Search results for "Detroit"

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City of Design

First-ever Detroit City of Design Competition brings kinetic energy generators and a nap room
Detroit is known as the birthplace of Motown and techno, lauded for its thick pizzas and Coney dogs, and scrutinized as a decadent example of urbanism under late capitalism. For better or worse, the city and its reputation fascinates city-fixers, attracts artists, and galvanizes community action. Some Detroiters hope to spin a different kind of change with the first-ever Detroit City of Design Competition, an event that will bring three winning installations to select city neighborhoods. Designers from the 31 UNESCO Cities of Design, a designation bestowed by the United Nations' UNESCO on urban areas with distinctive design cultures, were asked by neighborhood organization to design "solutions" (a loaded mandate) to boost safety and walkability in Hope Village, Southwest Detroit, and Grandmont Rosedale. A jury of locals, city officials, and designers from elsewhere chose installations from Detroit's SmithGroup; Detroit's Other Work, and Montreal's Collectif Escargo. Design Core Detroit, an organization that promotes design as economic development, spearheaded the competition. The John S. and James L. Knight Foundation contributed funding for the initiative. "Urban spaces have a tendency to become hard and cold if left unattended," said Caitlin Marcon, deputy director of Complete Streets at the Detroit Department of Public Works, in a press release. "Durable materials that meet our need for longevity sometimes do not spark our desires for beauty. These prototypes harness the creative and softer qualities we seek while being functional for street life and gathering." The projects will debut in September during the Detroit Month of Design and will be relocated to their chosen neighborhoods in April 2020. Each winner received $20,000 to design and build their prototype. Take a look at the images below to learn more about the selected designs. All quotes are designers' statements from the media release: Cyclerate SmithGroup Hope Village "Cyclerate aims to enhance public safety through unity, lighting, communication, and play. The installation, which lights up using kinetic energy generated by hand-powered cranks and stationary bike generators, encourages the community to work together to illuminate the structure. Participants can also engage in a friendly competition with one another to identify who can produce the greatest power output on the cycles. Expect to be surprised by the power produced through real-time statistics. The installation currently features LED lighting, Bluetooth speakers, and USB power charging stations. With its built-in expansion capability, the scalable structure can accommodate additional cycles, componentry, and lighting." Garden Novella Other Work Southwest Detroit "Garden Novella is a platform to express cultural, collective, and individual identity. It weaves together recorded stories from Southwest residents to serve as a guide through a modular system of welcoming vessels. Sun-powered lanterns, hanging gardens, seating, and the recorded stories combine to create an interactive environment. The featured stories express the double consciousness experienced by many in the Southwest community; they aim to connect generations, repair the damage caused by repatriation and explore the process of translation in a bilingual community." 3Rooms Collectif Escargo Grandmont Rosedale
"3Rooms consists of three spaces that are intimately linked to the world of the house—simultaneously conveying a sense of belonging and celebrating the beauty of united communities. The first 'room' is 'LeJardin' (The Garden), where the community is invited to participate in agriculture. 'Le Boudoir' is for nap lovers, readers and anyone who desires [siq] a rest in the shade of fruit trees. Finally, 'The Hut' features a steeper incline, making it a perfect spot for anyone who wants to be a little more playful. Each module lights up in the evening with a soft glow, functioning as a fireplace in the middle of the neighborhood. The hue alternates from red, blue, mauve or multicolored. 3Rooms is a safe cocoon for improvised gatherings. Like a poetic metaphor of the surrounding houses, it is merry, bright, colorful and full of life."
In a statement, Olga Stella, executive director of Detroit Design Core, noted the project's potential impact: "We are inspired by the innovation presented in the winners and finalists and the way they demonstrate the value of design to the community. We hope these installations will peak [siq] the interest of private and public groups to commission the winning design teams to create permanent fixtures in these and other neighborhoods.”
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Sunrise

Weekend Edition: Competition winners and new leaders
Missed some of this week’s architecture news, or our tweets and Facebook posts from the last few days? Don’t sweat it—we’ve gathered the week’s must-read stories right here. Enjoy! Detroit picks team to shape Midtown cultural center Detroit has picked the team to shape the Midtown cultural center that will tie together the area's existing institutions. Andrew Whalley to lead Grimshaw Architects Andrew Whalley will become the new chairman of Grimshaw Architects, as its founder, Nicholas Grimshaw, hands over the reins. Lesley Lokko, architect and author, named dean of Spitzer School of Architecture Architect and novelist Lesley Lokko has been named the new dean of the City College of New York's Spitzer School of Architecture. Former I.M. Pei–designed IBM campus in Westchester could become boarding school The IBM Somers Office Complex, designed by Pei Cobb Freed and Partners in the '80s, could be getting adapted into a private school. Have a great weekend and see you next week!
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Stringing It Together

Lorcan O'Herlihy renovates Detroit's African Bead Museum
The Detroit office of Lorcan O'Herlihy Architects (LOHA) has unveiled its initial phase of a small-budget, big-ambition renovation of one of the city's most remarkable cultural institutions: the MBAD African Bead Museum, an independent exhibition space devoted to African material culture and art. The museum comprises three townhouses and a 6,000-square-foot backyard sculpture garden that together stretch across almost a whole city block. Founder, owner, artist, and self-styled visual storyteller Olayami Dabls uses rocks, mirrors, wood, and iron to create sculptures that are parables for the development of African and African-American history and culture. According to its website, Dabls created the museum to help visitors better understand the struggles of the Civil Rights Movement through his sculptures and his collection of African objects. The African Bead Gallery, a museum store, is as intriguing as the sculptures: trays of beads are the forest floor to strung beads and artifacts from the collection that cover the walls and overhead displays. Outside, the facade is covered in Dabls's colorful glass-and-mirror mosaic murals. As beautiful as it is, the museum's physical space is in serious disrepair. One of the townhouse's roof has collapsed, and the exterior walls are precarious. Over time and if funding permits, LOHA will reinforce the structure internally and build galleries, a new entrance, and a landscape within the new envelope. The initial $100,000 renovation zeroed in on augmenting the museum's exhibition space and performing urgent repairs. LOHA turned a run-down storage room into a 600-square-foot gallery and community events space that will allow for more exhibitions from the museum's collection, plus work from artists in Detroit and beyond. Beyond the new gallery, improvements include new heating and electrical systems, new windows, and a public restroom. "For the first time in 17 years, we will have a space where we can engage the community through storytelling programs and make the museum available to the people who need a gathering space," Dabls said in a press release. "This adds a whole new dimension to our plans for the future." A celebration of the renovated gallery is planned for June 22. This round of renovations was funded by crowdsourced donations via a campaign in partnership with Allied Media Projects. Subsequent renovations are contingent on more fundraising. The museum is already looking to add a main entrance, a central gallery, new admin facilities, and a fund for visiting artist residencies.
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Ter-rific Choice

