Sunday, March 22, 2015

Lucas Museum: Not Dead Yet?

Buried deep in the Sunday Trib, in the  business section, is a Front Page story from Melissa Harris

The proposed Lucas Museum of Narrative Art, which has practiced a bunkered omertà for the past nine months as controversy swirls all around it, may be stirring.  Harris reports that architect Ma Yansong "remains at work on more detailed drawings, which may include meaningful revisions . . . " 

For that sentence to be anything more than an empty PR holding action, what's needed now is not, as Harris proposes, a call from George Lucas to Mike Madigan.  That kind of backroom, insider horse trading is what got the museum in trouble in the first place.  What's needed is transparency and public engagement.  

When a job is at risk, architects can make coherent revisions to their concepts and renderings overnight.  After a nine-month disappearing act, the "remains at work" statement fed to Harris sounds less like a world-class architect than a high school student buying time to finish an overdue term paper.   While Friends of the Parks, Blair Kamin, and various other opponents hell-bent on running Lucas's project out of town remain formidable opponents, at this point, the Lucas Museum remains its own worse enemy.
Above is a photograph of the parking lot museum these opponents are battling to protect.  I hope to be writing an update on that effort - and its implications for Chicago, its lakefront, and its role in world architecture - soon.  For now, since little has changed from last July other than the overheating of the rhetoric, my original post provides a thorough overview of the potential, pitfalls and controversies of bringing the Lucas Museum to Chicago.

The Heresy: Why Chicago Should Welcome the George Lucas Museum

Saturday, March 21, 2015

Mie's New Friends: Ju Ming sculpture lands at IBM Plaza

click images for larger view
No wonder those businessmen look a bit tired.  It's taken the better part of two years for them to get to their destination.
It was in July of 2013 that the Langham Hotel Chicago, owners of the sculpture, opened in Mies van der Rohe's last skyscraper, the iconic IBM Building (now officially renamed AMA Plaza.)  And it's been 15 months since the Commission on Chicago Landmarks reversed its initial decision to ban the metallic travelers for being too close to the building.  The move followed an agreement to move the sculpture from its original position beneath the Landham's gilded canopy on Wabash to a spot on the adjacent riverfront plaza.
The pedestal for the work by Taiwanese sculptor Ju Ming was installed last December, but stood empty as late as last Saturday, when it was used as a stepping stone for photographers snapping shots of the annual St. Patrick's Day dyeing of the Chicago River green.
Then, sometime this past week, without fanfare, the travelers took up their station.  As with other of the sculptor's works, visitors are already enjoying sharing space with the frozen figures.
Ju Ming, born in 1938 and trained as a woodcarver, has gone on to an international career creating works in a wide variety of materials.  In 1999, he spent most of his life savings to create the Juming Museum near Taipei to showcase both his own work and that of other contemporary masters.  It is Taiwan's largest sculpture garden.  His subjects range from generic everymen, women and children, to paratroopers and even Albert Einstein.
If the businessmen had been placed under the hotel's canopy, they would have looked like they were waiting for their rides, cousins to J. Seward Johnson's Allow Me hailing a cab outside the Four Seasons on East Delaware.  Standing isolated on the plaza, however, they begin to look a bit dazed and confused, 1960's Man-Men-era executives teleported in an instant from an unknown place to a place unknown.

Read More about Mies van Der Rohe's IBM Building and the Langham Hotel Chicago:

Wednesday, February 04, 2015

Presidents and Their Monuments: The Barack Obama Library spurs both a Design Competition and a Battle over Chicago's Parks

Barack Presidential Library Commission
entry from Aras Burak Sen (click images for larger view)
When it comes to civic buildings, how do you define the relationship between architecture and power? Imposing scale conveys might, to be sure, but heavy classicism, to cite another frequently deployed design stratagem - does it express majesty or empire?  Dignity or a bulwark against dissent?

