Tuesday, February 19, 2013

The Three Red Cranes of 111 West Wacker

111 West Wacker, at Clark Street along the river, may be the oldest new building in Chicago.  A long time ago - 2006 to be exact - the site looked like this . . .
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It was called Waterview, and it was to an 80-story tower combining a Shangri-La hotel and luxury condominiums.  As the tower began to ascend, the construction pushed forward with a tall red crane on the roof that rose with the building.
Then came the 2008 crash.  At the 28th floor, construction stopped.  The big red crane stood waiting for a revival that never came.  The next year the city made owners erect a second little red crane, to take down the original big red crane.
And so things stood until last November, when a new owner, Related Midwest, staged a second groundbreaking on the unfinished 28th floor.  The 80-story Waterview is now the 59-story 111 West Wacker, a 504-unit apartment structure.

There's now a new crane, but this time, not on the top, but crawling up the side like a inedible red vine, steel instead of licorice.  It's set atop a bridge-like concrete mooring . .  .
. . . and last weekend there were two more, temporary cranes on site, with the star of the show a fetching  yellow number from Grove . . .
. . . next to the new red boom sitting on closed-down lanes of Wacker Drive . . .
. . . awaiting its mounting by a crew from Crestwood's Central Crane on a momentarily stubby mast . . .
The riser segments sit on the ground . . . .
. . . awaiting their turn to be added over the next week as the crane grows, like Jack's beanstalk, on its way up to the rooftop.

After nearly five years in moth balls, 111 West Wacker rises again.  They're already doing curtain wall mockups on the corner.
If only we had left it the way it was, we could have mounted a plaque declaring it Monument to the Victims of Overreach and Reversal, and held competitions to do interesting things with the carcass, but Nooooooooo . . . 

When it comes to cranes, third time's the charm?

Read: our story and see all the pictures on the building's history and last year's groundbreaking: Waterview has Risen from the Grave!

More on Waterview:

Cranes (No) Chicago Business

Exquisite Corpses?



Sunday, February 17, 2013

Enquist at IIT, Rojo at UIC, Chattel at SAIC - still more for February!

Seriously, is it ever too late to be adding items to the February Calendar of Chicago Architectural Events?

The architecture schools at both IIT and UIC have announced their Spring lecture series.  IIT begins at Crown Hall this Wednesday, February 20th, with SOM planning guru Phil Enquist talking about The Century of Cities, while over at UIC on Monday the 25th, there's a lecture by Luis Rojo of Rojo/Fernandez-Shaw arquitectos of Madrid.  And over at SAIC, preservation consultant Robert Chattel talks about The Atomic Wild Wild West on Thursday, the 28th.  On Saturday, the 23rd, the Hyde Park Historical Society will award this year's Marian and Leon Depres Preservation Awards at their annual dinner, with Chicago Cultural Historian Tim Samuelson as featured speaker.

This coming week is loaded with great stuff, from Martino Gamper at the Art Institute's Fullerton Auditorium for SAIC on Monday, the 18th, and a special panel discussion: Food! - Design for Social Change at CAF the evening of Tuesday of February 19th, including but not limited to John Cary, John Edel, Robin Elmslie Osler and Fritz Haeg, who also lectures at the Graham on the 28th.

On Wednesday, the 20th, Tom Jacobs of Krueck and Sexton talks about Glass Engineering in Architecture at CAF lunchtime, while on Thursday the 21st, Gensler's Elva Rubio discusses the Ghost Facade at 618 S. Michigan for Landmarks Illinois at the Cultural Center.  Thursday evening is also the last curator's gallery talk by Karen Kice for the Art Institute's exhibition Building: Inside Studio Architects, which closes on the 24th.  Then on Saturday, the 23rd, CAF has Family Studio Saturday; Building and Testing, a National Engineers Week event for teens.

And there's a lot more.  Check out the nearly three dozen great items still to come on the February Calendar of Chicago Architectural Events.

Chicago Streetscene: Rear windshield Cloud Gate

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Saturday, February 16, 2013

Movie Lovers Paradise or Cornucopia Hell? 70mm at the Music Box, Leos Carax at the Siskel


A long time ago, 70mm represented the highest possible tech for making films. Capturing four times the image of a 35mm print, and projected on massive screens with state-of-the-art surround sound, 70mm films, especially when shot by a master like Freddie Young, created images as beautiful as anything you'd find at the Art Institute, 24 times a second.  The visceral kick of a masterwork  in 70 cannot be replicated on a home theater system, no matter how large the screen.