Detroit picks team to shape Midtown cultural center
An effort to connect Detroit’s cluster of some of its most significant institutions, including its iconic Detroit Institute of Arts (DIA), announced today that an international team of urban designers, landscape architects, and technology experts had been selected to create a cultural center in the booming Midtown district. In a year-long process, the Midtown Cultural Connections competition selected a team led by Paris-based Agence Ter, Detroit-based architecture and design studio akoaki, Ann Arbor–based hybrid design firm rootoftwo, and University of Michigan assistant professor and urban planner Harley Etienne, along with other partners. The initial design phase, which will bring all parties together to create a formal plan, will take about 18 months, officials said. The Agence Ter team suggested creating a sort of frame around the ten blocks containing a group of cultural institutions, including the DIA, Wayne State University, the Detroit Historical Society, the Charles H. Wright Museum of African American History, the College For Creative Studies, the Michigan Science Center, and the Scarab Club. Within that “Detroit Square,” the project will bring the inside out through “common ground” or communal backyards running between the buildings and their landscapes, to be activated with outdoor cafes, performance spaces, a mobile DJ booth, green spaces, public art, as well as live performance spaces for events. Woodward Avenue, which runs through this district, also may see its massive size reduced. The selection not only inspires pride among the winning team, said akoaki’s Anya Sirota, but it shows how Detroit’s participating institutions and judges are willing to give “an open-ended framework” a chance to succeed. For Sirota, that means the design will continue to evolve as the team works with local stakeholders, residents, and other parties to make the cultural center truly the heart of Midtown Detroit, one of the city’s most revitalized and vibrant neighborhoods. “We took a risk to create a memorable design that was also suggestable,” Sirota said. “We felt strongly that we would need additional feedback on these ideas [and] we’re excited that the jury went with something that allowed for more conversation with stakeholders.” The size and scope of the project are grand, Sirota added, and previous projects involving this area and around Detroit have gone forward without deep feedback, conversation, and consideration of the long-term effect on the city or its residents. This project seeks to “tread lightly” and be sensitive to placemaking within a city that is more than 300 years old and has concerns about issues like gentrification. Sirota also said she is pleased that the plan the winning team is working on will take issues of mobility, environmental sustainability, and stormwater stewardship into consideration. Having a team made up of experts in physical technology, landscaping, urban planning, and design with a Detroit-centic base should provide many new ideas for the cultural center, she noted. Midtown Detroit Inc. and DIA launched the design competition in 2017 to find a team that could unite twelve cultural and educational institutions with a kind of “town square” feel. The goal was to develop a “unified, dynamic, and inclusive space that facilitates connections throughout the Cultural Center,” DIA director Salvador Salort-Pons has said. The Midtown Cultural Connections project had 44 initial submissions from more than 10 countries and 22 cities. Those were winnowed down to eight firms and then three finalists. The other finalists included TEN x TEN of Minneapolis and Mikyoung Kim Design of Boston.
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CAB Drivers

Chicago Architecture Biennial announces this year's participants
The 2019 Chicago Architecture Biennial, titled ...and other such stories, will present work that explores architecture as it relates to social, political, and environmental issues. Curators Yesomi Umolu, Sepake Angiama, and Paulo Tavares have invited more than 80 architects, artists, researchers, and activists from around the world to converge on the shores of Lake Michigan, where their multidisciplinary collaborations will show the public how design can transform lives. The curators want collaboration and dialogue to be at the center of this year’s event, which gives contributors the opportunity to “expand [their] inquiries by connecting practices to each other and to visitors during the biennial’s run,” said Umolu. The planned collaborative projects include local firm Borderless Studio working with the Istanbul-based Herkes İçin Mimarlık (Architecture For All), studioBASAR of Bucharest, and Berlin’s Zorka Wollny to develop inclusive strategies for repurposing civic spaces on the site of the historic Anthony Overton Elementary School, and Keleketla! Library of Johannesburg which, working with Chicago’s Stockyard Institute, will be creating a space to discuss the importance of heritage sites and public housing at the site of the National Public Housing Museum. The Chicago Architecture Biennial was founded in 2015 to bring the global architectural vanguard to a city celebrated for its legacy of architectural innovation, and to give the public an opportunity to engage with architecture in new ways. It’s a lot like the Venice Architecture Biennale, but instead of a drinking Prosecco in an impossible city built on marshy ground, attendees drink Goose Island 312 in an inevitable city built on railroads and stockyards (or so I’m told—I’ve never been). The inaugural event, The State of the Art of Architecture, was curated by Joseph Grima and Sarah Herda who challenged contributors to take on pressing cultural issues, and 2017’s MAKE NEW HISTORY, curated by Sharon Johnston and Mark Lee, which highlighted various modes of production from book to burg. This year’s event, …and other such stories, runs from September 19, 2019, through January 5, 2020. It is free and open to the public across all citywide locations. Without any further ado, here are your contributors to the 2019 Chicago Architecture Biennial:

