| Cloud Gate | |
|---|---|
_from_east%2527.jpg) | |
  Cloud Gate Location in Chicago | |
| Artist | Anish Kapoor |
| Year | 2006 |
| Medium | Stainless steel sculpture |
| Dimensions | 10 m × 13 m × 20 m (33 ft × 42 ft × 66 ft) |
| Location | Millennium Park,Chicago,Illinois, U.S. |
| Coordinates | 41°52′58″N87°37′24″W / 41.88270°N 87.62333°W /41.88270; -87.62333 |
| Website | millenniumparkfoundation |
Cloud Gate is apublic sculpture by Indian-born British artistAnish Kapoor, that is the centerpiece ofGrainger Plaza atMillennium Park in theLoop community area ofChicago. Constructed between 2004 and 2006, the sculpture is nicknamed "The Bean" because of its shape, a name Kapoor later grew fond of.[1] Made up of 168stainless steel plates welded together, its reflective and highly polished exterior has no visible seams. It measures 33 by 66 by 42 feet (10 by 20 by 13 m), and weighs 110 short tons (100 t; 98 long tons). The sculpture and its plaza are located above Millennium Hall, between theChase Promenade andMcCormick Tribune Plaza & Ice Rink.
Kapoor's design was inspired by liquidmercury and the sculpture's surface reflects and distorts the city's skyline and clouds moving overhead. Visitors are able to walk around and underCloud Gate's 12-foot (3.7 m) high arch. On the underside is the "omphalos" (fromGreekὀμφαλός 'navel'), a concave chamber that warps and multiplies reflections. The sculpture builds upon many of Kapoor's artisticthemes, and it is popular with tourists as a photo-taking opportunity for its unique reflective properties.
The sculpture was the result of a design competition. After Kapoor's design was chosen, numerous technological concerns regarding the design's construction and assembly arose, in addition to concerns regarding the sculpture's upkeep and maintenance. Various experts were consulted, some of whom believed the design could not be implemented. Eventually, a feasible method was found, but the sculpture's construction fell behind schedule. It was unveiled in an incomplete form during the Millennium Park grand opening celebration in 2004, before being concealed again while it was completed.Cloud Gate was formally dedicated on May 15, 2006, and has since gained considerable popularity, both domestically and internationally.
Lying betweenLake Michigan to the east and the Loop to the west,Grant Park has served as Chicago's "front yard" since the mid-19th century. Its northwest corner, north of Monroe Street and theArt Institute, east ofMichigan Avenue, south ofRandolph Street, and west ofColumbus Drive, had beenIllinois Central rail yards and parking lots until 1997, when it was made available for development by the city asMillennium Park.[2] In 2007, the park was Chicago's second largest tourist attraction, trailing onlyNavy Pier.[3]
In 1999, Millennium Park officials and a group ofart collectors,curators andarchitects reviewed the artistic works of 30 different artists and asked two for proposals. American artistJeff Koons submitted a proposal to erect a permanent 150-foot (46 m) sculpture of aplayground slide;[4][5] his glass and steel design featured anobservation deck 90 feet (27 m) above the ground that was accessible via an elevator.[6] The committee chose the second design by internationally acclaimed artistAnish Kapoor. Measuring 33 by 66 by 42 feet (10 by 20 by 13 m) and weighing 110 short tons (100 t; 98 long tons), the proposal featured a seamless,stainless steel surface inspired by liquidmercury.[7] This mirror-like surface would reflect the Chicago skyline, but its elliptical shape would distort and twist the reflected image.[8]
In the underside of the sculpture is the omphalos, an indentation whose mirrored surface provides multiple reflections of any subject situated beneath it.[9] The apex of the omphalos is 27 feet (8.2 m) above the ground. The concave underside allows visitors to walk underneath to see the omphalos, and through its arch to the other side so that they view the entire structure.[10] During the grand opening week in July 2004, press reports described the omphalos as the "spoon-like underbelly".[11][12] The stainless steel sculpture was originally envisioned as the centerpiece of theLurie Garden at the southeast corner of the park. However, Park officials believed the piece was too large for the Lurie Garden and decided to locate it at what is now known asGrainger Plaza, despite Kapoor's objections.[13]Skyscrapers to the north along EastRandolph Street, includingThe Heritage, theSmurfit-Stone Building,Two Prudential Plaza,One Prudential Plaza, andAon Center are visible, reflected on both the east and west sides of the sculpture.Around the structure, its surface acts like afun-house mirror as it distorts their reflections.[14]