With few exceptions, the era of 70mm died forty years ago, when exclusive downtown bookings were replaced with wide releases in thousands of theaters simultaneously.  In the current era of high-res digital scans, rumors persist that the studios will be longer be distributing their remaining 70mm prints, and, at a cost of $50,000 on up, won't be striking new ones.
So this week's 70MM Film Festival at the Music Box could one of your last chances to see these films in the format for which they were made to be shown.  There are a number of omissions: no Cleopatra, Ben-Hur, Ryan's Daughter, Sound of Music, or Mad, Mad, World, but there's still Stanley Kubrick's 2001: A Space Odyssey (Saturday, Sunday and Thursday),  Hitchcock's Vertigo (Sunday and Tuesday), West Side Story (Saturday, Sunday and Wednesday), and, for the masochists, Chitty, Chitty, Bang Bang (look it up - I'm not going to encourage you.)
There's the rare opportunity to see Richard Brooks' Lord Jim, reteaming Lawrence of Arabia's Peter O'Toole and Freddie Young, Jacques Tati's masterpiece Playtime , , ,
 Branagh's visually splendid Hamlet, and a real oddity, Tobe Hooper's Lifeforce.  The festival will also offer the first opportunity to see Paul Thomas Anderson's The Master in 70mm since its sold-out preview at the Music Box last fall.
The Trib's Michael Phillips has a great overview of the festival and films here. You can view the entire schedule here.  This is is something not to be missed.

The Star-Crossed Visions of Leos Carax
As, in some kind of act of astral punishment, this very same week the Music Box has a festival of 70mm,  the Gene Siskel Film Center is offering up  a rare retrospective of the work of Leos Carax,  one of the most unique filmmakers of our time.  As I wrote about his latest film last November . . .
Holy Motors is, in turns, pretentious, incoherent, disgusting, sensationalist, raw - and all the better for it. . . .

We must disenthrall ourselves," Abe Lincoln said.  "Étonne-moi!" added Diaghilev, upping the ante. The curse of CGI is to make the fantastic as mundane as the every-day.  Says Leos Carax, "The problem is to find again that primitive power of cinema, that first shot of the train in La Ciotat. It’s harder and harder to do today. You have to reinvent that power, which is almost a mystical power, a magical power. 
In addition to Holy Motors, the Siskel is screening hard-to-find titles as Bad Blood (Mauvais Sang) with Juliette Binoche, Denis Lavant, Julie Delpy and Michel Piccoli . . .

. . . plus Boy Meets Girl, and the ineffably, darkly strange Pola X.   See the full schedule here.

Friday, February 15, 2013

It's National Engineers Week! Full day of events for kids at CAF this Sunday

It's almost here: National Engineers Week, February 17-23, the annual event that bring engineers into the spotlight often hogged by their architect partners, reminding us that no matter how beautiful a building might be, it's a whole better when an engineer is on board to make sure it doesn't fall down.

This Sunday, February 17, the Chicago Architecture Foundation kicks it all off with a Studio for kids, ages 5-18, Engineering the 21st Century City, a free event from 11:00 a.m. to 3:00 p.m., at CAF at 224 South Michigan.
at CAF, Bob Johnson (at microphone, left), Thorton Tomasetti's Joe Burns, far right
Our indefatigable correspondent and engineering ambassador extraordinare Bob Johnson provides a preview . . .

For all of you who have kids and grandkids, there's going to be all kind of presentations geared to showing kids how skyscrapers - and bridges - stand up and fall down.  Architectural student Rocco Buttliere is going to bring a whole collection of his Lego skyscrapers.  You name it, he's got it: the World Trade Center, the old one and the new one, Freedom Tower, Sears (Willis) Tower, Burj Khalifa. And then engineer Larry Novak, formerly of SOM and now of the Portland Cement Association, will be giving a presentation on the Burj Khalifa.  Believe it or not, we'll have kids designing bridges on a computer.
Sounds like a fantastic event.

