Category Archives: Public Art

Lake Mills and Its Pyramidal Oddity

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In late May, I benefited from a bit of service journalism offered by the Chicago Tribune, which told me that the state of Wisconsin wasn’t charging entry fees to state parks on the first weekend in June.

So on June 2, we sought to take advantage of the situation by driving up to Wisconsin for the day — and probably proving the marketing arm of the state right when it calculated that such an offering would attract some out-of-state visitors, especially from Illinois.

Before we went to any state park, however, we stopped in the pleasant town of Lake Mills, which is in Jefferson County in the southern part of the state, between Madison and Milwaukee. We had a satisfying lunch at a diner called Cafe on the Park, which is on Main St. across the street from Commons Park. Then we took a stroll over to the park.

Visible from the park are some interesting buildings, such as the former Odd Fellows Hall and local opera house. Now it’s occupied by an antique mall.

The charming Lake Mills Public Library. Closed on Sunday, or I would have gone in.

There’s a bandstand in the park. Wouldn’t be a proper small-town park without one. With patriotic bunting. Nice touch. Formally it’s the Franklin Else Memorial Bandstand, though you (I) could argue it’s a large gazebo.

The Veterans Monument in the park is a little odd. It’s respectful and all, but has some unusual design elements.
It has a triangular shape, for one thing, with three triangular columns rising from a triangular base to support a triangular top. Triangles are also etched into the design in various places.
Besides all that, a black stone pyramid is the centerpiece of the memorial. Why? Or, if you’re feeling more surprised, WTF?

No marker on or near the monument explains. I didn’t know what to make of that local oddity until I got home and looked around some.

Twenty years ago, the Tribune published an article about Lake Mills and its adjacent body of water, Rock Lake.

“There’s something in Rock Lake.

“What, exactly, lies at the bottom of this placid fishing hole east of Madison is the stuff of local legend, the obsession of scores of divers and the spark of an unlikely controversy that has raged among locals for decades.

“Believers, including many old-timers and diving enthusiasts, say that ancient pyramids, ruins and even a serpent-like, 200-foot-long rock figure lay beneath these algae-filled waters. They say pre-Columbian dwellers built the structures on dry land before the area was flooded by geological upheavals and a dam built in the 1800s.

“Skeptics… say there’s nothing but natural piles of rocks below the 40-foot depths…. the otherwise unremarkable town of Lake Mills, which abuts Rock Lake, [calls] itself ‘City of the Pyramids.’ “

City of Pyramids, eh? Sounds like something a ’30s newspaperman made up and a ’50s chamber of commerce ran with. A little whimsical to incorporate into a veterans memorial, no? Then again, do such memorials need to be somber to the point of sameness, ignoring local lore?

That’s hardly the end of online descriptions of the supposed structures at the bottom of Rock Lake. Grazing through some of them, you come up with lines like:

“You can’t mistake certain things. There’s a city down there. There’s no question about it.”

“There are remarkable, artificial underwater structures beneath the waters of Rock Lake, Wisconsin but unfortunately for many years these prehistoric ruins have been ignored by researchers.”

“Much like Judge Hyer before him, Taylor believed that the three to four pyramids (the number changed with each reporting) was [sic] Aztec in origin and were built during a drought when the lake was completely drained and they were sacrificial altars to the rain god to bring the rains back.”

“Aerial photos, side boat sonar scans, and underwater divers eventually charted a complex of at least nine different stone structures, including: two rectangular pyramids, several stacked-rock walls, two ‘Stone Cone’ areas, a conical pyramid, and a large ‘Delta Triangle’ structure.”

“Former state archaeologist Bob Birmingham told the Wisconsin State Journal in 2015 that the tales were ‘a bunch of baloney.’ ”

Bob Birmingham chalks up the shapes to piles of rock left by receding glaciers, and notes that such piles are found in other Wisconsin lakes. My, that’s boring. Tales of ancient peoples building mysterious structures are awfully romantic.

Somehow, I’m inclined to agree with Bob.

Ave Maria Grotto

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From what I’ve read about Brother Joseph Zoettl, O.S.B. (1878-1961), he wouldn’t have cared whether he was depicted in bronze or not. Be that as it may, many years after his death, Br. Joseph stands facing his creation, the Ave Maria Grotto, on the grounds of St. Bernard Abbey near Cullman, Alabama.

