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Cloud Gate

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This article is about the sculpture. For the modern dance group, see Cloud Gate Dance Theater.

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"Ameritech Plaza" redirects here. For other uses, see Ameritech Plaza (disambiguation).
Cloud Gate
File:The cloud gate.jpg
ArtistAnish Kapoor
Year2004-2006
TypeStainless steel
Height: Template:Ft to m
Length: Template:Ft to m
Width: Template:Ft to m
LocationMillennium Park, Template:City-state

Cloud Gate is a public sculpture by British artist Anish Kapoor in Millennium Park within the Loop community area of Chicago, Illinois, United States. It is the centerpiece of the AT&T Plaza (formerly Ameritech Plaza and SBC Plaza) and is located above Park Grill and adjacent to the Chase Promenade. The sculpture was constructed from 2004-2006, with a temporary unveiling in the summer of 2004. Nicknamed "The Bean" because of its legume-like shape, Cloud Gate's exterior consists of 168 highly polished stainless steel plates. It is Template:Ft to m tall, and weighs 110 short tons (99.8 t; 98.2 long tons).

Inspired by liquid mercury, it is one of the most popular sculptures in the United States.[citation needed] The sculpture's exterior reflects and transforms the city's skyline and visitors are invited to walk around and under Cloud Gate's 12-foot (3.7 m)-high arch. On the underside of the sculpture is the "omphalos", a concave chamber that dramatically warps and multiplies reflections. The sculpture builds upon many of Kapoor's artistic themes although many tourists simply view the sculpture and its unique reflective properties to be a great photo taking opportunity.[citation needed]

The sculpture was the result of a design competition. Once chosen, its implementation caused numerous technological concerns regarding its construction and assembly as well as ongoing concerns regarding its upkeep and maintenance. Various experts were consulted some of whom believed the design could not be implemented. Eventually, a feasible method was determined, but the sculpture fell well behind schedule and was unveiled in an incomplete form during the Millennium Park grand opening celebration before being concealed for completion and a final unveiling.

History

The entire AT&T Plaza with the Cloud Gate behind the McCormick Tribune Plaza Ice Rink

In 1999, Millennium Park officials and a group of art collectors, curators and architects reviewed proposed sculpture designs by 30 different artists. The committee chose internationally acclaimed artist Anish Kapoor’s proposed sculpture over artist Jeff Koons's proposal to erect a permanent 150-foot (46 m) slide at the park.[1][2] Kapoor's contract states that the constructed piece should be expected to survive for 1000 years.[3] His proposed design, eventually named Cloud Gate, was inspired by liquid mercury and designed to reflect Chicago's skyline. It is Kapoor's first public outdoor work in the United States.[4] The stainless steel sculpture was originally envisioned at the southeast corner of the Lurie Garden, but park officials eventually decided to locate it at AT&T Plaza, its current location.

The sculpture was first nicknamed "The Bean" by the public and media outlets, then officially named "Cloud Gate" by Kapoor months later.[5]. The name came from the fact that three-quarters of the sculpture's external surface reflects the sky and that the sculpture is sort of a gate into the sky.[6] The piece has become one of the most popular public artworks in the country,[7] as well as a fixture on souvenirs such as postcards, sweatshirts, and posters.[8] The sculpture is the work by which Kapoor is best known in the United States.[9]

AT&T Plaza was originally named Ameritech Plaza and called SBC Plaza at the time of construction.[10]

The structure created numerous design dilemmas. There were concerns that it might retain and convey hot and cold temperatures in a way that made it too hot to touch during the summer and so cold that one's tongue might stick to it during the winter. It was also once believed that the extreme temperature variation might weaken the structure. Graffiti, bird droppings and fingerprints were potential problems as well, as they would affect the aesthetics of the sculpture.[2][11] The most pressing issue was the desire to create a single seamless structure. Norman Foster thought such a plan was probably impossible.[11]