The Chicago Architecture Foundation is actually devoted the entire month to engineers, including its Wednesday lunchtime lectures.  I attended a great lecture this week by Thornton Tomasetti's Joe Burns on what's below Block 37.  This coming Wednesday, the 20th, Krueck and Sexton's Tom Jacobs talks about Glass Engineering in Architecture, and on the 27th, Terry McDonnell of US Services discusses the engineering and design considerations behind the Willis Tower Ledge.  On Tuesday, the 26th, Dr. Shankar Nair discusses Skyscrapers - Past, Present, Future, including the surge in super-talls.  On Saturday, the 23rd, there'll be a Building and Testing Studio for teens, down at Crown Hall at ITT.  More information on all these events here.

Also on the 23rd, from 10:30 a.m. to 3:30 p.m. the annual DuPage Engineers Week Expo will take place at the IIT's Rice Campus in Wheaton, with more family-focused events, including the ZOOM into Engineering and Design Squad, Lego Robotics, Mr. Freeze Cryogenics, and 4,500 Years of Structural Engineering Program.

On March 8th in West Chicago, Siemens will be holding its 9th annual edition of its Introduce  a Girl to Engineering  event, offered to 100 girls in grades 5 through 12 and hosted by women engineers.  Contact Jayne Beck via email to register and for more details.
And we couldn't leave you without this photo of the winners of this year's Chicagoland Future City competition, which brings together area students to put their visions of the future into built form.  This team of students from St. Paul of the Cross in Park Ridge go on to the finals in Washington, D.C., where the winner gets a trip to Space Camp.

Thursday, February 14, 2013

The Big Con Closes: Northwestern Wins the Battle to Destroy Bertrand Goldberg's Prentice Hospital

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 Today, the National Trust for Historic Preservation and Landmarks Illinois moved for a voluntary dismissal of their complaint in Cook County Circuit Court, signaling the end of their legal challenge against the City of Chicago and the Commission on Chicago Landmarks. 
At the end, even the members of the Commission on Chicago Landmarks were coming to the realize they were just part of a scam.  “I have this suspicion,” said commissioner James Houlihan, “that Northwestern has placed before us a false question.”

The false question at the bottom of Northwestern University's Big Con was simply this:  that there were two - and only two - choices.  One, you could have a new billion dollar research lab, state-of-the-art science, thousands of jobs, and countless lives saved.  Or, you stop Northwestern from demolishing Bertrand Goldberg's landmark Prentice Hospital, and find all of that  - the billion dollars, the jobs, the science, the healed lives - “melted into air, into thin air.”

Or at least that's what Northwestern's Eugene Sunshine told Houlihan when he asked what the university would do if Goldberg's building were landmarked.  “We don't really have an alternative,” was Sunshine's reply.  That's right.  One of the most distinguished institutions of learning in the world, home to cutting edge research and some of the most brilliant people on the globe, just couldn't figure out a way to keep from demolishing Prentice to create a vacant lot across from another massive two-block lot that's been vacant for five years.  When it came to finding an alternative to wrecking Prentice, all that brain power turned to quivering jello.
Hard to believe, no?  Well here's the thing.  It's not important that you believe; it's only important to appear to believe, and act accordingly. The only true catechism was acceptance of Northwestern's position atop the foodchain of clout, and a droit du seigneur that can never be questioned, only rationalized. 

Seigneur to seignuer, this is the world which Chicago Mayor Rahm Emanuel inhabits and understands, so it's no surprise he found himself, almost as soon as he was inaugurated, counseling Northwestern on how to mount the kind of clever PR campaign that would provide cover to its actions.  When that campaign finally bubbled to maturity, Rahm went public with a thumbs-down  op-ed in the Tribune, and the game was over.

But not before the Save Prentice Coalition mounted one of the most active and creative public interest campaigns I have ever witnessed.  Yes, I know - the patient died, but the coalition kept Prentice's heartbeat going long after Rahm's heavy pillow would have sent it flatlining.  All recognition is due to the coalition's partners, including Landmarks Illinois, Preservation Chicago, the National Trust for Historic Preservation, AIA/Chicago, DoCoMoMo Midwest, The Chicago Architectural Club, and more, and to individuals such as Lisa DiChiera, Christina Morris, Jonathan Fine, Stacey Pfingsten, Gunny Harboe, Jim Peters, Eric Herman, Zurich Esposito, Brian Strawn, Karla Sierralta, Bonnie McDonald and so many others.