Driving north from Montgomery toward Decatur on the afternoon of May 17, we weren’t about to miss the grotto. It features 150 or so miniature replicas of famous buildings, almost all created by Br. Joseph over three decades, out of found materials.

“Originally from Landschutt, Bavaria-Germany, a young Br. Joseph found himself headed to America to pursue monastic life at Alabama’s only Benedictine Abbey,” the abbey web site says.

“Little did anyone know that this young Bavarian would end up leaving the abbey its greatest legacy and in an incredibly humble way. Since 1934, people from around the world visit the Ave Maria Grotto to see famous parts of the world in miniature. The former abbey quarry is now the four-acre park that the Grotto and surrounding miniatures rest upon.”

Many of the structures are perched on the side of a slope, with a path winding down below for a look at them.

As you’d expect, most of the structures replicate Christian churches or shrines or scenes, such as the First Christmas.
A wayside shrine, modeled after those popular in Latin America.
Lourdes Basilica and Grotto.
St. Martin’s in Landshut, Bavaria. This was one of the few structures that Br. Joseph had actually seen. The rest he did working off photos — postcards especially.
Sometimes, Br. Joseph decided to build something a little less religious. Such as the Hanging Gardens of Babylon.
Or “Hansel and Gretel Visit the Castle of the Fairies.” I don’t remember that part of the story. Maybe it was part of the sequel: Hansel and Gretel vs. the Fairies of Doom.
Roadside America: “The Grotto is not some holy shrine that got out of control. From the start, it was conceived as an over-the-top public attraction.

“Using only basic hand tools, Brother Joseph would shape cement into a replica building, then give it some zing with marbles, seashells, cracked dinner plates, or bicycle reflectors. Tiny-but-majestic domes were fashioned from old birdcages and toilet tank floats.”

The abbey includes a good deal more than the grotto.
There’s a church and school, and a few minute’s walk from the grotto, a cemetery for the monks. Br. Joe’s cross is in there somewhere.

The National Memorial for Peace and Justice & The Legacy Museum

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As you enter the National Memorial for Peace and Justice on a hill in downtown Montgomery, Alabama — as we did on May 17 — it’s hard to see what’s ahead.
The path passes “Nkyinkyim Installation” by Ghanaian sculptor Kwame Akoto-Bamfo, erected with the memorial when it opened only last year. The work speaks for itself.

The memorial structure includes over 800 corten steel (weathering steel) monuments, one for each county in the United States where a lynching took place. Engraved on the columns are the names of the lynching victims documented for that county.

Here are the victims in Wilcox County, Alabama, to pick one of the first steel monuments you encounter: Riley Gulley, William Lewis, Arthur Stewart and Ephreim Pope.
Visitors enter the memorial at one corner of the square shape. On the first side of the memorial, the steel monuments are flush with the floor, with the names at eye level or lower.

On the second side of the memorial, the floor begins to slope downward in the direction of travel, but the steel monuments continue to be at the same level.
In the third side of the memorial, the floor slopes even more and the effect becomes very noticeable. The steel monuments are hanging.
You need to look up to see the county names.

The fourth side. The effect is practically tunnel-like by now.
The writing on one wall says:

For the hanged and beaten, for the shot, drowned, and burned, for the tortured, tormented, and terrorized. For those abandoned by the rule of law.

We will remember.

With hope because hopelessness is the enemy of justice. With courage because peace requires bravery. With persistence because justice is a constant struggle. With faith because we shall overcome.

Water flows down the other wall.

The text:

Thousands of African American are unknown victims of racial terror lynchings whose deaths cannot be documented, many whose names will never been known. They are all honored here.

Outside the memorial structure are smaller versions of the steel monuments arrayed in long lines, lying with their text face up. I understand that if a county named on one of them wants to use it as part of a local memorial to lynching victims, it will be given for that purpose. So far no county has taken any of them.

The Legacy Museum, developed by the same organization as the memorial — the Equal Justice Initiative — is also in downtown Montgomery, pointedly in a building where enslaved black people were imprisoned, near the site of the city’s 19th-century slave market. By the mid-1800s, Montgomery was the focus of the slave trade in Alabama.
In full, it is The Legacy Museum: From Enslavement to Mass Incarceration. It’s a small museum, 11,000 square feet, but a powerful one.