Another problem was that the sculpture was originally estimated to weigh 60 short tons (54.4 t; 53.6 long tons) because it was impossible to estimate the thickness of the steel compatible with the desired aesthetics.[12][13] The final piece, however, weighs 110 short tons (99.8 t; 98.2 long tons) and care had to be taken in supporting it. The roof of the Park Grill, upon which Cloud Gate sits, had to be strong enough to bear the weight. A large retaining wall separating Chicago's Metra train tracks from the North Grant Park garage travels along the back side of the restaurant and supports much of the sculpture's weight. This wall, along with the rest of the garage's foundation, required additional bracing before the piece was erected.[12] Cloud Gate is further supported by tie rods in its interior structure.[14]

Interior construction

"What I wanted to do in Millennium Park is make something that would engage the Chicago skyline… so that one will see the clouds kind of floating in, with those very tall buildings reflected in the work. And then, since it is in the form of a gate, the participant, the viewer, will be able to enter into this very deep chamber that does, in a way, the same thing to one's reflection as the exterior of the piece is doing to the reflection of the city around."

—Anish Kapoor[4]

Performance Structures, Inc. (PSI) was chosen to fabricate the sculpture because of their ability to produce nearly invisible welds.[1] The project began with PSI attempting to recreate Kapoor's design in miniature. A high-density polyurethane foam model was selected by Kapoor, which was then used to design the final structure, including the interior structural components.[14] Initially, PSI planned to build and assemble the sculpture in Template:City-state, and ship it to Chicago through the Panama Canal and St. Lawrence Seaway. However, this plan was scrapped after park officials deemed it too risky.[1] Instead, the piece was assembled on-site by MTH Industries.

Inside Cloud Gate's polished exterior shell are several steel structures that keep the sculpture standing. The first structural pieces, two type 304 stainless steel rings, were put into place in February 2004. As construction continued, crisscrossing pipe trusses were assembled between the two rings.[15] The interior was designed and constructed to make sure no specific point was overloaded and to avoid producing unwanted indentations on the exterior of the piece. The frame was also designed to expand and contract with the sculpture as temperatures fluctuate. As a result, the two large rings supporting the sculpture move independently of one another and the shell is allowed movement independent of the rings.[14]

These interior details are the subject of one photograph in the series "Hidden Spaces" by Dutch photographer Jan Theun van Rees.[16] The photo is displayed in a five-panel permanent exhibit in the lobby of 20 North Michigan, an office building across from the sculpture.[17]

Exterior maintenance

File:Cloudgate5.JPG
A view of the "omphalos" in 2004 showing the unpolished, welded seams.

When Cloud Gate's interior components were completed, construction crews began the preparations to begin working on the structure's outer shell. The shell is comprised of 168 stainless steel panels, each 3⁄8 inch (1.0 cm) thick and weighing 1,000 to 2,000 pounds (450 to 910 kg).[18] They were fabricated using three-dimensional modeling software. Metal stiffeners were welded to each panel's interior face to provide a small degree of rigidity. About a third of plates, along with the entire interior structure, were fabricated in Oakland and shipped to Chicago.[14] The plates were covered with protective white film and polished 98% before being sent to Chicago via trucks.[19] Once in Chicago, the plates were welded on-site, creating 2,442 linear feet (744 m) of welded seams.[18] They were fabricated so precisely that no on-site cutting or filing was necessary when lifting and fitting the plates into position.[18]

In June 2004, when the construction of the shell began, a large tent was erected around the piece in order to shield it from public view.[20] Construction first began with the "omphalos", where plates were attached to the supporting internal steel structure. These plates were attached from the inside (underside) of the sculpture downward to the outermost surfaces.[19] The sequence of construction caused the structure to look like a large sombrero when the bottom was complete.[21]

File:Pre-buffing Bean'.jpg
Pre-buffing and polishing with visible seams

The sculpture was fully erected for the grand opening of Millennium Park on July 15, 2004, although it was unpolished and unfinished because its assembly had fallen behind schedule. The piece was temporarily uncovered on July 8 for the opening, though Kapoor was unhappy with this decision since it allowed the public to see the sculpture in an unfinished state.[22] Originally planned to be re-tented for polishing on July 24, public appreciation for the piece convinced park officials to leave it uncovered for several months. The tent was again erected in January 2005 while a 24–person crew from Ironworkers Local 63 polished the seams between each plate.[18][23] In order to grind, sand and polish the seams, six levels of scaffolding were erected around the sides of the sculpture, while climbing ropes and harnesses were used to polish harder-to-reach areas.[18] When the upper and side portions of the shell were completed, the tent was once again removed in August 2005. On October 3, the "omphalos" was closed off as workers polished the final section.[24] Every weld on the Cloud Gate underwent a five stage process, required to produce the sculpture's famed mirror-like finish:[18]

