Archives for category: Charity

Chicago Home+Garden‘s third annual “Chairs for Charity” was held at Consentino‘s beautiful West Loop showroom on Wednesday night. The evening was a resounding success with proceeds benefiting Design Industries Foundation Fighting AIDS (DIFFA). Matter & Order has been a huge fan of this event ever since being a part of the inaugural Chairs for Charity back in 2010. Some of Chicago’s leading designers and artists took inspiration from all sorts of places and transformed existing chairs, usually in disrepair, into showstopping, interior design centerpieces. Check out this year’s designs below:

“Palermo” by Aimee Wertepny of PROjECT. interiors

Designer’s Statement: “PROjECT. was inspired to create a chair that’s a glam mash-up of chic and cozy, edgy and sezy. A statement piece that’s as engaging to the eye as it is to the touch (and tush).”

“Declan Chair” by Francine Turk; Jillian O’Neill Interior Design

Designer’s Statement: “Jillian O’Neill has a passion for designing furniture and Francine Turk was inspired to paint roses after stumbling upon an amazing rose garden while on a trip with O’Neill in Charlotte, NC.”

“Rejent” by Jennifer Sweas Design

Designer’s Statement: “Vintage 1970s chair revamped into classic contemporary. I wanted to take the great bones of this chair, polish up the frame, and revamp the upholstery with textures that make it warm, touchable, yet clean in appearance to complement and interior. It is quiet and elegant with classic contemporary styling. I selected a gorgeous ash-colored leather, with mohair in a silvery gray on the seat and a frost tone on the back to contrast with the bright polished chrome frame.”

“Gathered Together” by Souice Horner Ltd.

Designer’s Statement: “Gathered Together was inspired by the resurgence of the industrial found objects movement that’s recently gained a lot of momentum. The initial exhilaration of finding a one-of-a-kind item on a treasure hunt is short-lived when we later discover that the piece has simply gathered dust in a drawer or otherwise dimly lit chamber. When gathered together, these items create a magnificent way to revisit the past – while managing the point towards the future.”

“Mahogany Belt Chair” by Blake Sloane of Rebuilding Exchange

Designer’s Statement: “This chair was particularly beat up when I found it. It had been reupholstered countless times in the past century, then left under a porch for the last 20 years. After removing the nearly 100 rusty tacks, it took a little care to re-glue the mortise and tenon joinery, and a lot of elbow grease to clean up the mahogany frame. The only part I rebuilt was the chair seat, from reclaimed mahogany flooring. I often use belts to reupholster furniture, and feel the bring so much color and texture to the piece. I especially love that you can still see all of the ear and tack holes from previous upholstery. Perhaps in a few decades someone else will come along and ind another creative way to modify this chair.”

“Mandarin” by Pradeep Shimpi of Shiani

Designer’s Statement: “The classic library chair and especially the armchair are well designed and comfortable. I wanted to create a more angular, modern juxtaposition to the curves of the original and add of bit of whimsy with the brushed aluminum and oriental feel.”

“08.24.12″ by Paul Schulman Design

Designer’s Statement: “In thinking about what a chair is, its meaning and usage, I thought about chairs that have reference to place and events. This chair was originally in a monastery library. Made of thick walnut with very utilitarian design, it just feels solid; it spoke to me about integrity. When I made this chair, I was thinking about a day of grave violence in our city, and the plastic rods represent shots – with every gun shot, integrity is sacrificed.”

“Max” by Debra Phillips of Scentimental Gardens

Designer’s Statement: “This once-proud chair lost its pizzazz; worn, torn, and dirty, but what wonderful bones it possessed. Max was in need of a contemporary update with fabrics, paint, and a plethora of nail heads. He shines once again.”

“The Cork Cathedra” by Trevor O’Neil Design

Designer’s Statement: “Furniture is sculpture to me. And as much as I love to engineer a good chair, sometimes I’d rather just carve one out. Using only reclaimed or leftover materials made this project that much more rewarding. Only the LEDs in this chair were purchased new.”

