Posts tagged with "Chicago":

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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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Tadao Ando–designed architecture exhibition space opens in Chicago

Pritzker Prize laureate Tadao Ando has transformed a vintage Lincoln Park apartment in Chicago into a space for exhibitions devoted to architecture and socially engaged art. Wrightwood 659 is a private, non-commercial initiative founded by Alphawood Foundation president and Chicago philanthropist Fred Eychaner and architectural historian Dan Whittaker. The building is the second work by Ando commissioned by Eychaner, whose private residence was designed by the self-taught Japanese architect in 1998 and is located next door to the exhibition space. The Eychaner home was the first free-standing building constructed by Ando in the United States. For Wrightwood 659, Ando worked within the existing envelope of a four-story 1930s apartment building, which has been completely hulled, leaving the brick shell along with minimal classical revival details on the outside. A new rooftop structure hovers above the existing building on a tilted axis from the original building, leaving room for a rooftop terrace that provides skyline views and an additional gallery. Inside, the reconfigured space contains a new steel and reinforced concrete structure, allowing for the creation of a multi-story atrium clad in Chicago common brick reclaimed from the existing building, and a grand staircase of smooth poured concrete, an Ando signature. Wrightwood 659 celebrated a soft pre-opening earlier this year with Trace by Chinese contemporary artist Ai Weiwei, exhibited in collaboration with the Smithsonian’s Hirshhorn Museum and Sculpture Garden in Washington, D.C. The exhibition space opens to the public on October 12 with Ando and Le Corbusier: Masters of Architecture, with works on loan from the Art Institute of Chicago and the Fondation Le Corbusier in Paris, as well as scale models of works of Le Corbusier by students of Tadao Ando. The second floor of the space will be filled with the works of Le Corbusier, while the third and fourth floors will focus on Tadao Ando. The exhibition kicks off with a lecture by the architect at the Art Institute of Chicago on October 11 and continues with a symposium of Le Corbusier scholars on November 8 and 9.
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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.
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Nike's Just Do It HQ sports a glorious renovation inside a Chicago church

It’s no secret that Nike has an eye for design. From advertising to athletic wear to sports equipment and more, the company’s signature style has mass appeal and is easy to spot, but it's easy to forget the company's knack for creating serious interior design. Nike’s new New York headquarters, completed last year by its Workplace Design + Connectivity team in collaboration with Studios Architecture, got global attention for its slick look, but the brand’s newly built-out basketball space in Chicago is just as impressive. The Just Do It HQ, a basketball facility set inside a church dating to 1885, is quite glorious. Nike transformed the Church of Epiphany in Chicago’s West Loop into a state-of-the-art cultural hub and a home for a youth summer training program. Throughout August, Nike will host camps for young athletes and offer interactive youth workshops, pro athlete appearances, and skills clinics. The space itself is a modern and bold design outfitted with a basketball court, sports gym, and locker room. Nike added a color scheme of blue, orange, and white that runs throughout the three programs and created stained glass windows with basketballs carved into the center. Arched, metal frames were also placed in front of windows in certain places, diffusing the light and further connecting the gritty theme found throughout the aged church. The stained glass basketball design is also painted at the center of the court. Other contextual elements kept throughout the facility include the open, vaulted ceilings as well as the arched doorways and shelves. Nike’s Just Do it HQ is open Monday through Saturday throughout the end of this month. Kids can sign up to participate in the camps by registering online.
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Elon Musk's Chicago tunnel targeted by a new lawsuit