Exhibition Contributors

Adrian Blackwell (born in Toronto, Canada; lives in Toronto, Canada) Akinbode Akinbiyi (born in Oxford, England-UK; lives in Berlin, Germany) Alejandra Celedon (born in Edmonton, Canada; lives in Santiago, Chile) & Nicolas Stutzin (born in Santiago, Chile; lives in Santiago, Chile) Alexandra Pirici (born in Bucharest, Romania; lives in Bucharest, Romania) Avijit Mukul Kishore (born in Lucknow, India; lives in Mumbai, India) & Rohan Shivkumar (born in Hyderabad, India; lives in Mumbai, India) Black Quantum Futurism (founded in Philadelphia, USA) Borderless Studio (founded in Chicago, USA) CAMP (founded in Mumbai, India) Carolina Caycedo (born in London, England–UK; lives in Los Angeles, USA) Center for Spatial Research (founded in New York, USA) Chicago Architectural Preservation Archive (founded in Chicago, USA) Clemens von Wedemeyer (born in Göttingen, Germany; lives in Berlin, Germany) Cohabitation Strategies (founded in Rotterdam, Netherlands, and New York, USA) & Urban Front (founded in New York, USA) ConstructLab (founded in Berlin, Germany) DAAR (Sandi Hilal & Alessandro Petti) (founded in Beit Sahour, Palestine) Detroit Planning Department (founded in Detroit, USA) Do Ho Suh (born in Seoul, South Korea; lives in London, England–UK) FICA–Fundo Imobiliário Comunitário para Aluguel (founded in São Paulo, Brazil) Forensic Architecture (founded in London, England–UK) & Invisible Institute (founded in Chicago, USA) Herkes İçin Mimark (Architecture For All) (founded in Istanbul, Turkey) Jimmy Robert (born in Guadeloupe–France; lives in Berlin, Germany) Joar Nango (born in Áltá/AltaÁltá, Sápmi/Northern Norway; lives in Romssa /Tromsø, Norway) Jorge González (born in San Juan, Puerto Rico; lives in Puerto Rico) Keleketla! Library (founded in Johannesburg, South Africa), in collaboration with Stockyard Institute (founded in Chicago, USA) Maria Gaspar (born in Chicago, USA; lives in Chicago, USA) MASS Design Group (founded in Boston and Poughkeepsie, USA, and Kigali, Rwanda) MSTC (founded in São Paulo, Brazil), in collaboration with Escola da Cidade (founded in São Paulo, Brazil) and O Grupo Inteiro (founded in São Paulo, Brazil) Ola Hassanain (born in Khartoum, Sudan; lives in Khartoum, Sudan and Utrecht, Netherlands) Oscar Tuazon (born in Seattle, USA; lives in Los Angeles, USA) Palestine Heirloom Seed Library Project (founded in the northern West Bank, Palestine) Raumlabor (founded in Berlin, Germany) RIWAQ - Center for Architectural Conservation (founded in Ramallah, Palestine) RMA Architects (founded in Mumbai, India and Boston, USA) Sammy Baloji (born in Lubumbashi, Democratic Republic of the Congo; lives in Brussels, Belgium and Lubumbashi, Democratic Republic of the Congo) & Filip de Boeck (born in Antwerp, Belgium; lives in Brussels, Belgium and Lubumbashi, Democratic Republic of the Congo) Santiago X (lives in Chicago, USA) Settler Colonial City Project (founded in Ann Arbor USA and Guayaquil, Ecuador) in collaboration with American Indian Center (founded in Chicago, USA) Somatic Collaborative (Felipe Correa & Devin Dobrowolski) (founded in New York, USA) studioBASAR (founded in Bucharest, Romania) Sweet Water Foundation (founded in Chicago, USA) Tania Bruguera (born in Havana, Cuba; lives in New York, USA) & Association of Arte Útil (founded in Havana, Cuba) Tanya Lukin Linklater (born in Alaska, USA; lives in Ontario, Canada) & Tiffany Shaw-Collinge (born in Alberta, Canada; lives in Alberta, Canada) Territorial AgencyJohn Palmesino & Ann-Sofi Rönnskog (founded in London, England–UK) The Funambulist (founded in Paris, France) Theaster Gates (born in Chicago, USA; lives in Chicago, USA) Usina - CTAH (founded in São Paulo, USA) Vincent Meessen (born in Baltimore, USA; lives in Brussels, Belgium) Walter J. Hood (born in Charlotte, USA; lives in Oakland, USA) Wendelien van Oldenborgh (born in Rotterdam, Netherlands; lives in Berlin, Germany) Wolff Architects (founded in Cape Town, South Africa) Zorka Wollny (born in Kraków, Poland; lives in Berlin, Germany)

Catalog Contributors

American Indian Center (founded in Chicago, USA) Aviwe Mandyanda (BlackStudio) (born in Mdantsane, a township in East London, South Africa; lives in Johannesburg, South Africa) Carmen Silva (born in Santo Estêvão, Brazil; lives in São Paulo, Brazil) cheyanne turions (born in High Prairie, Canada; lives in Vancouver) Dr. Denise Ferreira da Silva (born in Rio de Janeiro, Brazil; lives in Vancouver, Canada) ELLA (founded in Los Angeles, USA) Emmanuel Pratt (born in Virginia, USA; lives in Chicago, USA) Eduardo O. Kohn (lives in Montreal, Canada) Inam Kula (born in Gugulethu, a township in Cape Town, South Africa; lives in Cape Town, South Africa) Lesley Lokko (born in Dundee, Scotland – UK; lives in Johannesburg, South Africa) Mario Gooden (lives in New York City, USA) Pelin Tan (born in Hilden, Germany; lives in Mardin, Turkey) Stephen Willats (born in London, England–UK; lives in London, England–UK) Vincent Tao (born in Scarborough, Canada; lives in Toronto, Canada) Virginia de Medeiros (born in Feira de Santana, Brazil; lives in São Paulo, Brazil) Vivien Sansour (born in Beit Jala, Palestine; lives in Bethlehem, Palestine and Los Angeles, USA) Columbia Books on Architecture and the City (founded in New York City, USA)
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Techtown USA

The origins and perils of development in the urban tech landscape

In most major cities of the world, an urban tech landscape has emerged. One day, we were working on our laptops at Starbucks, and the next, we were renting desks at WeWork. We embedded our small architectural and design firms in low-rent spaces in old factories and warehouses, and then we emerged as “TAMI” (technology, advertising, media, and information) tenants, heating up the commercial real estate market. Friends who could write computer code started businesses in their apartments before moving into tech incubators and accelerators, which then morphed into a “startup ecosystem.” Though a competitive city in the 1990s might only have had one cutely named cluster of startups—New York’s Silicon Alley, San Francisco’s Media Gulch—by the 2010s, many cities were building “innovation districts.” How did this happen? And what does it mean for these cities’ futures?

The simplest explanation is that cities are catching up to the digital economy. If computers and the web are one of the primary means of production for the 21st century, all cities need the infrastructure—broadband, connectivity, flexible office space—to support them. Companies that control the means of production also need raw material—the data that newly “smart” cities can provide—to develop concepts, test prototypes, and market their wares. Local governments and business leaders have always reshaped cities around the businesses that profit from new technology; In the 19th century, they built railroad stations, dug subway tunnels, and laid sewage pipes; in the 20th century, they wired for electricity and erected office towers. Maybe we should ask why it has taken cities so long to rebuild for digital technology.

Inertia is one answer, and money is another. Entrenched elites don’t readily change course, especially if a new economy would challenge their influence on local politics and labor markets. Think about the long dominance of the auto industry in Detroit and the financial industry in New York, both late converts to digital technologies like self-driving cars and electronic banking, respectively.

Another reason for cities’ slow awakening to the tech economy is the post–World War II prominence of suburban office parks and research centers, part of the mass suburbanization of American society. On the East Coast, tech talent began to migrate from cities in the early 1940s, when Bell Labs, the 20th-century engineering powerhouse, moved from Lower Manhattan to a large tract of land in suburban New Jersey. A few years later, on the West Coast, Stanford University and the technology company Varian Associates spearheaded the construction of an electronics research park on a university-owned site of orange groves that later became known as Silicon Valley.

Silicon Valley got the lion’s share of postwar federal government grants and contracts from the military for microwave electronics innovation, missile research, and satellite communications. Venture capital (VC) soon followed. Although VC firms began in New York and Boston, by the 1960s and ’70s they were setting up shop in the San Francisco Bay Area.

