Posts tagged with "Chicago":

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New development in Chicago’s Pilsen neighborhood aims to staunch gentrification

While Chicago has not faced the same levels of displacement due to gentrification as cities like New York and San Francisco, a number of its neighborhoods are experiencing rapid shifts in population and demographics. In particular, neighborhoods like Pilsen on the city’s near South Side, historically home to a large Mexican population, are being eyed by developers as the next hot neighborhood, worrying long-time residents. In at least one case, though, the developers are listening to local concerns and attempting to mitigate any tensions that may arise in the vulnerable neighborhood.

ParkWorks, a proposed 7.85-acre development in the heart of Pilsen, is taking special care—architecturally and administratively—to work with the neighborhood. On the developer’s side, Property Markets Group (PMG) organized a number of community meetings to hear from the people who will be most affected by the new multibuilding mixed-use complex. Rather than the typical presentation followed by a question-and-answer session, the meetings could better be described as public critiques. Presentation boards and texts were displayed, with developers and architects on hand to discuss the issues on a more personal level with area’s residents. Yet the community involvement is planned to extend past these initial meetings.

When complete, the project, which will include hundreds of new residential units, will provide a higher percentage of affordable housing than any other private development in Chicago, according to PMG. The development also plans to employ local residents: Two-thirds of the development’s staff will be hired from within the neighborhood, and businesses moving into any of the 10,000 square feet of retail space in the development will be given a 20 percent discount on rent if they hire one-third or more of their staff from the surrounding community. During construction, an employment center is set to be opened on the project’s site to help enable more local employment. Recognizing the area’s demographics, much of the proposal’s communications have also been bilingual, in English and Spanish.

While the developers managed local relations, the project’s architects and planners, Chicago-based Cordogan, Clark & Associates, have worked to provide for the existing community through design. Notably, 50 percent of the development has been set aside for open green space. This includes courtyards and transverse walkways through the site. The heart of the buildings’ campus will also include an “arts walk” along South Peoria Avenue, which bisects the site. The property is also immediately adjacent to the future Paseo Trail, an urban linear park being developed on a former rail line.

Density is often an indicating factor in gentrification, with either swift drops or increases signifying drastic uncontrolled change. In the case of ParkWorks, the project is filling two large, completely empty tracts of land. Thanks to the large amount of open space in the plan, its density will be slightly lower than the surrounding neighborhood. While this will be a net gain for the neighborhood’s density, it is as if the site were filled with the typical two-flats that populate most of the neighborhood.

There is no question that Pilsen, and many neighborhoods like it, are changing. While as a whole Chicago’s population is declining, white millennials are flocking to the city, affecting the demographics and density of particular areas. Many new city dwellers are the adult children of a generation that fled the city to the suburbs starting in the 1960s, making room for the communities that now define Chicago. So, when any development is built, it will undoubtedly attract residents from outside the existing community—it is an experiment in social integration. For the good of the city, and its many diverse communities, one can only hope that experiments like ParkWorks are successful.

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Chicago reenacts unveiling of iconic Picasso sculpture

