It’s been (another) terrible year for Jeanne Gang! From being awarded the MacArthur Genius Grant to starring in the just opened solo exhibition, Building: Inside Studio Gang Architects, at the Art Institute, there appears to be no slowdown in Studio Gang momentum. Of course, Eavesdrop stopped by the opening and we have a few things to say. The first has little to do with Jeanne and more with the Art Institute. Their openings are always so snoozy! Get more of the students and younger folks in there, in addition to your stodgy museum patrons! We probably wouldn’t have stuck around long, accept a little bird told us that Mayor Rahm Emanuel would be making an appearance and we wanted to see how short he is in real life.
Zoë Ryan, the museum’s chair of the department of architecture and design, looked nervous awaiting Rahm’s arrival, while Jeanne looked quite at ease, milling about in a really cute dress. One of the hottest architects in the world is certainly in the same power echelon as the mayor of the Second City.
Last night, updated plans for Chicago’s Bloomingdale Trail were presented at a public meeting—the public session’s last chance to comment on the design before final plans are presented this December. The trail is an elevated linear park designed by a team including Collins Engineers, Michael Van Valkenburgh Associates, and Frances Whitehead on a former rail viaduct running through Chicago.
AN contributor and sustainable transit enthusiast Steven Vance attended the meeting at the Humboldt Park Field House, recapping the event on the GRID Chicago blog. Among the details confirmed at the meeting, construction is set to begin summer 2013. While the trail will open for bikers and pedestrians in Fall 2014, landscaping and art installations will continue into 2015.
The Formation of the Japanese Print Collection at the Art Institute:
Frank Lloyd Wright and the Prairie School
The Art Institute of Chicago
111 South Michigan Avenue
Through November 4
Frank Lloyd Wright visited Japan for the first time in 1905, inspired by the country’s pavilion at the 1893 World’s Columbian Exposition. He lived in the country while working on Tokyo’s Imperial Hotel, soaking in Japanese art and culture. It had a lasting impact on his own work, especially the development of the Prairie Style as well as his renderings and presentation drawings. During his time in Japan, Wright became a pioneering collector of Japanese prints, and often supported himself as an art dealer. Clarence Buckingham purchased numerous prints from Wright in 1911 (including Utagawa Hiroshige’s Sparrows and Camillia in Snow from 1831, above), which became the foundation of the Art Institute’s print collection. This exhibition is composed of prints purchased by Wright, photos of an exhibition of his collection he staged in 1908 at the Art Institute, and drawings from Wright’s studio.
Bertrand Goldberg’s Prentice Hospital has become the cause célèbre for architectural preservationists from across Chicago and beyond, now garnering five more Pritzker-toting allies amid mounting pressure for demolition.
Robert Venturi, Tadao Ando, Jacques Herzog, Pierre de Meuron, and Eduardo Souto de Moura added their names to a letter sent to Mayor Rahm Emanuel last month from more than 60 architects, including Frank Gehry. Dan Coffey and Jack Hartray of Chicago, George Miller of New York City, Denise Scott Brown of Philadelphia, and Bjarke Ingels of Copenhagen also joined the chorus of designers calling on Chicago city officials to grant the iconic cloverleaf structure landmark status.
A rose by any other name may still smell as sweet, but what about a violet? Suburban Chicago’s Purple Hotel, rescued this Spring from dereliction and impending demolition, may change its name to complement its transformation under architects Koo and Associates. The firm solicited name suggestions via Facebook, looking for “something mid-century and fresh.” One early commenter declared, “Renaming the Purple Hotel will go over about as well as renaming the Sears Tower.”
In a city where bicyclists may share a lane with Transportation Commissioner Gabe Klein, last year’s promise by Mayor Rahm Emanuel of 100 miles of protected bike paths was cause for celebration. Chicago’s latest project, announced Sunday, will be a protected lane along Dearborn Street in the Loop that will run in both directions from Polk to Kinzie.
The new route connects the near north side with the south loop and is designed to appeal to young, tech-savvy commuters who work downtown.
Gazing at Chicago from the east, it’s impossible to ignore the city’s towering skyline. But the latest gem on the southwest shores of Lake Michigan won’t be made from glass and steel—it’s prairie grass and wetlands.
Northerly Island, a 91-acre peninsula that juts into Lake Michigan just south of the Loop, was promised a visionary makeover from Studio Gang and landscape architects JJR in 2010. Now the Chicago Park District and the U.S. Army Corps of Engineers are preparing to break ground this fall.
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How a boutique Brooklyn design-build collective strung up NeoCon’s first major installation.
Attendees of NeoCon in Chicago’s Merchandise Mart rode the escalators and ascended towards Wolf-Gordon‘s large crystalline canopy hanging overhead. Though NeoCon has come and gone, Wolf-Gordon has just begun using the tessellated, prismatic structure for an ad campaign that, for the company’s new Chief Creative Officer, Marybeth Shaw, signifies a renewed approach to design and a willingness to take risks. To announce Wolf-Gordon’s new face to the world, Shaw enlisted the help of advertising agency Karlssonwilker, who has created campaigns for Adobe, the New York Times Magazine, BMW, Vitra and MTV, among others, and The Guild, a Brooklyn-based design and build collective whose clients include Dior, Louis Vuitton, Nike, Hurley and Diane von Furstenberg. It’s a bit of an unexpected mix of talents, to be sure, but Shaw wanted to shake things up.
After developing a concept with Karlssonwilker that was inspired by Bruno Taut’s 1914 Glass Pavilion, Shaw turned to The Guild, where Creative Manager Graham Kelman translated her idea into a spiky, crystalline form onto which Wolf-Gordon’s fabrics, textiles and wall coverings could be displayed. Kelman’s first design had between 650-700 prismatic faces with an area far too small to show off the fabric, so Kelman decreased the amount of faces to around 250 while also increasing their individual size. “I increased the largest spike from three to six feet by using a sheet of material per spike side,” Kelman said. He was able to decrease “the total number of faces by two-thirds and still retain the aesthetic impact, volume and material” he wanted.