all that jazz
Nicholas Forest - Thesis Project Fall ‘12- Spring ‘13
TABLE OF CONTENTS INTRODUCTION THE PROPOSAL VITALITY OF JAZZ THE LOSS OF JAZZ BRINGING JAZZ BACK SITING STAKE HOLDERS PRECEDENTS PROGRAM CHICAGO’S JAZZ ERA (IN PICTURES) BIBLIOGRAPHY
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“BRONZEVILLE READY FOR ITS RENAISSANCE!” CHICAGO TRIBUNE 2008
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A JAZZ CULTURAL INSTITUTION
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The project is a jazz institution that aims to take on the challenge of reintroducing and strengthening a culture that once played a vital role in the lives of many Chicago residents that over the years became lost.
Jazz and jazz culture was integral part in Chicago’s history. The Chicago renaissance era was an exciting time in Chicago’s history, the prohibition of alcohol was in full effect, the great migration brought more than 500,000 African Americans north from the rural south and a long with them jazz. The music and culture would last for almost 3 decades before it eventually shrunk to near non existence. Sidewalk plaques & old buildings, that use to be clubs or cabarets, are what is left standing of this past on the south side of Chicago. Most of the jazz clubs have moved further north leaving behind just a faint memory of the music and culture that use to fill the streets of Bronzeville. Ever since the era ended, Bronzeville and it’s residents have been asking for the return of its renaissance. The implementation of the Jazz Cultural Institution would fill the void left by the absence of jazz on Chicago’s south side. Bridging a historic past with a evolving future, the institution will be dedicated to inspiring and growing audiences for jazz, through education, performances and the celebration of the jazz music and culture helping it evolve. The moves made will ultimately bring back the musical vibe that once resonated all throughout Bronzeville, recreating the “Chicago renaissance” and keeping it rolling for years to come. A time where the neighborhood thrived socially and artistically will be brought back to life due to the success of the project due to ALL THAT JAZZ.
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VITALITY OF JAZZ “Chicago Jazz proved capable of expressing a range of emotions that stimulated and reflected the excitement of the roaring twenties..”
The surplus number of clubs and performance halls throughout Chicago demonstrated the popularity of the art and its importance to the city and its citizens. Jazz was an integral part of the social, political and economical lives of many Chicagoans. During elections many of the officials running for election would use the venues to reach out to voters and pub for the up coming elections. But was jazz didn’t necessarily play the same role in every sector or neighborhood of Chicago, it played various roles and meant different things to the many people it attracted and encountered.
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The history of Howard street is one that had the street filled with people and “lined with theaters, bars, saloons,restaurants, and other places that catered to patrons, college students, and anyone out for a good time.” Howard street and Rogers park were another Chicago area that proved supportive of and influence by the jazz scene. “The large Howard Theater had stage acts, vaudeville shows, and Northwestern University was not far from Howard Street many students would come on weekend breaks or on holidays. Most of the bars and saloons had some form of music going on during the weekends.” Not only did the college students and locals enjoy the scene presented on Chicago’s north side, but “during World War II, every place was open to the army’s Fort Sheridan soldiers and the Great Lakes Training station sailors. After the war, Howard street was still home to many top music going on during the weekends. The North Side of Chicago, from the edge of town and beyond, was ripe with jazz music, swinging orchestras, hip hotels, and beautiful ballrooms.”
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11
HOWARD ST.
5
19
4
TOVHY AVE.
PERFORMANCE SPACES
16
PRATT AVE.
NORTH SIDE CHICAGO
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1 PETERSON AVE. 1 BRYN MAWR 3
20
1920’s-1960’s
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FOSTER AVE. 2 LAWRENCE AVE.
15 13
ISBELL’S LOUNGE HEISING’S LOUNGE 1111 CLUB LIME HOUSE RESTAURANT CLUB SILHOUTETTE GRAMERE HOTEL EDGE WATER BEACH HOTEL EL-ROYALS (BALLROOM) RAINBOW GARDENS (BALLROOM) THE GREEN MILL RAVINIA (OUTDOOR MUSIC BOWL) NORMANDY LOUNGE ARAGON BALL ROOM RIVERVIEW PARK MONTMARTE CAFE RUPNECK’S LOUNGE GRANADA THEATER JOHN STEINER’S HOUSE THE BAND BOX THE RAG DOLL CLUB UPTOWN THEATER
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24
ASHLAND AVE.
N. WESTERN AVE.
KEDZIE AVE.
PULASKI RD.
RIVERSIDE PK.
SHERIDAN RD.
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BROADWAY
1
9
1063 W. BRYN MYUR AVE. 4361 N. SHERIDAN RD. EL TRAIN @ BRYN MYUR AVE. E. HOWARD ST. NEAR EL TRAIN HOWARD ST.
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N. SHERIDAN RD. & FOSTER AVE. 443 N. CLARK ST. N. CLARK ST. @ LAWRENCE AVE. N. BROADWAY & LAWRENCE AVE. NORTH SUBURBS LAWRENCE AVE. @ EL STOP N. WESTERN AVE. & ADDISON AVE. BROADWAY @ LAWRENCE AVE. 1127 THORNDALE AVE. SHERIDAN AVE. N. GREENVIEW ST. (EARLY) N. ASHLAND AVE. HOWARD ST. @ EL TRAIN N. WESTERN AVE. BROADWAY AVE. & LAWRENCE AVE.
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Downtown Chicago was one of the focal areas for the Chicago jazz scene, most of the “hotels, restaurants, lounges, and nightspots all had some form of music.” The multitude of hotels offered an assortment of jazz options. Hotels of the likes of the Hotel Sherman and the Palmer House hosted many performances from the most renowned jazz musicians in the city. Duke Ellington, Gene Krupa, and Benny Goodman were just a few of the jazz musicians to play at the many hotels downtown. The prominence of jazz within the city can be described the fact that “along state street there was a theater on every block and Chicago’s loop held it’s own with New York’s Broadway.” The loop was home to many of the leading music publishers who recorded much of the early jazz music. Through the years, “Chicago’s downtown hosted music from every form of jazz, from Dixieland and New Orleans-style to big band, swing, and be-bop.”
