Setting the Stage by Jacquelyn Astorga

Acknowledgements Thank you to my family and friends who have supported and encouraged me throughout my time at Harrington. To old friends who stuck with me through the hard times, and new friends who showed me the way. Thank you to my committee for your time and guidance. Your belief in me and my project made it all possible. Special thanks goes to: Constantine Vasilios Richard Avery Janet Whitmore Bobby Biedrzycki Michael Jennings Maureen Sullivan

Table of contents Certification of Completion Acknowledegments Welcome to Bridgeport Thesis Statement Bridgeport, Chicago The History The Ramova The Neighborhood Today The Comments Save The Ramova Project Site Location Analysis The Design Appendix

1 3 4 15 18 28 34 44 48 54 57 59 61 89

I would like to share with you a story. It is the story of a neighborhood and one very special place within it. I walk along the streets of this neighborhood, I live among the people, and so I am bonded in some way, whether I like it or not, to this place.

It is my home.

Donovan Park (36th street & Lithuanica) facing north

The neighborhood is called Bridgeport, located on Chicagoâ&#x20AC;&#x2122;s south side, hidden away from the general consciousness between Pilsen, Chinatown, and the south branch of the Chicago River. Before moving to Bridgeport after spending 7 years in various north side neighborhoods, I was like most others I know: blissfully unaware of the Southside.

LOW

an ic hig L ake M

COMMUNITY INVOLVEMENT

The neighborhood

What I noticed the most when I first moved to this part of town was how different from the northside Bridgeport was. The night life scene is mild at best, the streets are nearly empty on the weekends, there is great ethnic diversity but segregation is the norm. Walking down the street, it is impossible not to notice the shuttered store fronts and underutilized space.

There is a general sense of disconnect. People are living here, but it almost feels like they’d rather be somewhere else. When walking down the street, I often wonder “where is everyone?” This lack of a relationship between people and the place they inhabit is the basis of my investigation here.

the neighbors

Thesis Statement

The place where we live can easily take a back seat to the places where we spend our time, causing a disconnection between neighbors and community structure. This thesis attempts to create a setting for increased and meaningful community interaction by inviting members of a single neighborhood to share overlapping experiences in the same physical space. The goal is not to force people to interact, but rather to provide an opportunity to gain a shared sense of pride and investment in the betterment of their community.

Wicker PArk Chicago

Lincoln Square Chicago

If youâ&#x20AC;&#x2122;ve ever spent a weekend afternoon in a Northside neighborhood, you know how lively it can be. Restaurants overflow with guests at brunch, shops open and people are out enjoying what the neighborhood has to offer. This is not the case in Bridgeport, and the contrast is overwhelming. For those of you who are unfamiliar with the neighborhood, I would like to now take you on a quick tour.

Bridgeport Chicago

West side of Morgan St. at 33rd Pl.

The following photographs do not intentionally depict such a depressing and lonely scene, but this is the atmosphere down in Bridgeport. With the number of storefronts for lease, rent, or boarded up rivaling those that struggle to stay open, the lack of street appeal is pretty glaring.

Facing south on Halsted at 36th St.

Intersection of 35th and Morgan, looking west

Halsted Street

Ling Shen Ching Tze Temple on 31st & Bonfield

South Branch of the Chicago River

Recently featured in New City magazine, Johnny Qâ&#x20AC;&#x2122;s is famous for their street food. They are open 24 hours a day, 365 days a year, and their claim to fame is their breaded steak sandwich.

Warehouse buildings populate the neighborhood. Some are repurposed into artist lofts and galleries. Others wait to gain a new purpose.

The Ramova Theater. As you can see, it is just one of several shuttered businesses on the block.

Believe it or not, this was once the busiest strip in a bustling commercial corridor. In fact, the entire neighborhood of Bridgeport was at one time a lively and active place to live and work.

Facing south on Halsted at 35th St.

the history

Bridgeport had its beginnings in the mid-1800s, when the south branch of the Chicago River became a major player in Continental shipping, and a canal was dredged to facilitate navigation between the Mississippi river and the great lakes.

At that time, the neighborhood was dubbed “Hard Scrabble,” as it was flooded with immigrants from Ireland ready and willing to go to work transforming the future of American transport for a dollar a day and a “shanty.”

At the end of the 19th century, industry and population exploded in Bridgeport with the opening of the stock yards and independent commerce.

This upswing continued until the mid-1930s â&#x20AC;&#x201C; one of the neighborhoodâ&#x20AC;&#x2122;s most vibrant times in terms of business and community.

The Ramova was built during this boom in 1929 as a sister to popular Northside theater the Music Box. Designed by architect Meyer. O. Nathan, the single room theater was a major attraction, and captured the hearts and imaginations of local moviegoers. The name Ramova was chosen by community vote.

the ramova circa 1934

From opening press release, 1929

The theater featured scenes of an outdoor Spanish courtyard, the ceiling in the theater painted to resemble the night sky filled with twinkling stars. The theater boomed in the 1930s and 1940s playing first run movies and musicals. In 1940, Charlie Chaplin hosted the Chicago debut of his film â&#x20AC;&#x153;The Great Dictatorâ&#x20AC;? at both the Ramova and Music Box theaters.

From opening press release, 1929

By the 1950s, after the Second World War and the beginnings of corporate culture, the Loop began to draw workers away from their neighborhood ties. Around this time, the Ramova switched to a second run theater, and transitioned again to showing Spanish language films as the neighborhood became home to a growing Hispanic population.

the ramova circa late 1950â&#x20AC;&#x2122;s

circa late 1960â&#x20AC;&#x2122;s

the ramova circa 2014

In 198 5, t h e Ra m ova closed its doo r s fo r t h e l a st tim e , an d l e f t m a n y h e a rt b r o ken ne i g h bor s b e h i n d. To day t he int e r i o r e x i sts i n a stat e o f ut t e r di s re pair.

Bridgeport today is a magnet for young, recent college graduates and artists, enticed by affordable housing, close to the heart of the city. I am one of these people in need of an affordable, convenient place to live, while I conduct my work and school life downtown. However, despite this influx, a decline in overall population of nearly 33% since 1930 paired with a steady shut down of local businesses sets the tone for the neighborhood. Many new residents do not remember the days when Bridgeport was booming, nor do their jobs and schools downtown give them much time to invest in the area â&#x20AC;&#x201C; especially when there are other, more established places like Pilsen nearby.

A mural goes up outside of Chrome gallery, S. Morgan St.

the neighborhood Today

S. Bonfield at 31st St. facing North

S. Morgan St. & 33rd Pl.

S. Morgan St. & 35th St.

the comments

However, all is not forgotten. Articles about the Ramova Theater online are often followed by trails of comments. Many community members use the comment boards as a way to share their memories with each other and whoever is out there willing to listen. The stories are as varied as their sources, but all deeply touching, as it can clearly be seen that the place had significant meaning to the lives that it touched.

