The Peace Bridge

Posted on February 15, 2023 by admin

Not long ago, I learned that gephyrophobia, an irrational fear of bridges, is a real thing. I find it a little hard to imagine. I’ve been on a few white-knuckle bridges in my time, such as the unnamed span that crosses the Mississippi from Savanna, Illinois, to Sabula, Iowa, which is as narrow as two-lane bridge can be and still be two lanes. But that was a rational reaction, not a generalized dread.

“In Michigan, the Mackinac Bridge Authority drives vehicles for free over a bridge that connects the state’s Upper and Lower Peninsulas and rises 199 feet above the strait below,” Car & Driver reports. “Formerly known as the Timid Driver Program, it’s now referred to as the Driver Assistance Program. Bridge staff, who are also responsible for escorting hazardous-materials trucks and maintenance chores, drive up to 10 people across the bridge each day.”

Mostly I have the opposite reaction to bridges, wanting to cross them in one way or another – walking, driving or by public conveyance. That includes the grand bridges I’ve crossed, such as Mighty Mac but also the Brooklyn Bridge, Golden Gate, Sydney Harbour and Seto-Ohashi, as well as mid-sized and smaller ones. Sometimes it’s an essential part of visiting somewhere, such as crossing the bridges on the Thames in London, the Seine in Paris and the Vltava in Prague. Or even the Tridge in Midland, Michigan.

In Batavia, Illinois, a footbridge crosses the Fox River from the west bank peninsula to the east bank. I had no hesitation in crossing it during our Saturday visit. It’s a fairly ordinary iron structure with wood planks, the kind you see in a lot of places.

Except for one feature, best seen from nearby.

It’s known as the Peace Bridge. The “PEACE” and “EARTH” letters are 12 feet tall; the “ON” letters eight feet. Beginning from their first installation in 2008, the letters were seasonal each year — around Christmas — but now they are year-round.

Remarkably, the sign was the idea of a local barber, Craig Foltos, owner of Foltos Tonsorial Parlor, who persuaded the Batavia Park District to install the letters he had fashioned (with help).

Foltos Tonsorial Parlor. I like that name so much I might have my hair cut there someday.

Along the Fox River, Batavia

Posted on February 13, 2023 by admin

We’re having a few days of faux spring. I ate lunch on the deck today, and noticed that the croci in the back yard are just beginning to push upward. That’s in contrast to last year, when that happened well into March, and no there were blooms until early April.

Temps were in the upper 40s on Saturday, and there was no threat of rain, so we took a walk along the Fox River in Batavia, Illinois.

Not so warm that there still isn’t a film of ice. Faux spring, after all, is still winter.

We walked along a peninsula that juts into the river. It’s partly parkland, with an easy trail near the edge of the water all the way around.

At the northern tip of the peninsula is a gazebo. Called a “pavilion” on the signs, but I know a gazebo when I see one.

The Challenge Dam.

There’s been a dam of some kind on the site since the 1830s, originally providing water power for various small factories along the river (flour, ice, lumber, paper, stone), a function long relegated to the past. The current concrete dam is a bit more than 100 years old, taking its name from the Challenge Wind Mill and Feed Mill Co., whose building was next to the dam. More prosaically, it’s also called Batavia Dam, and there seem to be long-term plans in the works to remove it.

The former wind mill (and feed mill) building.

I didn’t take a closer look, but the Batavia Historical Society says the building is in use even now, “partially filled with various, small companies.”

The city of Batavia has a building on the peninsula.

And a bulldog statue.

The Bulldogs are the local high school mascot, and 15 painted bulldogs were to be found in Batavia in the warm months of 2018.

The Former McLean County Courthouse

Posted on January 31, 2023 by admin

Now we’re in the pit of winter. Temps last night and into the morning dipped below zero Fahrenheit for some hours and didn’t rise much higher than positive single digits afterward. As of posting time, it’s 3 degrees F. hereabouts. But at least the roads aren’t iced over, as they are in parts of the South.

