architect Stanley Tigerman continuously experimented with the domestic form, with projects ranging from postmodern houses based on concepts of humor and allusion, to multifamily and low-income housing. His early work in the 1970s often employed simple modern structures coupled with playful, representational elements, like his car-shaped garage building of 1976.
Tigerman’s work in the 1980s and 1990s became more complex and socially invested, as seen in works like his own home, Lakeside, at once a barn and basilica, as well as his building for a demonstration housing project in Berlin.
As part of an ambitious, international redevelopment of an area bombed during World War II, Tigerman’s six-unit building recalls vernacular housing types and neoclassical German architecture and was “cleaved” in two halves by a vertical, modernist winter garden, a symbolic gesture at this West Berlin neighborhood adjacent to the soon-to-fall Berlin Wall.
Stanley Tigerman, Tete a tete
Stanley Tigerman, Instant City Model, 1966. Photo Balthazar Korab
Fukuoka Momochi, Tigerman McCurry Architects
Stanley Tigerman, The Titanic, 1978, Photomontage on paper, Approx. 28 x 35.7 cm, Gift of Stanley Tigerman, 1984.802, The Art Institute of Chicago. Photography © The Art Institute of Chicago
Chicago architect Stanley Tigerman continuously experimented with the domestic form, with projects ranging from postmodern houses based on concepts of humor and allusion, to multifamily and low-income housing. His early work in the 1970s often employed simple modern structures coupled with playful, representational elements, like his car-shaped garage building of 1976.
Tigerman’s work in the 1980s and 1990s became more complex and socially invested, as seen in works like his own home, Lakeside, at once a barn and basilica, as well as his building for a demonstration housing project in Berlin.
As part of an ambitious, international redevelopment of an area bombed during World War II, Tigerman’s six-unit building recalls vernacular housing types and neoclassical German architecture and was “cleaved” in two halves by a vertical, modernist winter garden, a symbolic gesture at this West Berlin neighborhood adjacent to the soon-to-fall Berlin Wall.