Chicago’s unbuilt Lincoln Yards mega-development will no longer include a soccer stadium and entertainment district. Under pressure from constituents, Alderman Brian Hopkins of Chicago’s 2nd Ward has rejected developer Sterling Bay’s proposal to include a 20,000 seat United Soccer League stadium, as well as a series of large Live Nation–run entertainment venues. Live Nation will divest itself from the development, as will the United Soccer League and Chicago Cubs owner Tom Ricketts, who is the majority owner of a Chicago franchise. Alderman Hopkins has called for Sterling Bay to retool the project to bring more open space to the development in place of the stadium and venues, and bring a variety of smaller, scattered venues through the site, as well as restaurants and theaters. The public has yet to hear this proposal, despite Lincoln Yards' presence on the January 24 Chicago Planning Commission meeting agenda and confirmation from Mayor Rahm Emanuel that the project will "move forward on a balanced path," Crain's Chicago Business reported. Expected to cost upwards of $6 million dollars, Lincoln Yards will transform nearly 55 acres of former industrial land along the Chicago River into a dense cluster of retail, office, and residential development, delivering a planned 5,000 residential units, 500 hotel rooms, a mile of new riverwalk, and an extension to the 606. Designed by SOM, the project is slated to include multiple skyscrapers reaching a height of up to 650 feet, making the overall height of the development as tall as some structures in the Loop. This isn’t the first time Sterling Bay has had to trim its plans for Lincoln Yards; community input dictated a decrease in the maximum height of the high-rise towers and an increase in publicly-accessible open space in response to a community meeting in November. The move to ax Live Nation from the plan had advocates of The Hideout feeling cautiously optimistic as the Live Nation–run spaces could have threatened the independent venue and provided competition, despite Sterling Bay's commitment to keeping The Hideout a component of the Lincoln Yards plan. While Sterling Bay has agreed to provide opportunities for independent music operators to participate, concerns remain. The City of Chicago introduced the Cortland/Chicago River Tax Increment Financing (TIF) district in November, which encompasses the entirety of the Lincoln Yards site. As Sterling Bay would be the primary property owner, it would be allowed to pay for the project and its future improvements through TIF funds, raising questions of the appropriateness of the new district, as TIF is intended to revive struggling neighborhoods. Members of the City Council Progressive Caucus have been advocating for a measure that would allow the city to provide TIF funds only to projects that cannot be completed without them. Sterling Bay has also yet to address how many of the residential units will be considered affordable, or the demand the project will place on new schools. While some concerns regarding infrastructure and transportation have been addressed, area residents remain concerned about traffic and congestion, as well as the availability and equitability of public transportation.
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After perennially sitting as a top contender for Amazon’s HQ2 bid, Chicago received the news that it would not be the site of the company's second headquarters like everyone else did, via stories from The Washington Post, The New York Times, and Amazon itself on November 13. Amazon’s decision to build its second headquarters in Long Island City, Queens, New York, and Arlington, Virginia, laid out the national assumption that Chicago was crestfallen, particularly after being narrowed down to one of the top twenty contenders in January 2018. Despite the rejection of Chicago’s massive corporate recruitment efforts, the city continues to carry on as it did before Amazon began courting the 238 cities it originally targeted for HQ2 in September 2017, building new, preserving old and eagerly anticipating what a new mayor will mean for upcoming and ongoing projects like the restoration of the Uptown Theatre, the construction of The Paseo, and The 78. According to responses to a Freedom of Information Act (FOIA) requests obtained by Crain’s Chicago Business on December 14, the city laid out an impressive set of perks to entice Amazon to build its HQ2 headquarters. Some communications show Chicago offering Amazon naming rights to airports. With the bid still active, an Illinois judge ruled in August that the City of Chicago could keep the details of the offer under wraps. Chicago, Illinois, and Cook County collectively offered Amazon $2.253 billion in tax breaks, extensions, and incentives, as well as five possible sites in varying stages of planning and development. Ultimately Amazon only wanted to look at The 78. The company liked the location of the still-developing 62-acre mixed-use site, near the Loop as well as the University of Illinois at Chicago, as an educational incubator for computer science and technology. Despite the rumor that Amazon visited three times to check out the city's offer, Amazon actually only made only two trips to Chicago, reviewing neighborhoods and amenities, and bringing together both Mayor Rahm Emanuel and Governor Bruce Rauner for a series of bipartisan lunches. In order to expedite Amazon’s architectural and spatial needs, Chicago also offered a specialized lien to allow Amazon to obtain building permits for the $5 billion construction of HQ2, as well as homes for the associated 50,000 workers and executives. In March, Chicago sank money into a slick bid video released on Rahm Emanuel’s Twitter account. The video took poetic aim at Amazon CEO Jeff Bezos, comparing Amazon’s humble beginnings in a garage in 1994 to Chicago’s triumphant reconstruction after the Great Fire of 1871, with narration provided by Star Trek alumnus William Shatner. Bezos is a known Star Trek fan.
