The winners for the Reality Cues-organized competition, Good Walls Make Good Neighbors, Mr. Trump, have been revealed. The competition, announced back in August, aimed to add kindling to Donald J. Trump’s slowly-simmering isolationism-filled cauldron by challenging entrants to invert one of Trump’s signature policy initiatives—building a wall separating Mexico from the United States—by designing a wall separating Trump from the rest of us. The competition asked participants to articulate this wall using the real estate properties the tycoon is famous for plugging while on the campaign trail. The winners of the competition are as follows:
Best overall image: FIREWALL - You're Fired...Just Kidding, You're Stuck Here Forever! by Zachary Wilson
First runner-up: Taco Truck Block Party by Rajiv Fernandez
Second Runner-up: The Future is Bleak by Rob Anderson
Third runner-up: 2001 A Trump Odyssey by Sara Castillo
Fourth runner-up: Decorated Shed by Emily Johnson
The competition organizers described their aims for the competition as harnessing the power of the internet toward the goal of generating new content out of communally-owned images, saying:
Reality Cues is about making architecture in digital, interactive, and social media, where ownership is communal and subject matter changes as quickly as users can click the “share” button. Within this culture of reposting, reblogging, and retweeting is the opportunity to modify and subvert prevailing tendencies. Combine this with the ease with which anyone can alter images to create virtual worlds, and you are left with an increasingly fuzzy area between the so-called virtual and real. The Good Walls make Good Neighbors, Mr. Trump competition looks to accelerate this process to see just how fuzzy we can get.
See the Reality Cues website for a full list of winners and entrants.
In a surprise to no one, Geoff Palmer, the notorious developer responsible for scrapping inclusionary housing minimums in L.A., also happens to be Donald J. Trump’s biggest single contributor. Bloomberg Newsreported that Palmer donated $2 million to Rebuilding America Now, a Trump-supporting super PAC. Palmer is known for the low-rise apartment boom that has occurred along Downtown L.A.’s outer freeway ring, where he owns 10,400 market-rate units. With names like the Da Vinci, Medici, and Orsini, Palmer’s developments typically tend toward Home Depot–inspired classicism.
He is also known as an affordable housing opponent. When the City of Los Angeles tried to mandate Palmer to make 15 percent of the units in his Piero II development affordable, he fought back, eventually winning a series of court decisions that gutted inclusionary housing mandates. If Trump’s summer ends on a sour note, maybe he’ll consider a vacation on the outskirts of L.A.?
Adding to the debate revolving around Donald J. Trump’s problematic campaign pledge to install a wall along the US-Mexico border, Reality Cues, an internet-based competition organizer, has announced a charrette aimed at designing a different kind of wall. Good Walls Make Good Neighbors, Mr. Trump asks entrants to simultaneously combine the candidate’s love for bad architecture with his penchant for fortifications. Instead of calling into question the politics, logic, morality, or economics of Trump’s proposal, Reality Cues invites contestants to instead design a wall separating Trump from the rest of the United States.
A brief posted to the Reality Cues website includes a collection of images depicting Trump’s private airplane, the Manhattan, Chicago, and Las Vegas locations of Trump Tower, and the Trump National Golf Course, and requires their use in submitted proposals. The brief cites the psychological power of calling for a divisive wall in an era of uncertainty; the competition asks entrants to translate their own angst as they manipulate Trump’s architectures. The brief's provocation is a simple one: “redefine the architectural content (in the provided photographs) or insert architecture of your own to separate it from the rest of the country.”
The competition format follows those of earlier briefs deployed by the self-described “public experiment in communication and design” group which aimed to generate ideas around the notion of “Eco-Porn,” a nude photograph of Le Corbusier, and a set of stock internet images. The group, headed by an activist named Archistophanes, aims to “press architects to explore and question the techniques and conventions or tropes upon which (they) rely to communicate ideas concerning space, form, and use.” Regarding the intentions behind the competiton, Archistophanes told The Architect's Newspaper, "The charrette proposal is meant to be a nod to Trump's 'eye for an eye,' reactionary style of responding to criticism. In this vein, I felt it only natural that a bookend to his absurd proposal for The Wall is an equal and opposite wall proposal: between him and everyone else.""I'm more interested in the wall itself and how it represents division and isolationism," he continued. "The charrette is political, no doubt, but how this plays out architecturally will be the revealing aspect of the exercise."A jury posted to the competition website includes a variety of design and urbanism journalists as well as several designers and architects. For more information on Good Walls Make Good Neighbors, Mr. Trump, see the Reality Cues website. Competition entries are due September 8, 2016, with winners announced a month later.
