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Saturday, December 10, 2011
Now That's How to Get Their Attention - Barenboim/Carsen Don Giovanni at La Scala
Director Robert Carsen is known for his often controversial interpretations of classic operas, and his new production of Mozart's Don Giovanni which opened at LaScala Milan this past Wednesday would appear to be no exception, but - especially if you were in the audience and didn't know it was coming - the opening scene, played to the beginning of the overture, has to be one of the most spectacular conceits ever executed.
The danger with well-known works is that familiarity shears away the audacious qualities that put them at the forefront of creativity. Carsen's shock treatment of beginning - not raising, but pulling down the curtain, revealing not a set, or even a bare stage, but the audience looking at themselves in an unstable mirror that seems to have placed them at the bottom of a fish bowl - is the shock that pulls the rug out from under business as usual and invites the audience to see one of the greatest creations of Western culture as if for the first time. Critical reaction seems to have been mixed, and if you watch the entire trailer above some scenes look great, while others, such as the Commendatore running through Don Giovanni with a comically bendy sword, seem to have missed boarding the A-train.
The all-star cast includes Petter Mattei, Bryn Terfel, Anna Netrebko, Giuseppe Filanoti and Barbara Frittoli. If you have the time and the money (up to $500 bucks or more a ticket), the LaScala production plays through December 28th, and returns in January with a substantially less starry cast.
If you can read Italian and make your way through a post of consists almostly entirely of scanned newspaper pages, check out the indispensable Opera Chic's coverage of the premiere, which was attended by both Italian President Giorgio Napolitano and new Prime Minister Mario Monti, as well as broadcast live across the nation on Italian television. And if you don't mind bleeding chunks that look like they were taken from someone's cell phone, you can check out these excerpts on YouTube.
If you want to see the entire production, apparently in Chicago proper you're out of luck, but you can catch the opera on December 13th at the Marcus Theaters in Orland Park, and on December 18th and 22nd at the Wilmette Theatre in, you know, Wilmette.
Labels:
Daniel Barenboim,
Don Giovanni,
LaScala Milan,
Mozart,
Opera Chic,
Robert Carsens,
Wilmette Theatre
Friday, December 09, 2011
Curator's Talk: Bertrand Goldberg Architecture of Invention, noon today at the Art Institute
"Join curatorial staff on a guided walk through the exhibition, Bertrand Goldberg: Architecture of Invention, the first comprehensive retrospective exhibition of the architect's career. Featuring over 100 original architectural drawings and models as well as graphic and furniture designs, this seminal exhibition explores Goldberg's 1930s futuristic designs to the iconic towers and hospital complexes of his mature career and his life-long dedication to architecture for urban environments." 12:00 - 12:45 p.m. today, December 9th, Art Institute of Chicago, 111 South Michigan. Free with admission.
Thursday, December 08, 2011
Chicago, Close-up and On-High
Labels:
Gage Building,
Henry Hering,
Intercontinental Hotel,
Michigan Avenue Bridge,
Tribune Tower,
University Club
Tuesday, December 06, 2011
Night and the City
Labels:
310 South Michigan Beehive,
Art Institute of Chicago,
Board of Trade,
brides,
Central Camera,
Crown Fountain,
Metropolitan Detention Center,
Rookery
Sunday, December 04, 2011
Bertrand Goldberg Reflections Open House, percussive Taliesen, North Grant Park, Rüedi Ray's Bauhaus Dream House, Cannon's Sullivan, Dahlman's Marina City, Teshigahara's Antonio Gaudi - and more holiday events on the December Calendar
Even with things winding down for the holidays, there's still over three dozen great programs on the December 2011 Calendar of Chicago Architectural Events.
Toplined is a special open house for Bertrand Goldberg: Reflections, at the Arts Club of Chicago, 201 East Ontario, on December 17th 10:a.m. to 4:00 p.m. . This may be your only chance to see this don't-miss exhibition, which I expect to be writing about this week, on a Saturday, liberated from the Arts Club's usual bankers hours of 11 a.m. to 6 p.m., Monday through Friday. The day will include gallery talks at 11 a.m. and 1 and 3 p.m.
