Tag Archives: Chicago

From Chicago grain elevators to art/film space to potential spot for redevelopment

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Urban properties can go through a series of changes and one set of grain elevators on Chicago’s Southwest Side have seen their share of uses:

Grain elevators’ histories are often marred with explosions (something about the dust mixed with oxygen), and one such spontaneous combustion on these 24 acres led to the current John Metcalf-designed “Damen Silos” property, formerly the Santa Fe Railroad Grain Elevator, built in 1906 at 2900 S Damen off the South Branch of the Chicago River. Keep in mind the staggering presence of 35 80-foot silos in the pre-skyscraper era. They churned out 400,000 bushels thanks to machines running on 1,500 horsepower (from steam and electricity). Unfortunately while users changed (Stratton Grain Co was up next), explosions continued…

The property’s been a fertile stomping ground for the street art and photography set for years. Brent Bandemer’s 2012 short film “Gone” documents the life of David “Gone” Brault, a 23-year-old suspended college student squatting at the Damen Silos to teach others how to survive when the apocalypse comes. (Understandable, given the silos’ arty End of Days vibe, and where Chicago apartment rents are headed.) As David’s favorite graffiti on the property says, “One day the whole city will be this beautiful.” In 2013 it was a filming location for Michael Bay’s Transformers: Age of Extinction, whose special effects hit eerily close to home…

The state’s only remaining vacant land in Chicago, the property’s location (with Chicago River frontage and access to interstate travel) should be its biggest selling point, says the CMS spokeswoman, along with lots of land to play with for industrial redevelopment. Looking at other grain elevators around the world, you’ll find creative adaptive reuse strategies ranging from residential to office to data centers to artsy (they work well as both canvases and projection screens). A distributor who needs water and highway access would be more practical, though probably not as pretty.

Perhaps this exemplifies the shifts in the American economy in the last century or so: Chicago as an agricultural center taking in grain from all over the Midwest but then losing agricultural and manufacturing jobs as the country moved to a knowledge economy. The empty space then finds a second use as space for artists who can work with the postindustrial vibe. Now, the property offers some advantages for redevelopment with easy access to transportation (one of Chicago’s continued strengths).

At the least, this property offers some unique potential in a city known for its industrial and agricultural past.

Using Chicago skyscrapers as inspirations for spaceships

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“Jupiter Ascending” may not be very good but some of the spaceships are based on Chicago architecture:

When Hull came to Chicago, the Wachowskis began peppering him with reference photographs of Chicago buildings, facades, landmarks, ornamental detail and infrastructure. “Of all the directors I have worked with, they are by far the most architecture-minded,” he said. “They wanted a very decorative vision for the ships, almost Louis XIV-like in places, existing alongside this other aesthetic, far more gothic and less feminine.”

Indeed, the Wachowskis, who started a small construction company and worked as carpenters before becoming filmmakers, wanted the two warring ships at the center of “Jupiter Ascending” to somewhat reflect Chicago itself. “I like how the great curling femininity of the Frank Gehry (Pritzker Pavilion) is juxtaposed against the weight of those harsh, more severe buildings on Michigan Avenue,” Lana said. “I liked that tension in Chicago, that something as elegant as a big river can curl through so many grandiose statements. When we were looking at the design of the ships, we kept exploring this, placing almost baroque, exuberant levels of detail on one end, while on the other, contrasting a rigorous, rational logic.”…

“But also I really love the top of the Carbide & Carbon Building (on Michigan Avenue),” Lana said. So its lighthouse peak informs the back of Titus’ ship, while the front is, well, a play on the flying buttresses that shape the top of the Tribune Tower. “But I often wasn’t flamboyant enough for the Wachowskis,” Hull said. So the gold-green design along the facade of the Carbide building is mirrored on the outside of the ship. And inside: The ceiling of the ship’s loading dock is reminiscent of the dense mosaics in the Chicago Cultural Center ceilings; the long, vaulted chapel is vaguely similar to the reading room of the Newberry Library. “Which was a sanctuary for me as a kid,” Lana said, “where I went when I cut school.”