A man is currently on his way up the Trump Tower in Midtown, Manhattan with the aid of suction cups. The police and fire department so far have tried (unsuccessfully) to help the man down, however, he does not appear to be cooperating.
According to multiple ABC News, the climber had smashed several windows while also changing his path up the building so to avoid police who had sawed into ventilation grates. Police were reportedly leaning out of these openings, though were unable to stop the man who's reason for the stunt is so far unknown.
At the base of the Tower on Madison Avenue, a crowd had formed with many cheering the man's efforts. He has so far responded with whistles though gasps were heard when the climber slipped. So far provisions have been made for if the climber falls with two giant inflatable cushioned drop-zones in place. The road has also now been closed.
The climber will have no luck if he expects to find the Republican nominee in the building as Trump himself is currently at a rally in Abingdon, Virginia, more than 500 miles away.
UPDATE: As of 6:35 p.m. (EST) AN learnt that the man, identified as Stephen Rogata was caught and subsequently arrested shortly after by the NYPD. Glass had been removed from windows located above the climber thus preventing him from ascending any further. Rogata was described by police as a 20-year-old man from Virginia who intended to meet Trump. Ironically, Trump (as mentioned above) was in Rogata's home-state as he made his ascent. Since his arrest, he has been taken to Bellevue Hospital to be psychologically evaluated.
In a YouTube video posted this week (see below), Rogata defines himself as an "independent researcher" who had to give an "important message" to the Republican presidential nominee. Trump's campaign meanwhile, has reacted to the incident. "This man performed a ridiculous and dangerous stunt," said Michael Cohen, executive vice-president of the Trump Organization. "I'm 100% certain the NYPD had better things to do."
Have you ever wondered why the Grand Hyatt Hotel's Midtown branch was allowed to build a restaurant out and above the sidewalk on 42nd Street? It’s a unique feature for New York City, which has historically guarded its public space from encroachment by private development. But the story of this space is an illustrative tale of development in New York.
The hotel is famously Donald Trump's first project (done with the Hyatt Hotel) in Manhattan and its design presages the Trumpian aesthetic that we see in today’s streetscape. In 1976 Trump was able to convince the city's now-defunct Board Of Estimate to approve a plan to rebuild the 1919 Beaux Arts brick-and-stone-detailed Warren and Wetmore–designed Commodore Hotel. The cantilevered restaurant was part of that plan.
The new design for the hotel was done by Gruzen and Partners with Der Scutt as consulting architect. Rather than tear down the Commodore’s brick facade, the architects simply sheathed its walls with a skin of bronze-colored glass set in a grid of dark anodized aluminum. Peter Sampton of the Gruzen office remembered in a recent conversation that when the architects first met with Trump he said “I hate granite. I like shiny and want glass and aluminum.” That was it for the generic, but more appropriate, brick-and-stone facade developed by Warren and Wetmore.
For the interior, Trump told the architects he wanted a “big atrium.” But according to Sampton, it turned out it was impossible to create a typical Hyatt central atrium because of the 1919 structure's multiple columns.
Instead of a vertical atrium, the architects proposed a grand horizontal lobby. Trump loved the idea because “he was getting something for free.” The restaurant was a spatial extension of this concept and was even pitched as a hotel sign to get around the requirement of building over a public sidewalk.
The interior of the hotel went through a renovation in 2011 by Bentel & Bentel—commissioned after the Hyatt Hotel had a falling-out with Trump—but the building extension naturally remains. In fact, this cantilevered sign-slash-restaurant was possible because the developers proposed it at the height of New York's fiscal crisis. The mayor at the time, Abe Beame, thought it was important to realize this project and he allowed the private space to span the public one.
It was a valuable lesson for Trump on how to deal with a public entity and one that he has continued to learn—and earn—from.
The New York Times is reporting that Indiana Governor Mike Pence will be Donald Trump's choice for Vice President. Pence hails from Columbus, Indiana, the small Midwest town best known for its world-class collection of High and Late Modern architecture. Pence had long represented the town in the United States House of Representatives before assuming the governorship. Pence was born in Columbus in 1959, and was marinated in modernism. He's a very conservative evangelical Christian who was undoubtedly was influenced by J. Irwin Miller, the industrial mogul and philanthropist who commissioned the town's modern architecture.