The Commission on Chicago Landmarks has approved a preliminary designation for a dense array of hundreds of late 19th-century vernacular buildings in the heart of Pilsen, a working-class Hispanic community on Chicago’s near southwest side. The district, to be one of the city’s largest, is only a component of a plan seeking to broaden notions of preservation in Chicago, and it aims to protect culture and affordability in Pilsen and neighboring Little Village along with the historic built environment. The Pilsen and Little Village Preservation Strategy is meant to strengthen affordability requirements, provide new housing resources for existing residents, enact an industrial modernization agenda, and improve public and open space. These initiatives are an attempt to steer Pilsen and Little Village away from the type of development that displaces existing residents and threatens the nature of neighborhoods as seen along the 606, a 2.7-mile linear park completed in 2015 that has changed the character of Humboldt Park and neighboring Logan Square, as well as Wicker Park and Bucktown. The measures follow an ordinance in November that cleared the way for Chicago to purchase four miles of an abandoned rail right-of-way currently owned by the Burlington Northern Santa Fe Railway Company for the Paseo, a linear pedestrian and bike trail first proposed in 2006. Unlike the 606, Chicago intends to follow a more careful path forward with the Paseo, taking steps to ensure that park planning will not take precedence over neighborhood-wide concerns of affordability and developer-driven teardowns. The Pilsen Historic District will intersect the Paseo at Sangamon Street, the far east end of the district. According to a report released by Cities, the International Journal of Urban Policy and Planning, monthly rent on tracts bordering the 606 increased by $201 from 2010 to 2016, double the average citywide increase of $102. During that same census period, the share of non-Hispanic whites in the population increased by 4.83 percent. The median household income of people living on property bordering the 606 jumped by $14,682, compared to a citywide $3,557. In addition to taking a proactive approach to new public space, the strategy also responds to pressure from developers looking to capitalize on the neighborhood Forbes named one of the “12 Coolest Neighborhoods around the World" because of its "streets lined with hip galleries and walls decorated with colorful murals dating from the 1970s." A strong sense of Mexican pride is articulated through the adornment of the built environment with vibrant murals, many using pre-Columbian motifs and portraits of both icons and contemporary activists to express the diasporic identity of the community. These colorful murals are at risk as buildings are bought, sold, and rehabbed, as was the case of the iconic Casa Aztlán mural that was painted over in 2017. A real estate panel targeting developers titled “Chicago’s Emerging Neighborhoods: The Rise of Pilsen, Uptown, Logan Square and Humboldt Park” is scheduled for December 12, and promises to show developers how to reposition assets in “boom” neighborhoods and capitalize on the halo effect of institutional investment. As reported by Block Club Chicago, the event faced criticism on social media, leading to a softening of the tone of the marketing materials and the addition of language addressing affordability. Included in the preservation plan is a five-year Affordable Requirement Ordinance (ARO) pilot program that will increase required affordability requirements for large residential projects that require a zoning change within a 7.2-mile area of Pilsen and Little Village. The bulk of the proposed historic district and the Paseo lies inside the ARO pilot program area. The program will up the affordable housing requirements for new developments with ten or more units from 10 percent to 20 percent, with provisions to increase the number of family size units via financial incentives. Like the citywide ordinance, developers will have to pay an in-lieu fee if they choose not to provide on-site units. Within the pilot program area, the fee jumps from $100,000 to $150,000 per unit. Working in tandem with the ARO pilot, the Chicago Community Land Trust will provide reduced property taxes in exchange for long-term affordability, with the Chicago Low-Income Housing Trust Fund, the recipient of the in-lieu fees, providing rental subsidies. Through a multi-year community-based process, the City of Chicago Department of Planning and Development is looking to modernize the Little Village Industrial Corridor as an employment center while improving economic, environmental, and social conditions. The industrial corridor runs along the Stevenson Expressway roughly from Cicero to Western and provides manufacturing jobs to Little Village residents. Concurrently listed on the National Register of Historic Places, the local historic district designation will protect the physical manifestation of over a century of immigration in Pilsen, a complex patchwork of worker’s cottages, commercial buildings, houses of worship, churches, and schools, most of which were constructed from 1870 to 1910 by Czech and Bohemian immigrants. Mexican-Americans became the predominant ethnic group in the mid-20th century, creating a network of ultra-local activism that forged coalitions between working class people across Chicago. Designation of the district unlocks multiple financial incentives for commercial and residential properties, including the 20% Federal Historic Tax Credit and the 25% State Historic Tax Credit, as well as Class L Property Tax Incentives and Preservation Easement Donations.
