paris hotel studio

Wunghee Lee, Chad Moklestad, and Sharissa Stansberry

This spring’s studio was a self-interested stroke of genius that I’m proud to say I shared with Lee Cagley, Chair of our Interior Design department. After two years of dealing with traffic and mis-directions in Panama (one of two places where you can–easily–make a wrong turn and end up on the wrong continent), Lee mentioned to me that he usually takes a group of students to Maison Objet, one of the largest design trade shows on the planet, every January. That’s in Paris, not Panama, and it took us about a second and a half to figure out that Paris would be logistically simpler. So we found a site about 300m from the Eiffel Tower, a hotel close to that, and spent a week with the better part of our mixed interiors/architecture/landscape studio there in January.

Hang Gao, Wan Wei, Tianling Xu, and Zhuoqi Xu

Our final review took place earlier this month, and the results showed a pretty inspired group. We asked them to place a 500-room hotel that straddled convention and tourism functions, to relate to the Tower in its siting and in the experiences of its public and private spaces, and to fit into what proved to be a nicely challenging site–adjacent to Nervi and Seidler’s Australian Embassy but in a mixed neighborhood, Grenelle, that includes residential, commercial, entertainment, and tourism functions in a mid-rise scale urban fabric. The site itself, now occupied by an athletics ground and an aging gymnasium, seems ripe for reconsideration and redevelopment–the former site of rail yards that brought the pieces of the Tower into the city, so resonant for all kinds of reasons.

Grant Bauermeister, Nastassja Degarmo, Colton Howell, and Mark Ramirez

I’ll let the work speak for itself–an inspired, and inspiring, group, and thoughtful but also provocative work…Hire these folks!

Debanjana Chatterjee, Seyedeh-Sahar Nazarkardeh, and Kayley Tuchek
Erendira Gonzalez, Elham Mohammadrezaei, and David Phan
Courtney Fisher, Sung Park, and Tyler Vincent
Paloma Chapman, Hayden Cole, and Sushmitha Rayasam

brick vs. steel in the monadnock

This one again…The Monadnock continues to surprise. Elsewhere I’ve written about John Root’s towering mass of brick as a hybrid structure–a steel frame trapped within a brick building–and this past weekend it was again the subject of much discussion and many questions during a lecture to the Chicago Architecture Center’s new docent class (always a favorite date on my calendar).

Part of the building’s mythology involves Root’s minimalist detailing. Its history includes two design campaigns–one in the mid-1880s that produced a fairly standard set of elevations similar in some ways to the Home Insurance’s facades, and then a rush to redesign and actually build the structure in 1890-91. Correspondence during the latter phase between Root and the Brooks Brothers, through their Chicago agent Owen Aldis, discusses the building’s lack of ornament directly, including this classic rationale:

… So tall and narrow a building must have some ornament in so conspicuous a situation… [but] projections mean dirt, nor do they add strength to the building … one great nuisance is the lodgment of pigeons and sparrows 

quoted in Donald Hoffmann, “John Root’s Monadnock Building,” Journal of the Society of Architectural Historians, Vol. 26, No. 4 (Dec., 1967). 269-177.

Pigeons may have influenced Root’s detailing, or–as Hoffman suggests–it may be that he was inspired by Egyptian papyrus plants. But none of the correspondence gets to the Monadnock’s really fundamental question: with buildings like the Tacoma (Holabird and Roche, ….) already pioneering the idea of a lightweight, terra cotta and glass skin, why make the apparently retrograde choice of massive, light-blocking masonry walls for the building’s exterior?

This choice is often attributed to the Brooks’ inherent conservatism–the assumption is that they were concerned about a new-fangled technology like steel, and wanted the reassurance of time-tested masonry for the majority of the building’s structure. I’ve suggested that rationale myself, and it makes for a clean narrative–the new, still somewhat untried structural system on the inside, being braced and assisted by the last great set of bearing masonry walls (or, as you can see in the model above, piers) to support one of the city’s skyscrapers.

Well, some digging on another question after the lecture turned up an article in the Chicago Tribune that provides another, more cogent reason for the choice of brick. The Brookses seem to have been fine with the structural capabilities of steel, but their choice of brick had more to do with building fires than building structures:

Tho contracts for this work are already let and call for a structure with a core of steel and walls of brick and terra cotta. The Boston people say that they have seen granite crumble to dust under the influence or fire, and that nothing but material fire-tried and proven by fire shall enter
into the construction of the new block.

“Another Sky-Scraper: The Brooks Estate Will Put Up an Enormous Office Building.” Chicago Daily Tribune, Apr. 3, 1890. 1.

This makes sense. Boston suffered a devastating fire in 1872, which destroyed buildings of timber and stone, would have been on the Brooks’ mind, but closer to home the brothers had suffered the loss of the Grannis Block, a Burnham and Root building constructed in 1881, sold to the brothers in 1884, and promptly consumed by fire in 1885. The building’s timber floors were destroyed, but its pressed-brick front wall survived, as did its interior iron columns, protected by terra cotta fireproofing. That formula, adjusted to take advantage of steel and supplemented by terra cotta floor arches instead of timber beams, was precisely that of the Monadnock. If their preference for brick as a fireproof material extended to even the slightest suspicions regarding the light terra cotta skin of the Tacoma, it might also explain somewhat the lack of ornament–while both materials proved themselves to be fire-resistant over the next decade, brick certainly had a longer track record.

All of which is to say that the Monadnock, rather than representing a definitive type or approach, was conceived at the very cusp of several developments in structure, fireproofing, wind bracing, and real estate. It continues to be one of the richest and most perplexing of Chicago’s early skyscrapers.

860-880 ground breaking guest list…

Compiling notes from a recent Chicago Tribune trawl on 860-880 Lake Shore Drive and came across an article covering the buildings’ groundbreaking ceremony. Mies was, of course, in attendance, along with the local alderman and the sales agent from McCormick Managment, Robert McCormick, who would commission a house from van der Rohe in 1952. But these A-listers were, apparently, topped by another visitor, who made a tellingly dramatic entrance. According to the Tribune, Dec. 17, 1949:

“Part of the program will be the arrival of ‘Santa Claus’ by helicopter to present a six foot model of the proposed structures to Gordon Lang, president of the North Michigan Avenue association.

That’s a detail you don’t see in the history books very often, now, do you?