Next month, the announcement will be made as to where the Barack Obama Library and Museum will be located.  Whether the still unnamed architect for the project engages any of the above questions remains to be seen, but a new - and unauthorized - design competition for the library, co-sponsored by the Chicago Architectural Club and Chicago Architecture Foundation, brings more consideration and imagination to the core issues of what a Presidential library should express than the officially designated architect will probably ever be allowed to consider.

U.S. Presidential libraries have become America's pyramids.  From the $375,000 FDR raised for the first one back in the 1940's, to the nearly quarter billion dollars spent on the Robert Stern-designed 200,000 square-foot George W. Bush Presidential Center just outside Dallas, they've gone from being centers of scholarship to full-up pharaonic monuments.
George W. Bush Presidential Center, photograph J.P Fagerback Wikipedia commons
The bidding and selection process for the site for the library that will archive the achievements of Barack Obama has become a study in the arrogance of power, with the Obama Foundation, the University of Chicago, and the Emanuel administration seeming to be in their own competition to see who can be the least transparent and most contemptuous of the general public. (Not that there's anything new to this, as a recent recent Chicago Tribune story by Dahleen Glanton on the contentious history of presidential libraries has ably documented.)

Earlier this month, the Chicago Park District unanimously rubber-stamped Mayor Emanuel's deal with the University of Chicago to appropriate 20+ acre slices of either Washington or Jackson Park for an Obama Library site.  After the Metropolitan Planning Council demanded that any lost parkland be replaced with new acreage, the Emanuel administration originally promised it would, but in Rahm's patented middle-finger style, this quickly devolved into the mayor declaring that the 21-acre giveaway had already been replenished by the 750 acres of new open space he claims to have added during his time in office.  So I guess we should be prepared for the loss of any of other 729 acres whenever he feels like dealing them away to favored private interests. (The current line is that only the five acres built upon will actually be replaced. Emanuel neglected to mention that Chicago's 182 square feet of park land per resident is the lowest among all major U.S. cities, less even than New York and little more than a quarter of that in Milwaukee)

The proposal has been vociferously  opposed by advocates such as Friends of the Parks, even as public meetings seem to indicate a clear majority of the residents around the sites support the deal.  Friend of Parks requested a personal audience with President Obama when he visited Chicago last week so they could deliver in person notice of their intention to sue him if things don't go their way.
proposed Jackson Park site
The proposed Jackson Park site is the most conventional, a large rectangle of land currently taken up mostly by a soccer field surrounding by a running track.  Olmsted left this section of the park long ago.
proposed Washington Park site
In contrast the Washington Park site is a extended triangle beginning at 55th/Garfield and Cottage Grove, with its eastern boundary meandering west as it moves north, coming to a point at 51st.
To compensate, the Washington Park proposal includes adding to the site by acquiring properties along Cottage Grove to the Green Line station to the west.

Unauthorized Thoughts on what Presidential Libraries Should Be
from left: Chicago Architecture Foundation Lynn Osmond,
Chicago Architectural Club co-presidents
Martin Kläschen and Carl Ray Miller
None of the debate over the museum site has even touched on the quality of the architecture, and so the Chicago Architectural Club made the Barack Obama Presidential Library the subject of this year's version of it's biennial Chicago Prize design competition.  Earlier this month, teaming up with the Chicago Architectural Foundation, the CAC announced and unveiled the boards for the competition winners at the opening of the CAF exhibition, Presidential Libraries: Designing a Legacy.
The Drone Aviary, Ann Lui and Craig Reschke
While a persistent optimism marked the five displayed entries, beneath the surface you could also sense undercurrents of unease.  This was most overt in what was nicknamed the "dishonorable mention" winner, Ann Lui and Craig Reschke's The Drone Aviary . . .
The Drone Aviary doesn’t lock artifacts away—it collects and disburses them. President Obama’s legacy, the population and automation of the skies, would be the critical operation of his Presidential Library. The Obama Library drones both collect and distribute information. They can scan agricultural production, monitor the climate, and follow former presidents for live updates. Teachers can also borrow the pen used by Barack Obama to sign the healthcare bill by requesting that the library send it, via drone, to their classroom. Artifacts remain tucked into the Aviary wall until called upon for delivery. At street level a sculpted landscape serves as a neighborhood park for visitors who watch the drones in the tower above.
"I think it's a provocation," said Chicago Architectural Club co-president Carl Ray Miller.  "It has a double edge that cuts both ways.  While it's very optimistic, there is dark, sinister part about this, about the world to come."