"It’s a bird! It’s a dog! It’s a woman!?" To this day, no one is exactly sure what the 50-foot-tall untitled Picasso sculpture in Chicago’s Daley Plaza actually is supposed to represent. Often called "the Chicago Picasso," the Spanish artist never revealed what or if it was supposed to represent anything at all. On the occasion of the sculpture's 50th anniversary earlier this week, hundreds came out for a reenactment of its unveiling. As part of the reenactment, each of the speakers from the original program were represented by new speakers. For example, in the place of the Bishop-elect, Chicago poet and songwriter Avery R. Young gave a stirring poetic invocation. Fittingly, Mayor Rahm Emanuel spoke in place of Mayor Richard J. Daley. Rather than the grand unveiling of the sculpture with a giant cloth, onlookers were provided with fans designed by Chicago artist Edre Soto to cover their eyes for the second reveal. The sculpture was constructed by the American Bridge Company, a division of the United States Steel Corporation in Gary, Indiana, and commissioned by C.F. Murphy Associates, designers of Daley Plaza. Skidmore, Owings & Merrill (SOM) acted as architects for the sculpture and their archives provide a look into the mixed reception the artwork received in 1967. Today, the sculpture is generally considered one of the great public artworks in a city that's also home to major pieces by Alexander Calder, Joan Miró, Marc Chagall, Jaume Plensa, and Anish Kapoor. SOM generously provided copies of letters to The Architect's Newspaper (AN) that both praised and condemned the “pile of junk.” “I came, I saw, I left. How could you? And you look like such a nice person too. What is it?” asked Alexander Marxen in her letter to architect-in-charge William Hartmann of SOM. Roughly a year before the sculpture was complete, Paul Kiniery Ph.D. asked mayor Daley to cancel the whole project. “I hope very much that you, as the senior executive officer of the City of Chicago, will prevent this monstrosity from being erected in the plaza of the Civic Center. It will be humiliating and embarrassing for all of us who live in Chicago and to see this 'thing' when we are in the downtown area.” Others attacked Picasso himself. In another letter to Mayor Daley, Howard F. Bickler wrote, “You see, Mr. Mayor … Pablo Picasso is a Communist. A self-admitted Communist.” Mr. Bickler had a better idea for the plaza, suggesting “a giant cross or a symbol of the American eagle.” Harold B. Hozman felt that if people saw the work for what it was, “P. Picasso would only be another embittered, unknown, pitiful blotch.” Yet, not everyone was quite so cynical about the Cor-ten monument. A handwritten letter by Kathleen Chesbro, an eighth-grade student at Our Lady of Victory School, to the Mayor reads: “It expresses modern Chicago, how Chicago is now and what the people are like, and what Chicago will be in the future. Modern!” A personal letter from fellow architect Spencer B. Cone, of Cone and Dornbusch Architects, to William Hartmann compared the piece to some other famous icons. “I’m sure the statue will become our counterpart of such attractions as the Eiffel Tower and the Great Pyramids.” Citing rave reviews of Picasso’s show at the Tate that year, Charles A. Gianesi, M.D., chastised the Chicago American newspaper for giving “ammunition to the ignorant with front and back page exposure.” Also noting, “I don’t understand or appreciate Picasso I may some day (sic), and until then, I am content to accept the opinions of my cultural peers.” Along with providing the letters, Eric Keune, director at SOM and an expert on the Picasso, spoke with AN about the importance of the sculpture. “This piece broke the dam and opened the floodgates for abstraction to be accepted by the public, for it to be a subject of discourse among everyday Americans. It started a chain reaction, this first, then Calder at the Federal Center, then Chagall, then Miró, Henry Moore in 70 W. Madison, Calder in the Sears tower, and on and on, all the way through Millennium Park.”
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New towers will rise atop Chicago Union Station as part of redevelopment

The redevelopment of the Chicago Union Station has been a long time coming. The 1925 Beaux Arts station has seen minor repairs in the past few years, but a recently released master plan envisions a complete redevelopment of the historic building and the surrounding area.

Led by Riverside Investment & Development Co., the Goettsch Partners–designed master plan will take the form of 3.1 million square feet of new commercial, retail, and residential space. Divided into three phases, work will begin in the historic headhouse and continue to neighboring properties, owned by Amtrak, above the below-grade railroad tracks. When complete, five new towers will rise above and around the station.

“This building was envisioned by Daniel Burnham in the 1909 Plan for Chicago as the city’s primary rail station,” said Amtrak President and CEO Charles W. “Wick” Moorman IV to the press at the announcement of the master plan. “It is in that spirit, that we have big plans for both this headhouse building and nearby properties owned by Amtrak.”

