Launch Slideshow

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Reva and David Logan Center for the Arts

Reva and David Logan Center for the Arts

  • The Logan Center comprises a tower and two wings (capped in saw-toothed and green roofs, respectively). The façades are clad not in the traditional Indiana limestone of other university buildings, but in a warmer-toned version that is quarried in Missouri.

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    The Logan Center comprises a tower and two wings (capped in saw-toothed and green roofs, respectively). The façades are clad not in the traditional Indiana limestone of other university buildings, but in a warmer-toned version that is quarried in Missouri.

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    The Logan Center comprises a tower and two wings (capped in saw-toothed and green roofs, respectively). The façades are clad not in the traditional Indiana limestone of other university buildings, but in a warmer-toned version that is quarried in Missouri.

  • Architect Tod Williams describes the Logan Centers lower, horizontal volume as representing the Plains; its saw-toothed roof admits natural light into painting and other fine-arts studios. The northern façade, with the tower, is closest to the campus core.

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    Architect Tod Williams describes the Logan Centers lower, horizontal volume as representing the Plains; its saw-toothed roof admits natural light into painting and other fine-arts studios. The northern façade, with the tower, is closest to the campus core.

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    Timothy Hursley

    Architect Tod Williams describes the Logan Center’s lower, horizontal volume as representing the Plains; its saw-toothed roof admits natural light into painting and other fine-arts studios. The northern façade, with the tower, is closest to the campus core.

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    Timothy Hursley

  • The southern façade is the public face for the residential communities on Chicagos South Side. An entrance underneath the projecting glass-and-metal volume leads to a lobby from which the performance venues can be accessed.

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    The southern façade is the public face for the residential communities on Chicagos South Side. An entrance underneath the projecting glass-and-metal volume leads to a lobby from which the performance venues can be accessed.

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    Timothy Hursley

    The southern façade is the public face for the residential communities on Chicago’s South Side. An entrance underneath the projecting glass-and-metal volume leads to a lobby from which the performance venues can be accessed.

  • The eastern courtyard, with concrete pavers designed to mimic the shape of the buildings stone block, can be used for casual gatherings or performances. A bridge overhead connects a roof terrace atop the theater volume to the third floor of the arts tower.

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    The eastern courtyard, with concrete pavers designed to mimic the shape of the buildings stone block, can be used for casual gatherings or performances. A bridge overhead connects a roof terrace atop the theater volume to the third floor of the arts tower.

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    Timothy Hursley

    The eastern courtyard, with concrete pavers designed to mimic the shape of the building’s stone block, can be used for casual gatherings or performances. A bridge overhead connects a roof terrace atop the theater volume to the third floor of the arts tower.

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    Courtesy Tod Williams Billie Tsien Architects

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    Courtesy Tod Williams Billie Tsien Architects

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    Courtesy Tod Williams Billie Tsien Architects

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    Courtesy Tod Williams Billie Tsien Architects

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    Courtesy Tod Williams Billie Tsien Architects

  • This lobby anchors what Billie Tsien terms a Main Street for the buildingthe path connecting the north and south entrances. The translucent panels enclosing the stair can double as a projection surface.

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    This lobby anchors what Billie Tsien terms a Main Street for the buildingthe path connecting the north and south entrances. The translucent panels enclosing the stair can double as a projection surface.

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    Timothy Hursley

    This lobby anchors what Billie Tsien terms a “Main Street” for the building—the path connecting the north and south entrances. The translucent panels enclosing the stair can double as a projection surface.

  • Study spaces cut into the corridors.

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    Study spaces cut into the corridors.

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    Timothy Hursley

    Study spaces cut into the corridors.

  • The fire stairs serve as the buildings main vertical circulation, and offer views of the campus.

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    The fire stairs serve as the buildings main vertical circulation, and offer views of the campus.

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    Timothy Hursley

    The fire stairs serve as the building’s main vertical circulation, and offer views of the campus.

  • Several break-out study areas are contained within the complex, many lined with either tile from Heath Ceramics or felt liners.