"We probably should say that the dishonorable mention is a positive," added the Chicago Architectural Club other co-president Martin Kläschen. "Distinguished and disturbing because of course drone technology also stands for big brother surveillance and maybe also war technology, and that's where it becomes disturbing." Kläschen said the the jury saw the dual qualities of the entry as a debate on the president.

Juror Andrew Metter noted the Drone Aviary spoke to basic questions about the way we store knowledge in a high-tech world.  "Humans are essential to absorbing the knowledge or disseminating the knowledge." In the Drone Aviary, however . . .
The tower has few inhabitants.  Drones move about making necessary repairs to one another to one another and the building.  Artifacts remain tucked into the Aviary wall until they are called upon for delivery, future iterations of existing library automation services in places at sites like the University of Chicago.  Long dark banks of servers whir away between drone stations. A lone repairman wanders the tower executing the few tasks the drones cannot.
"What does it say of our future society?",  asked Metter.  "Having books talks about the tactile aspect of knowledge in the fact that somebody has to read them, so it definies human interaction, whereas the drone scheme implied maybe no interaction."  Is this paradise, dystopia, or an amalgam of both?  Just last week "Father of the Internet" Vinton Cerf warned of a "digital dark age" where, in the absence of hard copies such as photographs or books, the entire record of an era may be lost to history through a discontinuity of digital technologies.

Whatever their other merits, no other winning entry offered such a subversive sense of irony.
between SKY and GROUND, Dániel Palota
The second honorable mention, Dániel Palotai's between SKY and GROUND offered . . .
A wide and open public square combines the elements of the city context, connecting the river, the platform of the tracks and street level, situates new and existing buildings an exciting interaction. The gently rising terraced slope is a mixed combination of small intimate platforms, open air exhibition spaces, green surfaces, ramps and stairs, accessible from every direction. These set of various and well-defined levels embrace and include the ground floor of the library, and lead to the main and most exciting series of covered and open spaces on the first floor. Various ceiling height enhance the experience of the voids, ensuring intimacy and openness at the same time. Indoor exhibition and library rooms are situated on upper stories organized by the similar space typology.
Kläschen spoke of described the proposal as "a neutral building on the outside; on the inside we see a very well refined set of well developed spaces and spatial interaction . . . a building connected to an extraordinary urban landscape, an interface to the city."
click images for larger view
There were two striking aspects to the last honorable mention winner, Drew Cowdrey and Trey Kirk's A Mobile Archive.  Very much in the tradition of the methodology of Chicago architects like Jeanne Gang and John Ronan, this entry began with an exhaustive research of all twelve presidential libraries, tracking their size and cost, and what percentage of the space is actually devoted to storing documents.

Out of this, Cowdrey, an architect with SOM-NY, and Kirk, an architect now working with a firm in Tennessee, came up with a typology and a process.  The typology is strikingly Miesian glass cube, set on a wide plaza that is a staging area for the process - loading up museum contents onto larger trailers that fan out into Chicago's neighborhoods.  Once the trailers have left the loading docks, the plaza becomes a public square.
"What was noted by the jury," said Miller, "was that although the skin of the building is very familiar to Chicago, there was something very special about how this building interacted."  Added Kläschen, "What became the debate, a very interesting debate, especially with Stanley Tigerman being on the jury, is this facade.  It's such a statement, that refers to Mies's early modernist building and we were questioning whether this was a building that was supposed to become generic, and blend in to the landscape, or is this maybe a statement that refers to Mies."