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DOWNTOWN 1920’s-1960’s
1 2
3 8
7
6
5
4
WACKER DR. NORTH
11
LAKE ST.
9
10
18
14
12
15 17
19
13
16
24
22
21 STATE ST.
23
WABASH
RANDOLPH ST.
20
WASHINGTON ST. 32
29
28 25
27 33
31
26
30
MADISON ST. CLARK ST.
38
37 36 35
41
40
GRANT PARK
DEARBORN ST.
MONROE ST.
39
47
WELLS ST.
ADAMS ST. 45 46
44
43
42
JACKSON ST.
48
VAN BUREN
15
DOWNTOWN CONT. VAN BUREN 49
52
51
50
CONGRESS 53
55 WABASH
STATE ST.
CLARK ST.
WELLS ST.
HARRISON
DEARBORN ST.
54
MICHIGAN AVE.
POLK ST.
WACKER DRIVE
12TH ST.
56
58
1. THE DRAKE HOTEL; MICHIGAN & LAKE SHORE DR. 2. THE DRAKE 3. THE LONDON HOUSE; WACKER DR. & MICHIGAN AVE. 4. THE ESQUIRE CLUB 5. AMBASSADOR EAST (PUMP ROOM); STATE & GOETHE 6. SILVER FROLICS 7. CHEZ PARIE 8. THE RAG DOLL 9. THE LONDON HOUSE 10. THE THREE DEUCES 11. DUBLINS RECORDS; WACKER DR. 12. THE CHICAGO 13. CAPITAL; 167 N. STATE 14. THE THREE DEUCES 15. STATE & LAKE 16. 17. ORIENTAL 18. THE GLASS HAT 19. SHERMAN HOTEL (COLLEGE INN); CLARK & RANDOLPH ST. 20. BLACK HAWK; 139 N. WABASH 21.
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22. 23. 24. THE COLLEGE INN (SHERMAN HOTEL) 25. THE BLACK HAWK; 139 N. WABASH 26. NORTH AMERICAN RESTAURANT; STATE & MONROE ST. 27. THE ROOSEVELT THEATER 28. 29. THE PALACE THEATER 30. THE BLUE NOTE 31. RIALTO THEATER 32. BRASS RAIL 33. LASALLE HOTEL (LOTUS ROOM); MADISON & LASALLE 34. PALMER HOUSE (EMPIRE ROOM); 15 E. MONROE 35. MCVICKERS 36. UNITED ARTISTS (APOLLO) 37. STREAMLINER; W. MADISON & CLINTON 38. BISMARCK HOTEL 39. ROOSEVELT 40. THE CIVIC THEATER 41. THE CIVIC THEATER 42. ROSE RECORDS; WABASH AVE.
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43. 44. RIALTO THEATER 45. THE OPERA HOUSE 46. ORCHESTRA HALL 47. SEYMOURS RECORDS 48. BLACKSTONE HOTEL; MICHIGAN AVE @ 7TH ST. 49. THE FRIARS INN (NEW ORLEANS RHYTHM KINGS) 50. 51. CONGRESS HALL (THE GLASS HAT); CONGRESS & MICHIGAN AVE. 52. BLACKSTONE 53. STEVENS HOTEL (BLVD. ROOM); 720 S. MICHIGAN AVE. 54. THE COLISEUM; S. MICHIGAN AVE. 55. THE CHICAGO STOCK YARD INN 56.
Chicago’s West Side like the other parts of the was a thriving entertainment area. Culturally, the west side was an area where many of the German, Irish, Italian, and Jewish residents lived. The mixture of cultures helped to spread the jazz genre from America to other parts of the world. The high volume of beer halls helped to foster a jazz scene on the west side of Chicago, many of them had performances every weekend and even during the week. The jazz scene started when a group of musicians got together to bring jazz to Chicago’s west side. The West Side Austin High gang would eventually influence the works of the already established musicians such as Benny Goodman, Jimmy McPartland, Pee Wee Russell and Frankie Teschmaker.
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HALSTED ST.
ASHLAND AVE.
WESTERN AVE.
KEDZIE AVE.
PULASKI RD.
CICERO AVE.
WEST SIDE CHICAGO 1920’s-1969 TOUHY AVE.
1 2
LAWRENCE AVE. 3
NORTH AVE. 7
6
4
5 GRAND AVE.
8 WASHINGTON ST.
13 MADISON ST.
23
15
19
20
22
9
10
11
12
17
16
18
21
ROOSEVELT RD. 28
27 25
26
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CERMAK RD. 30 31 GARFIELD BLVD. 32
1. CHANNEL 11 TV STATION 2. THE RAINBOW GARDENS 3. SENATE THEATER 4. SCHOENFEN’S HALL 5. LOGAN SQUARE AUDITORIUM 6. DIANA HALL 7. AMERICAN LEGION HALL 8. TYREE MASONIC HALL 9. CLUB FLAMINGO 10. CHICAGO STADIUM 11. PREMIER BALLROOM 12. EAGLE HALL 13. AUSTIN HIGH SCHOOL
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14. L & L CAFE 15. COHENS TAVERN 16. DREAMLAND BALLROOM 17. VICTORY HALL 18. TURNER HALL 19. CALIFORNIA THEATER 20. HULL HOUSE 21. DRISCOLL’S DANCELAND 22. MARBRO THEATER 23. THE HUNT CLUB 24. PILSEN HALL 25. DOUGLAS PARK HALL 26. DEWEY HALL
27. LAUTERBACH’S HALL 28. THE RED ARROW LOUNGE 29. EMMETT HALL 30. CRANE TECH HIGH SCHOOL 31. SOKOL HALL 32. MELDAZIS
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14
The South Side of Chicago would the cities introduction to the rising of jazz music and culture; as many African Americans migrating from the south would eventually settle in the southern area of Chicago. The growth in African American population along with the entertainment spurring in the area created the perfect setting for the many musicians coming from the south to lay a musical foundation in the city. Such artist like Jelly Roll Morton and Tony Jackman would leave an everlasting mark on the city and the music and it all started here, on Chicago’s south side.
