The last five families were moved out of the Harold Ickes Homes at the end of March, one of the latest clusters of high rise public housing the city is clearing as a part of the Chicago Housing Authority's "Plan for Transformation." Dozens of highrise towers have been demolished across the across the city, opening vast tracts of land for mixed-income and in some cases mixed-used development. While few would dispute that the large-scale warehousing of the poor in these projects helped to create major urban problems, the nearly total erasure of these areas seems as blunt as the urban renewal tactics through which they were originally built. Designed by SOM in the 1950s, the buildings reflected the architectural, planning, and sociological thinking of the day. Arguably the Plan for Transformation reflects the thinking of the last 10 to 15 years in public housing: New Urbanism. Chicago architects DeStefano + Partners proposed a contemporary reuse and reimagination of the Ickes Homes in a masterplan that called for making the buildings more sustainable and better integrated into the neighborhood. Their plan called for reducing the amount of parking space, adding green roofs, restoring the street grid, and adding infill buildings to bring the complex closer to the street. They also advocated reskinning the buildings to break up their massing and improve energy efficiency, as well as adding rain gardens and solar canopy's over the remaining parking areas, among other features. The plan was strong enough to win the firm a 2009 AIA award, but it didn't change the Housing Authority's decision to call off the wrecking ball.
Posts tagged with "Chicago":
On the heels of their much praised Aqua tower, Studio Gang is talking on a very different kind of project, the renovation and conversion of the historic Shoreland Hotel in Hyde Park into rental apartments, and retail and event spaces, the Chicago Tribune reports. The building, which was most recently used as student housing by the University of Chicago, is in rough shape. Some of the once opulent interiors are in tact, but other spaces have been gutted or badly damaged, which could offer interesting opportunities to juxtapose contemporary insertions with historic elements. The project adds adaptive reuse and historic preservation to the firm’s already diverse portfolio. If the project is successful, perhaps it will help breathe life into the firm's other major Hyde Park project, Solstice on the Park, which has been languishing on the boards.
You probably would not expect to find the ubiquitous "@" symbol in the same category as the Olivetti portable typewriter, the Saarinen tulip chair, or the Pininfarina Cisitalia 202 GT car. But on Saturday at the Art Institute of Chicago (AIC), Paola Antonelli, Senior Curator, Department of Architecture and Design at the Museum of Modern Art, New York, persuasively argued for its inclusion in MoMA’s famed design collection alongside the items described above. Within the very small world of museum architecture and design curators the AIC’s symposium, “Modern Construction: Creating Architecture and Design Collection” assembled a blue-chip group to discuss acquisition methodologies, philosophies, and approaches. In addition to Antonelli, speakers included Ingeborg de Roode, Curator of Industrial Design, Stedelijk Museum, Amsterdam; Frederic Migayrou, Deputy Director, Musee National d’Art Moderne, Centre de Creation Industrielle, Centre Georges Pompidou; and Mirko Zardini, Director, Canadian Centre for Architecture, Montreal. AIC’s Joseph Rosa, John H. Bryan Curatorial Chair of Architecture and Design, and Zoe Ryan, its Neville Bryan Curator of Design, completed the roster. Each offered a history and overview of his or her collection, collecting principles and acquisition strategies. Any discussion of architecture in the museum arena has to start from the central idea that a museum can’t really “collect” architecture. As Rosa explained in his introductory remarks, museum architecture departments have traditionally acquired drawings, models, photographs and fragments relating to buildings. But that’s changing. Over the course of his career, Migayrou has built two large architecture collections, practically from scratch: first for the FRAC Orleans, and later for the Pompidou, and seems to have had a swell time doing so. He breathlessly ripped through scores of images of items he had acquired at both institutions, which validated his belief in niche collecting. By originally focusing on unbuilt projects of the post WWII era, he said he was able to obtain a lot of material “that MoMA didn’t want,” including such gems as le Corbusier’s original collage