The headhouse, originally designed by Burnham and completed by Graham, Anderson, Probst & White after his death, is considered a Beaux Arts masterpiece. With its 110-foot-tall skylit great hall, the headhouse has often been used as the backdrop of films, most notably in the climax of the 1987 movie The Untouchables. The new master plan calls for a dramatic addition to the headhouse: Initial designs call for two 12-story residential towers to be added to the top of the building. The existing top portion, which is currently office space, will also be redeveloped. While adding towers to the top of the historic structure may seem drastic, it should be noted that the original design called for a commercial skyscraper to sit atop the building. This technique of matching civic spaces with office high-rises was once popular in Chicago, most famously in the cases of the Auditorium Theatre and the Lyric Opera House.

The rest of the development will follow another once-common building practice associated with Union Station. Immediately to the south of the headhouse, three new towers will take advantage of air rights over a set of 14 tracks that run into the station. The Chicago Daily News building and the Chicago Main Post Office, two of Chicago’s most recognizable art deco icons, were built in the same way, straddling the tracks to the north and south of the station.

Along with the towers, the master plan calls for improvements to the passenger experience as well. Despite serving over 50,000 guests a day, the station, which is mostly underground, is outdated and generally unpleasant. Street-level retail, historic restoration, and a new food hall will all be addressed in the redevelopment. A hotel has been proposed for above the headhouse, and publicly accessible terraces and plazas are also included in the master plan.

Considering Chicago Union Station is the only major train station in Chicago, and the third busiest in the country, its surroundings have seen surprisingly little development over the years. The most recent addition to the area is a $40 million bus transit center designed by Chicago-based Muller+Muller. Ironically, that station will have to be demolished and rebuilt to be integrated into the proposed master plan. But, since no hard dates have been set to implement the new plan as it negotiates the financial side of the project, the transit station is safe for now.

While every major development in Chicago brings with it scores of critics and champions, this one has the potential to spark particularly lively discussions. If the architecture of the project at all resembles the renderings of the master plan, many Chicagoans will have something to say about putting two glass towers on top of their much-loved Beaux Arts landmark.

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Postmodernist Dan Friedman helped change how the world viewed graphic design

The Chicago Design Museum’s current exhibition brings the ’80s and early ’90s back through the work of postmodernist graphic and furniture designer Dan Friedman. The show, Dan Friedman: Radical Modernist, was originally curated by the artist himself prior to his death in 1995. Continuing his brother’s legacy, Ken Friedman leads the exhibition with curatorial assistance from Chris and Esther Pullman, Mara Holt Skov, and Steven Skov Holt. Friedman, who posthumously won the 2015 AIGA Medal, was instrumental in shifting the world’s perspective of graphic design from a mostly commercial endeavor to a visual art form. The show includes a wide range of his work, from furniture and experimental sculptural installations to found art and his signature new wave typography. Coining the term “radical modernism,” Friedman helped define an era and style that included contemporaries like Keith Haring, Jean-Michel Basquiat, and Jeff Koons. This very personal exhibition looks back into a time that can only be described as radical.

Dan Friedman: Radical Modernism Chicago Design Museum 108 North State Street 3rd Floor Chicago Through August 12

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Luftwerk wants to bring the sounds of global warming to Chicago

What does climate change sound like? Working with the Natural Resources Defense Council (NRDC), Chicago-based architectural installation artists Luftwerk hope to answer this question for pedestrians along the Chicago River. White Wanderer will be a large scale visual and audio installation that will bring the sounds of Antartica's melting and moving ice to 2 N. Riverside Plaza in the West Loop. The 17,000-square-foot Larsen C ice shelf has been watched by scientists for the past 20 years as warming seas threatened to break it apart. This past July, 2,300 square miles of the ice shelf broke off Antarctica and floated into the Wendell Sea. It is this new massive iceberg that is the inspiration of White Wanderer. The installation will include sounds rarely heard by humans. An eerie soundtrack of melting and shifting glaciers will fill the plaza. On the front of the historic 1929 Holabird & Root–designed Riverside Plaza building, the artists will install a graphic of the 120-mile rift formed by the ice drifting away from Antarctica. “White Wanderer allows people to hear and see how climate change is impacting our world right now, and contemplate how the consequences of climate change—like flooding and sea level rise—will dramatically change the way our lives will be lived in the not-too-distant future,” said Rob Moore, senior water policy expert at the NRDC, in a press release. To realize the project, the team has launched a Kickstarter campaign to raise $17,000. Rewards include downloads of the icy soundtrack, renderings of the rift, and a limited edition vinyl album. If funding goals are reached, the installation will be on show from September 7 through October 1, 2017. The show will also be seen on Navy Pier as part of EXPO Chicago and the Chicago Architecture Biennial from September 13 through September 17, 2017. Petra Bachmaier of Luftwerk said in a press release, “By bringing this remote Antarctic place to an urban center like Chicago, we hope to instill a sense of wonder of the natural world to inspire people to take action to protect these extraordinary places.”
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Trump sign flying pigs installation delayed