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CALUMET AVE.
PRAIRIE AVE.
INDIANA AVE.
MICHIGAN BLVD.
WABASH AVE.
CLARK ST.
DEARBORN
SOUTH STATE ST.
1900-65
SOUTH PARKWAY
SOUTH SIDE CHICAGO
12TH ST.
1
26TH ST.
6
8 7
4
5
1 3
2
31ST ST. 23
21
25
20 18
19
24
22
16
11 17
14
12
15
13
10
9
35TH ST. 34
35
33
31
30
29
26
37
38
28
32 36
27
46TH ST.
40 47TH ST.
39
46
41 42
51ST ST.
20
45
44
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SOUTH SIDE CHICAGO CONT. 51ST ST. 47
48 55TH ST.
49
50 61ST ST. 53 54
52
51
63RD ST. 56
58
55
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1. FREDDY’S TRAIN TAVERN; 2008 S. WABASH 2. SHILLER’S CAFE 3. GROVELAND THEATER; 31ST & COTTAGE GROVE 4. TUXEDO CAFE; 3032 S. INDIANA 5. SAVOY CAFE; 3010 S. MICHIGAN AVE. 6. SAVOY HOTEL; 3000 S. MICHIGAN AVE 7. POMPIE CAFE; 20 E. 31ST ST. 8. BELMONT CAFE; 3035 S. STATE ST. 9. AL TIERNEY’S AUTO INN; 35TH & CALUMET 10. CHATEAN LOUNGE; 35TH & CALUMET 11. DOUGLAS THEATRE; 3125 S. COTTAGE GROVE 12. BLATZ BEER CAFE; 3451 INDIANA 13. SCHILLERS CAFE ; 35TH & MICHIGAN AVE. 14. CLARENCE WILLIAMS PUBLISHING CO.; 33RD & WABASH 15. AVENUE THEATER; 330 E. 35th st. 16. APEX CLUB; 330 E. 35TH ST. 17. DUSTY BOTTOM (TENET DANCE HALL); 33RD & WABASH AVE. 18. COLORED PROFF. THEATER CLUB; 10 E. 32ND ST. 19.CANTON TEA GARDENS; 404 S. WABASH 20. CHARLESTON CAFE (ROYAL GARDENS); 459 E. 31ST ST. 21. DAVE PEYTON’S MUSIC SHOP; 3109 S. STATE ST. 22. PICKFORD THEATER; 108 E. 35TH ST. 23. COLUMBIA HOTEL; 4. W. 31ST ST. 24.ROOMING HOUSE 25. JIMMY YANCY’S HOUSE
26. THE ORIGINAL; 3955 S. PARKWAY 27. RITZ CLUB; 3947 S. PARKWAY 28. RITZ CARLTON RESTAURANT; 3845 COTTAGE GROVE AVE. 29. MAH JONG CAFE; 35TH & CALUMET 30. LORRAINE GARDENS; 3501 S. PRAIRIE 31. APEX CLUB 32. MASONIA TEMPLE; 3856 S. STATE ST. 33. LA FARANCIA CAFE; 215 E. 35TH ST. 34. ENTERTAINER’S CAFE (GLASS BOTTOM FLOOR); 209 E. 35TH ST. 35. GRAND TERRACE BALLROOM ( THE SUNSET BALLROOM); 313 E. 35TH ST. 36. THE RED MILL CAFE; 43RD & STATE ST. 37. MEXICAN FRANK’S CAFE; 3501 S. STATE ST. 38. RADIO INN; 39TH & VINCENNES 39. 2OTH CENTURY THEATRE; 47TH & PRAIRIE 40. VENDOME MUSIC STORE (ERSKINE TATES); 47TH & E. 31ST 41. TIVOLI THEATER 42. MCKIES LOUNGE 43. ONYX LOUNGE 44. WARWICK HALL 45. METROPLE THEATRE 46. APOLLO THEATRE; 526 E. 47TH ST. 47. WENDELL PHILLIPS HIGH SCHOOL 48. GRANADA CAFE; 309 E. 55TH ST. 49. TRAINON BALLROOM 50. HOUR OF FANTASY CLUB
51. REGAL THEATER; PARKWAY 52. CROWN PROPELLER LOUNGE; DREXAL AVE. & 63RD ST. 53. JOE-JOE ‘S SPITFIRE CLUB 54. ELMERS; 63RD & STATE ST. 55. WHITE CITY AMUSEMENT PARK’ COTTAGE GROVE & 63RD ST. 56. PERSHING HOTEL; 64TH & COTTAGE GROVE 57. THE URBANITE LOUNGE 58. CLUB DELISA
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South State Street, the route that jazz took to arrive in Chicago in the early 1910’s. By the early 1920’s every club, lounge, bar, and theater had a jazz band. The popularity of the music was supreme. The many theaters on South state street all had pit bands on balconies or on stage. The many theaters would always be packed, during the hot summer months the theaters would have doctors on staff for the weary spectators. Some of the more well known theaters and clubs were located on South State Street, the Pekin Theater which had elaborate stage productions, the Grand Theater, and the Savoy Bar were just a few places that the many established and up & coming artist showcased their talents. One of the more important venues was Dreamland Cafe’, it served the best food and alcohol as well hosted the best bands making it a pre-eminent place for high class of people to go to.