The Valley’s hegemony was solidified in the 1980s by the rise of the personal computer industry and the VCs who got rich by investing in it. The suburban tech landscape so artfully represented in popular mythology by Silicon Valley’s DIY garages and in physical reality by its expansive corporate campuses was both pragmatically persuasive and culturally pervasive. Its success rested on a triple helix of government, business, and university partnerships, defining an era from Fairchild, Intel, and Hewlett-Packard (the first wave of major digital technology companies) to Apple, Google, and Facebook.

In contrast to the suburban postwar growth of Silicon Valley, the urban tech landscape was propelled by the rise of software in the early 2000s and gained ground after the economic crisis of 2008. Software was easier and cheaper to develop than computers and silicon chips—it wasn’t tied to equipment or talent in big research universities. It was made for consumers. Most important, with the development of the iPhone and the subsequent explosion of social media platforms after 2007, software increasingly took the form of apps for mobile devices. This meant that software startups could be scaled, a crucial point for venture capital. For cities, however, the critical point was that anyone, anywhere, could be both an innovator and an entrepreneur.

The 2008 economic crisis plunged cities into a cascade of problems. Subprime mortgages cratered, leaving severely leveraged households and financial institutions adrift. Banks failed if they didn’t get United States government lifelines. Financial jobs at all levels disappeared; local tax revenues plummeted. While mayors understood that they had to end their dependence on the financial sector—a realization most keenly felt in New York—they also faced long-term shrinkage in manufacturing sectors and office vacancies.

London had already tried to counter deindustrialization with the Docklands solution: Waterfront land was redeveloped for new media and finance, and unused piers and warehouses were converted for cultural activities. In Spain, this strategy was taken further in the 1990s by the construction of the Guggenheim Bilbao museum and the clearing of old industrial plants from that city’s waterfront. By the early 2000s, Barcelona’s city government was building both a new cultural district and an “innovation district” for digital media, efforts that bore a striking resemblance to the 1990s market-led development of the new media district in Manhattan’s Silicon Alley and the growth of tech and creative offices in Brooklyn’s DUMBO neighborhood.

Until the economic crisis hit, both spontaneous and planned types of urban redevelopment were connected to the popular “creative city” model promoted by Charles Landry in London and Richard Florida in Pittsburgh (later, Toronto). In 2009, however, economic development officials wanted a model that could create more jobs. They seized on the trope of “Innovation and Entrepreneurship” that had been circulating around business schools since the 1980s, channeling the spirit of the economic historian Joseph Schumpeter and popularized in a best-selling book by that title by the management guru Peter Drucker. Adopted by researchers at the Brookings Institution, urban innovation districts would use public-private partnerships to create strategic concentrations of workspaces for digital industries. It seemed like a brilliant masterstroke to simultaneously address three crucial issues that kept mayors awake at night: investments, jobs, and unused, low-value buildings, and land.

In the absence of federal government funding, real estate developers would have to be creative. They built new projects with money from the city and state governments, the federal EB-5 Immigrant Investor Visa Program for foreign investors, and urban impact funding that flowed through investment banks like Goldman Sachs. Federal tax credits for renovating historic buildings and investing in high-poverty areas were important.

Though all major cities moved toward an “innovation economy” after 2009, New York’s 180-degree turn from finance to tech was the most dramatic. The bursting of the dot-com bubble in 2000 and 2001, followed by the September 11 attack on the World Trade Center and an economic recession, initially kept the city from endorsing the uncertainty of tech again. Michael Bloomberg, mayor from 2001 to 2013, was a billionaire whose personal fortune and namesake company came from a fusion of finance and tech, most notably the Bloomberg terminal, a specially configured computer that brings real-time data to stock brokers’ and analysts’ desks. Yet, as late as 2007, Mayor Bloomberg, joined by New York’s senior senator Chuck Schumer, promoted New York as the self-styled financial capital of the world, a city that would surely triumph over its only serious rival, London. The 2008 financial crisis crumpled this narrative and turned the Bloomberg administration toward tech.

By 2009, the city’s business elites believed that New York’s salvation depended on producing more software engineers. This consensus motivated the mayor and his economic development officials to build big, organizing a global competition for a university that could create a dynamic, postgraduate engineering campus in New York. Cornell Tech emerged as the winner, a partnership between Cornell University and the Israel Institute of Technology. Between 2014 and 2017, the new school recruited high-profile professors with experience in government research programs, university classrooms, and corporate labs. They created a slew of partnerships with the city’s major tech companies, and the resulting corporate-academic campus made Roosevelt Island New York’s only greenfield innovation district. Not coincidentally, the founding dean was elected to Amazon’s board of directors in 2016.

The Bloomberg administration also partnered with the city’s public and private universities, mainly the aggressively expanding New York University (NYU), to open incubators and accelerators for tech startups. After NYU merged with Polytechnic University, a historic engineering school in downtown Brooklyn, the Bloomberg administration made sure the new engineering school could lease the vacant former headquarters of the Metropolitan Transportation Authority nearby, where NYU’s gut renovation created a giant tech center.

Meanwhile, the Brooklyn waterfront was booming. The Brooklyn Navy Yard added advanced manufacturing tenants and art studios to its traditional mix of woodworking and metalworking shops, food processors, and suppliers of electronics parts, construction material, and office equipment, and began to both retrofit old machine shops for “green” manufacturing and build new office space. While tech and creative offices were running out of space in DUMBO, the heads of the downtown Brooklyn and DUMBO business improvement districts came up with the idea of marketing the whole area, with the Navy Yard, as “the Brooklyn Tech Triangle.” With rezoning, media buzz, and a strategic design plan, what began as a ploy to fill vacant downtown office buildings moved toward reality. 

Established tech companies from Silicon Valley and elsewhere also inserted themselves into the urban landscape. Google opened a New York office for marketing and advertising in 2003 but expanded its engineering staff a few years later, buying first one, then two big buildings in Chelsea: an old Nabisco bakery and the massive former headquarters of the Port Authority of New York and New Jersey. Facebook took AOL’s old offices in Greenwich Village. On the next block, IBM Watson occupied a new office building designed by Fumihiko Maki.

Jared Kushner’s brother, the tech investor Jonathan Kushner, joined two other developers to buy the Jehovah’s Witnesses’ former headquarters and printing plant on the Brooklyn-Queens Expressway. The developers converted the buildings into tech and creative offices and called the little district Dumbo Heights. By 2015, the growth of both venture capital investments and startups made New York the second-largest “startup ecosystem” in the world after Silicon Valley. Within the next three years, WeWork (now the We Company) surpassed Chase Bank branches as Manhattan’s largest commercial tenant.

