Armitage-Halsted Historic District, Chicago

Although the area around Armitage Avenue and Halsted Street in western Lincoln Park was subdivided in the 1850s when it was annexed by the city of Chicago it remained somewhat rural until after the Great Fire of 1871. The fire had missed this area by a few blocks and many residents who lived further east decided to rebuild in the untouched western portion. The rebuilding after the fire was the first of three development waves that would change this parcel of farms and nurseries into a vibrant German neighborhood and commercial district, then a run-down patch of derelict stores and homes and finally into one of the most wealthy communities in Chicago.

Armitage Avenue (known as Center Street until the early 1900s) and Halsted Street are arterial roads and hence carry heavier traffic and are lined with many commercial establishments. In 2002 the city of Chicago named 7 blocks of W. Armitage and 3 blocks of N. Halsted Street as a formal Historic District. Among other reasons the city’s Commission on Landmarks cited the “ solid and exceptional core of Victorian-era buildings, replete with pressed-metal cornices, bay windows and turrets, terra-cotta ornament, and brick and stone patterning that give an onlooker an excellent feel for the intimate scale, visual eclecticism, and beauty of the commercial architecture that once graced Chicago’s oldest neighborhoods.”

View of Armitage Avenue rooftops looking east from Bissell Street.

View of Armitage Avenue rooftops looking east from Bissell Street.

The next two waves of development, in the 1880s and then again a decade later, were transportation-related. In the 1880s cable cars then electrified street cars began to operate on Armitage, Halsted or nearby streets creating a commuter environment to downtown jobs. This spurred the development of commercial establishments along the arterial streets. Then on January 8, 1894 Chicago granted a franchise to the Northwestern Elevated Railroad Company to build a rail line from downtown to Wilson Avenue that would include a station stop at Armitage/Center near Sheffield Avenue.

Armitage ‘L’ Station, opened June 9, 1900. Designed by William Gibb.

Armitage ‘L’ Station, opened June 9, 1900. Designed by William Gibb.

The ‘L’ station was refurbished in 2007 - 2008 as part of the Brown Line Capacity Expansion Project. To expand the station platform the city purchased the building across the street from the ‘L’ station at 939 W. Armitage. The construction team sliced off the western portion of the structure, but preserved the eastern section due to the building’s contributing status to the historic district .

939 W. Armitage Avenue. William Schaefer, developer (1892)

939 W. Armitage Avenue. William Schaefer, developer (1892)

The standard design practice at this time which later became codified in the area’s zoning ordinances called for retail establishments on the first floor with apartments on the floors above. A typical example of this can be seen below in the building at 1912 N. Halsted Street.

Halsted, 1912, Owner Henry Harms, Architect UN, Francescas, 1889_9142.jpg

The district’s stretch along Halsted Street includes some notable and locally well-known buildings (see slide show below). For example,1966 N. Halsted Street, currently home to the popular Pasta Palazzo restaurant, includes some Louis-Sullivan inspired terra cotta panels on its facade. This is one of the “newer” buildings in the historic district, designed in 1924 by architect B.J. Burns.

Just up the street at the actual intersection of Halsted and Armitage sits the 2000-2002 N. Halsted Building (again, see slide show below), an imposing 4-story brick commercial and residential structure developed by Charles Nissen1884. Nissen, like several developers in the district, placed his name in perpetuity on the building’s cornice.

One of my favorite buildings is the former Chicago police station located at 2126 - 2128 N. Halsted. It is one of the oldest remaining police stations in the city, built in 1888 (the date is carved into the cornice) and it served as headquarters for the 40th Precinct. However, by the 1930s, it was sold by the city and became an American Legion hall. It’s simple Italianate design belies a recently-renovated luxury condo unit on the upper floors.

Perhaps the most-recognized building on the Halsted stretch is the 4-story brick commercial and residential building on the northwest corner with Dickens Street (formerly Garfield Avenue) best known for its tall, white corner turret. The building was designed in 1888 by architect John Schnoor for the owner Louis Berthal at a cost of $30,000. For years the building housed the much-loved French restaurant Cafe Bernard which was opened by Sue Gin in partnership with Marty Shuster and French chef Bernard LeCoq back in 1972. The cafe rejected the stuffy reputation of many French restaurants, but still played a role in the transition to the neighborhood’s current upscale status.

Several other buildings along the west side of Halsted Street contribute to the historic district with the run back down to Armitage as seen below.

The west side of the 2100 block of Halsted Street looking south towards Armitage Avenue.

The west side of the 2100 block of Halsted Street looking south towards Armitage Avenue.

While the three blocks of Halsted Street (primarily along the west side of the street) add to the district’s charm, the vibrant nature of the architecture really shows up along Armitage Avenue where contributing buildings line both sides of the street.

Armitage Avenue looking east from the ‘L’ station platform on an empty Christmas Day.

Armitage Avenue looking east from the ‘L’ station platform on an empty Christmas Day.

Walking west, towards the ‘L’ tracks from the intersection of Armitage and Halsted the first building most people notice is 825 W. Armitage on the southeast corner with Dayton Street. Built in 1891 by developer D. R. Rothrock the four-story mixed-use building features an elaborate corner turret and supporting column with projecting square bay windows along the Dayton Street facade.

Walking along Armitage reveals the plethora of design details that mark the historic district - the pressed-metal cornices; the jutting, elaborate bay windows; the eye-catching turrets; the detailed terra-cotta ornament, and intricate brick and stone patterns.

Perhaps the most well-known building in the entire district is the Aldine Building at 909 W. Armitage (designed by Joseph Bettinghofer, 1896). The Aldine is the only Romanesque Revival-style building in the neighborhood and Bettinghofer was likely thinking of a German version of Romanesque Revival from the 1830’s known as Rundbogenstil (or “Round-arched style”) visible here in the semi-circular windows in the entranceway and on the second floor. In the 1930's Aldine Halls and Tavern occupied the first floor; the owner lived above. In 1968 the Old Town School of Folk Music moved in. A few years ago the school relocated to Lincoln Avenue, but the Aldine remains home to the Folk Music School's youth program.

When I first moved to the Armitage Halsted area, Shinnick Drugs was the local pharmacy and a neighborhood anchor located on the corner of Armitage and Bissell. Interestingly I found an old photograph showing that the same retail location was also a pharmacy, J. E. Voigt & Sons all the way back in 1895; probably the first retail tenant when the building was constructed! I made a “Then and Now” comparison photograph (see below). When Shinnicks finally closed (a sad day) a local boutique, Art Effect, moved in but thankfully they left the old glass Hydrox/Sealtest Ice Cream signs embedded in the windows above the entryway.

