DigitalCommons@C.O.D.

Judd, Marisa

The Prairie Light Review
Volume 38 | Number 2 Article 66
Spring 5-1-2016
A Passing Dream
Marisa Judd
College of DuPage
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Recommended Citation
Judd, Marisa (2016) "A Passing Dream," The Prairie Light Review: Vol. 38: No. 2, Article 66.
Available at: http://dc.cod.edu/plr/vol38/iss2/66
A Passing Dream
Digital art
Marisa Judd
Prairie Light Review
58
1
Judd: A Passing Dream
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English

A Passing Dream

Calder, Douglas

The Prairie Light Review
Volume 38 | Number 2 Article 81
Spring 5-1-2016
The Flower
Douglas Calder
College of DuPage
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The Prairie Light Review by an authorized administrator of DigitalCommons@COD. For more information, please contact koteles@cod.edu.
Recommended Citation
Calder, Douglas (2016) "The Flower," The Prairie Light Review: Vol. 38: No. 2, Article 81.
Available at: http://dc.cod.edu/plr/vol38/iss2/81
The Flower
Douglas Calder
Years have been spent 
Searching for it 
And then I find 
The perfect flower 
  
I admire it 
And appreciate it 
For all that it has to offer 
  
But I do not protect it 
In fact, I pluck off petals 
And carelessly cast them aside 
  
In time of storm 
I do not shelter it 
Rather I protect another
I give my attentions to 
A less deserving flower 
Yet not a flower at all 
It is a weed 
Distracting me 
Poisoning me 
  
But the flower remains 
The petals it still carries 
Ravaged by winds of a storm 
It should never have been subjected to 
  
I return to the flower 
To tend to it 
To nurse it back to health 
  
Hoping it is not too late 
To salvage this once beautiful flower 
And all that it represents
She is With You
Bonniejean Alford
Her soul exists still, changed, 
merged with you as you breathe, in your thoughts. 
That warmth you feel in the morning, her smile. 
That shivering you feel from time to time, her tears at your sadness. 
That pressure on your arm, her hand providing comfort. 
  
Her love engulfs you, 
present in your heart, your soul. 
The storm of life may battle around you, but she is with you, 
protecting you with the thunder; 
cleansing you with the rain; 
Brightening your world with the sunlight. 
  
For now, oh loved one, live your life, even if you feel seemingly alone. 
You are not alone. 
She will forever be at your side, 
her form merely on another plane  of existence. 
One day, far in the future, you will join her there, 
and dance through eternity.
Prairie Light Review72 1
Calder: The Flower
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The Flower

Dalla Costa, Sarah  Sadie

The Prairie Light Review
Volume 38 | Number 2 Article 87
Spring 5-1-2016
World War I
Sarah "Sadie" Dalla Costa
College of DuPage
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Recommended Citation
Dalla Costa, Sarah "Sadie" (2016) "World War I," The Prairie Light Review: Vol. 38: No. 2, Article 87.
Available at: http://dc.cod.edu/plr/vol38/iss2/87
I stand at the battle grounds 
Seventy men shot down 
One my brother 
Three my friend 
Their bodies spilling color 
Vivid against dirt land, the bland grounds 
 
I leave the bodies to rot 
And load my weapon 
Eighteen minutes, says the general 
Eighteen minutes until scrambling 
Out of the trenches 
The general’s watch ticks but my time stiffens 
 
I inspect my feet 
Puss and cuts 
Curse the rats; 
Curse the lice 
Hatching against my skin 
A life of one can end another’s 
 
I watch smoke fill the sky 
A missile slams into an ally’s trench 
The goners, 
The poor troopers 
No, there’s no pity in war 
So lift your head towards heaven as the world darkens 
 
Ten minutes, says the general 
I vomit in the trench 
Seven minutes 
My knees shake 
Three minutes 
A prayer for my mother
Tears for my sister 
One minute 
A breath for the world 
Now! 
Time unfreezes and speeds 
Everlasting time as I dangle over death
World War I
Sarah “Sadie” 
Dalla Costa
Spring 2016 771
Dalla Costa: World War I
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World War I

