Tag Archives: George Lucas

Chicago Lucas museum to have to deal with garbage underneath

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Chicago may have a beautiful waterfront but plans for the Lucas museum provide a reminder of how that land was acquired: garbage.

“Any design will account for existing environmental issues and be built accordingly,” an Emanuel spokesman said. “The mayor has been clear. No public dollars will be spent on construction of the Lucas museum.”With Emanuel’s backing, Lucas is proposing a five-acre museum nestled on 17 acres of Chicago parkland just south of Soldier Field. But what’s buried below the surface of the site is nasty stuff. An analysis for the renovation of Soldier Field and the land around it more than a decade ago found potentially cancer-causing chemicals in the soil near the stadium, according to a site inspection report filed with the Illinois Environmental Protection Agency…

The contamination discovered around Soldier Field is believed to be the byproduct of burning wood, coal and other materials. Embankments, parking lots and other paved surfaces around the stadium serve as barriers eliminating human exposure to the buried pollutants. Plans call for some of that area to be dug up as Lucas proposes moving 3,000 parking spaces underground. The project’s proximity to Lake Michigan also is a factor for environmental planning.

I remember seeing a small exhibit of some of this garbage at the Field Museum about 10 years ago. On a small plot just outside their building they had found a wide range of items including utensils and tea cups and saucers from hotels.

Since there are environmental concerns at this particular site, I wonder how close residents and visitors are to these dangerous materials at other points along the lakefront. Just how deep would one have to dig to find the garbage? How much work does it take to contain the problems when constructing new buildings?

Fighting to protect Chicago’s parks from mini-banks, tea stores, and the Lucas Museum

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Curbed Chicago sets up the likely coming battle over using public space for the Lucas Museum:

Since late Spring, a small “pop-up bank” operated by PNC Bank has sat in Grant Park. It’s a bright orange and blue shipping container with doors and windows and an ATM. The park district earns $120,000 annually from the small structure, but many folks are not happy with its location in the park. DNAInfo has reports of numerous complaints about the very idea of a bank opening “It seems to go against the nature of the park itself,” a citizen tells DNAInfo.

The Park District is okay with it, obviously, in part because of the payola but also because, according to them, it’s not a permanent structure. In their mind, it’s a temporary vendor like you might find several dozen of in the park during Taste of Chicago. But is it the same? And where are the limits? What if Starbucks wants to open a mini-cafe right next to the PNC to capture the millions of visitors Grant Park will receive this summer? Why wouldn’t they?…

And consider Connors Park, to the north of downtown a few blocks from John Hancock tower. The squat little park is now home to an Argo Tea pavilion which just celebrated its one year anniversary of the location. Initially there was confusion about whether the park was still a park, and if it was okay to sit and enjoy the park without buying a tea. At a celebration for the one year anniversary, staff told us that with recent changes to the signage that confusion has dissipated and that neighbors know they’re welcome…

But the fact that these two issues are even issues at all speaks to the city’s constant vigilance against abuse of the parks, and it explains why despite being a seeming “slam dunk,” the Soldier Field parking lot location chosen for the Lucas Museum won’t come without a fight. This isn’t a quarter-block tea house or a 160 square-foot mini-bank, it’s a massive, multi-million-dollar development that has already captured the attention of the nation. As Chicagoist puts it, The Debate Over The Lucas Museum Has Only Started.

There are two levels to this:

1. What seems like an increased interest in many cities in ensuring that public spaces stay public. What can happen in these parks? Is there enough public space as opposed to private space masquerading as public space?

2. The special circumstances in Chicago that suggest the land near the lake needs to remain for public use. All sorts of ideas can pop up for a lakefront – I was reminded again recently about the older Mayor Daley’s suggestion that Chicago should build a major airport out in Lake Michigan – so having these guidelines has been a big boon. Yet, it is hard for a city that is chasing elite status (perhaps due to its own insecurity) to turn down a figure like George Lucas in such a location. Additionally, such a battle could give opponents of Rahm Emanuel an excuse to pick a battle.

Maybe all this represents one of the major trade-offs in today’s world: just how much do want corporate interests or the interests of powerful people overrule the rights of others? Constructing a museum like this isn’t the end of the world for Chicago but it may seem like another event in a long line of concessions to growth machines.

Argument: George Lucas is the “greatest artist of our time”

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Camille Paglia explains why she believes George Lucas is “the greatest artist of our time”:

Who is the greatest artist of our time? Normally, we would look to literature and the fine arts to make that judgment. But Pop Art’s happy marriage to commercial mass media marked the end of an era. The supreme artists of the half century following Jackson Pollock were not painters but innovators who had embraced technology—such as the film director Ingmar Bergman and the singer-songwriter Bob Dylan. During the decades bridging the 20th and 21st centuries, as the fine arts steadily shrank in visibility and importance, only one cultural figure had the pioneering boldness and world impact that we associate with the early masters of avant-garde modernism: George Lucas, an epic filmmaker who turned dazzling new technology into an expressive personal genre.

