A Lake Michigan Rock Garden.

On a secluded beach at the end of Ravine Drive in Highland Park now sits a rock garden that has (I hope) a little bit of mystery and magic in it.

BenchHarpRocks-01

Ravine Drive is a winding road, secluded, lush with old trees and elegant houses. A small parking lot laid at the end marks the entrance to Millard Park and Ravine Drive Beach.

The beach has undergone a significant transformation over the past year. An old building was torn down, its foundation ripped out of the sand. Native foliage was replanted. And a lifelong resident of Highland Park’s curiosity and fascination with the stones that wash up on shore was brought to life.

I had the great pleasure to meet with Marjie Ettinger, her husband Dick, and Rebecca Grill, Natural Areas Manager for The Park District of Highland Park over a year ago about this project. Marjie was interested in producing some kind of lasting installation about the multitude of rocks there. I was there to give it some shape: this is the early plan.

The initial Concept

“The initial concept: a bench, a pebble harp, and a garden of giant beach stones, boulder-sized, with their names inscribed in them.”

It’s not every day one gets the opportunity to create art for a public venue, or get the help and support one needs to actually make it happen. I am extremely grateful to say that Marjie and Rebecca both fell in love with the idea and ran with it. The indefatigable Ms. Grill turned her considerable energies to making sure this idea came to fruition, recruiting geologist Charles Shabica to assist in picking out the five types of stones that would be set in the beach, and Eagle Scout candidate Duncan Holzhall (who brought a whole cadre of Boy Scouts along with him) to build the bench and the pebble harp.

An Early Pebble Harp Sketch

Put the pebbles in the holes at the top and listen to them travel to the bin below.  It's good music.

Put the pebbles in the holes at the top and listen to them travel to the bin below. It’s good music.

Granite

The rocks were bought, and had their names carved into them, by the good folks at Schwake Stone, Brick, and Fireplace Company.

BasaltQuartz

Already here in these photos you can see that the installation is working its magic; people engage with the garden, embellishing it with their own particular touches.

One of the significant motivating ideas throughout this project was to leave an opening for curiosity and wonder. In this day and age, when most of us carry the internet around in our pocket, it felt significant to not over-explain what is going on here at the beach. The rocks are simply identified, without any further explanation; the bench and pebble harp merely add anchors and further opportunity to engage with the area, also without explanation. Anyone can look up the names of these rocks on their phone and be connected to a wealth of information about them–far more than we could ever print on museum-esque panels mounted on poles on the beach. But is the beach really the place one wants to be standing and reading about rocks, geology, glaciers and currents and tides that move these rocks around? Or is it a place for play, for wonder, for exploration?

My contention is that one should leave the reading and academic information for where it can be absorbed best: at home, looking at a computer screen or the pages of a book. While at the beach – let’s play.

I hope you get to take a visit up to the end of Ravine Drive and explore the newfound serenity and natural peace found there. It’s a beautiful area, and I’m proud to have helped bring its new vibe into the world.

Another Version of The Resumé

I had occasion to assemble another version of my resumé today.  This one plays up some marketing/advertising campaign work and lightens up on the exhibition work.  I also included some live links in the PDF to some of the things I’ve written – for Production Plus’ eZine Solutions By Design, for instance.  I haven’t written anything for Pro Plus since we parted ways in 2008 or so, but there are some fun articles there in the archives, like this one where I get a quote from Smokin’ Joe Frazier) and my theater reviews for Centerstage.com.

I really enjoy the process of putting together a fresh resumé.  It gives me a chance to revisit old work, re-evaluate it, think about what I learned from it, and how I can apply that to my work today.  Take a look at this one if you’d like.  If you have any comments or suggestions, please send them my way!  I welcome sound opinions and dialogue on anything I’ve designed.

JD-resume-Apr2013

 

Revealing Chicago: Millennium Park 2005

Millennium Park was just a gleam in Mayor Daley’s eye when Terry Evans asked me if I wanted to work on a photo exhibition with her – the first one in the new park.  I worked closely with Ms. Evans while she was photographing inside The Field Museum for the exhibition From Prairie to Field. ((As you might have seen from the link to the Field Museum’s page, the exhibition was remounted in 2008.  The original was designed in 2001; I have some fine photographs from that original installation that will make it to this site eventually.))  I couldn’t have been more excited; I believe I accepted the job on the spot, without hesitation.

revealingchicago001

The exhibition was spearheaded by the indefatigable Jerry Adelman of Openlands, with cooperation and participation by Metropolis Strategies (then operating as Metropolis 2020).  The goal: to show the residents of Chicago their land–what it looks like from overhead, what it’s being used for, and how the growth of the city changes the landscape around us.

The exhibition opened in June of 2005 with the concrete still drying on the Gehry Bandshell.  I’m very proud to have worked on it.  It was a pleasure and a privilege to help bring Terry’s stunning photographs to an audience who could appreciate them as art and also be able to say, “hey, there’s my house!” or, “I drive past that every morning and had no idea it looked like that.”  To talk about the growth and progress of Chicago with its denizens and visitors in such a highly visible public space felt then – and still feels now – like one of the most valuable things I can do with the opportunities I’ve been given.

Revealing Chicago taught me more than I can relate here about the past, present, and future of the city.  Being on the periphery of Hizzoner’s great public work taught me a lot about the inner workings of Chicago government – which, as you may know, has always been a lively battleground.  At the opening of the exhibition I got to have a brief conversation with the Mayor:

 Hizzoner: Hey, nice show you got here.