Loverher, Julie

The Prairie Light Review
Volume 38 | Number 2 Article 88
Spring 5-1-2016
Introducing - Humans of DuCo
Julie Loverher
College of DuPage
Follow this and additional works at: http://dc.cod.edu/plr
This Selection is brought to you for free and open access by the College Publications at DigitalCommons@COD. It has been accepted for inclusion in
The Prairie Light Review by an authorized administrator of DigitalCommons@COD. For more information, please contact koteles@cod.edu.
Recommended Citation
Loverher, Julie (2016) "Introducing - Humans of DuCo," The Prairie Light Review: Vol. 38: No. 2, Article 88.
Available at: http://dc.cod.edu/plr/vol38/iss2/88
Introducing - Humans of DuCo
Each person has their own unique story that is in its own way interesting 
and inspiring. Like Humans of New York - PLR presents Humans of DuCo, 
telling the stories of the people of DuPage County one at a time.
Sam
“I never know if I am giving too 
much of myself to someone.  I 
never give up on people.  I’m the 
kind of person who is always 
there for people, you could run 
me over and I would probably 
still try to help you. I had a hard 
time giving up on someone I 
loved more than myself. I left  
them, at three in the morning, to 
go home. I found myself on the 
way back, it was a beautiful drive, 
what a sunrise.” 
Story by Julie Loverher
Photography by 
Katharine Gilbert
Talking whilst we wait 2016Photography by Katharine Gilbert
Story by Julie Loverher
I was born and raised in Chicago, and now 
live in Wheaton. My grandfather was a 
Hungarian that got deported to Cuba back 
in the early 1920's, who then came into this 
country a year and a day later, legally, with a 
letter of recommendation from the head of 
the American Consulate in Havana. I men-
tion this because my grandfather was a great 
infl uence on how I treat people - there's 
no telling what can be accomplished with 
a good story and a kind heart. I learn a lot 
from listening to "common" people, and, like 
Studs Terkel, whom I've met once briefl y, 
I've learned that most "common" people are 
very uncommon and interesting. Th e only 
struggles I've been through worth mention-
ing is being mistaken for just about every 
minority imaginable, so I've experienced an-
ti-Semitism, racial profi ling, ethnic profi ling, 
Christian-bashing and Catholic bashing. 
Prairie Light Review78 1
Loverher: Introducing - Huma s of DuCo
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Introducing - Humans of DuCo

Peter, Amy

The Prairie Light Review
Volume 39 | Number 1 Article 27
Fall 12-1-2016
Rome
Amy Peter
College of DuPage
Follow this and additional works at: http://dc.cod.edu/plr
This Selection is brought to you for free and open access by the College Publications at DigitalCommons@COD. It has been accepted for inclusion in
The Prairie Light Review by an authorized editor of DigitalCommons@COD. For more information, please contact koteles@cod.edu.
Recommended Citation
Peter, Amy (2016) "Rome," The Prairie Light Review: Vol. 39 : No. 1 , Article 27.
Available at: http://dc.cod.edu/plr/vol39/iss1/27
Rome 
 
I want to see Rome. 
Long to experience its beauty and magic. 
I want to go on a random adventure 
no cares except exploring the world around me. 
I want to really fall in love for the first time, 
this time with someone who won't break my heart. 
I want to be truly happy, 
even just for a moment. 
There are a few things on my bucket list. 
Not very many, but things I've long dreamed to see and feel. 
I want adventure, 
I want to find true love, 
I want to be happy, 
I want to see Rome.
“S
pa
ce
 an
d 
Ti
m
e”
Ru
bb
er
 st
am
ps
 an
d 
dy
e i
nk
s o
n 
gl
os
sy
 st
oc
k 
by
 M
ar
ge
 D
ad
y
Amy Peter
20  Prairie Light Review
1
Peter: Rome
Published by DigitalCommons@COD, 2016