Chicago’s third-tallest tower is one step closer to receiving a $185 million, tourist-centric makeover. New York-based developer 601W first proposed adding a dual set of 1,000-foot-plus-tall glass exterior elevators and a rooftop observation deck to the 83-story Aon Center in May 2018, and now the addition has reportedly won the support of 42nd Ward Alderman Brendan Reilly. 601W has enlisted the help of Chicago’s Solomon Cordwell Buenz to design the additions, which include a “sky summit,” a glassy pod that would dangle visitors off of the roof’s edge, the aforementioned external elevators at the rectilinear building’s northwest corner, a cantilevering entrance hall at the base of the tower’s southeast corner, and an observatory on the 82nd and 83rd floors. The HVAC system at the top of the building has already been moved to elsewhere in the tower, and 601W will be removing two-thirds of the exterior columns on the top floors to open up the views. Alderman Reilly’s support was far from guaranteed, and he recently rejected Related Midwest’s plan for two forked skyscrapers at the Chicago Spire site. Still, according to Crain’s, a spokesperson for Reilly has confirmed that the alderman is allowing the Aon Center to proceed. If the additions pass muster with Chicago’s Plan Commission and City Council, then the Aon Center will grow from 1,136 feet to 1,184 feet tall on account of the elevator addition on the roof. That’s quite close to the nearby Vista Tower, which will be 1,191 feet tall, but not enough to keep the Aon Center from falling to Chicago’s fourth tallest building when the Vista Tower is complete. 601W, also the owner of the massive Chicago Post Office (which is undergoing its own modernization initiative), estimates that the additions to the Aon Center will lure in an additional two million tourists per year. If approved, this would be the first tourist attraction at the Aon Center in the building’s 45-year history, and 601W has indicated that it will begin the two-year construction process immediately following a successful City Council vote.
Five finalists have been selected in the competition to design the new $8.7 billion expansion of Chicago’s O’Hare International Airport, narrowing the field from the longlist of 12 released in September. The shortlist features a mix of local names and international studios: Skidmore, Owings & Merrill (SOM), Santiago Calatrava, Foster + Partners, Chicago’s own Studio Gang, and Colorado’s Fentress Architects. The expansion, part of a modernization initiative dubbed O’Hare 21 by outgoing mayor Rahm Emanuel, will totally replace the V-shaped Terminal 2, a holdover from the airport’s opening in 1944. O’Hare is one of the busiest airports in the world and currently services nearly 80 million passengers a year, and O’Hare 21 will expand the airport’s footprint from 5.5 million square feet to 8.9 million square feet. Such a large project means that these teams likely won’t be going it alone. Fentress is joined by Brook Architecture, Garza Architects, and engineering and architecture firm EXP, Calatrava will be working with local firm HKS, while Foster + Partners has teamed up with local firms Epstein and JGMA, and Studio Gang has partnered with Corgan Associates, Solomon Cordwell Buenz, and STL Architects. SOM will also be joined by Ross Barney Architects and Arup in their bid. After a review by the Department of Aviation, one team will be chosen to design the Terminal 2–replacing O’Hare Global Terminal, while a second will be tapped to design the airport’s two new satellite concourses. Perhaps what’s most interesting is who didn’t make the cut. BIG was knocked out, as were HOK and Gensler. Even Helmut Jahn, a Chicago wunderkind who designed O’Hare’s Terminal 1 in 1986, wasn’t chosen. Now that the shortlist has been chosen, an official selection committee of business, civic, and transportation leaders from Chicago will choose who ultimately gets to design the new facilities (with local architecture firms and cultural institutions providing technical support). Mayor Emanuel is pushing the city to choose before he leaves in May of 2019, and if all goes as planned, the multi-phase O’Hare 21 should be complete by 2026.