There's a lot there in December, including volume 20 of the 20-slides-20-seconds each presentations of Pecha Kucha Chicago, at Martyr's on Tuesday the 6th. Wednesday the 7th, updated plans will be unveiled for the North Grant Park (a/k/a/ Daley Bicentennial Plaza) Project, this time at the Fairmont Hotel, while at CAF lunchtime, Katerina Rüedi Ray discusses her new book Bauhaus Dream-house: Modernity and Globalization. On Thursday the 8th, Friends of Downtown's annual meeting will feature a presentation by Steven Dahlman, the man behind the essential website Marina City Online. That weekend, Glessner House will be offering its annual Holiday Candlelight Tours of both the H.H. Richardson mansion and the historic Clarke House.
On Sunday, December 11th at the Cultural Center, the Third Coast Percussion Ensemble will be offering the Chicago premiere of Common Parts in Uncommon Time, a new work by David Skidmore celebrating the 100th anniversary of Frank Lloyd Wright's Taliesen. On Wednesday the 14th, the last CAF lunchtime lecture this year features Patrick F. Cannon discussing his new book, Louis Sullivan, Tragedy and Triumph.
There'll be a Holiday Party/ Book Sale at the Graham on Thursday the 15th, Kim Nigro at Chicago Women in Architecture's Party and Silent Auction benefiting their scholarship fund at Häfele this Thursday, and the annual meeting and Awards Presentation at the Rebuilding Exchange on Friday. On Saturday, the 10th, Rush-Presbyterian will be offering public tours of its spectacular new building by Perkins+Will. And 2011 ends from December 16th through the 23rd with what's become a Gene Siskel Film Center holiday tradition: Hiroshi Teshigahara's hypnotic documentary, Antonio Gaudi.
Check out all the great items on the December Calendar of Chicago Architectural Events.
Toplined is a special open house for Bertrand Goldberg: Reflections, at the Arts Club of Chicago, 201 East Ontario, on December 17th 10:a.m. to 4:00 p.m. . This may be your only chance to see this don't-miss exhibition, which I expect to be writing about this week, on a Saturday, liberated from the Arts Club's usual bankers hours of 11 a.m. to 6 p.m., Monday through Friday. The day will include gallery talks at 11 a.m. and 1 and 3 p.m.
There's a lot there in December, including volume 20 of the 20-slides-20-seconds each presentations of Pecha Kucha Chicago, at Martyr's on Tuesday the 6th. Wednesday the 7th, updated plans will be unveiled for the North Grant Park (a/k/a/ Daley Bicentennial Plaza) Project, this time at the Fairmont Hotel, while at CAF lunchtime, Katerina Rüedi Ray discusses her new book Bauhaus Dream-house: Modernity and Globalization. On Thursday the 8th, Friends of Downtown's annual meeting will feature a presentation by Steven Dahlman, the man behind the essential website Marina City Online. That weekend, Glessner House will be offering its annual Holiday Candlelight Tours of both the H.H. Richardson mansion and the historic Clarke House.
On Sunday, December 11th at the Cultural Center, the Third Coast Percussion Ensemble will be offering the Chicago premiere of Common Parts in Uncommon Time, a new work by David Skidmore celebrating the 100th anniversary of Frank Lloyd Wright's Taliesen. On Wednesday the 14th, the last CAF lunchtime lecture this year features Patrick F. Cannon discussing his new book, Louis Sullivan, Tragedy and Triumph.
There'll be a Holiday Party/ Book Sale at the Graham on Thursday the 15th, Kim Nigro at Chicago Women in Architecture's Party and Silent Auction benefiting their scholarship fund at Häfele this Thursday, and the annual meeting and Awards Presentation at the Rebuilding Exchange on Friday. On Saturday, the 10th, Rush-Presbyterian will be offering public tours of its spectacular new building by Perkins+Will. And 2011 ends from December 16th through the 23rd with what's become a Gene Siskel Film Center holiday tradition: Hiroshi Teshigahara's hypnotic documentary, Antonio Gaudi.