â&#x20AC;&#x153;I had many good times at the ramova when I could see two flicks and a cartoon for 25 cents... the architecture and decor was grand...â&#x20AC;?

â&#x20AC;&#x153;I lived in the projects on 31st and halsted. wehadgoodtimesgoingtothe ramova...the memories are still there. we would have fun with the other kids from school. itâ&#x20AC;&#x2122;s sad to see the ramova in its present condition.â&#x20AC;?

â&#x20AC;&#x153;i hope the ramova reopens. I think it would be a great venue for film fests, special screenings, community theater, receptions, parties etc.â&#x20AC;?

Maureen Sullivan announces her run for 11th Ward Alderman in front of the boarded up facade of the Ramova Theater.

save the ramova Maureen Sullivan, a community organizer and 2015 11th Ward aldermanic hopeful, has taken it upon herself to see that the Ramova stays in its rightful place. In 2005, she founded the Save the Ramova campaign.

“The Ramova ... memories really matter to them.”

It began as a petition and eventually into a full-blown initiative to not only restore the Ramova but to turn it into a hub of Bridgeport culture. According to Sullivan, the big draw for support is the nostalgia the building evokes: In her own words “The Ramova was the center of entertainment and a lot of childhood memories for people in Bridgeport, and residents bring that up all the time because those memories really matter to them.”

A reclamation of the Ramova theater and adjacent building would create a much needed boost in commercial and economic development, as well as community morale. The basic framework for this developmental turn around is already in place.

West 35th STreet

South halsted street

50 ft 20m

project site 57

If we take a look at a map focused on the central Halsted Street corridor between 33rd Street and 36th Street, we can see how easily accessible this area is to nearby residents, and those traveling from other neighborhoods. Serviced by both the Halsted Bus and 35th Street bus, as well as a close proximity to the Orange and Red Line trains to downtown, the area is decently accessible via public transportation. Add to that several new Divvy bike sharing stations, and the outlook for public accessibility to this area looks brighter. In addition, the last several years have seen a surge in artists and galleries moving to the neighborhood. Bridgeport is now home to several major art institutions that draw visitors in for events in the area west of Halsted street. And of course, one cannot ignore the draw of US Cellular field – home of the Chicago White Sox. What we see then is a central area without a central draw. This is where the Ramova comes in. Already we see signs of potential growth in the neighborhood, but a restoration of one of the area’s great attractions could possibly be the first domino in a chain of developments leading the restoration of a community’s pride.

location analysis Co Prosperity Sphere Zhou B.

1.9 Miles to Orange Line > > >

> > >

S Lituanica Ave.

S Morgan St.

3 Blocks

S Halsted St.

W 34th St. 2 Blocks

W 34th St. 1 Mile to US Cellular Field >>>

Bridgeport Art Center 2 Blocks

S Union Ave.

S Emerald Ave.

W 34th Pl.

>>>

W 35th St.

1 Block >>>

W 35th St. Ramova

W 35th Pl.

S Union Ave.

S Emerald Ave.

> > >

1 Block

W 36th St.

S Lowe Ave.

.8 Miles to Red Line >>>

S Halsted St.

S Sangamon St.

W 36th St.

Theater & Community Center

S Lituanica Ave.

S Morgan St.

Zhou B.

W 36th St.

200 ft 100 m

Commercial Property Vacant Property Local Attractions 59

exteriOR alteration 60

The design

Currently the Ramova stands adjacent to a second vacated building, formerly home to several retail shops, including the Ramova Grill, which closed itâ&#x20AC;&#x2122;s doors for the last time in 2012. My proposed design would take advantage of both of these buildings as a way to transform the street appeal on the block, and encourage engagement with the spaces. My goal is to blend the Ramovaâ&#x20AC;&#x2122;s past with its future. By keeping design elements from the famous interior and blending them into an updated space, I will pay tribute to the Ramova that long time Bridgeport residents remember. And by adding new programming that encourages patronage and community participation, my goal is to create a space that residents want to visit again and again, and feel proud to have in their neighborhood.

Exit to Back Alley

Dressing Rooms

Catering Kitchen Theater One

Theater Two

rESTAURANT AND OUTDOOR COURTYARD UP

Snacks

floor plan level one

lobby & Coat check UP

South Halsted Street

pRODUCTION hOUSE

Back of House &

A lobby and entrance space provides the first glimpse into what the Ramova has to offer. A place to purchase event tickets gather and wait. Beyond the lobby is a small area for concessions. Outfitted with comfortable seating, this nook provides a place to wait for the theater doors to open. The main theater features a sloping floor and is updated with balcony seating. Seating on the main floor is movable so that this large space can be converted to accommodate many different types of events. The Ramova is updated to include a back of house program for live theater, including ample storage for costumes, sets and props, as well as dressing rooms for performers.

A smaller, secondary theater space is added to the floor plan, to accommodate smaller screenings, and private events. A catering kitchen is tucked away in the back for seamless event preparation. The adjacent building houses the production house and theater studios. Here is where members of both the theater and community can come together and share their skills building sets, and setting up events that take place in the theater. This program offers members of the surrounding community an open door to learn more about the theater and become an integral part of its inner workings. Heading back toward the main entrance of the Ramova, we come to the restaurant, which features outdoor seating in a lush and landscaped courtyard. A large gate stands open during all hours of restaurant operation, inviting passers by a glimpse into a secret garden, enticing them in off the street.

open to below

Theater Workshops

Back of House and prop Storage open to below

Balcony seating

open to below

Roof Terrace DN

Management Offices J

Cocktail Bar and Lounge

floor plan level Two 64

open to below DN

In addition to the street level programs, I have taken advantage of the high ceilings in the Ramova building and added second floor programming. Just up the stairs from the main entrance lobby is a cocktail bar and lounge, which provides a comfortable place to lounge with friends while waiting for a show to start. The bar features direct access to the balcony seating in the theater. Private boxes can be rented for first class seating through the management office. Also up on this level is additional storage for props and additional back of house equipment. Cat walks allow theater staff to access the higher areas behind the scenes. In the second level of the production house and studios, are spaces to hold community workshops. Featuring modular furniture, various seating arrangements can be configured to host a variety of programs, including writing workshops, improv classes, or in off hours, a quiet place to study up on one of the theater books in the small library. And last, a roof terrace above the restaurant allows a casual dining experience under the stars for a special occasion.

Section View

This section view allows us a quick glimpse at the connection between the programming. At the left, we see the cat walks and back of house access to the stage. The box seating in the theater is designed to integrate seamlessly into the outdoor courtyard feel, which is preserved from the original interior. Previously, theatergoers at the Ramova could only look up at the windows and wonder, but by adding the balcony and box seating, they can now experience what that view from above is like for themselves. Just through the theater space on the first level is the concessions and snack area, and just above is the cocktail lounge for more adult refreshments.