On the eve of the beginning of the trial for Jason Van Dyke, the Chicago police officer charged with (and since convicted of) killing Laquan McDonald, Rahm Emanuel, two-term Chicago mayor, announced that he would not be running for a third term. Citing the need to spend more time with his family, Mayor Emanuel tearfully lamented of his time as mayor: “This has been the job of a lifetime, but it is not a job for a lifetime.” Yet, for Chicagoans, Emanuel’s two terms feel like enough to fill multiple lifetimes, both with development projects and architectural optimism, as well as what he will likely be known for: the decision to close 50 neighborhood public schools in 2013, many of which sit vacant and unsold five years later. Under his watch, Chicago became an infrastructure and design-driven cultural hub, with the first iteration of the Chicago Architecture Biennial, the Chicago Riverwalk, the 606, and the maturation of Millennium Park into a legitimate tourist destination. Emanuel appeared on broadcast television to proclaim that Chicago was a “Trump-free zone,” yet the president’s name is saliently plastered to the side of a skyscraper in 20-foot-tall letters, a blunder approved by the zoning administrator and the alderman, catching the mayor’s attention only after an architectural outcry. A former chief of staff to President Barack Obama, Emanuel would work hard on the national stage to present himself as the antithesis of Donald Trump yet kept largely quiet about it at home. There was the risible focus on assisting Elon Musk with his rapid transit link to O’Hare Airport, and the sideshow-style hawking of sites for Amazon’s HQ2. Then there were the bombastic press releases, the development of Lincoln Yards, the 78-acre mega-development, and the promise that Chicago would deliver the Obama Presidential Center to Jackson Park. Yet among all of these high-profile projects, Emanuel seemed to love the glamour of developer-driven neighborhood projects most of all. The Transit Oriented Development (TOD) Ordinance of 2015 supercharged the construction of bigger, denser residential buildings along Chicago Transit Authority (CTA) lines, changing the architectural character of some neighborhoods and flushing each neighborhood with micro apartments of questionable affordability and access. The Tax Increment Financing (TIF) program provided surges of cash to neighborhoods but seemed woefully out of touch with its original intent—to subsidize development in underserved neighborhoods—when funds were used to renovate downtown’s Navy Pier. With regard to Chicago’s historic built environment, Emanuel has made a lot of lofty promises that will be tough for the next mayor to fulfill. In 2017 he announced that he would encourage landmark status for the Legacy Walk in Boystown, a half-mile-long outdoor LGBT history exhibit constructed in 1998, which could be a hard sell to the city council due to its newness and obvious political motivations, as the announcement was made during Chicago Pride. While this could be considered a radical move, older, more vulnerable landmarks of cultural heritage, like sites that assist in telling the narrative of the Black Panther Party in Chicago, have yet to be considered for landmarking. Last year, Emanuel also announced that he would block the sale of the postmodern James R. Thompson Center by the State of Illinois out of fear of having to replace the CTA station beneath it but will not take a stance otherwise on the future of the building or its architectural significance. Attempts to restore the perennially threatened Uptown Theatre have stalled and sputtered under Emanuel’s tenure, including the creation of a nonprofit in 2011 to back a public-private partnership to lead the renovation, which ultimately failed. This past summer, Emanuel announced yet again that the Uptown would be restored using a combination of TIF funds and private investment, handing the responsibility to whoever is elected in February of 2019. Emanuel thought big, but also blew it big, and the success of his ideas and the legacy of his failures lie on the shoulders of the next administration, which may take a different direction entirely—perhaps toward neighborhood-led initiatives and on a smaller scale, working to improve parts of the whole—or continue to champion grandiose civic projects. The announcement that Emanuel will not seek a third term scrambles an already crowded field of candidates and piques the interest of new contenders who now believe that they have a shot at defining how Chicago presents itself in the 21st century. We will see how a new mayor designs it, builds it, and tears it down.
