Search results for "Detroit"

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Spirit of ‘67

Shoji Sadao dies at 92
Shoji Sadao, the architect that helped transform visionary works from both Buckminster Fuller and Isamu Noguchi into reality, has died in Tokyo at the age of 92, according to the Buckminster Fuller Institute. Sadao first met Fuller as his student while he was enrolled in the architecture program at Cornell University in the early 1950s, and the two shortly began collaborating in 1954 by developing an updated version of the Dymaxion Airocean World Map that Fuller had been personally working on since 1943. The two then became close collaborators on geodesic structures, most notably Cloud 9 (1960), a radical proposal for one-mile diameter cloud structures that would be suspended mid-air using the weight distribution of their own internal air pressure, and, after co-founding the architectural firm Fuller & Sadao Inc., the world-famous 20-story-tall U.S. Pavilion at Expo 67 in Montreal. In their practice, Fuller would often be the one to propose expansive ideas while Sadao would determine the best methods for implementing them within budget and construction timelines. Fuller wrote a letter to Sadao in 1965 citing him as “The first human being I can enthusiastically contemplate talking into design science partnership in the pursuit of my life objectives.” A second noteworthy collaboration blossomed when Fuller introduced Sadao to famed furniture designer and sculptor Isamu Noguchi in 1956. Together, Sadao and Noguchi developed numerous outdoor works including the spaceship-like Hart Plaza fountain in Detroit, the Billy Rose sculpture garden at the Israel Museum in Jerusalem, and Moerenuma Park, a groundbreaking 400-acre park in Sapporo, Japan. Much like in his relationship with Fuller, Sadao brought Noguchi’s concepts to fruition without compromising the scale, detailing nor materiality the artist desired. Following Noguchi's death in 1988, Sadao oversaw the completion of Miami’s Bayfront Park, the last project the artist designed, and held the title of executive director for the Noguchi Foundation and Garden Museum in Queens, New York from 1988 to 2003. Though Shoji Sadao may not be a household name, the high quality and ambition of the work he helped produce will no doubt speak for itself.
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Jail to Grail

University of Michigan, Bedrock, and Related team up for a Detroit innovation center
The former site of Detroit’s abandoned Wayne County Jail project is slated to become the new home of the 14-acre Detroit Center for Innovation (DCI), anchored by a swooping Kohn Pedersen Fox (KPF)-designed research and graduate education center for the University of Michigan (U-M). The plan, and the first $300 million, 190,000-square-foot new building, was revealed by the City of Detroit on October 30 and will expand the university’s presence throughout the city. The center is only the first piece of what’s supposed to be an ambitious multi-building campus, jointly financed by the local Bedrock LLC and Stephen Ross’s Related Companies, the first Detroit project for the latter developer. In an interview with Crains, Ross, a U-M alumnus, said that the complex, which could ultimately cost over $750 million, was intended to attract companies and innovative talent to Detroit. When all is said and done, the project will include a hotel and conference center conversion for the now-empty Detroit Police Department headquarters, residential student housing, and incubator space for technology companies. In that same interview, Ross pitched the DCI as a Midwestern alternative to the similarly-sized Cornell Tech campus on Roosevelt Island in New York. The KPF-designed center itself will be run by U-M and will contain programs for up to 1,000 undergraduate students in their senior year and graduate students. The offerings are decidedly tech-oriented; the city stated that it expects the building will house a “range of high-tech innovation disciplines, including mobility, artificial intelligence, data science, entrepreneurship, sustainability, cybersecurity, financial technology and more.” Although no specific curricula for the center have been chosen at the time of writing, the university will establish an interdisciplinary committee to decide exactly what will be taught there. A startup space, coworking offices, and business incubator are also possibilities for the center. Construction on the DCI is expected to begin in 2021, with the glass-fronted academic building slated for completion in 2023.
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Above and Beyond