All this development was both crystallized and crucified by Amazon’s decision to open half of a “second” North American headquarters (HQ2) in the Long Island City neighborhood of Queens, New York, in 2018. Amazon organized a competition similar to the Bloomberg contest that resulted in Cornell Tech, but in this case, the contest was a bidding war between 238 cities that offered tax credits, help with land assemblage, and zoning dispensations in return for 50,000 tech jobs that the company promised to create. But in announcing its selection, Amazon divided the new headquarters in two, supposedly placing half the jobs in New York and the other half in Crystal City, Virginia, a suburb of Washington, D.C. Many New Yorkers erupted in protest rather than celebration.

The amount of tax credits offered to the very highly valued tech titan, almost $3 billion in total, appeared to rob the city of funding for its drastic needs: fixing the antiquated subway system, repairing the aging public housing stock, and building affordable housing. The decision-making process, tightly controlled by Governor Andrew Cuomo and Mayor Bill de Blasio, enraged New York City Council members, none of whom had been given a role in either negotiating or modifying the deal. The deal itself was closely supervised by New York State’s Economic Development Corporation behind closed doors, without any provision for public input or approval.

Housing prices in Long Island City rose as soon as the deal was announced. A city economic development representative admitted that perhaps half of the jobs at HQ2 would not be high-paying tech jobs, but in human resources and support services. In a final, painful blow, Amazon promised to create only 30 jobs for nearly 7,000 residents of Queensbridge Houses, the nearby public housing project that is the largest in the nation.

Amazon representatives fanned their opponents’ fury at public hearings held by the New York City Council. They said the company would not remain neutral if employees wanted to unionize, and they refused to offer to renegotiate any part of the deal. Opponents also protested the company’s other business practices, especially the sale of facial recognition technology to the U.S. Immigration and Customs Enforcement agency (ICE). Yet surveys showed that most registered New York City voters supported the Amazon deal, with an even higher percentage of supporters among Blacks and Latinos. Reflecting the prospect of job opportunities, construction workers championed the deal while retail workers opposed it. The governor and mayor defended the subsidies as an investment in jobs. Not coincidentally, Amazon planned to rent one million square feet of vacant space in One Court Square, the former Citigroup Building in Long Island City, before building a new campus on the waterfront that would be connected by ferry to Cornell Tech.

After two months of relentless, vocal criticism, in a mounting wave of national resentment against Big Tech, Amazon withdrew from the deal. Elected officials blamed each other, as well as a misinformed, misguided public for losing the economic development opportunity of a lifetime.

Yet it wasn’t clear that landing a tech titan like Amazon would spread benefits broadly in New York City. A big tech company could suck talent and capital from the local ecosystem, deny homegrown startups room to expand, and employ only a small number of “natives.”

From San Francisco to Seattle to New York, complaints about tech companies’ effect on cities center on privatization and gentrification. In San Francisco, private buses ferry highly paid Google workers from their homes in the city to the company’s headquarters in Silicon Valley, green space and cafes in the Mid-Market neighborhood proliferate to serve Twitter employees and other members of the technorati, low-income Latinos from the Mission district are displaced by astronomical rents—all of these factors stir resentment about Big Tech taking over. In Seattle, Amazon’s pressure on the city council to rescind a tax on big businesses to help pay for homeless shelters also aroused critics’ ire. Until recently, moreover, tech titans have been unwilling to support affordable housing in the very markets their high incomes roil: East Palo Alto and Menlo Park in California, and Redmond, Washington.

It remains to be seen whether urban innovation districts will all be viable, and whether they will spread wealth or instead create highly localized, unsustainable bubbles. Venture capital is already concentrated in a small number of cities and in a very few ZIP codes within these cities. According to the MIT economist David Autor, although the best “work of the future” is expanding, it is concentrated in only a few superstar cities and only represents 5 percent of all U.S. jobs.

Yet urban tech landscapes emerge from a powerful triple helix reminiscent of Silicon Valley. Elected officials promise jobs, venture capitalists and big companies make investments, and real estate developers get paid. Though these landscapes glitter brightly compared to the dead spaces they replace, they don’t offer broad participation in planning change or the equitable sharing of rewards.

Sharon Zukin is a Professor of Sociology at the City University of New York, Brooklyn College, and is author of the forthcoming book The Innovation Complex: Cities, Tech, and the New Economy.

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Overcoming Obese-city

In Jackson, Mississippi, architects are taking on a citywide hunger problem

By more than one measure, Jackson, Mississippi, is one of the nation’s unhealthiest cities. In 2017, it was named the fattest city in America based on 17 indicators, including obesity rates, levels of physically active adults, and access to fresh produce. In fact, nearly one-fifth of city residents are considered food insecure. The state of Mississippi does not fare much better—for the last eight years, it was reported as the most food insecure state in the country, even though agriculture is the state’s top industry. 

It’s not just that Jackson has only 17 grocery stores for a population of nearly 170,000—that’s one per nearly 10,000 people. But the food that is available is disproportionately tipped toward fast food and gas station items. As one scholar of Jackson’s food culture told the Clarion Ledger, “Hunger happens in between bags of chips.” 

All of this is compounded by the city’s lack of viable public transit options. Jackson is designed around the car, but many residents, whose wallets are already stretched thin on federal food assistance dollars, don’t own one. Even those with groceries or farmers’ markets in walking distance are discouraged by the lack of sidewalks or crosswalks. These conditions are undergirded by decades of generational poverty and disinvestment due to white flight, unfavorable tax policies, and the state’s aggressive efforts to cut resources for Medicaid and limit food stamps.

But Jackson also has a long history of civil rights activism, and its residents in 2013 and again in 2017 elected mayors who promised nothing less than wholesale social and economic transformation. For Mayor Chokwe Antar Lumumba, addressing Jackson’s food access challenge is part of his promise to make it “the most radical city in the world.” But rather than enlisting conventional strategies, the city has mobilized its long-range planning division to lead a new design-based initiative. Bolstered by a $1 million public art grant from Bloomberg Philanthropies, “Fertile Ground: Inspiring Dialogue about Food Access” brings together architects and artists alongside chefs, gardeners, food policy experts, and local institutions to facilitate a year of community-engaged interventions at three sites in the city. The project will culminate in a citywide exhibition in the spring of 2020, but ultimately it aims to establish a nonprofit research lab on food access that will operate on a permanent basis to sustain the momentum that is created.

The city invited an intriguing roster of architects and designers from around the country to participate in the multidisciplinary initiative: Kathy Velikov and Geoffrey Thün, directors of RVTR; Anya Sirota and Jean Louis Farges of Akoaki; Walter Hood of Hood Design Studio, and Jonathan Tate, who runs his namesake practice, Office of Jonathan Tate. Architects are central to the project, said Travis Crabtree, a senior urban planner with the city and one of the project’s coordinators. “When we first got the grant, people asked, Why are we spending $1 million dollars on an art project when we could feed people for a million?” he said.