The Armitage Halsted Historic District is often painted in nostalgic, turn-of-the-century architectural tones; however, history is hardly that tidy. Early in the twentieth century the tightly knit German community began to dissolve as Italians, Poles and other ethnic groups began to move into the neighborhood, many drawn by jobs at the factories lining the Chicago River less than a mile to the west. Many of the German residents re-located to the north along Lincoln Avenue.

When the Depression hit the country the well-kept housing stock in Lincoln Park began to fall into disrepair. Although the economy began to recover during WWII, many of the homes became boarding houses for the single men working in the nearby war-effort factories. By the 1950’s the western half of the Lincoln Park area became run-down.

The area around Halsted and Armitage attracted many Puerto Ricans beginning around 1960. A series of gentrification efforts had chased the Puerto Rican community from the Near West Side and Garfield Park to the Near North Side along Clark Street, which became known as La Clark. With the construction of Sandburg Village, many in the Puerto Rican community moved to the neighborhood centered around Armitage and Dayton. The Armitage Avenue Methodist Church on the northwest corner became a central gathering spot.

To defend their turf younger Puerto Ricans started the Young Lords which was more like a social revolutionary group modeled after and aligned with the Black Panthers rather that a street gang. Jose “Cha-Cha” Jimenez was their charismatic leader and he’s seen in one of the photographs below in front of the Methodist Church at Armitage and Dayton. However, strong forces were aligned against the Puerto Rican community and despite protests (including a march down Armitage Avenue - see below) and support from some neighborhood groups the Puerto Rican community was displaced yet again and over the next half century the neighborhood has become one of the wealthiest areas in the city, and the nation actually.

The wide arc of change has delivered a rich architectural, social and economic history to a small neighborhood in Chicago. Stop by and explore.

Bonus: below is a random collection of other photographs of the district I’ve taken over time.












West Side Story

With several free hours one day last week in New York City I decided to visit a handful of new and not-yet-completed modernist buildings on the city’s west side. Along the way I found many other buildings, people and areas of interest that grabbed my photographic interest. Early that morning I took the #1 subway train to Chambers Street and while walking the few blocks to the site of the World Trade Center I came across a row of typical New York townhouses.

Lower West Side

Lower West Side

From previous visits I knew my initial destination, Santiago Calatrava’s 2016 transportation hub, The Oculus, was just a block or two away. Even so, turning the corner and coming across the building still made me stop and stare.

Santiago Calatrava’s transportation hub, The Oculus

Santiago Calatrava’s transportation hub, The Oculus

The soaring, breathtaking and incredibly expensive Oculus provided countless photographic opportunities inside and out.

Commuters walk along the courtyard adjacent to The Occulus

Commuters walk along the courtyard adjacent to The Occulus

The temptation to create abstract images from the organic white ribs of the building was too difficult to avoid. Whichever direction I looked seemed like a good photograph in waiting.

Sometimes it is difficult to remember that the building is not a mere piece of art, but actually serves a purpose. Below, commuters and tourists vie for space inside the transportation hub.

Commuters and tourists inside The Oculus

Commuters and tourists inside The Oculus

I probably could’ve spent my entire day photographing The Oculus, but I had several other buildings on my itinerary, so I had to pull myself away. My next stop was Herzog & de Meuron’s intriguing building at 56 Leonard Street. On the way there I stopped to ponder this old ghost sign in TriBeCa.

Reade Street and West Broadway

Reade Street and West Broadway

What was this old sign advertising? Paint? If so, what did the “paste” and “paper” and “push” have to do with paint? A bit of online sleuthing revealed that it was an alliterative advertisement for advertising! The sign was encouraging businesses to spend money on billboards. Push meant “sell.”

Looking up from here I spotted the 56 Leonard Street Building, affectionately called the Jenga Building due to it’s similarity to the game in which players have to stack and un-stack blocks.

56 Leonard Street in the Distance

56 Leonard Street in the Distance

As I zoomed in on the building I admired the engineering required to assemble the teetering tiers comprising each floor. However, the bland gray sky was not an appealing background, so when I returned home I actually used Photoshop to substitute a blue sky with some wispy cloud from a photo I’d taken months ago in Chicago.

56 Leonard Street

56 Leonard Street

From here, my next planned stop was the Whitney Museum of American Art almost 2 miles north. I wouldn’t have minded walking there but I didn’t have that much time. So I jumped back on the #1 train heading uptown this time. After exiting the 14th Street Station I turned west into the city’s old meatpacking district. Not too much meatpacking there anymore, but lots of trendy shops, restaurants and bars . . . and some intriguing graffiti.

Voldemort Pouring Coffee in the Meatpacking District

Voldemort Pouring Coffee in the Meatpacking District

Steps away, Renzo Piano’s 2015 Whitney Museum of American Art peeked out from around the corner.

Whitney Museum of American Art

Whitney Museum of American Art

I walked around the back of the building to look at the dramatic cantilevered entrance along Gansevoort Street. This is also where you can find the southernmost entrance to the High Line. The High Line is a marvelous example of urban re-use. Formerly an elevated freight train line opened in 1934, it served the meat packers, factories and warehouses that dotted the city’s west side. Today, it is a extraordinary urban park bringing nature, art and intriguing views to residents of a very crowded city.

Entrance to the High Line at Gansevoort Street

Entrance to the High Line at Gansevoort Street

My next architectural goal was the late Zaha Hadid’s still-under-construction residential building at 520 West 28th Street. Walking up the High Line offered me a straight shot. Along the way I found wonderful scenes on and along the High Line.

While walking along the High Line I was amazed at the number of new buildings that had grown up around it. There were many cranes hovering above hinting at the continued pace of construction. I wondered where all the people with the money to live in these buildings were going to come from. I stopped to photograph one of these enticing structures which I later learned was 245 10th Avenue by Goshow Architects.

245 10th Avenue Building

245 10th Avenue Building

At 28th Street I descended from the High Line and was disappointed to see all the construction equipment and materials still cluttering my view of Hadid’s not-yet-finished building. I walked around seeking some angles that would reveal Hadid’s futuristic design while hiding the construction detritus.

Looking to the west I became a bit worried about the possibility of rain. Luckily my next stop, the massive Hudson Yards development was a short 5 minute walk further north. Hudson Yards is the largest private real estate development in the United States by area covering about 28 acres and estimated to have a final cost of $20-25B!

The developers don’t expect to finish the project until 2025 which was evident from the various stages of construction I saw around the site. I agree with some of the criticism written about Hudson Yards — the development seems like a playground for the rich, disconnected from the surrounding city grit and grid. However, as a photographer I found many enticing elements. I particularly liked this one angle shown in the image below; it seemed like a piece of Russian modernist art from the 1950s.

Hudson Yards Mashup

Hudson Yards Mashup

Hudson Yards contains a number of unusual structures. One is called The Shed, designed by Diller Scofido + Renfro and collaborating architect Rockwell Group. It is um, I guess you’d call it a cultural center. It opened earlier this year, however I wasn’t able to look around inside. The building features a retractable roof made of a a highly lightweight and durable plastic known as ETFE. You can see an interesting animation of the building’s construction and use here - https://dsrny.com/project/the-shed. When the roof is closed, see below, it looks a bit like a whale or maybe a big indoor tennis facility.