NOMA Conference 2019 prepared architects to engage with a more diverse future
It was the first time Malaz Elgemiabby had attended the annual conference of the National Organization of Minority Architects (NOMA). But it turned out to be like going back to her childhood in Sudan, being surrounded by architects, designers, and builders who looked like her, and who cared as deeply as she does about community participation in design. “In Sudan, architects are women,” Elgemiabby told AN. “So I used to build buildings when I was a kid. As women [in Sudan] your responsibility is to build the houses, to design, to assess the needs of the community.” Elgemiabby went to architecture school at London Metropolitan University, seeking out its program for its emphasis on community participation in design. She first went to work in the Middle East, where she also earned a master's degree in interdisciplinary design from the Qatar campus of Virginia Commonwealth University. She moved to Cleveland three years ago to work as an architect. After doing some projects that she’s quite proud of in the city, Elgemiabby launched her own firm, ELMALAZ, earlier this year in Cleveland. But it’s also been a bit lonely at times, being an architect on a mission to bring communities into the design process. “[In Cleveland] I’m one of the few who are advocating for this type of approach to architecture,” Elgemiabby said. “I come [to this year’s NOMA conference] and I find not only a lot of black and brown architects, but I also find people who are excited about the same mission. This was really great. It’s always nice to grow your tribe.” Growing that tribe, of course, has been NOMA’s goal all along, ever since twelve African American architects founded the organization during the 1971 AIA National Convention in Detroit. This year’s annual conference, in Brooklyn, attracted a record attendance of over a thousand participants for five days of programming, including service outings, seminars, keynote lectures, student design contests, and the usual networking and socializing. Overall, NOMA membership has grown 30 percent in 2019, under the leadership of NOMA president and HOK principal Kimberly Dowdell. The organization now has more than 1,400 members, organized under 30 professional chapters and 75 student chapters across the country. Under Dowdell, this year NOMA established a new tiered corporate membership program for large and small firms that wish to support the organization—and also gain access to discounted consulting from NOMA’s curated pool of experts in diversity, equity, and inclusion. Dubbed the “President’s Circle,” founding members include AIA, NCARB, Enterprise Community Partners, Cuningham Group, Shepley Bulfinch, Gensler, HOK, and Perkins & Will. But growth and progress for NOMA still come in the context of the Sisyphean task of making architecture more representative of the communities it serves. Out of 115,000 or so architects licensed in the U.S., only an estimated 2,299 are black. That context was made even more somber this year with the loss of one of NOMA’s giants, Phil Freelon, who passed away in July. NOMA renamed its annual professional design awards in his honor. Zena Howard worked with Phil Freelon for well over a decade. So it was fitting that this year’s NOMA conference programming included her delivery of the J. Max Bond Lecture, organized annually by the New York Chapter of NOMA and the AIANY Diversity and Inclusion Committee. Howard’s talk focused on the notion of “Remembrance Design,” which emerged over the past few years through her work with Freelon and others. Now principal and managing director of the North Carolina office at Perkins+Will, Howard used some of her firm's recent projects to illustrate remembrance design in action. The examples varied in scale and scope from the 1.1-acre Sycamore Hill Gateway Plaza in Greenville, North Carolina, to a 30-acre design process covering Miami’s Overtown neighborhood, to a 1.3-mile “linear museum” along the Crenshaw Boulevard transit corridor in Los Angeles. All were historically black neighborhoods, typically scarred by racially-discriminatory redlining and later the era of urban renewal and the construction of the interstate highway system. In short, remembrance design is a way of using architectural discovery as a healing process to unearth, unpack and honor painful histories in neighborhoods that have traditionally been disinvested and neglected—or worse yet, bulldozed and paved over—by the worlds of architecture, urban planning, and real estate. “It’s about engaging people who have historically not been engaged,” Howard said. “First engaging with these communities, there’s a lot of hurt. I once thought to myself you have to go get a psychology degree or something. It’s difficult sometimes to hear. But over time, you realize that the pain a lot of people have, they have to release that, you sort of have to provide an outlet for it. A lot of it at first is just listening.” Howard spoke about how that deep listening process turns architecture into more than just a design process; it elevates architecture into a healing process. It can even make the architect’s job a little easier in the end. Once you move past the pain, Howard said, some participants from the community will actually feel inspired enough to start sketching themselves. “Even if you can’t get people really to talk about something, they can sketch something, they can draw,” Howard said. “It becomes therapeutic in a lot of ways. Once you get passed that threshold you really start moving fast towards design solutions that they’re a part of.” That depth of community engagement resonated with many NOMA members, from Elgemiabby to NOMA National Board Member and SOM senior urban designer Tiara Hughes, whose childhood neighborhood in St. Louis is now a baseball field. “I understand what [Howard] was referring to that there’s trauma and feelings and emotions that we have to deal with collectively as a group,” Hughes told AN. And it certainly resonated with Dowdell, who was partly inspired to become an architect by growing up among vacant homes and boarded-up commercial corridors in Detroit. “The kind of engagement that Zena [Howard] and her team has done or is doing, I think that’s probably standard practice for a lot of architects here [at the conference],” Dowdell said. Dowdell is hopeful that more and more of those kinds of projects will come up as the U.S. and especially its cities become more and more diverse. The U.S. Census Bureau predicts people of color will become a majority in the U.S. by 2043. Dowdell views NOMA’s work as preparing architecture for that future. “We all have to be more conscious of the fact that more and more clients will be people of color, more and more government officials—people with more power,” she said. Of course, in bringing good design to more diverse places that have historically been neglected or harmed by earlier periods of development, the conversation naturally turns to how good design can risk putting new pressure on market conditions, pushing up property taxes or rents and pushing out the very residents who participate in these design processes. Howard brought up the example of Hogan’s Alley in Vancouver, British Columbia, as one where the residents and elected officials are looking to a community land trust as a policy intervention to protect those residents the project had in mind as end-users. “The thing [Howard] also mentioned, rightly so, was the thing that design can’t solve: the political and economic conditions that need to be grappled with to effectively prevent gentrification and the negative effects of gentrification,” Dowdell said. “I think reinvestment is fine, but I think when it starts to displace people who have had a stake in that community for years, decades, generations, that’s going to be problematic.”
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Redlining

The many lives of Detroit’s Berlin Wall
In 1941, the city of Detroit finished construction on a six-foot-tall, half-mile-long wall near 8 Mile Road that would keep an African American neighborhood physically segregated from an adjacent white neighborhood to “preserve property values.” This was redlining in concrete form. Almost 80 years later, “Detroit’s Berlin Wall” still stands, but when the Annenberg Space for Photography in Los Angeles asked SHAN Wallace to photograph the area for its exhibition W|ALLS: DEFEND, DIVIDE, AND THE DIVINEˆ, she discovered that the structure had taken on unexpected meanings in the interim. For elderly residents in their 90s, the wall remained an ugly embodiment of the housing loan practices of the 20th century. For those in their 50s, the wall represented a demarcation between “the cool black kids” who lived on one side and the “not so cool black kids” who dwelled on the other. “The wall was like a right of passage,” Wallace explained, relating what residents had told her about their experiences. “If you could walk the wall, you were cool, you could go meet your friend on the other side.” For children growing up in the neighborhood today, the wall has become a place to meet, a pragmatic landmark best known for its murals and proximity to a grassy park. “It was interesting to see how these different manifestations and interactions with the wall happened based on generations,” said Wallace. The Annenberg exhibition, which runs through December 2019, explores the history and varied meanings of walls throughout the world, including Hadrian’s Wall, The Great Wall of China, and the current best-known incarnation of intolerance, the U.S./Mexico border wall. Yet Wallace’s accompanying video and still photographs of the Detroit Wall, and those who live with it, are perhaps one of the most affecting surprises within the show. On an intimate level, her work demonstrates that barriers, no matter how indomitable they seem, can never contain the scope of human imagination.
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Feature Focus