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SOUTH STATE STREET
UNION STATION
ILL. CENTRAL R.R. STATION
12TH ST.
22TH ST. 1
1910-30’s
2 3
30TH ST.
4 1. WILLIAMS HIGHROLLER; 2222 S. STATE ST. 2. SAVOY BAR ( TONY JACKSON); 2630 S. STATE ST. 3. PEKIN THEATER; 2700 S. STATE ST. 4. UNION MASONIC HALL; 2956 S. STATE ST. 5. CROSBY INN; 3002 S. STATE ST. 6. MONOGRAM THEATER; 3026 S. STATE ST. 7. ELITE CAFE; 3030 S. STATE ST. 8. WASHINGTON THEATER; 3013 S. STATE ST. 9. BELMONT THEATER; 3035 S. STATE ST. 10. LAVERDE CAFE & BUFFETT; 3100 - 02 S. STATE ST. 11. GRAND THEATER; 3104 S. STATE ST. 12. LINCOLN THEATER; 3132 S. STATE ST. 13. ELMWOODS CAFE ( DAGO RUSSELL’S) 3132 S. STATE ST. 14. DAVE PEYTON’S MUSIC SHOP; 3109 S. STATE ST. 15. VENDOME THEATER; 3143 S. STATE ST. 16. CONTINENTAL VAUDIVILLE & EXCHANGE; 3420 S. STATE ST. 17. CHICAGO DEFENDER 18. MECCA FLATS; 34TH & STATE ST. 19. FIUMS CAFE; 3440 S. STATE ST. 20. DREAMLAND CAFE; 3520 S. STATE ST. 21. ORIENTAL CAFE; 3532 S. STATE ST. 22. PANAMA CAFE; 3501 S. STATE ST. 23. DELUXE CAFE & GARDENS; 3503 STATE ST. 24. STATES THEATER; 3507 S. STATE ST. 25. THE RED MILL; 43RD & STATE ST. 26. MUSICIAN’S UNION (LOCAL 208); 3934 S. STATE ST. 27. CLARENCE WILLIAM MUSIC PUBLISHING; 4404 S. STATE ST. 28. PANAMA INN ( AFTER HOURS CLUB); 46TH & STATE ST. 29. OWL THEATER; 4653 S. STATE ST. 30. EDELWEISS GARDENS; 4816 STATE ST. 31. ATLAS THEATER; 4715 S. STATE ST.
5
8
6 7
9 31ST ST.
10 11
14
12 13
15 34TH ST.
16
17
19
18
35TH ST.
22 20 23 21
24 26
39TH ST.
25
27
44TH ST.
29 28 31 48TH ST. 30
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Being an entertainment giant within the city jazz provided many people with a means of employment. As one can see from the previous maps clubs, cabarets, theaters and hotels with bars were everywhere inferring that jazz was a big part of Chicago’s economy many would come from all over to see the shows and pay top price to see the best bands and musicians perform. The economic role for the citizens of Chicago was just another reason why jazz and the jazz culture was / is important to Chicago and needs to be re-established.
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1920-30’s Avg Earnings The economical role of jazz was most beneficial to many musicians that moved to Chicago from New Orleans and others in the city. Compared to the average annual income the musicians usually acquired a greater salary.
Non performers
$1236/Annually $24/week Jazz band members
$2080/Annually $40/week Featured Jazz Artist
$9100/Annually $175/week 25
THE LOSS OF JAZZ When you think about how prominent jazz and jazz culture was in the city it’s hard to fathom the city without it or as much of it as there was. What caused jazz and its culture to disappear from the mainstream of entertainment that city offered. These events that would eventually lead to the removal of jazz in the city would be damaging that the art form would dwindle to almost not existence, it would become just a memory with few representations in the city about culture that was once here.
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BLACK TUESDAY
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“BILLIONS LOST IN WILD STOCK MARKET CRASH”
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Just like many other professions, the entertainment industry were hit hard. On average 100,00 workers were fired every week. Without jobs people didn’t have the extra money to spend on leisure activities, such as going to jazz clubs or other events were jazz musicians performed.......
“IN OCTOBER 1500 MUSICIANS HAD BEEN THROWN OUT OF WORK IN CHICAGO THEATERS.” Leading many artist to search for work elsewhere. Several of the more talented artist would eventually leave Chicago and head east to areas such as New York for better opportunities.
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DISBANDMENT OF RESTRICTIVE COVENANTS 32
The covenants were set in place to keep minorities in certain neighborhoods or areas, enforcing segregation in the city of Chicago. These laws came to shape certain areas in the city which still have some of the same ethnic residents that were placed in these areas.
Predominantly white areas with racial covenants without racial covenants
Predominantly nonwhite areas Nonresidential areas
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The restrictive covenants that were in place in Chicago kept many African Americans from moving out of the Bronzeville area to other neighborhoods. Ultimately, this effect added to the manifestation of the Chicago’s renaissance and jazz age. But when the supreme court finally declared.....
RESTRICTIVE COVENANTS UNENFORCEABLE IN THE SHELLEY V. KRAEMER CASE OF 1948 ,Bronzeville saw many of its prominent residents leave and along with them the music. The departure of the more affluent residents in Bronzeville would leave an everlasting effect on the neighborhood, one that is still present ‘till this day.
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EFFECTS
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JAZZ CLUBS IN BRONZEVILLE (1915-1930) 1 CLUB 2 + CLUBS 5 + CLUBS
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JAZZ CLUBS IN BRONZEVILLE (PRESENT)
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JAZZ RETURNS
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Though many of the issues that contributed to the demise of Chicago’s jazz age were city wide affects, there was one that more focused in a certain area. As mentioned before many of the African Americans and musicians that moved to Chicago from the south settled in Chicago’s south side neighborhoods, Bronzeville to be exact. Due to this event the jazz age began in Chicago and was able to thrive for more than two decades, bringing great music and artist to Chicago forever leaving a mark on the city’s history. But once Bronzeville lost it’s jewel, the great era vanished leaving little if any reminiscent of its existence and leaving us to ask the question.....