Entrance Lobby 68

UP UP

Upon entering the lobby, we see a grand space, interpreted from the original design. The high lofty ceilings are returned to the night sky blue. A curving staircase provide access to the second level, another area where previously windows only provided an object of wonder. The finishes are chosen to be glamorous and refined to transport those who enter into a world unlike those they live in on a daily basis.

Concessions 70

The concessions and snack area is designed to be a casual counterpart to the glamour of the entrance lobby. Here, visitors can relax and wait for show to start while enjoying a quick bite. -

UP UP

Main Theater 72

The main theater was originally designed for a seating capacity of 1500, much too large to be practical given the conditions of the neighborhood today. By scaling this space down, a more intimate setting is created. Additionally, the seats have been removed, and replaced with a new hardwood floor. Seating is stored in an in house storage area, and can be placed as needed depending on the type of event.

UP UP

Like the large theater space, the furniture in the second theater can be reconfigured to host a number of events making it perfect for private parties, special screenings or lectures.

UP UP

Theater 2 75

Next door in the adjacent restaurant, a glass roof offers the opportunity for guests to dine under the stars. One of the Ramovaâ&#x20AC;&#x2122;s original interior details that community members still remember is the painted night sky on the ceiling. The glass roof creates a real life opportunity for patrons to dine beneath the stars.

UP UP

Restaurant 77

Restaurant 78

A second view of the restaurant showcases a staircase leading up to the roof deck. A casual atmosphere with warm finishes provides an intimate dining experience.

UP UP

Roof Deck 80

The roof deck provides yet another opportunity to be under the stars. Tensile canopies provide a more intimate interior feel while still allowing a glimpse of the sky. The light from the restaurant illuminates the space like a movie screen.

Cocktail Bar 82

Returning inside, the cocktail bar is fully stocked and provides a welcoming atmosphere for visitors to gather.

Various types of seating allow patrons to craft their own experience in the space, whether they are looking to gather with a group, or enjoy an intimate conversation.

DN J

Cocktail Bar Lounge Seating 85

As you can see, this movie theater is so much more than just a place to see the latest Hollywood release. It is a place to gather, to share stories and experiences, and to make new memories for generations to come.

Appendix Contents Introduction Thesis Statement Storytelling Our Story Community Bridgeport and the Ramova The Design Conclusion Images Bibliography

Page 90 91 92 94 96 99 104 108 109 126

INTRODUCTION Everyone has a story to tell. As communication methods evolve, we gain new ways to share them. How does new media change the way we interact? How does it change our definition of community? If we can understand the way that the evolving narrative of communication influences our interactions in the social world, can we use that knowledge to inform the interior of a public space to foster meaningful interactions? How could a neighborhood in need of a major revitalization - both socially and economically - take advantage of these methods of storytelling to influence development and social change? Communication technology is designed to be a supplement to our interactions in the real world. It allows users to connect to one another regardless of location, and networks to expand exponentially. Our lives in the real world however, are limited to the places of physical being, and we rely on our digital tools to take us places where we cannot be physically present. The need for a hybrid model of community is growing, where physical place can reestablish itself as a major element in the stories of our lives.

THESIS STATEMENT The place where we live can easily take a back seat to the places where we spend our time, causing a disconnection between neighbors and community structure. This thesis attempts to create a setting for increased and meaningful community interactions by inviting members of a single neighborhood to share overlapping experiences in the same physical space. The goal is not to force people to interact, but rather to provide an opportunity to gain a shared sense of pride and investment in the betterment of their community.

STORYTELLING Sharing stories and information is part of what makes us human. Beyond just an instinctive pack mentality that keeps us together, humans seek to strengthen connections and bonds by sharing ideas. “People have always gathered around a campfire to warm up, to belong.” 1 The storyteller is the one who provides the warmth and socially binding story that holds people together. From the very beginnings of society, humans have shown an interest in sharing their stories: recording ways of life, documenting favorite recipes, explaining the inexplicable mysteries of life through narrative. The need to communicate is so much a part of human nature that incredible amounts of energy have been dedicated to crafting the tools necessary to get the job done. “The art of storytelling is all-inclusive. It is a global language.”2 Stories cross borders and tales of humanity can affect audiences across the globe regardless of their origin. Good stories are not limited to a physical place, nor do they die with the passing of time. Studies of Greek mythology continue to teach high school freshman about human nature, and on an even greater scale, people continue to reference 1

Katja Blomberg. Distinct Ambiguity: GRAFT. (Berlin: Gestalten, 2011)

Blomberg. Distinct Ambiguity: GRAFT, 95.

,95

religious texts for guidelines on morality and behavior, thousands of years after the stories have been written. But dating back to even before history was recorded in writing, humans have shared stories with each other - face to face. There was no other way. As time evolved, so did language. The human ability to communicate has become intricate and nuanced in a way that is often difficult to put into words without losing meaning. Additionally, humans share stories on two levels: personal and public. Personal stories, shared one on one, with a single other person or small groups, strengthen existing ties with others, as one needs to feel trust, understanding and companionship for the other person. The interaction of sharing these stories with a trusted other leads to a stronger bond, which opens the doors for further interaction. A public story is a story or set of ideas that is shared by many at the same time. Whether the interaction is one to few or one to many, they all have an origin point, and over time can grow like a ripple in water. These stories have the power to change the way groups of people think in a collective swoop. In this instance, no preexisting bond is necessary, as it is the story that binds us. These stories can be as great and powerful as Martin Luther King Jr.’s famous ‘I Have a Dream’ speech, being heard by thousands at once in a live audience and over radio and television, or as simple as an independent movie playing in a small theater with an audience of ten. What people

take away from public stories may vary from person to person but the sheer fact of being simultaneously present and aware of the same message is enough to create a bond between those individuals, whether they are aware of it or not. They have shared in the same experience, regardless of what they take away from it. As travel and communication technologies advanced throughout modern history, and people gained the ability to travel long distances, a need to send news across those distances also developed. Letters crossed deserts on ponies, oceans on ships, and even flew over battlefields carried by pigeons.3 With the introduction of the printing press and then telegraphs and telephones in the late 19th century, the spreading of news and information became faster and faster, and our demand for information grew. “As Elizabeth Einstein argued in The Printing Press as an Agent of Change, the printing press allowed economies of scale that spread liberating ideas far more broadly than was before possible.”4 As these technologies evolved and became assimilated into our culture, they allowed people far and wide who would have under

former circumstances never had reason to bond, to connect over stories. This pattern only continues as our technologies continue to grow, allowing users to gain access to the other side of the world without needing a passport. Currently, the media has spread into a network beyond just newspapers and television. Updates on events are leaked in snippets over the internet, allowing a story to unfold in real time, allowing audiences to remain captivated by an ever evolving narrative.

Stone, Andrea. “World War II Carrier Pigeon With Coded Message Found In England,” The Huffington Post last modified November 1, 2012, accessed June 11, 2014 http://www.huffingtonpost.com/2012/11/01/world-war-ii-carrier-pigeonsurrey_n_2057149.html. 4 Clive Thompson. Smarter Than You Think: How Technology is Changing Our Minds for the Better (New York: Penguin, 2013), 131.