Stage Name Equipment Used Sandpaper Type Purpose
1 Rough Cut 5-pound (2.3 kg), 4½-inch (110 mm) electric grinder 40-grit Removed welded steams
2 Initial Contour 15-pound (6.8 kg), 2-inch (51 mm), air-driven belt sander 80-grit, 100-grit and 120-grit Shaped the weld contours
3 Sculpting air-driven 10-pound (4.5 kg), 1-inch (25 mm) belt sander 80-grit, 120-grit, 240-grit and 400-grit Smoothed the weld contours
4 Refining double action sander 400-grit, 600-grit and 800-grit Removed the fine scratches that were left from the Sculpting stage
5 Polishing 10-inch (250 mm) electric buffing wheel 10 pounds (4.5 kg) of rouge Buffed and polished the surface to a mirror-like finish

The sculpture was finally completed on August 28, 2005, and dedicated on May 15, 2006.[25][26]

The cost for the piece was first estimated at $6 million; it ballooned to $11.5 million at the time of the park opening in 2004,[27] with the final figure standing at $23 million.[2] No public funds were involved; all funding came from individual and corporate private donations.[2]

Cloud Gate is wiped down twice a day by hand and is cleaned twice a year with 40 U.S. gallons (33 imp gal; 150 L) of liquid detergent. The daily cleanings use a Windex-like solution, while the semi-annual cleanings use Tide.[28]

Praise and controversy

File:Cloud Gate, SW view.jpg
The buildings of the Historic Michigan Boulevard District reflected off of the west side of Cloud Gate.

Cloud Gate has become an icon of the city of Chicago. The public took an instant liking to it, affectionately referring to it as "The Bean."[29] It has had tremendous drawing power, attracting locals, tourists and art aficionados alike.[30] It is one of the most photographed attractions in the city, and its images are reproduced on internet websites and in travel, art and architecture magazines. The American Welding Society recognized Cloud Gate, MTH Industries and PSI by awarding them with the group's Extraordinary Welding Award.[31] The sculpture contributed to Millennium Park being named among the 10 best architectural achievements of 2004 in Time.[32]

The sculpture is tremendously popular,[33] and is now mostly the piece by which Kapoor is identified.[34] The piece has become so popular that Chicago Mayor Richard M. Daley declared the day of the sculpture's dedication, May 15, 2006, to be "Cloud Gate Day". Kapoor attended the celebration, while Orbert Davis and the Chicago Jazz Philharmonic played the Davis-composed "Fanfare for Cloud Gate".[35] Time describes the piece as an essential photo opportunity and more of a destination than a work of art,[7] while one article in the New York Times describes it as a "tourist magnet" and another as an "extraordinary art object".[36][30] The USA Today calls the sculpture a monumental abstract work.[37] The sculpture has been used as a backdrop in commercial films, notably in the recent Hollywood film The Break-Up, which had to reshoot several scenes because the sculpture was under cover for the initial filming.[38]

File:Cloud Gate (The Bean) in winter.jpg
Cloud Gate in winter

In 2005, the sculpture attracted some controversy when a professional photographer was denied access to the piece without a paid permit.[39][40] The artist holds the copyright for the sculpture: this means that, while the public can freely photograph it, permission of the artist is required for any commercial reproductions. This is the case for all works of art currently covered by United States copyright law and is not specific to this work. At first, the city set a policy of collecting permit fees for photographs. The city permits for photographers were initially set at $350 a day for professional still photographers, $1,200 a day for professional videographers and $50 an hour for wedding photographers. On May 24, 2005, the policy was changed so that permits were only required for "large-scale" film, video and photography requiring ten-man crews and equipment.[41]