The Shed

The Shed

The other unusual structure here is a huge piece of climbable public art known as The Vessel. I was already biased against the structure because the developers had announced an incredibly onerous photography policy for anyone entering the structure. For that reason (and the darkening skies to the west) I did not enter The Vessel, but rather just walked around it taking photos.

As I exited the Hudson Yards area this colorful scene of the city caught my eye.

West Side, Mid-Town

West Side, Mid-Town

My last planned stop was the pyramid-shaped VIA 57 West residential building at 625 West 57th Street designed by the Bjarke Ingels Group completed in 2016. However, shortly after taking the photo above the skies let loose with a torrent of rain. I needed to catch a train for the suburban wilds of New Jersey, so this became the end of my West Side Story . . . for now.

5 Tips for Shooting in Overcast Conditions

During a recent business trip to New York City I carved out a few hours to walk around the West Side of Manhattan to photograph some of the new, modernist buildings recently added to the city’s skyline. Unfortunately as I headed out that morning I noticed the forecast called for overcast skies all day.

Gray skies are the bane of an outdoor photographer’s artistic hopes. Setting a proper exposure for a building (or the landscape) causes the gray sky to appear white in an image. Bright areas immediately attract the eye’s attention, diverting the viewer away from the main subject of the photograph, e.g. the building.

To address this problem photographers can consider several solutions:

Compose without the Sky

Novice architectural photographers often want to get a wide image of a building to show the entire structure. While this can certainly result in a pleasing, even artistic image it can easily become a plebeian, postcard shot instead. Worse, during overcast days the immense area of white sky can overwhelm the image.

One option is to compose the shot minimizing or eliminating the sky from the frame. In the photograph below showing Zara Hadid’s swooping condominium building at 520 W. 28th Street Street I zoomed in to show only the crazy zig-zag lines of the facade.

520 W. 28th Street

520 W. 28th Street

The only white sky visible in the image is in the window reflections which were turned blue by the tinted glaze.

Shoot Indoors

Okay, this might sound like cheating but when the weather gives you lemons shoot indoors. Architecture is not just about a building’s exterior structure. On a daily and more personal level people interact with the inside of a building much more than the outside. So if overcast skies pose a problem walk into a (public) building (making sure to check for any restrictions or policies regarding photography) and explore how the building relates to the the people using the building.

While walking around the World Trade Center site it is impossible to ignore the fabulous (and fabulously over budget) Oculus transportation hub designed by Santiago Calatrava. The main hall looks like the insides of an enormous white-ribbed animal. For the shot below I used a l slightly long exposure to capture the hustle of the crowds hurrying about their business.

Oculus Transportation Hub

Oculus Transportation Hub

The interior of the Oculus provides countless photographic angles and opportunities. I’ll post more images from here in a future blog post documenting my entire visit to the West Side.

Manage the Dynamic Range

Put simply, dynamic range in photography describes the ratio between the maximum and minimum measurable light intensities in a given scene. Skipping the technical complexities of this topic, suffice to say that digital cameras cannot capture the full dynamic range in a scene with very bright and very dark areas. This is often the case with overcast skies that are relatively bright and buildings/landscapes that are relatively dark. Setting the camera’s exposure to reveal the details in the dark building results in the gray sky turning white.

There are several ways to handle this. Many photographers know about a technique called “high dynamic range” or HDR. By adjusting the camera settings a photographer can take several shots in a row at different exposures. In some the buildings are exposed correctly and in others the sky is exposed correctly. Using HDR software photographers can pick and choose the best areas from multiple photos to get a properly exposed final image.

The image below is an HDR composition taken of Times Square. While the sky is still fairly boring the overall exposure is better than any of the five original images seen under the HDR composition.

Times Square, HDR Composition

Times Square, HDR Composition

Not every scene with an overcast sky requires an the HDR approach. Overcast skies can indeed be very bright, however sometimes if the cloud cover is very thick the overcast can get darker and therefore closer to the brightness value of the buildings (or landscape). In this situation the digital camera can capture the entire dynamic range, especially if the photographer shoots in the RAW format. Using image editing software such as Photoshop or Lightroom allows the photographer to create an interesting looking sky and details in the buildings from a single image.

Below is an example of a well-exposed sky and building from a single shot. This photo shows the Whitney Museum at 99 Gansevoort Street designed by Renzo Piano.

Whitney Museum

Whitney Museum

Swap Skies

In some cases there are no real options to save a shot. For these situations there remains one other option — insert a different sky from a different time or even a different place. One of the buildings on my itinerary was 56 Leonard Street designed by Herzog & de Meuron (often called the Jenga Building). Despite the intriguing design I could tell that the lack of contrast would result in a boring image. So I reached back into my photo database and pulled out an image of some wispy clouds I had shot here in Chicago. In Photoshop I combined the two images to achieve the following result.

56 Leonard Street

56 Leonard Street

Neat trick, huh?

Embrace the White

When all else fails, break the rules. So what if your sky is completely white. With the right subject you can still make a photograph work. The trick here is to find a subject that is more enticing than the big, bright sky. Sometimes this means finding a subject with an unusually bright color (red is typically a good choice). Another approach is to include a person in your image. People like to look at other people. For some reason switching to black and white seems to work too.

While walking between two of my architectural targets I spotted a guy on a bicycle leaning on a building. I sensed that with other people walking nearby and some reflections in the windows this could be a good shot. Without time to adjust my camera settings I clicked the shutter.

Despite the big white sky, I still think the image works.

Tenth Avenue, New York City

Tenth Avenue, New York City

Pianist Glenn Gould once said, “I always assumed everybody shared my love for overcast skies. It came as a shock to find out that some people prefer sunshine.” So don’t let cloudy skies keep you away from your camera.

Empty Christmas Day

For the last several Christmas Days in Chicago I’ve made a habit of walking outside and taking a photograph of the empty streets nearby. It seems everyone leaves the city or is inside opening presents. This year I decided to press further, into Chicago’s downtown, the Loop, and see what that looks like on the biggest holiday of the year.

With the exception of a lone biker, Halsted Street seemed devoid of its typical traffic.

Empty Halsted Street_8547.jpg

Up the street Pasta Palazzo was shuttered, chairs up on the tables.

Pasta Palazzo, Closed_8790.jpg

I turned west on Armitage Avenue and found another empty street.

After reaching the Armitage ‘L’ station I glanced around and noticed an older Asian couple walking far down the street. Otherwise I had the normally busy area around the station to myself.

Empty Armitage L Station_8781.jpg

I got off the ‘L’ train at Washington and Wells. Nothing was moving underneath the tracks.

