Jay Pritzker Pavilion
Address | Millennium Park 201 E. Randolph Street Chicago, Illinois United States |
---|---|
Coordinates | 41°52′59″N 87°37′19″W / 41.88306°N 87.62194°W |
Parking | 2218 (shared with Millennium Park)[2] |
Owner | City of Chicago |
Capacity | 11,000 (4,000 fixed, 7,000 lawn)[1] |
Current use | Performing arts |
Construction | |
Opened | July 16, 2004 |
Years active | 2004–present |
Architect | Frank Gehry |
Website | |
City of Chicago Millennium Park |
Jay Pritzker Pavilion, also known as Pritzker Pavilion or Pritzker Music Pavilion, is a
Pritzker Pavilion serves as the centerpiece for Millennium Park and is the home of the Grant Park Symphony Orchestra and Chorus and the Grant Park Music Festival, the nation's only remaining free outdoor classical music series. It also hosts a wide range of music series and annual performing arts events. Performers ranging from mainstream rock bands to classical musicians and opera singers have appeared at the pavilion, which even hosts physical fitness activities such as yoga. All rehearsals at the pavilion are open to the public; trained guides are available for the music festival rehearsals, which are well-attended.
Millennium Park is part of the larger Grant Park. The pavilion, which has a capacity of 11,000, is Grant Park's small event outdoor performing arts venue, and complements Petrillo Music Shell, the park's older and larger bandshell. Pritzker Pavilion is built partially atop the Harris Theater for Music and Dance, the park's indoor performing arts venue, with which it shares a loading dock and backstage facilities. Initially the pavilion's lawn seats were free for all concerts, but this changed when Tori Amos performed the first rock concert there on August 31, 2005.
The construction of the pavilion created a legal controversy, given that there are historic limitations on the height of buildings in Grant Park. To avoid these legal restrictions, the city classifies the bandshell as a
Design and development
The Jay Pritzker Pavilion is a home for the Grant Park Music Festival, which began in 1935 in the original Petrillo Music Shell.[4] Lying between Lake Michigan to the east and the Loop to the west, Grant Park has been Chicago's front yard since the mid-19th century. Its northwest corner, north of Monroe Street and the Art Institute, east of Michigan Avenue, south of Randolph Street, and west of Columbus Drive, had been Illinois Central rail yards and parking lots until 1997, when it was made available for development by the city as Millennium Park.[5] In 2007, Millennium Park trailed only Navy Pier as a Chicago tourist attraction.[6]
When the city first determined that a new pavilion should be built, the commission was supposed to go to
In February 1999, the city announced it was negotiating with Gehry to design a
Millennium Park project manager Edward Uhlir said "Frank [Gehry] is just the cutting edge of the next century of architecture," and noted that no other architect was being sought.
The city wanted Gehry, the donors supported him, and he was interested in the project.[9] The key component in the modern themes strategy was Gehry's acceptance of the commission in April 1999.[12][15][17] That month, the city announced that the Pritzker family had donated $15 million to fund Gehry's bandshell and an additional nine donors committed a total of $10 million.[18][19] The day of this announcement, after it became clear that Cindy Pritzker would fund the project,[16] Gehry agreed to the design request.[20] In November, when his designs for both the pavilion and bridge were unveiled, Gehry already had the basic design for the bandshell, but said the bridge's design was very preliminary and not well-conceived because funding for it was not committed.[21] The BP Pedestrian Bridge is designed to serve as a buffer against street noise, helping the pavilion's acoustics.[22]
According to the Guggenheim Museum, the Jay Pritzker Pavilion "suggests musical qualities", much like Gehry's
Construction
Jay Pritzker Pavilion cost $60 million, a quarter of which came from the Pritzker family donation.[23] It includes 4,000 fixed seats and a 95,000 sq ft (8,800 m2) Great Lawn that can accommodate an additional 7,000 people.[1] The pavilion was built above and behind the Harris Theater, which has the benefit that Millennium Park's indoor and outdoor performance venues share a loading dock, rehearsal rooms and other backstage facilities.[24]
The bandshell's brushed stainless steel headdress frames the 120 ft (37 m) proscenium
Millennium Park is built on top of a large underground
U.S. Equities Realty was responsible for negotiating contracts with Gehry and all contractors. Walsh Construction and its subcontractors were hired to execute three elements of Gehry's design: the structural steel supporting the stainless steel ribbons, the ribbons themselves and the trellis and associated sound system.[9]
The LeJeune Steel Company of
Acme Structural of Springfield, Missouri, was the subcontractor for the trellis over the Great Lawn,[9] which resulted from the distributed sound system's requirement for speakers every 70 ft (21 m). One way to achieve this would have involved placing the speakers on pipes or columns, but the resulting forest of columns seemed discordant with the architecture.[30] Gehry preferred the trellis although it cost about $3 million more than speakers arranged on posts would have.[16] The trellis uses 22 criss-crossing arches in a lattice pattern,[35] and is noted for its parabolic grid.[7] The arches use pipes varying in diameter from 12–20 in (30–51 cm) depending upon the load requirements.[35] Arches longer than 300 ft (91 m) have four or five different radii, where radius describes the extent of pipe curvature.[35] The arch pipes connect to the structural steel of the pavilion structure without linking to the metal ribbons.[35] The trellis is 600 by 300 ft (183 by 91 m).[36]