Check out all the great items on the December Calendar of Chicago Architectural Events.
Sunday reading: The Lost City of Rangoon, Christmas-mad China, mad-as-a-hatter GOP
The weekend Financial Times is always a great read, but this weeks edition is particularly rich, with Thant Myint-U's Forgotten Treasures, a fascinating report on the time-capsule colonial architecture of Rangoon. now Yangon, a remnant fantasy world that could disappear as fast as it's being rediscovered as Myanmar emerges from its long isolation. Elsewhere, we find out that Christmas is becoming a really big deal in China, with the city of Yiwu, self-billed as the "Christmas ornament capital of the world", now claiming over 600 companies manufacturing holiday decorations. And in Republicans respond to anger over inequality, we read about the New Feudalists' plan to derail public outrage over increasing U.S. inequality by offering legislation to cut $9 billion over the next decade by closing loopholes that the reliably hallucinatory Newt Gingrich describes as an Obama conspiracy to give food stamps to millionaires. Apparently, this will distract us from the fact that, over the same coming decade, the cost of the GOP's obsession to extend Bush tax cuts largely benefiting those same millionaires will come in at a somewhat larger $3.7 trillion.
Labels:
Bush tax cuts,
Christmas decorations,
Financial Times,
New Feudalists,
Rangoon architecture,
Yangon colonial architecture,
Yiwu
Wednesday, November 30, 2011
Life and Work of Benjamin Marshall Today, December calendar tomorrow (we hope)
Maintaining a time-honored tradition, we're a little late with the December calendar, which we expect to have up tomorrow.
So here's a heads-up that at 12:15 p.m., today, December 1st, in the Millennium Room of the Chicago Cultural Center, Friends of Downtown is sponsoring a talk by Stephen Monz on the life and work of architect Benjamin Marshall, whose work includes such buildings as the Drake and Blackstone hotels, and 1550 North State Parkway.
Thursday is also the day, 12:45 p.m., in the Council Chambers of City Hall, 121 N. LaSalle, for the monthly meeting of the Commission on Chicago Landmarks, which continues to be nowhere to be found in the battle to save Bertrand Goldberg's gravely endangered Prentice Hospital, but has an agenda item proposing landmark designation for the Art Deco DuSable High School at 49th and Wabash. No landmarks report on the structure has been posted yet, but there's an informative piece on the building by Lee Bey here.
So here's a heads-up that at 12:15 p.m., today, December 1st, in the Millennium Room of the Chicago Cultural Center, Friends of Downtown is sponsoring a talk by Stephen Monz on the life and work of architect Benjamin Marshall, whose work includes such buildings as the Drake and Blackstone hotels, and 1550 North State Parkway.
Thursday is also the day, 12:45 p.m., in the Council Chambers of City Hall, 121 N. LaSalle, for the monthly meeting of the Commission on Chicago Landmarks, which continues to be nowhere to be found in the battle to save Bertrand Goldberg's gravely endangered Prentice Hospital, but has an agenda item proposing landmark designation for the Art Deco DuSable High School at 49th and Wabash. No landmarks report on the structure has been posted yet, but there's an informative piece on the building by Lee Bey here.