Looking more closely at what these designers bring to the table may illustrate what can be gained from this approach. The question of access is at the heart of practices like the Toronto and Ann Arbor, Michigan–based RVTR, led by Velikov and Thün, who are both associate professors at the University of Michigan Taubman College of Architecture and Urban Planning. In their ongoing project, Protean Prototypes, they conceive of public transit systems as platforms to address access to mobility, food, education, and health. They do this by mapping the social and spatial opportunities for access, connecting underserved areas with local actors who can bridge access gaps and by proposing lightweight spatial prototypes that overlay onto public transit infrastructure, such as bus stops and metro stations. The prototypes might include emerging tech like mobile produce vending systems and bike-cart shares alongside other programs with a small footprint like exercise equipment and book lending programs. Applying this method to Chicago, San Francisco, and Detroit, this complex systems approach brings together architectural and urban scale in new assemblages that amplify the resources already on the ground and take advantage of the larger urban context to channel them where they are needed most.

In Jackson, Velikov and Thün will focus their efforts at the Ecoshed, a 15,000-square-foot, open-air building on a 2-acre industrial site that borders two very different neighborhoods—the rapidly gentrifying Fondren and Virden Addition, one of the poorest in the city. For Fertile Ground, the Ecoshed will demonstrate a self-sustaining closed-loop food system and host the food lab, and eventually host the Fertile Ground nonprofit.

Anya Sirota and Jean Louis Farges of Detroit-based Akoaki will also focus their efforts at the Ecoshed. Their practice has engaged with the problem of food access through four years of work with an urban farm in Detroit, the Oakland Avenue Urban Farm. Sirota is also an associate professor of architecture at Taubman. Detroit provides a uniquely fertile landscape for thinking about urban food access. According to Sirota, Detroit has 1,300 urban farms, but none of them are sustainable. At the 6-acre Oakland Avenue Urban Farm, sustainability for Sirota and Farges has meant strategizing beyond economics alone. To them, urban farms are hubs for urban regeneration, and they realized that multiple layers of activity and programming were needed to realize that potential. Like Velikov and Thün, they see architecture as a way of “amplifying the activity that’s already happening on the ground, to stitch together new and productive alliances.”

Detroit may be 1,000 miles from Jackson, but the connection between the two cities runs deep. Like Jackson, Detroit is a majority African American city, with many residents who have ties to Mississippi and other southern states. Thus, the Oakland Avenue farm grows many heritage products from Mississippi. Likewise, the association to agriculture is similarly fraught in both cities; as Sirota noted, “We are highly attuned to the idea that going back to the land isn’t necessarily representationally positive to everyone.” Rather than framing urban farming as a return to an idyllic past (and glossing over the history of slavery and policies that led to the dispossession or denial of land to freed slaves), Akoaki’s urban farm work is firmly sited in the urban. “We’ve become astutely aware that the neo-rural is not rural; it’s something that deserves an aesthetic that hybridizes all the aspirations of the city and combines them with the necessity to produce picturesque landscape and food.” Thus the practice’s design of pop-up performance spaces next to the farm’s kale fields for the Detroit African Funkestra is based on the colors and shapes of shuttered music venues across Detroit.

Another participating architect, Oakland-based landscape architect Walter Hood, has extensive experience designing cultural and urban landscapes. Hood, who is also a professor at University of California, Berkeley's  will focus his efforts at Galloway Elementary in Jackson. The 4.3-acre, publicly owned lot is currently a playfield for a local elementary school. According to the city’s planning department, this site is located in a lower-income residential neighborhood with little public space and bordered by a major street dominated by fast food establishments. The theme here will be on food and community.

This is a good fit for Hood. His projects in Charleston, South Carolina; Macon, Georgia; Detroit, and Philadelphia, among other cities, demonstrate a steady thread of incorporating community feedback, local culture, and collective memory into landscape and urban design. In his Water Table installation at the Spoleto Festival in Charleston, Hood tapped into the ecology and history of rice production by mounting thousands of Carolina Gold rice plants in circular planters on a platform in a school courtyard, essentially recreating a rice paddy in downtown Charleston. The project resurfaced the link between rice production and the history of the slave labor that made Carolina’s rice industry possible. Afterwards, the project was dissembled and distributed, planter by planter, across schools and institutions in the area, and lived on to continue the conversation. This archaeological approach also surfaces in many other projects by Hood Studio, including its master plan for Detroit’s Rosa Parks neighborhood. Hood's work has long engaged with the idea of “being a protagonist in design," and, in reflecting on the future work in Jackson, asked, “How do we make a landscape powerful, so that once you do it, it has a resonance?”

Finally, at Congress Street, the third Fertile Ground site, New Orleans–based architect Jonathan Tate will bring his experience with food culture and exhibition design to a downtown storefront space. The Congress Street site is close to the heart of government and is intended to amplify the project to public officials and policymakers who work nearby.

For Tate, who designed the Southern Food and Beverage Museum in New Orleans, the task includes not only the adaptive reuse of an existing building but also the design of an outdoor parklet that invites the public in through greenscape and seating. The challenge will be to bring it all together—the art, the history, the contributions of numerous partners, and of course, engage critical feedback, in a downtown that goes quiet at 5 p.m. on weekdays. "Instead of a veneer you're walking through, it's about bringing the space of the building out into the street," he explained.

The architects, along with other Fertile Ground team members, began site visits in April, and will develop their proposals until the citywide expo in 2020.

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Soaring Stone

Weekend edition: Unpaid interns, Peter Zumthor, and more
Missed some of this week’s architecture news, or our tweets and Facebook posts from the last few days? Don’t sweat it—we’ve gathered the week’s must-read stories right here. Enjoy! Junya Ishigami ordered to pay interns after Serpentine uproar, as Elemental ends internships Junya Ishigami has been taken to task for using unpaid internships, and the Serpentine has ordered that he pay anyone working on the Serpentine Pavilion. NOMA President Kim Dowdell on the politics of Detroit and the architecture profession AN interviews NOMA's new President Kim Dowdell on rebuilding Detroit's housing and what it will take to build a more equitable architecture profession. Vessel and Hudson Yards are open. What do the critics think? While architecture critics have been, well, critical of Thomas Heatherwick's $150 million Vessel, that hasn't stopped the public from coming out to see it. onePULSE Foundation announces competition for National Pulse Memorial & Museum in Orlando onePULSE Foundation announced it will hold a two-stage international competition to design the new National Pulse Memorial & Museum in Orlando, Florida. Peter Zumthor lightens and shortens LACMA design Peter Zumthor's office released new renderings of its design for LACMA, showing a simpler concrete skin and a shorter building overall. Have a great weekend!
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The Architect-Developer