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    Several break-out study areas are contained within the complex, many lined with either tile from Heath Ceramics or felt liners.

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    Timothy Hursley

    Several break-out study areas are contained within the complex, many lined with either tile from Heath Ceramics or felt liners.

  • Painting and other fine-art studios are filled with natural light thanks to windows and skylights, but less visible are the high-tech systems behind the walls. This building is a place where people make art. It can be very dirty, Tod Williams says. All of that dust, and dirt, and sound can be troublesome to people who are trying to play music at the highest level or print something in a clean way, so the filtration system, the air system, all of these things are crucial to be state-of-the-art.

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    Painting and other fine-art studios are filled with natural light thanks to windows and skylights, but less visible are the high-tech systems behind the walls. This building is a place where people make art. It can be very dirty, Tod Williams says. All of that dust, and dirt, and sound can be troublesome to people who are trying to play music at the highest level or print something in a clean way, so the filtration system, the air system, all of these things are crucial to be state-of-the-art.

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    Timothy Hursley

    Painting and other fine-art studios are filled with natural light thanks to windows and skylights, but less visible are the high-tech systems behind the walls. “This building is a place where people make art. It can be very dirty,” Tod Williams says. “All of that dust, and dirt, and sound can be troublesome to people who are trying to play music at the highest level or print something in a clean way, so the filtration system, the air system, all of these things are crucial to be state-of-the-art.”

  • The penthouse-level performance hall in the tower can serve as a classroom, a rehearsal space, or a music venue. Micro-perforations in the walnut-lined walls expose acoustic material that absorbs sound.

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    The penthouse-level performance hall in the tower can serve as a classroom, a rehearsal space, or a music venue. Micro-perforations in the walnut-lined walls expose acoustic material that absorbs sound.

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    Timothy Hursley

    The penthouse-level performance hall in the tower can serve as a classroom, a rehearsal space, or a music venue. Micro-perforations in the walnut-lined walls expose acoustic material that absorbs sound.

  • The penthouse performance space in the Reva and David Logan Center for the Arts overlooks the Midway Plaisance, a relic of the 1893 Worlds Fair, toward the Collegiate Gothic core of the campus.

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    The penthouse performance space in the Reva and David Logan Center for the Arts overlooks the Midway Plaisance, a relic of the 1893 Worlds Fair, toward the Collegiate Gothic core of the campus.

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    Timothy Hursley

    The penthouse performance space in the Reva and David Logan Center for the Arts overlooks the Midway Plaisance, a relic of the 1893 World’s Fair, toward the Collegiate Gothic core of the campus.

What is the program of the Reva and David Logan Center for the Arts?
Billie Tsien, AIA: We took different people [from] different parts of the arts and put them all together in a tower, so that it would mix kids practicing the piano with kids putting on a play with kids dancing. And that would get a sort of synergy happening between both the faculty and the students. So it’s the tower of the arts.

Let’s talk a little bit about the form of the building from the exterior. As a guy from the Midwest, it reminds me, in a way, of a silo.
Tsien: That’s interesting because that’s one of the images we first used when we talked about the building. Tod talked about the vertical building as the silo and the horizontal building as the Plains. But of course the vertical building is a Chicago tradition, so we’re also referring to the city.

The exterior is comprised of what look like Roman bricks, which we see with the work of Wright and the Prairie School.
Tod Williams, FAIA: [We used] long bars of stone that are like horizontal bars and also bricklike, so we were definitely thinking about Frank Lloyd Wright when we made the building. And, as he did, we were thinking about the … sense of compression where the building is wedded to the ground.

Tsien: We wanted to relate to the limestone buildings of the University of Chicago’s Neo-Gothic campus. At the same time, we wanted to say [that] we’re on the other side of the [Midway] Plaisance [from the main campus]; we’re a new building. So we looked for a limestone that was not the traditional Indiana limestone. We wanted something much more variegated in its color. There are tones of orange and gray; it’s much warmer.

