Posts tagged with "Chicago":

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Chicago’s Aon Center plans an observatory that will dangle over its sky-high edge

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.
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Chicago culls its O’Hare expansion shortlist to five big-name firms

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.
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What will be Rahm Emanuel’s legacy on Chicago’s architecture?

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.
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AN interviews six emerging designers to watch

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
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The Global Hub’s undulating facade turns toward Lake Michigan for inspiration

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The 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.
  • Facade Manufacturer Guardian Glass, Interpane Glass, Coil (aluminum mullions), Bison (wood decking)
  • Architects KPMB Architects
  • Facade Installer Ventana Design-Build Systems, Power Construction
  • Facade Consultants Thornton Tomasetti
  • Location Evanston, Illinois
  • Date of Completion 2017
  • System A concrete system with glass curtain wall panels
  • Products Guardian Glass SNR-43, Interpane Glass 46/31
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 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.
 
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New Arts Club of Chicago show turns urban birding data into art

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
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Chicago needs a new architectural survey to protect its vernacular and postmodern heritage

  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.
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Graham Foundation announces 2018 organizational grants

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.
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SOM uses interdisciplinary collaboration to design innovative facade systems

On September 21, Facades+ is coming to Chicago for the first time in three years. The conference features moderators and speakers of leading firms from across the country. Skidmore, Owings & Merril—the architecture and engineering firm that has called Chicago home for over 80 years—will have a particularly strong presence at the upcoming conference. To learn more about what Chicago’s largest firm is up to and to investigate larger industry trends, AN sat down with SOM’s Dan O’Riley, associate director, and Lucas Tryggestad, technical director. The Architect’s Newspaper: For over a century, Chicago has been at the forefront of architecture and engineering. What do you find most interesting about facade and structural innovation in Chicago today? Dan O’Riley: What’s most interesting about innovation in Chicago is that, aside from all the advancements the industry has made in materials, design, and construction over the years, the city continues to innovate based on the same philosophy of discovery and collaboration that has always put Chicago at the forefront of architecture and engineering. Chicago is the city that “makes no little plans,” and while nothing is built without reference to the past, the city is constantly looking towards the future. For example, 400 Lake Shore Drive, currently under development, blends contemporary materials, such as glass, with traditional materials, such as terra-cotta, matching historical vernacular, but creating something totally new. We’re also seeing new designs and concepts that go beyond the standard limitations of glass, which are applied to facades at larger scales, such as the Apple Store in the shadow of the Tribune Tower. And projects such as the IIT Innovation Center are experimenting with new facade materials, such as ethylene tetrafluoroethylene (ETFE) foil cushions. Together these types of innovations continue to keep Chicago at the forefront. Currently, what projects are you working on that demonstrate SOM’s longstanding synergy of architecture and engineering? Lucas Tryggestad: For 80 years, SOM has operated at the forefront of design, engineering, and urban planning. While each project is unique, collectively the firm’s projects represent the integration of these disciplines. Several of our current and recent projects represent this synergy through the facade expressions, the space layout, and how buildings interact with their contexts. In North Sydney, Australia, 100 Mount Street has an innovative, cross-braced exoskeleton structure and soaring glass curtain wall. It has an offset core and two rows of columns that allow for a 6-meter cantilever running the whole length of the facade. In Salt Lake City’s financial district, our 111 Main project is a Class A office tower anchoring a larger urban redevelopment in the area. To ensure that the project would not compromise the functionality of an existing theater at its base, the entire structure is suspended from a steel hat truss on top of the building, allowing the theater to slide under the tower’s south side. These synergies have always been integral to SOM’s buildings throughout the firm’s history, visible here in Chicago from the Inland Steel Building, the Willis Tower (formerly Sears Tower) and 875 North Michigan Avenue (formerly John Hancock Center), to projects currently underway, such as “The Porch” on 330 North Green Street. How can AEC firms confront the challenges and opportunities presented by sustainable design in facade systems, and how can fenestration and enclosure innovation to boost performance? DO: Innovations in sustainable design for facades and facade systems must begin from a holistic point of view. The initial stages of a project’s design should account for and integrate different building systems and programs within the building, drawing input and expertise from different design and engineering disciplines to create better and more informed high-performance solutions. The idea of high-performance design at SOM is an interdisciplinary collaboration integral to the total set of design activities that develop sustainable environments responsive to their environmental context and recognizing the impact of the built environment on the planet’s collective resources. By prioritizing collaboration, AEC firms have the opportunity to design and take advantage of integrated mechanical systems, active facades, and energy-efficient strategies for solar control, thermal comfort, glare, and other factors affection a project’s overall sustainable performance. For example, the Roche Diagnostics Learning and Development Center in Indianapolis, designed by SOM, has a building enclosure that utilizes high-performance, low-e coated, argon-filled insulated glazing units and a window-to-wall ratio of less than 60 percent. The east, west, and southern facades also incorporate computer-controlled exterior Venetian blinds to protect and regulate the building envelope. Interdisciplinary collaboration allowed the project team to respond to the needs of the client and the context of the project itself to achieve a very strict set of high-performance goals, with great success. SOM is increasingly taking on transportation-related projects; Moynihan Train Hall, Chhatrapati Shivaji International Airport Terminal 2, Denver Union Station, to name a few. What lessons from these projects are translatable to tower and super tall construction? LT: SOM is active across a wide range of practices and research areas, including transportation, aviation, healthcare, urban planning, and interior design. While each project is distinct, the lessons learned from what we’re doing for an airport terminal, for example, inform what we’re doing for a rail and transit hub. This is the value of working within an integrated practice, where ideas and strategies are continually evolving to create buildings that are distinctive and synthesize programmatic function, structural rationale, and environmental sustainability.
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The new Chicago Architecture Center offers informative, tangible experiences