OUR STORY But as networks of connection spread and grow, have some of the basic rules of connection been compromised? Is it fair to say that in the eagerness to share on a global scale, we overlook those who are closest to us? Historically, there has always been some resistance to new technologies that develop to further our communication. According to researcher and journalist Craig Thompson, “every new tool shapes the way we think, as well as what we think about.” 5 In his book Smarter Thank You Think, he explores the most recent wave of digital technology (the past 40 or so years), and its influence on the way we think. He explores the rise of several groups of technology embracers from chess players to bloggers to life loggers (individuals who meticulously record and store their daily activities in an external memory to access later), and the resulting behaviors that users of the new technologies then adopt. “The printed word helped make our cognition linear and abstract, along with vastly enlarging our stores of knowledge. Newspapers shrank the world, then the telegraph shrank it even more dramatically. With every innovation, cultural prophets bickered over whether we were facing a technological apocalypse or a utopia.”6 Thompson’s 5 6

Thompson, Smarter Than You Think, 4. Thompson, Smarter Than You Think, 4.

stance is that while the technologies develop, users adapt with them, and new opportunities present themselves to grow and learn in ways never possible before. One such example is the explosion of written content that appears on the internet daily. Current day technologies have made us into super-communicators. But not necessarily super communicators. The ease of the internet and ability to self-publish on a whim has created a huge surge of writing that has never before had such an immediate and responsive audience. Research estimates that each day, the global collective composes about 154 billion emails, over 500 million Tweets on Twitter, and about 16 billion words on Facebook.7 While some critics may argue that the bulk of this content is of poor quality, riddled with short hand and slang, the fact remains that this upswing in writing - however literary or not - is a sign that more and more people are giving a voice to their stories. They are finding a way to share their experience and connect with others who they may have never connected with. Whether it’s chiseling symbols into stone, laying out letters on a printing press or furiously tapping with our thumbs in short 140 character bursts, each example is representative of the same concept: storytellers use tools to propel their stories forward. And the easier the tool, the more can be shared, and the more that’s out there, the more everyone can learn about each 7

Thompson, Smarter Than You Think, 7.

other: habits, likes, dislikes. Some people may interpret this huge explosion of communication technology as a negative thing. For example, with the advent of e-books and online databases, the traditional library model becomes less and less relevant to our daily lives, causing many to close. With the ability to download movies, live stream concerts and events, and buy our groceries online, the need to leave the house diminishes day by day. Will the continued trend of connection through a screen, obliterate the human need to interact face to face? Will our Followers replace our Friends? Probably not. Yes, it’s true we are facing a change in the way we interact with the world. But the fact remains that we still interact with it. The ability to look up reviews of a restaurant before trying it, or sign up for a cycling club online suggests that we’re finding ways to tailor our experiences to our specific tastes, and make our ventures in the world more meaningful. Consumers can now walk confidently into a new place armed with the knowledge that they will probably be welcome there. In a way, communities are reliant on this wave of public feedback, as the Yelp’s and Angie’s Lists of the world grow in influence. Consumers use the tools they have to decide on where to spend their money. Businesses that are savvy to this behavior work hard to achieve the highest ratings, knowing that it’s a way to get more business. This hybrid method of online

research leading to physical interaction will only increase, and is changing the way we interact with our physical world. What this potentially causes, however, is a disconnection between where people are living, and where they go to seek their enjoyment. With the ability to seek out entertainment, restaurants, and interactions tailored to our specific tastes and personalities, our network and awareness of the world around us leads us away from the home base. The corner store is no longer the only place to look for a necessary recipe ingredient. A convenient store close to the office downtown may be the preferred choice over the local market in a commuter’s shopping habits. Not uncommon is the story of the youth who leaves his hometown in search of likeminded individuals elsewhere. While this is not an uncommon storyline, the effect it can have on a neighborhood and a community can ultimately be damaging if the trend is on a widespread scale. If the basic infrastructure of a community is based on meaningful interaction what happens when its members are seeking those connections elsewhere?

COMMUNITY

questions of ‘feeling’ about a place or community, and then pairing it with other more objective data, one can try to paint a more complete picture. In Richard Putnam’s Bowling Alone, he conducts exactly this type of research on a broad scale. His intent was to determine a certain analysis of community involvement across the United States based on the following 14 statistics8:

The way we interact and share stories with each other determines the strength of a community. Whether in a rural town, an urban neighborhood, or an online forum, the success of a community depends on its members interacting and sharing ideas on a regular basis. For a long time, researchers have studied the concept of community, and what makes them successful and satisfying for participants. We’ll now review several attempts at defining community, or representing some quality of it through the analysis of collected data. The topic of community is in some senses difficult to analyze. A common method involves looking at any group of people who identify themselves on personal levels as individuals, as well as parts of a whole, and gathering measurable data about them. This is essentially the operational method of the US Census Bureau. The collected information can then be sorted by categories, filtered by topic and graphically represented in an easy to read format. However, the resulting chart or bar graph serves to only tell one side of the story, usually with an agenda. If a researcher collects responses about ethnic identity and pairs it with income data, the story they create is heavily weighted by the limited information collected. By collecting more subjective data such as responses to 8

1. Rate of serving on committee of local organization during previous year 2. Rate of serving as an officer of a local organization during previous year 3. Civic/social organizations per person 4. Mean number of club meetings attended during previous year per person 5. Mean number of group memberships per person 6. Turnout in presidential elections, 1988 & 1992 7. Rate of attending town or school meetings 8. Number of nonprofits per person 9. Rate of working on a community project during previous year 10. Rate of volunteerism 11. Rate of agreement with “I spend a lot of time visiting friends.” 12. Rate of entertaining at home during previous year 13. Rate of agreement with “Most people can be trusted.” 14. Rate of agreement with “Most people are honest.”

Robert D. Putnam, Bowling Alone: The Collapse and Revival of American Community, (New York: Simon & Schuster, 2000), 291.