Rome

Alford, Bonniejean

The Prairie Light Review
Volume 39 | Number 1 Article 37
Fall 12-1-2016
the nightmare
Bonniejean Alford
College of DuPage
Follow this and additional works at: http://dc.cod.edu/plr
This Selection is brought to you for free and open access by the College Publications at DigitalCommons@COD. It has been accepted for inclusion in
The Prairie Light Review by an authorized editor of DigitalCommons@COD. For more information, please contact koteles@cod.edu.
Recommended Citation
Alford, Bonniejean (2016) "the nightmare," The Prairie Light Review: Vol. 39 : No. 1 , Article 37.
Available at: http://dc.cod.edu/plr/vol39/iss1/37
The soul battles, 
longing for freedom 
from the horrors that bound it. 
Yet, the nightmare lingers; 
even as joy seems just within reach. 
  
Haunted by memories 
no child should know; 
scarred by hate and ugliness, 
held paralyzed by emotions, 
lost in the weight of the rain.   
No rainbow in sight. 
A once and future prisoner, 
captive to the promises made in love and 
duty. 
The nightmare scoffs at the loyalty, 
given freely to those which give not. 
  
Moments stolen by someone else’s power. 
A legacy persists that isn’t deserved; 
but hate remains not. 
For even just a glimmer of hate 
locks chains around the soul, 
hindering movement and purpose 
and denies the future its rightful 
place. 
  
A destiny of revelation 
shines the path with lightening ever 
bright. 
A journey of healing traverses, 
step by step, choice by choice. 
Only the thunderstorms of life offer 
comfort, 
serving as a reminder that good 
remains. 
  
Choice the weapon of need 
And words the teller of stories. 
Forgiveness is the key! 
Released into hope, 
an unknown freedom awaits. 
Shedding the nightmare of its power 
And the memory of its pain. 
“the nightmare” 
U
nt
itl
ed
Ch
ar
co
al
 D
ra
w
in
g 
by
 E
un
ic
e M
el
ar
a
Bonniejean Alford
 27  Fall 2016
1
Alford: the nightmare
Published by DigitalCommons@COD, 2016


the nightmare

Miklosz, Molly

The Prairie Light Review
Volume 39 | Number 1 Article 43
Fall 12-1-2016
Great Mind
Molly Miklosz
College of DuPage
Follow this and additional works at: http://dc.cod.edu/plr
This Artwork is brought to you for free and open access by the College Publications at DigitalCommons@COD. It has been accepted for inclusion in
The Prairie Light Review by an authorized editor of DigitalCommons@COD. For more information, please contact koteles@cod.edu.
Recommended Citation
Miklosz, Molly (2016) "Great Mind," The Prairie Light Review: Vol. 39 : No. 1 , Article 43.
Available at: http://dc.cod.edu/plr/vol39/iss1/43
Mr. Nobody 
  
If I’m like my father I must not love my mother. 
If I’m like my sister I must not matter. 
If I’m like my brother I must not lose. 
If I’m like my mother I must lie. 
But if I am me I know I’m Nobody. 
  
G
re
at
 M
in
d
Pe
n 
D
ra
w
in
g 
by
 M
ol
ly
 M
ik
lo
sz
Sammy Jaber
30  Prairie Light Review
1
Miklosz: Great Mind
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Great Mind

Pollack, Jon

ESSAI
Volume 14 Article 30
Spring 2016
A Dinner to Remember
Jon Pollack
College of DuPage
Follow this and additional works at: http://dc.cod.edu/essai
This Selection is brought to you for free and open access by the College Publications at DigitalCommons@COD. It has been accepted for inclusion in
ESSAI by an authorized editor of DigitalCommons@COD. For more information, please contact koteles@cod.edu.
Recommended Citation
Pollack, Jon (2016) "A Dinner to Remember," ESSAI: Vol. 14 , Article 30.
Available at: http://dc.cod.edu/essai/vol14/iss1/30
112 
A Dinner to Remember 
 
by Jon Pollack 
 
(English 1101) 
 
