James Goldstein has donated his landmark house, located on Angelo View Drive, Los Angeles, and designed by prolific West Coast architect John Lautner to the Los Angeles County Museum of Art (LACMA). In addition, the dwellings contents and surrounding estate has also been included in the donation. In Pop-Culture, the house is most widely recognized for its appearance in the film The Big Lebowski. The dwelling commonly known as the Sheats Goldstein Residence includes an "infinity tennis court" (best not to hit it out of bounds), a James Turrell Skyspace, entertainment complex, and an extensive array of landscaped tropical gardens. Included as part of the contents of the house will be architectural models of the house, artistic works, and a 1961 Rolls Royce (pictured below). "Over the course of many meetings with Michael Govan, I was very impressed with his appreciation for the history of the house and the role it has played in the cultural life of Los Angeles, as well as with his vision for continuing that tradition when the house becomes an important part of LACMA's collections," Goldstein said. "Hopefully, my gift will serve as a catalyst to encourage others to do the same to preserve and keep alive Los Angeles’s architectural gems for future generations.” https://vimeo.com/30456390 "Great architecture is as powerful an inspiration as any artwork, and LACMA is honored to care for, maintain, and preserve this house, as well as to enhance access to this great resource for architecture students, scholars, and the public," said LACMA CEO Michael Govan in a press release. "We are excited to collaborate with other arts institutions on events that speak to Jim’s interests and that connect and reach across creative disciplines—architecture, film, fashion, and art." The residence represents the unique relationship Goldstein and Lautner shared for more than three decades. Originally constructed in 1963 for Helen and Paul Sheats, Goldstein purchased the house in 1972 and began working closely with Lautner in 1979. Together they modified the house "according to Lautner’s and Goldstein’s ultimate vision," replacing all the glass to amplify the disparity between indoor and outdoor space. Other alterations saw the introduction of bespoke minimalist concrete seating (the seats we see "The Dude" aka Jeff Bridges sit on in The Big Lebowski), as well as glass and wood furnishings. https://www.youtube.com/watch?v=ShUhcBroF5Y The James Turrell Skyspace, named Above Horizon was added in 2004 and rises above the property's tropical gardens. Above Horizon also links to other works by Turrell in the LACMA domain, such as Ganzfeld Breathing Light, and the Perceptual Cell Light Reignfall.
Posts tagged with "Film":
The Stanley Hotel, the Colorado inn that inspired Stephen King's horror book (later adapted into the film) The Shining has revealed plans to open a horror-based museum. Denver-based MOA Architecture will design the space, touted to cost $24 million, with backing from some of the biggest names in the horror genre. Featuring a horror film archive with both indoor and outdoor venues, the 43,000 square foot museum will also hold a film production studio with teaching spaces, a 3,000-square-foot soundstage, and a 500-seat auditorium. This isn't the first time the Stanley Hotel has openly used its horror pedigree as attraction. Earlier this year a competition was held for a 10,100-square-foot hedge maze that has now been built. Now, the hotel is running another competition for a sculptural intervention to accompany the maze. In case you're interested in a healthy dose of horror upon your stay, a discovery center within the modified hotel will showcase temporary exhibits with installations from popular horror shows and movies like the Walking Dead. The museum's board features a star-studded cast including actors Elijah Wood and Simon Pegg (known for their roles in Maniac and Shaun of the Dead), producer Daniel Noah, and distinguished horror director George A. Romero. "I would love to have a home we can come to year-round to celebrate the genre with other horror fans from around the world," Elijah Wood told ABC News. "There's really no better place for there to be a permanent home for this as an art form than the Stanley Hotel. It was practically built for it." To kickstart the project, other notable behind-the-scenes figures within the horror genre have made plans for exhibitions. Among them, artist of the Walking Dead comic book, Charlie Adlard; Rick Baker, a prominent makeup and special effects artist; and Clive Baker, a director and producer of notable horror films like Hellraiser and Candyman. Hoping to draw in horror fans from across the country, the hotel has made a bid for $11.5 million in film-center-generated state sales tax via the Colorado Regional Tourism Act. "The Stanley Film Center is my chance to give back to the millions of horror fans around the world who have supported Estes Park and the hotel for so many years," John Cullen, owner of the hotel, said. "At 109-years-old, the story of the Stanley Hotel is just beginning."
