Archives for category: Places

Morocco_Matter Observed 1
Traffic began building on these roads about two years ago. Civil unrest triggered a social movement that called for reformations in the constitution. Some people call the movement The Arab Spring. Here, it’s more often referred to as The Democratic Spring. I was given the opportunity to travel the roads of Morocco as a part of a legislative fellows program wherein nonprofit professionals from Chicago meet professionals from NGOs in its sister city, Casablanca.

Like any big city, Casablanca is on the move. When I first arrived I felt like I had to hit the ground running, and faster than usual to keep up with its pace. The geographic bridge between Europe and Subsaharan Africa, globalism and multiculturalism define Moroccan society. Walking the streets, I overhear conversations between residents that flow from French to Arabic and sometimes English with ease. I see women in traditional hajibs and kaftans check their cell phones for messages, and a stylish young man light a cigarette as he leans against a centuries-old wall. It’s easy to see how the country earned its nickname, the global crossroads.

Morocco is also a country of aesthetic inspiration. Maybe it was the African sun, but colors seemed a lot bolder to me. I know the pinks are that pink because it helps deflect the heat out of the building. The blues are common, though I’m sure the color didn’t have the same functionality. Whether it was a farm, personal home, or holy institution, a lot of detail was put into the SPACE itself. And it did not go unnoticed. I was really drawn to windows, doors and tile work. As I walked through alleys, museums, ancient ruins, and mosques, I reveled in the detail so much that I had to capture it. Here are some of the images I observed during my time in vibrant, enchanting Morocco:

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In addition to being a member of the staff at Community Media Workshop, Marissa Wasseluk is an active blogger, digital communicator, workshop presenter, food eater and music listener. Connect with her online here or here, at her e-newsletter training this spring, or at Making Media Connections this summer.

mariss in morocco

Marissa Morocco
Matter Observed is brimming with excitement to have guest blogger and foreign correspondent, Marissa Wasseluk, share her almost two week-long adventure to Morocco to learn more about the constitution reform post-Arab Spring. She got pooped on, interviewed an anarchist, met the mayor of Casablanca, and drank copious amounts of tea – and that was just the first 48 hours. Look for this story, told in both words and photography, on Matter Observed in the coming weeks!

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.


“But meanwhile it flees: time flees irretrievably, while we wander around, prisoners of our love of detail.” – Virgil

For more photography, go here.


When I was invited by KCADC to cover Kansas City Design Week 2012 for Inhabitat, I must admit, I knew very little about the city and its culture. I have some friends who had spent some time here, and have talked about how great a town it is; but beyond these casual mentions of KC, and my amateurish knowledge of its Jazz and BBQ roots (thanks to Ken Burns and Anthony Bourdain, respectively), I had no discernible notions about the city and its people. So once this opportunity came my way I was beyond excited and ready to take-in all that Kansas City had to offer. In between attending Design Week events and happenings, I was able to explore and photograph a small sampling of what makes Kansas City so incredibly unique.

Moshe Safdie’s steel, glass, and concrete poetry that is the Kauffman Center for the Performing Arts:

Yesteryear’s heart of Kansas City industry and culture, the beautifully haunting, mostly deserted West Bottoms corridor – currently in the infant stages of a renaissance:


First Fridays is a monthly event in the Crossroads Arts District where thousands congregate to gallery hop, listen to live music, and eat and drink locally from food trucks and street vendors. Basically, it’s one big, happy party:


According to Anthony Bourdain, Oklahoma Joe’s is one of the 13 places you should eat at before you die. I waited in a line that wrapped around the outside of the building (it’s inside a gas station, mind you) for an hour and fifteen minutes, spent $12, and was finished eating in just under 10 minutes… and I’d do it all over again. Yes, it was that good:

I was fortunate enough to get a private tour (in Darryl Hawkinssporty convertible) of some of Kansas City’s most sustainable residential architecture:


I hung out a lot at The Nelson Atkins Museum of Art and the adjacent award-winning Bloch Building modern gallery space designed by Steven Holl Architects:


And of course I would be remiss if I did not tour the Boulevard Brewery, aka, Craft Beer Heaven:

At the end of my short visit, I felt like I saw so much of what defines Kansas City – but I know there’s so much more to it than that. The people here are proud, hard-working, and have a Midwest warmth about them that is unique to Kansas City. Everyone I met went out of their way to help me and teach me about their home town. The arts and culture here is vibrant and flourishing, with museums, art schools, theater, great restaurants, and incredible live music every night of the week. If Chicago is the quintessential American City, this Paris of the Plains known as Kansas City is its younger brother. Just over an eight our drive (or eight hours by train) from Chicago, it’s a trip you should seriously consider making if you’ve never been. I’m certain you’ll be pleasantly surprised and, like me, leave wanting more.