 
 
n 2010 I was deployed with the Army to Afghanistan.  My temporary home was a dusty, desolate 
outpost in the badlands south of Kandahar City.  The year spent at war was full of memorable 
and vivid experiences, some less pleasant than others.  Reflecting back on my time spent 
overseas one particularly bizarre episode often sticks out.  I once had to eat an entire dinner of raw 
sheep fat and pretend to enjoy every bite.  The trauma and hilarity of choking down the gelatinous 
goo became a bonding experience forged through shared suffering. 
 Random events led me, as they so often do, inextricably to my fate.  I was sleeping in one 
morning when I awoke inside my tent in an uncomfortable lather of sweat.  Normally the sleeping 
tents had been well cooled so I investigated outside, finding the generator busted.  It had been an 
unfortunate day for it, as the stifling desert sun raised the temperatures well north of 100 degrees.  
Worst still, by going outside my tent I had dangerously exposed myself to the most feared threat on 
base: being assigned a task by our company First Sergeant.  My naiveté had doomed me, as the First 
Sargent picked me off like a wounded antelope, informing me that I would be filling in for the 
normal radio operator in the command tent.  The normal radio guy, rather ironically as it turned out, 
was down with food poisoning. 
 My day inside the command tent started with the sort of mind numbing boredom that so often 
characterizes military life.  My task was to man the radio, keeping track of our patrols out in the 
villages.  The guy next to me stared at the camera feed that overlooked our base for several miles in 
every direction, keeping an eye out for anything out of the ordinary.  Every 2 hours we would switch 
tasks, in an effort to stave off monotony-induced insanity.  After what seemed an eternity, we got a 
call from a guard tower; the malik (mayor) of the adjacent town had come to the base.  Through an 
interpreter the malik communicated that he had brought dinner to share with the leaders on our base.  
Our mission in Afghanistan was highly contingent on building relationships with the local villagers. 
This was the first time the leadership of a neighboring village had approached us, and so it was a 
pretty big deal to our company’s leadership group.  Building a strong rapport during this dinner was 
significant certainly it wouldn’t be some casual dining experience.  My company commander, first 
sergeant, and all the present lieutenants gathered to meet the malik.  It was at this moment my fate 
was sealed.  My commander looked at me, remembering that I enjoy the local cuisine more than 
most, and invited me to take a break from boredom and join them for dinner.  I happily accepted the 
invitation. 
 We all filed into the tent to meet the malik.  He was a middle aged man dressed in traditional 
Afghani robes, with an unkempt beard ceremoniously died red, as was their custom.  We were seated 
around the floor in circle of 6 or so people.  The malik then reached into his sack and removed what 
was to be our dinner:  Red, raw, shimmering, hunks of unknown ostensible meat product.  The rest of 
us looked at each other wide-eyed in fear.  We had never seen anything like it in our time in 
Afghanistan before.  Sadly it was too late to beg off without insulting our guest.  He placed a portion 
of meat in front of each guest, careful to give me the most rancid looking piece of all, as I was clearly 
the junior member of our group.  We had no choice but to give in.  The commander made retching 
noises as he choked down each piece, relaying through the interpreter that this was merely an 
American custom of appreciation.  One young lieutenant made a great effort to methodically dispose 
of his dinner piecemeal under the rug in front of us.  For my part, I was determined to hold a brave 
I
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113 
face in front of higher ranking members of my unit.  Each oily bite slid down my throat leaving an 
indescribably foul after taste.  After 15 minutes or so of waging a great battle in the name of 
politeness, we all slowly slipped away in order to evacuate our meals into the nearest latrine.  It was 
weeks before I could eat any other food without having revolting flashbacks to the infamous sheep 
fat.  Whenever I crossed paths with another member of the dinner party we would exchange 
disgusted, knowing looks. 
 Just a few months after returning from Afghanistan I was discharged from the military.  
Sadly, I would soon be reunited with my company on the occasion of a funeral for one of our 
comrades.  We gathered in New York for what would surely be the last time the whole crew was 
back together.  We all drank and traded war stories, as soldiers do.  But what I found was that I had 
forged a lasting connection with the guys I had shared the worst supper with.  Though they were 
officers and senior non-commissioned officers, and I was but a lowly grunt, we could not stop 
reminiscing about that evening.  The cruel memory had faded into a mere joke.  In the end, the 
suffering and absurdity we had experienced swallowing rancid lard had managed to transcend rank 
and status, and form a common bond. 
 