“Rally Bench” by Carson Maddox Studios

Designer’s Statement: “Rather than create something out of a whole cloth, the goal is to transform the mundane, to take a pedestrian object that we regularly encounter but rarely notice. To see something with fresh eyes and imagine the possibilities. That, and a racing stripe.”

“New Mexico Bergere” by Lance Lawson of space519

Designer’s Statement: “The light color of this chair reminded me of the hone-colored wooden vigas and furniture of Santa Fe. Its simple, strong lines provided the perfect backdrop for the bold, bright woven colors and pattern of the blanket. I loved marrying the distinctly European form of the chair with the ethnic feel of the upholstery.”

“Intern Gilly” by Erik W. Kolacz & Keitha A. Brathwaite of Contrast Design Group, Inc.

Designer’s Statement: “The muse for Intern Gilly was our summer intern – a modern classic with an unconventional streak. A juxtoposition of clean lines and funky upholstery (with exposed seams) hints at the fact that you never know what to expect from this gal. Oh, Gilly, behave!”

“Noir Bloom” by Joel Klaff & John Diekmann of Workroom Couture Home

Designer’s Statement: “A modern approach to a traditional wingback chair, creating a dialogue of contrast: black/white, masculine/feminine, and plaid/floral.”

“The Violette Chairs” by Wendy Kaplan of The Chair Affair

Designer’s Statement: “These chairs had been left for dead at my upholsterer’s – stripped of fabric, but with these great bones. I envisioned them as sexy French parlor chairs. The smoky purple velvet has a seductive feel, and the hand-blocked and embroidered fabric from Seema Krish adds a hint of the exotic.”

“A Club Chair Named Desire” by Michele E. Fitzpatrick of Verde Design Studio, Inc.

Designer’s Statement: “I had always wanted to incorporate Tony’s (Fitzpatrick) work into a piece of furniture. The reproduction of the drawing collage ‘Desire’ as a cushion seemed to be a warm and sensuous use of this lovely work of art.”

A special “thank you” to my friend Vanessa for these lovely photos of the event!

The heated debate over Bertrand Goldberg’s Prentice Woman’s Hospital building came to a head yesterday as the Commission on Chicago Landmarks finally heard the argument from staffers of the Department of Housing and Economic Development (HED) as well as public support to save the brutalist structure from demolition. After nearly six hours of hearing and granting preliminary landmark status, the Commission, chaired by Rafael Leon, overturned landmark status by a landslide vote of 8-1 at the meeting’s finale rendering Prentice a sitting duck.

As a recent adherent of this preservation saga, admittedly not knowing the all the intricacies and politics that undoubtedly lie beneath the surface, I see both sides as having valid positions:

Northwestern University

Northwestern University, the rightful owner of the property as of early Summer 2011, wants to build a brand new, massive (1.2 million square feet) biomedical research facility on the current site with aspirations to become a global leader in research on cancer, cardiovascular disease, diabetes, and neurodegenerative disorders. University spokesman Alan Cubbage said that Prentice is a 1970’s hospital designed for a totally different purpose, and can’t facilitate 21st medical research. He (Northwestern) believes that preservation of buildings with historical and cultural significance is a good goal, but doing research into diseases that kill people, and bringing thousands of jobs and hundreds of millions of dollars in federal research funds to Chicago are also very good goals. According to its website, the University will “attract an additional $150 million a year in new medical research dollars, create 2,000 new full-­time jobs, and generate an additional $390 million a year in economic activity in Chicago.” Northwestern University plans to demolish the old Prentice building and hold a design competition for its new research facility within the next calendar year.