How much of a free hand, or lack thereof, did the university give you in the design of the building?
Tsien: This was done through a competition. Many times in competitions, the buildings themselves are not exactly built. I think the basis of our scheme remained intact. The departments had strong needs. So we needed to balance their requirements with the idea of a sense of wholeness.

Williams: The number of arts elements that are packed together in this tight base and tower are amazing. If you were to really belt out music … [in a music ensemble room], the spaces adjacent would not hear it. You could have, next door, a dance performance going on, and you wouldn’t feel it. But you could go out into the hallway and have these two groups come together. So it was a struggle to put all these things together and have it be as technically advanced as it is.

How much did the views of the city factor in to how you shaped this space?
Williams: A lot. If we’re standing in a space looking north and east, we get to see [Lake Michigan]. But if you go to the other side of the building you’ll also see that we have interesting views to the south, so we’re trying to address both the life of the north of Chicago and the life of the south of Chicago, and make it come together here in the building. The building looks very solid on the outside, but as you walk through, you’ll find that really every space has some dramatic window that connects you to the outdoors.

What freedoms did this site across the Midway Plaisance from the campus core afford you?
Tsien: It allows us to break free of a Neo-Gothic style. It also [lets us] look back to the campus, but to the south as well. There are two front doors: the door that opens on the Plaisance and the door [that] opens onto the South Side. The entrance to the south is also a drop-off, and it leads to the main lobby of the three major performance spaces. This is a public entrance, and those are probably the most public aspects of the building. This is a kind of gateway … a kind of [a] door opening.

Williams: It may not seem that way now, but the reality is that the future of Chicago is actually in the South Side. And the University of Chicago recognizes that, both for itself and for the whole community.


Reva & David Logan Center for the Arts
Project Reva & David Logan Center for the Arts, Chicago
Client/Owner University of Chicago
Architect Tod Williams Billie Tsien Architects, New York—Tod Williams, FAIA, Billie Tsien, AIA (partners-in-charge); Philip Ryan, Felix Ade, Johnny Cho, Azadeh Rashidi, Brian Abell, Aaron Fox, Evan Ripley, Archana Kushe, Forrest Frazier, Annika Bowker, Aaron Korntreger, Aurelie Paradiso (design team)
Associate Architect Holabird & Root
M/E/P Engineer Ambrosino, DePinto & Schmieder
Structural Engineer Severud Associates
Civil Engineer David Mason Associates
Landscape Architect Hargreaves Associates
Lighting Design Renfro Design Group
Acoustics & Audiovisual Consultant Kirkegaard Associates
Theater Design Schuler Shook
Construction Manager Turner Construction
LEED Consultant Steven Winter Associates
Façade Consultant Axis Group
Elevator Consultant Van Deusen & Associates
Size 184,000 square feet
Cost $114 million

Materials and Sources
Acoustical Absorption Panels Fabric-wrapped panels in various colors
Exposed Concrete Sandblasted concrete (tower stair walls); terrazzo-style ground concrete (tower stair floors)
Exterior Cladding Earthworks (dolomitic limestone) ewgroupinc.com
Exterior Glass Transparent and mirror-coated glass panels arranged in various locations
Exterior Pavers Pietra Luna
Floors Natural cork (music practice rooms); Indonesian Merbau reclaimed wood (performance hall stage & performance penthouse)
Guardrails, Corner Guards, and Wall Panels Stainless steel with a hand-applied nondirectional finish; sandblasted glass panels with low iron content (guardrails on ground level)
Interior Felt Walls Tod Williams Billie Tsien Architects (design); Liora Manné (custom production) lioramanne.com
Interior Tiles Heath Ceramics heathceramics.com
Lighting Studio 1thousand (fluorescent lamp) studio1thousand.com
Mirrored Glass Panels Acid-edged and mirror-coated (back side) glass panels
Roofing Rheinzink (standing seam roofing) rheinzink.com
Wall Cladding Cherry veneer (performance hall); walnut veneer panels with custom-designed acoustical perforation pattern (performance penthouse)
Welcome Desks and Box Office Acrylic solid surface cladding
Wood Benches Solid cherry