Although Kapoor does not draw with computers, computer modeling was essential to the process of analyzing the complex form,[15] which created numerous issues. Since the sculpture was expected to be outdoors, concerns arose that it might retain and conduct heat in a way that would make it too hot to touch during the summer and so cold that one's tongue might stick to it during the winter. The extreme temperature variation between seasons was also feared to weaken the structure.Graffiti, bird droppings andfingerprints were also potential problems, as they would affect the aesthetics of the surface.[5][16] The most pressing issue was the need to create a singleseamless exterior for the external shell, a feat architectNorman Foster once believed to be nearly impossible.[16]
While the sculpture was being constructed, public and media outlets nicknamed it "The Bean" because of its shape, a name that Kapoor described as "completely stupid".[13] Months later, Kapoor officially named the pieceCloud Gate.[17] (Kapoor eventually accepted the nickname of "The Bean".[1]) Critical reviews describe the sculpture as a passage between realms.[18] Three-quarters of the sculpture's external surface reflects the sky and the name refers to it acting as a type of gate that helps bridge the space between the sky and the viewer.[19] In 2008, the sculpture and plaza were sometimes referred to jointly as "Cloud Gate on the AT&T Plaza" (as Grainger Plaza was then called).[20] It is Kapoor's first public outdoor work in the United States,[20] and is the work by which he is best known in the country according to theFinancial Times.[21]
The British engineering firmAtelier One provided the sculpture's structural design,[22][23] and Performance Structures, Inc. (PSI) was chosen tofabricate it because of their ability to produce nearly invisiblewelds.[4] The project began with PSI attempting to recreate the design in miniature. A high-densitypolyurethane foam model was selected by Kapoor, which was then used to design the final structure, including the interior structural components.[24] Initially, PSI planned to build and assemble the sculpture inOakland, California, and ship it to Chicago through thePanama Canal andSt. Lawrence Seaway. However, this plan was discarded after park officials deemed it too risky, so the decision was made to transport the individual panels by truck and to assemble the structure on-site, a task undertaken by MTH Industries.[4][24][25]
The sculpture's weight raised concerns. Estimating the thickness of the steel needed to create the sculpture's desired aesthetics before fabrication was difficult.[26]Cloud Gate was originally estimated to weigh 60 short tons (54 t; 54 long tons) when completed.[27] However, the final figure was almost twice as heavy at 110 short tons (100 t; 98 long tons). This extra weight required engineers to reconsider the sculpture's supporting structures. The roof of the restaurant Millennium Hall, formerly known asPark Grill, upon whichCloud Gate sits, had to be built strong enough to bear the weight. The large retaining wall separating Chicago'sMetra train tracks from the North Grant Park garage supports much of the weight of the sculpture and forms the back side of the restaurant. This wall, along with the rest of the garage's foundation, required additional bracing before the piece was erected.[26]Cloud Gate is furtherbuttressed by lateral members underneath the plaza that are anchored to the sculpture's interior structure bytie rods.[24]
InsideCloud Gate's polished exterior shell are several steel structures that keep the sculpture standing. PSI contracted Advanced Building and Metal Fabrication ofChico, California to build them.[28] The first structural pieces, twotype 304 stainless steel rings, were put into place in February 2004. As construction continued, crisscrossing pipetrusses were assembled between the two rings.[29] The trusses and supporting structures were only present for the construction phases. The finished sculpture has no inner bracing.[30] The supporting structural components were designed and constructed to ensure that no specific point was overloaded, and to avoid producing unwanted indentations on the exterior shell. The frame was also designed to expand and contract with the sculpture as temperatures fluctuate. As a result, the two large rings supporting the sculpture move independently of each other, allowing the shell to move independently of the rings.[24]