Lest this appreciation, given the final outcome, seem little more than sentimentality, we should keep in mind that Save Prentice did achieve: creating a textbook model of how to run a public advocacy campaign.   It appealed to excellence, in the way it brought many of the world's leading architects to lend their voice to saving Prentice.  It appealed to creativity and practicality, in how it enlisted the best of both established and young architects and engineers to come up with a dazzling array of compelling, thoroughly-researched alternatives in which Northwestern's needs could be met while preserving Prentice.  They went to court and got a judge to question whether the way the Landmarks Commission signed off on destroying Prentice really met legal standards of due process.  (When they lost, it was not the the merits, but matters of jurisdiction.)  They found a capable partner in ASKG Public Strategies, and engaged social media in a creative and compelling way.  They encouraged and organized a broad range and expert and citizen testimony at public hearings whose results had already been pre-scripted.
Even if Save Prentice was not successful in its ultimate goal of keeping an indispensable piece of Chicago's architectural legacy in place for future generations, it revealed clearly the mendacity beneath so much of Northwestern's efforts, and it set a new standard for advocacy in the architectural preservation realm.

Every few decades, Chicago allows the powerful and connected to destroy a great masterpiece - the Garrick Theater, The Stock Exchange, and now Prentice.  Every time we say, “We won't let this happen again.” and each time, we've been proven wrong.  The Save Prentice coalition has built a strong foundation that makes it more likely that the next time may be different.  And that is no small thing.

Read the full coalition statement after the break:

BP Gehry Now Actually Bridge to Nowhere (Temporarily)

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Nowhere”, is what former Mayor Daley claimed you'd find once you crossed over the sinuous Frank Gehry-designed BP Bridge in Millennium Park into Daley Bi-centennial Plaza.
At the time it was a lie, designed as part of a campaign to jam a Children's Museum into Grant Park.  Now, the Gehry has actually become a bridge to nowhere.  It's fenced off at the far end, and overlooks a devastated landscape . . .
The good news is Daley lost on his gambit to build on public land declared in a famous A. Montgomery Ward court decision to be “Forever Open Clear and Free”.  The bad news is that Daley Bi had to be destroyed, anyway.  The membrane separating the park from the parking garage below had failed, causing major leaks, and it had to be replaced.  And so the the trees, flowers, shrubs and lawn of Daley Bi have been torn out, and the the topsoil carted away.
. . . although if you know the right people to let you in, you can apparently still have a picnic  . . .

The better news, however, is that, instead of a tortured building, we're getting a first class new park designed by famed landscape architect Michael van Valkenburgh.
And perhaps the best news is that technology has evolved to where we may be able to keep the new park for longer than the 35 years Daley Bi lasted before having to be replaced.
According to Grant Park Advisory Council President Bob O-Neill . . .
The new waterproofing is a hot applied monolithic membrane system that has a series of protection layers and drainage layers above it. The benefit of this system is that it has minimal seams because of its hot-applied installation.  Then there are several drainage measures in place to convey water off of the roof before it even comes in contact with the membrane itself.    As a result, a much longer lifespan is anticipated from this system than the previous installation.
You can see some examples of hot melt surfacing here and here,   A lot of riding is on the technique's durability:  a hot-applied rubberized membrane is also what separates Millennium Park from the garage and rail tracks below it.

In another couple years, we should have something very special at Daley-Bi, now renamed as Maggie Daley Park, including a thousand new trees.  (You can keep up to date on the project's website here.) 

For now, the Gehry BP is the bridge you can't cross - you can only go back the way you came - but it's a great observation platform for watching Maggie Daley Park come into being.

Wednesday, February 13, 2013

Finishing the Chicago Riverwalk, Part Two: Opera on the River? (or Maybe just some Jazz).

