Posted in 2010

Frenetic Urbanism

For a few days last week, the small urban triangle known as Capitol Park and the surrounding area was radically transformed for the filming of Transformers 3. Piles of rubble, explosions, robots, and a new streetscape were installed as part of director Michael Bay’s elaborate set. This sort of temporary urbanism is becoming more and more common as the Michigan film incentive draws site scouts to the area. In upcoming films, Detroit will be portraying Paris, the Soviet Union, Switzerland, Baltimore, Washington, D.C. and many other U.S. cities. In recent months residents have witnessed rallies by the ‘Peoples’ Liberation Army’, dramatic life of a retired CIA operative, even stumbled upon a rogue NYC subway station at the Guardian Building. While it is exciting to experience the instant gratification of these fleeting installations, we should not to overlook the slow but lasting progress occurring in urban spaces like Capitol Park.
The Capitol Park Improvement Project, which calls for new paving, landscaping, lighting, and signage, has been underway since last year and is nearing completion. The park is bordered by Griswold, Shelby, and State streets and held the first State Capitol Building in 1837 when Michigan gained statehood. The site functioned as a transit hub from 1955 until the recent completion of the Rosa Parks Transit Center. Now the Downtown Detroit Partnership and the city of Detroit’s Downtown Development Authority have joined with the design firm Merz & Associates to return the park to a public greenspace.

Watching the simultaneous development of fast and slow urban interventions in Capitol Park, one wonders if its possible to coordinate the enormous investment involved in the staging of movie sets to lasting urban benefit. How can the creative freedom and imagination that go into these filmic vignettes be incorporated into planning models and similarly how can urban development projects partner with film crews to more permanently enhance the environments they engage?

 

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DRIWR LANDSCAPE URBANISM PROJECT PUBLISHED IN TOPOS

 

PROJECT.  The Detroit Wildlife Refuge project has been published in the April edition of TOPOS magazine.

CONCEPT. Landscape Urbanism advocates a purposeful discourse between ecological systems, human activities, and the post-industrial landscape, ultimately manifesting in the deliberate celebration of the urban void. This celebration glorifies the interstitial, so that the void is inevitably romanticized by, and is necessary to, the burgeoning Landscape Urbanism profession. Reliance on the void introduces a basic set of dilemmas: In order to focus on the space between buildings, there must be buildings; planning creative programming between infrastructural systems requires existing infrastructure; implementing a proposed hybrid ecology between urban eco-systems and human eco-systems requires human eco-systems. All of these very specific examples result in a single common statement: In order to have an urban void, there first needs to be an urban, or rather a recognizable urban density. Continue reading

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Detroit Transit, Part 1

 

Whither goest thou, America, in thy shiny car in the night? – Jack Kerouac

Detroit is ironically the most and least likely place to discuss mass transit. Once the home of one of the nation’s most extensive streetcar systems, Detroit has become synonymous with decentralization, suburban expansion, and the dominance of the automobile.  Where human mobility was once limited by the location of rail lines, canals, and the limited travel range of other non-motorized forms of transportation, the car provided a universal form of personal transportation which could be used at virtually any geographic scale. Unfortunately, the success of the car came at the expense of all other modes of transportation, eventually leading Detroit and other cities toward an inefficient and unsustainable transit monoculture.

Recently, infrastructural failures in this country have gained national and international attention. With increasing national imperative, as well as efforts at the regional and local level, it appears mass transit is finally becoming a reality. High-speed rail development in Florida between Tampa, Orlando and Miami, and in California linking Sacramento, San Francisco and L.A., has been covered extensively throughout the media. Portland Oregon’s streetcar system has become a benchmark for urban transit in this country. And the American Recovery and Reinvestment Act (ARRA) has allocated substantial funds to the development of public transit systems, indicating a shift in support and investment toward sustainable car alternatives. As this transition occurs, however, it is important to consider not only the new forms of transportation infrastructure and technology that will be necessary, but also the relationship between these and existing development patterns. Continue reading

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reFACING DETROIT : A HOUSING NARRATIVE : PART 2

Paying Respect to our Detroit Elders: Housing Narrative – Part 2

[Part two in a series chronicling our experiences assisting the Detroit Housing Commission (DHC).  For further description, refer to our first housing narrative post.]

House No. 3: My car’s wipers intermittently clear our line of sight.  My colleague and I drive past two vacant homes, a vacant school, three vacant lots, and a vacant business.  Finally, we turn onto a block where most of the houses seem to be intact.  The rain is pouring down and we are unprepared.  Holding clip boards over our heads, we make a dash to the home’s covered porch.

We ring the doorbell.  “Who is it?” an elderly woman yells through a door that remains locked.  I answer that we are doing a survey for the Detroit Housing Commission.  “I don’t know anything about a survey” she answers.  I offer that she can call someone with the Housing Commission and she can confirm our presence with them.  The door cracks open.  She asks for ID.  I offer her a photoless ID as I also start to call my contact at the Housing Commission.  Handing the phone to her, she speaks to the person.  After a brief conversation, she re-opens the door and only allows me inside.  My colleague is left to stand in the rain.  I begin the survey.  The elderly woman silently follows me into every room. Continue reading

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CRAIG WILKINS POST LECTURE DISCUSSION

 

“Writing about music is like dancing about architecture – it’s a really stupid thing to want to do”-Elvis Costello

lecturesHAA : Event 4.   With the tempo of a beatnik and a black turtleneck sweater to match, Craig Wilkins free-formed one December evening before an intimate crowd at the Johanson Charles Gallery.   Neither traditional presentation nor musical jam session, his lecture entitled “Dancing about Architecture…Part 3”, ebbed and flowed in accordance with the accompanying music.  Miles Davis.  Nelly.  John Coltrane.  Lil’ Kim.  Brazilian Salsa.  Public Enemy.  Each musical style provided a unique lens in which to view an architect’s design process and their resulting built form.  Brazilian Salsa directly influenced Gaudi’s Parc GuelleJosephine Baker provided inspiration for both Adolf LoosVilla Baker and Le Corbusier’s City of AlgiersJames Brown infiltrated South America, thereby evolving the favelas of Brazil.  Hip Hop music prompts Rural Studio and the dramatic sampling of found materials.

Dancing about architecture.  As the fourth presenter in the lecturesHAA series, Craig Wilkins has worked internationally as a designer, project architect, urban designer, and academic. Providing history for his lecturesHAA topic and further clarifying the “…Part 3” portion of his lecture title, Dr. Wilkins explained that he has previously written and lectured extensively on hip hop architecture and “The Aesthetics of Equity: Notes on race, space, architecture, and music.”  His December 15th discussion expanded these previous investigations.  Wilkins immediately acknowledged that in the most simplistic terms, architecture can take a literal form of music…imagine a rock n’ roll museum in the shape of a guitar or treble clef.  However, providing a catalogue of crude musical interpretations was not the goal of his lecture.  Instead, he analyzed the musical genres of jazz, salsa, and hip-hop, ultimately proposing that architects should evolve their own antiquated design process by implementing specific portions of the musician’s creative process. Continue reading

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