The EJI web site for the museum says: “Visitors encounter a powerful sense of place when they enter the museum and confront slave pen replicas, where you can see, hear, and get close to what it was like to be imprisoned awaiting sale at the nearby auction block. First-person accounts from enslaved people narrate the sights and sounds of the domestic slave trade. Extensive research and videography helps visitors understand the racial terrorism of lynching, and the humiliation of the Jim Crow South.”

The museum also illustrates that the more recent (and ongoing) war on drugs, a toxic interplay of political calculation and moral panic, has made black Americans “vulnerable to a new era of racial bias and abuse of power wielded by our contemporary criminal justice system.”

A quote from the all together remarkable EJI Director Bryan Stevenson, who lead the effort to build the memorial and create the museum:

“Our nation’s history of racial injustice casts a shadow across the American landscape. This shadow cannot be lifted until we shine the light of truth on the destructive violence that shaped our nation, traumatized people of color, and compromised our commitment to the rule of law and to equal justice.”

Garden District Walkabout, Including Lafayette Cemetery No. 1

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Someone once warned me about the condition of the sidewalks in the French Quarter, but on the whole, they weren’t that bad. For crumbling, occasionally hazardous sidewalks, the Quarter or even Treme couldn’t compare with the Garden District. Some stretches reminded me of Mexico City in that regard.

The houses in the Garden District clearly represent a concentration of wealth, so you’d think the sidewalks would be repaired. Maybe it’s that New Orleans is a trifle lax when it comes to infrastructure, but I don’t actually know that — the idea merely fits with the city’s reputation.

Or it could be a weird municipal dynamic: the city can’t appear to put too much money into the roads and sidewalks of an affluent area like the Garden District. Bad optics. So the area’s infrastructure is a little rough. Maybe the residents don’t care much. The only people on foot in the district seemed to be tourists, singly or in tour groups.

Never mind, it’s a good place for a walk, if you pay attention, and even when the Southern sun begins to beat down, as it did late on the morning of May 14. Sometimes shade is there for the taking.

The trees part to reveal some fine houses.

My favorite among those I saw, though of course that was a small fraction of the area’s visual richness.
Our walk took us past some houses marked as historic, such as the Goldsmith-Godchaux House.
Alas, it seems to be noted more for its invisible (to us) interior than the exterior, though that’s nice enough. The plaque outside says: “Designed by noted nineteenth century architect Henry Howard in 1859. Significant for its painted interiors. Has more fresco wall decoration and stenciling than probably any other mid-nineteenth century residence in the South.”

It occurred to me, walking along and sweating, that the Garden District represents 19th-century urban sprawl. New development is often spoken of as if it’s kudzu, which grows willy-nilly and takes over the place. This is nonsense, since residential development follows demand, though infrastructure spending helps facilitate it (in the 20th century, that means you, Robert Moses).

In any case, the demand was there after New Orleans became part of the United States, since the new English-speaking population didn’t particularly want to live with the Creoles in the Vieux Carré. They probably considered the old city an old dump.

Who started subdividing the plantations that used to be the Garden District? I had to find out. A singularly interesting character named Barthélémy Lafon, a Frenchman who seems to have skipped out on the Revolution, coming to New Orleans in 1789.

According to 64 Parishes, “Barthélémy Lafon enjoyed a long and diverse career in Louisiana as an architect, builder, engineer, surveyor, cartographer, town planner, land speculator, publisher, and pirate.”

My italics. Though it seems like he was more of a rich-man sponsor of pirates than someone who went to sea in search of booty. Even pirates need seed capital.

Down on Magazine St., we walked by some interesting commercial structures, such this one at the corner of Magazine and Jackson.

As it says, the building is home to Koch & Wilson Architects, who (I found out) are restoration specialists. Good for them. A fine thing to be in New Orleans. Among other things, the firm restored the nearby St. Mary’s Assumption. Sadly, we couldn’t get in to see that.

On the first floor of the Koch and Wilson Architects building is a flag shop, a deli and a doughnut shop (and H&R Block, but never mind). How cool a tenant roster is that?
We stopped by for doughnuts, and coldbrew coffee for Lilly. The shop served large and pricey hipster doughnuts, something not especially distinctive to New Orleans, but who cares. They were good.

Walking down Magazine, you come across this curiosity.
I’d look that up, but I’d rather not know exactly what you’d see there. We all need a little mystery, even in the age of Google.