Empty Wabash Avenue, Under the L_8555.jpg

There wasn’t any movement one block west on the usually busy LaSalle Street either.

Nearly Empty LaSalle Street_8573.jpg

I thought a few of the stalls in Daley Plaza’s Christkindelmarket might still be open for a little Christmas Day business. However, all I found was a few pigeons.

Closed Christkindlmarket_8598.jpg

I continued walking east. State Street, I thought, would surely have some activity. It did. A couple walking down the sidewalk. Two guys facing a long wait for a bus. Not much else.

I didn’t find anyone in Federal Plaza. Not only was it Christmas, but the government had shut down the day before and no one apparently knows when it will reopen. I was alone with Calder’s Flamingo.

Eventually I began to see a few people. Many, looked to be tourists of non-Christian faiths, Buddhists, Muslims, Hindus, etc. The Jews, if they were like my relatives, were at the movies or heading out to get some Chinese food. Around Van Buren Street I saw a few people doing everyday things — taking the dog for a walk, texting a friend, out for a jog, etc.

The city mostly looked like it was hit by a neutron bomb — no people, but all the buildings still standing. It was kind of creepy. I decided to head back home to see my wife and our dogs. The ‘L’ station at LaSalle and Van Buren was . . . empty.

Empty LaSalle-Van Buren Platform_8751.jpg

As a fitting end to my trip when I exited at Armitage Avenue I peered down from the station platform and saw a guy in a tiny car heading out of town with what looked like a Santa suit in the back seat. A friend of mine told me this is a Fiat Jolly. How appropriate.

Santa Heading South for Vacation_8776.jpg

The U of C Goes Modern

Modern Architecture at the University of Chicago

The University of Chicago campus usually evokes visions of ivy-covered quadrangles and neo-gothic towers, many designed by the late-nineteenth century architect Henry Ives Cobb.

However, somewhat unnoticed, over the last 60 years the university reached out to a wide range of leading modernist architects to create a compelling portfolio of contemporary structures. As a north-sider my knowledge of the south side University of Chicago (U of C) campus was fairly limited. When I was a graduate student at Northwestern almost 40 years ago some of my undergraduate buddies from Georgetown landed at U of C and I drove down there for an occasional visit, party, basketball game or squash match. I also visited campus a few times when my company was recruiting newly-minted MBAs. Otherwise, I only passed by occasionally, so I fell into that ivy-covered, neo-gothic perception of the university.

Over the last year and a half I have unfortunately had to visit the University of Chicago Hospital on a recurring basis. Until recently I just wanted to see my oncologist and then immediately return home. However, lately I’ve been feeling better, and so on a recent summer day I decided to stick around and wander the campus with my camera in hand.

I always thought the U of C started at the Midway Plaisance, that narrow, mile-long strip of grass originally designed to connect Jackson Park to Washington Park.

The Midway Plaisance

However, I realized that the university had breached the Midway and constructed several buildings along E. 60th Street to the south.

My first stop was at the New Graduate Residence Hall, designed by Edward Durrell Stone in 1962. As I approached the building I immediately recognized it as a Durrell Stone design with visions of many of his other buildings – the Kennedy Center and the National Geographic Headquarters buildings, both in Washington, D.C.; the Standard Oil Building (Aon Center) in Chicago; and the General Motors Building in New York City – popping into my mind.

A short walk along E. 60th Street led me to the Laird Bell Law Quadrangle designed by Eero Saarinen and opened in 1960. At the center of this complex Saarinen placed the D’Angelo Law Library accented by a reflecting pool. The quadrangle buildings are the only Saarinen-designed buildings extant in Chicago. The library’s use of glass and strong vertical lines emphasize its modernist message. However, taken as a whole, the complex stretches out horizontally like a Midwestern pasture.

D'Angelo Law Library at the Laird Bell Law Quadrangle

Walking west from the quadrangle a few blocks I came across Ludwig Mies van der Rohe’s 1965 School of Social Service Administration (SSA) building. As far as campus buildings I always associated Mies with the S.R Crown Hall and all his other works at the Illinois Institute of Technology where he was the dean of the school of architecture. So, I was surprised to find one of his buildings on the U of C campus.

School of Social Security Administration by Mies van der Rohe

The SSA building is a classic Mies design, a low-slung minimalist black box wrapped in glass. It stands in stark contrast to the university's vertical Gothic towers north of the Midway.

I kept walking west on E. 60th Street with my eyes on a jumbled mass of geometric shapes that revealed itself as the Reva and David Logan Center for the Arts. Unlike Mies’ SSA building, the Center seems to pay some homage to the verticality of the university’s older Gothic towers. However, the architects, Tod Williams and Billie Tsien (who also designed the proposed Obama Library in nearby Jackson Park) clearly play in the post-modernist world with a mix of glass, concrete and multiple cantilevered projections.

Reva and David Logan Center for the Arts

After photographing the arts center from several angles I headed back north, across the Midway, towards the university hospital. Immediately adjacent to the DCAM center where I have my appointments, I came across the Comer Children’s Hospital. Like many of the modernist buildings on campus, the architects, Stanley Beaman & Sears of Atlanta, tried to pay homage to the gothic towers on campus. The building’s mélange of materials, shapes and colors are meant to appeal to the children who arrive as patients. In the image below, the reflective curtainwall of the hospital captures a hint of the adjacent Center for Care and Discovery.

Comer Children's Hospital and the Center for Care and Discovery

Completed in 2012, the Center for Care and Discovery by Rafael Viñoly Architects is huge, with 1.2M gross square feet. The architects used strong horizontal lines and occasional playful touches of color to mask the building’s massive bulk, but with only partial success.

Diagonally across from the Center for Discovery sits another massive medical building, the 330,000 square foot Gwen and Jules Knapp Center for Biomedical Discovery, a 10-story research facility. With their choice of materials and inclusion of a rooftop canopy the architects at  Perkins and Will did a better job of making a huge building look light and airy.

The Knapp Center for Biomedical Discovery

I walked east along E. 58th Street leaving the hospital complex behind. Soon I noticed a series of buildings to my left and wandered through an opening into a plaza surrounded by a mix of modernist buildings. Later, I learned this was the North Science Quadrangle. Given my affinity for window reflections (see my Windows Gallery) I stopped to photograph a reflection of the Donnelley Biological Sciences Learning Center (Stubbins Associates, Inc., 1994) in the curtainwall of the William Eckhardt Research Center (HOK, 2015).

William Eckhardt Research Center, North Science Quadrangle

I popped out of the quadrangle through an opening on the far side and crossed Ellis Avenue where I found myself facing Henry Moore’s 1966 sculpture “Nuclear Energy” which marks the spot where physicist Enrico Fermi created the first controlled nuclear chain reaction in his lab beneath the bleachers of the university’s Stagg Field in 1942.