As far as I’m concerned, zero Fahrenheit is the gold standard for cold, as 100 F. is for heat. Thus demonstrating the genius of Daniel Gabriel Fahrenheit when it came to thermometry, though I don’t disparage those other men of science, Anders Celsius or William Thomson, 1st Baron Kelvin or even William Rankine.

Temps (F) weren’t quite as cold when I took Ann back to Normal on Sunday, and there was no snow, so the traveling along I-55 was easy enough. Once I’d dropped her off, I took note of the fact that it was still light. So I headed to downtown Bloomington, where I’ve spent some wintertime moments, and took a look at the former McLean County Courthouse, now home to the McLean County Museum of History.

Impressive. Design credit is given to a Peoria firm, Reeves and Baillie, who were busy in their time, it seems.

This is the third – or fourth – building on the site, depending on whether you count the restoration following a major fire 1900 (the small image is post-fire). Whatever the count, the building took its current form in the first years of the 20th century, and remained an actual courthouse until 1976.

For the last 30 years or so, the museum has occupied all four floors of the place. Ann told me she and some friends went there one day earlier this semester and found it worth the visit. I would have gone in, but it’s closed on Sundays. So I had to content myself with the sights to be seen circumambulating the building.

Such as war memorials.

It took considerably longer to get around to this one.

In Illinois, Lincoln Was Here plaques are plentiful.

Looks like Lincoln is still in Bloomington. Bronze Lincoln anyway, and those are plentiful in the Land of Lincoln too. Of course they are.

By local artist Rick Harney and dedicated in 2000. That’s the bearded, presidential Lincoln, so one that never actually would have made an appearance in Bloomington, but never mind. Lincoln is Lincoln.

Buffalo Rock State Park

Posted on January 17, 2023 by admin

This what ChatGPT had to say about Buffalo Rock State Park in LaSalle County, Illinois, in answer to my question, which was, “What can one see at Buffalo Rock State Park in Illinois?”

Buffalo Rock State Park is located in Illinois, USA. It is a historic site that features a large bluff that is shaped like a buffalo, hence the name. The park offers a variety of activities and attractions, including:

Hiking: There are several hiking trails that offer beautiful views of the Illinois River and the surrounding landscape.
Nature watching: The park is home to a diverse array of wildlife, including birds, deer, and other animals. It is also a great spot for bird watching.
Rock Climbing: The park offers several climbing routes on the bluff and is a popular spot for rock climbing.
Camping: The park has a campground with modern amenities, including showers and electrical hookups.
Fishing: The Illinois River is a popular spot for fishing, and the park offers easy access to the water.
Picnicking: There are several picnic areas throughout the park with tables and grills, which is a great place to relax and enjoy the scenery.
History: The park also has a small museum that highlights the history and geology of the area, including the ancient civilizations that once lived in the area.
A playground and a shelter house is also available for visitors.

Overall, Buffalo Rock State Park offers visitors a chance to explore nature, enjoy outdoor activities, and learn about the area’s rich history and geology.

There’s almost nothing distinctive about the writing, and it includes some errors, such as the fact the campground doesn’t have many amenities at all, and there is no small museum. Of course, the system is in beta and presumably will improve in that regard, and the site does warn you that errors are entirely possible. Nay, likely.

More difficult for the generative AI brains to correct, I suspect, will be writing that is so generic as to be almost useless: “The park is home to a diverse array of wildlife, including birds, deer, and other animals. It is also a great spot for bird watching.”

Here’s a human (me) writing the same thing: “A diversity of wildlife calls the park home, including native and migratory birds, foraging deer and other animals. Careful visitors can spot these animals, either as they seek scarce wintertime food or in the flush of spring and summer foliage, but be quiet, since like most wild animals, they shy away from people.”

That, too, is actually generic, but nevertheless a much more readable snippet, if I say so myself, and I do.