“We’ve hit a timeline point where it’s too late to fabricate, ship, and float the balloons within a reasonably predictable weather window,” said to Jeffrey Roberts, partner at New World Design, Ltd., designers of the lighter-than-air civic demonstration, Flying Pigs on Parade: A Chicago River Folly. This latest news pushes the launch of the installation to 2018, moved from the original plan of this September. Roberts cites the city’s refusal to grant the installation a docking permit and larger-than-expected municipal reimbursables, such as security and sanitation fees, as the reasons for the delay. The city noted the potential for the hindrance of commercial and recreational traffic on the river in its refusal to New World Design. The refusal also referenced concerns about setting a precedent with the event. The design team is still optimistic about the future and says it is continuing the campaign to realize the project. "Given the continuing irrational nature of the political environment, our team remains committed to the message and deployment of the art installation," said Roberts in a press release. "We greatly appreciate the support from those that have contributed and those that have helped us spread the message via social media channels and other media outlets." The proposed Flying Pigs on Parade: A Chicago River Folly consists of four golden replicas of the flying pig made famous by Pink Floyd’s 1977 album Animals. The installation has the blessing of Pink Floyd frontman Roger Waters. The plan calls for the pigs to be attached to a construction barge and floated in front of the 20-foot-tall Trump sign on the Trump International Hotel & Tower in Chicago. Donald Trump has not yet commented or tweeted about the project.
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The Night Gallery projects architectural visualizations into the streets of Chicago

On a quiet street on Chicago’s South Side, a six-foot-by-seven-foot screen glows every night from sunset to sunrise. The glowing storefront window is known as The Night Gallery. In month-long installations, The Night Gallery projects architectural visualizations ranging from algorithmic generative drawings to looping coded animations. The architecture office Future Firm hosts The Night Gallery on its storefront. The young practice launched the gallery in May to showcase the works of other young practices dabbling in video. The current show, opened last Friday, is entitled An Algorithm for Living in. Produced by Los Angeles–based speculative designer Lee Cody, the show explores the “space of your google search history.” Past shows include When the Drawing is Moving by Carl Lostritto and Another Campo Marzio by Outpost Office. When the Drawing is Moving explored randomness in computational animated line drawings. Another Campo Marzio uses coding software to reexamine Piranesi’s classic Campo Marzio etchings, re-configuring urban fragments into a continuous streaming animation. The next two installations will be The Enchanted Forest: Satellite Canopies and Digital Understories by Jenny Rodenhouse and (Another) Rear Window by BairBalliet. The final installation, which will run through November, has yet to be announced. The Night Gallery launches a new installation on the third Friday of each month. Every new show starts with a gathering along the sidewalk in front of Future Firm to hear comments from the artist. The next opening will be on August 18th, but each ongoing exhibition can be seen every night. The Night Gallery and Future Firm are located at 3149 S. Morgan St. in Bridgeport, Chicago.
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Chicago park will finally be cleansed of radioactive waste