In both 2005 and 2006, almost all of Millennium Park was closed for a day for corporate events. This was controversial for both commuters who walk through the park and for tourists who were lured by the attractions of the public park.[42] On both occasions Cloud Gate was the focus of attention as the primary precluded attraction. On September 8, 2005, Toyota Motor Sales USA paid $800,000 to rent all venues in the park except Wrigley Square, Lurie Garden, McDonald's Cycle Center and Crown Fountain from 6 a.m. to 11 p.m.[42][43] On August 7, 2006, Allstate paid $700,000 to rent the park. For this price, Allstate acquired the visitation rights to a different set of features and only had exclusive access to Cloud Gate after 4 p.m.[44]

Artistic themes

File:Cloud Gate (The Bean) from west'.jpg
When viewed directly from west (left) and east (right), the skyscrapers to the north along East Randolph Street (The Heritage, Smurfit-Stone Building, Two Prudential Plaza, One Prudential Plaza, and Aon Center) are visible.

Kapoor has a reputation for producing work in urban settings at a magnitude of size and scale that create spectacles.[9] Kapoor often speaks of removing both the signature of the artist from his works and any traces of their fabrication.[29] This is why removing all the seams from Cloud Gate was necessary -- to make it seem as though the object was "perfect" and ready-made, thus increasing the viewer's fascination with it, making him/her wonder what it is and where it came from.[33] Kapoor's attempts to hide his work's seams as an artist are an interesting contrast to Frank Gehry's efforts as an architect in the park. Gehry reveled in making a bridge, BP Pedestrian Bridge, that flaunts its seams.[5]

While the sculpture's mirror effects are reminiscent of fun-house fairground mirrors, they also have a more serious intent: they help de-materialize this very large object, making it seem light and almost weightless.[7][45] Kapoor's objects often aim at evoking immateriality and the "spiritual", an outcome he achieves either by carving dark voids into stone pieces, or more recently, through the sheer shine and reflectivity of his objects.[29] Kapoor explores the theme of ambiguity with his work that places the viewer in a state of "in-betweenness."[46] The artist often questions and plays with such dualities as solidity-emptiness or reality-reflection, which in turn allude to such paired opposites as flesh-spirit, the here-the beyond, east-west, sky-earth, etc. that create the conflict between internal and external, superficial and subterranean, and conscious and unconscious.[47] Kapoor also creates a tension between masculine and feminine within his art by having concave points of focus that invites the entry of visitors and multiplies their images when they are positioned correctly.[47][48]

"I hope what I have done is make a serious work, which deals with serious questions about form, public space and an object in space. You can capture the popular imagination and hold other points of interest, but that is not what I set out to do, although there is inevitably a certain spectacular in an object like this."

—Anish Kapoor[3]

One of the features of the sculpture is the omphalos, which is in the center of the underside of the sculpture. The omphalos is an indentation whose mirrored surface provides multiple reflections of any subject situated directly beneath it when looking up.[49] The omphalos is 27 feet (8.2 m) high and, as part of a concave underside, it invites visitors to walk under and through its arch to the other side so that they view the entire structure.[50] During the grand opening week several press reports described the omphalos as the "spoon-like underbelly".[51][52] As visitors walk around the structure that reflects them, they are distorted in reflections of a larger than life size scale that other viewers partake in.[7] The reflections from the sculpture distorts the entire skyline of the city.[53]

This sculpture is similar to much of Kapoors previous works with respect to the themes and issues it addresses. Kapoor attempts to challenge his viewers to internalize his work through intellectual and theoretical exercise. By reflecting the sky, visiting and non-visiting pedestrians, and surrounding architecture, viewers are limited to partial comprehension at any time. The interaction with the viewer who moves to create his own vision gives the sculpture a spiritual dimension.[46] The sculpture is described as a disembodied, luminous form,[46] which is how his earlier Names (1979-80) was described when it addressed the metaphysical and mystical.[47]

Kapoor had previously created art that instead of portraying images distorted that of the viewer. In so doing, he acquired experience blurring the boundary between the limit and the limitless.[54] Sky Mirror (2001), a 20-foot (6.1 m) 10-short-ton (9.1 t; 8.9-long-ton) concave stainless steel mirror that attempted to use this such a theme of distorted perctiption, was one of the experiences that Kapoor incorporated in the design of the bean.[54]

