Postmodern architecture at threat, Part 2: The saga shifts to Chicago – Los Angeles Times

November is popping out to be Postmodernism Month on this column. Final week I attempted to elevate some alarm bells a couple of misguided new plan from architecture agency Snøhetta to remake Philip Johnson and John Burgee’s 1984 AT&T Constructing in New York.

We flip our consideration this week to Chicago, the place one other landmark of extroverted postmodernism, Helmut Jahn’s 1985 Thompson Heart, faces a fair larger menace. Illinois Gov. Bruce Rauner has introduced plans to promote the state workplace constructing to a brand new proprietor, who presumably would change it with one thing taller and a complete lot much less ’80s gauche. The metropolis and state have additionally provided up the Thompson Heart website for potential redevelopment as a part of their pitch to Amazon to land the net big’s deliberate second headquarters.

Lots of the components of this preservation drama are depressingly acquainted: constructing by necessary architect approaches center age; falls out of style; suffers from deferred upkeep; begins on account of deferred upkeep to lose no matter allure or verve it as soon as had; falls additional out of style; turns into demolition goal. Almost each work of architecture whose loss we mourn has primarily adopted that very same script, from coast to coast, from the Beaux Arts-model Pennsylvania Station in New York (born 1910, died 1963) to the Artwork Deco Richfield Tower in downtown Los Angeles (1929-69).

But there’s a twist when it comes to postmodernism — a twist that preservationists, architects and civic leaders can be clever to take into account carefully. As a result of the motion was born within the 1970s of frustration with the ubiquity and self-seriousness of late trendy architecture, its greatest-recognized expressions tended to be scrappy, to play the underdog. The place trendy towers have been boxy, exceedingly cautious about their posture, postmodern ones tried to experiment with type and (particularly) with silhouette. The place these older buildings have been correct and hyper-rational, the brand new ones have been snug with irony or took probabilities with decoration and coloration.

A poster for Nathan Eddy's short documentary on the Thompson Center, now streaming online.
A poster for Nathan Eddy's brief documentary on the Thompson Heart, now streaming on-line. Nathan Eddy

That makes the battle to protect them tough. It may be robust to take threats to these buildings significantly largely as a result of the buildings by no means appeared to take themselves significantly, at least not utterly. They have been making an attempt to topple architecture’s standard knowledge, and so they did so by undermining each good style and aesthetic decorum. Their power was cheeky and adolescent — generally brilliantly so. They have been brash. These qualities are robust to reconcile with the buildings’ new vulnerability.

When Jahn’s Thompson Heart opened (it was recognized then because the State of Illinois constructing), it urged a gleeful, close to-manic mashup of the Pompidou Centre in Paris, by Richard Rogers and Renzo Piano, with the Bradbury Constructing in Los Angeles. It was excessive tech meets steampunk. And it was all wrapped in a coloration scheme of sunshine blue- and salmon-coloured panels, at which some critics have turned up their noses however which strike me as the important thing to the constructing’s kitschy energy.

(I hope you understand that my ’80s gauche reference earlier was very a lot a praise.)

Although the constructing was designed to maintain workplaces for three,000 state workers, it seems extra like a cruise ship or a lodge — like a hallucinogenic spin on one among architect John Portman’s impressively scaled Hyatt Regency interiors. Inside a glass curtain wall that sweeps in a broad quarter circle throughout its entrance façade, the atrium is a riot of motion (thanks partly to a set of elevators gliding up and down one wall), shifting gentle and uncovered construction.

The constructing — commissioned by Illinois Gov. James R. Thompson, for whom it might later be renamed — was controversial from the beginning. Loads of Chicagoans hated or have been faintly embarrassed by it. The air-conditioning system famously didn’t work. Paul Goldberger, reviewing Jahn’s design for the New York Times, referred to as it “all fairly shrill, and never just a little vulgar.” Paul Gapp of the Chicago Tribune was extra constructive on steadiness, writing that “the middle succeeds brilliantly in its inside in most respects, however fails as an object on the cityscape.”

An aerial view, showing the building's curving front facade.
An aerial view, displaying the constructing's curving entrance facade. Nathan Eddy

What struck me above all, once I visited the constructing in September, for the primary time in a number of years, was the best way Jahn’s design marries wild optimism with civic delight. This can be a work of architecture (completed when Jahn, now 77, was simply 45) that makes use of exuberance and playfulness in service of excessive beliefs. It needs you to strategy public life with as a lot enthusiasm as Jahn clearly did.

That mixture has largely disappeared from authorities architecture within the intervening years. Even when our civic buildings handle to beat the percentages and obtain some architectural distinction (as for instance within the new federal courthouse in downtown Los Angeles, by Skidmore, Owings & Merrill), they have a tendency to achieve this with an unsmiling, buttoned-up sense of mission. They don’t experiment with coloration. They actually don’t exhibit a humorousness or modesty, the best way Jahn’s design does, with its speedy-fireplace allusions to architects he appears joyful to concede, just by quoting them with such zeal, deserve a spot within the canon above his personal.

The Thompson Heart captures in addition to any public constructing in America a second when civic ambition and a youthful, freewheeling form of architectural experimentation appeared appropriate. It’s price saving for that cause alone.

“Starship Chicago,” a 16-minute documentary by Nathan Eddy that’s now accessible online, makes a powerful and entertaining case for the Thompson Heart’s attraction. Nevertheless it’s robust to think about Rauner’s administration, dealing with a severe finances disaster in Springfield, abruptly deciding that the constructing deserves a full restoration and the infusion of money that might be required to execute it.

At this level, a combination of public-training efforts in regards to the constructing’s architectural significance (of which “Starship Chicago” is a promising instance), discussions about the way it would possibly greatest be repurposed and shameless stalling ways appears most applicable. Rauner is up for re-election subsequent yr. His approval scores are low and sliding lower.

christopher.hawthorne@latimes.com

Twitter: @HawthorneLAT

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Postmodern architecture at threat, Part 2: The saga shifts to Chicago - Los Angeles Times