HOW CAN WE BRING IT BACK?
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“CITY OF CHICAGO ISSUES 2012 CULTURAL PLAN!”
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In 2012 Chicago released a proposal to explore opportunities for art and cultural growth in the city. The plan will look to strengthen its strong cultural areas/ neighborhoods. The neighborhoods will become other destination spots for visitors to experience besides just the loop and downtown Chicago. The city knows how important these cultural neighborhoods are to the city’s history, future and economy. This is why the growth and strengthening of the various cultures in Chicago is important, to elevate Chicago to a global cultural destination. Areas like Uptown, Cermak creative industry district, Arts Alive/45, Logan Square, Motor Row & Bronzeville are the areas & neighborhoods of focus. This plan is a way for the jazz age to re-emerge back into Bronzeville and the whole city of Chicago, re-igniting the renaissance period, an time when jazz music and it’s culture filled the streets. This was also a period in which the economy of Bronzeville was more prosperous as the clubs, cabarets and concert halls brought many residents to the neighborhood.
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“CHICAGO WELCOMED 43 MILLION DOMESTIC AND OVERSEAS VISITORS IN 2011...”
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The creative market provides jobs for 3.5 % of the workers in Chicago and 2.2 % of all jobs in Chicago are in the creative industry. Chicago is the #3 largest creative economy in the U.S. attracting 43 million domestic and overseas visitors in 2011 to its many galleries, museums, and other cultural institutions. The wave of visitors that Chicago welcomes to the city is a powerful component in creating the jazz cultural institution; the institution will bring people to Bronzeville and introduce them to a historic area in Chicago, one that helped establish Chicago to become one of the most popular destination spots.
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“The $2.2 billion economic system provides 60,000 jobs and generates $1.3 billion in household income to local residents.“
200 GALLERIES 44
500 + FESTIVALS
Chicago reported that $1 billion were spent by non-profit arts and culture audiences and $1.2 billion in direct spending by non profit arts and culture organizations in Chicago. In Chicago 53, 603 jobs and 4.31% of businesses are art related, including architecture, advertising, broadcasting, culinary arts, design, digital media, fashion, film, journalism, music, performing arts, publishing, public relations, toys and games, video gaming, educators and students, arts administrators.
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The impact of the cultural market proved to be an integral part in Bronzeville’s economy. Being featured as a cultural neighborhood, Bronzeville will have the resources and means to have a cultural institution implemented in the area. An institution that not only would help to strengthen the cultural atmosphere of the area, but the economic one as well. As Bronzeville will help to revitalize jazz culture in Chicago; jazz will help to reinvigorate Bronzeville.
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SITING
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CHICAGO, IL The site chosen will need to provide most if not all of the listed criteria. The site will help bring people closer to the historic areas that help spread the jazz culture and music throughout Bronzeville and eventually through the rest of Chicago. Martin Luther king dr. Use to be the main street that connected many of the jazz venues to each other as well as the vein of the Bronzeville neighborhood. Public transit will need to be near to accommodate to the projected swarm of people coming to visit the institution and the historic community. More importantly, space is needed, the institution will be host to many events and concerts once built. Some of the events will be hosted outside, like the jazz festival, thus the site needs to have adequate outdoor space.
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CHICAGO, IL
LAKE MICHIGAN
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BRONZEVILLE, NEIGHBORHOOD
51
SITE AREA: 39,725 SQFT
52
LANDMARKS
53
SITE CONTEXT
FIRST AFRICAN AMERICAN OWNED INSURANCE AGENCY
MARTIN LUTHER KING BLVD 54
HISTORIC JAZZ CLUB
35TH S TREET 55
WALKING RADIUS
20 MIN
56
15 MIN
10 MIN
5 MIN
SITE
NEIGHBORING SCHOOLS
SITE
57
SITE ACCESS
58
TRAIN ROUTES
BUS ROUTES
SITE 59
STAKEHOLDERS
60
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JAZZ MUSICIANS/MUSICIANS
SURROUNDING UNIVERSITIES
They will be the group that either gives the project life or causes it to fail do to their attendance or lack thereof. The musicians have more ties to the genre of jazz and possibly know more, if I don’t illustrate or properly implement great historical facts and create a thriving jazz atmosphere then they won’t come.
The project looks to service the nearby universities by allowing them to use the facility for performances that they may have. The universities have the ability to spread the word about the project and make it well known, thus generating more activity and popularity for the building.
BRONZEVILLE CITIZENS
CHICAGO HOUSING AUTHORITY
They must agree to allow the museum into their community. If they don’t want it or feel like it shows a past that they don’t like or would like to be associated with then the project is dropped.
The CHA has the opportunity of having the property value of some of the nearby homes go up, increasing the areas worth and making it a more desirable place to live.
THE CITY OF CHICAGO They must agree to allow the museum into their community. If they don’t want it or feel like it shows a past that they don’t like or would like to be associated with then the project is dropped.
JAZZ INSTITUTE OF CHICAGO The jazz institute already has programs that help to spread the influence of jazz; a partnerships with them would strengthen both efforts, theirs and the institutions.
CHICAGO DEVELOPERS The project allows for the possibility of future developments to occur. With this opportunity present, it best benefits developers to produce other projects that could capitalize off of the prospective increase of people in the area.
JAZZ ENTHUSIAST People that are heavily involved with jazz in any fashion will be apart of the crows in which the project aims to attract. Their input and influence can determine the popularity of the project and its success.