Architecture & Design Film Festival New York Through October 18, 2015 It's that time of year again. The Architecture & Design Film Festival is back with a roundup of films on architecture, design, and the built environment. It's a great way of taking the pulse of what's going on here and abroad, and how work is being represented to a wider public. https://vimeo.com/117273601 The films fall into two genres—by architect or designer, and by building. In the former, there is Concrete Love (read AN's review here), a beautifully made film by Maurizius Staerkle Drux about three generations of Böhm family architects, including Gottfried, the only German to win the Pritzker Prize. Ove Arup: The Philosopher Engineer, Henning Larsen—Light and Space, SlingShot about Dean Kamen, David Adjaye - Collaborations, and Talking to My Father on Irish modernist Robin Walker. https://youtu.be/hq-1BIaFjGc Talking to My Father is part of a subgenre of films made by the children of architects including Nathaniel Kahn's My Architect: A Son's Journey (2003) in searching of his father, Louis Kahn and My Father the Genius (2002) about Lucia Small's father, Glen. Whereas these two children were estranged, Simon Walker was close to his father and became an architect himself. He is now burnishing his father's legacy, recalling his apprenticeships with Corbusier and Mies, and trying to save his buildings. In SlingShot, Kamen is presented as more than just the man behind the Segway; he is an inventive spirit and problem-solver who is devoted to cracking big problems like clean water, and health issues—things we are running out of time to resolve. https://vimeo.com/61684753 The building-based films include Under the Skin of Design about the making of Ravensbourne (formerly the College of Design and Communication in London), the last building by Foreign Office Architects, Strange & Familiar: Architecture on Fogo Island, where architecture by Todd Saunders shapes a program by the homegrown Shorefast Foundation to enliven this remote Newfoundland Island whose economy had nose-dived, Modern Ruin: A World’s Fair Pavilion about the 1964 NY State Pavilion by Philip Johnson at the NY World's Fair (reviewed by AN here). https://youtu.be/MAPEioSNvDc The Infinite Happiness explores Bjarke Ingels' 8 House "vertical village" outside of Copenhagen. The film, which opened the festival, will give viewers a preview of VIA 57 WEST, the pyramid-shaped apartment building under construction on the far west side. Vignettes of mowing lawns, riding a unicycle, a children's treasure hunt, and a mailman offer glimpses of this self-contained world. An 8 House penthouse resident, Boris, who is originally from Bosnia, directly addresses Ingels: "Hello Bjarke. I think that... You are a madman. And that's with love. That's with affection. I think you created something of quality, something beautiful, something extraordinary... Is it living experiment? Is it social experiment? Is it just a product of the mad mind, extraordinary mind, a genius mind... I don't know what it is, but I feel privileged that I get a possibility to live (in) a place you built...Bjarke... I would like to borrow your brain, just a little."
All month the Yerba Buena Center for the Arts (YBCA) will present its Architecture & Design Films Showcase 2015 in downtown San Francisco, hailed as the West Coast’s largest showcase of architecture and design films. The New Rijksmuseum, a 2013 film directed by Oeke Hoogendijk opened the festival. With clarity and precision the documentary followed the ten year ordeal that was the renovation of the Amsterdam museum and the challenging battle and drama surrounding its reopening. Joel Shepard, YBCA’s film curator, said “this is the second year we’ve presented this very engaging series and it was such a hit last year that we decided to do it again. This time we have even more outstanding films, which were all selected for their diversity as well as because they represent a wide variety of new architecture, design, and related subjects.” Some titles that stand out are Troublemakers: The Story of Land Art, focused on what it’s title straightforwardly lays out, land art, and includes rare footage and interviews of storied artists Robert Smithson (Sprial Jetty), Walter De Maria (The Lightning Field), and Michael Heizer (Double Negative) on October 29 and November 1. Maker, with the director Mu-Ming Tsai in person to present a film that looks into the current maker movement in America—a new wave of do-it-yourself and do-it-together fueled by passion and powered by new technologies, a topic particularly ripe for the Bay Area crowd. Two other titles to take note of are Christiania: 40 Years of Occupation and Making Space, a film that looks at five women changing the face of architecture. The showcase runs through November 8 and takes place at the YBCA Screening Room in San Francisco. A list of the films can be found at on the museum's website. Most show times are Thursday evenings, and Saturday and Sunday afternoons.