Kirk claimed this was all a surprise to him. "We're fans like anyone else of Mies," he said, but what appears at first glance to be classic Miesian I-beams on the structure's facade are in actuality glass fins.  "We didn't intend it to be perceived as having mullions.  The fins are only six or eight inches."  The exterior is a dual-skin facade, with a 3-foot wide air cavity both for energy efficiency and to protect the contents of the library.

What was supposed to be a first, second and third prize was changed by the jury to two co-first prize winners, sharing the $3,000 in prize money contributed by the Chicago office of Skidmore, Owings and Merrill.  Considered together, they seem almost like complementary geometrics, Saturn and its rings.

First Prize Winners

Both of the first prize winners bridge the competition's museum site to the other other two shores of the juncture where the Chicago River splits into North and South branches,  the source of the city's "Corporate Device", the Y symbol that denotes Chicago and can be found all across the city in everything from ornament on bridges to the lights of the Chicago Theater marquee.
In the case of Boston-born Aras Burak Sen's first prize entry, this is accomplished through a "Bridge of Hope . . . shaped as the peace sign connecting three sides of the river." Sen shows his OMA roots in the way his design includes semi-autonomous components - in this case eight stacked structures, each holding archives for a single year of Obama's presidency and rotated to provide a different view out onto Chicago - contained within a single mega-structure, a giant sphere that evokes memories of Etienne-Louis Boullée's Cenotaph memorial for Isaac Newton.

The proposal includes a commentary on the limits of power . . .
The levels above this bridge is the distortion of the hope in random directions.  The form of these floors could be seen as the artifacts of an era struggling to do something great when it is impossible to do so.  The distortion of great hopes.
As with other entries, the ground level of the building is seen as an expression of democracy . . .
. . . without any glass, without any walls, Obama Presidential Library provides a free amphitheater for Chicago to communicate, discuss anything.  The Bridge of Hope cuts through the theatre, looking above discussions being held, allowing them to be overhead.
Sen's intent is to distinguish the Obama from other libraries that are "no different than a mausoleum for the president."

"The jurors felt", said Miller, "that the monumentality and the disruption of the platonic volume with these view portals into different directions and different neighborhoods of the city was very, very symbolic.  The jury concluded, said Miller, "this monumental building was something that would hold the site very well, and that was one of the points that had them coming back to this project."

The Big O

A different kind of symbolism was at play in the other first-prize wining entry, a massive set of 800-foot in diameter, 100-foot-wide rings bridging and floating above the three points of the river's juncture seeking "a brand new typology and form" for the Presidential library."

On hand at the ceremony was the entry's Chinese design team, led by Dr. Zhu Wenyi, Dean of the School of Architecture at Tsinghua University in Beijing.  "There is a Plan A or Plan B," said Zhu, "But also Plan O.  I think that Plan O is better."
O as in Obama.  O as in the shape of the rings.  "This is a kind of symbol of President Obama," explained Zhu.  "A kind of metaphor" and a spiritual place for visitors to the library.  "Considering that Chicago is the birthplace of skyscrapers and is full of high-rises, the roof engraved with famous quotes from President Obama is designed to be 'the fifth elevation.'"  Zhu talked about creating multi-dimensional spaces that allow visitors strolling along the rings to experience both the library and the city outside.

"I want to emphasize," said Zhu, "the interior space." Obama's life and career are organized around six themes, express in the strutter as "6 parallel ways instead of the separated 'units' of exhibition. Visitors can enjoy different angles of President Obama's life at one time when strolling in the library" in those multi-dimensional spaces.
Zhu Wenyi discusses his teams entry to the the competition

Back to Reality
River Point rises on the competition's hypothetical site
Design competitions are most often the architectural equivalent of fantasy football, but this competition was especially unencumbered by reality.  Not only is the competition's designated site not among the four finalists chosen by the Obama Library Foundation, it's neither vacant nor available.  The concrete core for what will eventually be the 60-story River Point office tower is rising quite visibly there now.