Who are the names you need to know? Who are the designers to watch? These six up-and-coming talents in architecture and design should be on your radar. Alda Ly New York City Alda Ly likes a good piece of custom millwork. “I like to think about the purposefulness of each cut,” she says. Her namesake practice is built around a similar mission. “We’re pursuing end-user research to develop a more human-centered approach with our designs.” For Ly, both qualitative and quantitative data are imperative to design spaces that break the molds of conventional architectural programs. She designed the Wing’s private women-only professional clubs for flexibility, knowing that users might be recording a podcast on one day, and on another, working solo on their laptops. In this way, she sees herself beholden not only to the client, but also to the client’s stakeholders. Ly has made a name for herself by designing shared spaces, from incubators to offices and apartments. Most recently, the firm designed Bulletin, a store merchandising products from female-led brands that features a social area and a venue for live programming. “There are an infinite amount of situations you have to plan for, but a key point is knowing how to make people feel comfortable.” –Jordan Hruska Brian Thoreen LA/Mexico City “I didn’t really know what I was doing,” said Brian Thoreen. Reflecting on the first show where he unveiled his namesake furniture company at the Sight Unseen outpost during Collective Design in 2015, he admitted: “I was thrown in the deep end—I didn’t even know how to price the pieces.” Since then, Thoreen has gone on to show his works several times at Design Miami, create custom commissions, and be the subject of the first solo exhibit at Patrick Parrish. All of this was born out of his new focus on furniture and a recent move to Mexico City—both of which he was able to fully commit to after leaving his L.A.-based architecture practice, Thoreen+Ritter. In the context of “being somewhere else,” Thoreen now finds himself collaborating with local artists, including Hector Esrawe and Emiliano Godoy on a sculptural series of metal furnishings accentuated by hand-blown amorphous orbs of glass. The material will continue to be at the heart of his future work in a new studio, which he formed with Esrawe and Godoy to continue to collaborate their collaboration on glass and metal projects. As for his own studio, Thoreen also plans to design installations, spaces, and architecture where he can continue work with local artists. –Gabrielle Golenda CAMESgibson Chicago CAMESgibson is a Chicago-based partnership between Grant Gibson and the fictitious late T.E. Cames. Gibson, also a professor at the University of Illinois at Chicago (UIC) School of Architecture, works at multiple scales, from small residential rehabs to a popular community arts center. The practice is not limited to conventional built work. Some of the office’s exhibition work includes a 20-foot-tall quilted column installed in the Graham Foundation foyer and a skyscraper design in collaboration with Skidmore, Owings & Merrill at the 2015 Chicago Architecture Biennial. In each of its projects, a playful sensibility fills spaces with color and soft forms. A recent project involved converting a laundry room into a cool ethereal lounge for the UIC basketball team. Deep blue tones and carefully controlled lighting brand the space instead of the typical kitschy, logo-laden locker rooms of most teams. It is this approach to cleverly transforming spaces, whether they are institutional or private, that sets CAMESgibson apart from the average small practice. –Matthew Messner Material Lust New York City Partners in life and partners in practice, Lauren Larson and Christian Lopez Swafford are indifferent to mass production timelines and trends. Together, they work with artisans to conjure otherworldly objects that cross the boundary between sculpture and decorative art, producing a series of furniture with true grit. Known as Material Lust, their Lower East Side-based company was officially established in 2014 but began long before that. It has been producing works that reflect the historical context of design, including the Alchemy Altar Candelabra inspired by pagan and alchemical symbolism; and the Fictional Furniture Collection of gender-neutral, monochromatic children’s furniture inspired by surrealism. Now the pair is venturing into lighting with their new sister company, Orphan Work. As the story goes, it began when they found lost designs from the Material Lust archive and after they visited Venice’s Olivetti Shop, by Carlo Scarpa. The result? A collection that is somewhere between Scarpa’s richly layered forms and the couple’s unapologetically “metal” aesthetic, with nods to both the musical genre and the material itself. –GG MILLIØNS Los Angeles Los Angeles–based MILLIØNS dubs itself an “experimental architectural practice” that liberally explores space-making as a “speculative medium” that can be manifested in any number of objects, structures, or experiences. Founded by Zeina Koreitem and John May, the growing practice recently designed a communal wash basin that aims to reintroduce shared social interactions into the act of bathing for an exhibition at Friedman Benda gallery in New York City. In the show, a 3-D printed mass reveals itself as a fluted drum containing a sink and a slender, brass spigot that is approachable from all sides. Though better known for writing heady treatises and engineering glitchy, digital media works that use televisions and closed-circuit cameras to create new spatial dimensions, MILLIØNS has some more grounded works on the way. A forthcoming, Graham Foundation–supported exhibition designed and curated by the duo that aims to revitalize the experimental spirit of modernist housing, for example, is headed to L.A.’s A+D Museum early next year. MILLIØNS also has several brick-and-mortar projects on the way, including a retail storefront in Manhattan and a lake house in upstate New York. –Antonio Pacheco Savvy Studio NYC/Mexico City Savvy Studio, an interiors and branding firm with offices in