Get out your calendars. As The Chicago Architecture Biennial draws near to its October 3 debut, the festival's organizers have released a list of events and public programs that should help fill out your social schedule into December. You can peruse the whole list of events on the biennial's website. Features include lectures by Pritzker Prize–winning architects (like Thom Mayne); tours of Frank Lloyd Wright's SC Johnson Campus (which just opened for tours for the first time since its construction in 1950); and a film series exploring "architecture through the lens of cinema." The full list of biennial participants was released last month.
Good news for film fans. New York City's IFC Art House cinema on Sixth Avenue is set to expand, increasing the number of screens from 5 all the way up to 11. The expansion by Kliment-Halsband Architects is a refreshing change in the cinema world which has seen numerous theaters close down this year. By using a vacant plot adjacent to the IFC site, the cinema will be able to increase its footprint from 10,300 square feet to 20,000 square feet. This enables it to almost double its capacity from 480 people to 940 which will no doubt generate further revenue—something crucial for independent cinemas in New York. Architects are moving one original screen to the basement to create a larger lobby to deal with the anticipated volume of people. The area will double as space for parties and receptions. The new extension borders Cornelia Street in New York's West Village, but it will not change the existing center's main entrance on 6th Avenue. Speaking to IndieWire, John Vanco, senior vice president and general manager of the IFC Center, said, "After years of being the top-grossing venue in the country for many terrific specialized films like Boyhood, Citizenfour, Blue Is the Warmest Color and each annual edition of the 'Oscar-Nominated Short Films,' as well as hosting the nation’s largest documentary film festival, DOC NYC, it’s become clear that the audience for IFC Center's programming keeps growing, so to accommodate them, IFC Center needs to grow, too.” Just six years ago the cinema only had three screens. The architects declined to comment further on the design.
Thursday> The Elvis Zapp Urban Film Festival will knit together 60 one-minute design videos into a film unlike any other
The Elvis Zapp Urban Film Festival Projection showcases short videos on architecture urbanism. The brainchild of Andrew McNair, the festival is unlike any other film event devoted to design—and it's not to be missed. McNair holds and open call for videos of a minute or less. He edits these and present his festival in a one hour format. Now, Elvis Zapp will join forces with Steven Holl’s 32BNY and troll through its archive of “didactic architecture and city videos“ and show them alongside those submitted to McNair. The next festival will take place in New York City on Thursday, September 10, 8:30p.m. at Spectrum Space, 121 Ludlow Street, 2nd Floor. Don’t miss it!
Santiago Calatrava really wants you to stop blaming him for the very delayed and very over budget World Trade Center Transit Hub. All of your snark and rude comments have really gotten to him, which he recently revealed to the Wall Street Journal. “It has not been easy for me,” he said. “I have been treated like a dog.” But there's now some good news that should help cheer up the Spanish starchitect: famous person George Clooney is staunchly on his side. https://www.youtube.com/watch?t=34&v=O6SinrRmuUU Clooney is in some new movie called Tommorowland that filmed at Calatrava's City of Arts & Sciences in Valencia, of which he is a big fan. At a recent press conference to promote the film, which took place on the modern campus, Clooney lavished praise on Calatrava. "This is an amazing place," he said. "If there's ever a question about whether or not there are dreamers in this world just come to look at this building, it is the most extraordinary place. There is such hope here, it's really fun to be in a place like this." The complex is striking, sure, but maybe Clooney hasn't heard about all the controversy and issues its run into over the years. We're talking ballooning budgets, crumbling facades, and lawsuits. As Susan Morris recently wrote on the AN Blog, Calatrava's City of Arts & Sciences is not the only high-profile piece of architecture featured in Tomorrowland. Philip Johnson's New York State Pavilion has a cameo too.