The digital revolution was the latest phase in the rapid transformation of modern communications, a process that began with the invention of the camera and typewriter and the debut of mass-market newspapers and would produce the telegraph, telephone, motion pictures, phonograph, radio, television, desktop computer, and Internet. Except for Futurists and Surrealists, the art world was initially hostile or indifferent to this massive surge in popular culture. Industrial design, however, rooted in De Stijl and the Bauhaus, embraced mechanization and grew in sophistication and influence until it has now eclipsed the fine arts.

No one has closed the gap between art and technology more successfully than George Lucas. In his epochal six-film Star Wars saga, he fused ancient hero legends from East and West with futuristic science fiction and created characters who have entered the dream lives of millions. He constructed a vast, original, self-referential mythology like that of James Macpherson’s pseudo-Celtic Ossian poems, which swept Europe in the late 18th century, or the Angria and Gondal story cycle spun by the Brontë children in their isolation in the Yorkshire moors. Lucas was a digital visionary who prophesied and helped shape a host of advances, such as computer-generated imagery; computerized film editing, sound mixing, and virtual set design; high-definition cinematography; fiber-optic transmission of dailies; digital movie duplication and distribution; theater and home-entertainment stereo surround sound; and refinements in video-game graphics, interactivity, and music.

Read the entire interesting argument.

Four quick thoughts:

1. This broadens the common definition of artist. It acknowledges the shift away from “high art,” the sort of music, painting, and cultural works that are typically found in museums or respectful places to “popular art” like movies and music.

2. The argument doesn’t seem to be that Lucas is the best filmmaker or best storyteller. Rather, this is based more on his ability to draw together different cultural strands in a powerful way. Paglia argues he brought together art and technology, combined stories from the past and present, promoted the use and benefits of new technologies that were influential far beyond his own films.

3. Another way to think of a “great artist” is to try to project the legacy of artists. How will George Lucas be viewed in 50 or 100 years? Of course, this is hard to do. But, part of creating this legacy starts now as people review an artist’s career though it could change with future generations. I wonder: if technology is changing at a quicker pace, does this also mean the legacy of cultural creators will have a shorter cycle? For example, if movies as we know them today are relics in 50 years, will Lucas even matter?

4. How would George Lucas himself react to this? Who would he name as the “greatest artist” of today?

George Lucas to his weathly neighbors: if you don’t want my new studio, I’ll sell my land for affordable housing

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An interesting NIMBY battle is continuing in Marin County, California between George Lucas and his neighbors. Here is the latest:

Skywalker Properties abandoned the plans in an acerbic two-page letter [PDF] to its neighbors: “Marin is a bedroom community and is committed to building subdivisions, not business,” it read. (“It was, by his own admission, a bit edgy,” Peters says.) The letter concluded by suggesting that if people felt the land was best suited for more housing, Lucas would aim to sell it to a developer who would at least create the kind of housing Marin really needs: not more million-dollar homes, but low-income residences…

The plan, now in its early stages, is for Lucas to transfer the property to the Marin Community Foundation, which will work with a nonprofit developer to build the housing, as it has with similar low-income projects throughout the area. (Peters prefers the term “workforce housing” given the stigma attached to its more common moniker. To illustrate the perception he is up against, one wealthy neighbor cried to the New York Times that Lucas was “inciting class warfare” by inviting poor people to move in.)…

Peters would like to put about 300 apartment units on the property, which would again take up only a small portion of the remaining 200 acres. Given all the protected space around Lucas’s properties here, it’s unlikely any of the neighbors would even be able to see such a development. Most of the Marin Community Foundation’s other housing projects have been developed along transit corridors. But because this location is more remote, Peters envisions that, at first, this site may be best suited for low-income elderly. Marin also has the highest proportion of aging residents of any county in California.

Peters is quick to add, too, that in Marin County a family of four earning nearly $90,000 a year is eligible for housing assistance (for further perspective on the local housing market: “I forget that you have to translate here that a million-dollar house is not a mansion, by a long shot. They’re very comfortable homes.”) And so the popular imagination – “you’re going to bring drug dealers” was another complaint in the Times – is at odds with the reality of what affordable housing really means in this economy, and who needs help obtaining it.

It’s a strange world where wealthy people can poke each other in the eye by threatening to build affordable housing. I guess we’ll have to wait and see how the neighbors respond but I wouldn’t be surprised if they fight this with the same vehemence they fought Lucas’ plans. Clearly, more affordable housing is needed here but wealthy residents fighting a NIMBY campaign can be quite powerful.