Balem, played by Eddie Redmayne, is the imperialist, the severe, ominous bully. His ship, therefore, is gothic, less curvaceous than Titus’ ride. The front end, its T-shaped bow, has some inspiration in the terra-cotta faces that watch from the facade of the old Tree Studios building on Ontario Street. And there are hints of the former Midway Gardens entertainment venue in Hyde Park, designed by Frank Lloyd Wright (torn down in 1929). “His ship is more of a towering, hard-looking, Albert Speer-ish brutalism,” Hull said, “but it would be too on the nose for his designs to just reflect that, to not suggest Balem wouldn’t want some ornamental embellishment to his world.” So, his boardroom has touches of the latticework beneath the Loop “L” tracks.

An interesting source of inspiration for objects – spaceships – that we might typically think are otherwordly or something completely different. Additionally, buildings are pretty static, even if they are involved in dynamic social settings, while spaceships have incredible mobility. But, as noted in this earlier post about The Hunger Games, it is difficult to make something completely new. Human creativity rarely involves completely innovative ideas that have never been expressed before but rather often involves taking existing forms and objects and doing new things with the mix. So, in trying to imagine the future, why not draw some on the past while also adding potential changes?

This is also a reminder that Chicago architecture is influential. If we do get to an age of large spacecraft, would Chicago still be a major inspiration? Could we have competing fleets based on different global cities?

“Using a Real Life SimCity to Design a Massive Development”

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As a massive SimCity fan, I find this use of predictive urban models intriguing:

596 acres, 50,000 residents, $4 billion dollars and even a 1,500-boat marina: Everything about the proposed Chicago Lakeside Development, developer Dan McCaffery’s massive micro-city being built at the former site of the U.S. Steel Southworks Plant, is on a different scale. It follows that the design process for this mixed-use project requires a different set of tools, in this case, LakeSim, an advanced computer modeling program. Developed as part of a collaboration between the University of Chicago, Argonne National Laboratory, Skidmore, Owings & Merrill and McCaffery Interests, this program functions like a customized SimCity, analyzing and simulating weather, traffic patterns and energy usage to help architects and designers plan for a site that may eventually contain more than 500 buildings.

“A lot of the Big Data approaches tend to be statistical in nature, looking at past data,” says Argonne scientist Jonathan Ozik. “We’re modeling a complex system of interactive components, running the data forward, so what we end up having is your SimCity analogy, energy systems interacting, vehicles and people moving. What we’re doing here is using a complex systems approach to tackle the problem.”…

The challenge for planners is predicting how so many different systems and variables will interact. LakeSim gives them a framework to analyze these systems over long timelines and run millions of scenarios much quicker than past models — hours as opposed to days — asking “hundreds of questions at once,” according to Ozik. The program is a step forward from similar modeling software, especially valuable at a site that in most respects is being built from scratch.

This seems quite useful at this point but it will be necessary to look at this down the road once the site is developed. How much time did the model save? How accurate was the model? Did relying on such a model lead to negative outcomes? If this is a predictive model, it may be only as good as the outcome.

Interesting to note that the commenters at the bottom are wondering where all the people to live in this development are going to come from. I assume that demand is appropriately accounted for in the model?

NPR photojournal looks at “The end of Chicago’s public housing”

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NPR has put together an interesting site with photos and text that explores the demolition of Chicago’s public housing. Some of the more interesting lines:

Ironically, the [Robert Taylor Homes] were named for a Chicago Housing Authority board member who resigned in 1950 — in opposition to the city’s plans to concentrate public housing in historically poor, black neighborhoods…

The buildings became hulking symbols of urban dysfunction to the suburbanites who saw them from the expressway on their daily commute…

While some have described public housing as a tangle of failed policies and urban planning, to the people who lived there, it was home. But at the end of the 1990s, like the tenement residents before them, they were told that their world would be “transformed.” Many would not be able to live there anymore…

[After the demolitions:] People lost track of each other; the housing authority lost track of them.

A lot of lives were affected even as there really hasn’t been much public conversation about the fate of the public housing residents. Ironically, removing the high-rises may just have made the problems of housing in the Chicago region – and there is a lot of need for good affordable housing, evidenced by recent sign-ups for the public housing waiting lists – even more difficult to see.

See earlier posts about the demolitions of the last high-rises at Cabrini-Green here, here, and here.