limning the familiar Modulor graphic and the two most iconic illustrations from Koolhaas’ Delirious New York. Beyond acquiring items in traditional formats, curators of contemporary work are grappling with issues related to digitization. In the architecture and design areas, more so than with “fine art,” it’s probably a more significant concern, because so much of the production increasingly exists in digital format. For CCA, this has meant making much of its traditional holdings--drawings, plans, correspondence and other ephemera--available online. Zardini said it’s an important new kind of presence, a different framework for institutions, and one that brings its own set of issues: when you select which items to make digitally available, you’re editing, making a collection within your collection. Antonelli also stressed the importance of embracing new media and formats. “Digital capabilities could free curators from the constraints of physical collecting,” she predicted. But it’s not without its challenges. In one instance, she wanted to acquire an early iteration of an e-mail graphic interface, but wondered what, precisely, to acquire. The original (probably broken-down) computer where the program was created? The actual programming code? A new machine with the old graphic interface? Video of designers revising the code for the new machine? All of the above? “Everything,” she said, “goes into the big minestrone of progress.” Unlike architecture, design collection is generally a lot more straightforward, since many design objects are small and portable, and available to purchase outside of the high end auction houses. This has helped Ryan acquire an impressive group of objects by contemporary designers, although, having just started to build AIC’s collection over the last three years, she said, “our work has just begun.” Her comment touched on one subject area that went more or less unexplored: what it all costs. This was an odd omission in a symposium about acquiring things. Although Migayrou revealed in his presentation that he had gotten several of his holdings “at a good price,” it was just about the only time anybody addressed the issue of money. This attendee would have enjoyed hearing the curators talk about how private collectors are competing with museums for the best items, and how the general economic malaise has affected acquisition funding--thorny problems for everyone in the museum community.
We urbanites have all cursed the slow-moving, camera-toting tourists, snapping photos of the iconic buildings in the cities we hustle through daily. As residents, with the dulling nature of time, our appreciation of these structures is diminished. As tourists, they are like vivid stage-sets captured in our minds, but, like all other memories, they are fleeting. We return home and try to explain them to our friends with words, charades-like gestures, and amateur photographs. Artist Susan Giles explores these ideas in greater detail with her current exhibition, Buildings and Gestures, currently on display at Kavi Gupta Gallery in Chicago through March 13. Travel and tourism are not new subjects in her work and the expansion of these themes to include architecture is, for her, only natural. Giles, not a native Chicagoan, says she got interested in architecture because it’s a rich part of this city’s history. “I spent a couple years abroad in touristy places and I’m interested in buildings as icons and that you can get these souvenirs of famous buildings, but they’re only a small fragment of the experience. That memory is always slipping away.” The exhibit includes four small sculptures fusing together iconic building models into an architectural gobstopper. Some of the paper sculptures are freestanding and others appear to be exploding out of the wall or ceiling, composed of all or some component of postcard worthy sites, like Big Ben, the Arc de Triomphe, and the Duomo. It is easy to recover our own travel imagery with the vaguely anonymous minarets, domes, turrets, and arches of these pieces. And this is exactly what participants in her video, Buildings and Gestures, seek to do. The video’s subjects are describing a piece of architecture in layman’s voice, complete with curly-q descriptions and accompanying hand gestures. It is smartly edited and sectioned into awkward pauses, use of architectural buzz words, like “gothic” and obligatory “-esques”, and sweeping charades, which prohibits the viewer from ever recognizing the structures that the subjects are earnestly trying to describe. The video itself is housed in a large-scale corrugated cardboard and wood structure that compliments the anonymous descriptions.
