chicago mayor rahm emanuel

talking to michelle boone on chicago’s first architecture biennial.

Oct 2, 2015

It’s hard to believe that 2015 is the launch date of the first Chicago Architecture Biennial. With so many major worldwide architecture & design events going on and with Chicago’s architectural heritage being one of the richest in the world, this event will serve as the epitome of ‘it’s never too late.’ We talked to the biennial’s resourceful, Michelle Boone, Commissioner of the City of Chicago’s Department of Cultural Affairs and Special Events (DCASE), after an exhilarant, worldwide audience filled, first press event. Many would say she’s 100% responsible for this inaugural happening.

[DesignApplause] What’s the genesis of the Chicago Architecture Biennal? How far back does it go?
[Michelle Boone] I was appointed by Mayor Emanuel in 2011, and I would say probably that second week of my tenure I got a call from the mayor wanting to work towards identifying a new platform, a major platform to convene the world and celebrate one of Chicago’s multiple assets. And very quickly through the process of working on the Chicago Cultural plan released in 2012, we landed on architecture. That while we had great organizations like the Chicago Architecture Foundation, and others that were doing their part to introduce visitors to Chicago institutions and Chicago Architecture history, the city itself had done very little to really promote architecture. We had great music festivals, engaging theatre programs and grant programs in support of individual artists, but as an agency very little for architecture, one of the city’s cultural strengths. And professions! I mean, just the sector of architecture as a creative industry is really important to the city. So we began to explore and look at biennials and exhibitions around the world.

[DA] And what year was this?
[MB] 2012. We went to Venice, the granddaddy of them all and met with those folks and they were very encouraging. And you know, they were shocked and surprised when we told them Chicago wasn’t doing a biennial. Every time we spoke to someone outside of the city, we heard that over and over. Through this process and along with our very encouraging and supportive local architecture community we’re here today kicking off our biennial. Looking back it was very easy in the beginning pulling the pieces together, but then we had to do the hard work of pulling everything together.

[DA] To summarize, how long has it taken to get to today?
[MB] We’ve been working on it for three years, in different iterations. The exploration, research, the ideas started back in 2012. I think Sarah (Herda, executive director of the Graham Foundation) coming on board, and really starting to massage the artistic vision for the biennial probably started in late 2013. So, yes, I think the work that she and Joseph (Grima, an architect and writer who co-curated the 2012 Istanbul design biennial) have been engaged in has been at least 18-24 months for sure.

[DA] Venice started in the 80s. The experts say you have 10 years, and with the biennial occurring every-other year, that’s 20 years. Are you going to hang in there?
[MB] Well, the Biennial will hang in there (laughing) I don’t know if it needs me to hang in there all that time. What’s very important, we started right from the beginning establishing the Chicago Architecture Biennial as an organization, an independent non-profit to ensure the sustainability of the event. It’s not dependent on me being here at the city of Chicago, or Mayor Emanuel being here, but that the organization will build the institutional intrastructure to be able to carry this on.

[DA] You’ve been able to see all the installations, can you point me to one or two?
[MB] There are a lot of cool things here and one of the coolest to me is the installation with spider webs, so the spider as architect (Tomas Saraceno, Berlin) is pretty interesting to see.

above> – click image for slide show; Tomas Saraceno, Berlin – When entering into Saraceno’s installation, a visitor’s perception is reoriented in a darkened environment dotted with glowing sculptures that are articulated in silvery spider silk. Formed of complex interwoven geometries suspended in air, each piece appears as a unique galaxy floating within an expansive, infinite landscape. The work’s titles reveal the technical basis for each sculptural element, like the genus and species of the spider collaborators and the amount of time needed to construct their webs – one four months. During the building period of a sculpture, each cube is turned onto its different sides, dislodging gravity and interweaving concepts of freedom of control within the work.

[DA] Anything else you wish to say?
[MB] It’s free! One unique thing about our biennial in comparison to some of the others around the world, is that all of the works are free and accessible.

[DA] How did the largest architecture and design festival ever to be held in North America press conference go?

The [ Chicago Architecture Biennial ] launches 3 October 2015, and will run through 3 January 3 2016. @chicagobiennial @grahamfound

Chicago places ads on really public spaces now hurting both pockets and eyes.