This Friday, catch the world premiere of “Modern Ruin” all about the New York State Pavilion from the 1964 World’s Fair
World Premiere of Modern Ruin: A World’s Fair Pavilion Friday, May 22nd, 2015 Cocktails 7:00–8:00p.m., Screening 8:00–9:30p.m. Queens Theatre, 14 United Nations Avenue South Flushing Meadows Corona Park, Queens Philip Johnson and Lev Zetlin's New York State Pavilion for the 1964 World's Fair in Queens' Flushing Meadows Corona Park should be more than an eyebrow raiser as those curious, disc-on-pole structures seen when driving to JFK airport. It was Munchkinland, the starting place for Dorothy's journey to Manhattan—correction, Oz—in the 1978 film The Wiz. It was an alien spacecraft tower in the original 1997 Men in Black which crashes into the nearby Unisphere. And it was the site of Tony Stark/Ironman's confrontation with his adversaries in Iron Man 2 on the grounds of Stark Expo 2010, a digitally updated 1964 World's Fair grounds (director Jon Favreau's childhood home overlooked the park). And it will appear in the new film Tomorrowland starring George Clooney that opens May 22. But the common current perception of what Ada Louise Huxtable called “sophisticated frivolity" when the buildings opened is one of dereliction, decay, and outmodedness. That is, except for a number of dedicated citizens called People for the Pavilion and architectural simpaticos, who rightly see this as a preservation issue. What results is a new documentary called Modern Ruin: A World's Fair Pavilion by Matthew Silva and executive produced by the makers of Modern Tide: Midcentury Architecture on Long Island (2014), Jake Gorst and Tracey Rennie Gorst, which will premiere the same day as Tomorrowland. The towers were a favorite of master-builder and fair impresario Robert Moses, who saw these structures as one of the few 1964 World's Fair buildings intended to live beyond the event. Paul Goldberger said it used "advanced engineering combined with a very exquisite sense of architectural composition, to make something that was both aesthetically and structurally quite beautiful and fully resolved." The pavilion consists of three components made of reinforced concrete and steel: the "Tent of Tomorrow," the Observation Towers, and the "Theaterama." The elliptical “Tent of Tomorrow” measured 350-feet by 250-feet with sixteen 100-foot-tall columns supporting a 50,000 square foot roof of multi-colored fiberglass panels—like a Rose window over a circus tent—once the largest cable suspension roof in the world. The Observation Towers are three concrete structures, the tallest at 226 feet high, with observation platforms once accessed by two "Sky Streak capsule" elevators. The adjacent “Theaterama” was originally a single drum-shaped volume of reinforced concrete where pop artworks by Andy Warhol, Roy Lichtenstein, Robert Indiana, and Ellsworth Kelly—plus art from local museums—were exhibited alongside a display from the New York State Power Authority featuring a 26-foot scale replica of the St. Lawrence hydroelectric plant. A 360-degree film about the wonders of New York State, from Jones Beach to Niagara Falls, was screened inside. Warhol’s specially-commissioned Thirteen Most Wanted Men series depicting criminals' mug shots straight on and in profile, displayed on the exterior had a fate reminiscent of Diego Rivera's censored murals at Rockefeller Center: Nelson Rockefeller had it covered over, here because too many Italian Americans were depicted as criminals. (In 2014, the complete series was displayed at the Queens Museum, just 200 yards from the New York State Pavilion.) The Theaterama was converted to the Queens Playhouse in 1972 and is now the Queens Theatre where Modern Ruin: A World's Fair Pavilion will be screened. Connecting the complex was a floor made of 4-foot-by-4-foot terrazzo panels that formed a map of New York State. In fact, it was a Texaco roadmap and was a great hit with people finding their home towns and navigating across the state. At the end of the fair, the floor was supposed to be moved to a building in Albany, but instead was left and became a roller rink—terrazzo is a great skating surface. The site was largely intact until the mid-1970s (the Grateful Dead and Led Zeppelin performed there), but its fate was part of New York City's downslide. The roller rink closed, the roof was taken out. Left open to the elements, the mapped floor was destroyed. Since that time, the complex has continued to deteriorate, but a handful of dedicated citizens have devoted themselves to resurrecting the space. Volunteers for the New York State Paint Project are sprucing up the tent with a fresh coat of paint. CREATE Architecture Planning and Design came up with an idea to make it into an Air & Space Museum—that plan went nowhere. In 2014, New York City government announced a pledge of $5.8 million towards rehab of the structure, and Governor Cuomo’s office pledged $127,000, but estimates for the complete rehabilitation have climbed to a staggering $75 million. The film is a loving portrait with intelligent interviews with Frank Sanchis (World Monuments Fund), Robert A.M. Stern, and Paul Goldberger laced among those who created, remember, and are saving the site.