Three can't-miss views on architecture from the 57th New York Film Festival
The 57th New York Film Festival just ended, but luckily many of the films that feature architecture as a main character will be released in theaters or available online. Here's a breakdown of the must-see flicks where cities takes center stage: Motherless Brooklyn A fictionalized Robert Moses called Moses Randolph (played by Alec Baldwin), drives the plot of Motherless Brooklyn, a film by and starring Edward Norton, scion of the real estate Rouse family. It's set in the 1950s in what he calls “the secret history of modern New York, with…the devastation of the old city from neighborhoods right up to Penn Station, perpetrated at the hands of an autocratic, almost imperial force.” That ruthless force is Randolph, Commissioner of Parks, Buildings and an “Authority.” For reference, the Triborough Bridge can be seen through his office window. In the film, Randolph plans slum clearance in Fort Greene, Brooklyn, just as he has just done in Tremont in the Bronx, which is protested by Gabby Horowitz (played by Cherry Jones), a Jane Jacobs stand-in. Randolph is at the root of a murder, which Norton’s character, a gumshoe with Tourette’s syndrome, is investigating. The film treats us to actual locations: we drive by the Jones Beach Water Tower, hold a rally in Washington Square, and we even visit (in CGI) the original Penn Station, demolished under Moses. Free Time  Free Time, a documentary set in the same period, is a real-life counterweight to Motherless Brooklyn. It celebrates neighborhoods that could be in danger of Randolph/Moses’s slum clearance gentrification plans. The film opens with a sequence of carved stone architectural ornaments, which serve as a leitmotif throughout this black-and-white-filmed poem that was shot between 1958 to 1960 and newly edited by now 88-year old filmmaker Manfred Kirschheimer. With shots filmed in Washington Heights, Hell’s Kitchen, and West 83 Street, it shows construction workers tearing down buildings and putting up new ones, bridges, and, most of all, neighborhoods. Parasite Another kind of ruthlessness is symbolized by the architecture of contrasts in Parasite, winner of the Palme d’Or at Cannes, directed by Bong Joon-ho. The struggling Kim family occupies a grim basement apartment in Seoul. They attach themselves to the Parks, a wealthy family, and their high modernist house built by a prominent (fictional) Korean architect named Namgoong, who built it for himself before moving to Paris. The Parks identify themselves with the architect’s creativity and maintain the modernist aesthetic. The man levels of the house, including a hidden subterranean fallout shelter, factor into the plot, as does the plate-glass facade leading to the walled-in garden, an oasis in the midst of the capital city. The film is a tale of class conflict, deception, and home. More to see Other films that feature architecture include Pain and Glory by Pedro Almodóvar in which the main character, a filmmaker (played by Antonio Banderas), lives in an art-filled and colorful Madrid apartment with sliding glass walls after growing up in a “cave-like” apartment lit by a skylight. Martin Scorsese sets his new film, The Irishman, in mid-century Philadelphia, New York, and Detroit while Noah Baumbach uses the many apartments and theaters of New York as a contrast to the endless houses, offices, and restaurants of Los Angeles in Marriage Story. Of the short films featured in the festival's Projections category, Kansas Atlas (Peggy Ahwesh) shows split-screen aerials in the dead center of the United States, with land tracts, houses, factories, silos, and turbines, as SIGNAL 8 (Simon Liu), provides a psychedelic, fast-cut journey through the urban archeology and construction sites of Hong Kong as a storm approaches. A Topography of Memory (Burak Çevik) features CCTV footage of Istanbul and Houses (for Margaret) (Luke Fowler) is about a woman who doesn’t want to be confined by a house, but loves going into buildings.
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A Magnet for Minimalism

UNDECORATED converts an old radiator garage in Detroit into a glowy bar-restaurant
An unassuming brick building in Detroit’s long-neglected Core City neighborhood was once home to a booming repair shop in the heyday of automotive manufacturing. “Magnet Radiator Works,” was emblazoned on the entrance of the facility in faded red paint and still is, except today the 2,100-square-foot structure is instead one of the hottest restaurants to pop up in the Motor City this year. Featuring an interior ambiance that feels both futuristic and chill, Magnet is the vision of Ishtiaq Raffiuddin, principal of local firm UNDECORATED, and developer Philip Kafka, both the minds behind the 2017 Thai-food sensation TAKOI. The duo transformed a former garage near downtown Detroit into a minimalistic and intimate space that aids Chef Brad Greenhill in serving up a bold Mediterranean cuisine. Read the full article on our interiors and design website, aninteriormag.com.
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Parking Over Preservation

Historic Detroit newspaper building will be razed for 12 parking spots
A curious thing is happening in downtown Detroit. An iconic building that once housed an early-20th-century local newspaper is slated for demolition and set to be replaced by 12 parking spots.  You read that right, just 12 parking spots.  The three-story brick structure at 550 West Fort Street initially served as the headquarters of Detroit Saturday Night from 1914 to 1929. It was designed by Smith, Hinchman & Grylls, one of the oldest architecture firms in the U.S., now known as SmithGroup. Last week, the Detroit City Council voted to deny the building its own historic designation, which in turn allows a proposal by local developer, Emmet Morten, Jr., to move forward. The building will now be razed in order to provide more parking for a luxury condominium nearby. It’s long been part of the developer’s plans to expand its work in the Fort Shelby Hotel historic district, which houses the Fort Shelby Residences on the site of a demolished 18th-century military base. Preservation groups didn’t think the city would actually allow the small news building to go down, but over the last year, the City Council and the Historic District  Commission began showing signs that the structure wasn’t worth saving, as it lies just outside the historic district. Advocacy organization Preservation Detroit stepped in about 10 months ago and mustered over 3,600 signatures for a petition to protect and rehabilitate the building for future use.  This morning, protestors gathered outside the old Detroit Saturday Night building to ask the City Council to reconsider last week’s vote. According to the Detroit Metro Times, the event was organized by Detroiters for Parking Reform, a group calling for a moratorium on building new parking spaces:
“We have more parking spaces downtown than ever before, with nearly 40 percent of land in downtown Detroit devoted to this use," the group wrote to city council. "But somehow, we are convinced we need 12 more spaces where the historic Detroit Saturday Night Building stands today. This is a building that might otherwise be redeveloped for housing, business, and retail space. World-class cities are not defined by how much parking they have."
Detroit Saturday Night was published from 1907 to 1939. The news outlet moved into a bigger location, an Art Deco building also designed by Smith, Hinchman & Grylls, after 15 years on West Fort Street. 
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Detroit Design