Nov 22, 2011

click all images > enlarge

The ( Chicago ) finances are really bad. How bad is it? Not only are our pockets hurting but our eyes are starting to hurt too. Several days ago Bank of America buys newly appointed ad space on the Chicago River bridge towers. Here’s how it went down. The timing put the ad placement two days prior to newly appointed mayor, Rahm Emanuel’s, austerity budget proposal to the City Council. The Chicago aldermen approve the mayor’s first budget 50-0, though some aldermen said they’re giving the new mayor the benefit of a doubt and seeing how things play out. I’m thinking the same thing: The mayor hates how the advertising looks, but he places the controversial ads to make a point these are desperate times. He will support revenue raising ad revenue with visuals and placement that beautify eyesores and sponsored feel-good messaging.

the future in urban advertising may have begun in tokyo’s ginza.

While Chicago waits let’s think about what we might have to look forward to. Reasoning is heavily influenced by 12 Monkeys, Minority Report and Blade Runner.Tokyo’s (above) Ginza was an ad magnet in the 60s. Another Asian ad centric city is Hong Kong. Metro-mega-ad-landscapes appear in traditionally high traffic venues. The traffic first attracts the media and maybe at a certain threshold the media draws more crowds. Most cities are struggling to make ends meet and luckily they can control and influence the manner of advertising and their revenue opportunities while keeping aesthetics and quality of life in the mind’s eye. Some cities will do a much better job than others.

we can expect more cities following new york’s times square model.

I don’t mind Times Square’s visual barrage. Maybe it fits one’s expectations but I’m entertained. And this messaging is confined to Times Square. Why do so many people go there?

Back to Bank of America. The Chicago Marathon makes an enviable amount of money for both BA and the city. Any problem with appropriate messaging here on either the banner or the lamp posts?

trump tower | chicago

If advertising is one solution to Chicago’s finances let’s consider both public and private sector concepts. Now popular is turning existing glass surfaces and windows into digital advertising masterpieces. From the inside you don’t see the artwork. Bad idea to use architecture unless structures are scheduled for demolition, under construction, or being (below ) renovated.

cathedral rehab | rome

The fabric-covered scaffold concept may cost a bit more, but Rome is a tourist destination and she has an architectural legacy to protect. The fabric packaging is seen everywhere including public, commercial, and residential architecture. This package can be up 1-3 years.

marina towers | chicago

Marina Towers and Allstate Insurance team up. Inspired by scene from Steve McQueen’s 1968 movie Bullit. But it’s not big, not bright, a taint understated. For many reasons pretty cool.

I don’t mind sidewalk advertising and most sidewalks are public owned.. The visual clutter is minimal though placement concerns include safety and an appropriate venue. Begging for hopscotch concept.

Mayor candidate Emanuel proposed ads on garbage trucks in January 2011, to raise funds for after school programs. Not long ago in Chicago we transformed cows into art which raised revenue and then publicly displayed the artsy bovines. An advertiser who aligns itself favorably with a public service and communicates with wit and artfulness works, even on a garbage truck.

volkswagen | berlin

Another good idea that encourages mostly locals to wait to drop and recycle.

wabash street bridge over the chicago river

The Emanuel administration thinks such corporate advertising will raise as much as $25 million in revenue from corporate advertising on everything from buildings to the city’s website to garbage cans and parking pay boxes. He might be right on the $25M but don’t expect more of the same ads that adorn the bridges. He knows that tourism comes to Chicago to embrace the architecture. The media has said that companies have been in a wait-and-see mode and gutsy of BOA to kick the can down the road first. Realize, the advertising will indeed come. Maybe there’s a tax on bad advertising. The BOA ads adorn the Wabash Street bridge through December 12. Maybe Rahm is messing with us too to get it all right again.

[ resources ]
adland.tv
blair kamin chicago architecture critic
bored panda
buswrap.com
gothamist
overground arts
three steps over japan

Graffiti bots programmed to get arrested.

Nov 17, 2011

two bots provide excellent example of duality: getting arrested or providing a public service. yesterday, chicago’s new mayor rahm emanuel’s budget austerity proposal passes 50-0. 500-plus municipal jobs slashed but not the graffiti crew. not many would agree but tasteful art and graffiti can improve urban eyesores that suffer from neglect. the above bot is labeled “the senseless drawing bot” in the blogosphere. can the senseless drawing bot provide a public service? i think he has the talent to do beautiful work.

below: now on the other hand this bot does not have the talent nor provides the spontaneous creative moment for the 99% graffiti artist. 1% will try it. 100% gets arrested.

above: do you think street art ( graffiti ) can be an effective agent of change?

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