NOMA President Kim Dowdell on the politics of Detroit and the architecture profession
Detroit is an entrepreneurial city. In its heyday, it was full of forward-thinkers who were breaking boundaries by building big business dedicated to innovation and manufacturing. That same spirit still exists in the Motor City today, though some have written off the gritty, Michigan enclave as a place of the past. Many dedicated Detroit natives are working hard to rebuild its legacy as a capital of American economic and cultural development. Kimberly Dowdell, in particular, is using her experience as an architect and a real estate developer, as well as her innate entrepreneurial drive, to change the face of urban housing in Detroit. Along with her team at Century Partners, an emerging firm in the city, she’s tackling long-standing social injustices through the lens of home ownership. She’s doing the same in her new role as president of the National Organization for Minority Architects (NOMA) by advancing representation in the architecture industry and fighting for professional equity. AN spoke with Dowdell about her unique career path, what drives her to rebuild Detroit, and why addressing architecture’s internal issues can help build stronger cities. The Architect's Newspaper: You spent time on the East Coast working as an architect and developer, and then studied public administration as a graduate student at Harvard University. What drew you back to Detroit? Kimberly Dowdell: I grew up in Detroit in the early '90s when the city was in pretty bad shape. The buildings were ghosts of their former selves, which fascinated me, but economically, Detroit was devastated. Instead of moving back after graduating from Cornell with my bachelor’s in architecture, I decided to sample cities on the East Coast (Washington, D.C., and New York), rounding it all off in Cambridge for the Harvard program. Many people ask me why I studied government since I came from a design background, but I firmly believe buildings are intrinsically part of the public realm, so it’s our responsibility to learn everything we can about how policies can work to better the built environment. In 2015, I was recruited by the City of Detroit’s Housing and Revitalization Department, where I worked closely with the Planning and Development Department, collaborating with a long-time mentor, Maurice Cox, Detroit’s Planning Director. That unique opportunity to contribute to Detroit’s resurgence ended my 14-year East Coast tour. AN: Since you’ve been in Detroit, you’ve transitioned into a more entrepreneurial role as a professional and within your current firm, Century Partners. How does your background in public service and design serve you in thinking about housing in Detroit? When I was younger, I didn’t like that Detroit looked bad, so I decided I was going to become an architect. I didn’t really see many people trying to solve the city’s big problems growing up, so I aimed to do it myself. A lot of what I’ve chosen to do in my career has been in response to things that I think are not ideal. As a kid, I actually wanted to be a doctor, which is funny now because I consider myself kind of like a doctor at the macro level. I get to help heal neighborhoods. Architects have to be knowledgeable of all the issues at hand in order to get a project done successfully. To be a developer, you also have to understand the bigger politics at play. With Century Partners, I’m able to use my design eye as I try to maintain the historic fabric of Detroit as much as possible through our projects. AN: What’s the biggest thing you’re working on at Century Partners? Detroit is well-known for its expanse of single-family homes. We’re currently looking at building out neighborhoods that are positioned to contribute to the multi-family housing fabric of the city. We’re currently fundraising to purchase commercial and multi-family buildings in Detroit’s core that will spur economic development, increase density, and create a 24/7 neighborhood. The other major project that we're working on right now is called the Fitz Forward Neighborhood Revitalization project, a city-backed, public-private partnership that will eventually revitalize over 300 parcels of land, including existing homes, open lots, and parkland, across the Fitzgerald neighborhood in central Detroit. AN: You spend a lot of time thinking about Detroit’s future and how to solve these big-picture problems. How is this mindset helpful as you start your new position leading NOMA? I’m three months into my presidency and the biggest thing I want to be really mindful of is fundraising for the organization. As a woman, I think there’s a general consensus that we don’t directly ask for money—as if fundraising is a taboo thing to do. But as president, I want to commit to doing that, which coincidently ties into my fundraising efforts with Century Partners for the commercial property and multi-family housing fund I mentioned. Money is always part of the bigger picture in architecture, but it’s a new challenge for me to think about it so directly.   AN: How could more money for your organization have an impact on architecture? I was recently possessed to say out loud in a podcast interview that if someone gave NOMA a million dollars, it could change the face of the profession. We’d have money to fuel our access-related programs like exposing K-5 students to architecture through classes and products, while middle and high school students could more deeply engage with our NOMA Project Pipeline summer camps. College students, especially aspiring architects of color, need help with studio supplies, technology, housing, transportation, and scholarships. As the first millennial president of NOMA, I’ve also begun considering how the architecture profession can alleviate the student debt crisis. Many of my colleagues have really high levels of student debt coupled with comparatively low professional salaries (consider lawyers and doctors) and limited flexibility and financial freedom. How can we as an organization motivate or incentivize people to pursue architecture knowing that compensation is a challenge and the student loan debt is higher than ever? We will miss out on some really talented people if things don’t change. This is also a diversity issue. Minorities in particular struggle with this given the wealth gap. NOMA is about getting people to believe in the power of diversity and the success of companies and organizations who support that vision. I want to make the case that investing in NOMA is investing in the future of a more diverse and equitable profession, which can help build more diverse and equitable cities. AN: So you think addressing the architecture’s internal inequalities would have a trickle-down effect on not only the way firms are set up, but how projects and cities get built? I absolutely think that there is a correlation between who is empowered to author the built environment and how that environment shapes the well-being of the community that it serves. In the words of Winston Churchill, "we shape our buildings and thereafter our buildings shape us." I believe that this statement holds true and I would add that the heightened diversity of our built environment stewards (developers, architects, builders, real estate brokers, etc.) will contribute to a more thoughtful and responsive set of buildings, spaces, and places that will equate to more sustainable cities. I believe in quadruple bottom line sustainability—incorporating financial, ecological, social and cultural priorities. While everyone in the development process has a particular purpose and role, I think that the more we see greater cohesion between those quadruple bottom line priorities, the better off our cities will be moving forward.
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Everyday Festival

IdeasCity heads to New Orleans this April
IdeasCity, the urban culture initiative from New York's New Museum, is bringing its annual festival to New Orleans this April. This year's festival will take place from April 15 to 20 at the Bell Artspace Campus and the New Orleans African American Museum. The theme of this year's event will be "Everyday Festival." The IdeasCity festival comprises a five-day residency program that ends with a one-day public program of talks and performances. In a statement, IdeasCity curator V. Mitch McEwen said: “As New Orleans knows well, a festival is a site of intense reimagination of bodies, streets, space, and time…Through the logic of the festival, we are looking for ways of opening ourselves up to radically new ideas.” This year's presenters will include Black Thought, Imani Perry, Bryan C. Lee, Sue Mobley, LOT-EK, and more. Previous IdeasCity festivals have taken place in Toronto, New York, Detroit, and elsewhere.
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Hope for Better Things