Detroit Design 139 showcases how Detroiters are reshaping their neighborhoods
Detroit has always been a design-forward city, a fact made official back in 2015 when they were designated a UNESCO City of Design, the only in the United States. A center of architectural innovation, futuristic automotive design, boulevards meant to rival the Champs-Élysées, and one of the U.S.’s foremost collections of art, the city in recent years has gotten more attention for its bankruptcy, corruption, and mass foreclosures and vacancy.  But, as Olga Stella, executive director of Design Core Detroit, a partner organization which “champions design-driven businesses and their role in strengthening Detroit’s economy,” points out, “Detroit is not and never has been just one thing.” Throughout its expansive 139 square miles, many are working to create neighborhoods and a city that works for them. Design doesn’t just happen at the rarefied scale of a Beaux Arts museum, it happens in and by communities who work to create a city they want to live in. These projects are being celebrated at the second iteration of Detroit Design 139 (DD139), a serial exhibition co-organized by the City of Detroit, Design Core Detroit, and developer Bedrock. Members from each organization, as well as nine others, served on the advisory board. The projects were selected by a jury of design notables, both from Detroit and other cities, including New York City Public Design Commission executive director Justin Garrett Moore and Detroit-based equitable development strategist Lauren Hood. With the main showcase at street level in downtown Detroit in a Bedrock-owned building, as well as at three partner locations throughout the city, celebrates 70 projects under five thematic headings that, according to the organizers and jurors, embody DD139’s 2019 theme of "Inclusive Futures".  “All of us working on design problems and projects should be holding ourselves to higher standards,” said Melissa Dittmer, Bedrock’s chief design officer, of the ethos of inclusion ostensibly showcased in the exhibition, which features projects built in the last two years or to be built in the next three. The projects were laid out rather blandly like a well-executed science fair or a real-life PDF, with posters along temporary slatted walls and the occasional model or video. Stella said that, historically, “In a city that doesn’t have a lot of capital [the question of] ‘how are we going to pay for it?’ was guiding decisions, not design solutions,” noting that it was a developer-driven process, with Maurice Cox, Detroit’s outgoing planning and development director. (Cox was also on the advisory committee of DD139.) Dittmer says there was a need for new building to begin “prioritizing the process as much as the outcomes,” something many of the projects exhibited; for example a cafe-laundromat combo, The Commons, designed by the local firm LAAVU in a process which founder and chief design officer Kaija E. Wuollet explains, began by collectively creating a strategic plan to inform the design, building, and operations. The choice in amenities was guided by neighbor requests and they act as not only a space in their own right, but a revenue stream for the non-profit MACC Development, which provides literacy programs, coworking space, artistic opportunities, and other community resources right within the building. This was a recurring theme: neighborhood-focused and neighborhood-led design solutions are a strength of Detroit now and could be what shapes the city's future. But, another recurring theme that the MACC project implies is that due to a dearth of government support, many private organizations have had to pick up the slack. That said, some public programs were featured in the exhibition, perhaps among the most noteworthy for designers, the Michigan ArcPrep program, a public school architecture initiative led by the University of Michigan's Taubman College. Even restaurants were in the exhibition. In community engagement workshops, residents in the Jefferson Chalmers neighborhood expressed a desire for more places to eat and more Black-owned businesses. With the help of a Motor City Match grant, Norma G’s was opened by Lester Gouvia. Kaitlynn Hill, one of the project’s architects from Hamilton Anderson Associates, said she saw this as “a community-based project,” as much as a commercial enterprise. Other Detroit mainstays made the cut for the exhibition. The legendary Pewabic Pottery, whose distinctive glazed tiles that adorn high-rise facades and fireplaces alike are still made in small batches in Detroit, had recently undergone an expansion with the help of inFORM Studio. While the expansion added more workspace, it also helped Pewabic—which is organized as a non-profit—further advance their public mission. Like the original 1903 structure, this new building is close to the residential street. In addition to a shop, museum, and classroom space, there is also an open courtyard with a large mural that hosts events or allows passersby to come in and chill for a bit. In addition, Pewabic goes into communities with portable kilns, keeping design heritage alive and inviting others to participate in it. Many cultural projects were featured, including a skatepark-slash-sculpture park and public mural initiatives. One particularly intriguing project highlighted was the Detroit Historical Society’s Detroit 67, which investigated the legacy of Detroit’s 1967 rebellion in a “community engagement” project by collecting oral histories, producing an exhibition, and providing grants to “placemaking” projects. Some of the projects include an LGBT-focused community garden, an outdoor theater space focused on the Black, Latinx, and Arab communities of Detroit, and a memorial to those who lost their lives around the time of the uprising. There were a number of environmentally-focused projects, both grassroots and large scale, a balance and comparison that was interesting to see. Some included academic research on stormwater management interventions, the Zero Net Energy Center, rain gardens, and an upcycled windmill Projects with international design pedigree also appeared: David Adjaye and New York’s Michael Van Valkenburgh Associates have designed a pavilion and other structures for the Ralph C. Wilson Centennial Park, which, when it’s open, will be part of a network of riverside parks and greenways in an area that was once home to abandoned manufacturing plants. The park is currently overseen by the Detroit Riverfront Conservancy However, on a tour through the Dequindre Cut, a rail-trail connected to the riverfront, on a Sunday when it was clearly being enjoyed by many, it was mentioned by an employee of the Conservancy that many houseless people formerly lived on the trail. In fact, this was mentioned many places, but inquiries made into where those people went and whether these “inclusive” projects accounted for housing access for those they were displacing remained mostly unanswered. While houselessness is declining in Detroit and new projects like the short-term housing Pope Francis Center (not exhibited) are on their way to reality, police have also been known to sweep away the belongings of the houseless, even in the dead of winter. If this park is for everyone, what about those who called it home?  In this second iteration of DD139, the choice was made to include projects from other UNESCO Cities of Design, like Saint-Étienne, France, and Montreal, which are using design to address many of the same challenges faced in Detroit. The organizers hope that this can help create a dialogue and show the fact that Detroit, though a unique situation, is not alone, and that everything from new elder caregiving studies in Singapore to canal projects in Mexico City could help Detroit think through its own unique challenges. However, how every project fit in seemed unclear. A project, the Ruth Ellis Clairmount Center, to help give homes and resources such as jobs and healthcare to houseless youth and those at risk of houselessness, especially LGBTQ+ kids who make up as much as 40% of this country’s houseless population, are undeniably necessary, ameliorative projects. However, on the poster for a banal mixed-use and mixed-income housing development the description of why the project is inclusive reads: “The project has gone through extensive design iterations, city vetting, and community engagement processes to ensure it captures neighborhood feedback. Meetings around the community were offered in both English and Spanish, with translators and/or translation equipment at every meeting, making it as accessible as possible for community members.” Is this not the bare minimum we should expect? Pair that with the bare minimum in architectural quick-build tastelessness by the Philadelphia firm SITIO and one has to wonder what sort of definition of “design” is at play here.  Some projects are more design-y than others. Pewabic Pottery, the Symbiotic Landscape watershed restoration, a digital mapping project that proposes using architectural and urban interventions to fight Detroit’s “digital divide”—these all make design part-and-parcel of their mission, and they're realizing that mission. An entrepreneurship incubator or a bakery in a mixed-use development, Core City, which some Detroiters I spoke with expressed distrust of, might be interesting, or at least tasty, but is it necessarily a “design” solution? Is a building in and of itself using design to address these so-called civic challenges, let alone being inclusive by and through design? This vagueness of mission and indeterminate take on the role of design in some projects points out a bigger issue. The project’s main sponsor and proponent, one of the three partner organizers, Bedrock, has undeniably reshaped downtown Detroit, perhaps in ways, some residents might see as for the better. From the design-forward Shinola Hotel to the forthcoming first foray by the fast-fashion retailer H&M to the revamp of the 475-foot-tall Book Tower, a magnificent and delirious example of early 20th-century architecture that has sat unoccupied for a decade, downtown Detroit is increasingly lively (and increasingly expensive). And, fitting with the exhibition's theme, “Creating unique, inclusive experiences through real estate is Bedrock’s mission,” claims a Bedrock press release. Yet, as the Detroit Free Press has recently revealed, Bedrock has gotten huge swaths of downtown property at little cost, with many incentives and tax breaks, and with an unheard of lack of financial oversight. Also, Bedrock has leveraged their power to strong-arm Michigan’s OSHA into looking away from their safety violations while “lecturing” inspectors on how to do their jobs. Is creating buildings without protecting working people inclusive? In addition, while Bedrock has been touting their successful bid to redevelop the site of the so-called “fail jail,” turning this long-vacant lot into usable space, this deal was negotiated with Wayne County by allowing Rock Ventures, another Dan Gilbert organization and Bedrock’s parent company, to construct that county’s jail, presumably without sullying Bedrock’s name. How can one claim to not only celebrate inclusive design but create "inclusive experiences," while supporting the creation of one of the United States’ most powerful and inarguably racist tools of social and mortal death?  Perhaps the theme, "Inclusive Futures", says it all: a virtuous-sounding word like “inclusive” can itself often be so inclusive as to be virtually meaningless, a rhetorical throwaway. Because what is “inclusion”—and what “inclusive futures” are possible—without equity, without reparations, without an effort to shift the balance of political and economic power? While many grassroots projects and even larger scale ones featured in DD139 are compelling, worthy, and deserve the spotlight, with the ongoing efforts of the exhibition’s primary sponsor Bedrock to stymy state oversight, build jails, and get land cheaply, you wind up not only with misplaced good intentions—you get design washing. DD139 is on view in Detroit through September 30th. You can read more about the projects here.
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No Cars On Campus