The word "sapienza" means “wisdom” in Italian. It also refers to the Church of Saint Yves at La Sapienza, 1642–1660, designed by Baroque architect Francesco Borromini. In Eugene Green's film, La Sapienza, Borromini is a hero of the protagonist, architect Alexandre Schmid (played by Fabrizio Rongione). Borromini incorporated the remains of a 14th century church, rather than razing it, a touchstone for Schmid. Geometry reigns throughout: the building is capped by a corkscrew lantern, and triangles and semi-circles are combined with figurative elements. https://youtu.be/H943BAOUdJ8 We see Schmid lauded with prizes signaling the pinnacle of his career. He then has a meeting with an obstinate client who wants to take the guts out of his bucolic planned community and make it into a featureless block. Given an ultimatum, Schmid decides to take a break and head to Italy to follow Borromini’s architectural trail to resume a long gestating book project. He spends time in Rome (in particular at La Sapienza), the city where Borromini was first great friends and then rivals with Gian Lorenzo Bernini. Borromini's work was overshadowed by Bernini and Pietro da Cortona, who were favored by Sir John Soane and others, which Schmid wants to rectify. On Alexandre’s architectural pilgrammage, from Stresa on Lake Maggiore, to Turin, Rome, and finally Bissone, he is joined by Goffredo, a young Italian who is about to start architecture school in Venice. Through them, we lovingly see Borromini’s architecture which also unlocks and mends their psyches. La Sapienza, directed by Eugene Green, will have its U.S. theatrical premiere on March 20 at the Lincoln Plaza Cinemas in New York City followed by release in select U.S. cities. The film was an official selection at the New York and Toronto Film Festivals.
This year’s Park City offerings at the Sundance and Slamdance film festivals ranged from portraits of architects, a mayor with architectural dreams, a victim of the foreclosure crisis, those trapped in physical and dreamed spaces, and individuals exploring the cultural landscape. Always a harbinger of what is coming up, look out for these films and media projects coming to a screen near you. https://vimeo.com/117273601 Concrete Love. Gottfried Böhm, the only German architect ever to be lauded with a Pritzker Prize (1986) is part of a long line of architects, from his grandfather, father, wife, and three of his four sons. The film’s title refers not only to the Brutalist architecture he favored, but also the love between husband and wife, father and children. Concrete is a shape shifter, a malleable liquid that takes the form of its mold—an apt metaphor. The filmmaking is a sensitive, knowing guide that is as reflective of the creative process as the architectural work itself. A model film which won this year’s Goethe Documentary Film Prize where the jury noted “the film tells a multi-layered tale of love, the passion for architecture and four generations of German history. With sensitive observations, intimate interviews and stirring filmic explorations of an extraordinary architectural legacy, the film creates a lasting impression of the buildings and the people.” Chinese Mayor. This is a rare look at the inner workings of a Chinese city that is remaking itself under an ambitious mayor, Geng Tanbo, who permitted a film crew to follow him around for three years. His goal is to transform China’s coal capital, Datong, population 3.4 million, into a city of culture by rebuilding the structures of its heyday 1,600 years ago including city walls with museums inside, and grottos with Buddhist sculpture and murals—all without residents. He states that Datong can be a new Paris or Rome. This necessitates tearing down much of the existing city and relocating 30 percent of the population or a half million residents, giving the mayor the nickname “Demolition Geng” or “Geng Smash-Smash.” There is not an architect or planner in sight. One of the more interesting meetings takes place with a large group of other Chinese mayors and party secretaries who are all rebuilding their cities into cultural meccas (it is worth noting that mayors are appointed, not elected). Geng deals with corruption (a shady developer made off with $12 million), incompetence (sewer pipes too narrow), shoddy work (paving without cement), delays (hospitals and roads are way behind schedule) until he is suddenly removed from office and transferred to another city, leaving 125 construction projects in Datong halted indefinitely. 