Posts tagged with "Chicago":
- Update Chicago’s Percent for Art Program
- Establish clear and transparent governmental practices
- Expand resources to support the creation of public art throughout the city
- Advance programs that support artists, neighborhoods and the public good
- Strengthen the City’s collection management systems
- Support the work that artists and organizations do to create public art
- Build awareness of and engagement with Chicago’s public art
Robert A.M. Stern took a moment to speak with AN Midwest Editor Matthew Messner about One Bennett Park, Stern’s first tower in Chicago. In part thanks to a long, trusting relationship with the developer Related Midwest, Stern’s office, Robert A.M. Stern Architects, was tasked with designing both exterior and interiors for the project. Design partner Daniel Lobitz is leading a team to design a tower that Stern hopes will capture some of the glamour of old Chicago.
The Architect’s Newspaper: What do you see as some of the advantages of being able to control so much of the design?
Robert A.M. Stern: I think an architect who has a strong sense of design can create almost anything, and certainly should be able to, and should be encouraged to, carry the design ideas into the interior. Certainly the public areas—lobby, elevators, cabs, and public halls—on any floor in a residential building. We have done that in many buildings and for many of our buildings for Related in New York, including the Chatham, the Brompton, the Harrison, Tribeca Park, Tribeca Green, and most recently, 261 Hudson Street. Can you imagine a Mies van der Rohe building, whether his apartments on the Lake Shore or his office buildings, not being designed by Mies on the inside? I can’t. If you don’t trust an architect to design the inside of the building, why trust them to design the outside of the building?
Are there references or motifs that informed the design of One Bennett Park?
I think precedent is a very important factor in the design of this building, but it’s a very important factor in the design of any building we undertake. I would say precedent is not necessarily historic. Precedent also can, and should, incorporate local traditions, local vernaculars of local buildings. This tower is our first tower built in Chicago, and only the second time we have built anything in Chicago. (Except for the bus shelters, and I guess there are 2,200 of them, so that must count for something.) I’ve been visiting Chicago as an archi-tourist for virtually all my life, so I know the great buildings are especially relevant to our work. Some of those buildings include the Marshall Field and Company Building in the Loop, and the Palmolive Building on North Michigan Avenue. A fantastic body of buildings—not only in Chicago, but all across the Midwest and other places as well—that inspired us as we began to think about how to shape the tower. Too many tall buildings are just extensions from the bottom up to the top. They may be structurally encased, like the John Hancock, but it’s fundamentally an extrusion. I prefer—among the modernist buildings in Chicago in relationship to this discussion—what in my mind will always be the Sears Tower; I don’t know what it is called this week. It steps up in the most amazing way according to a structural idea of Fazlur Rahman Khan.
What are some of the interior features of One Bennett Park that you feel make it exceptional?
There is a glamour about some of Chicago’s interiors, residential and not. For example, the lobbies of the Marshall Field Building are wonderful. So, we wanted to capture some of that Chicago glamour in our lobbies. We have two separate lobbies, one for the rental portion of the building, and another for the condominiums. Each has its own design statement. The condominium lobby, which has wood paneling, is traditional, as wood paneling is traditional, but it’s really very stylishly modern as well. There is a visual interest that one associates with buildings of the ’20s and ’30s, and that is sometimes not associated with the buildings of the late 20th century on the whole. We were looking at a lot of Frances Adler Elkins’s work (she was David Adler’s sister).
Has there been any particular advantages, or challenges, about building a major project in Chicago?
Nothing out of the ordinary. I think we are perhaps entering into a new territory of elegance and detail, and all of that costs money. I hope Chicagoans are getting ready to dip into their deep pockets for our building. The truth of the matter is the cost of habitation in Chicago is substantially lower than in New York. To get this much quality, and to really break out of a rather “businesses as usual” mode, is a compliment to our clients, Related Midwest, to stick their necks out. I just hope we don’t get chopped off.
Three generations of Wight & Company have operated in the Chicago area for over 75 years. With a main office in the western suburb of Darien and an outpost downtown, the company employs over 175 architects, engineers, and builders. Even with this long history, Wight continues to evolve, and in recent years it has seen major changes. Perhaps the most drastic of these changes happened in late 2015 when renowned Chicago architect Dirk Lohan joined the office and brought his entire firm of Lohan Anderson with him. With the addition of Lohan, the company is now venturing in new directions while bolstering their existing repertoire.