The Save Prentice Coalition

Conversely, the preservationists are urging the commission for preliminary landmark status in order to protect the relatively young, 37 year old quatrefoil-shaped building designed by notable Chicago architect, the late Bertrand Goldberg. Though the University believes that Marina City is a better example of Goldberg’s work, the preservationists argue that Prentice is vitally important on numerous fronts. First, the architect is one of Chicago’s own, and he’s just now beginning to get the credit that he’s due. Second, the building is important to Chicago’s architectural heritage and the history of Streeterville. They also argue that if you look at Prentice in terms of its architectural design (cloverleaf-shaped concrete tower), its engineering (cantilevered decks from a single column), how it was designed to change the way that woman’s healthcare was provided (“care clusters”), and the fact that it was one of the first buildings to have used computer aided design software in its design, that it is extremely significant to the legacy of modern architecture. According to the Preliminary Summary of Information in the official Agenda of the Commission of Chicago Landmarks:

“Goldberg was an early adopter of computer technology within the architectural profession, and during the design of Prentice he modified software then in use by the aeronautical industry to design the building’s unprecedented cantilevered structure. Prentice is one of the first tall structures designed using computer analysis, and the computational method used to create it is now an essential tool in architectural and structural design.”

Original floor plan of Prentice Woman’s Hospital

Supporters and Detractors

A cadre of noted architects and engineers are in favor of preserving Prentice, including eight Pritzker Prize winners and the entire office of Skidmore Owings & Merrill (SOM). The Chicago architecture firm Studio Gang submitted an unsolicited rendering of an adaptive reuse solution, building a 31 story bowed square-shaped tower on top of the original building (see below). The Save Prentice Coalition immediately praised it, and the University just as quickly rejected it saying it doesn’t meet basic criteria for their vision of a modern, state-of-the-art research facility.

Christina Morris of the National Trust for Historic Preservation said that this “doesn’t have to be an either/or choice, and that there’s room for both reuse and research;” Architecture critic and WBEZ contributor Lee Bey said that “the preliminary landmark designation would temporarily spare Prentice from demolition for a year, and it would give City Hall the ability to examine whether a permanent designation and reuse plan are possible by working with the university, preservationists and experts” (a sensible idea, though time is of course money); Mayor Rahm Emanuel has recently sided with the politically powerful institution saying, “It is clear that the current building cannot accommodate the groundbreaking research facility that Northwestern needs to build, and I support the decision to rebuild on the site,” essentially sealing the fate of old Prentice; while the Chicago Architectural Club, in conjunction with the Chicago chapter of the American Institute of Architects has called for new ideas from architects, artists, and designers in an open competition called “Future Prentice” – which could amount to a “what if” exhibition if landmark status is not granted.

So What’s Your Point?

This brings me to why I’m sounding off on this issue that again is relatively new to me: of all the figurative pushing and shoving I’ve read on both sides of the issue, and of the few adaptive reuse concepts that I’ve seen in the press thus far (I’m interested in seeing more), to my knowledge there has not been one mention of structure relocation as a viable solution and a way to appease both the University and the preservationists. In spite of its structural shortcomings and, to some, aesthetic shortcomings, wouldn’t recycling Prentice by moving it to a new site and giving it a new purpose be a logical solution to the problem? Northwestern can build their billion-dollar research facility, and the preservationists can have their Goldberg. Though not historic preservation in the purest sense, it is, after all, a better outcome than a plaque and box of photographs.

Now I certainly don’t know or claim to know the financial investment or logistical scope involved of what would surely be a challenging feet of structural engineering in order to save Prentice from the kiss of the wrecking ball – but, in a “make no little plans” city, a city that reversed the flow of the Chicago River and twice built the world’s tallest building (the Willis Tower in 1974 and the Burj Khalifa in 2010), if Prentice is truly an architectural masterpiece and a national treasure as so many have claimed, isn’t the topic of structure relocation and a recycled Prentice as a compromised solution in lieu of demolition worthy of at least a conversation, if not further exploration? And, by gifting the building to the city in order to save it (and responsibly move it off the land), wouldn’t Northwestern save in millions of dollars of demolition costs? Now that Rahm has spoken and a decision has been made, I’m curious to know if recycling Prentice is something both parties would even consider at this point. It may still be too early as I’m certain we haven not heard the last word from the preservationists.