Then again, maybe ChatGPT isn’t supposed to function as a replacement for online sources like Wikipedia, or in this case, descriptive information published by the Illinois DNR. Or, for that matter, for a human being who visits a place, sees it with his own eyes, and writes an account of it. Maybe robots will be able to do that someday, but we aren’t there yet.

We went to Buffalo Rock SP on the last day of 2022, which was cold but above freezing. The weather had been dry enough for a few days such that the trails were soggy only in a few spots. The park is indeed a large bluff overlooking the Illinois River, and on the opposite banks from Starved Rock SP, whose views are actually better.

Still, Buffalo Rock isn’t bad at all when it comes to river views.

Two short trails wind through the grassland and copses.

The site has a history that goes back to prehistory, involving various native tribes and the explorer LaSalle, but in the 20th century, it was strip mined. One of the unusual aspects of its remediation, which began in the 1980s, is the Effigy Tumuli earthworks. I read about them before going to the park, and figured it would be cool to see them myself.

It wasn’t. But it was cool to read about the project.

“The Effigy Tumuli earthwork consists of five geometrically abstracted animal forms, created on old mining land along the Illinois River…” said the Center for Land Use Interpretation at some point in the past. “It is one of the largest artworks in the country, and the shapes are so large that they can only be discerned from the air. On the ground, one experiences mounded earth, paths, interpretive signs, drainage control gullies, and patches of grass, shrubbery and exposed earth.

“Michael Heizer was commissioned to make the sculpture in 1983 by the president of the Ottawa Silica Co., who had an interest in art and whose company owned the site. The property had been strip-mined for coal, and was a polluted and eroded barren landscape, with highly acidic soil.

“For this ‘reclamation art’ project, instead of drawing on his vocabulary of abstract forms, Heizer used figurative forms, creating mounds shaped like animals native to the region. There is a snake, catfish, turtle, frog, and a water strider. He considered these figures to be evocative of the Indian mounds that can be found throughout the Midwest.”

Forty years after the commission, the Effigy Tumuli are – what’s the word? – invisible. At least from the ground. I think this was one of them. The long hillock in the background, that is. But I can’t be sure.

The posts holding up the interpretive signs are still scattered here and there, but the signs themselves are not. Completely effaced, as far as I could tell. So if I hadn’t read about the artwork beforehand, I’d have had no idea it was there. Maybe that was the artist’s intention — for the work to merge, eventually, with its surroundings.

Never mind, we found something more interesting just before we left. Buffalo.

Unlike the tumuli, I had no idea there were actual buffalo at Buffalo Rock, but there they were. Three of the creatures, fenced in, each with a body contour just like the image on the former nickel. No signs to explain, but apparently the state maintains them.

The fence means you can practically stand next to the animals, something that would be ill-advised without a barrier. Majestic beasts, for sure, but with an epic smell.

Vestiges of Marshall Field’s

Posted on January 12, 2023 by admin

Back to posting on January 17, out of respect to the legacy of Dr. King, because a holiday’s a holiday, and also since it’s nice to have a little time off not long after a sizable stretch of holidays, which can be a bit tiring.

We’re just ahead the pit of winter, but for now anyway the weather isn’t that bad. “Pit” is an inexact term, of course, but I think of it as the last week of January and the first one of February, more or less. Since the Christmas freeze, temps have been more moderate, but I expect another gelid blast sometime soon.

The following is a reminder that, once upon a time, department stores were the disruptors.

“The development of the department store posed a serious threat to smaller retailers,” explains the Encyclopedia of Chicago. “Many small merchants tried to rally the public against the new behemoths, but they failed to gain much support. Rather than rally to the side of traditional merchants, Chicago shoppers embraced the new form of retail.

“The opening of the new Marshall Field’s State Street store in 1902, only a few years after anti–department store protests, signaled that this newer type of institution had won the admiration of consumers. The opening was a sensational event, and the store decided not to start selling items on its first day of business so that more of the eager public would be able to pass through.”