Labels:
Benjamin Marshall,
Bertrand Goldberg,
Commission on Chicago Landmarks,
DuSable High School,
Friends of Downtown,
Prentice Hospital
Tuesday, November 29, 2011
A follow-up on Lightscape; Pop-Up Galleries still alive
Yesterday afternoon, we received a note from the Chicago Loop Alliance's Ty Tabbing regarding my post on the new Lightscape installation on State Street, admirably restrained considering how rough I was on the project. Mr. Tabbing informs me that the listing I noticed in some of the "reeds" - the individual light poles - is actually intended to help withstand Chicago's winds - with today's 40mph gusts, they'll get a workout - and mimic the movement of Midwest prairie grass. He also challenges my characterization of Lightscape as a "one-size-fits-all" solution with a reminder that it was designed specifically for the State Street site. It was not my intention to suggest otherwise, and if that was the impression I gave, I apologize. When I wrote "one-size-fits-all", it's referring not to the origin of its design, but to the generic nature of the project. Changing the color palette and music at different times of year doesn't disguise the fact the entire thing is numbingly uniform, to the point where I believe Lightscape will ultimately become as invisible as a street lamp, which by the way, actually have more varied decoration by replacing the globes with Jack O'Lanterns for Halloween, golden baubles for Christmas, etc.
More importantly, Mr. Tabbing corrects what he says was a quote taken out of content in Crain's. While the decreasing vacancy rate on State has reduced the venues for display, Mr. Tabbing assures me - and I hope he won't mind me quoting him here - "Pop-Up galleries were, and will remain, an important strategy to bring art and artists into the Loop." And that's very good news.
More importantly, Mr. Tabbing corrects what he says was a quote taken out of content in Crain's. While the decreasing vacancy rate on State has reduced the venues for display, Mr. Tabbing assures me - and I hope he won't mind me quoting him here - "Pop-Up galleries were, and will remain, an important strategy to bring art and artists into the Loop." And that's very good news.
Monday, November 28, 2011
Chicago Streetscene: Shadow Branches
Sunday, November 27, 2011
Pathetic on a Stick: Lightscape on State
This is what a million dollars looks like today . . .
They were paid for by assessments on State Street retailers, in largest part by allocating the next five years of the former holiday light funds to Lightscape. They're using new energy-efficient LED lamps from OSRAM Sylvania, cutting electrical costs, and sharply curtailing labor expense, 'cause they're never going to be taken down. They're up year round, "changing" with the seasons and for special events. There's also supposed to be embedded speakers for "special announcements" and syncing the light show with musical selections, although during the two days I scoped out Lightscape, if there was any sound being produced it must have been in the range only dogs can hear.
The project reeks of the usual greenwashing (we're saving thousands of dollars in electricity, and it only cost a million!) and hype, from the self-congratulatory claim that now they won't have to just throw away all the lights each year (as if the whole point of the exercise wasn't to encourage shoppers to buy tons of stuff they'll hopefully mostly throw away by next year so they'll have to do it all over again), to descriptions of the anemic displays as "setting the Loop ablaze."
Well, the second coming of the Great Chicago Fire, Lightscape ain't. Instead, it's just another flavorless homogenization of a once great shopping street. The faux-glitter of the poles look cheap, and a number of them already look to be listing away from plumb. A lot of time watching the clusters at the end of last week consisted of waiting for them just to light up, then seeing one or two lamps slowly come to life, and then colors that appeared to have nothing to do with the traditional green and red of the holiday, but instead completely generic whites, yellows, oranges and purples. And then back to a long waiting period of nothing being lit at all.
Some of this, I'd like to think, is just a matter of early performance jitters. Soon, it's hoped, the music will start to play, and it won't sound like it's coming from a $2.00 boom box. Soon, the co-ordination between the music and lights will start to take hold, creating patterns that are interesting rather than just erratic. And the selection of colors will actually have some relationship to the holiday they're supposed to be celebrating.
Even if all this comes to pass, however, the bottom line is this: Lightscape is a lightweight - a supply-chain, one-size-fits-all solution for a shopping district that desperately needs a distinctive identity. Again according to Crain's, funding for Lightscape not only has killed off traditional holiday decorations, but it's also resulting in pulling the plug on the work of real, distinctive artists who exhibited in the "pop-up" art galleries in empty State Street storefronts. Loop Alliance director Ty Tabing told Crain's they're no longer necessary. He may wind up being the only guy actually blinded by Lightscape's dim light.
