Chicago Merchandise Mart

From the outside, the Merchandise Mart stands on the Chicago River as the hot spot on the architectural boat tour. Designed by Alfred Shaw, the Mart embodies the qualities of pure architectural genius: ribbon piers, corner pavilions, bronzed framed window displays, marble storefronts, a terrazzo floor. Together, these elements form representations rendering the Mart a warehouse, a department store, a skyscraper, and an architectural landmark. Inside, the Mart houses the most prominent showrooms of the most successful designers in fabric, kitchens, bathrooms, furniture, trimming, etc. Beyond being the largest mart in the United States, (and second largest building only to the Pentagon) the Merchandise Mart facilitates the trade of ideas, materials, and networks all over the world. The Mart has established itself as a leader in design by piloting the world of architecture and interior style.

In 1925, the Merchandise Mart began marketing support of showrooms as a means of displaying materials. These showrooms contain samples of the products available to buyers. The intended purpose of creating a home for hundreds of showrooms was to centralize America's wholesale goods by placing them all under one roof. For the last fifty years, the Merchandise Mart Properties, Inc. (MMPI) has established themselves as both a property manager and a trade show producer, successfully leading through profitable example. Their philosophy stands in partnership marketing, they say, "as partners with our showrooms and exhibitors, MMPI's success is based on their success and we construct out marketing programs as a platform on which they can build their own events." The showrooms are the foundation in which results are formed and conveyed to consumers and clients. By creating an environment that brings people in to the showrooms, the companies are thriving with greater revenue.

MMPI communicates its results effectively, but does so in less obvious ways. Their ample earnings are visible by the success they have in tactfully displaying specific leaders in design such as Brunschwig & Fils, Donroven House, Waterworks, and Christopher Peacock. Because MMPI has done a remarkable job of consolidating the most prestigious designers under one roof, they are able to attract upcoming successors, and house them in the thriving market. And, MMPI is steadily improving with higher earnings year after year. In December of 2003, the cash flow for MMPI was $320,542,000, and it jumped to $599,282,000 by December of 2004.

To demand such admiration is understandable. MMPI has earned the respect and recognition from the United States as the primary leader in architectural and interior design. The concentration of all leaders in design to be under one roof is an intelligent way for MMPI to claim the spot so highly regarded in designers minds. MMPI has communicated their results not only by spelling it out in a 10K report, but also unintentionally portraying success in the desire for new showrooms to earn a spot in the prestigious and beautiful landmark of Chicago's Merchandise Mart.

Mile Redd-Interior Designer

Well, we met while sitting on the beach in Jamaica. Miles was reading Angels and Demons, and I was cruising through The DaVinci Code. He turned to me and insisted that his selection was better, while I begged to differ. We discussed odds and ends of our homes, families, and interests. Not once did he mention his prestige or occupation. Not once was it alluded to the fact that Miles Redd is one of the most accomplished and distinguished interior designers in New York. He is the rising-star decorator of choice for clients who want "the trappings of tradition in a vivid modern frame."

Miles Redd, director of Oscar de la Renta Home, is not only a genius of color, fabric, pattern, medium and layout; he is also the epitome of a Level 5 Leader in contemporary interior design. He is highly capable, a contributing team member, a competent manager, an effective leader, and displays the perfect blend of professional will and personal humility. To achieve such leadership status as a designer is difficult due to the intricacy and personal focus of the job. However, Redd's work ethic and personability render him a master of professional will. He demonstrates unwavering resolve to do whatever must be done to produce the best long-term results, no matter how difficult. By personally returning every phone call, and accepting the ever repetitive rejection as his own doing, Redd has establishes himself an approachable leader.

Miles Redd perfects the challenge of such a demanding occupation by acting with "calm determination" and relying "on personal standards". He appoints credibility to those who work under him, and humbles his own ideas. When the going gets tough, and clients are not following his vision or plan, Miles is never one to blame another. He will gather up his employees, and enjoy the challenge of dealing with those less visual.

With ample windows and mirrors (as seen by the bathroom in his New York townhouse) being a constant in Redd's plans, it is obvious that he has mastered the ability to look through both. By looking in a mirror, Redd takes responsibility for poor results and bad luck. While looking out the windows of his breath-taking rooms, apportions credit for the success of the company--to other people around him and to mere good luck.