The resulting map charts what Putnam calls “Social Capital” (Figure 1), with different states filled in varying shades of gray. Darkest gray indicates a “Very High” level of social capital, while white is “Very Low”. A quick glance at the map and one notices that a high concentration of low ranking states appears in the South (Louisiana, Arkansas, Georgia, Tennessee and Alabama) while the states with the highest ranking are in the North and Northwest (states with lower population densities).9 Even a basic knowledge of US history can lead one to some fair conclusions about what they see in the map. The historically more segregated states in the South are those with the lowest Social Capital, while the states populated by migrating New Englanders show the highest level of municipal activity. It is hard to determine whether the historical patterns of immigration and slavery provide the sole explanation for the extreme differences from state to state, “however, the clear historical continuities are relevant to one aspect of our current inquiry – whether social capital is a cause or merely an effect of contemporary social circumstance. If regional and local patterns of civic engagement and social connections were evanescent and mutable, then correlations between social capital and other social facts (like educational performance or public health or crime) might well reflect the effect of those factors on social capital. If,

on the other hand, regional and local profiles of social capital represent long-standing traditions, then it is more plausible that social capital is a cause, not merely an effect, of contemporary social circumstance.”10 In another attempt to understand community involvement on a smaller scale, we can look at the city of Chicago, broken up into its neighborhood boundaries (Figures 2-4). Based on data from the City of Chicago, this map charts 311 calls, the number of calls per neighborhood, and the calls broken out into the most typical complaints. Because the subject of community and home is a personal one, it helps to have hard data to analyze. A recent study of the 311 calls placed to the City of Chicago evaluates the most common complaints and their relevance to certain neighborhoods. Based on the number of calls, and the nature of the calls, each neighborhood can be ranked. The darker the color of the neighborhood the more frequent the calls are. Do the neighborhoods that make fewer calls have less to complain about? Or are they less committed to the safety and upkeep of their neighborhood, thinking “someone else will take care of it”? On first glance, it appears that the neighborhoods who make the most calls may also be the most proactive about participating with local community to resolve problems. But when looking at the nature of the calls broken down by neighborhood, one could also argue

Putnam, Bowling Alone, 292.

Putnam, Bowling Alone, 294.

that the neighborhoods who place the most calls have the most to complain about. 11 For some examples, the affluent Northside neighborhood of Lakeview makes relatively few calls the majority of which are about potholes, graffiti and rodents. Taking a look at Armor Square on the South Side, the calls more than triple in number, more than half of which are about graffiti – a sign of gang activity and territorial struggle.

Scarlet Swerdlow. “Map: See What Your Community is Calling 311 About.” Early & Often, last modified June 16 20, Acessed June 23, 2014. http://politics.suntimes.com/article/chicago/map-see-what-your-communitycalling-311-about/sun-06152014-319pm

BRIDGEPORT AND THE RAMOVA THEATER

population and demographic boom, communities remained segregated. It is not uncommon for a fellow Bridgeport resident to ask you what ‘side’ you are from. The neighborhood was split into “Polish Patches”, Irish and Italian communities, and the main commercial strip along Halsted Street was referred to as the “Heart of Lithuania”. In addition, because Bridgeport serves as home base for the Daley family, the neighborhood has gained notoriety for political ties and secret dealings among non-residents. One notable example includes the construction of the Dan Ryan Expressway in the 1960s, which served to create a physical barrier between the Southside’s white and black communities, preserving and forever reinforcing the long standing racial segregation.13 However, despite a murky political past, business continued to do well for quite some time. Small mom and pop stores, retail, groceries and restaurants were open for business along South Halsted Street, up through the 1960s and 1970s. One local resident recalls parades down Archer Avenue, outfitted with big floats, dancers and even elephants. Today, the commercial corridor along South Halsted and elsewhere in the neighborhood is bleak. Several years ago, the city government began tearing down buildings

One of the neighborhoods on the map with a relatively high rate of 311 calls is Bridgeport, located on Chicago’s south side, hidden away from the general consciousness between Pilsen, Chinatown, and the south branch of the Chicago River. Bridgeport had its beginnings in the mid-1800s, when the south branch of the Chicago River became a major player in Continental shipping, and a canal was forged to facilitate navigation between the Mississippi river and the great lakes. At that time, the neighborhood was dubbed “Hard Scrabble”, as it was flooded with immigrants from Ireland ready and willing to go to work transforming the future of American transport for a dollar a day, and a “shanty”. In 1863, the neighborhood was officially incorporated into the City of Chicago, the name adopted from the bridges that mark the entrance to the area along the canal.12 At the end of the 19th century, industry and population exploded in Bridgeport with the opening of the stock yards and independent commerce. This upswing continued until the mid-1930s – one of the neighborhood’s most vibrant times in terms of business and community. However, despite the vibrant 13 12

Joanne Gazarek Bloom and Maureen F. Sullivan, Bridgeport, Illinois (Charleston, S.C.: Arcadia Pub., 2012), 9.

“Last segment of the Dan Ryan Expressway opens in Chicago.” History.com. A&E Television Networks. Last Accessed May 18 2014, http://www.history.com/this-day-in-history/last-segment-of-the-dan-ryanexpressway-opens-in-chicago

on Halsted Street near the intersection with 35th Street, erasing much of the corridor’s former grandeur. When compared with neighborhoods on Chicago’s North Side such as Wicker Park or Lincoln Square, the contrast is startling. A Sunday stroll in Wicker Park or Lincoln Square would bring a visitor past many local businesses – crowded restaurants with outdoor seating in the summer, shoppers emerging from boutique stores toting purchases. People are everywhere, out enjoying the offerings of the neighborhood. This is not the case in Bridgeport. A walk down Morgan or Halsted may leave one feeling strangely alone in the world. Passing cars are infrequent and shops are boarded up, shuttered storefronts telling the unlikely passersby to look elsewhere for their needs.14 Currently, Bridgeport is a magnet for young, recent college graduates and artists, enticed by affordable housing, close to the heart of the city. However, despite this influx, a decline in overall population of nearly 33% since 1930 paired with a steady shut down of local businesses sets the tone for the neighborhood. Housing developers are reluctant to take the plunge into new construction. Many new residents do not remember the days when Bridgeport 14

This comparison between Bridgeport and various other neighborhoods on the North Side are strictly for comparison only. It is not my intention to encourage gentrification or “yuppifiation” of this neighborhood, but instead to relate what a successful and sustainable neighborhood features and to investigate what is possible for Bridgeport.

100

was booming, nor do their jobs and schools downtown give them much time to invest in the area – especially when there are other, more established places like Pilsen nearby. However, this does not have to always be the case. The potential for the neighborhood is huge, given the location, and the influx of new residents with fresh ideas. In an effort to examine the possibility of community change through a carefully planned interior design, a test is a necessary exploration. The site chosen for the design test is that of the Ramova Theater, at Halsted Street just south of 35th Street, in the heart of the former center of the neighborhood. Built in 1929, the single room theater was a major attraction, and captured the hearts and imaginations of local moviegoers. The name Ramova was chosen by community vote. Designed by architect Meyer O. Nathan to be a sister theater to the Music Box theater on the North Side, the theater featured scenes of a Spanish courtyard, the ceiling in the theater painted to resemble the night sky filled with twinkling stars. The theater boomed in the 1930s and 1940s playing first run movies and musicals. In 1940, Charlie Chaplin hosted the Chicago debut of his film “The Great Dictator” at both the Ramova and Music Box theaters. By the 1950s, the Ramova switched to a second run theater, and transitioned again to showing Spanish language films as the neighborhood became home to a growing