The National WWI Museum

When you enter the property of Charles & Ray Eames in Santa Monica, California, you pass a stacked cord of firewood, a shed of old tools, potted plants in clay jars, and a multitude of mulch-covered paths. There is nothing particularly remarkable about the landscape but, by virtue of their very proximity to the Eames’ house, everyday objects acquire a unique charge that can only be described as Eamesian. The Eamesian touch is tempting to describe, but best left for the images to speak for themselves. ~Michael Neault

A friend of mine who’s in the business of hocking cool furniture recently joked that if he heard one more person describe a piece of furniture as “Eames style,” he would absolutely lose it. I suppose if you’re in the industry and have a respectable knowledge of the expansive catalog of Mid-Century modern design and its designers, hearing something described as “Eamesian” without valid explanation could be a little grating on one’s intellect. The Eameses were undeniable rock-stars of furniture design (and textile design, and gadget and toy making, and film making, and advertising, and branding, etc.) in their day – but in the age of the internet and the revival of all things mid-century modern, their legend has grown to epic proportions – so much so that rapper Ice Cube is even cruising on the Eames’ plywood-made bandwagon.

Despite their ubiquity and iconic status, as a designer I still hold a strong reverence for the work and philosophy of Charles and Ray Eames. How can one not, as a visual artist, or even a person of academia for that matter, respect their mission to educate and communicate through the power of design? Their endless curiosity and experimental approach to everything they touched has undoubtedly changed the way the modern world thinks, works, and lives. And though their philosophy to only take from Mother Earth what is necessary, and their quest to “bring the best to the most for the least” has not fully been realized (their licensed products are, let’s just say, pricey), this utopian-minded thinking was ahead of its time in the midst of the splurge and excess of late 1950′s and 1960′s consumerism.

On a recent trip to the West Coast, I was given the opportunity to take a private tour of Case Study House No. 8, or more commonly, the Eames House, by a former employee of the Eames Office and an old friend of Charles and Ray. The home and studio rest on a hillside in the affluent neighborhood of Pacific Palisades, just north of Santa Monica, with vistas of Santa Monica Pier and the ocean just beyond the towering Eucalyptus trees that were left untouched per the revised design for site. The modest buildings, though not organic in material (steel and glass) or shape (a box), somehow exist in harmony with the leisurely maintained coastal nature surrounding them.

The interior was remarkably preserved the way Ray had left it, except for the living room, which was on loan to the Los Angeles County Museum of Art for their California Design, 1930–1965: “Living in a Modern Way” exhibit. In its absence, the Eames Foundation cleverly recreated a 1951 Japanese tea-party the Eameses had hosted in the living room, where guests like Isamu Noguchi, Shirley Yamaguchi, and Charlie Chaplin dined and talked about current projects, and about life (oh, to be a fly on that suspended Hans Hofmann painting!).

As I walked the grounds photographing the meadow where the Eameses played and picnicked, and also the exterior architecture of the simple but beautifully designed home and studio, I began to understand on a deeper level their life’s work and philosophy. From the eclectic compilation of worldly objects scattered throughout the home, to the lush foliage of the adjoining patios, to the ingenious musical tower made of xylophone keys, wood, and plexiglass, 203 North Chautauqua Boulevard  truly is a must see whether you’re a fan of the Eameses furniture, or simply appreciate their contribution to modern thinking about design and its impact on the world around us.

To learn more about the life and work of Charles and Ray Eames, check out the very informative PBS documentary film, Charles & Ray Eames: The Architect and the Painter, here.


Cruising down the proud highway, I65, toward the Blue Grass State, windows down and the radio just above the volume of the air rushing in, I thought of the place that I quixotically built up in my mind over the years, constructed mostly from stories I’ve heard and the occasional TV spot while watching the “two most exciting minutes in sports.” To me, Kentucky was a virtual utopia of hillside whiskey distilleries and perfect fence-lined meadows with rocky streams cutting through both, and of course there were horses. Lots and lots of horses.

So as we finally drove over the Ohio River into this once imaginary, now all of a sudden very real state, I was delighted to see that there was much more going on here than advertised – from Louisville’s interesting architecture, both old and new, and its rich arts and culture scene; to Lexington’s Victoria Square and the University of Kentucky College of Design’s iconic Pence Hall (a proposal is on the table for an addition by none other than Studio Gang Architects of Aqua fame); to the Shaker Village of Pleasant Hill, with its stunningly simple hand crafted furniture and sinuous, poetic stair cases. Kentucky, just a little over a five hour drive from Chicago, is an absolute must observe and an ideal 3-4 day weekend getaway with something for just about everyone.

Oh yeah, and that utopian place with the horses and the meadows and the bourbon? That part is every bit as true and beautiful in person as it was in my imagination all those years.

From Louisville’s native son:

“Life should not be a journey to the grave with the intention of arriving safely in a pretty and well preserved body, but rather to skid in broadside in a cloud of smoke, thoroughly used up, totally worn out, and loudly proclaiming “Wow! What a Ride!”

- Hunter S. Thompson

Louisville

Churchill Downs

Jim Beam

Maker’s Mark

Lexington

Claiborne Farm

Kentucky Horse Park

Woodford Reserve

Keeneland Race Track

Shaker Village of Pleasant Hill

Music: “Golden” by Louisville’s own, My Morning Jacket


Never in my wildest imagination would I have envisioned the planning of my first trip to Italy going something like this:

Saturday, 10:45pm – Contacted by the managing editor for Inhabitat to cover the biggest design tradeshow in the world that starts on Tuesday morning in Milan.