Snøhetta unveils new master plan for Ford research campus in Dearborn
Ford Motor Company released initial renderings today for a major remodel and upgrade of its innovation facilities in Dearborn, Michigan. Over the last two years, the Oslo- and New York-based Snøhetta has been working with the automotive giant to develop a new master plan for its 350-acre site, the longtime home of Ford’s Research & Engineering (R&E) Center. According to the design team, the new master plan will consolidate employees in Southeast Michigan into a centralized, walkable campus where interaction, knowledge sharing, and ideation can occur across teams. This is a huge structural change for the automaker’s global headquarters, where open workspaces and access to outdoor gardens and plazas will be available where it wasn’t before. Since the R&E Center was established under a 1946 master plan by Henry Ford II, off-site structures were acquired afterward across the region as the company grew, ultimately dispersing what was once a core group of workers.  Today, that lack of focused community is cost-prohibitive and it's proven difficult for creativity to flourish when thousands of people that work together aren’t physically in the same place. Ford’s new CEO Jim Hackett brought in Snøhetta to change that by designing what they call a “productive architecture and landscape,” 71 percent of which will be open space, the preservation of existing structures, and new, health-focused facilities. A previously announced 10-year plan to overhaul the site served as the inspiration to build upon the company's many real estate projects and garner new talent through design.  “The master plan at its core is a renewed commitment to Ford’s employees,” the architecture firm said in a press release, “creating a people-first workplace that will also prepare the company for another century of innovation as it leads the global automotive industry into a new era of disruption.” When the plan is fully realized, the campus will be able to accommodate over 20,000 employees and boost efficiency. Currently, the campus can hold about 11,000 people and is characterized by car-ridden streets, low-ceiling offices, and unwelcoming iron gates that keep the public from seeing what’s inside. To make space for twice as many workers and create transparency within the Dearborn community, Snøhetta has designed a series of four campus "neighborhoods" and shared, pedestrian-friendly streets that open up the site along its main borders: Oakwood Boulevard, Rotunda Drive, and W. Emdale Street.  The focal point of the campus will be “The Hub,” a figure-eight shaped structure coming in 2025 that will house the R&E Center and replace the existing product development center on the northwestern corner of campus. The building will be naturally-lit with open floor plans and feature terraces, roof decks, and courtyards. Amplifying the indoor-outdoor experience for employees will be a defining design move of the entire campus. Another neighborhood, “Exchange,” will sit to the right of The Hub as the more public-facing portion on campus. Snøhetta sees it being used for product display, demonstration, and events. “The Hamlet” will feature workspaces surrounded by nature and ecologies native to Southeast Michigan. It could include edible gardens, playscape or discovery gardens, and more. Lastly, “The Retreat” will provide stand-alone pavilions embedded into a larger landscape that can be used as conference rooms for client meetings as well as actual retreats.  Early renderings revealed that Snøhetta will utilize different massing techniques to communicate the type of work being done in the new structures. The design team will also preserve existing buildings on campus wherever they can to integrate them into the new project. Hacket is aiming to complete the overhaul as quickly as possible and to keep the project in line with the previous 2016 plan to wrap construction up by 2026. Meanwhile, Ford will continue its work redeveloping Detroit’s Michigan Central Station in Corktown for 5,000 employees, a project designed by Quinn Evans Architects.
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Graham Grants