This disconnection of the competition with the actual problems of the city left me pre-disposed to hostility, but in looking at the five winners now on display at CAF, I was struck by the fact that the entrants are bringing far more analysis and imagination to the project than will likely ever be seen in the library building that's actually constructed.  (The work of the named architect for the library will be tightly constrained by the National Archive's 265 page brief Architectural and Design Standards for Presidential Libraries. )

More to the point, it now appears the addiction to fantasy may spill far beyond the competition, taking in the supposedly big-power players attempting to lure the library to Chicago.

In a recent column, the Sun-Times's Michael Sneed claimed the final decision on where to locate the library has been placed firmly in the hands of Michelle Obama.  According to Sneed, the First Lady wants the library go to New York's Columbia University, a city and school with zero relation to Barack Obama's history.  And wouldn't that be a a kick in the head to a city that thinks it wrote the book on insider politics?

I can see the T-shirts now:  "The Obama Library went to Columbia and all I got was this nifty design idea".
Presidential Libraries: Designing a Legacy is currently on view at the Chicago Architecture Foundation. You can view the winning entries on-line, as well as a video of the award ceremonies.


Sunday, February 01, 2015

Not (Birch Burdette) Long for This World? Century-Old Mariano Park out for Bid


click images for larger view
Recently, reporter Felicia Dechter had news about Mariano Park, the sliver of open space at State and Rush that puts the triangle in The Viagra Triangle, the name given to a collection of upscale restaurants and bars where it's said unnaturally tan older men with the appearance of money meet improbably endowed far younger women in search of it.   And while the particulars of that urban narrative may be exaggerated, the dynamics of the actual triangle are what make any public space successful.  It's at once magnifier and release for human interaction, encouraging both active engagement and passive observation.

According to Ms. Dechter, at the end of last year, Whispers Café's contract with the Chicago Park District expired.  For 13 years, Whispers provided Mariano Park with tables, chairs and benches, washed the park daily, and steam-cleaned it bi-weekly.  The Café  won awards for its maintenance and gardens.

Well, we don't need those kind of people, do we?  Dechter says the Park District is looking to ramp up the monetizing of Mariano Park, with previous rumored suitors including Gibson's Steak House and Connies Pizza, with indications a new deal might include demolishing the park's pavilion for a much larger, more lucrative building. The Chicago Park District has issued a "Concession Opportunity Notice of Availability", with bids due by February 20th, and will be holding a Prebid meeting for potential new vendors this Wednesday at 1:00 p.m.
Connors Park - before
This model of "improvement" has already been inflicted another public space triangle just a few blocks to the south.  Connors Park had a charming pergola and fountain, which were demolished after officials declared that, in one of the most well-traveled areas of the city, they couldn't keep derelicts from vandalizing the park and its seating.  Their solution was transform Connors from a park to a big Argo Tea building with a greenspace attached to it.  Part of the agreement with Argo was that the seating both outside and inside the building would remain a public park, accessible to all, but it certainly doesn't read that way to passersby.  The ambiguous quality of the reconfigured park was confirmed by complaints by neighborhood residents of being told to leave by Argo staffers when they hadn't made a purchase.  New signage was installed stating that both the park and the Argo Tea interior were property of the Park District, and open to the public.
Connors Park - after
If the city and the Park District has something similar in mind for Mariano, it would be a major misfortune, as the park is rich both in structure and history.  The park was acquired by the city as far back as 1848, and was previously known as Green Bay Triangle in homage to nearby Clark Street's original identity as Green Bay Trail.  In 1931, it was renamed Rehm Arbor after brewer Jacob Rehm.  The property was transferred to the Chicago Park District in 1959. In 1970 it was renamed once again for nearby resident, newspaperman Louis Mariano.  Long before sportscaster Harry Carey inherited the title, Mariano was known as "The Mayor of Rush Street."
Mariano Park's pavilion dates back to the turn of the 20th century. Lucy Fitch Perkins, wife of architect Dwight Perkins, was chairman of the Committee of the Art and Literature Department of the Chicago Woman's Club.  The Club committed $1,000 to build out Mariano, and collaborated with the Chicago Architectural Club in a competition for its design.  Pratt and Lambert donated $50 for the prizes.

