Time & Life

 by: chicago designslinger

 [Time & Life Building (1968) Harry Weese & Associates, architects /Images & Artwork: chicago designslinger]

Some of you may remember the amazing photography that arrived in the weekly edition of Life Magazine, many of you have probably never even heard of Life. Time Magazine on the other hand is still publishing a print weekly of world news and events, but for how much longer in our digital age is anyone’s guess. In 1968, when construction began on architect Harry Weese’s Time & Life Building, life and times were very different.

[Time & Life Building, 541 N. Fairbanks Court, Chicago /Images & Artwork: chicago designslinger]

Chicago was the location of the magazines 2,500 employee subscription department and the company was running out of room at its Michigan Avenue headquarters. Weese provided the Time/Life corporation with a structure that was well suited to their specific needs with floor spaces free of interior columns and an innovative elevator system which delivered arriving and departing employees more efficiently. Both choices ate-up less square footage inside which made for a more attractive sales pitch to the outside tenants who would occupy the upper 12 floors of the 30-story structure. The trapezoid-shaped, structural columns ringed the outside of the building and shrunk to rectangles as they neared the top while the elevators were double stacked, meaning one cab sat on top of the other which reduced the number of elevator shafts required for the building.

  [Time & Life Building, Streeterville, Chicago  /Images & Artwork: chicago designslinger]

Weese also used a new product developed by the U.S. Steel called Cor-Ten. The product was meant to rust as it aged which made for an interesting looking exterior that would require little or no upkeep. It was quite controversial with the public, and still is. Some people like it, some hate it. And the U.S. Steel corporation no longer recommends using their product in architectural situations as siding or roofing. The steel has been found to not hold up as well as everyone thought it would in the snow, ice, and acid falling rain. Plus the rust stains everything that it sits on, so USS stopped pitching it as an architectural building material 20 years ago. Needless to say there are no more employees of Time & Life working here. Life as a print publication went out of business years ago, and Time’s subscriptions are probably handled in some overseas call center. So today Weese’s rusting trapezoid columns provide the expansive interior floor space to nearby Northwestern Hospital and the central offices of the Chicago Park District.

Judge Tree's Studios

 by: chicago designslinger

[Tree Studio Building & Annexes (1894) Parfitt Brothers, architects; (1912) Hill & Woltersdorf, architects, annex; (2002) Daniel P. Coffey & Associates, architects, restoration and rehabilitation /Image & Artwork: chicago designslinger]

 Judge Lambert Tree was a member of an old Chicago family. And he built this building on the west lawn of the Tree homestead, which had been in his wife’s family – the Magie’s – since 1840.

 [Tree Studio Building, 601-23 N. State Street, 4-10 E. Ohio Street, 3-7 E. Ontario Street, Chicago /Images & Artwork: chicago designslinger]

The Judge and Mrs. Tree were on their way to Egypt in 1894 with a stop-over in New York when they saw a building on Madison Avenue and 56th Street built to house artist’s studios. It made quite an impression on the couple. They were both big supporters of Chicago’s Art Institute and partons of the arts, so the Judge got in touch with the architectural firm Parfitt Brothers and told them to draw-up plans for a similar building that the Trees would construct back home.

 [Tree Studio Building & Annexes, National Register of Historic Places, Chicago /Image & Artwork: chicago designslinger]

The Tree property filled one square city block and their large, sandstone mansion stood at the eastern edge. So the Judge divided the plot of land in half from north to south and at the western edge built the Studio Building. It would have two-story loft spaces on the second floor with large windows facing the street and skylights to capture the sun’s north light with retail establishments on the ground floor catering to the arts community. He also set-up a trust which would help defray the cost of the upkeep of the building in an attempt to keep rents low for his almost perpetually, financially struggling, artistic tenants. 

  [Tree Studio Building and Annexes, City of Chicago Landmark /Image & Artwork: chicago designslinger]

After the Judge died in 1910 his house was demolished and the eastern portion of the plot was sold to the Shriners fraternal organization. They built Medinah Temple, a large meeting hall/auditorium right up to the north/south dividing line that divided the Tree property in two. The trustees of the Tree estate filled in the space behind the original Studio Building to the Temple’s back wall with an annex on Ohio Street in 1912 and Ontario Street in 1913. The annexes created a private courtyard which became a little green oasis in a neighborhood that was changing from a quiet residential neighborhood to a busy, noisy, congested commercial and retail district.
The Shriners took an option on the purchase of the Studio in 1920 but let it lapse. Then in 1956 the organization finally purchased the Studio and Annex Buildings in order to maintain control over the old Tree city block. By 1998 with membership falling, the Shriners put the block on the market and for a while it looked like the Studio Building would be demolished for a high-rise residential building replacement. The preservation community waged battle, and after the Mayor made it known that he wanted Medinah Temple spared, a deal was reached with developer Albert Friedman and the buildings were saved, rehabilitated, and painstakingly renovated under the supervision of Friedman and Coffey & Associates architects. The Tree subsidies ended decades ago, so although the studios are still available, the market rate rentals are beyond the means of many a struggling artist.