Word: tigerman
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Dates: during 1980-1989
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...Berlin has or will soon have new IBA buildings by O.M. Ungers (West Germany), Hans Hollein (Austria), Rob Krier (Luxembourg), Mario Botta (Switzerland), Aldo Rossi (Italy), Oriol Bohigas (Spain), Rem Koolhaas (the Netherlands), James Stirling (Britain), Arata Isozaki (Japan) and, from the U.S., Charles Moore, Robert A.M. Stern, Stanley Tigerman, Peter Eisenman and John Hejduk. A museum show tied to IBA, "750 Years of Architecture and Urban Design," is currently on view in West Berlin at Mies van der Rohe's last great building, the National Gallery...
...meant to be a playful place, and it is easy to play along with Moore's California-cum-German-romantic palette (pastel peach and blue), the dormers and gables that crop up without warning, the classicized little plazas and passageways. Two other romantic American architects, Robert Stern and Stanley Tigerman, have designed wildly baroque villas to be built next door...
...career, obviously, but a remarkable number of today's most celebrated architects are 40 Under 40 alumni from 1966. They include Gunnar Birkerts, Michael Graves, Charles Gwathmey, Hugh Hardy, William Pedersen, Hugh Newell Jacobsen, Richard Meier, Charles Moore, Giovanni Pasanella, James Stewart Polshek, Jaquelin Robertson, Der Scutt, Stern, Stanley Tigerman and Robert Venturi...
Some of the 1986 arches allude explicitly to that extravagant era when follies proliferated; some are simply giddy. Their very existence seems fair evidence that a new gilded age is under way. For even though the seven architects (Charles Moore, Cesar Pelli, Stanley Tigerman, Michael Graves, Helmut Jahn and Texans Boone Powell and Eugene Aubry) worked for free, the arches cost $35,000 to $70,000 apiece; the budgets had been $25,000. Fortunately for Galvestonians, the project has deep-pocket private patrons...
...Tigerman's four-sided Roman arch is the most literally classical of the lot, although its instant statuary (stucco-sprayed mannequins) does madcap violence to any deeper notion of classicism. Graves' handsome copper-roofed arch is better behaved and more civic than the rest; it wants to be a real building. As for Pelli, the neomodernist turns out to be a cryptoprimitivist. His open-faced sandwich of long two-by-fours forms a kind of aboriginal latticework gate and seems Southwestern in the best sense: simple, staunch, serene...