IT IS DIVINELY inspired that the spine of former Chicago Tribune architecture critic Blair Kamin’s new collection of essays is red and bleeds slightly onto the front and back covers. On the book’s front is a photo of Cloud Gate, the Anish Kapoor sculpture in Millennium Park popularly known as the Bean. The back cover has an image of Emmett Till’s former Woodlawn home. The red line of the spine dividing them serves as a reminder of the policies, legislation, and rules that have kept Chicago racially and economically separated.
In , Kamin, with the support of photographs by architecture critic Lee Bey, probes just who Chicago serves and how the city