Susan Giles: Buildings and Gestures
835 W. Washington Blvd, Chicago
Through March 13
Last Friday’s ribbon-cutting festivities marking the opening of Columbia College’s 35,500 square foot, $21 million Media Production Center (MPC) in Chicago’s South Loop featured retired anchorman/documentarian/pitchman Bill Kurtis emceeing a ceremony in the building’s large soundstage that included remarks by Mayor Richard Daley and a slew of college officials and donors, all extolling the virtues of the first new building in the school’s 120 years of operation. Columbia claims to have the nation’s largest film and video school, and refers to the MPC as a “state of the art facility designed to foster cross disciplinary collaboration among students in film, television, interactive arts and media and television.” While offering heaping doses of the boastful puffery you might expect at such an event, the speakers also seemed to spend a lot of time archly addressing an imagined audience in the year 2040. The proceedings were recorded, to be placed in a time capsule that would be opened in 30 years for the school’s sesquicentennial. Maybe that’s why a number of those listed on the agenda as presenters seemed to have been cut, including architect Jeanne Gang of Studio Gang who designed the engaging new building. But you’d have to be comatose to overlook the designer’s role in making this an occasion that merited preservation for future generations. Gang says she was inspired by the aesthetics of filmmaking in conceiving the MPC design. Her approach is apparent in ways both obvious, as in the colored-panels on the exterior alluding to a standard graphic test-pattern, and subtle: the configuration of the building’s primary circulation artery as a “main street” that deliberately manipulates the viewer’s perspective as a movie camera might. “We tried to connect spaces through light, framing views in ways similar to how cinematic space is constructed,” she told AN. It’s hard to see how 2010 could get much better for Jeanne Gang. Her boldly innovative, delicately sculptural Aqua tower--completed late last year--may have had its development woes (a planned hotel operator dropped out mid-construction), but is a hugely popular success for its dynamic contribution to the skyline. Her firm’s planned renovation of Lincoln Park’s South Pond environment should be completed this summer and she says construction should begin on her long anticipated Ford Calumet Environmental Center later this year. She’s been suitably lionized in the media, as one of the New York Times T magazine’s “Nifty Fifty” people to watch, and with the journalistic equivalent of a warm hug from Paul Goldberger in a flattering New Yorker profile in January. But the modest, sincere Gang just wants you to focus on the design. She says Columbia “knew there were things important to the architecture that couldn’t be eliminated in favor of the technological functions,” which allowed for such grand gestures as the entrance lobby/gathering space, with its movie theater-style oversized stadium seating and 11 by 13 foot LED screen. It’s hard to know what audiences in 2040 will think of the recorded proceedings. It’s a likelier bet that 30 years from now, Studio Gang’s MPC design will still feel significant, even as the technology of filmmaking -- and architecture -- zooms on.
With project's like the Gary Comer Youth Center, designed by John Ronan Architects, and the SOS Children's Villages by Studio Gang, Chicago's South Side has some of the most exciting non-profit institutional architecture in the country. Chicago Magazine takes an in-depth look at one project that has had a decidely bumpier ride, the Ray and Joan Kroc Corps Community Center, once planned for Bronzeville in an Antoine Predock-designed building, now destined for West Pullman in a less ambitious piece of architecture designed by Antunovich Associates (above). The piece lays out in detail how in 2004 the project was scuttled when then Alderman Dorothy Tillman vetoed the project, saying she wanted a shopping center on the site. The project was then relocated to West Pullman, with a slightly less expensive design by Murphy/Jahn. When that design proved too expensive, the client, the Salvation Army, looked at four Chicago firms, not named in the piece, and ultimately chose Antunovich. Even with the more modest design, the project boasts a number of green amenities, including a green roof and solar panels. Ronan and Gang have shown you can get great design on a tight budget. Even if the Kroc Center won't be a destination for architecture buffs, the project will improve the quality of life for young people in the neighborhood. Construction on the center is expected to begin in the next few months.
We have previously reported on Chicago’s burgeoning independent design scene, and now the Windy City is gaining a new venue to see the newest design thinking. The Volume Gallery will serve as a “platform for emerging American designers to engage with an international audience,” according to a statement form the organizers. Their first exhibition on designer Jonathan Nesci, called THE NEW, will be held at the Andrew Rafacz Gallery in the West Loop, and will feature limited editions, including tables, chairs, and pendant lamps. Nesci’s work has been widely published and has been show at Design Miami, ICFF, Design Art London, and the Salone del Mobile in Milan. Founded by Sam Vinz and Claire Warner, both previously of the prestigious Wright Auction house, Volume’s tenancy at Andrew Rafacz Gallery will be temporary. “We plan on having a few of these events throughout the city over the course of the year, until we decide on a permanent space. Each time, we will present newly commissioned (limited edition) works from American contemporary designers,” wrote Vinz in an email. The Volume Gallery’s premier exhibition, THE NEW, will be on view from March 19-23 at Andrew Rafacz Gallery, 835 West Washington Blvd.