My Connection to Goldberg and this Story

Why has this story grabbed my attention so much as to spend time thinking and blogging about it? Well, I’ve been familiar with Bertrand Goldberg for years. My father was a construction worker for James McHugh Construction Co. and helped build Marina City back in 1964; I recently worked on an interior design project in Goldberg’s boutique hotel turned condominium building, Astor Tower in the Gold Coast; and, living across the street from a mothballed brownfield, site of the old Grand Central Station (Harrison and Wells), I can’t help but see another complicated Goldberg structure just to the south, Marina City (1972-1989). As many problems the building has endured over the years (namely flooding), every day packed tour boats navigate down the South Branch of the Chicago River to River City showing hundreds if not thousands of architecture buffs and tourists alike the strangely unique concrete S-shaped complex. Irony or not, directly across the river is the land where 141 years ago, Catherine O’Leary’s infamous cow knocked over the lantern (or so the legend goes) that ultimately razed and paved the way for the city to become a hotbed for architects from all over the world to rebuild the city, thus beginning Chicago’s world renown architectural heritage. Despite these three connections to Bertrand Goldberg’s buildings, until the recent media attention over the preservation of Prentice, I had never really given too much thought into his work or his legacy on the city in which I call home.

Marina City

Astor Tower

Architectural boat tours

Preservation via Structure Relocation

As I mentioned above, I live across the street from a brownfield site that has been sitting vacant since 1971, around mid-construction of Prentice Woman’s Hospital. The seven acre plot that runs adjacent to the Chicago River has been an unauthorized park for the last 20 years, where people use the land for various activities, including golf, football, baseball, soccer, Frisbee, cross-training, pep-rallies, and theater, to name a few – there’s even a cricket league that plays their matches there. It’s also the city’s largest unofficial dog park.

In 1931, William Randolph Hurst moved the Santa Maria de Ovila Monastery 6,500 miles from Spain to San Francisco. What if…

we were to take the old Prentice building and relocate it 2 miles southwest to the site of 700 S. Wells (with or without the Miesian black box it currently sits on), turn the grounds surrounding it, including the riverfront, into a public park (think the Peggy Notebaert Nature Museum), encase it in a glass box envelope (to prevent the “frosting drip” on concrete buildings when it rains) creating a light-filled atrium. One possible occupant could be the Chicago Center for Green Technology, giving it a secondary location, one that is closer to the people of Chicago (and to the thousands of tourists that pass the site every day on the architectural boat tours… i.e. a new revenue stream on the river, if you will) as its current location is 4.5 miles west of the Loop. Farr Associates, who have completed some amazing preservation and LEED projects, including the Chicago Center for Green Technology, and Perkins+Will would tag team the preservation, architecture, and landscape design.

“Frosting drip” on Prentice

Glass box examples

Chicago ranks among the top cities in the United States in green building design. What better way to symbolize both our architectural heritage and our leadership and commitment to green building practices and cradle-to-cradle design than to breath new life into old Prentice?

In yesterday’s hearing, Phil Enquist of SOM urged the Commission to “embrace the tradition of big, bold ideas, and identify a plan for reuse.” My (quickly conceived and crudely rendered) concept is just one example of many “big, bold” ideas for reuse I am certain are out there, if only the architects and planners were given the opportunity and a little more time.

Re-imagine, recycle, and reinvent.

Long live Prentice.

Chicago Home + Garden‘s second annual Chairs for Charity was an overwhelming success, with thousands of dollars raised for  the Juvenile Diabetes Research Foundation. Last year, Matter & Order participated with our submission, The Happiest Man – a vintage valet chair from the 1950′s. This year, we covered the event for Inhabitat and had just as much fun. Click here to read all about the event, and see the amazingly creative and inventive chairs from some of Chicago’s top designers.

 


Last year, Matter & Order was invited to participate in Chicago Home + Garden‘s first ever Chairs for Charity event, where 15 Chicago-area designers including Larry Vodak of Scout, Julia Buckingham Edelmann of Buckingham Interiors, Kara Mann of Kara Mann Design, and Monica Pedersen of HGTV, among others, were asked to take a vintage chair, give it a new life, and donate it to be auctioned off with all of the proceeds benefiting Designs 4 Dignity.

