FIVE STAIRS
DuSable…of
the sand… perishable, insignificant, thin, small, weightless, black
above all (in this case)… arriving here to find a new horizon, a
new life, like most of us, perhaps. What did DuSable think when he sat
foot on Lake Michigan's Shore? Would he have envisioned the landscape
of today? Did he arrive by foot, by horse, by carriage, by boat? How did
he arrive, and what were his thoughts, upon arrival? It is hard to know.
But it is not hard to imagine what he might have felt, if he was able
to witness, together with us, this miraculous meeting between land and
water, as it is today. Here, where the river meets the lake, and where
the city meets both.
This plot of land is, without doubt, prodigious and possibly prestigious.
The view towards the city is magnificent, inasmuch as the other way is,
towards the lake. And equally beautiful is the view of this place, as
seen from Navy Peer, announcing, as an indelible promise, the sailing
tour of Chicago. Here, at this juncture point between river, lake and
city. Here, in this highly charged place. The city is towards West, the
Lake towards East. And if there is any viable symbolism today, one that
speaks of flesh, not just of thought, what is the symbolism of these two
cardinal points, in this context?
I consider East as signifying a new beginning, hope. The new day starts at East. And it is towards East that I want my structures to rise: as a symbol of longing for a new life, which probably animated DuSable, inasmuch as us, perhaps. Longing for a new horizon, this is what looking eastwards might mean! And for looking eastwards I imagined five powerful stairs (five, as five are the fingers of the working hand, the hand which built the city), growing towards the sky and towards water. Moving towards them, together with the river. The sunrise is there and the generosity of water is there: both emblematic forces, nurturing and yeah saying, to say the least.
But then, after envisioning this new horizon, the adventurer-tourist-citizen-child (the dreaming, questioning and contemplative one), turns 180 degrees. And what he/she faces is the result of this quest and of this founding: the city, splendid in its hard won pride. The skyscrapers are there, beautifully aligned, in the sunset light. One cannot arrest the thought of the interlocking symbiosis between the first gesture, moving upwards and looking East, to begin anew, and the second one, turning around and looking West, towards that which years and years of inspired, dedicated work, did.
This double gesture I tried to express. The steps of the monumental stairs honor both the Water and the City. Sitting on them, as if in a tumultuous amphitheatre, one can contemplate the work of God and the work of man. It was DuSable who founded the city, and there were his followers who built it. Between them there is an inescapable congruence. The pioneer and his follower, the builder, are united in the symbolism of the stairs looking both ways. Under the arc of the sun, the lake, the river and the city witness the solitary or collective observer, asking again: where did all begin, and with whom? The five stairs grow towards the lake, and sunrise, but looking backwards, they wonder…
To Be More Precise…
The five stairs are actually nine, even if only five are truly asserting themselves. The other four are more like afterthoughts, filling in a space which otherwise would have been too aggressive visually, and functionally incorrect. These "other four" stairs are in fact small amphitheatres on their own, small alcoves open towards the lake.
In functional terms, this structure is in essence an outdoor amphitheatre, open to any activity which, formally or informally, might happen there: from an organized or spontaneous poetry reading, to a drawing class for children or adults alike, to a contemplative session of oriental leanings, or to just have lunch, facing a beautiful vista, many things are possible in this context. It will function as a dramatic and provocative forum, inviting to a variety of activities. Tourists might benefit from it too, this being a perfect stage for an introduction to the history and achievements of Chicago, a perfect place where they might be introduced, for the first time, to the name of Jean Baptiste Pointe DuSable.
As for the homeless people, or the less advantaged ones, this structure invites them too, as long as the city keeps it open and free, as it is desired. They might just lay there, in the sunlight, away from the harassments of the city, or take part, together with the more advantaged ones, in activities which might reduce, if not conquer, their a-social leanings. And who knows, maybe in such a context, a new Diogenes might be born, and even prosper, if indeed he would look for prosperity…
Dan Coma
Evanston, Il, USA
dancoma@yahoo.com