Proving that the gratuitous use of all-caps didn't start with email, the Tribune wrote at the time that "The idea of utilizing as sites for statues, fountains, and other monuments the small, triangular spaces which abound in Chicago at the intersections of diagonal streets was suggested in THE SUNDAY TRIBUNE fully two years ago."  The paper reported that three prizes had been awarded, but by general consensus, the best design was one eliminated from consideration because the judges determined it couldn't be built for the $1,000 at hand.
That design was by Birch Burdette Long.  Born in Columbia City Indiana, Long is almost completely forgotten today, but he was one of Frank Lloyd Wright's original employees.  Along with Marion Mahony - Wright's first hire - they are said to have largely created the Japanese-influenced style of architectural delineation that would help make Wright famous through the world.

Long became highly respected for the quality of his renderings, which included a handsome competition concept for a new crossing for the Illinois Central tracks at the Midway Plaisance. Eventually, he moved east, spending many years working for the Architectural League of New York. In 1922, he established the Birch Burdette Long Sketch Competition.  It became Long's memorial after he died of pneumonia while mounting an exhibition for the Architectural League in 1927. The juried prize was awarded annually until 1972, when it was discontinued "for lack of interest in architectural illustration."
Long won the Mariano Park commission while he was still a draftsman in Wright's office.  That caused some friction, as a reporter learned from a conversation with Long for a story in The Brick Builder some years later.  According the article, Long's design was . . .
 . . .  even more outre than Wright's work: the columns were striped red and white, like candy poles; the roof was a combination of Japanese and "Chicagoese" architecture, and when it was finally built in a rather prominent location, nobody knew what to to make of it - in consequence nobody liked it much.  The papers had letters about it, even editorials regarding the disfigurement of public property, and yet from the photographs of the structure which the writer has seen, it seems to have been a very charming and appropriate little building, not easily to be classified under one of the architectural schools, perhaps, but filled with a playful charm and gaiety of composition which may be singularly appropriate to its position and its purpose.
An unnamed spokesperson for the Women's Club said Long's concept was selected "because it seemed best suited to the conditions, and was distinctly original and not merely a conventionalizing of some old-world model"  While a fountain was included in Long's design, the one at the park now dates only from 1998.
Although partially obscured by signage, Long's pavilion looks very much the same today.  It does not overwhelm the park, which could mean that its days are numbered.  It has no landmark protection. 
Long's small structure has witnessed over a century of Chicago history, seeing its Rush Street environs evolve from houses on generous lawns, to upscale apartments, to a red light district with some of the city's best known clubs, to Viagra central, to today, when it's becoming a release valve for upscale retailers spilling over from Rush Street, with Dior slated to take over the Urban Outfitters store two blocks down the street.

Yes, the city needs revenue.  Yes, the people need more high-end tea, and coffee, and gelato. (They seem to have become a lingua franca of urban revival.)  Just not so much as we still need continuity and connections to Chicago's history.  Just not so much as we need, more than ever, places where human scale still endures amidst the booming and often depersonalized hyper-density rising around them.  Places like the small oasis of open urban space that is Mariano Park, centered in time and scale by Birch Burdette Long's quirky, gracious pavilion.