WhenCloud Gate's interior components were completed, construction crews prepared to work on the outer shell; this comprises 168 stainless steel panels, each3⁄8 inch (10 mm) thick and weighing 1,000 to 2,000pounds (450 to 910 kg).[31] They were fabricated using three-dimensional modeling software.[24] Computers and robots were essential in the bending and shaping of the plates,[25] which was performed byEnglish wheel and a robotic scanning device.[32] Metal stiffeners were welded to each panel's interior face to provide a small degree of rigidity. About a third of the plates, along with the entire interior structure, were fabricated in Oakland.[24] The plates were polished to 98 percent of their final state and covered with protective white film before being sent to Chicago via trucks.[33] Once in Chicago, the plates were welded together on-site, creating 2,442 linear feet (744 m) of welded seams.[31] Welders usedkeyhole welding machines rather than traditional welding guns.[7] The plates were fabricated so precisely that no on-site cutting or filing was necessary when lifting and fitting them into position.[31]
When construction of the shell began in June 2004, a large tent was erected around the piece to shield it from public view.[34] Construction began with the omphalos, where plates were attached to the supporting internal steel structure, from the inside (underside) of the sculpture downward to the outermost surfaces.[33] This sequence caused the structure to resemble a largesombrero when the bottom was complete.[35]
The shell ofCloud Gate was fully erected for the grand opening of Millennium Park on July 15, 2004, although it was unpolished and thus unfinished, because its assembly had fallen behind schedule. The piece was temporarily uncovered on July 8 for the opening, although Kapoor was unhappy with this as it allowed the public to see the sculpture in an unfinished state.[36] The original plan was to re-erect the tent around the sculpture for polishing on July 24, but public appreciation for the piece convinced park officials to leave it uncovered for several months. The tent was again erected in January 2005 as a 24-person crew fromIronworkers Local 63 polished the seams between each plate.[31][37] In order to grind, sand and polish the seams, six levels ofscaffolding were erected around the sides of the sculpture, whileclimbing ropes andharnesses were used to polish harder-to-reach areas.[31] When the upper and side portions of the shell were completed, the tent was once again removed in August 2005. On October 3, the omphalos was closed off as workers polished the final section.[38] Every weld on theCloud Gate underwent a five-stage process, required to produce the sculpture's mirror-like finish.[31]
| Stage | Name | Equipment used | Sandpaper type | Purpose |
|---|---|---|---|---|
| 1 | Rough cut | 5-pound (2.3 kg), 4½-inch (110 mm) electric grinder | 40-grit | Removedwelded seams |
| 2 | Initial contour | 15-pound (6.8 kg), 2-inch (51 mm), air-drivenbelt sander | 80-grit, 100-grit and 120-grit | Shaped the weld contours |
| 3 | Sculpting | air-driven 10-pound (4.5 kg), 1-inch (25 mm) belt sander | 80-grit, 120-grit, 240-grit and 400-grit | Smoothed the weld contours |
| 4 | Refining | double action sander | 400-grit, 600-grit and 800-grit | Removed the fine scratches that were left from the sculpting stage |
| 5 | Polishing | 10-inch (250 mm) electric buffing wheel | 10 pounds (4.5 kg) ofrouge | Buffed and polished the surface to a mirror-like finish |
Cloud Gate was finally completed on August 28, 2005, and officially unveiled on May 15, 2006.[39][40] The cost for the piece was first estimated at $6 million; this had escalated to $11.5 million by the time the park opened in 2004,[41] with the final figure standing at $23 million in 2006.[5] No public funds were involved; all funding came from donations from individuals and corporations.[5]
Kapoor's contract states that the constructed piece should be expected to survive for 1,000 years.[42] The lower 6 feet (1.8 m) ofCloud Gate is wiped down twice a day by hand, while the entire sculpture is cleaned twice a year with 40 US gallons (33 imp gal; 150 L) of liquid detergent. The daily cleanings use aWindex-like solution, while the semi-annual cleanings useTide.[43] A notable February 2009 incident saw two names etched in letters about 1 inch (25 mm) tall on the northeast side of the curved sculpture. The graffiti was removed by the same firm that did the original polishing.[44]
In August 2023, the City of Chicago began renovation and construction work on Grainger Plaza, which also closed public access toCloud Gate. The work involved accessibility improvements, including ramps and new steps, replacingpavers, and waterproofing. After being behind fencing for most of a year, the sculpture was reopened to the public on June 23, 2024.[45][46]