Follow-up: Ty Tabbing of the Chicago Loop Alliance has written to tell me that "reeds" - the individual light poles - are actually designed to sway as a way of dealing with Chicago's high winds, and also that the Pop-up Gallery program, despite a reduction in venues due to decreased vacancies along State, is still very much alive.
click images for larger view
The fad of the cactus lamp died out decades ago, but it lives on in Lightscape, a series of a dozen clusters of 9-foot-tall "prairie grass" lights that has just been unveiled down State Street that, according a report in Crain's Chicago Business, cost a cool $1 million. It replaces the traditional holiday lighting on the street, for which Crain's quotes the Chicago Loop Alliance as saying cost about $120,000 a year. Only 9 years to breakeven.They were paid for by assessments on State Street retailers, in largest part by allocating the next five years of the former holiday light funds to Lightscape. They're using new energy-efficient LED lamps from OSRAM Sylvania, cutting electrical costs, and sharply curtailing labor expense, 'cause they're never going to be taken down. They're up year round, "changing" with the seasons and for special events. There's also supposed to be embedded speakers for "special announcements" and syncing the light show with musical selections, although during the two days I scoped out Lightscape, if there was any sound being produced it must have been in the range only dogs can hear.
The project reeks of the usual greenwashing (we're saving thousands of dollars in electricity, and it only cost a million!) and hype, from the self-congratulatory claim that now they won't have to just throw away all the lights each year (as if the whole point of the exercise wasn't to encourage shoppers to buy tons of stuff they'll hopefully mostly throw away by next year so they'll have to do it all over again), to descriptions of the anemic displays as "setting the Loop ablaze."
Well, the second coming of the Great Chicago Fire, Lightscape ain't. Instead, it's just another flavorless homogenization of a once great shopping street. The faux-glitter of the poles look cheap, and a number of them already look to be listing away from plumb. A lot of time watching the clusters at the end of last week consisted of waiting for them just to light up, then seeing one or two lamps slowly come to life, and then colors that appeared to have nothing to do with the traditional green and red of the holiday, but instead completely generic whites, yellows, oranges and purples. And then back to a long waiting period of nothing being lit at all.
Some of this, I'd like to think, is just a matter of early performance jitters. Soon, it's hoped, the music will start to play, and it won't sound like it's coming from a $2.00 boom box. Soon, the co-ordination between the music and lights will start to take hold, creating patterns that are interesting rather than just erratic. And the selection of colors will actually have some relationship to the holiday they're supposed to be celebrating.
Even if all this comes to pass, however, the bottom line is this: Lightscape is a lightweight - a supply-chain, one-size-fits-all solution for a shopping district that desperately needs a distinctive identity. Again according to Crain's, funding for Lightscape not only has killed off traditional holiday decorations, but it's also resulting in pulling the plug on the work of real, distinctive artists who exhibited in the "pop-up" art galleries in empty State Street storefronts. Loop Alliance director Ty Tabing told Crain's they're no longer necessary. He may wind up being the only guy actually blinded by Lightscape's dim light.
Follow-up: Ty Tabbing of the Chicago Loop Alliance has written to tell me that "reeds" - the individual light poles - are actually designed to sway as a way of dealing with Chicago's high winds, and also that the Pop-up Gallery program, despite a reduction in venues due to decreased vacancies along State, is still very much alive.
Saturday, November 26, 2011
Art Institute Lion On the Prowl and Back to Nature for Christmas 2011
click to view on YouTube in larger size
No plastic bubbles this year; the Art Institute of Chicago is going back to nature. Friday, the workers from the museum's Physical Plant department were working with physical plants during this holiday season's ceremonial wreathing - the 20th - of On the Prowl, the northernmost of the the two lions, sculpted by Edward Kemeys, that guard the Michigan avenue entrance. (The name of the southernmost lion? Surprisingly enough: Murray.) click images for larger view
The large crowd assembled for the event enjoyed the joyful singing of the Wooten Choral Ensemble, while the lions on the Peoples Gas Building looked down on the scene with the usual mixed emotions of envy and hurt feelings.Thursday, November 24, 2011
The Great Chicago Christmas Tree, Placed versus Constructed
This was the scene at Daley Plaza late Wednesday afternoon, as mayor Rahm Emanuel and ABC7's Val Warner and Mike Caplan lit Chicago's official 2011 Christmas Tree. A 55-foot-tall Colorado spruce brought in from the Spangler home in Western Springs, where it was threatening the foundations, it's s all of a piece.