Ah, if only passing through the building were quite as awe-inspiring here in the fraught 21st century. Still, a visit has its moments of visual splendor. If you look up.

I need to spend more time looking this masterpiece. In person, I mean. Closer views are available on higher floors, but it’s a wow even from the ground floor. Worth the crick you might get putting your neck in just the right position to see it.

“The highlight of the Marshall Field store was the Tiffany Dome (1907), a glass mosaic covering six thousand square feet, six floors high,” EOC says.

Not just any glass, but a special kind of glass that Tiffany & Co. had just invented. State-of-the-Victorian-art amorphous solids in a glassy myriad of hues, in other words.

The Marshall Field Building’s other yawning space – a building that takes up a city block has ample room for yawning spaces – is worth the uplook too.

A building of this kind also has a practically limitless supply of engaging detail. Some of it is literally underfoot, and by literally, I mean literally.

Back on the seventh floor, not long after noon, we wandered through a not particularly busy clutch of quick-service restaurants. At some point, department store management erased the longstanding and high-quality casual food service in the basement, and reconfigured parts of the seventh floor for food service.

Near the restaurants is a corner with floor-to-ceiling windows. Hard to pass those up, so we didn’t. We took in the views from northwest corner of the building.

Looking north on State St.

Looking west on Washington St.

A few years ago, the ornate venue originally known as the Oriental Theatre, which started as a 1920s movie palace, took a new name, Nederlander. After theater impresario James M. Nederlander (d. 2016). Doesn’t he count as a New Yorker? Guess his company would argue that it is national, as indeed it is.

Elsewhere on the seventh floor is a pocket-sized, plain hallway with a small exhibit of figures from Marshall Field Christmas windows on State Street, which were as much holiday tradition at the store as decorating the Walnut Room or hiring a Santa Claus, with thousands of Chicagoans and tourists seeing the windows every year and developing fond memories of the place.

As recently as 2015, the windows were inventive expressions of the window designers’ art.

The items on display in the hall aren’t particularly old: most are from this century. Such as from 2004.

2006.

A luminous creation from 2005.

I could write more – say, 1000 words – contrasting these artifacts with the 2022 State Street Christmas windows, but I don’t need to. Here’s one of the storied windows this Christmastime.

One could take the current owners of the building to task for this diminished creativity, but it isn’t the cause of anything, only a symptom.

I can’t end on that sour note.

While taking pictures at an elegantly decorated part of the seventh floor, I caught an image of a passing lass, elegant as her surroundings.

The Art of American Victorian Stained Glass

Posted on January 10, 2023 by admin

If you board the El at the Cumberland station near O’Hare, you can ride to downtown Chicago without any further effort. If you get off at Washington station and head east — but not upstairs, since the El is a subway at that point — you will find yourself in the Chicago Pedway System, a network of underground walkways.

If, like me, you go downtown only sporadically, you won’t know the Pedway System in its entirety. Even regular downtown visitors and residents probably don’t know all of the five miles of tunnel or even the half of it. I didn’t know there was that much until I read it — can that be right?

Anyway, from Washington station, the Pedway goes around the northern edge of Macy’s, which occupies an entire city block. In the wall opposite the basement entrance to that department store, 22 pieces of stained glass from the golden age of American stained glass — installed behind protective clear glass and backlit — welcome curious passersby. Like us late on the morning of December 30.

By golden age, I mean the late 19th century. This one was fabricated by Belcher Mosaic Glass Co., Newark, NJ, 1885-87.

Unknown fabricator, originally in a Louisville mansion, late 19th century. I like to think the mansion belonging to Daisy Fay’s (later Daisy Buchanan’s) family, but I suppose not.

A night owl. Fabricator also a late 19th-century unknown; a lot of them in the exhibit are.