Down the other direction on Magazine is a joint after my own heart, but we didn’t stop in.
I couldn’t visit the Garden District without dropping in on Lafayette Cemetery No. 1. It was a more popular place than most cemeteries I’ve been to.

The collection of tombs is similar to that of Saint Louis Cemetery No. 1, a mix of maintained and crumbling examples.
The cemetery had better shade than Saint Louis, mostly in the form of sheltering magnolias, and wider avenues of the dead in some places.
Lafayette Cemetery No. 1 also has some collective tombs. This one says Jefferson Fire Company, 1852.
Here’s one for orphans.
Society for the Relief of Destitute Orphan Boys, 1894. If that isn’t Victorian nomenclature, I don’t know what is.

A Few New Orleans Statues, With Some Opinions

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As of May 2019, Gen. Andrew Jackson still rides his steed at Jackson Square in New Orleans, the dramatic centerpiece of a handsome public space.
The equestrian bronze, by notable 19th-century sculptor Clark Mills, has been there since 1856, when the Battle of New Orleans was still in living memory, at least among the old timers. I understand the monument is a target of removalists, so there might come a day when Jackson Square loses its man on horseback and becomes Something Else Square.

That’s New Orleans’ decision. Yet I’m not persuaded Jackson should go, for all his retroactively understood flaws. It’s one thing to remove monuments to those who actively sought disunion because they feared to lose their human property. Jackson and his men defeated an invading army on American soil near New Orleans. As president, he had no use for disunion, either. Just ask John C. Calhoun.

During our last day in New Orleans, Lilly and I visited the National WW II Museum, and to do so we got off the St. Charles streetcar at Lee Circle (as Google Maps calls it). Looking back at the circle, we saw an empty pedestal.

That’s odd, I said to Lilly. But I must have known at some time — I’d ridden on the St. Charles line decades earlier — that a statue of Robert E. Lee used to stand atop the pedestal. I’d forgotten. I don’t ever remember taking a close look at the Lee statue, since I haven’t always watched for monuments as much as I do now.

Just yesterday, it occurred to me to look up Lee Circle, and was reminded that removal activists were able to persuade New Orleans to take down Lee and three other monuments in 2017. Sic transit gloria mundi, Gen. Lee.

Of course, there are many ideas about a new statue to put on Lee’s former spot. Among this selection, the one I like best on prima facie examination is the relatively unknown J. Lawton Collins, a New Orleans native and important commander during WWII. He’s also appropriate because the museum devoted to that war is mere blocks away. Or if a strictly military option is out, Andrew Higgins, of Higgins boat fame, seems reasonable.

Here’s another statue that has gained the ire of removalists: Chief Justice of the United States Edward Douglass White Jr., who had a long and varied career but sided with the majority on the notorious Plessy v. Ferguson decision. (Most sources double that s in his middle name, but the statue does not.)

The chief justice stands on Royal St. in front of the major edifice housing the Louisiana Supreme Court, a building whose reputation has varied across the decades. We just happened to walk by.

Later I wondered, what’s the state supreme court doing in New Orleans and not Baton Rouge? Guess as far as the court is concerned, Baton Rouge is a johnny-come-lately capital, having that title only since 1846.

Chief Justice White would be a harder nut to crack for the removalists than Lee, simply because among the generally ahistoric American people, whipping up righteous outrage about someone as obscure as White would be a tall order. But it might happen.

In Louis Armstrong Park, where we had a pleasant stroll despite the increasing heat, there are plenty of statues that will probably last a good long time. Satchmo himself certainly deserves to.
Elizabeth Catlett did the bronze, which was dedicated in 1980.

Other metal jazzmen grace the park, such as a marching brass band by sculptor and New Orleans native Sheleen Jones-Adenle, erected in 2010.
Here’s a tripartite statue of foundational jazzman Charles ‘Buddy’ Bolden created by sculptor Kimberly Dummons, also from 2010. Such triple figures aren’t common, but not unknown.

In Congo Square, there’s a vivid sculptural relief by Nigerian-born artist Adéwálé Adénlé fittingly called “Congo Square,” another of the 2010 class of works in the park.

That hardly covers everything in Louis Armstrong Park. Whoever Mike is, he made good images of these and other sculptures there.