Chicago’s long-salient architecture non-profit, the Chicago Architecture Center, formerly the Chicago Architecture Foundation, has swapped out its old digs at the Railway Exchange Building for a high-visibility space just steps from the south end of Michigan Avenue. With the fresh location in Ludwig Mies van der Rohe’s 111 East Wacker Drive, the Center's new home sits just ashore of where the world-famous architecture boat tour has launched since 1983. Designed by Adrian Smith + Gordon Gill Architecture with exhibit designer Gallagher & Associates, the Center's spaces are designed to expand and contract with current and future exhibits, but also across Chicago’s long and continued dialogue with architecture and design. The Chicago Gallery is located inside a cavernous interior space, with a newly expanded model of the city, which has grown from 1,300 to 4,500 3-D-printed resin buildings and now includes subtle topographic features and neighborhoods as far south as Cermak Road and as far west as Sangamon Street. Interactive touch screens are positioned around the model, where visitors can search for buildings by architect or style, view data about changing land use, or explore the “10 Buildings You Should Know” feature. A film playing at intervals behind the model provides a dramatic narrative of the city's built history and is heavy on neighborhood content. This emphasis on everyday architecture continues across the rest of the Chicago Gallery, where Chicago’s vernacular architecture gets some significant airtime along with familiar names like Wright, Sullivan, and Burnham. Exhibitions continue upstairs, where the Skyscraper Gallery riffs on the Chicago invention and studies its international forms. The Building Tall exhibit features 23 skyscraper models at the scale of 1:91, including a composition of five models of buildings all of which were, at one time, the tallest in the world. These models are offset by a 40-foot-tall wall of glass where one can get up close and personal with some of Chicago’s most iconic and notorious buildings, including the Wrigley Building, Trump Tower, and the new flagship Apple store across the river. New exhibits at the Chicago Architecture Center draw from contemporary issues and reflect the profession's desire to draw in a wider audience. All are heavy on technology, but here there is a marked absence of Instagrammability, even in the supersized models of the Skyscraper Gallery. Whether intentional or not, this emphasis on physical experience over social media photo ops feels freshly genuine in contrast to made-for-Instagram museums. Exhibits are readable and tangible, but are also adaptable and future-forward, with enough variety in content to appeal both to visitors who know everything about architecture and those who know nothing at all. There is an emphasis on current and future projects, with not only Adrian Smith + Gordan Gill, but with other architects influencing the shape of Chicago to come, including Studio Gang and Goettsch Partners, as well as Skidmore, Owings & Merrill, whose design for 400 North Lake Shore Drive on the former Chicago Spire site when completed in 2023 will do more to change the skyline of Chicago than any other structure in fifty years.
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Catch up on Elon Musk’s summer rollercoaster ride