This picks up from my first Finishing the Riverwalk post last week to continue westward with City of Chicago's new plan to complete the Chicago Riverwalk along the north bank of the river from State Street to Lake Street, which has remained unfinished since the reconstruction of West Wacker Drive over a decade ago.
CDOT Chicago Riverwalk proposal - The Cove (click images for larger view)
In my previous post, I started with the Marina, from State to Dearborn.  Today, we're moving on the The Cove, in the next block, Dearborn to Clark. “This is much more of a family oriented location,” says Chicago Department of Transportation Manager Michelle Woods, who presented the proposals at a public meeting at the Chicago Architecture Foundation last week that also included architect Carol Ross Barney and Sasaki Associates Principal Gina Ford.  “Instead of formal steps going down, this gently slopes down and is like a sand dune kind of experience.  We have native grasses and things that could withstand being flooded and submerged in our 100-year rainstorm.    This could be another great place for people to come and hang out out of the traffic of the main branch of the river.  Maybe we have a kayak concession renting out vessels.  We might have something where people could come and just rent out chairs and sit and have lunch, watching all the activity taking place as the river is floating past them.”
CDOT Chicago Riverwalk proposal - River Theater, Clark to Lasalle
The next block, the River Theater, from Clark to LaSalle, is the one specifically designed to bring together a large number of people either informally or as the audience for programs. “I like to call it Michelle's Woods, ” joked Michelle Woods, “because I'm so humble.  So this is kind of Chicago's Spanish Steps, if you will.  We'll have this great big grand stairwell that comes down to the river, and then gently cutting throughout the stairways is a nice ramp so if you have a wheelchair, or if you have a child in the stroller, you'll be able to come from up to down.  This is a location where we would potentially have the water taxi service or maybe a dinner boat cruise..”

“For those of you who are into landscape architecture, I really like to point out the great job the team did on the tree pits and the tree gates.  This is the first of its kind tree gate - instead of having a typical boxed pit, we're doing trenches, mostly, so it's going to help with the sustainability of the trees over the long term.  You can also see they've cut into the steps for the tree grates to help with the life of the tree.”

It's here where you could imagine audiences gathering for formal programming, and then you have to figure out where you put the performers.  One thing that's missing from the formal CDOT presentations is context.  There are a lot of renderings of what the new installations would look like, and few showing what they're actually looking at on the other side of the river.  In the case of the River Theater, the direct backdrop is the the 1914 Reid Murdoch Building, with its distinctive clock tower.
At the Reid Murdoch, the upper level promenade is catwalk-shallow, but there's also a lower level plaza, which has had tables for the Fulton on the River restaurant, which could serve as a stage for the Theater on the other side of the River.  Or maybe you put performers on a floating barge stage. 
Or maybe one, last Neiman Marcus sized idea . . .
set for Giordano's Andrea Chénier © Bregenz Festival -photograph: Kristi Sauer
This is a photograph of a production of Giordano's opera Andrea Chénier at the Bregenz Festival, in Austria.   Every two years a stage like this is built above a concrete core in Lake Constance.  The spectacular water bourne sets, of which you can see more here, must be of lightweight construction and capable of being disposed of in an economically sensitive way.  Me, I'm holding out for a Chicago riverfront production of Turandot, with Lisa Madigan as Turandot, Mike Madigan as Altoum, Richard Daley as Timur, Rahm as Calaf, Toni Preckwinkle as Liu, and Ed Burke, Jean-Claude Brizzard and Pat O'Connor as Ping, Pang and Pong.  Costumes by Nick Cave; sets by Jeanne Gang, direction by David Cromer, the Grant Park Symphony and Christopher Bell's Chorus conducted by Carlos Kalmar . . .

Oh, sorry, got a bit carried away for a moment there.  I can just picture the very idea of a floating barge large enough to support an opera sending the Army Corp of Engineers into convulsions, but entertainment on a saner scale isn't only possible; it's already being done.

Last year, or maybe the year before, I was coming home, walking along the north branch by the ABA Tower, when I heard jazz music wafting up in the night air.  Lagniappe, one of the seasonal cafes set up in what under the new proposals is  to be The Cove on the south bank, had blues and jazz nights throughout the summer, and as I listened, I shared the music with an impromptu flotilla of boats hovering on the river around the cafe.  With the music playing out in a soft acoustic like a velvet glove, the traffic moving along Wacker, and the lights of the skyscrapers reflected in the windshields of the boats as they bobbed on the water, it was if the entire river had become a hypnotic music video.
I think the River Theater is a great concept.  Mayor Emanuel apparently thinks so, too, at least according to CDOT Commissioner Gabe Klein, who was at the back of the room for Michelle Woods' presentation last week. “The Mayor and I  both love this one the best,” said Klein, “although I shouldn't speak for him.  For me, I like that it breaks down the barrier between Wacker Drive and the River . . . Right now, there's such a barrier and the contiguous bit is so crucial to the project.  I think the Mayor also likes this because he actually seems the potential for some small performance-type space as well.”  Ballet, we could do ballet, too.  (Actually, the two level promenade and the windows and tower of the Reid Murdoch could make a great setting for choreographers to move their dancers through their patterns.)