Graham Foundation announces 2019 organizational grant recipients

The Chicago-based Graham Foundation has released a list of organizations that will receive its coveted Production and Presentation Grants to pursue architecture-related projects this year. A total of 54 organizations will be presented with financial support from the foundation, with no grantee’s allocation exceeding $30,000 and few receiving the full amount requested. In line with the Graham Foundation’s mission to “foster the development and exchange of diverse and challenging ideas about architecture,” awardees will receive assistance with production-related expenses for a variety of undertakings that aim to enrich architectural discourse, including films, publications, exhibitions, and lectures. Final decisions were made on the basis of four criteria: originality, feasibility, capacity, and potential for impact.

The winning projects for 2020 are split into four distinct categories—exhibitions; film, video, and new media projects; public programs; and publications—and were submitted by a wide range of institutions, companies, and non-profits. Among the grantees are Boston’s MASS Design Group, Michael Sorkin’s Terreform, the Oslo Architecture Triennale, and the University of Chicago’s South Side Home Movie Project. Several past grant recipients received funding for new projects this year, including the Museum of Modern Art for a publication on the work of Robert Venturi and Mexico City-based LIGA-Space for Architecture, which is working to highlight Latin American designers in its annual public program. Here is the full list of the 2020 recipients and their respective projects:

EXHIBITIONS (19 awards)

Àkéte Art Foundation Lagos, Nigeria How To Build a Lagoon with Just a Bottle of Wine?, 2nd Lagos Biennial

ArchiteXX Syracuse, NY Now What?! Advocacy, Activism, and Alliances in American Architecture since 1968

Art Institute of Chicago Chicago, IL In a Cloud, in a Wall, in a Chair: Six Modernists in Mexico at Midcentury

Chicago Architecture Biennial Chicago, IL Graham Foundation Artistic Director

Cranbrook Art Museum Bloomfield Hills, MI Ruth Adler Schnee: Modern Designs for Living

Elmhurst Art Museum Elmhurst, IL Assaf Evron & Claudia Weber

El Museo Francisco Oller y Diego Rivera Buffalo, NY Paul Rudolph’s Shoreline Apartments

Equitable Vitrines Los Angeles, CA Florian Hecker

Landmark Columbus Foundation Columbus, IN Good Design and the Community: 2019 Exhibition, Exhibit Columbus

LIGA–Space for Architecture Mexico City, Mexico LIGA Public Program 2019–2020

Madison Square Park Conservancy New York, NY Martin Puryear: Liberty/Libertà: US Pavilion, 58th International Art Exhibition

Materials & Applications Los Angeles, CA Staging Construction

National Building Museum Washington, DC Architecture is Never Neutral: The Work of MASS Design Group

National Trust for Historic Preservation—Farnsworth House Plano, IL Edith Farnsworth Reconsidered

Oslo Architecture Triennale Oslo, Norway Enough: The Architecture of Degrowth, Oslo Architecture Triennale 2019

Serpentine Galleries London, United Kingdom Serpentine Pavilion 2019 by Junya Ishigami

Storefront for Art and Architecture New York, NY Building Cycles

Toronto Biennial of Art Toronto, Canada Learning from Ice

University of Illinois at Chicago—College of Architecture, Design, and the Arts Chicago, IL A Certain Kind of Life

FILM/VIDEO/NEW MEDIA PROJECTS (4 awards)

Architectural Association School of Architecture London, United Kingdom Architecture in Translation

The Funambulist Paris, France The Funambulist Network

MASS Design Group Boston, MA The Whole Architect: Giancarlo De Carlo

University of Chicago—South Side Home Movie Project Chicago, IL South Side Home Movie Project Interactive Digital Archive

PUBLIC PROGRAMS (6 awards)

Association of Architecture Organizations Chicago, IL 2019 Design Matters Conference

Harvard University—Graduate School of Design—African American Student Union Cambridge, MA Black Futurism: Creating a More Equitable Future

Independent Curators International New York, NY Curatorial Forum

Lampo Chicago, IL Lampo 2019 Concert Series at the Graham Foundation

New Architecture Writers London, United Kingdom Constructive Criticism

University of Michigan—A. Alfred Taubman College of Architecture and Urban Planning Ann Arbor, MI Re: Housing: Detroit

PUBLICATIONS (25 awards)

Anyone Corporation New York, NY Log: Observations on Architecture and the Contemporary City, Issues 47, 48, and 49

ETH Zurich—gta exhibitions Zurich, Switzerland Inside Outside / Petra Blaisse

Flat Out Inc. Chicago, IL Flat Out, Issues 5 and 6

Harvard University—Graduate School of Design–New Geographies Cambridge, MA New Geographies 11: Extraterrestrial

Haus der Kulturen der Welt Berlin, Germany Counter Gravity: The Architecture Films of Heinz Emigholz

Instituto Bardi/Casa de Vidro São Paulo, Brazil Casa de Vidro: The Bardis’ Life between Art, Architecture and Landscape

The Museum of Modern Art New York, NY Robert Venturi’s Complexity and Contradiction at Fifty

Northwestern University Press Evanston, IL Southern Exposure: The Overlooked Architecture of Chicago’s South Side

Paprika! New Haven, CT Paprika! Volume V

Places Journal San Francisco, CA Reservoir: Nature, Culture, Infrastructure

PRAXIS, Inc. Boston, MA PRAXIS, Issue 15: Bad Architectures

Produzioni Nero Scrl Rome, Italy Scenes from the Life of Raimund Abraham

REAL foundation London, United Kingdom Kommunen in der Neuen Welt: 1740–1972

Rice University—School of Architecture Houston, TX PLAT 9.0

The School of Architecture at Taliesin Scottsdale, AZ WASH Magazine, Issues 003 and 004