 
 
2
ESSAI, Vol. 14 [2016], Art. 30
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A Dinner to Remember

York, Jane

ESSAI
Volume 14 Article 42
Spring 2016
How Chicago’s Architectural Style of Today
Developed from The World’s Columbian
Exposition of 1893
Jane York
College of DuPage
Follow this and additional works at: http://dc.cod.edu/essai
This Selection is brought to you for free and open access by the College Publications at DigitalCommons@COD. It has been accepted for inclusion in
ESSAI by an authorized editor of DigitalCommons@COD. For more information, please contact koteles@cod.edu.
Recommended Citation
York, Jane (2016) "How Chicago’s Architectural Style of Today Developed from The World’s Columbian Exposition of 1893," ESSAI:
Vol. 14 , Article 42.
Available at: http://dc.cod.edu/essai/vol14/iss1/42
159 
How Chicago’s Architectural Style of Today Developed from 
The World’s Columbian Exposition of 1893 
 
by Jane York 
 
(English 1102) 
 
 
 
hicago is one of the rare cities that showcases the spirit and culture of its residents in its center 
with gusto and various towering giants of buildings that came from small men. It is the 
Americana style in all of its glory, the streets filled with accompanying sense to enrich a 
visitor’s gaze of the scene. Chicago is a wonderful example of American urban and modern 
architecture, if not possibly the best city to visit in order to really understand how the United States 
developed Post-Industrial Revolution. Chicago, over the years, has not been afraid to showcase both 
the past and the present alongside each other in harmony. Any resident of Chicago should know the 
rich history and culture that has inched along the grand expanse of Lake Michigan, because it is 
indeed one to be proud of. However, the grand architecture of Chicago did not appear overnight, but 
it did have a major catalyst: The World’s Columbian Exposition of 1893. It was there among the 
great Chicagoan architects that the city truly gained a unified vision that it still upholds today. The 
World’s Columbian Exposition of 1893 elevated Chicago’s architectural style into a well-mixed 
blend of innovation and neoclassicism— rebuilding Chicago from the charred ruins of the Great 
Chicago Fire of 1871 inspired Chicago visionaries to spread their creative wings and showcase all of 
their talents in one place.  
 The World’s Columbian Exposition was a great opportunity for Chicago to showcase its 
power as a major US city; in 1880 it was the fourth largest city with a population of half that of New 
York City’s, 500,000 people (US Census). Chicago was one of the fastest cities to grow in the United 
States in the 19th century. The most influential fair beforehand had been the Paris Exposition of 1889 
that wowed all visitors and brought Paris world-wide acclaim. The shining beacon of the fair had 
been the Eiffel Tower, and the Chicago Council wanted to replicate that by building a revolutionary 
monument of their own (Larson 34). 
 The key catalyst that drove Chicago’s officials to host the World’s Columbian Exposition 
was, not surprisingly, the Chicago Fire of 1871. The fire itself caused 2,000 acres of damage in the 
heart of the city (Zukowsky and Brueggman 18). While it caused irreparable physical and financial 
damage, the fire was viewed as a bitter-sweet blessing to others, mainly architects and who jumped at 
the newly-rise opportunities with a wolf-like hunger (Zukowsky and Brueggman 18). Immediately 
after, reconstruction was kick-started by ambitious builders, but temporarily halted by the predictable 
economic panic and depression of 1873-1874 (Zukowsky and Brueggman 19). All in all, it was no 
wonder that Chicago’s tycoons and own mayor, Carter Harrison, jumped at the opportunity to 
reclaim Chicago’s honor by hosting the World’s Columbian Exposition.  
 Before the Chicago Fire of 1871, Chicago was not seen as the planned and architectural hub 
that it is today. Because the city changed so quickly, from a fur trader outpost in the early-middle 
19th century to a major urban center in the late 19th century, structure was mostly built on wood and 
was often not structurally sound in terms of surviving a catastrophe like The Fire (Zukowsky and 
Brueggman 36).  The Inbound Freight House of the Illinois Central Railroad1 and The Water Tower2  
 
