His Schaffende Kräfte (1909) presents a series of etchings depicting fantastical landscapes where architecture and nature are fused into singular expressions. (Several pages from the Wasmuth Portfolio are on view here.)īut what stands out in this show are unexpected works by more obscure artists, including the Czech artist Wenzel Hablik (1881–1934). Both the Griffins worked for Frank Lloyd Wright (1867–1959) whose Wasmuth Portfolio, published in Germany in 1910, is often credited with beginning the dialogue between avant-garde American and European architects. ![]() More space is devoted to the winning urban plans for the Canberra design competition by Chicagoans Walter Burley Griffin (1876–1937) and Marion Mahony Griffin (1871–1961). The usual textbook examples of early modern city planning are represented and include notable designs by Eliel Saarinen (1873–1950) and Tony Garnier (1869–1948). ![]() With his European-influenced vision of “Paris on Lake Michigan,” Burnham wanted to steer Chicago away from the helter-skelter development of the 19th century.Īs the exhibition continues, these Beaux Arts renderings quickly give way to more modern expressions. Although Guerin created this rendering between 19, no automobiles or skyscrapers are depicted instead, horse-drawn vehicles cross a new Michigan Avenue Bridge and trot past low-rise buildings sporting neoclassical facades. In it, Burnham and Guerin have transformed a once humble street into a grand boulevard that connects the Loop with Streeterville and terminates with the old Water Tower. The showstopper is an oversize perspective drawing (four feet wide by seven feet tall) presenting a birds-eye view of Michigan Avenue. Three of the Plan’s sumptuous original drawings-rendered masterfully by Jules Guerin (1866–1946)-are on display. To find the real beginning of the show, however, visitors must walk around the corner where designs from Daniel Burnham’s influential 1909 Plan of Chicago are located. It outlines the international competition to design the new Australian capital in 1911. A theme panel titled "The Canberra Moment" greets visitors entering the main gallery. Curated by Northwestern University professor David Van Zanten, the exhibition presents more than 50 works on paper, placing emphasis on the grand visions of urban planning. The Block Museum’s “Drawing the Future: Chicago Architecture on the International Stage, 1900–1925” examines the exchange of ideas that took place between Chicago and European architects during the early part of the 20th century. Its propositions encourage us to reconsider mobility, concentration, and the scale of architectural intervention in our own era of urban expansion. Hilberseimer's Gro?stadtarchitektur is presented here for the first time in an English translation. His proposal for a high-rise city, where leisure, labor, and circulation would be vertically integrated, both frightened his contemporaries and offered a trenchant critique of the dynamics of the capitalist metropolis. 9781883584757 Metropolisarchitecture 50.9000 NZD InStock /shop/books /shop/books/non-fiction /shop/books/non-fiction/art-photography /shop/books/non-fiction/art-photography/architecture In the 1920s, the urban theory of Ludwig Hilberseimer (1885-1967) redefined architecture's relationship to the city. ![]() ![]() In the 1920s, the urban theory of Ludwig Hilberseimer (1885-1967) redefined architecture's relationship to the city. Its propositions encourage us to reconside.
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