The River Theater is the last block in the new Riverwalk proposals where CDOT says the design work is 90% done.  For the balance of the blocks, going to Lake Street, the design work is said to be only 10%, but there are already some ideas, and we'll cover them in our last post of River Walk proposals next week.

Tuesday, February 12, 2013

Ragged Liberty or Polished Upscaling? Speculating on the Future of Wrigleyville's Mutant Urbanism

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 If there's such a thing as original sin, there's also original charm.  That's the feel-good karma that Wrigley Field and the Chicago Cubs have made a long life of, even down to today.  As battle lines are drawn over major renovations to the landmark stadium, how they're to be paid for, and how they'll affect the surrounding neighborhood, it’s a good time to take a look at the three radically different ecosystems of Wrigleyville's past, present, and intended future.

Once upon a time - let's say, a day in September, 1965 - you could amble down to Wrigleyville and take in a day game.  You had no choice; Wrigley had no lights.   You may have driven down with your Dad, cruising down the street until you found a kid holding a sign directing you into an alley to a spot in somebody's back yard where you could park for a buck or two.  Or maybe you had called in sick and come down via the Howard L or Clark Street bus. 
Either way, you would have found yourself in a solid, working-class neighborhood, well-worn buildings ugly as sin and just as comfortable.  If you had arrived early, you might have grabbed a beer and a burger at one of the taverns just outside the stadium, bought peanuts and a cap from a street vendor, or just looked into the shop windows.  You'd pass through the turnstile and settle into the 35,000-seat stadium along with that day's other 550 other paid attendees and, season safely lost, watch the Cubs lose to the Los Angeles Dodgers, with Sandy Koufax getting the save.  You could look out past the outfield, past the bleachers, and see, on one of the rooftops of the many graystones that lined Wrigley along Waveland and Sheffield, some skinny old guy in bermuda shorts and a white T-shirt sitting in a lawn chair taking in the game, in one hand, a bottle of Meister Brau, in the other, a big, stinky cigar you would swear you could smell from your seat four hundred feet away.

The stadium and the team were the personal possession of one P.K. Wrigley, the taciturn son of chewing gum tycoon William Wrigley, Jr.  The senior Wrigley had gained control of the team in 1918, and for decades ran the operation with his team President, Bill Veeck, Sr. Together they were known as the “double-bills”, a pun on the gum company's Doublemint brand.

The teams weren't always terrible, and when they weren't, the old stadium would fill and the streets would become a continuous mass of people, but the last year the Cubs made the World Series was 1945.  The last time they won it 1908.

Here's really all you need to know to measure Wrigleyville then and Wrigleyville now.  In 1977, P.K. was sent to the showers for the last time, and in 1981 his heirs sold the Cubs and their stadium to the Chicago Tribune - for $20,500,000, a figure only slightly more than the 2012 salary of just one player, Alfonso Soriano.  When the Trib resold the team, after less than thirty years, to the Ricketts family in 2009, the price tag had escalated to $845 million.  To understand the urban fabric of Wrigleyville today, just follow the money.

When the stadium, designed by architect Zachary Taylor Davis, was constructed in 1914 for Charles Weeghman's Whales, of the Federal League, the tall silos of a Coal and Coke distributor were right across the street.  Most of the greystones we see today were already in place.
Then, Wrigley Field was part of the neighborhood.  Today, it is the neighborhood.  Nowhere can you see the disruptive effect of the new Moneyball economics than among the greystones.

Those guys on the roof with their folding chairs have long since gone the way of the Potawatomi.  As early as 1938, the Sheffield Baseball Club sold $5.00 rooftop seats for the World Series, but after the Trib bought the team, the trend hit warp speed, fueled by 1989 a Championship series sold-out in the stadium.  Bare rooftops became slightly more finished rooftops, and then apartments became clubhouses.  A guy named Tom Gramatis became a “rooftop mogul”, owning not just the Sheffield Baseball Club, but two other buildings, as well.
Instead of places to live, the greystones and their neighbors became, over time, the strange machines of a mutant urbanism, creating a Magritte-like architectural landscape where rooftop after rooftop is crowned with its own metallic bleachers.  If baseball has become a billionaires' clubhouse, rooftop clubs are the millionaires outpost, with estimated annual revenues exceeding $20 million.
In 2004,  in exchange for 12 more night games, Wrigley Field won designation as an official Chicago landmark, with protection for historic elements such as the old scoreboard and ivy-covered brick.  After the Cubs sued the rooftop owners and threatened to block their views, owners agreed in a 2004, 20-year contract, to giving the ballclub 17% of their take.