Chicago MayorRichard M. Daley declared the day of the sculpture's dedication, May 15, 2006, to be "Cloud Gate Day". Kapoor attended the celebration, while local jazz trumpeter and bandleaderOrbert Davis and the Chicago Jazz Philharmonic played "Fanfare for Cloud Gate", which Davis composed.[47] The public took an instant liking to the sculpture, affectionately referring to it as "The Bean".[48]Cloud Gate has become a popular piece ofpublic art[14][49] and is now a fixture on many souvenirs such as postcards, sweatshirts, and posters.[50] The sculpture has attracted a large number of locals, tourists, and art aficionados from around the world.[51] The sculpture is now the piece by which Kapoor is most identified in the United States.[52]
Time describes the piece as an essential photo opportunity, and more of a destination than a work of art.[14]The New York Times writes that it is both a "tourist magnet" and an "extraordinary art object",[51][53] whileUSA Today refers to the sculpture as a monumentalabstract work.[54] Chicago art criticEdward Lifson considersCloud Gate to be among the greatest pieces of public art in the world.[47] TheAmerican Welding Society recognizedCloud Gate, MTH Industries and PSI with the group's Extraordinary Welding Award.[55]Time named Millennium Park one of the ten best architectural achievements of 2004, citingCloud Gate as one of the park's major attractions.[56]
What I wanted to do in Millennium Park is make something that would engage the Chicago skyline ... so that one will see the clouds kind of floating in, with those very tall buildings reflected in the work. And then, since it is in the form of a gate, the participant, the viewer, will be able to enter into this very deep chamber that does, in a way, the same thing to one's reflection as the exterior of the piece is doing to the reflection of the city around.
When the park first opened in 2004, Metra police stopped aColumbia College Chicago journalism student who was working on a photography project in Millennium Park and confiscated his film because of fears of terrorism.[57] In 2005, the sculpture attracted some controversy when a professionalphotographer without a paid permit was denied access to the piece.[58] As is the case for all works of art currently covered by United Statescopyright law, the artist holds the copyright for the sculpture. This allows the public to freely photographCloud Gate, but permission from Kapoor or the City of Chicago (which has licensed the art) is required for any commercial reproductions of the photographs. The city first set a policy of collecting permit fees for photographs. These permits were initially set at $350 per day for professional still photographers, $1,200 per day for professionalvideographers and $50 per hour for wedding photographers. The policy has been changed so permits are only required for large-scale film, video and photography requiring ten-person crews and equipment.[59]
In addition to restricting photography of public art, closing a public park for a private event has also been controversial. In 2005 and 2006, almost all of Millennium Park was closed for a day for corporate events. On both occasions, as one of the park's primary attractions,Cloud Gate was the focus of controversy. On September 8, 2005,Toyota Motor Sales USA paid $800,000 to rent most venues in the park includingCloud Gate and the surrounding AT&T Plaza from 6 a.m. to 11 p.m.[60][61] On August 7, 2006,Allstate paid $700,000 to rent the park. For this price, Allstate acquired the visitation rights to a different set of features and only had exclusive access toCloud Gate after 4 p.m.[62] These corporate closures denied tourists access to Kapoor's public sculpture, and commuters who walk through the park were forced to take alternative routes. City officials stated that the money would help finance free public programs in Millennium Park.[60]
In 2015, a sculpture similar toCloud Gate was reported inKaramay, China at the site of an oil discovery, which according to Eduardo Peñalver, the Dean of Cornell Law School, "very probably" is a copyright infringement againstCloud Gate.[63] Though designed to resemble an oil bubble, Kapoor hoped that legal action would be taken against what he termed a Chinese knockoff.[64] MayorRahm Emanuel was less concerned and said that it was a flattering imitation.[65]
A movement to "Windex the Bean" was started in 2017, with the premise that the sculpture is dirty and needs to be cleaned. Posted as an event on Facebook, over 2000 people marked themselves as "going". The post also spawned a variety of similar joke movements.[66][67]
I hope what I have done is make a serious work, which deals with serious questions about form, public space and an object in space. You can capture the popular imagination and hold other points of interest, but that is not what I set out to do, although there is inevitably a certain spectacular in an object like this.
