After my disappointment in trying to reach the lakefront at Grant Park, I had given up on reaching the shore on that trip. The weather had been perfect (being August instead of April), but it seemed I was fated to not wade in the lake.
However, after exploring the former site of the 1893 Chicago World’s Fair in Jackson Park, I was making my way to a bus stop to return to my hotel and found myself on a path to the 63rd Street Beach. Lake Shore Drive still continued along the lake’s shore, but it was not an obstacle here as it bridged over the pedestrian trail.
While mounting frustration had turned me back from the lake in Grant Park, the ease of following Jackson Park’s meandering trail turned me away from my original goal to add a stop at the lake beach. The beach house suggested days of better maintenance and greater usage, but the beach and adjoining greenspace appeared to be a pleasant amenity for local traffic.* While tourists may have found their way there in 1893, I seemed to be the only one when I visited.
*My tendency to take photos of things rather than people presented a missed opportunity when picking photos for this post. There were several small groups of people on the beach and more carloads of people enjoying picnics on the other side of the beach house. Yet, none of the photos I took that day included any of these people.
While exploring the Grant Park viaducts on my 2019 trip to Chicago, I discovered that they were connected to promenades leading to the lake. I decided to wend my way through Grant Park by strolling down one promenade to the lake and another back to Michigan Avenue and so on, weaving back and forth. It turns out that this is no longer an option.
On the 1920s map that inspired me to visit the viaducts, the only divider in Grant Park was the railroad tracks bridged by the viaducts. The rest of the park showed on the map as a vast open space where I assumed the promenades were designed for wealthy residents and visitors to take the air and see who else was in town (or perhaps that is just the influence of reading Jane Austen so much). While it didn’t matter to me who else was in town, strolling along the promenades seemed a nice way to take the air.
Whatever the original intent, today the promenades are chopped up by their modern antithesis – the multi-lane, high speed road. While there are several promenades spaced throughout the park, I only found one that had a protected pedestrian crossing over the many lanes of Columbus Drive. Clearly, this was the grand promenade. In addition to being the only one with a safe passage, past Columbus it featured an opulent water fountain.
Having already crossed a significant barrier, I assumed it would be a clear walk to the waterfront after that point. However, on the other side of the fountain, I found the even more formidable barrier of Lake Shore Drive, aka Route 41. All interest in continuing with my promenade evaporated even though the lights and crosswalks suggested the ability to cross safely. Instead, I spent some time admiring the fountain before returning to my hotel.
I was disappointed at discovering that the connection between the park and the lake was an optical illusion. Yet, it came as no surprise to find the lake front prioritized for cars. It is a recurring experience to find an urban waterfront cut off from the rest of the city by a major roadway barrier, or in this case two.
For this year’s Architectural Dessert Masterpiece, I chose Pittsburgh’s Civic Arena for the subject mostly because of the pandemic. The travel restrictions of 2020 prevented me from finding an inspiring building while exploring a new place. The social distancing requirements meant that whatever I made I would have to eat myself. Earlier in the year, I found a granola bar recipe that actually sticks together, which inspired me to take another foray into domes. As December drew near and I put together the conditions of a single-serve dessert with a dome that had some relationship to the themes of the year, the Civic Arena was the obvious choice.
The result was a single-serve cake topped with a granola bar dome and frosted with cream cheese to keep the sugar content down. Once frosted it looked to me more like an igloo than the Civic Arena, but fortunately, the building’s nickname was the Igloo. So, it all worked out in the end.
Whether it will all work out in the end and for who are still open questions for the site of the Civic Arena. The Arena opened in 1961 as the central feature of the redevelopment of the Lower Hill neighborhood that had been deemed “blighted” and in need of “revitalization.” Intended as a cultural mecca housing the Pittsburgh opera company, hockey, and other uses under a retractable roof, it rarely lived up to its promises. In the end, it was surrounded by a sea of parking lots instead of a cultural park, the roof rarely opened, and the opera quickly found a different home more conducive to using sets that need support from the ceiling. For a time, the building did find success as a hockey arena and concert venue until it was deemed obsolete and a new arena was built. The Civic Arena was demolished 50 years after opening, paving the way for a new redevelopment of the Lower Hill to “revitalize” the area.