click image for larger view
It wasn't always so. Not that long ago, the Daley Center Chistmas tree soared over a hundred feet tall, a construction project of over a hundred individual trees carefully stitched together to appear as one. Check out our photo essay from 2007, It's the Great Chicago Christmas Tree (Some Assembly Required).
Wednesday, November 23, 2011
Norman Foster Weighs Buildings at the Siskel, Geoffrey Baer walks the Loop for 'TTW
In his new memoirs, Designing Buildings to Burn, Stanley Tigerman writes of an encounter between Buckminster Fuller and Chicago architect Charles Murphy, Jr., regarding the rough-hewn skyscraper now known as the Daley Center.
Fascinated by the long-span high-rise structure that had been designed by Jacques Brownson of the Murphy organization, Fuller asked Murphy not what the building cost per square foot, but what it weighed per square foot. Murphy's puzzled expression told the story; he had never perceived a building in those terms, whereas Fuller, not trying to put down Murphy, merely wanted to ascertain the building's value so that he could measure it against other structures built in a like fashion.Tigerman adds that Fuller's question was decades ahead of its time, but not much later Fuller was asking a variation of the same question of Norman Foster, and although the British architect was also taken aback, his reaction was quite different. He was completely intrigued by Fuller's investigation of minimizing structure and "working with nature". Not only did those questions become hallmarks of his work, but Foster also entered into a working relationship with Fuller that ending only with Fuller's death in 1983. Last year, Foster paid tribute to Fuller by recreating his pathbreaking 1933 Dymaxion car.
Fuller's irreverent and probing question has now become the title of a documentary, How Much Does Your Building Weigh, Mr. Foster?, that's coming back to the Gene Siskel Film Center, 164 North State, for two encore showings, Sunday, November 27th at 3:15 p.m., and Wednesday, November 30th at 6:15 p.m. More information here.
Also on the documentary front, on November 29th at 7:30 p.m., WTTW will be offering up the premier of Chicago's Loop: A New Walking Tour with Geoffrey Baer, including the story of how Bruce Graham illustrated the design for Sears (Willis) Tower as he "picked up a fistful of cigarettes and extended some of them from his hand in a staggered profile" (Fazlur Khan didn't smoke). There'll be a number of repeat showings throughout early December. More information, and a trailer, here.
(I really need to be starting on an iPhone app.)
Labels:
Chicago Loop a New Walking Tour,
Geoffrey Baer,
How Much Does Your Building Weight,
Mr. Foster,
Norman Foster,
Stanley Tigerman
Tuesday, November 22, 2011
Rehabbing Chicago, in Maple and Granite
click images for larger view
So, yeah, we've kind of dropped out for the moment, and the world doesn't seem any worse for wear. Posts will be few through the holiday, as we deal with cats that won't eat, crumbling teeth, and Siri waking up my iPhone to make sarcastic remarks about the way I've dressed myself for the day.
We will, however, reopen for Black Friday at 9:45 p.m. Thanksgiving evening (take that, Wal-Mart!) and if you want to get a head start and out of the chill, doors to the cramped vestibule next to the dumpsters open at 6:00, with free hot coffee, strolling Mariachis, and a phalanx of really angry turkeys with some factory farm pictures they want to share with you.