New York City and Mexico City, has been busy this summer with an array of projects popping up in New York. It has just launched a Tribeca seafood restaurant (A Summer Day Cafe) which features a beachy interior with light woods, primary-colored metal accents, and of course, nautical stripes. The studio also redesigned Alphabet City mainstay Mast Books using plywood to elevate the space, making it a “gallery of books, rather than simply another bookstore.” And by combining interior architecture with visuals befitting a fashion campaign, Savvy Studio developed branding language, communications, and interiors of the rental offices and showrooms for the Mercedes House, a Hell’s Kitchen luxury condo designed by TEN Arquitectos. Founder and creative director Rafael Prieto points out that there are “no specific boundaries” between branding and interior design. “The reason we do both is based on our interest in creating and designing experiences, and being able to make an impact in every interaction.” For Savvy Studio, their multifaceted practice is about making sure each space or branded element is simultaneously “emotional, aesthetic, and functional.” –Drew Zieba
Brought to you with support fromThe newest major addition to Northwestern University in Chicagoland, the 415,000 square-foot Kellogg School of Management’s Global Hub, establishes a formidable cornerstone for the campus’s border with Lake Michigan. KPMB Architects, a Toronto-based firm with a significant background in sustainable institutional design, addressed the region’s weather extremes with a well-executed layout and an undulating triple-glazed glass curtain wall.
Lake Michigan. The nearby shoreline stabilization system, composed of boulders and precast concrete, has been consistently smoothed over by wave patterns. For KPMB, “the use of glass helps break down the mass of the large structure while maximizing visual connections to the adjacent lake and Chicago skyline." The 160,000 square-foot curtain wall is designed with horizontal and vertical anodized aluminum mullions, and a reflective glass coating. While sections of the facade are curved, the design team worked closely with the manufacturer to incorporate narrow curtain wall modules and vertical glass fins at every frame to blur hard edges. Each triple-glazed glass panel is tied to the structural frame with modified steel angles painted to match the curtain wall and aluminum anchor hooks. The result is a sweeping surface that simultaneously reflects other wings of the building and the ever-changing environmental conditions. Although glass panels of various sizes are the primary material element, KPMB Architects added certain details to diversify the dominating blue-green color palette. The elevations are unified by reddish-brown Brazilian walnut soffits that crest and wrap around the building. Brazilian walnut, a hardwood, was chosen for its durability and minimal maintenance. The Global Hub’s layout consists of four wings, perceived by the design team as independent buildings, rotating around a centrally placed atrium. Swooping white balconies, interconnected by pale-yellow wood bridges and an expansive two-story stairwell, are the main conduits of interior circulation. The glass curtain wall and a band of rooftop clerestories, clad with high-performance translucent glazing, flood the interior with natural light without significantly producing thermal heat. The project, part of KPMB Architects' long-running collaboration with Transsolar KlimaEngineering, was designed with a number of features to boost environmental performance. These measures include a geothermal energy system embedded beneath an adjacent football field, a ventilation system that circulates fresh air, and an automated shading system. In 2018, the Global Hub received LEED platinum certification.According to Senior Associate Kevin Thomas, the first inspiration for the building’s six-story curvilinear form is the rolling movement stemming from the adjacent
Pritzker Prize laureate Tadao Ando has transformed a vintage Lincoln Park apartment in Chicago into a space for exhibitions devoted to architecture and socially engaged art. Wrightwood 659 is a private, non-commercial initiative founded by Alphawood Foundation president and Chicago philanthropist Fred Eychaner and architectural historian Dan Whittaker. The building is the second work by Ando commissioned by Eychaner, whose private residence was designed by the self-taught Japanese architect in 1998 and is located next door to the exhibition space. The Eychaner home was the first free-standing building constructed by Ando in the United States. For Wrightwood 659, Ando worked within the existing envelope of a four-story 1930s apartment building, which has been completely hulled, leaving the brick shell along with minimal classical revival details on the outside. A new rooftop structure hovers above the existing building on a tilted axis from the original building, leaving room for a rooftop terrace that provides skyline views and an additional gallery. Inside, the reconfigured space contains a new steel and reinforced concrete structure, allowing for the creation of a multi-story atrium clad in Chicago common brick reclaimed from the existing building, and a grand staircase of smooth poured concrete, an Ando signature. Wrightwood 659 celebrated a soft pre-opening earlier this year with Trace by Chinese contemporary artist Ai Weiwei, exhibited in collaboration with the Smithsonian’s Hirshhorn Museum and Sculpture Garden in Washington, D.C. The exhibition space opens to the public on October 12 with Ando and Le Corbusier: Masters of Architecture, with works on loan from the Art Institute of Chicago and the Fondation Le Corbusier in Paris, as well as scale models of works of Le Corbusier by students of Tadao Ando. The second floor of the space will be filled with the works of Le Corbusier, while the third and fourth floors will focus on Tadao Ando. The exhibition kicks off with a lecture by the architect at the Art Institute of Chicago on October 11 and continues with a symposium of Le Corbusier scholars on November 8 and 9.