For our entry, we took a flea market found valet chair from the 1950′s – the exact same chair in Don Drapers old bedroom on AMC’s Mad Men – nickle plated it (courtesy of Precision Finishing, Inc.), built a plush new seat (courtesy of Covers Unlimited), wrapped it in Indian silk fabric (courtesy of Gregg Fishman of Fishman Fabrics), and topped it off with a Jason Lewis-made base and walnut tray for keys, cufflinks, cigar cutters, etc., completely transforming a chair in despair into a smart, functional, and classic manly throne entitled, The Happiest Man.

Then, to give this new chair the attention it deserved, we put together a little photo shoot with some friends, including gifted photographer, Lindsay Gallup, fashion designer Anastasia Chatzka and her stunningly beautiful clothing lines, her then business manager and stylist, Sean Moran, vintage hair and makeup specialist Angelica Rivera of Tigerlilie Salon, and (first-time) model, the lovely Agnieszka Haligowska. We all had a blast creating Mad Men inspired imagery to represent the underlying theme of the event: the transformation of the old into new. And among a packed house at the Tile Gallery on November 3rd, with cocktails and hors d’oeuvres being served from some of Chicago’s finest restaurants, the auction raised over $10,000 for an incredible organization and an amazing cause.

Outtakes of “The Happiest Man” photo shoot:

Postcards we printed and distributed around the city to promote the event:

Coverage of the event in Chicago Home + Garden:

This year’s event, benefiting the Juvenile Diabetes Research Foundation, promises to be just as exciting and fruitful with chair designs from Karen Kalmek of Green Home Chicago, Morlen Sinoway of Morlen Sinoway Atelier, Cody Hudson of Struggle Inc., and HGTV Host & Author, Frank Fontana, just to name a few. So get your tickets to the second annual Chairs for Charity here, and don’t miss out on your chance to bid on and own a one-of-a-kind chair and work of art, all the while helping support yet another great cause!  November 2, 6 p.m. – 8:30 p.m., Chicago Art Source, 1871 N. Clybourn Ave.

W+K Studio designed this print to raise relief funds for the devastating earthquake and tsunami in Japan. They are asking a donation of at least $25 for a print, with 100% of the profits going to the relief effort. They will of course accept and pass along a donation of any amount.

Along with our donation, we’re sending positive thoughts and prayers to the W+K Tokyo office and all the good people of Japan effected by this natural disaster.


Before obtaining absolution tomorrow for all of our sins, we must prepare for the debauchery of today, Fat Tuesday, or more commonly – an excuse for serious revelers to hit the bars early on an otherwise normal Tuesday afternoon. However you choose to celebrate Mardi Gras, remember the city that made this day famous, New Orleans! The images below are beautiful examples of New Orleans architecture, including early shotgun shacks which originated here, Spanish colonial homes, and Creole townhouses with their incredibly detailed wrought-iron balconies. These photographs were taken in the French Quarter in 2006, one year after Hurricane Katrina ravished the city.

Postscript:

It has been nearly six years since Katrina devastated The Big Easy and its surrounding communities, yet many of its residents are still feeling the effects of that fateful day. Through the help of charitable organizations like Architecture for Humanity, however, incredible progress has been made in the rebuilding of this culturally rich, unique, and beautiful city. Architecture for Humanity offers design, construction and development services to people and communities around the world that need it most. Their objectives include bringing safe shelter to communities, alleviating poverty, rebuilding community, mitigating the effects of rapid urbanization, creating spaces for those with disabilities, and reducing the footprint of the built environment.

It’s a wonderful organization responsible for a lot of positive change in New Orleans, and around the world. You can help their cause on this celebratory day by simply foregoing that last Sazerac or extra plate of crawfish and making a small donation to Architecture for Humanity. Or you can visit the Crescent City yourself and support their economy directly. Take it from Matter Observed, it will be money well spent.

Photographs courtesy of Alexy Sergeev

Music by Tuba Skinny

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