Next to the French Market, at St. Philip and Decatur Sts., is Maid of Orleans, a gift from France to New Orleans and erected in 1972.
A replica of the 1880 Emmanuel Frémiet equestrian statue of Joan of Arc in Place des Pyramids in Paris, the Maid used to be at the foot of Canal St., but when a casino was developed there, she moved to her present location in the Quarter.

One more: A seated statue of Francis Xavier Seelos.
Francis Xavier Seelos statueHow we came see that statue, during our walkabout in the Garden District, is slightly convoluted. But that’s never stopped me from pursuing a destination.

While relaxing at the Chateau Hotel during the second evening, I queued up “Pearl of the Quarter,” a dulcet song about a New Orleans long gone and which never quite was. One of its lines: “I met my baby by the shrine of the martyr.”

A flight of Steely Dan fancy, I’m sure, but if you Google around using that term and “New Orleans,” pretty soon you come across the National Shrine of Blessed Francis Xavier Seelos at St. Mary’s Assumption Church in New Orleans. Which just happened to be not too far from where we were going to go the next day.

So we visited the shrine and its reliquary, which are separated from the nave of the church by a wall and a door — locked. We didn’t get to see the interior of the church as a result, which I understand is well worth seeing.

The seated statue is in the hallway outside the shrine itself, which includes a number of exhibits about Fr. Seelos, a Redemptorist from Bavaria, along with many relics and a more conventional standing statue of him at the end of the hall.

Fr. Seelos, for his part, was beatified by the church in 2000. He came to New Orleans as a missionary in the 1866.

“As pastor of the Church of St. Mary of the Assumption, he was… joyously available to his faithful and singularly concerned for the poorest and the most abandoned,” Seelos.org says.

“In God’s plan, however, his ministry in New Orleans was destined to be brief. In the month of September, exhausted from visiting and caring for the victims of yellow fever, he contracted the dreaded disease. After several weeks of patiently enduring his illness, he passed on to eternal life on October 4, 1867.”

Nicolas Cage, the Voodoo Queen of New Orleans & the Young Cemetery Enthusiast

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Back again on Tuesday, after Memorial Day.

These days, you need to be part of an organized tour to legally visit Saint Louis Cemetery No. 1 in New Orleans, though considering that city’s reputation, I expect people still slip in. But I wanted to do things the official way, so on the morning of May 13, Lilly and I were part of a Free Tours on Foot tour of the historic cemetery. That’s a pay-what-you-will organization whose tours I first enjoyed in Charleston, SC.

Actually, not free in this case, even if you’re a wanker who doesn’t tip the guide at the end of the tour, since the Catholic Archdiocese of New Orleans, owner of the cemetery, demands a $2 fee per person paid upfront. Not that onerous, and I hope that it all goes to maintenance of the place. (Also, I tipped our guide, since I’m not going to be that wanker.)

New Orleans cemeteries famously sport above-ground tombs, a feature I long believed stemmed from the region’s high water table. That seems to be a common notion, repeated in guidebooks in an earlier time, and on many web sites more recently.

Our guide, an earnest young man and New Orleans history buff, told us otherwise.
What he said was pretty much in line with how an interesting web site called Interesting Thing of the Day explains it: “Tour guides seldom mention that above-ground burial was a common practice in both France and Spain, where many of the early settlers were from. Even without the resurfacing coffins — which, by the way, were the exception rather than the rule — this practice may well have been adopted simply to keep with tradition. In any case, this method is still widely used today, even though the water table has dropped considerably over the past two centuries as nearby marshes and swamps were drained.

“In New Orleans… bodies are usually placed inside the walls of the tombs. Because of the hot, subtropical climate, the tomb then effectively becomes an oven, and the high heat causes the body to decompose rapidly in a process that has been compared to a slow cremation. Within about a year, only bones are left.

“Just as an oven would not be constructed to bake a single loaf of bread, the tombs in New Orleans cemeteries are used again and again. The specifics vary depending on the exact design of the tomb, but a typical scenario is that after a year, the bones of the departed are swept into an opening in the floor of the tomb, which is then ready for its next occupant. It is a common practice to bury all the members of a family — or multiple families — in the same tomb, with names and dates added to a plaque or headstone as necessary.”

Overall, Saint Louis Cemetery No. 1 has the look and feel of a dense necropolis, with avenues of the dead running between the tombs.
Saint Louis Cemetery No. 1 Some of the tombs — a good many — are well maintained. Others, not so much.