Read More
Destroying a Park to Save It: The Tea House that Ate Connors Park
McPlazas?  Privatizing Chicago's Orphan Public Spaces

Thursday, January 08, 2015

For a Deep-Freeze Day, a Journey to the Rainbow

click images for larger view (Recommended)
That whole winter thing - the cold, the wind, the snow, the slush - OK,  I get it already.  Ça suffit!
What better time to take a quick trip to one of Chicago's architectural jewels, the award-winning David Woodhouse designed beach house at Rainbow Beach, project architect David Poorman, Nayyar and Navvay International, structural engineers.  The same team was also responsible for the larger field house just next door.
Begin with an incredible location,  at 75th Street, cupped into the lakefront at a point where the city and its shoreline has moved several miles east of their downtown boundary, creating a spectacular view of the Chicago skyline in the far distance.  Add the poetic use of the low-cost materials mandated by a constricted budget.  Plexiglas wafers aglow with light, a cross between rippled Pringles and the fronds of an abstracted palm tree, provides the shade.  The steel superstructure, painted a bright silver that glistens in the sun, forms trunks, colonnades, terraces and trellises.  The flourishes soften and extend the aggressive boxiness of the concrete block buildings to which they're attached.
These often commonplace elements are brought together through proportion and placement into an unusually satisfying whole.  That's good architecture.
Just looking at these pictures, I feel the warmth of the sand on my feet and the sun on my face.  I gaze out at the beautiful lake that has cast off its Ice Queen indifference, to refresh the heat of day with its cool, moist breezes.  I can see myself now getting through these next few brutal weeks because, at Rainbow Beach, in a great city at its summer best, life is sweet.


Sunday, January 04, 2015

For the New Year, Trump Tower gives the gift of Opaque

click images for larger view
[update March 6, 2015] Marina City Online is reporting that Valerio Dewalt Train is designing three meeting rooms in the space behind the Trump Riverwalk windows.
For a building with pretensions of class, Trump Tower certainly has a weakness for slumming itself up.  First, less than a year afters its opening, the striking, award-winning original native-plant landscaping  by Hoerr Schaudt was torn out in favor of a generic, gravel striped design that would be more at home in a run-of-the-mill suburban apartment complex. Then, last year, there was the affair of the glowing 20-foot-high letters plastering the name Trump on the building's riverside facade.  While there were those who tried to raise a stink about the sign, I have it from a reliable source (he must be reliable - he has spun hair) that it has already become universally beloved by all of Chicago.
A third desecration, however, has been much less remarked upon.  One of the glories of Trump Tower is the upper walkway that connects the structure's Riverwalk to Wabash Avenue.  It's set between the great stainless steel columns , which frame views of the river and its iconic skyline, and a continuous curving wall of glass.  Though the glass itself was clear, a covering kept what was behind it from view.
That was, until  last year, when I noticed in March that you could suddenly see in all the windows.  It wasn't pretty.
One of the most luxurious buildings in Chicago had decided to put on public display a perfect view of an extended service corridor - raw, unfinished concrete walls, exposed conduit, a storage vault for various ladders, floor mats, furniture, discarded hairpieces.  It was like Trump had taken his reputation for elegance and thrown it into the trash, making the walkway's long window wall a museum of the things respectable buildings kept concealed behind closed doors.  It was kind of shocking to realize that what you had imagined to be prime space behind the handsome windows of a well-traveled walkway was actually a narrow, ungainly strip of leftover square footage.
Simply put, it was an embarrassment and an eyesore.  Was it a deliberate provocation by the Trump, another way of poking his critics in the eye?  Or was it just something that slipped through the cracks, beneath his interest?

And yet, month after month it endured - until just recently.  This weekend I noticed there's finally a new cover-up on the glass.
 Pedestrians can enjoy the walkway without being confronted with what is, architecturally speaking, Trump Tower's underwear.

Happy New Year!

Previously:

Trumped: An Oasis of Urban Magic Vanishes 

 OD'ed on Outrage: The Donald's Sign is Very Bad. The Circus of Distraction is Worse.