Chicago has a bit of a thorium problem. The radioactive element, once heavily used in the making of gas light mantels, can now be found in contaminated superfund sites across the city. One of those sites also happens to be the long-delayed and much-anticipated DuSable Park in the downtown Streeterville neighborhood. While the park is on the Chicago Park District’s website, it has not been programmed or developed in any way. Now, 30 years after its founding, the park is set to finally be cleared of its radioactive waste, enabling its development into a usable public space. Located at the mouth of the Chicago River, immediately east of Lake Shore Drive, DuSable Park is named after the first non-native settler of Chicago, Jean Baptiste Point DuSable. An African-French-Haitian, DuSable was born on the island of Haiti around 1745 to a French mariner and a slave. After marrying and starting a family with a Potawatomi woman, DuSable settled at the mouth of the Chicago river. There he maintained a successful trading post and farm. Today his name adorns many civic institutions, including the DuSable Museum of African American History. Unlike that celebrated museum, DuSable Park has had a hard go since its founding in 1987 by then-mayor Harold Washington. Over the past 30 years, dozens of proposals have been made for the 3.24-acre site. At one point, it seemed that the park would be designed by Santiago Calatrava as part of the failed Chicago Spire development, which was to be directly west of the park. In 2001, Chicago artist Laurie Palmer established an open call for proposals for the site. That call resulted in an exhibition and book outlining 65 other ideas for the site. Yet it is still unclear what the future holds for the little park on the lake. First and foremost, the thorium contamination—first identified on the site in the 1990s—must be cleaned up. As part of a cooperative agreement signed with the Environmental Protection Agency (EPA) in June 2017, the agency will be providing $6.8 million to the Chicago Park District to facilitate that cleanup. While this is not the first attempt to clean up the park, it is hoped that attempt will completely remediate the site. Thorium, a naturally occurring radioactive element, is notoriously hard to clean up, in part because of how it gets into the soil in the first place. As with many other sites around Streeterville, DuSable Park's thorium is likely from the Lindsay Light Company, which processed the material from raw ore and manufactured gas light mantles in the area from 1904 through 1936. Some of the waste from the refining process is a sand-like material called thorium mill tailings, which was often used as infill in the low-lying Streeterville. It is likely thorium mill tailings were used as part of the fill on the DuSable site, which is reclaimed land from the lake. A second costly factor in removing thorium is that is can only be trucked to a few disposal sites in the United States. The only one that is likely to take the waste from DuSable is in Utah. The money earmarked by the EPA for the cleanup comes from $5.1 billion settlement with the company that acquired Lindsay Light, the country’s largest environmental contamination settlement to date. Despite moving out of Streeterville in the 1930s, the company continued to give away the radioactive fill to home builders in the west suburbs. While thorium is far from the only environmentally disastrous legacy left by Chicago’s industrial past, it is one that is particularly troubling to builders. In most cases, the contamination is not a direct hazard to the public until the soil and concrete covering it are disturbed. On sites known to formerly be industrial, developers often have to conduct extensive testing before breaking ground. As is the case with DuSable Park, this can add time and money to already long projects. With the EPA’s help, there is now hope that Chicago will have a new growing, rather than glowing, lakefront park.
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This graphic novel aims to shape Chicago’s next generation of city planners