The battle to fix Wrigley: the end of public funding?

Joe Ricketts could well be remembered as the man who ended the long run of sports teams building stadiums on the public dime.  Valuations of sports club have reached astronomical heights - last year Forbes magazine put the Cubs at $879 million, fourth highest in professional baseball.  Along with swelling revenue streams from escalating ticket prices and cable and TV rights, public subsidies have a lot to do with it.  It was a great scheme: a team threatens to bolt a city unless it gets government to build it a new stadium.  The taxpayer pays the bill; the owners reap the benefits.

Recent studies, however, call into question just how much public-funded stadiums actually benefit  cities, especially when the cities are in the usual throes of fiscal crisis.  In the case of the new, $639 million publicly-financed  stadium for the Florida Marlins, it was revealed that just one $91 million loan has ballooned into a $1.2 billion obligation for taxpayers

When new Mayor Rahm Emanuel came into office in 2011, he was disinclined to write the Cubs any blank checks.  Even so, he was reported to be ready to sign off on a plan to split the costs of $300 million in Wrigley renovations - $150 million from the Ricketts; $150 million from easing the landmark restrictions to allow for more advertising.  Other plans -  for a Tax-Increment-District, or for allowing the Ricketts to divert future increments in amusement tax revenues from general use to funding Wrigley improvements  - were also floated at various times.

And then came old man Ricketts.  At the height of the 2012 Presidential campaign, the Wall Street Journal ran a report that family patriarch Joseph Ricketts was about to help bankroll $10 million in virulent, racially-tinged ads attacking Barack Obama.

Suddenly, Tom Ricketts, Joe's son and the guy who was actually running the Cubs operation, couldn't get Rahm to return, must less take his calls.   Usually a man of sweetest temperament, Emanuel, Obama's former Obama Chief-of-Staff , was said to be “livid”.
As the Ricketts were left dangling in the wind, they waited, and then they went back to the drawing board.  Last month, they came up with a new plan for Wrigley, one that asks for zero dollars in public funding.  In exchange for a commitment of $300 million over five years  for renovations, the Ricketts would get what Emanuel has called “The Fenway Plan”, after the $285 million rehab plan for the stadium used by the Boston Red Sox.  Let the Ricketts accumulate the revenue they need by removing limitations on the number of night games, easing some landmark protections, and shutting down Sheffield and Waveland for game-day street fairs.
Worried rooftop owners are fighting back, trying to stop closing the streets on game days, and coming up with a counter-proposal to allow the Cubs to place advertising signs, not at Wrigley Field, where they might block rooftop views, but on the rooftops themselves, producing perhaps $10 million in new revenue, to be shared with the Cubs, who quickly dismissed the idea.  (Is it just me, or does this mockup look especially cheesy?) 

In its modern prime, Wrigley Field was the urbane alternative to the kind of isolated suburban stadiums, isolated among the expressways and moated with acres of surface parking lots, that sprang up in the 60's and 70's.  More recently, however, new baseball stadiums have returned to the center city, emulating the attractive qualities of old classics like Fenway and Wrigley, itself.  Ironically, the long-range plans of the Ricketts for Wrigley entail acquiring and developing a lot of the land on the ballpark's periphery, in essence making Wrigleyville more like those totally-controlled, self-contained, old-style "modern" stadiums.
The Ricketts already own the triangle that once held the Coal and Coke silos, later home to the one-story Yum Yum donuts.  Originally, there was talk of building a large parking garage on the site, but right now it's highest use is as a winter skating rink.
Just last year, the family paid $20 million to acquire from McDonald's the large restaurant and parking lot the fast food chain owned across from the skating rink.  Last month, the Rickett's announced a deal with Sheraton to construct a boutique hotel on the site.  (Big Macs included - part of the 2011 sales agreement reportedly gives McDonald's the right to open a restaurant somewhere on the redeveloped property.)