The formal name of the exhibit is The Art of American Victorian Stained Glass. I’m not a scholar on art glass, so I rely on someone else’s expertise, namely the curator of the exhibit, Rolf Achilles.

“We always think that America has been copying everything from Europe. But no,” Achilles said about the exhibit when it was installed in 2013 (which I somehow didn’t hear about). “Painting on glass is one of the things Americans did, but also they stained the glass, and used ornamentation on glass; they added jewels, they added large chunks of glass.

“We have a superb example of this type of work. Look at the jewels, the facet of jewels were cut by diamonds and then chunks of glass were cast. This is uniquely American in the 1880s and 1890s. It was only around late 1890s and 1900s when the European started doing this, and then it is called Art Nouveau and everyone gets excited.”

A detail illustrates his point.

The sign for this one was missing.

One more Belcher. All the stained glass is striking, but this one notches it up to stunning.

“While their era of production was short lived [1884 to 1897], Belcher windows were popular and many examples still survive today, both in situ but more likely in collections,” Wiki says.

Manufacturing came to a sudden end at Belcher. It’s possible the fabrication process, unique to the company and involving various heavy metals, poisoned some of the workers, though that isn’t clear. If so, that would well represent that 19th-century age of beauty and poison, wouldn’t it?

Midewin National Tallgrass Prairie

Posted on January 9, 2023 by admin

Early in the morning of June 5, 1942, coincidentally as the fateful Battle of Midway was underway thousands of miles away, workers were loading anti-tank mines into railroad boxcars at the Elwood Ordnance Plant in rural Will County, Illinois. It was war work, and occasionally as dangerous as being on a front line.

An unknown event triggered a massive explosion that morning at Building 10 of the plant, killing at least 48 workers and injuring almost as many. More than 80 years later, at Midewin National Tallgrass Prairie, you can see a statue honoring those men.

Carved on the plinth is June 5, 1942 Explosion, along with lists of names, plus two more names under March 24, 1945 Explosion, which I assume is a later incident, though there isn’t any other information on hand to tell me. In fact, I wasn’t completely sure there was an accident in June 1942 until I looked it up later, so as memorials go, this one could use a little more exposition.

Still, its heart is in the right place. Those men died in the war every bit as much as the American flyers over the Pacific at the Battle of Midway, and deserve a memorial too. Apparently it took a while for them to get one; not too long ago, the Chicago Tribune published a story about it, though even now I’m not sure if the statue we saw used to be at the Abraham Lincoln National Cemetery, or is a second one.

Elwood Ordnance Plant was part of a larger facility eventually known as the Joliet Arsenal, which once totaled 23,542 acres with nearly 1,400 structures. At its WWII peak, about 22,000 people worked there.

Now most of that acreage is the tallgrass prairie, devoid of many people but not without reminders of its past.

We arrived mid-afternoon on December 29. As large as it is, we only had time for a small section, starting at the Midewin Iron Bridge Trailhead. A short trail from there leads to a bridge across Illinois 53, but also to a set of tracks that go deeper into the tallgrass prairie.

We walked to the tracks.

Clearly they used to be roads.

Now these roads are called the Group 63 Trail, which is a 3.5-loop around the Group 63 bunker field. The road cutting through the middle, however, is the Group 63 Spur. The location of the worker memorial is at the added red dot (I also added the trail names, since Google maps isn’t quite that complete).

Along the spur, which we walked, are abandoned concrete bunkers, relics of long-ago munitions manufacturing. There were more along the southern branch of the Group 63 Trail, which we also walked.

That particular bunker is open, supposedly the only one on the trail. All that’s inside are a few benches. The acoustics are interesting, though. It would be a good place for a very small concert.

Other bunkers — most of them, and there were many — are overgrown. In the summer, they must be almost completely obscured.

On we went.

Near the Group 63 Trail, a large part of the tallgrass prairie is a range reserved for buffalo, fenced off and with signs telling casual visitors to stay out. But there also are a few small viewing platforms on your side of the fence to watch for buffalo. I’m sure they’re out there, but we didn’t see any that day.