Saturday, 11pm through Sunday, 5:35pm – Deliberate and figure out how I could pull off this last minute avventura.

Sunday, 5:40pm – A decision is made and I buy my plane ticket.

5:41pm – Contact clients and apologetically reschedule meetings for the following week.

6pm – A quick trip to Best Buy and Target for last minute supplies.

8:20pm – Receive confirmation (thank Jah) about where I will be sleeping in Milan.

Monday, 11:45am – I’m on the Blue Line to O’Hare, nervous and excited as hell.

And that’s pretty much how it went down. But the truth is, I had wanted to go to Milan’s Salone del Internazionale Mobile, the world’s most preeminent international furniture fair, ever since learning about it back in 2006 while studying design and working at Luminaire; and, I had ALWAYS wanted to go to Lo Stivale, the beautiful country, Italy. After receiving a sign in the form of a finger written message on my dusty computer screen that simply said “go” as I powered down late Saturday evening, and with my wife’s blessing, I knew what I had to do – and so I went.

After a long, overnight flight with a layover in Paris, a 40 minute train from Milano Malpensa Airport to downtown Milan, a 30 minute subway trek out to Rho (where the expo was), and then a 15 minute bus ride from Rho to Cornaredo, I finally arrived at the apartment which I would call home for the next five nights. My host, Ombretta, could not have been more accommodating, or nicer, and she promptly set me up in my spacious room which was everything I could’ve asked for, and then some (see the last photo below for the “and then some” – the view from my balcony).

Now, despite the work-like nature of the trip, I didn’t intend on flying half-way across the world to visit such an amazing city and not venture out at least one day to observe some of the sights, and try to capture on film the essence of Milan during the week of the Salone. From the graffiti tagged facades to the overwhelming beauty and presence that is the Duomo, Milan is a city brimming with a combination of history, color, style and personality unlike any other I’ve ever seen, and there is no doubt I will be returning in the near future – only next time with my wife alongside me and a little less rushed, I hope.

Divertiti! Enjoy!


Traveling to Italy to experience design is like visiting the bluegrass region of Kentucky to experience Thoroughbred horses (a future Matter Observed post). Sure, there are many places in the United States and around the world that breed and race Thoroughbreds, but it’s impossible to fully understand and appreciate the history and tradition of the sport until you visit the likes of Calumet and Claiborne farms, attend a yearling auction at Keeneland, or sit in the grandstands at the Vatican of horse racing, Churchill Downs. The history and tradition of design in Italy runs just as deep, and much like how the upcoming Kentucky Derby showcases the most elite Thoroughbreds on the planet, the Salone Internazionale del Mobile, the world’s largest and most important design trade show held every year in Milan, showcases the best new designs from Italy and around the globe  – only the field is not 20 but some 2,000+ companies in a fast and frenetic five-day long race for the spotlight and a piece of market share. An exciting time, indeed!

I was fortunate (and lucky) enough to experience the granddaddy of design expos as a writer for the well-respected and eco-friendly design blog, Inhabitat, covering the newest green and sustainably made products out there – but I also took time to observe some of the contemporary furniture exhibits, where iconic companies like Vitra, Magis, and Kartell, and also some of the more unfamiliar brands like Pinton, Imperfetto, and YDF revealed to the world their latest and greatest designs. Among the many highlights include Konstantin Grcic’s aeronautical-looking Table B for Barceloa Design; Campeggi’s prototype of an oscillating public/private conversation and sleeping unit; and Kartell’s over-the-top, Moulin Rouge inspired set design. As overwhelming as it may seem with the number of the images below, this truly is just a millimeter sampling of an endless arena of new and innovative design that happens every April at the Salone del Mobile.

I hope you enjoy!

Casamania

Pinton

Imperfetto

Emeco

Vitra

Domodinamica

Tonin Casa

Opinion Ciatti

Barcelona Design

Contempo

Driade

YDF

Offecct

Molteni

Roda

Campeggi

Magis

Serralunga

Kartell


Despite Ireland’s recent financial troubles, there’s no better word to describe the Emerald Isle than rich. With a mild climate year round, lush, sub-tropical palm trees grow along the coast while meadow foxtail and bell heather flourish on the hillsides. You have literature permeating with Irish culture from some of the greatest writers and storytellers of the last millennium, including names like Swift, Wilde, Beckett, Behan, and Joyce. Irish music is fervently alive with its haunting and beautifully ornamented Sean-nós, or “in the old style” of singing, its lively jigs, slip jigs and reels, not to mention the Irish dance tradition that goes along with the tunes. The people are as warm as they say, and the drinking is as good as it gets with your Guinness, your Jameson, and your Tullamore Dew.

Today is St. Patrick’s day, the one day in America and elsewhere to celebrate Irish history and culture – but in Erin, every day is St. Paddy’s Day, and there’s no better day to take a closer look and observe “The Land of Saints and Scholars” – my ancestral homeland, Ireland.

Music by The Corrs & The Chieftains

Photographs by Nathaniel Ross

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