As Executive Vice President, Director of Design Kevin Havens put it: Wight is a “design-lead design/build practice.” While the company does not yet build everything it designs, the underlying goal is to recapture some of architecture’s legacy as a field of master-builders. In this, Wight and Lohan found a common value.
Having studied and worked under his grandfather Mies van der Rohe, Lohan maintains a sense of urgency when it comes to architects being in control of the building process.
“That aspect of Wight & Company was of great attraction to me,” Lohan told AN at Wight’s downtown office. “I have had practices with interior designers and planners, but never any engineers or construction managers. At Wight we have structural, mechanical, a sustainability group. I have always wanted to have an office like this.”
While such a large firm has many moving parts, the downtown office where Lohan’s studio is situated is a more intimate setting where a great deal of the design happens. Located in the landmarked Powerhouse Building, snugly flanked by numerous rail lines the building used to power, the office feels like those of many other, much smaller firms. The periodic deep rumbling of passing commuter trains and an occasional leaky roof make the space somehow endearing.
Such an established firm has a history filled with stories and experiences that inform and guide the practice as a whole. In this, Lohan brings another set of connections to the past, which includes more than just his kinship to Mies. With his own extensive portfolio of notable projects, including the much-lauded McDonald’s corporate campus in Oak Brook, Illinois, Lohan has distinguished himself as an architect in his own right. Yet, one can’t help but feel they are somehow closer to Mies himself when speaking to Lohan. In his slight German accent, Lohan recounts a proud moment that took place early in his career when speaking about Wight’s work on courthouses. Lohan recalled the first courtroom he designed at the famed Chicago Federal Plaza. “I came with a green card to the United States in 1962. At the time, it took five years to become a citizen. So, in 1967, after five years at Mies’s office, I detailed this courtroom. I was sworn in in that same courtroom with 150 other new citizens. Somebody told them that I, as a young designer, had designed this interior and I should be the spokesperson. So they made me come up to judge and say some words in front of everybody, in my own space. Those kinds of projects don’t come around too often.”
Will County Justice Center Joliet, IllinoisSoon to the be the tallest building in downtown Joliet, a large suburb of Chicago, the Will County Justice Center is designed to be more than just a courthouse. With a focus on literal transparency, the center is defined by a large civic square wrapped on two sides by the building’s wings. Programs are arranged in such a way as to give the public maximum access to the justice system while maintaining the high level of security needed in a court of law. The Will County Justice Center represents a long history of Wight & Co.’s experience with civic institutional work. 353 N. Clark Street Chicago 353 N. Clark Street was added to Wight & Co. portfolio with the merging of Lohan Anderson, Lohan’s former office, into the company. The 45-story tower is situated in the River North Neighborhood of Chicago, just north of the loop. The tower represents the direction in which Wight & Co. is hoping to move under Lohan’s leadership: While Wight has extensive experience in institutional and public projects, Lohan has specialized in high-end private projects for much of his career. Mies van der Rohe Business Park Krefeld, Germany With the addition of Lohan to the Wight & Co. leadership, new avenues opened up to the office. As part of an invited competition, Lohan worked on a design for the adaptive reuse of a former power plant, which once served an industrial park designed by his own grandfather, Mies van der Rohe, in the 1930s. Now renamed Mies van der Rohe Business Park, the new building will be used for performances, large gatherings, meetings, and exhibitions. Though not in the same language as the Bauhaus-style white buildings surrounding it, the building is a protected landmark. The design intervention works to be sensitive to the building’s historical context, while updating it for contemporary uses. Hotel Arista Chicago Designed by Lohan Anderson as part of a larger master plan in the Chicago suburb of Naperville, the Hotel Arista will soon be joined by several other buildings designed by Lohan as part of the Wight and Lohan team. The Hotel is the first piece in a larger “urban” center, known as CityGate, in the western suburb. The 144-room hotel was designed to use and waste less, achieving the hotel industry’s Green Seal certification, as well as being the first LEED-certified hotel in Illinois.