The pavilion's construction was aided by the French CATIA software program and internet conferencing.[37] Early plans to incorporate a surrounding waterfall and stairway were abandoned.[38] In the end, budget limitations led to compromises with the original architectural plan that left many elements in their most straightforward form, such as exposed pipes and conduits, or rough concrete.[39]
Acoustics
The Talaske Group of Oak Park, Illinois, was the subcontractor for Jay Pritzker Pavilion's LARES sound system,[9] which "generates the reflected and reverberant energy that surrounds and envelops the listener in an indoor performance venue".[8] The system, which effectively produces an even quality of sound throughout the entire venue, has received critical acclaim for its technological adaptations, such as signal processing in a variety of indoor and outdoor venues.[8][40] The Pritzker Pavilion is the first permanent outdoor installation of the LARES system in the United States.[8] The trellis has both acoustic and architectural functions; it allows for the precise placement of speakers for sound optimization without visual obstructions, while simultaneously providing a unifying visual canopy.[8]
The overall acoustic system is a distributed sound reinforcement system, which allows musicians on stage to hear each other clearly in a way that facilitates ensemble play. In addition, direct natural sound from the stage is reflected from architectural surfaces as well as being reinforced by two sound systems. The forward-facing reinforcement speakers time the relaying of sound so as to make it seem to have arrived directly from the stage with proper clarity and volume levels. Distributed speakers allow for lower sound volumes than would be necessary with centralized speakers, which would disturb neighboring residences and business.[8][41]
Instead of reinforcing the sound like a traditional public address system, the sound system on the trellis system seeks to replicate the acoustics of a concert hall and create a clearly defined concert space. Noise from city disturbances is masked by sound arriving directly from lateral sources. Downward facing speakers simulate sound reflection similar to indoor concert hall wall and ceiling effects.[8][41] Although Chicago Tribune music critic John von Rhein felt the inaugural concert's sound quality was "a work in progress" that varied with the listener's location in the pavilion,[42] critics Kevin Nance and Wayne Delacoma of the Chicago Sun-Times said that on the opening weekend it was clear that the acousticians, Talaske Group, and Gehry had solved many of the problems presenting classical music outdoors.[43] John von Rhein said in 2005, "the system has been fine-tuned over the past two summers and now delivers a warm, even approximation of concert-hall sound to listeners at even the farthest reaches of the lawn.[44] James Palermo, artistic and general director of the Grant Park Music Festival, felt that musicians were able to interact more effectively with the new sound system because they could hear each other better.[45]
Controversies
Protected by legislation that has been affirmed by four previous
The naming of Jay Pritzker Pavilion was a cause for protests. The new pavilion was built as a replacement for Grant Park's decades-old Petrillo Music Shell, which had a long history of hosting free music events and was named after
As of 2009, the Petrillo Music Shell was still in use, though Chicago Tribune arts critic Howard Reich described it as "dilapidated" and "dismal".[55]
Controversies during construction involved escalating costs and delays; both the pavilion and park opened four years later than originally planned and cost millions of dollars more than expected.[28][43]
Once the pavilion was built, the initial plan was that the lawn seating would be free for all events. An early brochure for the Grant Park Music Festival said "You never need a ticket to attend a concert! The lawn and the general seating section are always admission free."[56] However, when parking revenue fell short of estimates during the first year, the city charged $10 for lawn seating at the August 31, 2005, concert by Tori Amos.[56] Amos, a classically trained musician who chose only piano and organ accompaniment for her concert, earned positive reviews as the inaugural rock and roll performer in a venue that regularly hosts classical music.[57][58] The city justified the charge by contending that since the Pavilion is an open-air venue, there were many places in Millennium Park, such as the Cloud Gate, Crown Fountain and Lurie Gardens, where one could have enjoyed the sounds or the atmosphere of the park without having to pay.[56][59][60]
In addition to charging for lawn seating, the event promoters prohibited concertgoers from bringing beverages, including bottled water, to the lawn; drinks instead had to be purchased onsite.
Events
Jay Pritzker Pavilion competes with
The Pritzker Prize presentation ceremony, which moves to an architecturally significant location each year, was held in the Pritzker Pavilion in April 2005.