The Times reports:
A low-key man largely defined in public life by his Christian faith, Mr. Pence, 57, is seen as a cautious choice of running mate — a political partner who is unlikely to embarrass Mr. Trump, and who may help him shore up support among conservative voters still wary of his candidacy.
His staunch conservative views on certain social issues, like gay rights and abortion, may inject a new set of concerns into the general election debate that have been largely overlooked with Mr. Trump at the top of the Republican ticket.
For Mr. Trump, selecting Mr. Pence would be a sharp departure from habit, and the surest sign yet that he intends to submit to at least some standard political pressures in the general election.
The Architect's Newspaper will have more on this developing story and what it might mean for the town that has until now avoided this kind of attention.
A Crain’s New York Business article has publicized what a few already know: New York’s Trump Tower holds “secret gardens.”In 1979, Donald Trump made a development deal with the city that permitted him to increase the building's size by twenty stories. That zoning variance was only achieved by including 15,000 square feet of public space in the building's gardens and atrium. This space is one of some 500 privately owned public spaces (POPS) in New York City.The agreement with the city stipulates that the atrium must be accessible to the public daily from from 8:00 a.m. to 10:00 p.m. and the gardens must open at the same time as the building’s retailers. The agreement also states that the space can only be closed four times a year following the city’s authorization.But the atrium has been closed numerous times for Trump’s campaign affairs, such as press conferences. The Department of Buildings began to investigate whether Trump violated the agreement with the city.The Office of Administrative Trials and Hearings have looked into another possible violation of the deal. The removal of a 22-foot-long bench in the atrium led the city to fine Trump Tower $4,000 and an additional $10,000 if not reinstalled. In place of the bench were kiosks selling Trump’s campaign merchandise. Michael Cohen, a lawyer for the Trump Organization told The New York Times that the bench could be reinstalled in two to four weeks. That was in January of this year.The Crain’s article goes on to describe the challenges posed by people attempting to visit the “public” space. The reporter’s personal account states that the security guards prevented him from entering, telling him incorrect hours of operation. There is also a lack of clear signage for the space; only a sign above the lobby elevators.The reporter goes on to describe the gardens as not much to look at: a few plants—some appearing dead, simple metal chairs and tables, built-in granite benches, garbage receptacles, and a large fountain. But there is clearly a great deal of potential for the space.There were two gardens noted in the article: one on the fourth floor overlooking East 56th Street and another on the fifth floor overlooking East 57th Street. The fourth-floor garden is often not open, according to Crain's. In fact, the garden was roped off and the doors were locked when the Crain’s reporter visited.
There is something about the towering, architectural designs of Donald Trump that brings out the best in New York’s architectural wordsmiths and critics: The Trump International Hotel & Tower at 1 Central Park West was a perfect foil for Herbert Muschamp in The New York Times. Philip Johnson and Costas Kondylis re-skinned the old Gulf and Western Building in bronze-tinted glass. (Trump had wanted the glass to be gold.) Johnson, according to the book New York 2000, promised Trump, his client, “a fin de siècle version of the Seagram” building. Muschamp called the facade “a 1950s International Style glass skyscraper in a 1980s gold lamé party dress,” a change he considered an“undeniable improvement.…” “This is not a major work by Mr. Johnson,” Muschamp wrote later in the article. “Still, he has introduced considerable refinement to an essentially crass idea. In fact, the design’s chief merit is the contrast between the commercial vulgarity of the gold skin and the relative subtlety with which it is detailed.”
The building, he said, stands as a “triumph of private enterprise in such a publicly conspicuous place.” Now, he concluded, “a new Trump flagship sails into these troubled civic waters, carrying with it more than a faint air of a floating casino, or perhaps the winnings from one.” But elsewhere he wrote that it could have been worse. True, the design could have sported dollar-sign finials, a one-armed-bandit handle sticking out the side, window shades painted with cherries, oranges, and lemons, and a pile of giant Claes Oldenburg coins at the base instead of the scaled-down version of the Unisphere. Or maybe that would have been an improvement. Refinement was never this building’s point anyway.