99 Homes. Against the backdrop of the 2008 housing foreclosure crisis, a hard-working and honest man (Michael Shannon), cannot save his family home. A real estate shark throws him a lifeline—an offer to join his crew and put others through the same harrowing ordeal of throwing families onto the street that he experienced in order to earn back his home. A portrait of a man whose integrity has become ensnared in this recent American meltdown. The Wolfpack. Locked away from society in public housing on the Lower East Side, the Angulo brothers learn about the outside world through the films that they watch, which they re-enact with homemade props and costumes. Everything changes when one of the brothers escapes, and the power dynamics in the house are transformed. A claustrophobic environment explodes. Forbidden Room. Guy Maddin’s familiar art-house filmmaking takes the locales of “forbidden” spaces—bathrooms, submarines, volcano, caves, elevators and gets lost in non-linear, episodic, absurdist storylines. An ode to the silent movie era, the visuals, sound and story are layered, while color schemes morph into one another. The Nightmare. Following his exploration of the hotel that inspired Kubrick’s The Shining, director Rodney Ascher now investigates the phenomenon of sleep paralysis, the trap between the sleeping and waking worlds. Eerie dramatizations of what the subjects see are created in an architectural moodscape. New Frontier exhibition, Dérive. In this installation, in the distance, you see a city glistening in the dark. The closer you get to it, the larger the city grows until it engulfs you in its presence. This interactive projection is driven by the viewer’s body motions to explore 3-D reconstructions of urban and natural spaces that are being transformed according to live environmental data, including meteorological and astronomical phenomena. Station to Station. Visual artist Doug Aitken embarked on a nomadic experiment of art creation, exhibition and participation in summer 2013 (see AN coverage of its launch from Williamsburg). Station to Station chronicles a train that crossed North America over 24 days making 10 stops, with a rotating roster of artists, musicians, and curators, who collaborated in the creation of recordings, artworks, films, yurts and happenings, across the country. Comprised of 61 individual one-minute films that form a high-speed trip through today’s culture. Films/Media Directors: 99 Homes, Ramin Bahrani Chinese Mayor,Hao Zhou Concrete Love, Maurizius Staerkle Drux Dérive, François Quévillon Forbidden Room, Guy Maddin, Evan Johnson The Nightmare, Rodney Ascher Station to Station, Doug Aitken The Wolfpack, Crystal Moselle
Mayor Rahm Emanuel's announcement that Chicago would launch an international festival of art and architecture—its own take on the famous Venice biennale—drew jeers and cheers from the design community both near and far from The Second City. AN called for the show aspiring to be North America's largest architectural exhibition to go beyond tourism bromides. Now the upstart expo has a name, as well as its first show. The inaugural Chicago architecture biennial will begin in October 2015, and will be called “The State of the Art of Architecture,” in reference to the controversial conference organized in 1977 by architect Stanley Tigerman. Tigerman's show celebrated the postmodern rejection of Chicago's old masters like Mies van der Rohe, forging the position of architectural protest group The Chicago Seven. A press release from the organizing committee alludes to the upcoming exhibition's wide scope:
More than a profession or a repertoire of built artifacts, architecture is a dynamic cultural practice that manifests at different scales and through various media: buildings and cities, but also art, performance, film, landscape and new technologies. It permeates fundamental registers of everyday life—from housing to education, from environmental awareness to economic growth, from local communities to global networks.The biennial's first commission was announced Wednesday by co-directors Joseph Grima—a former curator of the Storefront for Art and Architecture, and director of the Ideas City platform of the New Museum—and Sarah Herda, director of the Graham Foundation and AN editorial advisor. Renowned photographer Iwan Baan will contribute an original photo essay about Chicago featuring aerial shots taken at sunrise. The work will “capture the city during a moment of its daily routine,” according to the press release. “Like the Biennial itself, Baan’s expansive photographs interpret Chicago as a realm of architectural possibility, past and future.” The free festival's home base will be the Chicago Cultural Center, but organizers say it won't be restricted to downtown. “Using the city as a canvas, installations will be created in Millennium Park and other Chicago neighborhoods, including new projects and public programs developed by renowned artist Theaster Gates on Chicago’s south side,” reads a press release. “The Biennial will also feature collateral exhibitions and events with partner institutions throughout the city, and will offer educational programming for local and international students.” Tigerman, whose 1977 exhibition is the inspiration for the 2015 show's title, sits on the biennial's International Advisory Committee, which also includes architects David Adjaye, Elizabeth Diller, Jeanne Gang, and Frank Gehry, along with critic Sylvia Lavin, Lord Peter Palumbo and Hans Ulrich Obrist. Ty Tabing, former executive director of the Chicago Loop Alliance and founder of Singapore River One, will serve as the biennial's executive director. Oil giant BP has agreed to donate $2.5 million for the show, but Mayor Emanuel is reportedly seeking $1.5 million more.