The Chicago Architecture Foundation (CAF)'s latest venture is an educational graphic novel about urban planning and its challenges. While the book—titled No Small Plans—raises questions that aren’t new, it serves as an introduction for its target audience, namely children in grades six to ten. It’s tough to write a book for young teenagers on issues like urban planning, civic engagement, and the socioeconomic factors that shape our cities today, but No Small Plans, armed with colorful drawings and references to modern day life, brings light to these topics. As part of its 50th-anniversary celebrations, the CAF published No Small Plans and modeled it after Wacker’s Manual, a 1911 textbook on Daniel Burnham’s 1909 Plan for Chicago. Wacker’s Manual was required reading for eighth graders in Chicago Public Schools for at least three decades and it aimed to engage children with Burnham’s grand, ‘City Beautiful’ vision for Chicago. No Small Plans, by Gabrielle Lyon and in partnership with Eyes of the Cat Illustration, has the same goal and will be taught in the city’s public school starting this year. It’s a reimagined Wacker’s Manual, in a 21st-century medium, to help young Chicagoans envision and build a city that they want now, and in the future. The graphic novel is split into three different time periods: the past (1928), present (2017), and future (2211). Each section follows different groups, all of whom are grappling with different issues such as racial discrimination, gentrification, affordable housing, zoning, and community engagement. It’s set in the Chicago we know today, featuring sites like the Chicago Theatre and the 606. It’s also a dive into what Chicago’s future could be. In the year 2211, the book depicts Chicago so fractured that virtual reality is the only means of connecting people between different neighborhoods. The lack of “real facing” (i.e. actual human interaction) has led to a disconnect between what residents need and what big-time developers plan for the city. The book is an attempt to bridge the civic education gap: low-income students, students of color, and those not planning to attend college have fewer opportunities to engage with questions every young city resident should be thinking about, according to Lyon. “When young people have opportunities to consider questions like the ones the characters wrestle with in No Small Plans, it makes a difference,” Lyon said in a press release. The book’s success on Kickstarter—raising more than double of its $20,000 goal—is an indication that the questions of what makes a city livable and how to foster civic identity are ones that Chicagoans both old and young are interested in. Thirty thousand free copies will be distributed over the next three years. No Small Plans is available to purchase through CAF's website.
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The Art Institute of Chicago highlights its most enigmatic design pieces

In anticipation of the Art Institute of Chicago opening a permanent architecture and design gallery, Design Episodes: Form, Style, Language highlights some of the museum’s most enigmatic pieces from its vast design collection. The show is divided into three sections: the modern chair, early postmodern design, and contemporary graphic design. Chairs on show include pieces by designers such as Charles and Ray Eames, Rudolph Schindler, and Charlotte Perriand. The postmodern section includes the colorful work of the radical Italian Memphis Group, its founder, architect and designer Ettore Sottsass, and Austrian architectural firm Coop Himmelblau. The show focuses on a diverse array of contemporary commercial and cultural graphic design work. Graphic designer Amir Berbić produced a custom installation entitled Boundary Lines, which fills the gallery windows overlooking Griffin Court, broadcasting the exhibition to the rest of the museum.

Design Episodes: Form, Style, Language Art Institute of Chicago 11 S Michigan Avenue Chicago Through July 9

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Chicago Cubs open the first of their major developments near Wrigley Field

In recent years, Cubs baseball fans have watched as the neighborhood immediately surrounding their beloved Wrigley Field transformed into a Cubs-themed village. A new hotel, residential real estate, and entertainment venues are making the area a year-round destination. Nearest and dearest to the stadium though is a new mid-rise office building and a public plaza. Designed by Stantec Architecture’s Chicago office, the project shares an odd-shaped block with the stadium and houses the baseball team’s administrative offices.

While the space is everything you might expect of a new office (with the addition of plenty of Cubs branding and some appropriately ivy-covered walls), it is the public plaza, currently being called the Park, that is creating the most buzz.

Debuted for the 2017 Cubs home opener, the Park is wedged between the stadium and the new office building. The ground floor of the office building houses a handful of stores and food and drinking options, but the plaza itself was designed to be used for more than just pregame events. Tiered seating, strategic plantings, and performance space provide opportunities to watch scheduled programs or just take in Wrigley’s atmosphere. Stantec took cues from Place des Vosges, in Paris, and Chicago’s Millennium Park when designing the Park, with the goal of making it more than just an entrance to the stadium.

“When we first dreamt about what the plaza could be, we wanted it to be more than just a walkway people pass through on game day,” said Grace Rappe, principal designer at Stantec. “We wanted to create a park for memories, a place for the community to gather and thrive.”

In its first year, the Park has already seen plans put in place to activate the space when there is not a game being played. The Old Town School of Folk Music has started biweekly morning and afternoon music programs. The nearby art-house Music Box Theatre will also be hosting six of the city’s “Movies in the Park”—the first of which will be, appropriately, Ferris Bueller’s Day Off; Rookie of the Year and The Sandlot are also on deck.

