Last week, I posted my opinion about Lincoln Yards on Third Coast Review. With all the discussion and controversy about parks, soccer stadiums and TIF money, I wanted to focus on the element that’s being taken for granted. The design of Lincoln Yards is centered with a mass of high rise buildings. The area is surrounded by traditional Chicago low-rise neighborhoods and this seems like thumbing your nose at Chicago’s history and traditions. Yes, we have a wall of highrises along the lakefront and in the loop, but they do not belong in our neighborhoods. There have already been too many intrusions of this type. Here’s what I wrote.
We don’t have to look far for a definition of a neighborhood. Jane Jacobs, the famous architecture writer who faced down Robert Moses’ efforts to demolish part of Greenwich Village to build a highway, wrote about it. She stressed the importance of mixed uses, short blocks that added corners, sidewalks and parks, population density, and both old and new buildings. Her 1961 book, The Life and Death of Great American Cities, is considered one of the most influential works in the history of town planning.
The plans so far for Lincoln Yards, one of the most important planned developments in Chicago’s history, meet none of the Jacobs definition. We had a victory last week when Alderman Brian Hopkins (2nd Ward) vetoed the part of the Sterling Bay plan that was to include a 20,000-seat soccer stadium and a massive Live Nation entertainment district. But the worst aspects of the 70-acre plan remain: The presence of 20 highrise towers ranging from 400 to 650 feet. That means roughly 40 to 60 stories. The buildings, planned for commercial and residential use, could house 24,000 workers and 5,000 residential units, and would loom incongruously over the surrounding low-rise neighborhoods of Lincoln Park and Bucktown/Wicker Park.
Lincoln Yards is located along the north branch of the Chicago River in a former industrial district; it’s the former home of Finkl Steel. It’s bounded by the Kennedy Expressway to the west, Webster Avenue to the north, Clybourn Avenue to the east and North Avenue on the south. If you’re a music lover, you will recognize immediately that the site of our beloved Hideout is within those boundaries.
As the risk to the survival of the Hideout and the damage to other music venues became clear in November, Chicago’s independent music venues organized to fight the Lincoln Yards plan. They asked the city to take time to consider all aspects of the plan, including use of TIF money, rather than rushing it through so that Mayor Emanuel can consider it part of his “legacy.”
When Alderman Hopkins was seeking input, I completed his survey and included this as my response to the single open-ended question: “The high rise residential plan is totally unacceptable. This will not be a Chicago neighborhood. Residential buildings should be two-, three- and four-story max. Also the Live Nation entertainment venue is far too large. It would be much better to encourage local venues and local art/music groups to create small, storefront spaces typical of Chicago neighborhoods.”
Blair Kamin, the Tribune architecture critic, has done an excellent job of describing and criticizing the Sterling Bay plan and its support by almost-lame-duck Mayor Emanuel. Kamin begins one article this way:
“A great urban place is more than a motley collection of tall buildings and open spaces. It has lively streets, pulsing gathering spots and buildings that talk to one another rather than sing the architectural equivalent of a shrill solo.
“Daley Plaza, with its enigmatic Picasso sculpture and powerful county courts high-rise, is a great urban place. So is the North Side’s Armitage Avenue, lined with delightful Victorian storefronts.”
A neighborhood is a place where you can walk around at any time and see many other people walking, shopping, pushing strollers or riding bikes. There are places to stop for a coffee or a sandwich, to linger with your laptop, and benches where you can sit and people watch or read a book. There are bars where you can have a beer with a buddy or listen to music, which blares out to the street at night. And please let there be bookstores. As Jane Jacobs said, a neighborhood is for foot people, not car people.
That’s what Lincoln Yards should be. It should settle in a neighborly way amongst the surrounding neighborhoods and enable traffic back and forth across fungible neighborhood lines. It should not be, as it is set out now, a self-contained skyscraper community insulated from the rest of the city. Sterling Bay and architecture planning firm Skidmore, Owings & Merrill should not be trying to foist this nightmare on Chicago. They should all be reading, or rereading, Jane Jacobs’ book.
For an excellent overview and critique of the Lincoln Yards plan, I recommend these articles by Kamin.
And of course, Jane Jacobs’ book.
A second book, which I highly recommend, is The Power Broker: Robert Moses and the Fall of New York. Robert Caro’s biography describes how the unelected official built an empire and lived as an emperor under six New York governors and 11 NYC mayors, until his reputation was finally destroyed. It’s a great read.
Songwriter and labor activist Joe Hill was executed in Salt Lake City on November 19, 1915, framed for a crime he didn’t commit. Because he didn’t “want to be found dead in Utah,” his body was transported to Chicago by the IWW (the Industrial Workers of the World or Wobblies). His last will included the famous entreaty, “Don’t Mourn But Organize.”
Some 30,000 people viewed the funeral procession and attended the lively funeral service at the West Side auditorium (Racine and Harrison) on that November 25 (Thanksgiving Day) and his body was cremated at Graceland Cemetery. What happened to his ashes? That’s another whole story.
Chicago fans of Joe Hill, a Swedish-born itinerant laborer, celebrated the anniversary of his life and music on several occasions in November. I attended two excellent events, highlighted by great performances of Joe’s music. He wrote dozens of songs that lambasted capitalism and bosses, but his most famous lyric was “You’ll get pie in the sky when you die.”
The Hideout, a 19th century working men’s saloon on Wabansia, was standing room only the night of the main Joe Hill celebration. My Gapers Block story describes the agenda and list of speakers, which included a funeral oration by Larry Spivack of the Illinois Labor History Society and a rousing description of today’s IWW by Alison Olhava and Randall Jamrok. (The IWW is organizing successfully today, with branches at companies like Jimmy John’s, Starbucks and Pizza Hut. See their website for other industries and companies where the union is active.)
The evening started with a rousing set including “The Preacher and the Slave” by Bucky Halker and his amazing guitar, and closed with songs by a group including Jon Langford and Sally Timms of the Mekons and Martin Billheimer on accordion. Their closing number was “Workers of the World Awaken,” in which the crowd joined in. Psalm One and Fluffy performed a terrific hiphop version of Hill’s “Rebel Girl.”
A funeral march and procession closed the evening and Joe Hill’s coffin was carried outside by pallbearers and burned over a bonfire. The ashes were our burned notes describing why we believe Joe Hill lives today. Anyone who wanted to replicate the 1915 distribution of ashes had only to leave a self-addressed envelope. (In 1915, Joe’s ashes were divided up into a bunch of small envelopes with his picture on the front with the caption, “Murdered by the capitalist class.” The envelopes were given to IWW delegates and guests so Joe’s ashes could be scattered in every state except Utah and in other countries too.)
Bucky Halker, a singer-songwriter and PhD in labor history from the University of Minnesota, just released his new album, Anywhere But Utah: The Songs of Joe Hill, at an album release party at the Filament Theatre in the Six Corners neighborhood. Bucky played with the Big Shoulders Brass Band, featuring two saxophones, trumpet, tuba, trombone and drums. John Abbey sat in on upright bass on several numbers. Bucky and the band played two sets, including “Scissor Bill,” and concluded with a procession around the theater.
Here’s Bucky performing the Joe Hill song from the Little Red Song Book of IWW Songs.