Synthesizing the Personal Quadrant

In the field of architecture and design, there are several characteristics a CEO must possess. Primarily, a leader of an architecture or design firm should have an eye for the style I find appealing. In my opinion, it would be counter-productive to work under someone who does not agree with me and share my common vision for how things should look. On the other hand, he should still provoke new ideas, challenging me to research and design innovative projects. He should be able to create an environment in which it is easy to work and envision, while at the same time be productive. The CEO should know what it takes to be successful; he should manage both my emotions, and those of the client, when it comes down to the stressful time crunch or unavailability of materials. Exhibiting disciple and time management are necessary in order to keep employees in line and on track. With such a growing market of designers, and the demand for specific styles, it is vital that the CEO can possess a managerial skill set that is advanced and ready for competitors and changing trends. He must hire qualified designers who are overachievers like myself. While I understand being an overachiever can be harmful to a company, I feel that in the design world it is important to have people who will only settle for better than the best. In everything I do, I put in my best effort. After I have given my best, I then review and correct faults and improve on where I may have weaknesses. Only then do I know that I have achieved the closest to perfection; I want to work with others who possess a common motivation and determination. My ideal CEO would be educated in the beautiful works of the Renaissance, and have the talent necessary to produce plans that are influenced by these works, yet still popular in the modern world. As a CEO of a design company, charisma and the ability to sell yourself are important in keeping accomplished employees, as well as gathering a plethora of clients. Thus, the most important characteristic of my ideal CEO would be novel creativity. I want to work under someone who dazzles and surprises me with the ideas and visions he has. I want to go to work each day excited about my various projects, honored to be working for such a noble man, and challenged to put my best, and most chic, foot forward.

Background Information

Welcome to my blog, the place where I will discuss my deep interest and love for design. Ever since I was a little girl, sitting in my kitchen doing crafts with my mom, I have enjoyed using my imagination to create things the way I envision them. My desire to use this foundation developed after having the privilege to visit some of the most awe-inspiring places throughout the United States, Italy, England, and France. I've walked miles and miles, soaking up culture, landscape, architecture, and museums. Among other things, these travels have instilled in me the desire to pursue architecture and design, an interest that begins with my appreciation for the magnificent landmarks of my hometown, Chicago. It bothers me that in this country, so much of our history is being torn down, replaced my incongruent styles of architecture that mar the scene. While I embrace the new vision, I never want to lose sight of the classical purity of the past, and i would incorporate this perspective in my work.

While my personal preference for design lies in the classical ideals developed during the Renaissance, a modern leader whom I respect for breathtaking architecture and design is Frank Gehry. Gehry designed the nationally renowned Pritzker Pavilion, located at Millennium Park in Chicago. The outdoor concert setting is both functional and aesthetically pleasing, the most important duality for a respected architectural work. Motivating Gehry's revolutionary design was the rewarding desire to envision something, execute it, and then watch others enjoy his work. He wanted to make a place where every visitor felt as though he was the only one that mattered. Gehry said, "How do you make everyone - not just the people in the seats, but the people sitting 400 feet away on the lawn - feel good about coming to this place to listen to music? And the answer is, you bring them into it. You make the proscenium larger; you build a trellis with a distributed sound system. You make people feel part of the experience" (www.millenniumpark.org, 1/22/07). This statement confirms that Gehry is in the economic archetype, including the foundation leading to that authority. Using the power of land, Frank Gehry created a monument that can be seen from miles away; the Pritzker Pavilion is located in the heart of Chicago, and is the most suggested place to see upon visiting the city. The political archetype is fulfilled by Gehry's intention of creating a place where people could go together to relax and enjoy one another's company. In addition to his benefactors forming relationships as a result of his work, Gehry has established himself as a prominent leader in architecture and has made the necessary associations and gained the respect of others in his field. While others may not immediately notice the powerful significance behind the sweeping curves and overwhelming size of the pavilion, one must recognize that any designer uses personal meaning to develop a specific vision. One must accept that the artist is not just putting lines together to form a sketch, but is employing his ideals of beauty and purpose. Finally, Gehry illustrates the economic archetype with the power of knowledge. He has dedicated his life to the education of design and understands what constitutes marvelous architecture. Frank Gehry stands out as a principal, displaying the principles behind revolutionary work and design.