Although it was built as a replacement for Grant Park's outdoor concert facilities, larger annual events such as the Chicago Blues and Chicago Jazz Festivals and Taste of Chicago are too large for Jay Pritzker Pavilion and continue to be held in and around Petrillo Music Shell.[75][76] The pavilion has hosted smaller festivals, such as the Chicago Gospel Music Festival, since 2005.[77][78] Public opinion has been in favor of moving some of the smaller Blues and Jazz festival events to the pavilion, with its better, more modern acoustics.[79] By 2009, as the city grappled with a budget deficit, it considered realigning parts of the larger festivals and made definite plans to move some of the smaller ones to the more modern venue.[80]
On July 18, 2007, the Grant Park Music Festival partnered with the Metro Chicago to produce a free Wednesday-night show celebrating Metro's 25th anniversary and featuring indie band The Decemberists with the Grant Park Orchestra.[81][82] The show featured new orchestral arrangements of The Decemberists' songs by Sean O'Loughlin, who also conducted in lieu of Kalmar.[81][82] While the concert was free,[82] the front seating sections were reserved for season membership holders; fans of the band got the remaining seats or sat on the lawn. This led Decemberists' frontman Colin Meloy to encourage the crowd to breach the barriers between the seats and Great Lawn to get closer to the stage for the band's encore performance, which was without the orchestra. Estimated attendance was 11,000 to 15,000, the largest for any free concert at the pavilion to date.[82][83][84]
Other events include a concert by
Concerts performed by the Grant Park Orchestra and directed by Kalmar were part of a June 19, 2009, citywide
Among the highlights of the 2010 calendar is the screening of the
Among the artists who performed with the festival at the pavilion in the 2000s decade are
Besides these public functions, the pavilion is available, as is the entire park, as a venue for private events year-round. The stage's glass and steel doors enable it to provide indoor space protected from the elements when necessary.[104] In addition, the pavilion has a Choral Rehearsal Room that can be rented.[105]
Reception
Critics have said that Jay Pritzker Pavilion is the highlight of Millennium Park.
According to the Financial Times, the bandshell's acoustics are unparalleled compared to any contemporary outdoor venue.[112] Critics say that musicians have lauded the onstage acoustics.[7] Another Financial Times critic noted that Gehry revisited some of his past design motifs, such as his use of stainless steel, and explored new ones such as the trellis and sound system.[113] This sentiment was echoed by others.[7] During the opening concert von Rhein noted that the sound is not of uniform quality throughout the venue and opined that the optimal sonics are toward the back of the seated area and front of the lawn.[42] However, he subsequently noted in 2005 "the system has been fine-tuned over the past two summers and now delivers a warm, even approximation of concert-hall sound to listeners at even the farthest reaches of the lawn.[44]
Despite the praise it has received, the pavilion has its blemishes: the supporting north side of the structure along Randolph Street has attracted criticism for not being pleasing to the eye, and some observers found the exposed supporting proscenium braces offensive.[114] Critic Fred Bernstein of The New York Times felt that the smooth rounded trellis and sharp-edged bandshell were geometrically discordant.[115] A review in the Chicago Tribune criticized the "ugly concrete structure" surrounding the mixing console in the midst of the fixed seats as the pavilion's "biggest design miscalculation", and called for it be moved.[42] Although modern practice is to locate the sound console in with the audience,[116][117] Gehry said at a symposium after the park's opening that he wanted "to scrap the big box of a sound booth that sprang up like a weed in the center of the pavilion's seating".[118] The director of Millennium Park was honored for his contribution to creating "one of the most accessible parks – not just in the United States but possibly the world" in a 2005 accessibility award ceremony held at the pavilion.[3] The pavilion's stage is reached by gently sloped ramps instead of stairs, as part of the park's overall accessibility design.[3] The decision to save money and not slope the Great Lawn as much as originally planned was not universally popular.[28] However, Gehry said that the actual slope of the lawn was more accommodating to people with disabilities and better able to accommodate activities than the original plan.[119]
Position in Chicago's skyline
See also
References
Notes
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- ^ Bernstein, Fred A. (July 18, 2004). "Art/Architecture; Big Shoulders, Big Donors, Big Art". The New York Times. Archived from the original on June 8, 2008. Retrieved June 1, 2008.
- ISBN 0-240-80493-7. Retrieved January 13, 2010.
- ISBN 0-87830-116-X. Archivedfrom the original on April 10, 2022. Retrieved January 13, 2010.
- ^ Isaacs, Deanna (July 29, 2004). "The Six Million Dollar Birdcage: The Pritzker Pavilion may be pretty, but it can't replace the Petrillo Music Shell". Chicago Reader. Archived from the original on June 9, 2011. Retrieved January 13, 2010.
- ^ Gilfoyle, p. 168.
References cited
- Gilfoyle, Timothy J. (2006). Millennium Park: Creating a Chicago Landmark. Chicago: University of Chicago Press. ISBN 978-0-226-29349-3.
- Isenberg, Barbara (2009). Conversations With Frank Gehry. Alfred A. Knopf. ISBN 978-0-307-26800-6.
- Kowalski, Carissa; Tonia Kim (2005). Galindo, Michelle (ed.). Chicago: Architecture & Design. ISBN 3-8327-9025-X.
- Macaluso, Tony, Julia S. Bachrach, and Neal Samors (2009). Sounds of Chicago's Lakefront: A Celebration Of The Grant Park Music Festival. Chicago's Book Press. ISBN 978-0-9797892-6-7.)
{{cite book}}
: CS1 maint: multiple names: authors list (link - Pridmore, Jay; George A. Larson (2005). Chicago Architecture and Design. Harry N. Abrams, Inc. ISBN 978-0-8109-5892-0.
- Sharoff, Robert (2004). Better than Perfect: The Making of Chicago's Millennium Park. Walsh Construction Company.