Nuclear Energy sculpture by Henry Moore and Max Palevsky Residential Commons

The bleachers and stadium are gone, but Moore’s mushroom cloud-shaped sculpture now serves as an accent to the Joe and Rika Mansueto Library to the south and the Max Palevsky Residential Commons to the north. I could hardly miss the striking domed presence of the Mansueto Library. Designed by the Chicago architectural firm of Murphy/Jahn in 2011 the building looks like a biosphere experiment in some southwestern desert.

The Joe and Rika Mansueto Library, Exterior

Mexican architect Ricardo Legorrreta combined a Latin preference for basic geometric shapes and bold colors in his 2001 design for the Max Palevsky Residential Commons. Like many of the other modernist architects working on U of C buildings he tried to evoke the university’s Gothic towers in his building.

As I wandered back to the Mansueto Library I of course wondered if I could gain entrance to the building to look at the interior. Walking around the building I saw that there was no direct entrance to the dome; I would have to head down to E. 57th Street, turn left and try to gain entry through the attached Joseph Regenstein Library. The Regenstein was my first of several encounters with Brutalist architecture on campus. I immediately flashed back to my undergraduate days at Georgetown where I spent many hours in the Brutalist-styled Lauinger Library.

The raw, seriousness of the short-lived Brutalist movement often emerged in the form of massive concrete or brick fortress-like government or educational structures. At the U of C I found Brutalist buildings such as the the Regeinstein Library (below, left), the Hinds Laboratory (middle) and the Cummings Life Science Center (right).

The Regenstein Library was designed by the powerhouse Chicago firm of Skidmore, Owings and Merrill in 1970 and sits like a raw hunk of concrete that was thrust up onto the campus by some underground seismic event. In the lobby I learned that entrance to the Regenstein and Mansueto libraries was restricted to students and faculty. I pleaded my case with the student guard and she helpfully suggested that I walk around the corner and request a pass to the Special Collections room which was open to the public. After that, she said, no one would notice where else I wandered in the library. So, that’s how I managed to get into the Mansueto library where I made the following photograph.

The Joe and Rika Mansueto Library, Interior

Beyond the daring architectural design of the domed reading room, the Mansueto library is noteworthy for its automated storage and retrieval system where robotic cranes use a bar code system to fetch library materials from over 3.5M potential volumes in an underground vault.

To the north I noticed some interesting architectural masts atop another modernist building and decided to head in that direction. To get there I had to first continue east on E. 57th Street passing many of the university’s iconic ivy-covered Gothic buildings. I turned north on University Avenue, past the Henry Crown Field House (Holabird & Root, 1931) where I played squash thirty-eight years earlier and then, to my surprise, I came across three soaring, modernist buildings centered around a common green comprised of various walkways, gardens and courtyards. Unknowingly I had stumbled across the recently-completed North Residential Commons, designed by Jeanne Gang and her Studio Gang team in 2016.

In addition to student housing, the Commons include several dining facilities, retail locations and other amenities. The Studio Gang team used unusually-shaped, pre-cast concrete panels and other decorative devices to create asymmetrical patterns somewhat reminiscent of the balconies on Gang-designed Aqua Tower in the River East neighborhood of downtown Chicago.

On my northwest quest to find the building with the structural masts I walked past the Smart Museum of Art and then finally spied my target, which turned out to be the Gerald Ratner Athletics Center designed by César Pelli whose other Chicago commissions have included the Theater Center at DePaul University, the WinTrust Arena and the Wolf Point East skyscraper.

The Gerald Ratner Athletics Center

To support the vast, open interior of the athletic center Pelli conceived of a system using cables, counterweights and the masts I had spied from afar. Pelli also designed the adjacent parking structure from which I took the image above.

After a couple of hours of walking on a fairly warm day I was ready to head back to my car for the drive home to Lincoln Park. On the way, however, I had to make two more stops. First, I paused to look at Valerio Dewalt Train Associates' Gordon Parks Arts Hall, another campus modernist interpretation of the university's traditional neo-gothic towers.

Gordon Parks Arts Center

Next door to the arts center is the Charles M. Harper Center, home of the university’s Booth School of Business. My ulterior motive in walking over to the Harper Center was to compare it to Frank Lloyd Wright’s 1910 Frederick C. Robie House which sits directly across E. 58th Street from the Harper Center. The Harper Center (2004) is another Rafael Viñoly-designed campus building and Vinoly clearly was inspired by the horizontal, Prairie School lines of the Robie House across the street.

The Charles M. Harper Center

At this point I was exhausted and hungry. Luckily I ran across several food trucks lining Ellis Avenue. So, I decided to end this modernist ramble across the U of C campus with a "Big Wang!"

Wastin' Away Again in Wrigleyville

 

Every so often my friend David Harmantas and I pick a Chicago neighborhood to visit. We walk around, sometimes aimlessly and sometimes with guide book in hand; always trying to sense the local vibe and find something interesting to photograph.  A little while ago I suggested to Dave that we meet up in Wrigleyville. Even though it's only 4 stops north on the 'L' for me I hadn't been up there in awhile.

Getting off at the Addison 'L' stop the first thing you notice of course is Wrigley Field (original construction completed in 1914).

The Ron Santo statue outside the "friendly confines"

Before I even had a chance for a first glance I felt a tap on my shoulder. Dave had been on the same 'L' train coming up from his law internship downtown and had caught up to me just after exiting the station.

I had heard all about the renovations inside and outside the stadium and wanted to take a look at the changes. The Cubs were playing out of town the day we visited and I didn't have a source for tickets anyway, so we wandered around the exterior of the park. Without the game-day crowd the area around the stadium was much emptier than my previous visits. But, the changes were plain to see. Gone were the ramshackle, two-story sports bars (much nicer versions still abound), the scuzzy fast-food restaurants and the forlorn parking lots. In their place was, well, suburbia or at least a more sanitized version of the city.

A mixed-use, luxury apartment and upscale retail development was under construction on Addison across from the stadium. The stylish, new Hotel Zachary replaced a McDonald's and parking lot on the west side of Clark Street. On the other side of the street where another parking lot used to sit, a women and her baby enjoyed the new plaza with its playful water feature.

The new plaza outside Wrigley Field on Clark Street.

Without much to see around the stadium I suggested we head towards Alta Vista Terrace, an historic rowhouse district nearby. On the way there we stopped at the Chicago firehouse at 1052 W. Waveland Avenue, the home of engine company 78. Karen Kruse wrote a great book about the history of company 78, A Chicago Firehouse: Stories of Wrigleyville’s Engine 78. The firehouse building was designed by (or at least the design was overseen by) Charles W. Kallal, the Chicago city architect in 1894. (Kallal is also most notably associated with the Mayfair Pumping Station which many of you may know as the large building visible from the Kennedy Expressway at Wilson Avenue).