Labels:
Daley Center,
granite,
Millennium Park Chicago
Tuesday, November 15, 2011
Chicago Streetscene: deconstructed
Rm W Vu, Wi-Fi, Oxygen: Rush Presbyterian's Proud Tower on the way to January opening
It's a long way from here . . .
The countdown is on towards the scheduled January 9, 2012 opening of Rush-Presbyterian's new 806,000-square-foot, 14-story, billion dollar East Tower, designed by Perkins+Will, the hospital's first major new facility in 25 years, with over 300 beds.
The top five floors, in a stretched cloverleaf reminiscent of the design of Bertrand Goldberg's threatened Prentice Hospital, is for acute and critical care. Each single-patient room is identical, with discrete areas for patient, caregivers, and visitors, and including a sleeper sofa, Wi-Fi, 42-inch flat panel, and large windows with spectacular views.
The columns of the 3-story high entry pavilion are wired for oxygen, so the space can be converted into a treatment center with temporary beds in case of a catastrophic epidemic or bio terrorism event.
On Saturday, December 10th of this year, the hospital will be offering one hour preview tours of the new facility. Registration required. Info here. The hospital's website is also offering an interactive tour.
click images for larger view
. . . to here:The countdown is on towards the scheduled January 9, 2012 opening of Rush-Presbyterian's new 806,000-square-foot, 14-story, billion dollar East Tower, designed by Perkins+Will, the hospital's first major new facility in 25 years, with over 300 beds.
The top five floors, in a stretched cloverleaf reminiscent of the design of Bertrand Goldberg's threatened Prentice Hospital, is for acute and critical care. Each single-patient room is identical, with discrete areas for patient, caregivers, and visitors, and including a sleeper sofa, Wi-Fi, 42-inch flat panel, and large windows with spectacular views.
The columns of the 3-story high entry pavilion are wired for oxygen, so the space can be converted into a treatment center with temporary beds in case of a catastrophic epidemic or bio terrorism event.
On Saturday, December 10th of this year, the hospital will be offering one hour preview tours of the new facility. Registration required. Info here. The hospital's website is also offering an interactive tour.
Labels:
East Tower,
hospital,
Perkins and Will,
Rush Presbyterian
Sunday, November 13, 2011
Reinventing Daley Bi

The clock is ticking on Daley Bicentennial Plaza. The approximately 20 acre rectangle east of Millennium Park and south of Randolph is about to be destroyed and rebuilt, an action made necessary by the need to replace the deteriorating waterproofing membrane that seals off the huge parking garage below.
According to Chicago Park District Director of Planning and Development Gia Biagi, "fences go up at the end of summer of 2012 . . . The current goal is finish the work in two years, and have the the new park open for summer of 2015."
Biagi spoke at an October 26th public forum where a clear picture of the design of the new park, while far from finalized, began to clearly emerge. The first major change was that the scope of the project is now confined to the area of Daley Bi. The Cancer Survivors Garden stays, as does the "Peanut Park" between that garden and Lake Shore Drive, although it stands to be commandeered as a staging area during the period of construction.
Also confirmed by Biagi: "My notes say, 'what's going on with the Children's Museum?' Well, they're not coming to Grant Park," a remark that evoked loud approval from the audience. "I didn't intend it to be an applause line," said Biagi, "but . . . "

The current Daley Bicentennial Plaza fieldhouse is also staying. The Chicago Children's Museum had proclaimed - risibly, considering their almost complete ineptness in fundraising - they would simply throw in a new $20 million fieldhouse as part of a deal to let them construct a new subterranean museum in Daley Bi. The Museum pulled the plug on that fantasy early in the battle, and sights are now being lowered.
"We're not talking about anything major," said Biaggi. "We need to stop the bigger problems of leaking and make the building a little more operable. We are interested in looking at the facade of the building, too, in a way that it would relate better to the park and the design ideas we have here. So it's a pretty light touch on the building aside from the major it's got to stop leaking, it's got to be functional and that's something we're going to see if we can fit it into our larger capital improvement program to try and fund that project."