JD: Thanks, Mayor!  Nice park you got here!

Hizzoner: Hey, thanks!

The rest of the conversation is one for the record books.  In order to appreciate it fully, some setup (and knowledge of certain maneuvers involving a former airport) is required – but if you wanna hear it and you run into me sometime I’ll be glad to tell it.

Do yourself a favor: take a look at Terry’s gallery of images from the show.  And (if you’re really interested) pick up the exhibition catalog.  I’m sure whether you are a Chicago native or just interested in some amazing photos, you’ll find something intriguing and beautiful.

Cleopatra: Field Museum, 2001

I first learned of the exhibition that was to become Cleopatra: from History to Myth in a meeting at the Field Museum with a representative from the diver Franck Goddio.  He showed our team some photos taken in the harbor of Alexandria.

Historians had long known that there was much of ancient Alexandria that was under the waters of the modern day harbor, but until 1992 all access to the ruins was blocked by the Egyptian military.  Goddio and his team were the first modern-day surveyors of the submerged royal quarters of the Ptolemies–the last dynasty of pharaohs to rule Egypt.  What they found there shed a tremendous amount of light on the Ptolemaic Dynasty’s most famous daughter: Cleopatra VII.

Here are some of the photos from the exhibition at the Field Museum.  The artifacts were first shown in the Palazzo Ruspoli and hosted by the Fondazione Memmo; from there, they traveled to the British Museum and the workplace of the head curator for the exhibition, Susan Walker.  Ours was the final stop; we devoted almost 10,000 square feet to the display of over 130 artifacts.

The exhibition was a huge success.  The team working on it (graphic designer Dirk Urban, content developer Barbara Ceiga, projection and multimedia specialist Steve Villano, production supervisor Nel Featherling, project manager David Foster) was one of the finest I’ve ever had the pleasure to work with.

Mythbusters: The Explosive Exhibition

I had the great fortune to work on the team that developed, designed, and made Mythbusters: The Explosive Exhibition. Here are a few shots of my graphics from the debut at the Museum of Science and Industry in Chicago!

Balance and Harmony Without Symmetry

Those of you who have visited the Art Institute of Chicago may still have missed two of my most favorite experiences there. They are not easy to find. One is a gallery designed by the master architect Tadao Ando; the other is the model of the Japanese home in the Thorne Rooms (a stunning collection of scale models of interiors and rooms through history that are a must-see).

Japanese Enso

Japanese Enso

There is something about Japanese art that has always fascinated me; arrested me, in fact. There was a balance, a rightness about the structure that I could never put my finger on. This hearkens back to my earlier post about not understanding what makes good design but responding to it nonetheless; Japanese art and design has always provoked a response in me, but I was unable to say what element, or combination of elements, it was that drew it out of me.
I think I stumbled on it. Much of the idea has to do with the Japanese view of symmetry. You won’t find a lot of it in any aspect of Japanese design or art – at least, not in the sense that we know it. The quote below is the most succinct explanation of part of this phenomenon that I can find.

The dynamic nature of their philosophy laid more stress upon the process through which perfection was sought than upon perfection itself. True beauty could be discovered only by one who mentally completed the incomplete. The virility of life and art lay in its possibilities for growth. In the tea-room it is left for each guest in imagination to complete the total effect in relation to himself. Since Zen has become the prevailing mode of thought, the art of the extreme Orient has purposefully avoided the symmetrical as expressing not only completion, but repetition. Uniformity of design was considered fatal to the freshness of imagination.

– from The Book of Tea by Okakura Kakuzo, a reflection and presentation of Japanese culture to Western readers published in 1906. (emphasis mine)

Nature seems to abhor true symmetry. Very few things in nature can be folded upon themselves upon any axis and be said to be exactly the same – perhaps some snowflakes and other crystalline structures. But in general, left and right sides, up and down, back and front are not mirrors of one another at all. And, if they are, they do not look right. Consider the art of Mark Mothersbaugh – most famous as the founder and frontman of Devo.

Blox Bambina Daddys Rug, Mark Mothersbaugh 2007

Blox Bambina Daddy’s Rug, Mark Mothersbaugh 2007

I’ve read an article in the past where he talks about making these images. They are just photographs, split as evenly down the middle as possible and mirrored. These images completely skewer the idea that the human face is symmetrical – something the casual observer might assume to be true. One look is enough to relieve anyone of that notion.

Achieving true symmetry can be a great struggle. It is an easy way to achieve balance – but is it a cop-out? And can you ever really get there? There can, of course, be a Herculean effort to control all the variables in any design. But not everyone has the luxury of being able to create the Taj Mahal; and even then, do we really want to? Not to be reductive about it, but the bushes and trees that surround any structure, the page of a magazine, the existing room that an event is in … all sorts of things in the environment are going to foil true symmetry. Is it not then better to attain balance and harmony in some other way?

When tackling issues of balance, frequently I look to Japanese artists, architects, and designers for inspiration and solutions.

Taiso Yoshitoshi (1839-1892), iKintaro Riding the Giant Carp/i, color woodcut, 1882

Taiso Yoshitoshi (1839-1892), <i>Kintaro Riding the Giant Carp</i>, color woodcut, 1882

As always, your thoughts and comments are welcomed.