Notes

  1. ^ a b c Schulze, Franz. "Sunday afternoon in the Cyber-Age Park: the city's new greensward features Frank Gehny's latest, plus "interactive" sculptural works by Jaume Plensa and Anish Kapoor". Art in America. Retrieved 2008-05-31.
  2. ^ a b c d Ahmed-Ullah, Noreen S. (2006-05-16). "Bean's gleam has creator beaming - Artist Anish Kapoor admits being surprised by aspects of ` Cloud Gate ' at Monday's dedication ceremony in Millennium Park". Chicago Tribune. Newsbank. Retrieved 2008-07-17. {{cite web}}: Check date values in: |date= (help)
  3. ^ a b Daniel, Caroline (2004-07-20). "How a steel bean gave Chicago fresh pride". The Financial Times. The Financial Times Ltd. Retrieved 2008-08-07.
  4. ^ a b "Cloud Gate on the AT&T Plaza". Millennium Park. Retrieved 2008-05-31.
  5. ^ a b Bernstein, Fred A. (2004-07-18). "ART/ARCHITECTURE; Big Shoulders, Big Donors, Big Art". The New York Times. The New York Times Company. Retrieved 2008-06-01. {{cite web}}: Check date values in: |date= (help)
  6. ^ Gilfoyle, p. 263-4
  7. ^ a b c d Lacayo, Richard (2008-06-05). "Anish Kapoor: Past, Present, Future". Time. Time Inc. Retrieved 2008-07-06. {{cite web}}: Check date values in: |date= (help)
  8. ^ King, John (2006-07-30). "Chicago's architectural razzmatazz: New or old, skyscrapers reflect city's brash and playful character". San Francisco Chronicle. Hearst Communications Inc. Retrieved 2008-07-31.
  9. ^ a b Budick, Ariella (2008-06-14). "Innies and outies". The Financial Times. The Financial Times Ltd. Retrieved 2008-07-31.
  10. ^ Song, Lisa (2000-01-07). "City Tweaks Millennium Park Design". Chicago Tribune. Newsbank. Retrieved 2008-07-24.
  11. ^ a b Gilfoyle, 202.
  12. ^ a b Gilfoyle, 165.
  13. ^ Gilfoyle, 402.
  14. ^ a b c d Steele, Jeffrety. "Special Project - Chicago's Millennium Park Project". McGraw-Hill Construction. Retrieved 2008-05-31.
  15. ^ "Making Metal Gleam". USGlass. 42 (4). April 2007. Retrieved 2008-06-02.
  16. ^ "Jan Theun van Rees: One Wall Away: Chicago's Hidden Spaces". Retrieved 2008-08-05.
  17. ^ "Inside a Cloud". Retrieved 2008-08-05.
  18. ^ a b c d e f Nunn, Emily (2005-24-08). "Making it shine". Chicago Tribune. Retrieved 2008-06-03. {{cite web}}: Check date values in: |date= (help)
  19. ^ a b Gilfoyle, p. 204.
  20. ^ Becker, Lynn. "A photo essay on the making of Anish Kapoor's Cloud Gate sculpture in Chicago's Millennium Park". Repeat. Retrieved 2008-05-31.
  21. ^ Gilfoyle, p. 206.
  22. ^ "Cloud Gate". Chicago Architecture Info. Retrieved 2008-06-01.
  23. ^ "A place to reflect in Chicago". Los Angeles Times. 2005-01-02. Retrieved 2008-06-01.
  24. ^ Ryan, Karen (2005-08-18). "Cloud Gate Sculpture in Millennium Park to be Completely Untented by Sunday, August 28" (PDF). Millennium Park. Retrieved 2008-06-01.
  25. ^ Yates, Jon (2004-15-07). "Chicago finds 7bean' meets taste test". Chicago Tribune. Retrieved 2008-06-29. {{cite web}}: Check date values in: |date= (help)
  26. ^ "The Bean Unveiled". Chicago Tonight. 2006-05-15. WTTW. {{cite episode}}: Unknown parameter |city= ignored (|location= suggested) (help)
  27. ^ Ford, Liam (2004-07-11). "City to finally open its new front yard - Millennium Park's price tag tripled". Chicago Tribune. Newsbank. Retrieved 2008-07-17. {{cite web}}: Check date values in: |date= (help)
  28. ^ Bange, Jackie (2005-08-18). "Clean the Bean". WGN-TV. Retrieved 2008-06-01.