  
1 See Appendix Figure 1.1 
2 See Appendix Figure 1.2 
C
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York: How Chicago’s Architectural Style of Today Developed
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160 
in the heart of present Chicago’s shopping district are one of the only buildings to survive into the 
present day (Condit 8). Even so, the buildings did not avoid complete destruction without some 
damage– the Inbound Freight House was originally built in 1855, and yet its interior, which was 
made of wood, had to be replaced immediately after (Condit 8). Conversely, the Water Tower 
Building was built just before the Chicago Fire in 1869 but did not suffer as much damages as The 
Inbound Freight House. 
 The biggest key players in the World’s Columbian Exposition are even today big Chicago 
names. The Chicago Council that oversaw the Exposition appointed renowned Chicago architect 
Daniel Burnham along with his partner John Wellborn Root to oversee the architectural composition 
of the fair (Larson 36). Although Root died shortly after in 1891, two years before the fair, Burnham 
made sure that his legacy was felt and often referenced his dear friend in the Fair’s making. Their 
architectural firm, Burnham & Root, was rivaled by the other big company in town: Adler & 
Sullivan. Although their ideologies were not mutually compatible– especially in the fair where 
Burnham had the upper hand– their influence after the Fair was palpable. The other major architect 
was actually not even a Chicago resident: Frederick Law Olmsted was Burnham’s prime recruiting 
target, based on his talents as a landscape designer. In fact, he was the man who planned Central Park 
in New York City (Larson 50). 
 Daniel Burnham and John Root were an unstoppable duo in the Chicago architectural scene. 
It was Burnham himself who was chosen to lead the other architects into a unified vision of the fair.  
His style was much more classical than, for example, Louis Sullivan’s. In fact, Burnham willingly 
wove a unified style of Neoclassicist elements in the Fair, which was favored by the East Coast– 
theirs was the style to be emulated if the need was to showcase respectability and grandeur (Condit 
112). Indeed, Burnham was a stickler for translating classical elements into modern high-rise 
buildings; this outlook earned him bitter criticism from Sullivan who believed that he hindered 
Chicagoan architectural evolution (Zukowsky and Brueggman 112). Of all the buildings conceived 
by Burnham, “...nearly all relied on the classical tradition for their formal character,” (Zukowsky and 
Brueggman 112). One of Burnham’s primary influences was French architecture and although he 
himself did not design any building featured in the Exposition, he made sure that they all adhered to a 
somewhat united classical style (Zukowsky and Brueggman 22). 
 On the other hand, Louis Sullivan was an up-and-coming architect that wanted to push the 
boundaries of architectural style, in a way that would have been called ‘avant-garde’ in his time. 
Sullivan’s biggest commissions came when he was partner to Dankmar Adler, another successful 
architect. They were assigned to build the Transportation Building3 (Nickel 83). Though sadly this 
building did not survive after the fair like some other did, it was a magnificent display of Adler & 
Sullivan’s capabilities. It was a long rectangular shape whose primary focal point was the Golden 
Door4 (Nickel 83) it was cast in cement plaster (reinforced with jute) that led to creating 
embellishments such as “...planar surface of rhythmic architectonic forms such as arches, spandrels, 
and lintels.” (Nickel 83) This easy material led Sullivan to decorate the facade even further with 
easily applicable stencils decked in bold colors that were sadly not translated into the photographs 
taken. (Nickel 385) Because the building lined the right side of the fair’s pool, it made quite an 
impressive reflection upon the surface when the waters calmed. 
The final star of the show was Frederick Law Olmsted, the acclaimed landscape architect of 
the East Coast. Daniel Burnham personally sought him out to see if he would take the job, that was 
how much he was in vogue at the time (Larson 51). In fact, Burnham respected his opinion and  
 