Critics like Muschamp, Ada Louise Huxtable, and Paul Goldberger could hardly depend on Trump for an informed comment on his designs or buildings. He called his own Trump Tower triplex, an Angelo Donghia–designed, marble-and-onyx-covered ode to Versailles, “comfortable modernism.” The New York critics had varying opinions about the tower and its six-story indoor mall, which Trump claimed had been designed by his wife, Ivana. The mall’s interior of polished brass and 240 tons of Breccia Pernice marble in shades of rose, peach, pink, and orange was called a “pleasant surprise” by Goldberger, who saw it as “warm, luxurious, and even exhilarating—in every way more welcoming than the public arcades and atriums that preceded it on 5th Avenue.” Huxtable took a more critical view of the space, which she called a “pink marble maelstrom and pricey super glitz…unredeemed by [its] posh ladies’ powder-room decor.” (There may be hope for future buildings, however; Trump’s current wife, Melania, apparently studied architecture and design in school.)
The 725 5th Avenue Trump Tower exterior, with 28 sides, was designed by Der Scutt, of New York’s Poor, Swanke, Hayden & Connell, and was equally criticized by Muschamp, who concluded, “everything [about it] is calculated to make money.” This, of course, was seen as a positive design value by Trump, who argued that the faceted facade gave every room two views and therefore made them more valuable. In fact, the designs of Trump’s buildings are driven solely by profit. Is this unusual for commercial construction in New York? Of course not—but Trump’s buildings are such obvious, in-your-face examples of this reality of how the city is being built in the 21st century.
Beyond the large, expensive brass “Trump” lettering that adorns his buildings, Trump has made a career of taking advantage of public subsidies and then putting up the cheapest-looking project possible. His re-skinning of the Penn Central Transportation Company’s 2,000-room, Warren and Wetmore–designed Commodore Hotel is an example of one such project. Here, he took a perfectly decent—even handsome—1919 brick-and-limestone building, next door to Grand Central Terminal, and clad it with a reflective glass that has not weathered well. The project, rebranded by Trump as the Grand Hyatt Hotel, was done by one of his favorite architectural firms, New York’s Gruzen & Partners, with Der Scutt. The architects did not remove the old facade but instead overlaid a bronze-colored glass set in a grid of dark anodized aluminum. Trump spoke about that facade in The Art of the Deal; he was “convinced that half the reason the Commodore was dying [was] because it looked so gloomy and dated and dingy.…[He] wanted a sleek, contemporary look. Something with sparkle and excitement that would make people stop and take notice.” It’s not that the business barons of yore, such as Cornelius Vanderbilt, the developer of Grand Central Station, were not concerned with profit, but Vanderbilt and his architects, Reed and Stem, as well as Warren and Wetmore, designed a handsome public work of architecture, whose striking stone gateway’s presence makes Trump’s glass skin seem cheap and dated. The building has one of the worst 1980s-era facades in New York.
Given his background, it’s not surprising that Trump, who wallows in his New Yorkness, has no idea of the difference between architecture and building. He was raised in Jamaica Estates, Queens, hard up against the Grand Central Parkway, in what today would be called a Federalist Georgian McMansion, with tall Corinthian columns. He went to New York Military Academy for high school, attended Fordham University, and graduated from the Wharton School, where he studied real estate. While at Wharton, he worked at his father’s building company, which made a fortune developing small buildings in Queens and Brooklyn after World War II, when the government (via the Federal Housing Administration) subsidized affordable housing. Woody Guthrie lived in one in of these buildings, Beach Haven, in Coney Island, and wrote a song about its racially discriminatory rental policies:
Old Man Trump knows
Just how much
He stirred up
In the bloodpot of human hearts
When he drawed
That color line
Here at his
Eighteen hundred family project
Beach Haven, like so many other federally financed affordable projects, was forbidden by the National Housing Act of 1934 from including any extra architectural details or embellishments, something the national real estate industry worked to have included in the law. Though it has directness to its design and some sort of dignity missing from Fred Trump’s Manhattan buildings, Beach Haven is nevertheless a standard New York City complex of stripped down, bland six-story brick boxes, spread across a city grid. It—like his son Donald’s later projects—was a profit-seeking opportunity. The FHA later discovered that Fred Trump had pocketed over $4 million in illicit profits from the construction.
Donald would later put up (or at least put his name on) a similar sort of development, along Riverside Drive just north of 57th Street. Like Beach Haven, Riverside South is a series of bland rectangular boxes spread across a series of city blocks. Though here, rather than looking out over Coney Island, the development looks toward the river. The detailing of these riverside buildings is faintly art deco, recalling their Upper West Side neighborhood in their massing and repetitive walls.
