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.
Posts tagged with "Signs":
The industrial past of Gowanus, Brooklyn is rapidly disappearing as the neighborhood transitions into a more mixed-use future. As the low-slung factories and warehouses continue to disappear, the iconic, eight-story, Kentile Floors sign could go with it. The Kentile sign has been towering above the neighborhood since the mid-20th Century and even outlived the Kentile factory, which shuttered in the early 1990s. But in April, a permit was issued for the building's owner to dismantle the sign, and scaffolding has since been spotted next to its red letters. The news of the sign's demise has been met with significant backlash from local residents and politicians including New York City Council Member Brad Lander who launched a petition to save the sign. “Demolition of this iconic sign would be an enormous loss for Gowanus and for Brooklyn,” Lander wrote. “In many ways, it stands for Gowanus.”
Like any star of the silver screen, a facial peel is in order every now and then. For the famous Hollywood Sign perched atop Mount Lee overlooking Los Angeles, it's been 35 years since its last facelift, but the 89 year-old historical landmark will soon look as young as ever. Last week, the restoration project passed the halfway mark, with the H-O-L-L-Y letters newly primed, primped, and painted. The effort started on October 2 and will be completed by year’s end. The remaining corrugated steel letters will be sanded and given a fresh coat of glossy white paint. When all is said and done, approximately 110 gallons of primer and 275 gallons of paint will have been used. And for sign aficionados who want to duplicate the color, it’s Sherwin-Williams Emerald Exterior Paint in high reflective white. The Hollywood Sign Trust together with Sherwin-Williams is funding the project. The sign was originally built as a real estate billboard in 1923, scrapped and rebuilt in 1978 and today continues to be an international landmark.
If all the world is a stage, according to Shakespeare, all the city is a kunsthalle in the eyes of the New York City Department of Transportation. Bogardus Plaza, a tiny pedestrian plaza carved out of a little-used block of Hudson Street in Lower Manhattan and named for architect James Bogardus, the inventor of the cast-iron building, just received a well-deserved facelift and has now been chosen to host a prototype art display case designed by Architecture Research Office (ARO). If the design looks familiar, that's because ARO designed their sleek new case to mirror the look and feel of the city's existing bus shelters, newsstands, and benches to create a cohesive streetscape. The stainless-steel-wrapped display features a unique angled edge that creates a playful optical illusion. The rectangular shape is chamfered at the base, meeting the sidewalk at a single, stationary point, standing in contrast to the plaza's moveable cafe chairs, tables, and potted plants. “We envision the display panel as a visitor to the plaza, a temporary and flexible element that moves culture out into New York City’s pedestrian spaces,” said ARO principal Adam Yarinsky in a statement. ARO's design was selected after NYCDOT challenged designers to rethink the museum display case as public furniture. The display case is on a month-long trial run to test for durability. If it holds up, a series of cases will be fabricated and installed throughout the city in the fall and a new rotating art program will be implemented. The initiative is part of NYCDOT's Urban Art Program that brings art in unexpected places throughout the city.