Biagi said that for rebuilding the 20 acres of Daley Bi, "We have a little over $30 million to do this project. That money comes from the revenue from the transfer of the parking garage to the city and then on to private vendor of the garage. Part of that exchange included a set aside of about $35 million for this project . . . It started at 35 and then with design fees and a couple other things we're just a little over 30. in terms of what we have available to build a park." Biagi didn't out rule lining up corporate sponsors to help defray costs.

Landscape architect Michael van Valkenburgh presented the latest iteration of the park design.
Presently, Daley Bicentennial is an extension of the formal composition of the larger Grant Park.

North Grant Park, as the reincarnation of Daley Bi is being called, will be something completely different. As you can see from the illustration at the top of this post, the goal is to create a park filled with varied program that strikes a balance between the passive and the active.
In survey feedback from the public, over 50% rated providing space for special events as "Not important", while over 70% rated both providing "Space for Quiet, Relaxation, and Repose" and "Retain and improve views of Grant Park, the city, and the Lake" as "Very Important"
"Most people", said Van Valkenburgh, "were very appreciative and laudatory about Millennium Park, but the main thing they said was we don't need to repeat the things that Millennium gives us. We want things to complement, so we're using Millennium and go over the Gehry bridge and want other things to do over there. We heard that in the public meetings and the questionnaires definitely back up this notion of more passive things to do, and things you don't have to spend money on."
So the current design is a combination of passive and active spaces, of built-up landforms that reduce noise and wind in the interior of the park while providing expanded views of larger Grant Park and the lakefront.
"We all go there to see things," said Van Valkenburgh. "We like to feel the space. We like a lot of borrowed landscape, especially Grant Park to the south, and the lake to east, and so getting people up on higher ground where they can look out and borrow that visual landscape is an extremely important thing . . . making hills - not crazy-high hills, but a kind of rolling topography."
Balancing this complexity is a "visual sense of welcome," said van Valkenburgh. "You want to see deeply into the park. You don't want it to be too mysterious at the corners. You want to know what's up ahead as a major part of making an urban park welcoming."
The park designs includes both a "passive axis", from sw to ne, emphasizing natural landscape and a boundless sense of space, and an "active axis", from se to nw, encompassing more urban and civic aspects.
"Rock climbing as a possibility," said van Valkenburgh. "We also liked the idea of a temporary ice rink in that area. The problem with skating, of course, is what is it in the summer? We didn't want to have a big water area, so we liked this idea of a skating ribbon which goes away in the summer. It just becomes a path that you walk on. Instead of a rink that you go around in, this is more of a meander. Potentially that could be an area where we include the outdoor cafe [in the summer]."
Van Valkenburg is also looking to include in North Grant Park, the "very best playgrounds that any park in America has for kids, and that doesn't mean that we won't use any traditional playground equipment. There are some things that are universal. I don't know any kids who don't like swings, but it can't only be swings and slides and things like that."
After the presentation, the assembly broke up into three groups to ask questions and offer feedback on the plan. What about the tennis courts? Will the paths be wide enough to accommodate bikes? Will parents be able to watch their kids easily? There was no shortage of opinions and concerns, not infrequently in conflict.
When former Mayor Richard M. Daley talked of Daley Bi as being a "nowhere", he was indulging himself in the kind of willful, malicious ignorance that became a hallmark of his last years in office. Make no mistake: Daley Bi is a wonderful, calm counterpoint to the hyper-activity of Millennium Park. That wasn't a failing. That was a virtue. But while there's still a long way to go, and a lot of opportunities for things to go wrong, Van Valkenburgh's redesign holds out the promise of building on that quality to create a new North Grant Park that's every bit as remarkable in its own way as Millennium Park.
You can check out the entire October 26th presentation for yourself, in the "albums" section of the North Grant Park website, here.
Labels:
Daley Bicentennial Plaza,
Gia Biagi,
Michael van Valkenburg,
Millenium Park,
North Grant Park redesign,
park design
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