Utile envisions a grand, new future for Detroit's Eastern Market
Detroit is often referred to as an example of a city in which citizen effort and innovative design in certain areas have increased the standard of living, despite the city's overall struggles. The Eastern Market district is an example of such uplift. In the five long, 19th-century "sheds" along Russell Street, cafés, local farmer-vendors, jewelers, and Coney Island–style hot dog stands now flank the corridors. Murals on brick brighten up the exterior walls. Jazz musicians and Motown singers play music for guests every Saturday when the markets are at their liveliest. Outside the sheds, there are local coffee companies, clinics, restaurants, and grocery stores. In recent years, the space, a 24-acre plot in the heart of Detroit, has been dramatically revitalized. The bustling marketplaces reflect this. However, it is clear that more effort is needed to make the most of the possibilities the district offers. Today, the Eastern Market's historic core requires both structural and environmental updates. Additionally, an increasing number of visitors means the sheds and surrounding businesses require expansions. In a group effort by the Detroit Economic Growth Corporation, the Eastern Market Corporation, and the Nature Conservancy, Boston-based firm Utile, Inc., and Michael Van Valkenburgh Associates (MVVA) have been commissioned to lay out a comprehensive framework for the district and the surrounding neighborhood. In doing so, the district hopes to become a larger center for food distribution. Further goals involve becoming a high-tech hub in order to present more opportunities for employment. Tim Love, principal at Utile, spoke to The Architect's Newspaper about the challenges, plans, and aspirations for the project. The Architect's Newspaper: What were the guidelines for the project and the issues present that the client wants to solve?  Tim Love: The project has two separate but related focus areas: the historic core of the market, centered on the market sheds, and an area targeted for the expansion of food industry businesses to the north and east of the existing market district. The expansion of the market is necessitated by new federal food regulations triggered by the 2011 Food Safety Modernization Act and the desire by the City of Detroit to retain and expand the job opportunities provided by the food industry. The plan for the market expansion area required the thoughtful integration of an industrial real estate development strategy with a centralized stormwater management plan. As a result, the Utile/MVVA team needed to test alternative food business building prototypes and the network of open spaces that threaded between the buildings. The design problem was complicated by the need to provide truck access to the food businesses while screening the truck aprons from non-industrial uses on the boundaries of the expanded food industry district. The final recommended urban design strategy, conceived at the block scale, weaves together industrial buildings, stormwater greenways, truck aprons, pedestrian and bicycle-friendly streets, and live/work building types. The net result is an urbanism that acknowledges the need for large-footprint, truck-dependent buildings, but organizes them in a way that makes for a more environmental-friendly and walkable district. The plan for the core market area meets related but slightly different goals. In this case, the preservation of the market sheds and the funky building fabric on the blocks to the east and west of the sheds were identified as a cultural as much as a historic resource. As a result, a set of design guidelines were developed that encourage developers to preserve the existing buildings while allowing for penthouse additions of three to four stories above. To reinforce the existing ad hoc character of the district, we decided to embrace the mismatched stacking of contrasting architectural expressions rather than encourage a more canonical restoration of the historic fabric. Along the Dequindre Cut and Gratiot Avenue, where less of the historic fabric survives, dense residential mixed-use development is proposed. An increase in the local residential population will enliven the public realm, especially in the evening, when Eastern Market is mostly deserted. The twist, in this case, is that fabrication and light manufacturing spaces are encouraged on the ground floor rather than retail. The goal is to encourage smaller-scale food and fabrication businesses that complement the larger-scale facilities being planning in the market expansion area. In addition, favoring fabrication spaces over retail will help steer retail businesses closer to the market sheds, where food-focused retail already benefits from the busy public market. Our team is still working with the city to determine how our plan will be implemented, both in the short- and long-term. Certainly, zoning regulations will be one tool that will be used to shape future private investment. AN: What is the current state of the Eastern Market neighborhood, and where does your team envision it being when your design has been implemented? How will your team’s designs impact Detroit on a city-wide scale? TL: Today, Eastern Market neighborhood is an island of walkable urban fabric within a larger landscape of vacant parcels and auto-centric uses. The economy of the market core is defined by symbiotic relationships between food production, distribution, and retail businesses in close proximity to one another and in connection with larger supply chains. Our goal is to extend the district to accommodate the needs of the modern food industry while introducing a mix of uses that reinforce the public realm and increase both the daytime and evening population. The expansion of the market district will also increase the number of food industry jobs, important in a city where the largest areas of job growth have been in the customer service and retail sectors. The industrial buildings that surround the historic market sheds are not suitable for modern food processing and fabrication. Their floor plates are too small, and their ceilings are too low. And even if they were adequate in size, modern food safety codes make the buildings prohibitively expensive to renovate. To answer the need for modernization, a market expansion area was identified directly to the north and east of the core market where new larger state-of-the-art industrial building can be accommodated. As existing businesses move or expand into new facilities in the expansion area, the core market buildings can be renovated to support a mix of uses, including retail, commercial-office, loft residential, and smaller-scale food startups. New multi-floor rooftop additions are allowed per the design guidelines developed as part of the plan. The additions will increase density in the district and will cross-subsidize the rehabilitation of the lower floors. The expanded market area will both keep existing businesses from leaving the area and will attract new food industry businesses to Detroit. Preserving and enhancing the economic engine of Eastern Market not only creates jobs and generates revenue for the city, but also a strategy for maintaining an authentic working market district. AN: How has the community been involved in the design process? What are some of the features of the final design that allow for and encourage community engagement? TL: We partnered with the City of Detroit and City Form Detroit, a local urban design and planning firm, to craft a comprehensive engagement strategy. The process included well-attended open houses hosted by the city that included short presentations, informal break-out sessions, and visual survey activities. As a sign of the city’s ownership of the process and emerging plan, representatives from the city and the Detroit Economic Growth Council gave the presentations and not members of our team; the first time one of our public agency clients has owned the content early in the planning process!
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Totally Tubular

Detroit's House of Pure Vin lets visitors wine in style
1433 Woodward Avenue Detroit, 48226 (313) 638-2501 M1/DTW House of Pure Vin is a minority-owned wine shop in downtown Detroit contributing to the revival of the city’s historic Woodward Avenue. Architect Christian Unverzagt from M1/DTW helped transform the 3,000-square-foot space into a sophisticated wine tasting shop and tourist attraction. Unverzagt converted a twisted and irregular retail space into a series of smaller rooms—including a climate-controlled champagne room, recessed retail nook, and tasting room—to provide a sense of visual clarity and allow the space to slowly unfold to reveal new activities to visitors. The shop holds over 4,000 bottles of wine, displaying the majority of them within a wall of cardboard tubes typically used for manufacturing. The tubes serve as wine racks, an eye-catching way to store the bottles sideways and shield them from light. Cork is used for various surfaces within the shop, including the walls and cash wrap, acting as a warm contrast to the black steel and industrial materials elsewhere in the store.