  
3 See Appendix Figure 1.3 
4 See Appendix Figure 1.4 
2
ESSAI, Vol. 14 [2016], Art. 42
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161 
vision so dearly that Olmsted got the honor of picking the Fair’s location, which was in Jackson Park 
in Chicago’s South Side (Larson 54). Olmsted supported Burnham’s vision of a Beaux-Arts style 
Fair wholeheartedly and planned the layout and decorations of the landscape accordingly (Schuyler 
4). He made the landscape come to life by finding a balance between the natural world and the 
illusion of The White City (Schuyler 5). 
 One of the biggest influences the World’s Columbian Exposition had was in following 
through with the already explored style and distributing it to the actual city of Chicago. During this 
period (non-coincidentally) The City Beautiful movement was gaining huge traction, especially in 
Chicago. When developing the layout of the Fair, both architects and landscape designers came 
together and united their ideas into what they would consider proper features of a great city such as 
Chicago (McGabe 125). It was from this time period that Chicago’s iconic lakefront park expansion 
was dreamed up and accomplished– this impressive waterfront is why many consider Chicago’s 
views that are wholly unobstructed by high-rises to be one of the most beautiful in America (McGabe 
131). The other aim of the City Beautiful Movement was a proposal for Chicago to be 
mathematically and aesthetically planned out to be both economically and visually useful. In fact, it 
was Chicago’s golden boy Daniel Burnham who wrote a book in 1909, Plan of Chicago (McGabe 
131). His plan is the reason why today Chicago has wonderful preserved parks, a more finely-
constructed transportation system, and the Loop’s layout as the heart of the city (McGabe 132). 
 Only a few buildings from the fair have survived to this day, as they were planned to be 
temporary structures. The building that was used as The Palace for Fine Arts5 is now Chicago’s 
Museum of Science and Industry. Chicago’s residents can also still come to the former World’s 
Congress Auxiliary Building6, which now sits at the cross between Adams street and Michigan 
avenue – now, it is repurposed as The Art Institute of Chicago. Of course, these two major buildings 
had to be rebuilt from more sturdy materials, as their original ones would not have lasted into this 
day and age (Larson 348). Even so, both of these buildings are renowned for being one of the first 
buildings that come to people’s minds when talking about great Chicagoan architecture. 
 Chicago’s World’s Columbian Exposition of 1893 was the architectural version of a 
renaissance in one of America’s greatest cities. Like a phoenix born anew from flames, so too did 
Chicago rise from the Great Chicago Fire of 1871 to rebuild an even greater city, with even more 
spectacular buildings. Because so many architects could come together in a short amount of time to 
the Fair, they could (and did) put all of their collective talents into one pot to create a unique and 
monumental Chicago style of architecture. This is the reason why today, Chicago is one of the best 
cities to walk around in, a great city for seeing jaw-dropping scenic sights, and one where 
architecture has inspired people as much as people have inspired it. Many other American cities have 
been ashamed of their industrial past, but the beauty to Chicago is that it showcases the past side-by-
side with the present to create a cohesive and historically-rich environment. To walk through 
Chicago’s streets is to feel the city’s spirit just by sight when standing in the shadow of people’s sky-
soaring visions that came to life. 
 
 
 
 
 
 
  
5 See Appendix Figure 2.1 
6 See Appendix Figure 2.1 
3
York: How Chicago’s Architectural Style of Today Developed
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Appendix 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Figure 1.1: The Inbound Freight House of the Illinois 
Central Railroad. (Taken from Flickr.com) 
 
 
 
 
 
 Figure 1.2: The Water Tower (Taken 
 from Emily Upton) 
 
 
 
 
 
 
 
 
 
Figure 1.3: The Transportation Building (Taken 
from Flickr.com)  
 
 
 
 
 
 Figure 1.4: The Golden Door (Taken from Flickr) 
 
4
ESSAI, Vol. 14 [2016], Art. 42
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Figure 2.1: The Palace of Fine Arts, now The Museum of Science and Industry (Taken from Flickr) 
 