Seeing 1940s Chicago in a lost promotional film

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Chicago, the #7 global city today, looked quite different in the 1940s in long-lost promotional footage:

In contrast to typical city promotional films, this video offers glimpses of downtown spots like Buckingham Fountain along with the city’s manufacturing plants and meat-packing facilities. The footage also comes with all sorts of statistics and facts. For example, Michigan Boulevard (now Michigan Avenue) carried more than 55,000 automobiles on an average day.

Based on the credits, it appears the video was produced by the Chicago Board of Education, with an assist from United Airlines (for the aerial shots). The release date of the film has also been pinned to between 1945 and 1946. John Howatt, credited as the Business Manager of the Board in the video, was elected on January 8, 1945, and Johnnie Neblett, the narrator, died on September 15, 1946.

Altman writes that he thinks the video was meant to attract people or companies to Chicago, or perhaps as a resource in the classroom. But according to DNAInfo, a spokesman from the Chicago Board of Education said that staff haven’t been able to find any reference to the film in its archives.

A few quick thoughts on seeing this film:

1. The tall buildings are quite different. One, there aren’t as many. Yes, Chicago was dense but it was more due to low-rises. Two, they don’t have the shine that we have come to associate with skyscrapers and instead tend to be covered in stone or masonry and are marked by pollution. (Blame the International Style, which bloomed in Chicago.)

2. The focus on industry is interesting. Manufacturing would have made up more of the economy at the time (Chicago, like many Rust Belt cities, lost hundreds of thousands of manufacturing jobs in the late 20th century) while the emphasis today is more on finance and services.

3. Some of the footage of Lake Shore Drive seems quaint as it appears to sometimes have two lanes each direction without many barriers between each side or the paths and sidewalks nearby. This was the era before major highways as we know them which were not completed in the Chicago region until the mid 1950s.

4. What is missing and can be found in pretty much any major city? Like any growth machine which wants to promote high-quality growth, this film omits the lower-class areas of the city. Chicago at the time had numerous poor neighborhoods including the Black Belt on the South Side which was the only place where blacks could live. These areas somehow didn’t make it in…

5. I wonder at times how much the less-than-high-def footage influences our interpretations of the past. Chicago looks fairly inviting in this film – bustling, beautiful lakefront, lots of nice buildings – yet it all looks so grainy. We’ve reduced this look to a filter on our Instagram accounts but it is hard to find the HD images that might help us make an apples-to-apples comparison of scenes.

Frank Gehry answers critics of the Lucas Art Museum design

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Architect Frank Gehry suggests Chicagoans will come to accept his proposed design for the Lucas Art Museum:

Chicago is a great city for architecture and has historically supported innovative, forward-looking work. There is a natural impulse to deride a project in the early stages of design, particularly one that has a new shape or expression.

This is not a new concept.

The Guggenheim Museum in Bilbao, Spain, the Eiffel Tower in Paris and even the Monadnock Building in Chicago had many early critics. In my own experience, the Walt Disney Concert Hall in Los Angeles was called broken crockery when I first went public with it, and that was the nicest thing that got said. In Bilbao, the newspapers had an article asking for the architect of the museum to be killed — that was me! All of these projects have gone on to be great assets to their mutual cities, and I think the same will be true of the Lucas Museum of Narrative Art and Chicago.

The work presented for the Lucas Museum has precedent. It’s not just out of the blue; it is something that has been in the air for many years. The use of rooftops as public space has precedent in the Malmo Concert Hall in Sweden by Snohetta. It is one of the first great examples, and I think it has proved very successful. Zaha Hadid has used flowing forms in many of her projects to great effect. If we go even further back, Eric Mendelsohn was using organic forms to create his masterpieces such as the Einstein Tower in Germany…

Please do not dismiss it because it doesn’t look like something you’ve never seen before.

An interesting plea from the starchitect. Chicago is indeed an important city in architecture, particularly with the rise of the International Style in the post-war era. Yet, Chicago doesn’t have too many whimsical or rounded designs as its larger buildings tend to stick with older Green styles (think the Museum Campus), modernism (International Style of glass-walled skyscrapers), and the occasional postmodern touch in a high-rise or tall office building.