Anish Kapoor has a reputation for creating spectacles in urban settings by producing works of extreme size and scale.[21] Before creatingCloud Gate, Kapoor had created art that distorted images of the viewer instead of portraying images of its own. In doing so, he acquired experience blurring the boundary between the limit and the limitless.[68] Kapoor drew on past experience to designCloud Gate, in particular the designing ofSky Mirror (2001), a 20-foot (6.1 m) 10-short-ton (9 t; 9-long-ton) concave stainless steel mirror that also used a theme of distorted perception on a grand scale.[68]
Kapoor's objects often aim to evoke immateriality and the spiritual, an outcome he achieves either by carving dark voids into stone pieces, or more recently, through the sheer shine and reflectivity of his objects.[48] His works have no fixed identity, but rather occupy an illusionary space that is consistent with eastern theologies shared byBuddhism,Hinduism andTaoism, as well asAlbert Einstein's views of a non-three-dimensional world.[18] Kapoor explores the theme of ambiguity with his works that place the viewer in a state of "in-betweenness".[69] The artist often questions and plays with such dualities as solidity–emptiness or reality–reflection, which in turn allude to such paired opposites as flesh–spirit, the here–the beyond, east–west, sky–earth, etc. that create the conflict between internal and external, superficial and subterranean, and conscious and unconscious.[70] Kapoor also creates a tension between masculine and feminine within his art by having concave points of focus that invite the entry of visitors and multiplies their images when they are positioned correctly.[70][71]
Kapoor often speaks of removing both the signature of the artist from his works as well as any traces of their fabrication, or what he refers to as "traces of the hand".[18][48] He aspires to make his works look like they have independent realities that he reveals rather than creates.[18] For him, removing all the seams fromCloud Gate was necessary in order to make the sculpture seem as though it was "perfect" and ready-made. These effects increase the viewer's fascination with it and makes them wonder what it is and where it came from.[49] His attempts to hide his works' seams as an artist stand in contrast toFrank Gehry's architectural designs in the park,Jay Pritzker Pavilion andBP Pedestrian Bridge, which display their seams prominently.[17]
Cloud Gate is described as a transformative, iconic work.[72] It is similar to many of Kapoor's previous works in the themes and issues it addresses. While the sculpture's mirror effects are reminiscent of fun-house fairground mirrors, they also have a more serious intent; they help dematerialize this very large object, making it seem light and almost weightless.[14][73]Cloud Gate is considered Kapoor's most ambitious use of complex mirrored form dynamics.[74] Kapoor challenges his viewers to internalize his work through intellectual and theoretical exercise. By reflecting the sky, visiting and non-visiting pedestrians and surrounding architecture,Cloud Gate limits its viewers to partial comprehension at any time. The interaction with the viewer who moves to create his own vision gives it a spiritual dimension.[69] The sculpture is described as a disembodied, luminous form,[69] which is also how his earlier1000 Names (1979–80) was described when it addressed the metaphysical and mystical.[70]
The viewer physically enters the art when walking underneath into its "navel". The omphalos is a "warped dimension of fluid space". In this dimension, solid is transformed into fluid in a disorienting multiplicative manner that intensifies the experience. It is emblematic of Kapoor's work to deconstruct empirical space and venture intomanifold possibilities ofabstract space.[74] The experience is described as a displaced or virtual depth that is composed of multiplied surfaces.[75]
According to project manager Lou Cerny of MTH Industries, "When the light is right, you can't see where the sculpture ends and the sky begins."[76] The sculpture challenges perception by distorting and deforming the surrounding architecture.[77] The skyscrapers along East Randolph Street to the northeast (Two Prudential Plaza, and Aon Center), north (One Prudential Plaza) and northwest (The Heritage,Crain Communications Building) are reflected onCloud Gate's surface when viewed from either the east or the west. The sculpture also warps viewers' perception of time by changing the speed of movements such as the passing of clouds.[77]
Although in the conventional senseCloud Gate is not an opening that leads anywhere in the same way that monumental gates do, it frames a view and is celebratory in the way it creates a ceremonial place. The work is credited with achieving a new level or understanding described as atransubstantiation of material, reminiscent of that which the artist experienced during a 1979 trip to India. Kapoor's1000 Names evolved immediately after this trip; twenty-five years later he createdCloud Gate, an object that emerged from material forms to become immaterial.[18]
Kapoor often relies on tenets of Hinduism in his art and says that "The experience of opposites allows for the expression of wholeness."[18] Primal dualities that are one, such as thelingam andyoni, are important to Indian culture, andCloud Gate represents both the male and female in one entity by symbolizing both thevagina andtesticles.[18] Thus, it represents the tension between the masculine and the feminine.