  29. ^ a b c Kennedy, Randy (2006-08-20). "A Most Public Artist Polishes a New York Image". The New York Times. The New York Times Company. Retrieved 2008-06-02. {{cite web}}: Check date values in: |date= (help)
  30. ^ a b Kennedy, Randy (2008-05-25). "The Week Ahead: May 25-31". The New York Times. The New York Times Company. Retrieved 2008-06-02. {{cite web}}: Check date values in: |date= (help)
  31. ^ "AWS Honors MTH and Others for Work on Cloud Gate Project". USGNN. Retrieved 2008-06-02.
  32. ^ Lacayo, Richard (2004). "The Best Architecture". Time. Retrieved 2008-06-03. {{cite web}}: Unknown parameter |publihser= ignored (|publisher= suggested) (help)
  33. ^ a b Smith, Roberta (2008-05-30). "Sculptor as Magician". The New York Times. The New York Times Company. Retrieved 2008-06-03. {{cite web}}: Check date values in: |date= (help)
  34. ^ Lacayo, Richard (2007-02-27). "Thinking Way Out of the Box". Time. Time Inc. Retrieved 2008-07-07. {{cite web}}: Check date values in: |date= (help)
  35. ^ Lifson, Edward (2006-06-15). "Cloud Gate Day". Chicago Public Radio. Retrieved 2008-05-02.
  36. ^ Kinzer, Stephen (2004-07-13). "LETTER FROM CHICAGO; A Prized Project, a Mayor and Persistent Criticism". The New York Times. The New York Times Company. Retrieved 2008-07-30.
  37. ^ "What have artists wrought from 9/11?". USA Today. 2004-09-03. Retrieved 2008-07-31.
  38. ^ Zwecker, Bill (2006-03-30). "Vaughn, Aniston frolic under Cloud cover". Chicago Sun-Times. Newsbank. Retrieved 2008-07-31.
  39. ^ "Copyright of public space". 2005-01-27. Retrieved 2007-05-02.
  40. ^ Kleiman, Kelly (2005-03-30). "Who owns public art?". The Christian Science Monitor. Retrieved 2007-05-02.
  41. ^ Storch, Charles (2005-05-27). "Millennium Park loosens its photo rules". Chicago Tribune. Newsbank. Retrieved 2008-07-27.
  42. ^ a b Ahmed-Ullah, Noreen S. (2005-09-09). "NO WALK IN THE PARK - Toyota VIPs receive Millennium Park 's red-carpet treatment; everyone else told to just keep on going". Chicago Tribune. Newsbank. Retrieved 2008-07-26.
  43. ^ Dardick, Hal (2005-05-06). "THIS SEPT. 8, NO BEAN FOR YOU - Unless you're a Toyota dealer. In that case, feel free to frolic because the carmaker paid $800,000 to own the park for the day". Chicago Tribune. Newsbank. Retrieved 2008-07-26.
  44. ^ Herrmann, Andrew (2006-05-04). "Allstate pays $200,000 to book Millennium Park for one day". Chicago Sun-Times. Newsbank. Retrieved 2008-07-26.
  45. ^ Roston, Eric (2004-10-11). "Windy City Redux". Time. Retrieved 2008-06-03. {{cite web}}: Check date values in: |date= (help); Unknown parameter |publihser= ignored (|publisher= suggested) (help)
  46. ^ a b c Gilfoyle, p. 264.
  47. ^ a b c Gilfoyle, p. 265.
  48. ^ Gilfoyle, p. 271-2.
  49. ^ Gilfoyle, p. 203
  50. ^ Gilfoyle, p. 261
  51. ^ "News". Journal Gazette (Mattoon, IL). Newsbank. 2004-07-17. Retrieved 2008-08-05.
  52. ^ "Bean, fountain highlight park opening". The Southern Illinoisan. Newsbank. 2004-07-17. Retrieved 2008-08-05.
  53. ^ Daniel, Caroline and Jeremy Grant (2005-09-10). "Classical city soars above Capone clichés". The Financial Times. The Financial Times Ltd. Retrieved 2008-07-31.
  54. ^ a b Gilfoyle, p. 267.

References

  • Gilfoyle, Timothy J. Millennium Park: Creating a Chicago Landmark. University of Chicago Press.
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