If Gehry is right that cities tend to accept his work down the road, does his line of reasoning cut off any potential criticism from the start? Gehry suggests new designs may be unusual but they tend to be liked down the road. But, there are buildings that are constructed and people never quite take a liking to them. As another example, Gehry’s design for the Eisenhower Memorial in Washington D.C. has prompted a lot of debate. How would we know if the Lucas Art Museum is one of those cases that is not popular years later? The location near Lake Michigan and the public interest in such land is not likely to do the building’s design any favors.

Watch for how Chicago’s new “Array of Things” signs communicate information

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Big data about Chicago is to be communicated to the public in a few different ways, including from public signs:

But the information it gathers is only half of what the Array of Things does. It will communicate that data in a complete, machine-readable form online, for users to search, analyze, and adapt. The sensors, however, will also communicate the data to passers-by.And that presents an interesting design dilemma. Most public signage seems self-evident and intuitive, like stop signs and walk signals, but it tends not to change very much, and when it does, it’s iterative. What do you do when you’re designing a new form of public signage, on the cheap, and one that has the possibility to communicate a wide range of information? To find out, I spoke with the array’s designers, SAIC professor Douglas Pancoast and master’s student Satya Batsu.

The obvious approach would be to use a screen. But screens are fragile and expensive. “We knew we didn’t want to have screens,” says Pancoast. “We wanted it to be visible—it couldn’t be too small, it couldn’t be too big, and you couldn’t mistake it for traffic.”…

That also led the designers to the current design of the Array nodes. (Not final, necessarily—the 3D-printed screens are cheap, quickly produced, and replaceable in a few minutes with off-the-shelf hardware.) The hexagonal shape of the lights in a honeycomb pattern is meant to further distinguish the Array nodes from traffic signals—a simple, familiar shape that’s still different from the language of signage that will surround it on city streets…

From that, Pancoast and Batsu narrowed down the nodes to their current iteration, leaving open the question of what information they’ll communicate and how people will recognize it. And that’s where the community comes in. The Array of Things is “neighborhood asset mapping,” in Pancoast’s words; residents are likely to be interested in different data in different places. In one place, they might be interested in air quality, an “asymmetrical” issue across the city. In another, sound or temperature.

This could present some interesting opportunities for observation to see how residents will interact with these public signs. Will they stand around them? Glance at them quickly as they walk by? Ignore them? I’m curious to know what information these signs could provide on a regular basis that would be better than what residents could gather on their smartphones or that would add value to their daily routine.

Moving a 762 ton Chicago house

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To make room for the development of the McCormick Place entertainment district, a heavy landmark home from South Prairie Avenue has to be moved:

The house, built in 1888 by Rees, widow of real estate pioneer and land surveyor James H. Rees, is the last structure standing on the 2100 block of South Prairie. The house was granted landmark status in 2012 by the Commission on Chicago Landmarks.

Moving the 762-ton house will be a monumental job, involving 29 remote-controlled hydraulic dollies with a total of 232 wheels. The total weight, including equipment, is 1,050 tons…

The authority is spending more than $6 million to move the home and the adjacent coach house. The new plot of land cost an additional $1.9 million. The home won’t change owners, but the authority will also compensate the private owners with $450,000…

Last month, workers did a practice run, moving the much smaller coach house to its new location. It weighed a mere 185 tons.

Though the relocation will be among one of the heaviest in U.S. history, it won’t set any records. Guinness World Records lists the Fu Gang Building in China’s Guangxi province as the heaviest building moved intact. The 16,689-ton building was moved in 2004.

Two notable things here:

1. This is quite a project. Read the story for more of the details including what they laid on top of the road in preparation for the move as well as how they secured the home on its pad so it doesn’t fall off during the move.