Hispanic population.15 In 1985, the Ramova closed its doors for the last time, and left many heartbroken neighbors behind. The building has sat empty for nearly 30 years. The interior features a crumbling echo of its past, brightly colored paint flakes off of the walls and ceilings, and the remaining seats slump over, exhausted from lack of use. The City of Chicago owns the building, but has not been overly responsive to calls for a landmark status. In 2012, a project to stabilize the facade of the building was completed. Plywood boards the windows and doors of the Ramova and adjacent building. On November 20, 2014, the City issued an RFQ for land surveys to be performed – for the speculated purpose of marketing the property to interested developers.16 Articles about the theater online are often followed by long trails of comments – often community members who use the comment boards as a way to share their memories with each other, or whoever is out there willing to listen. The stories are as varied as their sources, but all deeply touching, as it can clearly be seen that the place had significant meaning to the lives that it touched. One commenter wrote: “I had many good times at the Ramova when I 15

Bryan Krefft, “Ramova Theater,” Cinema Treasures, Last accessed Octover 14, 2014, http://cinematreasures.org/theaters/1499

“Request for Quotation Invitation.” City of Chicago Department of Procurement Servies, Last modified November 20, 2014, last accessed December 16, 2014 http://www.cityofchicago.org/content/dam/city/ depts/dps/ContractAdministration/Specs/2014/Spec128326.pdf

could see two flicks and a cartoon for 25 cents... the architecture and decor was grand...”17 Another comment, perhaps from a member of another Bridgeport resident, perhaps from the other ‘side’, reads: I lived in the projects on 31st and halsted. we had good times going to the ramova to see dracula, werewolf, frankenstein. then all Bruce Lee movies. i was the youngest of 3. Admission for me was 25 cents and for my brother and sister it was 50 cents. then it went up 25 cents more. but the memories are still there. we would have fun with other kids we see from school.( Armour School). it’s sad to see the ramova in it’s present condition. there were other old buildings on halsted that should’ve been saved also.back in the day Mayor Daley would always pass by the projects and i would be playing by the alley, he would say hay kid i would run to his car he would give me tickets to the ringling brothers circus i would pass them out in the projects.18

As demonstrated here, many of the narratives are tied to more than just the theater. The theater becomes a character in the personal narratives of those who live in the neighborhood, serving as the backdrop in fond memories of childhood play, first dates and more. In addition to sharing personal stories, some community members use the comment threads 17 Anonymous Commenter, “Ramova Theater,” Comments about in Chicago, IL, last accessed December 1, 2014. http://cinematreasures.org/ theaters/1499/comments 18

Anonymous Commenter, “Ramova Theater.”

101

as a way to share their wishes to see change in the neighborhood through a change in the Ramova. A 2012 article about the city work to stabilize the building exterior is met with enthusiasm and curiosity from residents. One commenter shares a vision for the Ramova and its potential uses in the neighborhood: “I hope the Ramova reopens. I think it would be a great venue for film fests, special screenings, community theater, receptions, parties etc.”19 It is this vision that will drive the design test – a hope for positive change in the neighborhood by adding something that is missing and much needed. Other comments reveal more frustration than optimism when reacting to news of the Ramova’s current condition. Those of us who live in Bridgeport want to see the Ramova restored. We attend fundraisers, we ask the alderman, and we want to see it restored and we want to patronize it as a theater. There seem to be more questions than answers on this, though, as nobody can tell us — is IIT still working on rehabbing it? Where can we donate time and money? How can we attract theaters? Several Northside theater groups were turned away — why? How do we get involved? what can we do? We are desperate to help and [nobody] in the city tells us how.20 19 Anonymous Commenter, “Ramova Theater.” 20 “The Ramova Theater’s Condition: Stable but Critical.” The Chicago Architecture Blog Last modified September 25, 2014, last accessed June 23, 2014, http://www.chicagoarchitecture.org/2012/09/25/the-ramova-theaterscondition-stable-but-critical

102

One can argue that the Ramova Theater is a symbol for the state of the neighborhood; it is a visible reminder that the glory days of old are long gone, and on the verge of extinction if change does not take place. However, it remains intact as a restorable asset – something great yet to come for new generations to enjoy. Maureen Sullivan, a community organizer and 2015 Aldermanic hopeful, has taken it upon herself to see that the Ramova stays in its rightful place. In 2005, she founded the Save the Ramova campaign. It began as a petition and eventually into a full-blown initiative to not only restore the Ramova but to turn it into a hub of Bridgeport culture. With approximately 4,000 signatures on the petition by both neighborhood residents and those interested outside of Bridgeport, Sullivan had gathered enough support for her case to fight for the Ramova’s restoration and reopening. “We kept pushing the possibility of saving the Ramova out in the open and more people started to remember their days at the theater and how crucial the Ramova was to the arts scene in Bridgeport.” According to Sullivan, the big draw for support is the nostalgia the building evokes: “The Ramova was the center of entertainment and a lot of childhood memories for people in Bridgeport, and residents bring that up all the time because those memories really matter to them.” 21 What she is touching on is 21

Annie Pei. “15 More Minutes,” The Chicago Weekly, Last modified March 29, 2012, last accessed July 15 2014 http://www.chicagoweekly.

the importance of place in the stories of our lives. The Ramova was at one time a common place for members of the Bridgeport community to connect to each other, to the movies they see, and to the activities hosted within the walls of the building. Two members from different sides of the neighborhood may have entered strangers, and may have very well left strangers, but for two hours shared the same experience in the soft glow of the projected film, connected to each other in a silent way.

org/2012/03/29/15-more-minutes/

103

THE DESIGN A reclamation of the Ramova Theater and adjacent building would create a much needed boost in commercial and economic development, as well as community morale. A center of both community and economic activity is sorely needed, and this one restoration could potentially serve as the first drop in a ripple of positive change. The basic framework for this developmental turnaround is already in place. A map (Figure 5) focused on the central Halsted Street corridor between 33rd Street and 36th Street, demonstrates how easily accessible this part of Bridgeport is to nearby residents, and those traveling from other neighborhoods. Also featured on this map are the current vacant developments highlighted in a light gray, as well as currently active businesses in purple. The overwhelming presence of the gray vacancies are only depicted along the main corridors. To pick out all of the vacant or underutilized properties in the neighborhood would be a hefty task. Serviced by both the Halsted Bus and 35th Street bus, as well as a close proximity to the Orange and Red Line trains to downtown, the area is decently accessible via public transportation. Add to that several new Divvy bike sharing stations, and the outlook for public accessibility to this area looks brighter. In addition, the last several years have seen a surge in artists and