We barely even saw any other people, despite the relative good weather. So we enjoyed an experience of remoteness, without actually being remote — you can faintly hear traffic along the highway, after all. This isn’t the first time I’ve found that off the beaten path isn’t really very far off.

Plan B Travels at the End of ’22

Posted on January 5, 2023 by admin

Since Tucson was a no go, we decided to spend the same three days, December 29 to 31, visiting new sights close enough to home to be at home, come bedtime. A suite of day trips, that is. If you can’t go far, go near.

On the first day, we drove southward to near our old west suburban haunts, stopping first in Darien, Illinois, which is home to the National Shrine of St. Thérèse. I’d visited the shrine by myself at some point ca. 1999, but took no notes and made no photos, so I didn’t remember much. Besides, I’d read that a new shrine building was completed only in 2018, so it counted as a new place for me.

I’d also forgotten that Thérèse of Lisieux is also known as the Little Flower of Jesus. The entrance of the new shrine announces that, silently, as you enter.

Later that day, we made our way further south to the Midewin National Tallgrass Prairie. Strictly speaking, we’d been there before as well, all the way back in the summer of ’04. I told Yuriko we’d been there, but she didn’t remember. Maybe I remember because I spent a lot of time that day pushing Ann’s stroller along an uneven grass path under a hot sun. I seem to have left that part out of my posting about it, however.

On the other hand, Midewin is large, with about 13,000 acres and 30 miles of trails open to the public, so I’m sure we walked through an entirely different part this time – one with visible reminders of the area’s time as the site of an ammunition plant.

The sun wasn’t an issue this time.

On December 30, we made our way to a different sort of human environment: downtown Chicago, by way of driving to near O’Hare, parking the car, and riding the El into town. Without planning to, we found something downtown we’d never seen before, an art exhibit in the underground Pedway.

The Art of American Victorian Stained Glass, featuring well over a dozen windows from the late 19th century and early 20th. Wow. Well hidden and remarkable.

We also spent time in other parts of downtown, including a walkabout inside holiday- season Macy’s. I’ve been there any number of times, of course, but this time I appreciated the place with new eyes. One conclusion: it ain’t no Marshall Field.

Well, some things are the same. Macy’s still has the holiday horns hanging on State Street.

One of these days, I ought to give State Street the Wall Street or William Street treatment, but I’d have to be by myself to do so. State Street might not exactly be a great street, but it still has character.

By that, I mean skyscrapers from the early days of steel-reinforced buildings. Also, astonishingly intricate ironwork from a time when a department store (the vanished Carson Pirie Scott) could afford such things.

Actually, the Louis Sullivan building at State and Madison — the (0 0) of the street numbering system in Chicago — was built in 1899 for the retail firm Schlesinger & Mayer; Carson Pirie Scott was a Johnny-come-lately when it bought Schlesinger in 1904. These days there’s a Target in the lower floor. Sic transit gloria tabernae, I guess.

On the last day of 2022, we headed away from metro Chicago again. We’d considered Starved Rock State Park as a destination, but I wanted something new, so we went to Buffalo Rock State Park, which is more-or-less across the Illinois River from Starved Rock. Nice little park.

Afterward, the weather was good enough, and the temps just warm enough, to allow us to eat Chinese takeout at a picnic table in Washington Park in Ottawa, Illinois, in our coats. The last time we were there, it was hot as blazes.

Didn’t look around too much this time, though someday I want a good look at the many churches along Lafayette St. in Ottawa. I did take a look at LaSalle County’s Civil War memorial.

A closer look at the base –

– reveals that even the names of the Honored Dead are no match for Time.

Daily Leader Mosaics, Pontiac

Posted on December 20, 2022 by admin

At the corner of West Howard and North Main Street in Pontiac, Illinois, is an unassuming building.