Solomon R. Guggenheim Museum New York, NY Countryside, The Future

Southern California Institute of Architecture Los Angeles, CA LA8020

Standpunkte Basel, Switzerland Archetypes: David Ross

The Studio Museum in Harlem New York, NY The Smokehouse Associates

Terreform New York, NY UR (Urban Research) 2019

University of California, Los Angeles—Department of Architecture and Urban Design Los Angeles, CA POOL, Issue No. 5

University of Florida—Graduate School of Architecture Gainesville, FL VORKURS_Dérive

University of Maryland, College Park—School of Architecture, Planning and Preservation College Park, MD See/Saw, No. 2: Difference

University of Miami—School of Architecture Coral Gables, FL Cuban Modernism: Mid-Century Architecture, 1940–1970

Yale University Press New Haven, CT Mies van der Rohe: The Architect in His Time

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On Solid Bedrock

ODA tapped to transform Detroit’s historic Book Tower
ODA New York has been tapped as the design architect for the ambitious and high-profile adaptive reuse of Downtown Detroit’s historic Book Tower. ODA, known for historically significant renovations like Rotterdam’s Postkantoor and New York City’s 10 Jay Street, will apply their expertise of designing a mix of residential and hospitality, retail, and office space at the Book Tower. Originally designed by Louis Kemper in 1916 in an Italian renaissance style, the 486,760 square-foot structure took a decade to build. Acquired by Bedrock in 2015, a Detroit-based full-service real estate company, the recently completed extensive exterior restoration included replacing 2,483 historically-accurate windows and full restoration of the ornamental cornice with caryatid statues. “The Book Tower has been an iconic part of Detroit’s skyline for nearly a century," said Melissa Dittmer, Chief Design Officer at Bedrock. "and throughout the meticulous exterior restoration process it became clear we needed to partner with an architect that understands how to leverage modern uses in a way that preserves the unique historic details that have endeared this building to Detroiters for generations." ODA’s strategic role is to update and expand on Book Tower’s programming and existing structures, creating nearly 500,000 square feet of mixed-use space downtown that will blend public and private. “The Book Tower will serve as a point of engagement," said Eran Chan, ODA New York’s founding principal, "unlocking its potential as a link in the heart of Detroit; bringing people, place, and events together. The Book Tower represents to us Detroit’s regeneration; how the city, standing in its unique and distinguished history, is entering a new time that is more diverse, more inclusive and more sustainable.” Detroiters will be offered a renewed take on a building full of memories, as the public has been invited to tour the Book Tower as part of Detroit Design 139, an exhibition focusing on projects in Detroit that embody “inclusive futures.” Bedrock officials and ODA will present “A Look Inside Book Tower” on Saturday, Sept. 7 from 1:30-6 p.m.
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Dean's List