Wrigleyville Fire Station, 1052 W. Waveland Avenue

Wrigleyville Fire Station, 1052 W. Waveland Avenue

As we continued our trek towards Alta Vista Terrace I stopped to ponder a house with an interesting stone facade on Seminary Avenue (built in 1894). Why was it set back so far from its neighbors? I noted a gap in the addresses so I assumed this building was a coach house and the front house had been demolished.

House, 3735 N. Seminary Avenue

House, 3735 N. Seminary Avenue

After a couple more minutes of walking we arrived at Alta Vista Terrace. I had visited the one-block long street, the first residential district in Chicago to be designated a landmark, a few years ago but without my camera. So, I was eager to return. The street was the last housing development of Samuel Eberly Gross, one of the most prolific home builders in Chicago at the end of the nineteenth century. Although Gross marketed his developments to immigrants and working class people he was inspired to build Alta Vista Terrace after admiring row houses he had seen during a trip to London.

Alta Vista Terrace looking south.

Designed by various architects and built between 1900 -1904, a curious aspect of the development is that each home has an almost exact duplicate diagonally across the street. So the house on the southeast corner is mirrored by the house down the road on the northwest corner and so on. Only the two houses exactly mid-block face their duplicates.

While each pair of homes is unique many have lovely, somewhat similar arched doorways. (Note: click on any photo to enlarge it).

As you can see above (and below) many of the transoms are decorated with beautiful stained glass windows.

Stained glass transom on Alta Vista Terrace

I was reluctant to leave Alta Vista Terrace, but Dave's guidebook said we had a lot more to see in Wrigleyville and the adjacent neighborhood of East Lake View. As we approached Sheffield Avenue, the eastern border of Wrigleyville, we were jarred out of the serenity of Alta Vista Terrace and back into the urban energy of Chicago. We came across the elevated tracks of the Red Line and an area of retail shops and large apartment buildings, many with classic turn-of-the-century architectural details.

A few steps further along we encountered Gill Park, a nondescript Chicago Park District facility with a field house and some playing fields bordered by large apartment buildings and off-putting concrete walls.

Dreaming of the World Cup, Gill Park, East Lake View

Dave, always planning ahead, pulled out his guide book which told us there was an interesting church south on Broadway. So, we headed in that direction. This part of the street is very commercial and Dave and I found a mish mash of urban oddities to photograph, including an old IHOP restaurant, an odd construction sign and a new building that turned out to be something called the Open Arms United Worship Center.

Further down Broadway we found the promised house of worship, the Lake View Presbyterian Church. The shingle-sided 1888 church is notable for its architect, John Wellborn Root (a collaborator with Daniel Burnham). The church's wooden construction escaped Chicago's ban on building with wood (remember that little problem Chicago had with fire?) because Lake View was a separate township until it was controversially incorporated by Chicago one year later.

Lake View Presbyterian Church

Lake View Presbyterian Church

After photographing the church we headed east towards the lake and stumbled across (okay, we followed the guide book again) another one of Chicago's 59 landmark districts - Hawthorne Place. I've probably visited about a third of these districts, but I love coming across new ones. Hawthorne Place was developed by three brothers, John, George and Benjamin McConnell the sons of an Irish immigrant, Edward McConnell, a wholesale grocer turned land speculator who was an acquaintance of Abraham Lincoln.

Edward lived in various parts of the city, but eventually moved his family to Lake View in the 1870s as several small villages began to grow in this once-agricultural area north of what was then the Chicago city boundary. The three brothers acquired the Hawthorne Place lots in 1883 and began building large homes set back from the street. Walking down this street today you might think you were in Winnetka or another well-heeled north-shore community rather than cheek-by-jowl Chicago.

The houses on the street include one at 574 W. Hawthorne designed in 1884 by Daniel Burnham and the aforementioned John Wellborn Root for George Marshall, the president of a very successful stationery company. Other homes on the street include the Nicholas J. Sheridan house at 587 and the home of one of the McConnell brothers (John) at 546.

Further east we encountered a very nice lady that owned the H. N. Hudson House, an enormous 10,000 square foot home at 538 W. Hawthorne designed by William Augustus Otis and Edwin H. Clark. Dave and I talked with her for a half hour discussing her home, the neighborhood and local history. Allegedly Al Capone was a frequent visitor to the house in the 1920s. Also, the previous owner built an in-ground pool for his son, an aspiring high-school swimmer. When the city outlawed outdoor pools the owner built a pool house around it. The home has a beautiful side yard too.

Hawthorne Place ends at Lake Shore Drive and this was almost the end of our visit. However, Dave and I decided to make two more stops. The first was at 3550 N. Lake Shore Drive to visit a mid-modern, 27-floor condominium building by Loewenberg & Loewenberg.

Our last stop was at the Temple Sholom, a Byzantine- and Moorish-Revival style building with initial designs by students at the School of Architecture at Armour Institute (now IIT). The 1926 building is home to  one of Chicago's oldest Reform Jewish congregations, founded in 1867.

On the way back to the 'L' station I stopped to admire a heart-shaped window design sandwiched between two address marks.

603 - 605 Heart of Gold_5731.jpg

 

After this long walk through the north side of the city we decided to stop at a sports bar for some beers and burgers before parting ways. We were wastin' away again in Wrigleyville.

 

Photographing the Ann Halsted House

Undertaking any architectural photography project requires playing the angles, the literal ones like elevations, perspectives, etc. and the figurative ones such as how to gain site access and how to best present the results. Currently, I'm working with architectural historian Wendy Bright on a guide book to the still-standing Chicago buildings of architect Louis Sullivan. One of the buildings is his turn-of-the-century home for the Ann Halsted family on W. Belden Street. As I would find, the angles were indeed important.

The Ann Halsted House, W. Belden Street

The Ann Halsted House, W. Belden Street

Mrs. Halsted was recently widowed from a wealthy shipowner and needed a new home for herself and her five children in 1883 when she somehow found the relatively new firm of D. Adler & Company, where Sullivan was the junior partner. Adler & Sullivan had designed several buildings prior to the Halsted house, but nothing hinting at the transformative role Sullivan would play in American architecture. Adler was a master engineer and assumed the business functions for the firm, whereas Sullivan was the designer and artistic visionary.

Luckily the house faces south on the 400 block of West Belden Street providing good lighting throughout the day, especially in winter when the angle of the sun is low in the sky. Winter is a good time to photograph the house because there are no leaves on the trees; during the rest of the year the leaves obscure large sections of the building.

The Ann Halsted House represents Sullivan's entry into the Queen Anne style, marked by asymmetrical facades, gabled roofs and second-story porches. Sullivan's influence is evident in several aspect's of the home, most notably the front, triangular dormers.

Front facade showing triangular dormers on the second floor.