The Playhead of Dawn, an exhibition by Jenny Kendler and Brian Kirkbride now up at The Arts Club of Chicago, seeks to reproduce the “global song” of birds with an installation based on a crowd-sourced dataset of bird recordings from around the world. Kendler is an interdisciplinary ecological artist and activist who works with public spaces and natural areas, while Kirkbride is a sound artist and programmer who combines data with acoustics. Together, the duo has created a 24-hour experiential sound piece that occupies the garden of the Arts Club of Chicago along an important bird migration path. The sound loop corresponds with the rotation of the earth and allows visitors to immerse themselves in the soundscape of birdsong as it would occur around the world in real time. The Playhead of Dawn The Arts Club of Chicago 201 E. Ontario Street Chicago Through December 31
The aging Chicago Historic Resources Survey, or CHRS, is Chicago’s benchmark document for determining what the city considers historic. However, without contemporary updates, it fails to protect modern (and postmodern) architectural heritage and leaves vernacular structures regularly at risk for demolition. Chicago embarked on its very first survey of historic buildings in 1983 with the objective to identify new landmarks. The CHRS was a complex undertaking, combining research in archives and libraries with detailed field assessments and photography. A half-million properties were surveyed, with the work completed in 1994. Dividing up the city into Chicago’s system of 77 community areas and 50 wards, the survey work began with teams driving through each ward and color coding each property according to three criteria adopted by the CHRS: age, degree of physical integrity, and level of possible significance. Buildings given a red rating were determined to be significant on a national scale, the “best of the best” of historic resources. Orange properties possessed similar features but were significant locally. Yellow properties were identified as relatively significant and within a greater concentration of similar buildings. Yellow-green buildings were identified as being within a concentration of significant buildings but reflected alterations. Green buildings were identified in previous state surveys, and purple buildings reflected significant alterations. Lastly, the survey team included a category for buildings constructed after 1940 that were considered too new to be properly evaluated, blue, except in cases where significance was already established. Data forms and photographs were produced for each property in the second phase of fieldwork, as well as follow-up research including zoning and building permits. In total, 22 people worked on the CHRS over the course of the 13-year, $1.2 million-dollar project. A summary of the survey was published in 1996 and widely distributed at Chicago public libraries, but it only represented a selection of significant buildings. After the orange-rated 1927 Chicago Mercantile Exchange Building was demolished without oversight, the City Council approved a proposal sponsored by Mayor Richard M. Daley that would grant a measure of protection to significant buildings. Adopted in 2003, the Demolition Delay Ordinance requires a 90-day hold on the issuance of a demolition permit for a building rated red or orange in the CHRS. The CHRS online database is widely used to determine if a building is an “eligible” historic resource. Unfortunately, neither the online database nor the published summary fully represents the estimated 500,000 buildings that were included in the field assessment. Each only includes a selection of buildings that fell under subjective eligibility criteria, with the city GIS website only representing data on red- and orange-rated buildings. Demolition delay has become the most significant function of the CHRS, yet it was never the intention of the survey to have the data determine whether a building is demolished without a review of significance. The survey organizers felt strongly that the survey would have to be periodically updated to ensure accuracy. The “modern” cutoff date of 1940 was selected to provide a 50-year waiting period for eligible buildings based on the anticipated 1990 completion of the fieldwork. This determination mirrored the National Register of Historic Places requirement for a building to be at least 50 years old before its eligibility may be determined. It was felt that this choice would allow surveyors to be more objective, but there has been no public attempt to survey or evaluate midcentury modern resources. As only red- and orange-rated resources are subject to the Demolition Delay ordinance, most modern and postmodern buildings could be at risk. Buildings that were new at the time of the survey are rapidly aging to eligibility and could be threatened with demolition without a municipal matrix to protect them. Postmodern architecture is only represented in the CHRS if it is included but not contributing to a local landmark district. This leaves most of Chicago's postmodern architectural heritage absent, including all of the work of Stanley Tigerman and Harry Weese, as well as the James R. Thompson Center. In the survey, there are inconsistencies