TOURIST CHICAGO PUBLIC SCHOOLS Similar to the universities the schools that would come to the institution have the power to further spread the word about its effectiveness and services.
Tourist are key because the institution wants to spread the history of the Chicago renaissance and jazzes influence to everyone, not just fellow jazz artist or Chicago residents.
RETAIL BUSINESSES EMPLOYEES The employees are important due to the fact that will help to make the project a success and since they will be at the facility more than anyone else, their comfort and satisfaction needs to be taken into consideration.
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The higher frequency of visitors to the area can benefit the surrounding businesses by drawing more attention to them and helping them to expand their business.
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PRECEDENTS To help identify the proper programmatic elements needs to service the stakeholders and design intents for the project a research of built projects was conducted. The search for precedents was used to help find possible solutions for the institution programmatically. The size of the spaces, the number of a certain space, whether there needs to be more than one of that space, the types of spaces for this project, a long with others were the question I was trying to solve when looking for precedents. Which project(s) gave me the best idea(s) for my project in determining the programming and even the design of the project in the end, were sought out when compiling the precedents. The projects aren’t limited to just performance spaces either multiple project types were taken into consideration so that the project could be unique in various ways and include elements not yet thought of.
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AMPHITHEATERS North Carolina Museum of Art Amphitheater and Outdoor Cinema Architect: : Smith + Hawkinson Architects Location: Raleigh, North Carolina Size: 167 acres Master plan, 3 acres Outdoor Theater
“The Master Plan for the North Carolina Museum of Art is a plan for contemporary art and landscape, and the Museum’s relationship to the 167 acre site. Imperfect Utopia: A Park for the New World,” engages ideas of history, culture, geography and topography and the design organizes a variety of experiences in the landscape including the Amphitheater and Outdoor Cinema, a sculpture court, artist’s cabins, and a greenhouse containing classrooms and workshops, picnic areas and a reading garden. The concept of spectacle, site and text are melded in a public space expanding the Museum’s capacity for outdoor programs.”
Source: http://www.smharch.com/project_template.php?id=47&category=all
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The Country Music Hall of Fame and Museum was useful because it helped me to think about how music, in a museum type setting, was displayed. This typical fashion is something I don’t necessarily want to do. The idea that music is heard not really seen is something I want to explore more of in the museum element of the building.
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CULTURAL CENTERS Gehua Youth and Cultural Center Architect: Open Architecture Location: Qinhuangdao, China Size: 29, 062 SF
“The whole building is surrounded by nature, protected from the noises and chaos of the city. The 2,700 sqm’s building has various functional requirements: theater, gallery, activity spaces, DIY space, café, book bar, multi-media hall, master studio, VIP room and so on. With the aim of maximizing both the preservation of nature on site and the diversity of spatial qualities, OPEN designed a building which is completely fused with nature. Free flowing indoor spaces fully connect to the outdoor landscape. The same space can assume different functions for different occasions. The central courtyard is not only part of the landscape throughout the year but it is also an extension to the theatre for hosting a much larger crowd watching performances. ”
Source: http://www.archdaily.com/276957/gehua-youth-and-cultural-center-open-architecture/
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The Gehua Youth Center provides significance by providing a theater that not only is inside but also outside. During the summer or nicer days the theater can open up to the courtyard space becoming an amphitheater. This was a great solution to figuring out a way to provide not only indoor performance space, but an outdoor one as well. Many festivals and concerts are held outside during the nice summer nights and help to create unique, memorable experiences for the user.
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Plassen Cultural Center Architect: 3XN Architects Location: Molde, Norway Size: 64, 430 SF
In designing the city’s new cultural center, the challenge faced by 3XN was to create a building that was flexible and robust enough to provide a framework for cultural life on both scales. With an optimal use of every square meter, 3XN has created a building that can function both when a hundred and 100,000 people gather for concerts, festivals or theater. The architectural solution is a structure where almost all surfaces and spaces have more than one function. Together with the buildings roof, an existing staircase next to the building constitute a total of three outdoor amphitheaters that collectively accommodate several thousand spectators.
Source: http://www.archdaily.com/279891/plassen-cultural-center-3xn-architects/
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The idea of a adaptable space to accommodate the different sizes of audiences first came from reviewing the Plassen Cultural Center. The Plassen hosts many fans of jazz annually for its jazz festival. And when the festival is not in session it’s still usable and not wasted due to the ability to adapt from large to small crowds.
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Haarlems Pop Music Venue Patronaat Architect: diederendirrix Location: Zijlweg 2, Haarlem, The Netherlands Size: N/A
“Haarlem’s pop music venue consists of a foyer and a large auditorium stacked on top of a smaller one so that the program fits neatly into the designated space. An internal street for loading and unloading runs through the building and activity there is fully visible to visitors. This is appropriate for a cultural institution such as this where, other than in the theatre or concert hall, there is no strict separation between front and back stage. Here, a night out means more than just attending a concert and for this reason, emphasis is placed on the visual relationships and routes through the building. These facilitate a variety of encounters and contacts for a diverse public ranging from teenagers to old rockers.�
Source: http://www.archdaily.com/221038/haarlems-pop-music-venue-diederendirrix/
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The fact that the Haarlem Pop Music Venue is a building dedicated to a culture of a music type is what drew me in to research this project. The project looks to do more than just provide a space for performances; it provides a space for people associated with the music and culture to come together no matter what age or background. The proposed Jazz Cultural institution looks to do something similar in providing space(s) where jazz lovers of all kinds can come together and relish in the experience of jazz music, history and culture.