The country’s newest architecture deans share their visions, role models, and mascots
For many architecture and design schools across the United States, 2019 marks a shift in institutional leadership. From Charlotte to Berkeley, new deans will assume the helms of some of the country’s most challenging—and exciting—programs. The deans will have the opportunity to shape design pedagogy and practice in significant ways, potentially guiding how academic institutions teach and address issues related to the built environment for years to come. But in an era of collaborative learning and community engagement, what does deanship look like? AN asked eight of the country’s new deans about their plans for the future of their schools and their discipline. Here’s what they have to say: Respondents’ answers have been edited and condensed in some cases. Vishaan Chakrabarti University of California, Berkeley College of Environmental Design A former principal at SHoP Architects, Vishaan Chakrabarti is a professor at Columbia University’s Graduate School of Architecture, Planning, and Preservation and the founder of the New York-based Practice for Architecture and Urbanism. The Architect’s Newspaper: What is your vision for the school moving forward? Given the spatial nature of our three existential challenges—climate change, social inequity, and technological dislocation—I believe that schools of architecture are as relevant today as law schools were during the civil and equal rights era. I am keenly interested in exploring with students, staff, and faculty the questions of how to reconcile the demands of professional practice—which takes decades to do well—with the understandable impatience of many students to radically and immediately change our world in light of the environmental, intersectional, economic, and political crises in which they have come of age. How is your new school different from your previous institution, Columbia University? Because [Berkeley] is public, it serves disproportionately large numbers of first-generation college students, Pell Grant recipients, and other diverse groups relative to most private institutions. More broadly, Berkeley is part of the Pacific Rim and therefore exists at a healthy distance from the Eurocentric framework that still dominates many design schools. Harriet Harriss Pratt Institute School of Architecture Before assuming her role at Pratt, Harriet Harriss was the head of the postgraduate program in architecture and interior design at the Royal College of Art in London, where she explored new models of design education addressing gender imbalances that exist at many institutions. What is your vision for the school moving forward? The tradition of parachuting in architectural visionaries ready to superimpose their agenda and aesthetics upon an unsuspecting faculty—with little regard for the established expertise within a school of architecture— is no longer viable. The vision I have is the one I intend to co-design with the talented and dedicated educators, students, and administrators at Pratt Institute School of Architecture… What’s needed is a dean who is willing to facilitate, enable, and empower, who is committed to ensuring talented students’ and educators’ work gets the recognition and exposure it deserves, and one who will work toward ensuring the work is realized across an expanded field of professional practices and public contexts. Who would you consider a role model dean and why? Architecture’s habit of focusing upon an individual’s contribution over that of a collective does not reflect the reality of architectural practice or education. Instead, we need to recognize the achievements of collectives in shaping the most successful spatial outcomes and increase our capacity for collaboration in order to respond effectively to challenges ahead. What would you make your school’s mascot? Do we need mascots? Or actions that lead to meaningful impact? Branko Kolarevic New Jersey Institute of Technology Hillier College of Architecture and Design Previously a professor and administrator at the School of Architecture, Planning, and Landscape at the University of Calgary, Branko Kolarevic is a designer and educator with experience at multiple universities across North America and Asia. How is your new school different from your previous institution, the University of Calgary? The urban fabric and the demographics of [Newark and Calgary] are very different, as are the local economies and politics. The school in Calgary was based on graduate and postgraduate education, while the Hillier College is mostly focused on undergraduate degrees, even though we have both professional and post-professional masters degrees (and also a PhD program)… There are similarities, as both NJIT and the University of Calgary place great emphasis on research; both are in the top tier research-wise. Who would you consider a role model dean and why? My role model is late Bill Mitchell, the former dean at MIT, who was my mentor when I was a doctoral student at Harvard GSD, and who provided unwavering support throughout my academic career. I also had a privilege early on to learn about leadership from two great deans: Marvin Malecha, who was dean of the Cal Poly Pomona College of Environmental Design in early 1990s when I taught there, and Roger Schluntz, former dean of the University of Miami School of Architecture. They both radiate positive energy that is infectious and are great minds and compassionate leaders who care deeply about people around them. What would you make your school’s mascot? That's a tough one. Given that New Jersey is known as the “Garden State,” I would pick our state bird (American goldfinch) or insect (honeybee) as a mascot. Both the goldfinches and bees are designers and builders of their nests, so in my view they are appropriate mascots for a design school. Lesley Lokko The Bernard and Anne Spitzer School of Architecture at the City College of New York Beyond her training as an architect and her tenure as head of school at the Graduate School of Architecture at the University of Johannesburg, Lesley Lokko is a Scottish-born-Ghanaian-raised writer with 12 best-selling novels. How is your new school different from your previous institution, the University of Johannesburg? Managerially and administratively, they are very different, but the hunger that drives the staff and students is very similar. Both places have a desire to say what has previously remained unsaid: that issues of class, race, gender, and power are central to architectural production, not marginal; that diversity strengthens architectural, landscape, and urban culture; that difference matters, not because it is “different,” but because it enriches discourse. Who would you consider a role model dean and why? Alvin Boyarsky [chair of the Architectural Association from 1971 to 1990]. He made the marginal mainstream and was committed to change. What would you make your school’s mascot? A chameleon. Shape-shifter. Brook Muller University of North Carolina (UNC) at Charlotte College of Arts + Architecture  Brook Muller was an associate dean of the University of Oregon (UO) School of Architecture and Allied Arts, and his work focuses primarily on design theory and ecologically responsible practice. What is your vision for the school moving forward? I seek to build a shared vision for the College of Arts + Architecture, so the idea is to shape it when I hit the ground… My priorities include (1) Introducing [students] to an expansive set of issues and asking them to assume active stances…(2) [Building] community partnership…in the arts and design…(3) Promoting interdisciplinarity and other forms of intra-college community building; (4) Assuming a proactive stance in fostering equity… (5) Pushing the boundaries of sustainability and ecological responsiveness. Who would you consider a role model dean and why? Frances Bronet, my former dean at UO, who is now President at the Pratt Institute. [An interview with Frances Bronet is on page tktk] Frances was tireless, visionary, and enthusiastic, always one step ahead. I have seen many different models of leadership; hers was predicated on building effective collaborations and trust. It was a lot of fun to walk into work when Frances was at UO. What would you make your school’s mascot? I like UNC Charlotte’s current team nickname (49ers). This name came about as the institution was founded in the late 1940s after World War II in response to rising educational demand. Focusing on the city and on opening up educational opportunities for those who are deserving—that strikes me as a beautiful pairing. Dan Pitera University of Detroit Mercy School of Architecture Dan Pitera served as the executive director of the Detroit Collaborative Design Center, a community-based nonprofit located at the University of Detroit Mercy. The center’s website describes him as “a political and social activist masquerading as an architect.” What is your vision for the school moving forward? We do not need to abandon the tools of our discipline to engage a wider variety of people in a collaborative way… Working in this way is often viewed as an alternative practice. Instead, I propose that we are working to alter how architects practice. Our school of architecture will interrogate and craft methods to meaningfully incorporate community-driven practice throughout the profession. What would you make your school’s mascot? A mascot for the Detroit Mercy School of Architecture would have to amplify and celebrate our values. It would stand for justice, be inclusive, have a global perspective, be daring and be fun. After consulting several students, we came up with the Canada goose. Yearly, two Canada geese nest on a visible section of roof at our school of architecture on their daring annual journey… The geese are unaware of political boundaries of countries, cities, institutions, or buildings. They have welcomed us into their home. Sarah Whiting Harvard Graduate School of Design (GSD) Previously the dean of the Rice University School of Architecture, Sarah Whiting is a founding partner of WW Architecture, a practice she established with her husband Ron Witte. How is your new school different from your previous institution, Rice University? The GSD is almost five times bigger than Rice, and it has three departments and multiple programs, whereas Rice was a one-department school. At the same time, both schools are filled with extraordinary faculty and students, and both schools situate design’s importance within global culture, so they really do share a similar ethos. Who would you consider a role model dean and why? Two figures who immediately come to mind as role models include Robert (Bob) Geddes at Princeton (dean from 1965 to 1982) and Harry Cobb at the GSD (chair of architecture at the GSD from 1980 to 1985). Both did a remarkable job of building up faculties of diverse yet precise voices—resulting in specific, yet unpredictable conversations within their schools—during extraordinary moments for architectural education. Meejin Yoon Cornell University College of Architecture, Art, and Planning Before joining the faculty at Cornell in early 2019, Meejin Yoon led the architecture department at MIT’s School of Architecture + Planning. She is a cofounding principal of the architecture firm Höweler + Yoon. How is your new school different from your previous institution, MIT? [Cornell and MIT’s] overlaps are probably more interesting than their differences. Specifically, I’m thinking of the underlying social and cultural values that drive creative imagination, breadth of scholarship, and depth of research across the domains of architecture, art, and planning at both schools. Who would you consider a role model dean and why? Dean William Mitchell… I will never forget Dean Mitchell’s response when I anxiously shared the news that my students, in fulfilling a studio assignment, had caught the building on fire. He acknowledged that no one was hurt, assured me that insurance would take care of the physical damage, and concluded by sharing that experimentation means taking risks and that he was happy that I was stirring up things in the department of architecture. His level of encouragement and support for taking risks that push boundaries was profound, and I have always admired him as a role model for academic leadership. What would you make your school’s mascot? A fire-breathing dragon.