The building itself didn’t catch my attention on Saturday morning before I ducked out of the numbing cold into the Route 66 museum across the street, nor did the glad fact that Pontiac still appeared to have a newspaper.

Rather, there seemed to be small murals on the walls. I went to take a closer look. Turns out they aren’t murals, but mosaics. Five all together.

They are part of the Daily Leader building, to go by the name on the wall. Except I have reason to believe that the paper, which is a Gannett asset, moved a few blocks away recently and a furniture retailer bought the building. That is what this item published by the Illinois Press Association says.

“For the first time since 1968, the Daily Leader has a new home,” the association reports. “As of Wednesday morning, July 13, the Leader office moved approximately four blocks to the northeast, to 512 N. Locust St. The Leader building on North Main Street was put up for sale earlier this year and purchased by Wright’s Furniture on May 13.

“The Pontiac Sentinel was begun as a weekly newspaper in 1857 and the Pontiac Weekly Leader arrived on the scene in 1880. In 1896, the weekly became a daily and the Daily Leader was born.”

One nit to pick: there’s no date on the item. You’d think that would be an important thing for an organization like the association to include, so I’ll assume it’s just an oversight. Happens to everyone.

But I do know it’s from this year, since July 13 was a Wednesday this year, and the story mentions 2019 as being in the past. Still, you shouldn’t have to rely on internal evidence to date a news story.

The mosaics taken together have a theme, the history of the graphic arts. This is the first of the mosaics as they proceed chronologically around the building’s two street-facing walls, beginning with cave dwellers and their art.

Ceramic tiles (tesserae) were put in fully regular x-y grids form the images, though within many of the squares, irregular shapes are cut to fit each other, as long as it serves the purpose of creating the overall image. The more I look at the mosaics here in the warmth of my office, the more I like them.

Next, the scribes of ancient Egypt.

Each mosaic has a caption at the bottom. This one, for example, says:

Graphic Arts 2000 B.C.
Egyptian Hieroglyphics

Next, a medieval scribe.

Notice the detail. Seems simple, until you spend time looking at it. A lamp with candles hangs overhead; shadows lie more-or-less believably around the room; his hair is short but unkempt; the sandals are well depicted; the quill has a pleasing wave; the base of the desk and the bench are in matching dark colors; the top of the desk and paper, along with the contents of the box the right — scrolls? — are in matching light colors; the door is an oddly large part of the image, until you realize it leads the viewer past bushes and a tree to a building with a pointed window, like the room’s window. I can’t help but think that’s a church window.

Next, Gutenberg is making printing by hand obsolete.

The end mosaic, which is on the north face of the building, is longer than the others. This is a detail. It depicts the modern newspaper office. Modern, as in 1970.

I assume that date can stand in for the year the art was created. Let’s say ca. 1970, since I didn’t see a date or an artist’s name, though I didn’t inspect every inch of the mosaics as the wind blew the only direction it blows in winter — in my face.

I never worked for a newspaper professionally, but the characters remind me of the first jobs I had working for paper magazine publishers. To the right, a reporter making notes and another taking photos. Yet another reporter makes a phone call.

The news is thus gathered and then prepared for the press. I like to think the woman at the typewriter is a reporter too — women were entering the ranks of journalism in numbers by 1970, like in other professions — but she might have been intended as a typist.

From there, the text goes to a human typesetter. At my first writing job in Nashville in the mid-80s, we had two typesetters, youngish women back in their own room, though the editors consulted with them often enough about the text. They could be fun, smoking their cigarettes and accumulating coffee cups on nearby flat surfaces and bantering with the staff when they weren’t otherwise fixated on their jobs, which involved screen concentration and flying fingers.

At my next job, the typesetting job was automated by a typesetting program simple enough even for me to use, and I never again worked with human typesetters.