This was also the site for Trump’s proposed Television City, which could have been even worse, or at least more massive. In 1974 to 1975, Trump proposed to develop Television City—with 4,850 apartments, 500,000 square feet of retail space, one million square feet of office space, a 50-room hotel, television studios, parking for 3,700 cars, and 28 acres of open space—in a largely abandoned old train yard. The original scheme, which proposed a large superblock of high-rise towers, with a three-armed telescoping tower, was designed by Murphy/Jahn Architects, of Chicago, and would have been the tallest tower in the world, at 1,670 feet and 150 stories. It was a massive development, with several towers over 70 stories, all built on a podium over the old rail yards and a park. The West Side Highway would have been relocated under the towers to create a road not unlike the one under the Brooklyn Heights Promenade. Needless to say, there was opposition to this new complex. The world’s tallest building, many thought, was never meant to be built, but was a ploy, a wedge to get more square footage in the plan approved by the city.
In some ways, Television City came closer to real architecture than any other project from the Trump family (albeit as a forerunner of the contemporary glass boxes that have risen all over the city since the late 1990s). Though Goldberger claimed the tower was “hardly a real building for real people in a real city,” Michael Sorkin was more pointed. In the Village Voice column “Dump the Trump,” Sorkin wrote, “Looking at the boneheaded proposal, one wonders whether the architect even visited the site. Indeed, there is evidence that he did not. The rank of glyphs bespeaks lakeside Chicago, and the centerpiece of the scheme, the 150-story erection, Trump’s third go at the world’s tallest building…was there ever a man more preoccupied with getting it up in public?”
Trump, on the other hand, was his typical ebullient, promotional self and called the plan, in a press release, “the master planner’s grandest plan yet.” Because Trump, more than any builder in New York in the late 20th century, has transformed the city with barely the slightest architecturally-worthy design or public service.
31 years ago a certain property developer was causing a stir in New York City. Surprise, surprise, it was a certain Mr. Trump. Controversial and as egotistical as ever (what has changed?) Trump proposed his self-prescribed "Trump City": an array of developments for the Lincoln Square neighborhood of the Upper West Side of Manhattan.
The project and its name were thankfully curtailed in 1991 and finally realized as "Riverside South" due to fervent opposition that involved community groups, architects and politicians. “That was a war to the death—with everybody,” Trump later said.
Of those architects, three were Lebbeus Woods, Michael Sorkin, and John Young. In 1989 they showcased their alternative scheme on Robert Lipsyte's Eleventh Hour as a documentary set 21 years into the future, now six years ago now in 2010 (feel old yet?). Titled the Michelin Guide to New York City: 2010, the trio's film shows the Upper West Side as a place called "Timesquare," a place that in their eyes that is "the first true realization of a city district conceived in multiple layers, rather than as a series of individual buildings."
Described in the films commentary as "radical" yet "derided" in the hypothetical public eye as "science-fiction," Timsquare is meant to be a lively space. It was intended to be an alternative cityscape, one that defied convention, filled with tramways, "party walls," and New York's social underclass. This message however, is somewhat eclipsed by the eerie music that accompanies it alongside Woods' drawings which depict a much more sinister environment.
“We’re talking about an absolute nightmare—an absolute nightmare,” said Batya Lewton, vice president of the Coalition for a Livable West Side. But she wasn't talking about Woods, Sorkin and Young's plan. Instead, Lewton, whose coalition formed in 1981, was referring to the much more real prospect of Trump City. “They’re asking for, unbelievably, 2,300 more parking spaces in an area that is just so overwhelmed with traffic,” she added.
Dubbing Trump as the "Prince of self indulgence," Sorkin argued that Woods, Young and himself were reacting to Trump's proposal to "erect a 150-story high monument to himself." Building on this, Woods added that the scheme was merely an "experiment" that imagined a future that wasn't depicted in the usual technical medium of plans, sections, and elevations. Timesquare was meant to be departed from the surrounding "greed-based proposals" and something that wasn't profitable.
"I don't want [Trump's] money and in fact I wouldn't accept it," Woods implored. In a retrospective blog post on the trio's counterproposal to Trump's plans, Woods, who passed away in 2010, spoke of the scheme's intended inhabitants.
"One has to resist pitying those squatters. Pity is a treacherous emotion, for everyone involved. Better to respect them. Their way of life, as chosen as any in the capitalist jungle (don’t imagine that the rich are really free), included the certainty that they would one day have to move on, probably very quickly. They were prepared and no doubt found other ‘undeveloped’ spaces to settle down in for the next timeframe, whatever that would work out to be. On the other hand, their scattering was traumatizing and unnecessarily brutal. And another thing: their little community had a spirit of invention impossible to achieve in the emotionally arid and highly regimented skyscraper landscape that was soon to come."