 
 
  
Figure 2.2: The World’s Congress Auxiliary Building, now The Art Institute of Chicago (Taken 
from Google Earth) 
 
5
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164 
  
 
Works Cited 
 
Condit, Carl Wilbur. The Chicago School of Architecture: A History of Commercial and Public 
Building in the Chicago Area, 1875-1925. Chicago: University of Chicago Press, 1973. Print. 
Larson, Erik. The Devil in the White City: Murder, Magic, and Madness at the Fair That Changed 
America. New York: Vintage, 2004. Print. 
McGabe, Matthew P. “Building the Planning Consensus: The Plan of Chicago, Civic Boosterism, 
and Urban Reform in Chicago, 1893 to 1915.” American Journal of Economics and 
Sociology 75.1 (2016): 116-48. Print. 
Nickel, Richard, et al. The Complete Architecture of Adler & Sullivan. Chicago: Richard Nickel 
Committee, 2010. Print. 
Schuyler, David. “Frederick Law Olmsted and the World’s Columbian Exposition.” Journal of 
Planning History 15.1 (2014): 3-28. Print. 
“Table 11. Population of the 100 Largest Urban Places: 1880.” United States Census Bureau, US 
Bureau of the Census, 15 June 1998, 
www.census.gov/population/www/documentation/twps0027/tab11.txt. 
Zukowsky, John, and Robert Bruegmann. Chicago Architecture, 1872-1922: Birth of a Metropolis. 
Munchen: Prestel-Verlag, 1987. Print. 
 
 
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How Chicago’s Architectural Style of Today Developed from The World’s Columbian Exposition of 1893

ESSAI
Volume 14 Article 43
Spring 2016
Tribute to Faculty
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Recommended Citation
(2016) "Tribute to Faculty," ESSAI: Vol. 14 , Article 43.
Available at: http://dc.cod.edu/essai/vol14/iss1/43
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Tribute to Faculty 
 
We warmly pay tribute to all submitting instructors, past and present. 
Their dedicated and inspired teaching has contributed to 
the successful publication of their students’ work 
in ESSAI Volume I through Volume XIV. 
 
Deborah Adelman 
Scott Albert 
Jim Allen 
Kathleen Altman 
E. Bates 
Patty Benson 
Raymond Benson 
Brian Blevins 
Scott Boyd 
Franz Burnier 
Allan Carter 
Tom Carter 
Nancy Conradt 
Trisha DeWitt 
Sue Dreghorn 
Barbara Eaton 
Linda Elaine 
Helen Feng 
Clarice Foland 
Aleksandra Galus 
Bob Georgalas 
Julie Gibbs 
Gloria Golec 
Ida Hagman 
Naheed Hasan 
Lisa Higgins 
Connie C. Howard 
Bill Hussong 
Richard Jarman 
Ellen C. K. Johnson 
Daniel Kies 
Dennis Korneff 
Kristopher Kowal 
Keith Krasemann 
Chikako D. Kumamoto 
Deb Lantermo 
Hina Latif 
David Leary 
Freyda Libman 
Lynn Mackenzie 
Sarah Magin 
James M. Magrini 
Heather Maher 
Anne C. Malone 
Nicole Matos 
Jackie McGrath 
Samuel Mitrani 
Christine Monnier 
Katie Nagel 
Nick Obradovich 
Karen Persky 
Chris Petersen 
Kamelia Popova 
Loretta Pyrdek 
Eva Maria Raepple 
Lynda Randa 
Kent Richter 
Carol Riphenburg 
Shamili Sandiford 
John Santiago 
Steve Schroeder 
Hema Shende 
Dale Simpson 
Jason Snart 
Alice Snelgrove 
Susan Stamler 
Lois Stanciak 
Jodi Stapleton 
Carol Strelczyk 
Kathleen Szeszol 
Thomas Tallman 
Beth Vlad 
Diane Wawrejko 
Ben Whisenhunt 
Liz Whiteacre 
James Wies 
Keith Yearman 
1
et al.: Tribute to Faculty
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