2. South Prairie Avenue used to be the home for wealthy Chicagoans. Here is more from the Wikipedia entry on Prairie Avenue:

During the last three decades of the 19th century, a six-block section of the street served as the residence of many of Chicago’s elite families and an additional four-block section was also known for grand homes. The upper six-block section includes part of the historic Prairie Avenue District, which was declared a Chicago Landmark and added to the National Register of Historic Places…

By 1877 the eleven-block area of Prairie Avenue as well as Calumet Avenue housed elite residences. By 1886 the finest mansions in the city, each equipped with its own carriage house, stood on Prairie Avenue. In the 1880s and 1890s, mansions for George Pullman, Marshall Field, John J. Glessner and Philip Armour anchored a neighborhood of over fifty mansions known as “Millionaire’s Row”. Many of the leading architects of the day, such as Richard Morris Hunt, Henry Hobson Richardson and Daniel Burnham designed mansions on the street. At the time of the 1893 World’s Columbian Exposition, guidebooks described the street as “the most expensive street west of Fifth Avenue”. However, after Bertha Palmer, society wife of Potter Palmer, built the Palmer Mansion that anchored the Gold Coast along Lake Shore Drive, the elite residents began to move north.

While the wealthiest area was several blocks north, this home is part of an area once very important to Chicago’s elite. Yet, like many areas in major cities, redevelopment is common as people and businesses move and new residents and leaders bring in new ideas.

First shared street – devoid of street markings, signs – coming soon to Chicago

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This has been tried elsewhere (see this example in England) but the first shared street will be in place next year in Chicago:

The New York Times editorial board recently called the concept of shared streets a “radical experiment” for the city of Chicago, which plans to start construction on its first one on Argyle Street early next year. Yet the philosophy behind them–that by removing common street control features, street users will actually act less recklessly and negotiate space through eye-contact—is actually not all that new. Shared streets have been built and shown to be effective in reducing accidents in London already. In the U.S., shared streets exist in Seattle, Washington and Buffalo, New York.

The Chicago project came about as the city was looking to implement a normal street improvement project for Argyle Street, an active block with businesses and restaurants in a diverse neighborhood where many Vietnamese immigrants settled in the 1970s. The street had also shut down for the city’s first night market for the last two summers, and Alderman Harry Osterman, whose ward includes the area, says officials wanted to continue spurring the revitalization of the area. The lakefront bicycle path is only two blocks away…

The $3.5 million street renovation will feature a design with no curbs or lanes, and minimal signage, though there will be stop signs, so as not to descend too far into chaos. Different colors and pavers will indicate where the sidewalk would normally end and where the street begins; the speed limit will be 15 miles per hour. Overall, the goal is to change the mood of the street: “Psychologically for drivers, they will know that they can’t just shoot from stop sign to stop sign.”

Osterman hopes that as a result of the improvement project, more visitors will come to businesses in the area, and that the open space will make it easier to encourage more sidewalk cafes and temporary events. The city is now nudging existing business to spruce up their facades.

It will be fascinating to see how this plays out in Chicago. Several of the interesting features here:

1. Such designs deemphasize the role of cars. Chicago drivers tend to like to go fast when they can so I suspect they will not like this change.

2. Pedestrians and businesses will probably like this a lot as it can enhance street life, leading to more people hanging around and frequenting the businesses.

3. In looking at the design, I did wonder about parking. If someone wants to drive to this stretch, this change might lead to more parking issues on adjacent blocks.

4. Even if this is successful, will it catch on more widely in Chicago? As noted above, while walkers and businesses will probably like this, you can’t have too many of these street or drivers will be really upset about their limited options.

What will the closed CPS properties become?

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When the Chicago Public Schools closed nearly 50 elementary schools (part of the story of the series Chicagoland), they noted it would be difficult to sell many of these properties. Well, the first one just sold:

The Chicago Board of Education on Wednesday unanimously approved the sale of the former Peabody Elementary school site and building to the Svigos Asset Management company for $3.5 million.

The site at 1444 W. Augusta Blvd. was one of only three closed schools that reached a bid stage for a potential sale.

The other two — the former Marconi Elementary in West Garfield Park and Wadsworth Elementary in Woodlawn — will receive new bid solicitations from the school district. CPS said both the closed schools “failed to generate qualifying bids.”

The board also unanimously approved the sale of the district’s soon-to-be-vacated headquarters at 125 S. Clark St. to Blue Star Properties for $28 million.

This is a minimalistic explanation that leaves out some very important information. Like:

1. Were these fair prices for the properties? The suggestion that other properties haven’t sold does hint that CPS is asking a decent amount.

2. How are these properties going to be used? Perhaps it doesn’t matter once they generated some revenue and are now off the hands of CPS.

It still sounds like this could be a drawn-out process.