Elon Musk’s plans to build an underground express system for Chicago are super vague and people are mad about it. The Illinois-based Better Government Association (BGA) announced in a report yesterday that it’s filed a lawsuit against the city to release public records behind its $1 billion deal with the Tesla CEO. In June, Mayor Rahm Emanuel and Musk unveiled their grand vision to create a tunnel that would allow commuters to traverse 15 miles from the Loop in downtown Chicago to O’Hare International Airport in just 12 minutes. Musk promised to use untested digging equipment to build it and to introduce the new electric rail system in as little as 18 months. But that’s pretty much all that's been publicly revealed about it. The BGA argued that the secrecy behind the proposal’s logistics goes against the statutes of public policy that require such developments to solve clear problems in a clear way before receiving approval or funding. The watchdog organization reached out to the Emanuel administration to obtain public records detailing the meetings between the mayor and Musk, but the city simply claimed the initial discussions on the project were “pre-decisional.” This means no firm deal has been struck between the two parties even though the plan went public this summer. The BGA also pointed out that Musk has already completed a short tunnel project beneath Los Angeles’s Hawthorne neighborhood, but used conventional sewer drilling technology to make it, not the as-promised, untested tech. Musk claims that he can begin construction on the Chicago tunnel by the end of this year and complete it quickly thanks to the new (non-existent) digging equipment. But the head of the Chicago Infrastructure Trust, which green-lighted the project according to the BGA, said a more realistic construction time is four years. Even so, major infrastructure projects generally take a decade or more to finish (see: New York’s Second Avenue Subway) and Chicago has already spent over $250 million under former Mayor Richard M. Daley on a failed plan to complete an underground superstation on the way to the airport. Improving upon the 45-minute commute via rail from the Loop to O’Hare is a top priority for the city, but no real plans from Musk or the mayor have been outlined as of late for locals to review. If the BGA’s lawsuit moves forward, Chicagoans could get a peek at the plans sooner rather than later.
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Chicago slashes trees for Obama Presidential Center

Up to 40 trees, some of them decades old, were reportedly cut down in Chicago’s historic Jackson Park on August 6 as part of construction associated with the Obama Presidential Center (OPC) campus. Despite a pending lawsuit and ongoing federal review, construction crews were reportedly spotted demolishing baseball fields in Jackson Park to make way for an OPC-funded track-and-field facility in the same spot. The new field is being constructed at a cost of $3.5 million to compensate the city and Chicago Park District for the current track and field that will be swallowed up by the 19.3-acre campus. The $500 million campus, master planned by Tod Williams Billie Tsien Architects, has already seen its fair share of pushback from the community since its unveiling in 2016. First, a controversial parking facility was moved underground after complaints that its presence would spoil the Frederick Law Olmsted and Calvert Vaux-designed landscape and the accompanying Midway Plaisance. The buildings themselves were redesigned to sit within the park better the next day. According to the Chicago Sun-Times, OPC executives had pledged not to cut down any trees until the project had passed review and they had obtained the proper permits. However, this promise appears to have only counted work on the main campus, and not associated work. As The Cultural Landscape Foundation (TCLF) points out, the new field is inextricably linked to the main project and is tied to the OPC’s construction timetable. When the Sun-Times asked about the discrepancy, Obama Foundation officials reportedly declined to confirm that the new field was part of the OPC, telling the paper that “the construction schedule put forward by the Chicago Park District ensures the new track will be ready for students and fall sports leagues.” Additionally, the federal lawsuit filed in May by preservationist group Protect Our Parks was rebuked by lawyers from the City of Chicago and the Chicago Park District in June, who argued that as the City Council hasn’t given the project approval yet, any lawsuit was premature. The Chicago City Council won’t vote on the project until the fall, and no construction is supposed to occur until the twice-delayed federal review concludes. According to the Chicago Tribune, the groundbreaking for the campus has been pushed to 2019. No update has been given on whether this will change the projected 2021 opening date. On August 8, TCLF delivered a letter with their concerns to the Advisory Council on Historic Preservation, a federal advisory body on historic preservation. The felling of the trees in a park listed in the National Register of Historic Places and what the Foundation feels is a lack of due diligence by the City of Chicago to look into the site’s archeological significance were addressed. AN will follow this story up as more news about the Center breaks.