Architectural historian Franklin Toker describes the first redevelopment of the Lower Hill in his 1986 book Pittsburgh: An Urban Portrait:
The reconstruction of the Lower Hill began in 1955 with $17 million in federal grants. In an area of 100 acres, 1,300 buildings housing 413 businesses and 8,000 residents (a majority of them black) were displaced in an attempt to extend the revitalization of the adjacent Golden Triangle. Even were one to overlook the devastating social impact of the Lower Hill redevelopment, its success could only be judged as minor. The new complex failed to graft on to the Golden Triangle because of the intrusion of the Crosstown Expressway and the misalignment of the street grids of the Golden Triangle and The Hill. Some bad luck also dogged the Lower Hill redevelopment, particularly the bankruptcy of William Zeckendorf, one of its major supporters, and the decision by the Heinz foundations to locate their new concert hall in the Triangle rather than on The Hill. But the major cause of its failure was the animosity between the developers and the black community. When that animosity boiled over as part of the nationwide racial riots of 1968, Pittsburgh’s dream of a cultural Acropolis on the Lower Hill ended. (234)
The second redevelopment started with restoring the street grid and building a CAP over the Crosstown Expressway. While it is easy to rebuild the roads, it will take a lot more to rebuild what was once “The Crossroads of the World” as the intersection of Wylie Ave and Fullerton Street was known prior to the first redevelopment, according to Mark Whittaker in Smoketown: The Untold Story of the Other Great Black Renaissance.
Allentown, PA, had been on my travel list for years because of the awards and acknowledgements it was receiving from the planning community (and because I grew up near there). When I finally visited, the only thing that engaged my interest was the Liberty Bell Museum. There was a stark contrast between the cohesion and vibrancy of Bethlehem’s main street, where I stayed, and the hodge-podge of Allentown’s main street. The proportions in Allentown felt all wrong. In the core, the roads and sidewalks felt too narrow for the density and height of the buildings. At odd moments, this claustrophobic spacing suddenly opened out into large vacant plazas with buildings placed far from the road. After the pleasant surprise of Bethlehem’s tree-lined, historic business district with wide sidewalks for promenading and window shopping (and now social distancing), Allentown was a disappointment.
However, since being home, I find I have a growing appreciation for one of Allentown’s newer developments. The PPL Center gave me a sterile vibe at the time. I only glanced at the façade as I investigated the map out front with recommended lunchbreak walks and the historic building next door. From the outside, the partial attention I gave the center suggested a shopping or office complex. It wasn’t until I accidentally entered the lobby and saw the stadium seating beyond the ticket booth that I realized it was an arena. Perhaps due to my distraction at the time, it was only in the comfort of my home that I registered my shock over finding an arena that managed the rare feat of fitting into its surroundings.
Pittsburgh’s arenas have done the opposite. For decades, there was the Civic Arena that looked like a spaceship plopped down in the middle of a city spewing parking lots out from the landing center. A flagship of Pittsburgh’s Urban Renewal, it has since been demolished with the plan to rebuild the urban fabric on the site to reconnect the Hill District to downtown. The replacement arena made some attempts to fit in more with its neighborhood. It is built up to the sidewalk or, rather, the sidewalk is built up to it creating a large sea of concrete out of proportion with the sidewalks opposite. The principal street façade includes one restaurant open to anyone inside or outside the arena during normal restaurant hours, though I don’t recall ever seeing anyone eating at their sidewalk café (even before quarantine and social distancing). Instead, the restaurant feels like a weird mistake pasted onto the building’s towering blank wall.
In contrast, the street facing restaurants in Allentown’s arena are part of the reason I mistakenly identified the structure as a retail and office building. They felt like places with lives of their own, independent of special events. The plaza in front of the arena is proportional to the plaza on the adjacent corner. The building is built up to the sidewalks with the same building height and sidewalk width as the surrounding urban fabric. As a result, this arena blends into its neighborhood, such as it is.
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