The sculpture has been used as a backdrop in commercial films, notably in the 2006 Hollywood filmThe Break-Up, which had to reshoot several scenes because the sculpture was under cover for the initial filming.[78] It is also prominently featured in the ending scene ofSource Code. DirectorDuncan Jones felt the structure was a metaphor for the movie's subject matter and aimed for it to be shown at the beginning and end of the movie.[79] The sculpture served as an aesthetic and symbolic setting for the 2012 filmThe Vow when the lead characters share a kiss under it.[80][81] It also appears in the video to "Homecoming", a song by Chicago nativeKanye West, featuringChris Martin of the bandColdplay.[82] The sculpture is also featured in the 2008mumblecore filmNights and Weekends. It was also featured in the Bollywood filmDhoom 3[83] and the 2014 movieTransformers: Age of Extinction, the fourth installment in theTransformers series.[84] A modified reproduction ofCloud Gate is also included inWatch Dogs, a video game released in 2014 that takes place inChicago.[85] Unlike the real sculpture, the in-game replica is a curved, whitetorus.[86]Cloud Gate also makes an appearance in season 7 episode 2 ofParks & Recreation "Ron & Jammy."[3]
Cloud Gate plays a prominent role inBattle Ground, the 17th title in theDresden Files urban fantasy novel series byJim Butcher. In the Chicago of the novels, the sculpture was commissioned by Queen Mab, ruler of the Winter Court of Faerie, and proves to be hiding a large stockpile of armaments. Its placement by the Winter Court was in anticipation of a massive supernatural attack on the city of Chicago.[87]
A June 2017 video by theNational Rifle Association (NRA) entitledThe Clenched Fist of Truth used an image ofCloud Gate. Anish Kapoor sued the NRA to stop running the video, pay any profits gained as a result of the video, compensate him for statutory damages equivalent to $150,000 per infringement, and attorney fees.[88] The suit was settled in December 2018 with the removal of the image from the NRA video.[89][90][91]
During the 2025Lollapalooza festival, a group of protesters began calling for the release of a man who they satirically claimed was trapped inside of theCloud Gate. According to the coalition, chief architect Anish Kapoor stole a baby and put him inside the sculpture during its construction, where he has remained since 2004.[92] The posts on the protestors' social media accounts, which quickly gained tens of thousands of followers, urged the public to contact the alderman of Chicago's 42nd Ward,Brendan Reilly, to demand the man's release. Reilly's office received a large amount of contacts regarding the group's claim, which they denied. The coalition responded by claiming that "Big Bean" was lying to the public.[93][94] There is no evidence of a man living inside The Bean; it has been called a 'hoax' by many.[92] The motive behind the group's action is unknown, although some have speculated that it may beperformance art commenting on the state of journalism.[95]
In November 2025,Block Club Chicago reported that dozens of U.S. Border Patrol agents had gathered to take pictures at Cloud Gate after earlier immigration raids in the Mexican-American neighborhood of Little Village.[96] As they took pictures, one Border Patrol agent reportedly told others, "Everyone say, 'Little Village.'" Kapoor criticized Border Patrol agents for taking pictures at the sculpture in comments to the art news publicationUrgent Matter, in which he likened them to "Nazis" and condemned them for shouting "Little Village" as a "fascist battle cry."[97]
Places adjacent to Cloud Gate | |
|---|---|
| Features and attractions |  | |
|---|---|---|
| Surrounding streets | ||
| Influences | ||
| Related | ||