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PERFORMANCE Jackson Hole Center for the Arts Performing Arts Pavilion Architect: Stephen Dynia Architects Location: Jackson, Wyoming Size: 35,000 SF (Performing Arts Pavilion addition)
“The theatre is an asset for the community, and the lobby below connects it to Jackson. The space is an open area for people to access the theatre, while taking in views of Jackson outside. An uninterrupted glass façade allows views into the bustling theatre, and encourages patrons to look out onto the mountains within view. The Center required a new theatre to fit a range of production styles in the addition. The solution by Stephen Dynia Architects is a 500 person theatre on two levels. The balcony level more than doubles the capacity of the theatre when used. Its 300 seats are accessed from the ground floor and not used for smaller performances. For these performances, just the 200 seat orchestra level is used.”
Source: http://www.archdaily.com/160683/jackson-hole-center-for-the-arts-performing-arts-pavilion-stephen-dynia-architects/
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The ability for the Jackson Hole Center to adapt to small and large crowds is the key reason that it is apart of the precedents group. When researching performance spaces and other building types this accommodation was an element that was looked for. The performance spaces aren’t going to be used all of the time, nor will they always have large crowds so finding ways to address this issue is important to the design of the thesis project.
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JAZZ AT LINCOLN CENTER Architect: Rafael Viñoly Location: New York, New York Size: 150,000 SF
“Most of its performance spaces dwarf traditionally small, sometimes shabby, if charming, jazz venues like New York’s Blue Note and Village Vanguard. Trying to maintain these spaces’ intimacy a key ingredient for a type of music that depends on its audience for energy at a larger scale was one of several unique challenges facing the high-profile project. The program for the complex, on the fifth, sixth, and seventh floors of SOM’s Time Warner Center, included four performance spaces: the Rose Theater, the primary concert hall; the Allen Room, a cabaret overlooking Central Park, with room for 550; the unfortunately named Dizzy’s Club Coca-Cola, an intimate jazz lounge; and the Irene Diamond Education Center, a rehearsal space and recording studio also used for shows. Viñoly had to squeeze the performance spaces into a roughly 150,000-square-foot envelope within a fairly modest budget of $128 million. The larger theaters, the Rose and Allen, strive to be at once capacious and intimate, flexible and unique. The Rose, which seats up to 1,231, includes seating configurations shallow enough that the farthest viewer is only 88 feet from the stage.
Source: http://archrecord.construction.com/projects/bts/archives/perform/05_jazzLC/overview.asp
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Movable seating towers, divided into loges, increase the sense of closeness by wrapping the audience around the stage, while the loge’s syncopation breaks up visual rhythm, preventing the impression of a continuous sea of people. A retractable acoustic ceiling helps make the space adaptable for theater, opera, or ballet performances. Textured African Movingui wood lends an exotic refinement and helps seating fade into the background at performance time, while a ring of square-shaped lights sprinkles color onto the seats below. Backstage lighting peeks behind the seating towers, creating a sense of mystery. The Allen Room’s centerpiece, arguably the complex’s highlight, is a 50-by90-foot double-glazed window behind the stage that looks onto Columbus Circle and Central Park.
Source: http://www.archdaily.com/160683/jackson-hole-center-for-the-arts-performing-arts-pavilion-stephen-dynia-architects/
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THE ALLEN ROOM
The 300 to 600-seat Allen Room, which provides an informal and intimate setting with views through a 50-foot high glass wall overlooking Central Park, is designed with several acoustical treatments including panels hung from the catwalks and ceiling to help diffuse and absorb sound.
http://www.wsdg.com/portfolio.asp?id=JAZZED
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DIZZY’S CLUB COCA-COLA RECORDING STUDIO
In addition to Rose Theater and The Allen Room, Dizzy’s Club Coca-Cola and a recording studio will serve as smaller performance venues. These two spaces are similar in size, but differ in style. The club will be alive performance venue with a “golden” sound that encourages musicianaudience interaction, while the controlled acoustics of the recording studio, one of the largest in New York, will help create clear and accurate recording. In the spirit of jazz, the recording studio will be a multipurpose venue, incorporating a sprung dance floor for dance rehearsals and performances. http://www.wsdg.com/portfolio.asp?id=JAZZED
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THE ROSE THEATER
The 1,100-1,220-seat concert theater, Rose Theater, designed for jazz but also intended to accommodate opera, dance, theater, film and orchestral performances, is a “floating box-in-box construction� with no rigid structural connections to the rest of FPRH. Rose Theater sits on rubber isolation pads, designed to minimize the noise from outside creating an extremely quiet and intimate space. With this special construction, Rose Theater is designed to achieve a noise control level of N1, which virtually eliminates almost all the ambient noise floor or background noise from the environment. Additionally, SOJ designed a system of moveable seating towers in Rose Theater that makes the venue adjustable to accommodate a wide range of performance types. In concert mode, the towers will be positioned behind and around the musicians, serving an acoustics and visual function as well as provide audience seating for jazz concerts, symphonic and chamber recitals. In theater mode, the towers are easily moved into storage via an air caster system to provide a clear platform for performances using scenic elements like dramatic productions, opera, ballet and modern dance. http://www.wsdg.com/portfolio.asp?id=JAZZED
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DIZZY’S CLUB COCA-COLA
In addition to Rose Theater and The Allen Room, Dizzy’s Club CocaCola and a recording studio will serve as smaller performance venues. These two spaces are similar in size, but differ in style. The club will be alive performance venue with a “golden” sound that encourages musician-audience interaction, while the controlled acoustics of the recording studio, one of the largest in New York, will help create clear and accurate recording. In the spirit of jazz, the recording studio will be a multi-purpose venue, incorporating a sprung dance floor for dance rehearsals and performances. http://www.wsdg.com/portfolio.asp?id=JAZZED
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Jazz at the Lincoln Center was able to capture the essence of jazz and jazz culture making it the premiere precedent to follow for my thesis project. The ability to host other genres of music in its theaters and still be designed specifically for jazz music makes it an even more magnificent place to experience. This characteristic is one in which I would like to implement within the Jazz Cultural Institution. This element would help to solidify the institution as a jazz centered space that can accommodate other genres instead of just another performance space that hosts multiple genres of music. Having the specific elements that can help jazz music to grow and be experience at a high level are critical.