104

galleries moving to the neighborhood. Bridgeport is now home to several major art institutions that draw visitors in for events in the area west of Halsted Street. The Zhou Brothers have been a major institution in Chicago’s art scene for over ten years. Providing live/ work artist lofts, this converted warehouse space is host to major art events and features renowned artists from the city of Chicago and around the world. Similar in its set up, the Bridgeport Art Center also features live/work artist lofts, as well as a smaller, rawer gallery space in a converted warehouse building. The foundation of the Bridgeport Art Center’s mission is to provide an affordable place for artists to live and work, as other neighborhoods like Wicker Park and Pilsen (well known for their strong base of artists) become more and more expensive. And of course, one cannot ignore the draw of US Cellular field – home of the Chicago White Sox. However while these attractions serve as a set of fantastic and diverse attractions for outsiders to visit the neighborhood, they appear on the edges of the neighborhood boundaries. What that situation creates is a large central area with little to no central draw. Already we see signs of potential growth in the neighborhood, but a restoration of one of the area’s great attractions could possibly be the first domino in a chain of developments leading the restoration of a community’s pride. The goal is to eliminate the gray (vacant) space on the block altogether, encouraging development by showing a

willingness to invest in a major hub of the community. It is absolutely necessary that the first change that takes place is a large statement. Currently the Ramova stands adjacent to a second vacated building, formerly home to several retail shops, including the Ramova Grill, which closed its doors for the last time in 2012. The proposed design would take advantage of both of these buildings as a way to transform the street appeal on the block, and encourage engagement with the spaces. In addition, the goal behind the design is to blend the Ramovaâ&#x20AC;&#x2122;s past with its future. By keeping design elements from the famous interior and blending them into an updated space, the space will pay tribute to the Ramova that long time Bridgeport residents remember. By adding new programming that encourages patronage and community participation, my goal is to create a space that residents want to visit again and again, and feel proud to have in their neighborhood. A review of the floor plan (Figure 6) reveals the vision for the project. A lobby and entrance space provides the first glimpse into what the space has to offer. A place to purchase event tickets gather and wait. Beyond this space is a small area for concessions. Outfitted with comfortable seating, this nook provides a comfortable place to wait for the theater doors to open. The main theater features a sloping floor and is updated with balcony seating. Seating on the main floor

is movable so that this large space can be converted to accommodate many different types of events. In addition to the original movie house program, the Ramova is updated to include a back of house program, including ample storage for costumes, sets and props, as well as dressing rooms for performers. A smaller, secondary theater space is added to the floor plan, to accommodate smaller screenings, and smaller private events. A small catering kitchen is tucked away in the back for seamless catering. The adjacent building houses the production house and theater studios. Here is where members of both the theater and community can come together and share their skills building sets, and setting up events that take place in the theater. This program offers members of the surrounding community an open door to learn more about the theater and become an integral part of its inner workings. Heading back toward the main entrance of the Ramova, we come to the restaurant, which features outdoor seating in a lush and landscaped courtyard. A large gate stands open during all hours of restaurant operation, inviting passers by a glimpse into a secret garden, enticing them in off the street. One of the biggest problems â&#x20AC;&#x201C; and perhaps the hardest to address â&#x20AC;&#x201C; is the lack of street appeal along Halsted. This courtyard is a necessary factor in order to liven up the neighborhood space. Green space is infinitely more enticing than a brick wall, and when that space is

105

populated with people and music, the draw becomes stronger. The intention is to have this space serve as both a refuge from the harsh exterior of the street scape, and an invitation to explore what lies just inside the Ramovaâ&#x20AC;&#x2122;s front doors. In addition to the street level programs, I have taken advantage of the high ceilings in the Ramova building and added second floor programming (Figure 7). Just up the stairs from the main entrance lobby is a cocktail bar, which provides a comfortable place to lounge with friends while waiting for a show to start. The bar features direct access to the balcony seating in the theater. Private boxes can be rented for first class seating through the management office. Also up on this level is additional storage for props and additional back of house equipment. Cat walks allow theater staff to access the higher areas behind the scenes. In the second level of the production house and studios, are spaces to hold community workshops. Featuring modular furniture, various seating arrangements can be configured to host a variety of programs, including writing workshops, improvisation classes, or in off hours, a quiet place to study up on one of the theater books in the small library. Above the restaurant, a roof terrace allows a casual dining experience under the stars for a special occasion. Upon entering the lobby (Figure 8), we see a

106

grand space, interpreted from the original design22. The high lofty ceilings are returned to the night sky blue. A curving staircase provide access to the second level, another area where previously windows only provided an object of wonder. The finishes are chosen to be glamorous and refined to transport those who enter into a world unlike those they live in on a daily basis. The concessions and snack area (Figure 9) is designed to be a casual counterpart to the glamour of the entrance lobby. Here, visitors can relax and wait for show to start while enjoying a quick bite. The main theater (Figure 10) was originally designed for a seating capacity of 1500, this theater is scaled down for a more intimate setting. Additionally, the seating has been removed, and replaced with a new hardwood floor. Seating is stored in an in house storage area, and can be placed as needed depending on the type of event. The box seating in the theater is designed to integrate seamlessly into the outdoor courtyard feel, which is preserved from the original interior. Previously, theatergoers at the Ramova could only look up at the windows and wonder, but by adding the balcony and box seating, they can now experience what that view from above is like for themselves. Like the large theater space, the furniture in 22

Decoratorâ&#x20AC;&#x2122;s Supply, also located in Bridgeport, still possesses molds of the original interior details. Using these molds, an accurate restoration of the decorative trim elements would be entirely possible.

the second theater (Figure 11) can be reconfigured to host a number of events making it perfect for a private parties, special screening or lecture. Next door in the adjacent restaurant (Figure 12), a glass roof offers the opportunity for guests to dine under the stars. One of the Ramovaâ&#x20AC;&#x2122;s original interior details that community members still remember is the painted night sky on the ceiling. The glass roof allows diners an opportunity to sit under the stars for real. A second view of the restaurant (Figure 13) showcases a staircase leading up to the roof deck. A casual atmosphere with warm finishes provides an intimate dining experience. The roof deck (Figure 14) provides yet another opportunity to be under the stars. Tensile canopies provide a more intimate interior feel while still allowing a glimpse of the sky. The light from the restaurant illuminates the space like a movie screen. Returning inside, the cocktail bar (Figure 15) is fully stocked and provides a welcoming atmosphere for visitors to gather. A large wooden bar is custom made for the space and takes inspiration from Art Deco geometries. Various types of seating (Figure 16) allow patrons to craft their own experience in the space, whether they are looking to gather with a group, or enjoy an intimate conversation.

107

CONCLUSION The intention for the interior design test is to create a local theater that is much more than just a place to see the latest Hollywood release. The Ramova would become a place to gather, to share stories and experiences, and to make new memories for generations to come. The need for change is undeniable, and this proposal takes into careful account the local conditions, while also setting sights on the potential future of the Bridgeport neighborhood. Strictly from an interior design standpoint, this proposal has the potential to start the much needed movement towards stronger community ties, and economic development. However, one of the most difficult things to imagine when tasked with such an exciting fantasy is to acknowledge the potential failure of a project. While the need and desire for change from within the community of Bridgeport is strong, it is clear that help is needed in order to realize this or any other vision. Conversations with longtime residents of Bridgeport and bordering neighborhoods reveal an aversion to change, and newcomers to the community. Tension even exists among the established residents who are in a position to make that change happen. For one example, Ed Marszewski, owner of several businesses on Morgan Street including Maria’s Packaged Goods and Community Bar and Co-Prosperity Sphere, as well

108

as self-proclaimed “Mayor of Bridgeport”, has a strong following of young, artists new to the neighborhood. He has the power to make or break any initiative just by granting his support (or taking it away). Several business owners have lamented his stronghold on the community and several have expressed a fear of “ruffling the wrong feathers”. This is not the climate of a successful community, and these types of divides will only deepen the rift between disconnected members. In order for the vision of Ramova Theater’s return to become a reality and provide a venue for changes in the community, the climate for cooperative communication and investment in the neighborhood needs to first develop. Only then will the doors open for new possibilities for community development. Like the stories we share with one another that strengthen bonds, these types of changes are cyclical in nature.