Here is a story to file under the Republican presidential primary, celebrity, radical American politics, and affordable housing policies in New York City. The Conversation writer Will Kaufman reports that the "This Land is Your Land" folk singer Woody Guthrie lived in Federal Housing Authority–financed housing in Coney Island's Beach Haven. Those residences were constructed by non other than Fred Trump, Donald’s father.
Guthrie despised his landlord, the elder Trump, and wrote several ditties (a reprise of his "I Ain’t Got No Home") about him:
Beach Haven ain’t my home! I just cain’t pay this rent! My money’s down the drain! And my soul is badly bent! Beach Haven looks like heaven Where no black ones come to roam! No, no, no! Old Man Trump! Old Beach Haven ain’t my home!
Trump’s involvement with and creation of (racially exclusive) affordable Beach Haven housing for the hundreds of thousands of returning servicemen to New York after World War II is a sordid tale. Kaufman unearthed the story after going through the Guthrie archive in Tulsa, Oklahoma.He reports that “when the Federal Housing Authority (FHA) finally stepped in to issue federal loans and subsidies for urban apartment blocks, one of the first developers in line, with his eye on the main chance, was Fred Trump. He made a fortune not only through the construction of public housing projects but also through collecting the rents on them."Its a fascinating story of housing policy in New York that becomes more pointed “in the wake of Donald Trump, who says, 'My legacy has its roots in my father’s legacy.'”
New York has one, Chicago has one, and now the Chronicle’s John King alerts us that San Francisco might see a Trump-brand tower in its future. No one is taking bets on the conservative presidential candidate’s name emblazoned on a highrise located in one the most progressive cities on the planet, but King is stirring the pot to call attention to a land auction hosted by Transbay Joint Powers Authority on September 2. On the docket: a parcel of land on the 500 block of Howard Street, where zoning allows for an 800-foot tower.
Five development teams will bid against each other. According to King, “[I]dentities are being kept secret until the live auction to, in the words of bureaucrats, 'preserve the integrity of the competition.'”
Will Trump be one? The Chron’s critic is wagering a guess, suggesting that with minimum bid at $160 million, the live auction could set off a bidding war that would help pay for the Transbay Transit Center. Designed by Pelli Clarke Pelli, the center expected to serve eleven different transportation systems and feature a rooftop park.
The tower on the offer would join others in San Francisco's Transbay district by Studio Gang, OMA, SOM, and Foster and Partners. Gang’s undulating 40-story tower recently came under fire for its soaring height, which community activists protested would cast a shadow over the public Rincon Park on the Embarcadero waterfront.
King’s argument, however, is not that Trump will soon be mixing it up in the town of Milk and Moscone (or the new SF: Twitter and Uber) but that design is pushed off the table for the sake of raising cash. In 2007, the city held a design competition for the transit center and neighboring tower. This auction comes with no design strings attached.
“Standards are slipping,” he wrote and continued:
“If the check clears, good enough. Let the city’s Planning Department sort through messy questions about how the tower looks or whether the developer will try to push for extra space.”
Mr. Donald Trump has bestowed upon fair Chicago an ode to his own self-worth, spurring an architectural debate that’s pulled in Mayor Rahm Emanuel, Jon Stewart, and plenty more. Grab a bag of popcorn and we’ll catch you up.
In June, Trump International Hotel & Tower gained an array of 20-foot-6-inch-tall stainless steel letters spelling T-R-U-M-P, which Curbed called a “big, dumb sign” and Blair Kamin called “as subtle as Godzilla.” Trump didn’t like that, and bashed Kamin as “a lightweight” in the press—Trump, critic of architecture critics!
Already reduced in size about 20 percent from its original plans (The Donald makes no small plans), the sign was always part of the 2008 SOM building’s design, although architect Adrian Smith apparently “had nothing to do” with it. It’s a gaudy bit of self-promotion along Chicago’s most visible strip of real estate, but it’s Trump’s name—not his sign itself—that’s really got us riled up. After all we put up with corporate intrusions on our public field of view all the time. In fact, all this public indignation over design has us hopeful: Let’s rise up and take back our public spaces! Or at least sarcastically Instagram the new sign with its ‘T’ strategically cropped out.