Elon Musk has had a summer of ups and downs in 2018, even after putting aside all of the twists-and-turns of his personal life and turmoil at Tesla. In May, Musk announced that The Boring Company would be turning its excavated dirt and rock into bricks for low-cost housing. What started as an attempt to sell more Boring Company merchandise ala their flamethrower—in this case, “giant Lego bricks”—soon morphed into an unspecified commitment on Musk’s part to build future Boring Company offices from muck bricks. Future Hyperloop tunnels might be able to swap out concrete for the seismically-rated bricks, but they’re unlikely to lower affordable housing costs much; land and labor are the most expensive aspects of new construction. While The Boring Company hasn’t actually constructed much except for a short test tunnel in Hawthorne, Los Angeles, Musk scored a win when the City of Chicago chose the company to build a high-speed train route connecting the city's Loop to O’Hare International Airport. Or did they? After a lawsuit was filed against the city in mid-August by the Better Government Association (BGA), the city claimed that the plan was still “pre-decisional” and that no formal agreement had been struck yet. If the loop is ever built, The Boring Company would dig two tunnels under the city and connect Block 37 in the Loop to O’Hare. Electrically-driven pods, with capacity for up to 16 passengers, would arrive at a station every 30 seconds and complete a one-way trip in 12 minutes. There are still major concerns over the project’s feasibility and cost, as Musk had pledged that construction would take only one year if the company used currently non-existent (and unproven) tunneling technology. The project could cost up to $1 billion, which The Boring Company would pay for out of pocket and recoup by selling $20 to $25 tickets, advertising space, and merchandise. On Tesla’s end, problems with the company’s much-vaunted solar roof tiles have bubbled over. Production has slowed at Tesla’s Gigafactory 2 in Buffalo, New York, as equipment problems and aesthetic issues have prevented the factory from rolling out tiles on a large scale. Tesla is pledging that they can ramp up production at the state-owned factory by the end of 2018, as the company tries to fulfill the $1,000 preorders placed after the tiles’ reveal nearly two years ago. Not to let the end of summer slip by without one last announcement, Musk took to Twitter to release a Boring Company proposal for an underground “Dugout Loop” in L.A. Several conceptual designs were included for different routes between the Red Line subway and Dodgers Stadium that would use technology similar to what Musk has proposed in Chicago to ferry passengers along the 3.6-mile-long trip in only four minutes. It’s unlikely that the Dugout Loop will come to pass, as L.A. is already looking to realize a $125 million gondola system that could carry up to 5,000 passengers an hour. What the fall will bring for Musk, we can only guess.
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Prismatic postmodern sculpture removed from Chicago’s Michigan Avenue

A street-level work of postmodern art has been quietly removed from the corner of Michigan Avenue and Randolph Street in Chicago. Communication X9 is a 43-foot-tall sculpture by Yaacov Agam designed to be in harmony with the architecture of 150 North Michigan. Designed by A. Epstein and Sons International in 1984, the building currently known by its address has historically been known as the Smurfit-Stone Building, and it caught a substantial amount of notoriety in the late 1980s for its prominence in a climactic scene from the 1987 film Adventures in Babysitting. A. Epstein and Sons International was an early pioneer of design-build, and their services included site-specific outdoor art. According to Crain’s Chicago, the Agam statue was removed by the building’s current management, CBRE Midwest, and was placed in storage in advance of an update to the lobby and gathering spaces. CBRE Midwest has not stated whether it will sell or donate the sculpture, but it does not intend to return the work to the site. The prismatic obelisk was removed in 2005 and reinstalled three years later after undergoing restoration. Agam flew to Chicago to see the results and found the colors of the restored sculpture to be off from the original. The removal of Communication X9 comes on the tails of the City of Chicago’s 2017 Year of Public Art celebration. While the initiative gave Chicagoans new murals by Kerry James Marshall on the alley side of the Chicago Cultural Center, and a twelve-foot-tall fiberglass deer by Chicago-based artist Tony Tasset on the Chicago River along with a spiraling Calatrava sculpture, other significant works of embedded art have been removed, including Alexander Calder’s Universe, a longtime fixture of the Willis Tower lobby. Many neighborhood murals have also disappeared this year at the hands of Chicago’s Graffiti Blasters, including a historic mural in Humboldt Park near the 606 trail depicting the Puerto Rican diaspora in Chicago, and Flyboyan early work in Wicker Park by Chicago street artist Hebru Brantley.