We saw a number of examples of tombs used by many occupants over the years, including those of mutual aid societies established in New Orleans in the 19th century. The most ornate of these is the New Orleans Italian Mutual Benevolent Society’s tomb.

Architect Pietro Gualdi designed the tomb in the mid-1850s and went as far as inscribing his name on it. The tomb’s 24 vaults were for the temporary use of the society’s members, with its basement serving as an ossuary. The guide said that Gualdi died of one of the diseases that killed a lot of people in 19th-century New Orleans, maybe malaria, and was one of the first people interred in his creation (Wiki asserts malaria for sure).

Another collective tomb: the Orleans Battalion of Artillery.

Its plaque says:

Within this burial memorial rest some of the gallant defenders of New Orleans, members of the battalion which fought in honor on the plains of Chalmette on January 8, 1815 against the British invaders.

Date of construction is unknown.

Restored in 1974

Naturally the tour went by one of the cemetery’s odder tombs — that commissioned by actor Nicolas Cage, presumably to bake his mortal remains when the time comes.
Saint Louis Cemetery No. 1 Nicholas CageI’ve read he’s gotten a lot of flack for it. The tomb does look a little out of place, but then again, pyramids aren’t unknown in cemeteries — and why do all the tombs need to be rectangular? Also, the archdiocese clearly signed off on the thing, presumably persuaded by the actor’s payment of a generous fee.

In a century, tours will probably pass by the pyramid, by that time stained and a little crumbled, and explain that an eccentric movie actor had it built for himself in the early 21st century. Maybe the guide will have to explain what a movie was. And say that the actor supposedly believed in the power of voodoo to revive him, and in fact practiced voodoo himself.

I made that last part up as an example of a story someone might tell in the future. After all, such stories occasionally cling to someone long after their death. Take the example of Marie Laveau, the Voodoo Queen, whose tomb the tour visited last (she’s there with a number of other people, per cemetery custom).
Saint Louis Cemetery No. 1 Marie LaveauMarie LaRoadside America: “Marie Laveau ran a New Orleans hairdressing salon during the day, but on her off-hours she was (supposedly) the Voodoo Queen, sought after for her potions and charms that would bring love or money to those willing to pay the price.

“Laveau died in 1881, but a tradition later developed that she could still grant favors from beyond the grave if believers either left offerings or scrawled three Xs on her tomb. This resulted in what was clearly the messiest grave in the U.S., and caused no end of headaches for local preservationists, who had to constantly clean and repair the tomb only to have it trashed again.

“They finally had enough and, on March 1, 2015, the cemetery was declared off-limits to all tourists except tour groups led by licensed tour guides.”

Marie Laveau’s grave is clean white these days, though if you look closely enough, you can see traces of those Xs drawn on the stone. As for Mme. Laveau’s skills in the voodoo arts, the guide suggested we take those stories with grains of salt. I will. New Orleans seems to have more than her share of such stories, yet we love her for it.

Usually members of a tour like this don’t have that many questions, but one young woman — college age, I think, on the tour with her mother — peppered the guide with an unusual number of questions that betrayed a strong interest in cemeteries and funerary practices.

The tour wound down at the Basin St. Station, a redevelopment between the cemetery and Louis Armstrong Park that has a New Orleans visitors center, exhibits and event space. A few of us stayed there to speak with the guide a little longer, and he and I and the young cemetery enthusiast started comparing notes about cemeteries worth visiting. I suggested Green-Wood in Brooklyn and Woodland in Dayton, though of course I can never remember its name. One suggestion of his — or hers — was Akaroa Cemetery in New Zealand, which I have to say does look pretty cool.

Houston Water Features

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Near the Galleria in Houston, which is a mixed-use property that includes the 1.9 million-square-foot mall of that name as well as office towers and a couple of hotels, is a local feature unlike any other: the Gerald D. Hines Waterwall Park. Or more commonly, the Waterwall.

Waterwall is an apt name, with water cascading down the front.
Water cascades down the back as well.
According to a nearby plaque, 11,000 gallons of water spill over the walls per minute, from a height of 64 feet. John Burgee Architects, working with Philip Johnson, designed the massive water feature, apparently inspired by ancient Roman theaters.

This is a drone’s view. All we had were our own eyes to appreciate the place.

It’s a popular place to have your picture taken, front and back, but especially in the circle near the spray coming off the waterwall.
More than one person asked Lilly to take their picture at the site, including the young couple above, dressed to the nines.