Will the Ricketts continue to land bank their way through Wrigleyville?  Rooftop owners retain a paranoid fear that the Ricketts's ultimate goal is to drive them out of business and buy up their properties on the cheap.  And those aren't the only parcels that might be had at a bargain.
There's the Wrigleyville Hotel on Clark south of Addison, a $5 million boutique project that has yet to open.
 The Ricketts/Sheraton deal also put the screws to developer Steve Schultz's plan for a proposed 137-room Hyatt Place that was to have had anchored Addison Park on Clark, a mega-development also featuring 135 apartments and nearly 150,000 square feet of retail.  Addison Park would replace all the current buildings along the southeast intersection of Clark and Addison, except the abject Sportsworld store on the corner, which survives in the renderings as indomitable as a cockroach.
Schulz had been slowly acquiring the existing properties over the past several years.  In 2010, there was an unveiling of project renderings by Solomon Cordwell Buenz, but now faced with the Ricketts' hotel project, investors are throwing in the towel on their own Hyatt.  The retail component also remains in question.  At the time of the 2010 announcement, names being floated as potential retail anchors included the likes of Best Buy and Dominick's, big box marketers who now find their business models under siege by, respectively, the internet and Wal-Mart.  Despite approval for the new project by the Chicago Plan Commission, all of the old threatened buildings - at the moment at least - remain standing.
It's an interesting time.  The thrust of the age of the supply chain is consolidation and scaling up, but  on Clark street, you'll still find this tiny relic, originally a service station . . .
No matter how charming, such a building is simply inconceivable today.  There is no scenario under which it could support any function returning an adequate profit.  Similarly, when we walk past the condemned buildings of Clark Street, you find a hodgepodge motley of structures which, with the possible exception of the large cold storage warehouse, manage to both be too inconsequential to register any real individual presence, and too carelessly varied to resolve in any visually coherent way.
SCB's John Lahey challenged observers to find anything in this mix that would qualify as a great building, and he's absolutely right.  This stretch of Clark Street goes beyond Rem Koolhaas “messy”; to full-up Sons of Anarchy territory.  It's a succession of small businesses sucking everything they can out of peak times of the baseball season while jabbing elbows into each others guts to attract enough patrons to survive another winter.  It's so graceless it's claustrophobic.
And yet, there's a raw vitality to this streetscene dump of parking lots, workhorse buildings of the homeliest kind, cell phone towers and crude massive billboards, this Improv Olympics of rowdy urban fabric, that SCB's polite mega-building will never be able to equal.

I once heard noted zoning lawyer Jack Guthman, arguing against what he saw as excessive landmarking, remarking that no one needs more Class C office space.  The fact of the matter, however, is that it's the blue-chip tenants of the Class A buildings that you most often read about finding more and more ways to downsize their workforce.  It's in the cheap, Class C space that you find the true entrepreneurs - trying, failing, trying harder, failing better - until one or two become the breakthrough companies of tomorrow.  It's the same way with the small businesses along Clark and Addison.  Some struggle just to keep the doors open.  Most will never escape the shadow of their own neighborhood, but once in a while, one of them will create something entirely new, something that will radiate outward to enrich the character of the city.
There won't be room for those kind of dicey tenants in the big sparkling new building.   There, they'll need high rents just to make back their investment, the kind of rents that only big chains with their heavy standardization and high dollar volumes can guarantee.

This conflict between the bureaucratic and the creative was referenced in a Monday Tribune profile of Bob Mariano, formerly of the Dominick's grocery chain and now CEO of Roundy's, the Milwaukee parent of Mariano Fresh Markets.  Mariano talks about the inspection of a deli department by a team from the Safeway mega-chain that had just acquired Dominick's.  They asked how many varieties of potato salad were prepared for sale.  Mariano answered seven.  The Safeway response was “you only need three.”  As you might imagine, a few years down the line, Dominick's is struggling to define itself and Safeway is closing locations.  Mariano's, with its sparkling stores and goal of becoming “the Nordstrom of the grocery world,” is successful and expanding.

Real life has a way of confounding expectations.  If you were up on the rooftop with that guy in the lawn chair fifty years ago, could you ever have imagined how it would all eventually play out with all those surreal mini-stadiums?  There's no doubt that the Ricketts and developers like Schulz are looking to make Wrigleyville a lot more dense, a lot more uniform, consolidated and controlled, but if the recent history of this historic neighborhood proves anything, it's that nothing turns out exactly the way you plan.  And that what keeps cities interesting and creative.