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PROGRAM Like the Plassen Center the proposed cultural institution needs to be able to accommodate large crowds and smaller more intimate crowds. So the organization and use of the spaces are critical in achieving the size adjustment goal. Ultimately the institution should be able to host events as large as the Chicago jazz festival to smaller events like nightly shows without the space(s) seeming to be wasted.
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“WE’RE GOING TO HAVE A HALL WHERE THE SOUND IS MADE FOR US.”
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PROPOSED SPACES
PRIVATE SPACES SOUND BOOTH
OFFICE
STORAGE
ELECTRICAL CLOSET
LOADING DOCK
CONTROL ROOM
GREEN ROOM
WARD DROBE
PUBLIC SPACES
OUTDOOR PERFORMANCE SPACE INDOOR PERFORMANCE SPACE LOUNGE
LIBRARY & MUSEUM
LOBBY
WATER CLOSETS
PRACTICE SPACE
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CLASSROOM
SPACIAL RELATIONSHIP ANALYSIS OFFICES W/C LIBRARY/ MUSEUM
CLASSROOM
LOBBY
ELEC. ROOM
CONT. ROOM
LOUNGE
SOUND BOOTH
PRACTICE SPACE INT. PERFORMANCE
STORAGE
GREEN ROOM
WARD DROBE LOADING DOCK
EXT. PERFORMANCE
DIRECT CONNECTION VISUAL CONNECTION PRIVATE PROGRAM PUBLIC PROGRAM
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OFFICES
LOUNGE LOBBY
CLASSROOM
W/C EXT. PERFORMANCE LIBRARY/ MUSEUM
PRACTICE SPACE
WARD DROBE INT. PERFORMANCE LOADING DOCK GREEN ROOM
ELEC. ROOM
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SOUND BOOTH
STORAGE
W/C LOBBY
W/C
OFFICES
LIBRARY/ MUSEUM PRACTICE SPACE
LOUNGE GREEN ROOM
INT. PERFORMANCE
CLASSROOM
ELEC. ROOM CONT. ROOM
SOUND BOOTH
WARD DROBE
EXT. PERFORMANCE
STORAGE LOADING DOCK
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LIBRARY/ MUSEUM
W/C
OFFICES LOBBY W/C
GREEN ROOM
LOUNGE
INT. PERFORMANCE
SOUND BOOTH STORAGE WARD DROBE
CONT. ROOM
ELEC. ROOM
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CLASSROOM EXT. PERFORMANCE
LOADING DOCK
PRACTICE SPACE
W/C W/C LOBBY LIBRARY/ MUSEUM
OFFICES
LOUNGE
SOUND BOOTH CLASSROOM INT. PERFORMANCE
EXT. PERFORMANCE
CONT. ROOM ELEC. ROOM
PRACTICE SPACE GREEN ROOM
WARD DROBE
LOADING DOCK STORAGE
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“Get a horn and blow for Chicago..... let the jazz band play.” THE CHICAGO JAZZ ERA IN PICTURES
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Art training at the Good Shepherd Community Center. Photo by Russell Lee, April 1941.
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1949, the Club Silhouette’s informal reunion of Chicago Musicians. Photo by Steiner Collection.
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Ida B. Wells housing project. Children’s rhythm band in a music class. Photo by Jack Delano, March1942.
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Ray Miller’s Orchestra, Brunswick Recording Company publicity photograph Photo by Chicago Jazz Archives/Steiner Collection.
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Poetry study circle at the South Side Community Art Center. Photo by Jack Delano, April 1942.
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“Red� Saunders practices on the vibraharp with his son Edmund. Photo by Jack Delano, April 1942.
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Entertainers at an African American tavern. Photo by Russell Lee, April 1941.
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WORKS CITED
“ArchDaily | Broadcasting Architecture Worldwide.” ArchDaily. N.p., n.d. Web. 18 Oct. 2012. daily.com/>.
<http://www.arch-
“Architectural Record Building Types Study | Jazz at Lincoln Center, Frederick P. Rose Hall.” Architectural Record Building Types Study | Jazz at Lincoln Center, Frederick P. Rose Hall. N.p., n.d. Web. 12 Jan. 2013. Demlinger, Sandor, and John Steiner. Destination Chicago Jazz. Chicago, IL: Arcadia, 2003. Print. “Encyclopedia of Chicago.” Encyclopedia of Chicago. N.p., n.d. Web. 12 Jan. 2013. Henderson, Justin. Museum Architecture. Gloucester, MA: Rockport, 2001. Print. “Jazz at Lincoln Center.” WSDG -. N.p., n.d. Web. 12 Jan. 2013. Kenney, William Howland. Chicago Jazz: A Cultural History, 1904-1930. New York: Oxford UP, 1993. Print. Knupfer, Anne Meis. “African-American Designers: The Chicago Experience Then and Now.” (2000): 84-91. Print.
Design Issues 16.3
Kornblum, W. “Blue Chicago: The Search for Authenticity in Urban Blues Clubs.” Contemporary Sociology: A Journal of Reviews 34.2 (2005): 158-60. Print. Rosenblatt, Arthur. Building Type Basics for Museums. New York: Wiley, 2001. Print. Stange, Maren. Bronzeville: Black Chicago in Pictures, 1941-1943. New York: New, 2003. Print. Turner, Bernard C. A View of Bronzeville. Chicago, IL: Highlights of Chicago, 2002. Print. Vincent, Ted. “The Community That Gave Jazz to Chicago.” Black Music Research Journal 12.1
(1992): 43-55. Print.