Completed in 1985, Waterwall was privately owned until it looked like ownership might destroy it. In 2008, the Uptown Houston Tax Increment Reinvestment Zone, a local nonprofit, acquired the Waterwall and the surrounding land. That might have been when I first read about the Waterwall, but then I forgot about it.

We stayed near the Galleria — in the nicest La Quinta I’ve ever stayed at — and when I was mapping out a route to visit the mall, I noticed the Waterwall nearby on Google Maps. I remembered it instantly and knew I wanted to go. We saw it late on the afternoon of May 11.

The next morning, we checked out and headed for New Orleans. But not before we spent a while near Buffalo Bayou, the main river through metro Houston. It’s another map feature that I wanted to see with my own eyes.

The park associated with Buffalo Bayou near downtown Houston has its charms, one of which is a view of downtown Houston.
That is the city’s original downtown, but at least in terms of office building density, the Galleria area now functions as another downtown for Houston. I knew that because I’ve read about the Galleria office market, but seeing it myself drove the point home.

Lilly and I walked along the Buffalo Bayou Park path for about an hour.

At one point, the landscape urged us onward.

At the tip end of Buffalo Bayou Park facing downtown is the Buffalo Bayou Park Cistern. I can’t remember when I read about that. It wasn’t long ago.
Maybe in the likes of Atlas Obscura. That publication saves me the trouble of writing a description, along with the embarrassment of publishing the crummy pictures that I took inside the cistern.

“Built in 1926, this 87,500-square-foot… space was one of Houston’s first underground reservoirs,” the Atlas says. “The eight-inch-thick concrete roof is supported by 221 concrete pillars reaching 25 feet high that march in rows into the dim distance.

“A public works facility for decades, an irreparable leak was eventually found in the structures walls and thus it was subsequently decommissioned in 2007. The city was preparing to demolish it when it was found by the partnership developing Buffalo Bayou Park. After briefly considering using it for parking or mulch storage, the developers decided to keep it as an unusual and attractive space for park visitors.”

We took the 20-minute tour inside. “That was cool,” Lilly said afterward, meaning it metaphorically, not literally. I was expecting the inside of the cistern to be cool like a cave, but it was closer to room temperature. Anyway, I completely agree with Lilly.

Wolf Point & The Merchandise Mart Hall of Fame

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On Friday I went to downtown Chicago for business. Since it was a warm, clear spring day, I wanted to do a more extensive walkabout, especially in the River North area, where I attended to business. But I didn’t have much time.

Instead I was able to take a quick walk near the Chicago River, mostly on the way to my appointment and heading back to Union Station afterward. I was near the place where the river divides into its North and South Branches, which is known as Wolf Point and is the origin of the Chicago Municipal Device.

For quite a while, Wolf Point was oddly underdeveloped, at least compared with the rest of the riverfront. For instance, until recently the point was occupied mostly by a parking lot.

No more. The latest project there, Wolf Point East, is still under construction.

So Wolf Point looks a little different than at the beginning of this decade, and a lot different than it did in 1833.

Hines, Joseph P. Kennedy Enterprises, the AFL-CIO Building Investment Trust and PNC Realty Investors are the developers of Wolf Point East; Pelli Clarke Pelli did the design. The 60-story tower will have 698 residential units — upper-end rentals — that will be available late this year.

Just to the east, of course, is the 4 million-square-foot Merchandise Mart, seen here catching a shadow in the mid-afternoon.

A street runs between the Merchandise Mart and the river — the unimaginatively named W. Merchandise Mart Plaza — and from there, you can see the Merchandise Mart Hall of Fame. That is, eight bronze busts honoring one-time U.S. merchant princes, each facing the building. Joseph P. Kennedy himself commissioned the busts in the early 1950s, which was possible because the Kennedy family owned the Merchandise Mart for many decades.

The busts are in two groups of four. These are the busts to the west. They don’t look so large from across the street, but the heads are four times the size of a regular human head.
From left to right: John Wanamaker, founder of the stores by that name; George Hartford, founder of A&P; Edward Filene, founder of those stores; and Montgomery Ward.

These are the busts to the east.
Construction and taxis whizzing by made it a little harder to make an image, but in any case they are Robert Wood, a chairman of Sears; F.W. Woolworth; Julius Rosenwald, another chairman of Sears and founder of the Museum of Science and Industry; and Marshall Field.