IMAGES Figure 1

109

Figure 2

110

Figure 3

111

Figure 4

112

Figure 5

113

Figure 6

114

Figure 7

115

Figure 8

116

Figure 9

117

Figure 10

118

Figure 11

119

Figure 12

120

Figure 13

121

Figure 14

122

Figure 15

123

Figure 16

124

125

BIBLIOGRAPHY Allison, Dorothy. “Place.” The Writer’s Notebook: Craft Essays from Tin House. Portland, OR: Tin House ;, 2009. 5 - 15. Barwise, T.p., and A.s.c. Ehrenberg. “The Reach of TV Channels.” International Journal of Research in Marketing 1.1 (1984): 37-49. Blomberg, Katja. Distinct Ambiguity: GRAFT. Berlin: Gestalten, 2011. Bloom, Joanne Gazarek, and Maureen F. Sullivan. Bridgeport, Illinois. Charleston, S.C.: Arcadia Pub., 2012. Botton, Alain. The Architecture of Happiness. New York: Pantheon, 2006. Crowe, Jessica. “Community Attachment and Satisfaction: The Role of a Community’s Social Network Structure.” Journal of Community Psychology 38.5 (2010): 622-44. Danko, Sheila. “On Designing Change.” Journal of Interior Design 36.1 (2010): V-X. Fine, Helene. “PARTICIPANT ACTION RESEARCH: A CASE STUDY OF COMMUNITY ECONOMIC DEVELOPMENT IN CHICAGO.” Public Administration Quarterly 18.1 (1994): 36-53. Business Source Premier. 1994. Web. 11 May 2014. <http://search.ebscohost.com.proxy.cecybrary.com/login.aspx?direct=true&db=buh&AN =7153071&site=eds-live&scope=site>. Greenberg, David. Creating a Platform for Sustained Neighborhood Improvement Interim Findings from Chicago’s New Communities Program. New York: MDRC, 2010.

126

Guterbock, Thomas. “Community Attachment and Machine Politics: Voting Patterns in Chicago’s Wards.” Social Science Quarterly 60.2 (1979). Business Source Premier. 1979. Web. 9 May 2014. <http://search.ebscohost.com. proxy.cecybrary.com/login.aspx?direct=true&db=buh&AN=17069998&site=eds-live&scope=site>. “How the Dan Ryan Changed the South Side.” Curious City: What the South Side of Chicago Looked like before the Dan Ryan Expressway. Web. 18 May 2014. <http://www.wbez.org/series/curious-city/how-dan-ryan-changedsouth-side-107536>. Hunter, Albert. Symbolic Communities: The Persistence and Change of Chicago’s Local Communities. Chicago: U of Chicago, 1974. “Internet Users.” Number of (2014). Web. 12 June 2014. <http://www.internetlivestats.com/internet-users/>. Kist, Joost. “Where It All Began The Mesopotamian Origins of Writing, Printing and Publishing.” LOGOS: The Journal of the World Book Community 21.3 (2010): 252-54. Krefft, Bryan. “Ramova Theater.” Cinema Treasures. Web. 14 Oct. 2014. <http://cinematreasures.org/ theaters/1499>. “Last Segment of the Dan Ryan Expressway Opens in Chicago.” History.com. A&E Television Networks. Web. 18 May 2014. <http://www.history.com/this-day-in-history/last-segment-of-the-dan-ryan-expressway-opens-inchicago>. Lewis, Robert. “The Industrial Suburb Is Dead, Long Live The Industrial Slum: Suburbs And Slums In Chicago And Montreal, 1850–1950.” Planning Perspectives 17.2 (2002): 123-44. O’Keeffe, G S, K. Clarke-Pearson, and Council on Communications and Media. “The Impact of Social Media on Children, Adolescents, and Families.” Pediatrics: Official Journal of the American Academy of Pediatrics 127.04 (2011): 800-04. PubMed. 2011. Web. 10 May 2013. <http://dx.doi.org/10.1542/peds.2011-0054>.

127

Pei, Annie. “15 More Minutes.” The Chicago Weekly. 29 Mar. 2012. Web. 15 July 2014. <http://www.chicagoweekly. org/2012/03/29/15-more-minutes/>. Phuong, Dinh Quoc, and Derham Groves. “Sense of Place in Hanoi’s Shop-House: The Influences of Local Belief on Interior Architecture.” Journal of Interior Design 36.1 (2010): 1-20. Putnam, Robert D. Bowling Alone: The Collapse and Revival of American Community. New York: Simon & Schuster, 2000. “Request for Quotation Invitation.” City of Chicago Department of Procurement Servies, 20 Nov. 2014. Web. 16 Dec. 2014. <http://www.cityofchicago.org/content/dam/city/depts/dps/ContractAdministration/Specs/2014/ Spec128326.pdf>. Schmertz, Mildred F. Hardy Holzman Pfeiffer Associates: Buildings and Projects, 1967-1992. New York: Rizzoli International, 1992. Scola, Nancy. “Building the Facebook of Neighborhoods.” Next City. 12 Apr. 2014. Web. 19 May 2014. <http:// nextcity.org/daily/entry/building-the-facebook-of-neighborhoods>. Sorkin, Michael. Hardy Holzman Pfeiffer. New York: Whitney Library of Design, 1981. Print. Stone, Andrea. “World War II Carrier Pigeon With Coded Message Found In England.” The Huffington Post. TheHuffingtonPost.com, 1 Nov. 2012. Web. 11 June 2014. <http://www.huffingtonpost.com/2012/11/01/world-warii-carrier-pigeon-surrey_n_2057149.html>. Swerdlow, Scarlet. “Map: See What Your Community Is Calling 311 about.” Early &amp; Often. 16 June 2014. Web. 23 June 2014. <http://politics.suntimes.com/article/chicago/map-see-what-your-community-calling-311about/sun-06152014-319pm>.

128

“The Ramova Theater’s Condition: Stable But Critical.” The Chicago Architecture Blog. 25 Sept. 2012. Web. 23 June 2014. <http://www.chicagoarchitecture.org/2012/09/25/the-ramova-theaters-condition-stable-butcritical/>. Thompson, Clive. Smarter than You Think: How Technology Is Changing Our Minds for the Better. New York: Penguin, 2013.

129