After the typesetter, who had created long strips of glossy paper with text — galleys — the layout man took over, waxing the backs of the galleys and placing them on thin cardboard sheets to create mocked-up pages, which in turn would be photographed for the presses. Man, I haven’t thought about the process in years.

At my second job, the layout man was old, opinionated, and sometimes prickly, having seen and (more likely) heard enough working with Chicago journalists to harden his character. There was a hint of cynicism in everything he said, and often enough much more than a hint. He was probably smarter than he let on. He didn’t smoke and had contempt for those who did. I suspect he drank and had contempt for those who didn’t. After my time, I understand he took retirement, and was replaced by computer programs.

All in all, the mosaics were quite a find on a casual walk. But that’s why I take them.

Centennial Olympic Park, Atlanta

Posted on November 9, 2022 by admin

Remarkably, the election seems to have been anticlimactic. So far, anyway. Probably the best outcome to be hoped for, two sumo wrestlers huffing noisily to a draw. I did my little part, voting about two hours before the polls closed, because it had been a busy day at work, and every time I considered voting early during the last few weeks, I thought, nah.

Even more remarkably, we had lunch on the deck today. This evening at about 8, I sat out there in a light jacket under the waning moon and Jupiter high in the sky, and comfortably drank tea and ate a banana-flavored Choco Pie.

For anyone who’s interested, the International Olympic Committee created a report called “Over 125 years of Olympic venues: post-Games Use.” I can’t speak to the organization’s exact motives in producing such a document, but it seems to be a way to assert that most host cities weren’t stuck with too many white elephants after the Games.

Maybe so. The report notes that of the permanent venues used in both Summer and Winter Games from 1896 to 2018 — there were 817 all together — 85 percent are still in use. Many of those, if not most, already existed when the Games came to town, however.

Those 15 percent of unused venues are what tend to get attention. Or rather, a fraction of them.

“Of the 15 per cent of permanent venues not in use (124 venues), the majority (88 venues) were unbuilt or demolished for a variety of reasons,” the report says, using that charming British style for spelling out % and unbuilt as a verb.

“Some had reached the end of their life, some were destroyed during war periods or in accidents, while others were replaced by new urban development projects or were removed for lack of a business model. The remaining venues not in use are closed or abandoned (36 venues).”

Those last ones would be fodder for urban explorers and editorialists who want to discuss the deleterious impact of the Games on urban spaces. Tellingly, the report notes that Los Angeles isn’t going to build any new venues for ’28.

“The ‘radical reuse’ concept also applies to the training facilities and the Athletes’ Village,” it says.

Guess the IOC is going to have to live with the fact that cities are now hesitant to build spiffy new facilities that mostly benefit the IOC.

Here are photos of some of those abandoned sites. The ones that surprise me are the abandoned swimming pool and amphitheater from the ’36 Games. Sure, those were the Nazi Olympics, but the main stadium has been maintained by a more benevolent German government, why not the pool?

I took a look at that stadium — Olympiastadion — during a walkabout in West Berlin in 1983. That’s only one of two former Olympic sites that I can remember visiting. The other was a facility for the 1976 Montreal Games, the Centre Aquatique, where we went swimming in 2002.

I had these places in mind when I strolled through Centennial Olympic Park in downtown Atlanta. Its origins are on display.

The 21-acre park actually isn’t listed in the IOC report, because no sporting activity took place there. Rather, it was intended to be a gathering spot for visitors and spectators, and then a city park once the Games were over, and so it is. A pleasant place to wander on a warm weekend morning.

The park includes green space.

Water features and plazas.

Some structures left over from ’96.

Sculpture from that same year.

“Tribute” by Greek artist Peter Calaboyias, depicting (right to left) an ancient Olympic athlete, a participant in the first modern Games in Athens in 1896, and an Atlanta Games participant.

Poor old Richard Jewell has a memorial too.

Dedicated only in 2021. About time, I’d say.

Been There, Seen That

By Dees Stribling

Category Archives: Public Art