However, not everyone has had the same vision for the space. Local alderman Tom Tunney pushed, with some success, for a handful of restrictions on the use of the Park, citing the well-being of the residents of the surrounding neighborhood. Ald. Tunney was able to establish rules about who could drink alcohol in the Park on game days, and when. Currently, only ticket holders will be allowed onto the plaza immediately before and after the game, and barriers and bike racks have been set up to control the crowds. This did not make the Cubs administration too happy.

“I want to apologize to our fans when they show up today; they’re going to see bike racks and other things that channel them in and out of the Park, rather than walk in and let them enjoy it,” Crane Kenney, Cubs president of business operations, said to the press on opening day. “So we’ll try that for the first year and see how that works. Nobody has more to lose than we do if something happens that is untoward, and so we’ll police like we do everywhere else around Wrigley Field.”

Kenney had other words for the city, which he felt could have provided more financial support for the project, as it is part of a larger $500 million renovation of the entire complex.

“The mayor made clear the city could not give us the kind of financial support the White Sox got in rebuilding Comiskey Park or the Bears got renovating Soldier Field,” Kenney said.

Despite the financial discussion, the Cubs were openly grateful to Mayor Rahm Emanuel, who was on hand at the ribbon cutting. While the city has not provided the tax and financial backing the team had hoped, it has provided support through the temporary and permanent closing of multiple streets surrounding the stadium. 

Exactly what the Park’s role will be in the greater Wrigleyville neighborhood may still be up for debate, but, for the Cubs, the new space is a chance to reach out and bring the community a little closer. And timing couldn’t be better: With the Cubs winning the last World Series and effectively having the best season in the stadium’s 103-year history, much of the city is already going Cubs crazy.

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EXPO CHICAGO announces participants for Palais de Tokyo exhibition

EXPO CHICAGO has announced the participants for its off-site exhibition curated by Katell Jaffrès of Paris’s Palais de Tokyo. With the working title of Singing Stones, the exhibition will include 13 artists and will be installed in the Burnham & Root–designed Roundhouse on the campus of the DuSable Museum of African American History. The opening of both EXPO and Singing Stones will coincide with the opening of the second Chicago Architecture Biennial. The exhibition will be the first iteration of a new program being developed by Palais de Tokyo and Institut français. The three-year program is designed to introduce and support artists in producing work in new locations around the world. The program will work with major art shows such as EXPO and the other biennials. For this first exhibition, three participants—Wilfrid Almendra, Thomas Teurlai, and the Floating Museum collective—will install large-scale site-specific structures which will receive the work of the ten other participants. Guest architect Andrew Schachman will be tasked with designing the experience of the entire spaces and plan the relationship between all the pieces in the space. The list of participants includes: Wilfrid Almendra Daniel G. Baird Bouchra Khalili Dorian Gaudin Lola Gonzàlez Guillaume Leblon Floating Museum Florian Pugnaire & David Raffini Andrew Schachman Cauleen Smith Thomas Teurlai Raphaël Zarka “The singularity of The Roundhouse makes it an ideal space to develop the exhibit outside of Paris,” said Jaffrès in a press release. “The structures or ‘stations’ that the artists will create will each act as an architectural intervention within the exhibition, inducting action into the exhibition space, and creating an accommodation and correspondence between the sculptures, installations or video works by the other artists in the show.” The project will kick off with a residency at Mana Contemporary Chicago, a large artist and exhibition space in the Pilsen neighborhood. A select number of the international participants will produce new work at Mana, starting on August 1st. They will also be part of public programming associated with their work at the Roundhouse. The Paris’s Palais de Tokyo exhibition will open September 13th and run through October 29th. The EXPO CHICAGO exhibition will run from September 13th through the 17th. The Chicago Architecture Biennial will be open to the public from September 16th through January 7th.