Today marks the official inauguration of the world's tallest building, the Burj in Dubai. While the opening comes at a rocky time for the emirate and for the global real estate market, it was greeted with great fanfare, including, cannily, renaming the building the Burj Khalifa, after the president of neighboring Abu Dhabi, Sheik Khalifa bin Zayed Al Nahyan. The move signaled both Dubai's gratitude for Abu Dhabi's recent bailout and the unity of the emirates through the financial crisis. Designed by SOM Chicago along with former partner Adrian Smith, the Burj Khalifa was also officially declared 2,717 feet high, far surpassing its nearest rivals. The 160-story tower has 54 elevators that will carry an estimated 12,000 people to the building's offices, hotel rooms, apartments, nightclubs, and mosques. According to the New York Times, many of the building's apartments have sold, but the prospects for finding office tenants are poor, as the office market is particularly soft in Dubai. The Burj is just another example of how Chicago offices are continuing to lead in the field of tall building design. Given the climate, Burj Khalifa may be the world's tallest for some time to come.
The Chicago office of SOM has designed a modern take on the menorah, which recently took top prize in a charity competition sponsored by Steelcase. The solid wax menorah, which was created by Colin Gorsuch, burns so that the eight inch square frame is revealed with the passing of each night of Chanukkah. The melting wax "falls onto the wooden base and paints a pictorial timeline of the Hanukkah celebration," according to a statement from the firm. SOM's Adrian McDermott designed a wreath for the competition, formed out of 80 overlapping toruses that create a lattice ring.
The Chicago Parks District is holding a public meeting on the future of Northerly Island tonight at the Spertus Institute from 6-9pm. The 91-acre peninsula, which is connected to the lakefront by a causeway, has played an important and evolving role in Chicago's civic imagination. It figures prominently in the Burnham Plan, was home to 1933-1934 World's Fair, and later the Meigs Field airport, and was part of the 2016 Olympic bid. The meeting will offer a preview of plans for the island and solicit public comment.
The Object Design League, working with Pavilion Antiques, is opening a pop-up design store in Chicago's Bucktown neighborhood. Opening the day after Thanksgiving, the shop, called Worth Your Salt, will feature pieces by 19 American designers, including lighting, accessories, jewelry, and household items. The designs explore themes of "industriousness and play" according to a statement from the league. Craighton Berman's Coil Lamp, for examples, is made from a single electrical cord wrapped around a nearly invisible frame in the form of an everyday table-top light. Click through for a preview of a few of the objects that will be offered. Lynn Lim's PenBall turns scattered writing utensils into desktop sculpture. Steven Haulenbeek's Dubbot Modular lighting can be configured for different applications. Pieces can be added or subtracted according to changing needs or tastes. Iacoli&McAllister's Facets rings are made from scraps of Corian that are laser-cut and polished to a glassy sheen. Worth Your Salt will be at Pavilion Antiques, 2055 North Damen, Chicago, November 27 through December 11.
A new exhibition at the Graham Foundation’s Madlener House puts urban residents on notice: engage your community, become amateur planners, designers, and architects. Actions: What You Can Do with the City was organized and curated by the Canadian Centre for Architecture in Montreal and seeks to challenge traditional planning’s organization of the built environment into work, residential, and leisure zones. The exhibition is composed of 99 actions, "common activities such as walking, playing, recycling, and gardening that are pushed beyond their usual definition by the international architects, artists, and collectives featured in the exhibition.” The actions range from cheeky solutions to lying down on hostile benches (Action #38) to sensible maps of how and where to forage for urban fruits and vegetables (Action #9). City dwellers often come up against barriers – often by design (e.g. anti-sitting devices, Action #43) – to full enjoyment of their surroundings. The resulting friction is pervasive throughout the show. The actions not only propose alternatives or means around the impediments, but sometimes heighten the dialogue by suggesting new ones. On the same table sit decorative metal skateboarding-deterrent starfish (Action #42) and shoes modified with plastic cutting boards (Action #30) that allow pedestrians to slide on hard edges and railings. One item is designed to curb pedestrian damage, while the other encourages movement on unintended surfaces. These seemingly contradictory ideas and other actions challenge our thinking on urban environments and inspire greater engagement and participation. Actions: What You Can Do with the City Graham Foundation 4 W. Burton Place, Chicago Through March 13, 2010