Front facade showing triangular dormers on the second floor.

The front and especially the side yards of the home are tight. Therefore, I had to shoot at a severe, upward angle. Normally I like to straighten the vertical lines in an architectural shot, but here I just went with the flow in several of the photographs. Actually the tilt provides a bit of drama, I think.

Sullivan rejected the late-Victorian preference for fussy, ornamental designs and deployed simpler floral or geometric elements as seen in the following three images of the home's frieze, brickwork and the lintel above one of the side windows .

I was very interested in photographing some of the details within the home. However, this is a private house and I had to think of an angle that would allay any concerns the homeowner might have about letting in a stranger. In addition to "honesty is the best policy," I decided to play up the fact that I was a neighbor, living only a few blocks away. Luckily, the owners were very nice people and after hearing about my project agreed to have me stop by a few days later.

The interior of the home includes some splendid stained-glass windows.

Halsted House, Stained Glass Triptich.jpg

I remember a seasoned photographer once telling me to adopt a 360 degree perspective when looking for a good image; don't get too focused on any one angle, he said. With that in mind, I looked down, seeking more evidence of possible Sullivan influences inside the home and found this detailed woodwork on the floor.

Halsted House, Wood Floor Composite Image.jpg

The homeowner told me that the fireplace was original to the house. I can believe that as it bore signs of Sullivan's handiwork in the mantel and surround.

Halsted House, Fireplace Composite.jpg

With so much architectural interest inside and on the front facade of the home, I almost forgot to look at the back, the reverse angle. The home has a beautiful back yard, yet the rear facade is quite plain. Perhaps Sullivan and Adler figured few people would ever see that view.

Halsted House, Backyard_1818SM.jpg

The Ann Halsted House is the oldest, extant Sullivan & Adler home. From an architectural and a photographic perspective, and really from any angle, it is well worth a visit.

Note: the Anne Halsted House is a private residence. Please respect the homeowners' rights and privacy.

The McCormick Row Houses

Having survived a schism over slavery and eluded the flames of the Chicago fire by just a few blocks the McCormick Theological Seminary on the city's north side began to consider its future. Looking for a safe, but decent return on its endowment the seminary decided after a few false starts to build rental housing on 20 acres of empty land near Fullerton Avenue and Halsted Street donated by William Ogden and Joseph Sheffield. Constructed in stages, the first row houses went up on the eastern ends of the property on Belden and Fullerton Avenues in 1883.

Belden Avenue row houses

Fullerton Avenue row houses, eastern end

(Another series of row houses was constructed a few years earlier on Montana and Altgeld Streets, but the homes were later demolished).

The seminary was named after its patron, Cyrus Hall McCormick, a devout and old-school Presbyterian who made a fortune from his invention of a mechanical grain reaper. McCormick selected A.M.F. Colton & Son as the architect for the row house development. Colton had worked for McCormick previously on the design of several other buildings on the seminary campus.

For the row houses on Belden and Fullerton Colton elected to work in the fanciful Queen Anne style. This was a popular choice at the time as society was turning away from the formalism inherent in neo-classicism. The American version of Queen Anne homes often included gabled roofs, overhanging eaves, dormers and asymmetric facades, all of which are evident in the following photograph of the Belden row houses.

Compared to other Queen Anne homes, Colton opted for a more simplified look. He avoided the large front porches, columns, detailed spindle work, oriel and bay windows and painted balustrades common on other Queen Anne houses. Colton did, however, spike his design with fanciful brickwork, ornate hand railings and intricate leaded and stained-glass windows.

In 1884 Cyrus McCormick died, yet work on the row houses continued and was overseen by his wife, Nancy Fowler McCormick; a woman of keen business sense and a great appreciation for details. With the Fullerton and Belden row houses completed, Mrs. McCormick turned her attention to the remaining land in-between the two parcels. Here she envisioned two more rows of homes facing each other across a small private park reminiscent of a quintessential London square.

Chalmers Place row houses

While there may be some superficial semblance between the Belden/Fullerton row houses and the newer ones on the oval-shaped Chalmers Place, Colton actually opted for a more severe Romanesque Revival style. Romanesque Revival sprang from the design of medieval European churches. In selecting this style, Colton may have been influenced by the many Germans settling in the Lincoln Park neighborhood. These immigrants favored a version of Romanesque called Rundbogenstil or "round-arched style."

Colton not only incorporated round-arched windows, but he even rounded the brick work around the recessed entryways (recessed windows and doorways being another Romanesque element).

The most attention-grabbing Romanesque element Colton included in the Chalmers Place row houses was a set of four tourelles, one at each corner. A tourelle is a cone-roofed, circular turret that projects from the building rather than extending down to the ground. Most tourelles extend from a corbel base, e.g. a stepped-out stone support.

The entryway transoms in the Chalmers Place row houses display their current addresses, but also make reference to their original pre-1908 house numbers (in that year most Chicago neighborhoods moved away from a chaotic numbering scheme to a consistent method with buildings numbered beginning at Madison and State Streets).

Narrow, charming alleys run behind the Chalmers Place row houses separating them from the earlier homes constructed on Fullerton and Belden. Here, Mrs. McCormick worked with her designers to emulate the quaint garden mews commonplace in London.

The seminary struggled to attract qualified faculty. To help with recruitment, McCormick funded the construction of four stand-alone homes for professors at about the same time as the first row houses went up. Three of these houses along Halsted Street were demolished around 1940. A fifth house was built in 1889. Again, Colton was the architect.

The last of the original four professor houses sat on Belden Street for about 10 years until the seminary decided it needed the lot for a library. Rather than raze the home the seminary decided to move it backwards onto a vacant lot on the southeast corner of Chalmers Place. This home is the only McCormick District home not designed by Colton. The architect for this home was William Le Baron Jenney. If his name doesn't ring a bell, it should. Jenney is the father of the skyscraper. Three years after Jenney designed the home (see below) he completed the Home Insurance Building, the first tall building supported by a steel frame rather than its outer walls. This innovation allowed for taller and taller buildings and the development of the modern skyline.

In 1974 the seminary once again faced economic pressures and decided to move to Hyde Park and affiliate with other seminaries in that neighborhood. The row house renters formed the Seminary Townhouse Association and outbid developers to purchase the land and buildings. The bid was just $3M! To recognize and protect the homes, the City of Chicago created the McCormick Row House Historic District on May 4th, 1977.

Today the McCormick Row Houses sit adjacent to DePaul University. They remain a beautiful example of fin de siècle architecture and a hidden oasis in the Lincoln Park neighborhood. To discover the row house district for yourself check out the map below.

The Quadracci Pavilion (at the Milwaukee Art Museum)

Most visitors associate the Milwaukee Art Museum with the Quadracci Pavilion (2001), a fantastical, post-modernist, bird-like structure designed by Spanish architect Santiago Calatrava.