More about each of the busts is here. Twelve years ago, at least, they looked like they needed some restoration. I didn’t get quite close enough to them this time to know whether that has happened.

Champaign Stroll & Digressions From Kung Fu to the Match King

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After visiting the University of Illinois Arboretum on Easter, we returned to Lilly’s apartment briefly and took a walk from there a few blocks to the UIUC campus. Blocks heavy with businesses supported by students. Along the way everyone else went into one of them, Kung Fu Tea, for bubble tea to go, while I waited outside with the dog.

Kung Fu Tea is a chain I’d never heard of. Lilly didn’t understand why I was amused by the name. But she’s unable to imagine the following variation on an old TV narrative.

“Grasshopper, when you can take the tapioca pearl from my hand, it will be time for you to leave.”

I just found out that Kung Fu is available on Amazon for no extra charge. I was an intermittent viewer when the show was originally on the air, which was 45 years ago anyway, so I might give it another go.

From Kung Fu Tea, it was a short walk to Altgeld Hall, which I’ve seen before, but not from this vantage.

On we went. A fine day for a walk. The sunny warmth had drawn a number of students to the Main Quad, where they parked themselves on the grass. That’s the Illini Union in the distance.
Some students lolled in hammocks. That’s something I don’t ever remember seeing at any of the green fields of Vanderbilt.

We circled back around the other side of Altgeld Hall and happened across this statue.
That’s the goddess Diana.
A nearby plaque says: The Diana Fountain is a creation of the Swedish sculptor, Carl Milles. It was designed for the court of a building at 540 North Michigan Avenue, Chicago, where it remained from 1930 until it was generously presented by Time Incorporated to the University of Illinois at the request of the Class of 1921.

The Fountain was dedicated here on October 23, 1971, as a class memorial, at the Fiftieth Anniversary Reunion of the Class of 1921.

Then there’s a list of “members and friends” of the Class of ’21, all of whom presumably ponied up some money for moving the statue, as well as the site work and installation. It’s a long alphabetical list from Allman to Zimmer: eight columns of 35 names each. More, actually, since some of the names represent married couples.

Fifty years plus nearly 50 more. Safe to assume all of the Class of ’21 have shuffled off this mortal coil. As has Carl Milles (d. 1955).

Here’s a digression. Another Diana Fountain by Milles is in Stockholm, at a place called the Matchstick Palace. Who built the Matchstick Palace?

The Match King, Ivar Kreuger, that’s who. I ran across him years ago in the wonderful Webster’s New Biographical Dictionary. Wiki gives a fuller description of his activities. His is an astonishing story.

Thursday Nokorimono

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One major installation we saw at the Elmhurst Art Museum on Saturday didn’t have anything to do with the Bauhaus (which got a Google doodle today), or Mies van der Rohe, or anything but the sky.

“Skycube” by David Wallace Haskins, which was installed in 2015. It may look light, but it’s made from 6,000 lbs. of steel.
The mirrors inside the cube deliver an image of the sky to — in — at — the square window — hole — aperture — on the side. It’s a little unnerving to sit there and look at it, but also hard to turn away.
Stand next to the “window” and you can get a self-portrait in the sky. Got a surreal tinge to it.
The view might be even more interesting on one of those days when rafts of clouds are speeding along at high altitudes.

The YouTube autoplay algorithm is pretty much of the same dense mindset as Top 40 radio is, or at least used to be. Play one song, well known or even not so well known, and it will line up nothing unusual or surprising.

Odd, then — and I’ve tested this on a few separate days — when I queue up something by the B-52s, a good many lesser-known songs of theirs appear on the autoplay. Mostly published by the group itself, but not always (and who doesn’t like a song that mentions ancient Mesopotamia?).

Might just be a fluke, though. Your results may vary. I doubt that algorithms will ever be good enough to weed out all the flukes. Hope not.

The last time I was in downtown Chicago, earlier this month, I paused for a moment to take a picture of a sign on E. Adams St. marking the eastern terminus of the former U.S. 66.
That’s the western-facing side of the side, covered by stickers from all over, with many European in origin. Shortly before I took my picture, a group of Germans were doing the same. Must be in their Reiseführer von Amerika. And what does the Meat Bunny know?

By the time I took a picture of the eastern-facing side, the Germans were gone.
Leaving only this fellow and his selfie stick.