across neighborhoods and styles of architecture as well as works by individual architects. For example, a similar grouping of structures may be identified with a “warm” color rating in one neighborhood and have no information and no color rating in another. Vernacular buildings—the structures that make up Chicago’s neighborhoods—are disproportionately represented throughout the survey. Choices that include what modern buildings to include and how surveyors color rated them lack a degree of impartiality, as not enough time had passed between their construction and evaluation to make a fair, non-aesthetic judgment. Furthermore, while the original survey team included historic resources that are individually listed on the National Register, are National Historic Landmarks, and contribute to historic districts, the surveyors did not evaluate buildings that were already designated as City of Chicago Landmarks. While Chicago Landmarks are well known, the omission of established landmarks within the CHRS data makes the overall results less comprehensive. This also renders it difficult for researchers to review Chicago Landmark and CHRS data concurrently. While work has been done to informally update the data of the CHRS, no update or reinterpretation of the CHRS data or attempt to resurvey the portions of Chicago that are missing from the data would have the same effect as a comprehensive effort by a city-managed municipal survey. The Chicago Landmarks Ordinance states that the Commission on Chicago Landmarks must “encourage the continuation of surveys and studies of Chicago’s historical and architectural resources and the maintenance and updating of a register of areas, districts, places, buildings, structures, works of art, and other objects which may be worthy of landmark designations.” History is not static, and old buildings are continually taking on the mantle of significance, some by aging into it, some due to changing mindsets, and others by losing enough of their stylistic comrades to become rare when once they were common. The data that we rely on to determine what buildings are saved and what buildings are demolished in Chicago is at best 24 years old, and at worst 35. An updated CHRS, one that evaluates modern and postmodern architectural heritage and takes a fresh look at vernacular architecture, is the only way that Chicago can continue to protect its architectural heritage. Many thanks to Susannah Ribstein, Tim Whittman, and Charlie Pipal for assisting with this article.
The Graham Foundation for Advanced Studies in the Fine Arts has once again provided funding to foster experimentation, creativity, and discourse in architecture. The 2018 organizational grantees join a worldwide network of individuals and institutions that the Chicago-based Graham Foundation has generously funded over the course of its 62-year history. Individual grantees were announced in March. $609,500 in new grants will be distributed across 53 grantees, funding new media works, site-specific installations, films, exhibits, and publications. Proposals are multifaceted and cover a broad range of approaches to the study and consideration of the built environment. While educational institutions and nonprofits make up some of the familiar names, other grantees build on existing inertia, and still more explore radical ideas. Several grantees are set to explore the complex relationship between architecture and cultural life, including Jamaican-born architect Sekou Cooke, who through the Center for Architecture will explore the relationship between hip-hop and architecture as a discipline. MK Gallery, through Milton Keynes, will focus on how land ownership and landscape design define leisure activities. Julia Fish’s Bound by Spectrum at the DePaul Art Museum will present a personal take on vernacular architecture seen through works inspired by the artist’s home in Chicago. The School of the Art Institute of Chicago (SAIC), Universidad Nacional Autonoma de Mexico (UNAM), Southern California Institute of Architecture, and Columbia University are among some of the more well-known educational institution grantees. Columbia intends to use the award money to produce a publication on the architecture of incarceration, while SAIC, along with the University of Chicago, will continue to expand their vision of what it means to be a citizen via the 16th International Architecture Exhibition at the Venice Biennale. UNAM will analyze Mexico’s Olympic architecture through print media. Architectural history has a strong presence as well, with exhibitions planned to dig further into the work of Portland architect Willard Martin, and Eileen Gray, a pioneer of modernist design. London’s Whitechapel Gallery looks back on itself with a critical analysis of its landmark 1956 exhibition This is Tomorrow. Both the Graham Foundation itself and critic Mimi Zeiger are planning site-specific installations, with Zeiger curating an exhibition at Rudolph Schindler’s Kings Road House for the MAK Center for Art and Architecture. A series at the historic Madlener House, the home of the Graham Foundation, presents the work of Lampo, one of music’s leading experimentalists. More information on grantees can be found on the Graham Foundation website.