Milwaukee Art Museum_7842.jpg

The museum has become a magnet for art lovers, architecture fans and photographers. Its most striking feature is the brise soleil, a moveable, wing-like sunscreen.

Milwaukee Art Museum_7925.jpg

If you want to photograph the brise soleil realize that it unfolds during the day, but retracts at night and during inclement weather. Nevertheless, the building's unusual form and accoutrements make it a good photographic subject at any time or under just about any lighting or weather conditions. I particularly like to photograph it at mid-morning or mid-afternoon when the angled sun creates dramatic contrasts.

Walking inside the building is a revelation. The soft, blue light binds the lobby to the sky and the lake, which seems to lap against the building's edge. The contrast between the bright outdoors and the dimmer interior required some post-processing in Photoshop to bring the two into a single pleasing image (see below).

Milwaukee Art Museum_7856.jpg

The vaulted roof is classic Calatrava. The entry hall is reverential, emulating a Gothic church with pointed arches, ribbed vaults, and a central nave topped by a 90-foot-high glass roof.

Milwaukee Art Museum_7862.jpg

The concrete ribs provide a strong sense of the building's structure. Almost like looking at an animal's skeleton. The same feeling is evident in the hallways that stretch out from the nave . . . and even downstairs in the parking garage.

The church-like feel, the soft bluish-white hues and the minimalist design made me stop and contemplate the building's smaller features and spaces.

The pavilion is not completely devoid of action. Just past the entryway doors a circular Alexander Calder mobile, " Red, Black, Blue " mirrors the opening to the floor below.

Over the last several years Calatrava has been the subject of considerable controversy. Not just for his designs, but for the huge cost overruns in his project. However, Milwaukee caught a break. Even though the Quadracci Pavilion cost tripled over the initial estimate, the building was still a bargain compared to much later work by Calatrava and other so-called "starchitects".

The building is really a fascinating photographic subject. However, next time I visit I'm going to check out the latest addition to MAM, the lakeside atrium by Jim Shields, HGA Architects + Planners. Hopefully, it's a nice complement to the museum's existing architectural collection.

Ybor City, Tampa

I've visited Tampa several times, almost always by myself on business and with no spare time. However, earlier this week I was in Tampa and managed to carve out a couple of hours to look around. I knew that nearby Ybor City was the historic cigar manufacturing part of town so even without my usual preliminary research I grabbed my camera, ordered a Lyft and headed out.

Vicente Martinez Ybor had moved his cigar manufacturing operation from Cuba to Key West in 1869 but discovered he needed someplace else with room to expand and a more harmonious labor situation. Tampa, he decided, was that place. My Lyft driver dropped me on Ybor City's main street, 7th Avenue. He told me that the place really jumps on Friday and Saturday nights, but at midday during the week the street was fairly empty.

7th Avenue_8274.jpg

Directly across from where I was standing I noticed a large mural celebrating the district and its Cuban history.

Ybor City Sign_8249.jpg

Employment in the cigar manufacturing business dropped dramatically in the 1920's and 1930's due to a decline in the popularity of cigars, the Depression and automation. Still, cigar manufacturing and retail shops are easy to find along 7th Avenue.

Cigar Roller_8268.jpg

You don't really see too many cigar-store Indians anymore, so I stopped when I saw this guy.

Long Ash Cigars_8252.jpg

As I strolled down the street I ran into a couple of other serious photographers. We talked about gear for awhile. They had brought a model friend along and we're shooting against a fancy red gate as a background. I asked the model if I could take a few photos and she happily said yes. I didn't quite nail the focus on this particular image, but I like her smile and the way her hair falls across her face so I'm posting it.

Model, Ybor City_8260.jpg

I hadn't done my homework, so I just wandered around and figured I might see something interesting if I ventured off 7th Avenue. I quickly found a few alleys and back lots with some eye-catching graffiti. For the alley image below I took five shots at different exposures and blended them using my SNS-HDR software. I generally don't like the garish effect of many HDR images, but with a light touch I've found that HDR is a good tool for gritty, graffiti-laden shots.

As I explored further away from 7th avenue I noticed that the houses were a curious mix of ramshackle, sometime very small buildings and nicely tended homes.

Like many places in Florida, people make great use of bold colors. This provides many photographic opportunities for tight shots and abstracts.

All of this walking around made me hungry. So I decided to grab lunch at Carmine's. I ordered a Tampa Cuban sandwich with a side of black beans and yellow rice. Delicious!

Carmines_8322-HDR(5).jpg

Two hours was definitely not enough time to explore Ybor City. But, I had to head back to the hotel to lead a panel discussing digitalization in the electrical supplies distribution industry. Damn work! Next time I'm heading back to Ybor City to explore further . . . and maybe see what the weekend nights have to offer.

Open House Chicago 2017

Like a kid before Halloween I always eagerly anticipate the annual Open House Chicago event. This architectural extravaganza provides visitors access to hundreds of buildings which are normally closed to the public. As the Open House weekend approached, I wondered which buildings should I visit? What will the weather be like? Which camera gear should I bring.

Rain dominated this year's event, but the sun slashed through the clouds in the last few hours. From a high floor in the Inland Steel Building (Bruce Graham of Skidmore, Owings & Merrill.  1958) I was attracted to the umbrella-carrying pedestrians below.

Crossing in the Rain, from Above_5252.jpg

After the Inland Steel Building I walked over to the newly-completed 150 N. Riverside Plaza Building. The management company made an entire un-leased floor available to Open House participants. This was great because there were no queues to enter the building and we got a 360 degree view of the city. I took many photos here including this one of the clouds and fog enveloping the Loop including the United Methodist Church.

First United Methodist and Towers in Fog_5288.jpg

As I walked to my last site for Saturday at 77 W. Wacker, I stopped to admire Bertrand Goldberg's Marina City barely standing out in the mist with Mies van der Rohe's IBM Building behind.

North Side of River in Fog_5561.jpg

The next morning was just marginally better weather-wise. My first Sunday stop was at a lesser-known site, the former Borden Dairy Depot which was recently converted to a casual northside hotel/hostel. The building sits adjacent to the 'L' train path giving some guests a track-side view from their room windows.

L Through Window, Fieldhouse Jones_5625.jpg

Walking down to the Loop, I stopped at the IBM Building and found another empty floor with 360 degree views. The west side of the building offered an excellent opportunity to photograph the Marina City's "corncob" residential towers.

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As I headed over to my last Open House Chicago 2017 stop, the Blue Cross/Blue Shield Building on Randolph Street, the clouds finally began to dissolve. From the 30th floor I looked north to Jeanne Gang's 2009 Aqua skyscraper. . .

Aqua Horizon_5820.jpg

. . . and to the south a sweeping view of Lake Michigan, the Michigan Avenue "wall" and Chicago's downtown parks and museums.

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