These watchman river station projects are direct regressions of new pathologies. They mathematically attempt to define a crystallization of self-mutating contexts and stimulate new artificial zones. Accessible bridges tend to share isolating pathways. Comparing bridges that contract, expand, and read as sculptures give prevalence to uncasing the mysteries behind technological servitude and man made constructions. These projects are disguised in electronic truths, projected scenarios, personified auras, and ever-adaptive systems of reference. These projects are pavilions that route people to respond and react. They are fore runners of a detached bridges and gates. The configurations are attempting to make redundant mutations while capturing specific programs. The built environment of Chicago sustains a sophisticated and heroic architectural existence. This constructed fractal city can be described as a dramatic theater of production(s) and negotiation(s). The city’s factual reality creates afterthought moments where aggressive buildings narrate and perform in stage-like spectacles. For example, the transitioning buildings castled around Grant Park formally remain directed to a proscenium and shadow an audience of intrigue. Another inherent example is the reciprocal skyline of the city. It lifts its favorite actress (the Sears tower) in a frozen moment of dominant conclusion and finality. This collective urban effort overtly creates a dedicated and singular instance for recognition. While the epic sized structures of the city create an exchangeable identity, the river that surges through the city has been forgotten.

The river observes a co-terminal set of positions within the city’s cast of characters. Meaning, it connotatively spaces the intervals of different plots and directs a silent rhythm of marine life. In contrast to the auto-generated land plats, the river has been robbed of its historical marvel. It has developed into a memory mechanism of diversion instead of a channel of industrial distribution. The flowing river, which has always been a commercial commodity, has become a central place of spatial programmatic inquiry and social interest. It has become reprogrammed to situating and couching the city as a machined backdrop. The river was also overcome by the generic ordering of streets and ultimately has buried its own presence.