Michigan Central Station Exploring the Potential of a Modern Ruin Kathleen Roosen - 2013
About the Author :: 3 Case Statement :: 4 Site Description :: 7 Goals :: 21 Program :: 23 Clients and Management; Consultants :: 25 Precedents :: 26 Michigan Arts Collective 37 Criteria of Evaluation :: 57 Tasks and Schedule :: 59 Bibliography :: 61
As an infant, my family and I immigrated to the United States from Germany to pursue a career opportunity for my father. After a short stay in San Francisco, we settled in the suburbs of Detroit when I was only two years old. For most of my life, I lived about ten minutes from the Detroit-8 Mile border and 25 minutes from Downtown. My mother often took my brother and I to the museums in the cultural center of Detroit and we enjoyed walking around Hart Plaza and the Riverwalk from time to time. I always loved these excursions and was fascinated by the urban environment. As I grew older, I began to wonder about Detroit and how it came to be the way it is. During my undergraduate education at Miami University in Ohio, I had the opportunity to participate in the Over-TheRhine Residency Program in Cincinnati. During this semester, I participated in community efforts, including a designbuild studio, as well as attended classes about urban issues such as disinvestment, homelessness, development, gentrification, vacancy and others that affect inner-city neighborhoods. With this new understanding, I felt inspired to search for opportunities in reinvestment, redevelopment and adaptive reuse in my hometown. My passion for Detroit and its unique urban atmosphere motivates me and inspired the idea for this project.
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“if it were to be restored, it would be making a bold statement about the city’s future and the preservation of its past” -Dan Austin, Lost Detroit: Stories Behind the Motor City’s Majestic Ruins
The city of Detroit conjures many images; images of music, cars, sports, but also of decline, urban decay and poverty. It is no secret that Detroit has struggled in the recent decades. It has suffered devastating decreases in the job market, its population, among other things. Detroit seems to have deflated. Only emptied architecture remains. The most iconic of these skeletal structures is the Michigan Central Station. In his article about the station, Joe Schultz wrote, “In short, it tracks Detroit’s rise and fall with an eccentric faithfulness, throwing back echoes of technological, social, and cultural changes that punctuated the last century” (891, Schultz). Similarly, Dan Austin stated that the station “symbolizes Detroit’s grandiose rise and spectacular fall” (101, Austin). Fortunately, recent developments suggest that Detroit is slowly on the rise once again. Dan Gilbert, a major real estate developer, has bought thousands of square feet of real estate in downtown Detroit. His work aims towards piecing together the urban fabric of Downtown, Midtown and New Center. Midtown appears to have restaurant, bar and shop openings every weekend. In January of 2013, the M-1 Rail received $25 million in federal funds to begin construction on a light rail system that will connect Downtown to New Center. The Detroit Works Project recently published a city sponsored, comprehensive 50 year plan called Detroit Future City. Taking all these factors to heart, it seems the time for redevelopment is here. The strength and resilience of Detroit residents and businesses is truly inspiring.
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Detroit, Michigan
Approximately two miles west of downtown Detroit, Michigan Central Station is located in the historic neighborhood of Corktown off of a major thoroughfare: Michigan Avenue. It is surrounded by residential, commercial and industrial activity to all sides. To the north is a small strip of recently developed commercial activity that has come to be the center of activity in Corktown. The freeway, I-75, is also easily accessed to the north, just beyond Michigan Avenue. I-96 breaks off of I-75 at this location and leads directly to Lansing, the state’s capital.
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Corktown is the historic Irish neighborhood in Detroit. It boomed during the 1840s because of the Potato Famine, but it did not stay Irish for very long. A wide variety of ethnicities has occupied the neighborhood including Germans, Mexicans, Maltese and Southern migrants. The neighborhood is known for its diversity, history and small town feeling. Most of Corktown consists of old construction single-family homes and the residential portion of the neighborhood was placed on the National Register of Historic Places in 1978. Today, the neighborhood is one of Detroit’s healthier and vibrant areas. Although, much has been destroyed through urban renewal efforts, Corktown maintains a unique and active atmosphere. Some pockets have been redeveloped in recent years. This has encouraged an influx in the population. New restaurants and bars have opened along Michigan Avenue, particularly the blocks just to the north of Roosevelt Park. Residents of Corktown appear to be well organized and active in community efforts. When it comes to the station, most considered it an eyesore and blight to the neighborhood for a very long time. However, today, Corktown residents appear reverent of the massive structure, value its symbolism and many hope to see it in use again soon.
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In 1908, Michigan Central Railroad began to buy property in Corktown for a new train station for Detroit. Approximately 300 homes were condemned for this new construction. The design includes a large entry park that lays in front of the massive station. It was a fantastic example of the City Beautiful Movement. Originally, the plan did not include a park, only the boulevard. The homes lining the boulevard were to stay and it was to stretch all the way to the cultural center of Detroit near the Detroit Institute of Arts and the Detroit Public Library. The City Plan and Improvement Commission that was created in 1909 and in charge of city beautification, requested the addition of a public space. It sought public opinion before making its recommendation to City Council. While the discussion of the park continued, the new Michigan Central Station was being constructed. The final decision to add a public park was made in 1913. After a strenuous jury, the properties were finally condemned in 1915, two years after the station had already opened. Four years after that, the park was ready to be opened to the public.
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Waiting Room
Ramp to Tunnel
Women’s Room
Restaurant
Carriage House
Construction
Tunnel to Platforms
Concourse
Waiting Room
Michigan Central Station was opened in late 1913 after the old station burned down. It was designed and constructed in the BeauxArts style by Warren & Wetmore from New York and Reed & Stem of St. Paul. Its design romanticized transportation. The waiting room was modelled after Roman baths. It was the tallest train station at the time of its construction as a result of the 15 story office tower that stretches above the actual station. For several decades, the station ran successfully. At its peak, it saw 200 trains leave its platforms a day. While the station was a success, the office tower was never fully occupied and after the 1940s, both began their decline. The station finally closed in 1988.
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After the building closed, it was passed through several hands. Each new owner had a different idea of what could become of the station. Among the most popular ideas were a casino, the new Detroit Police Headquarters and Border Patrol and Custom Offices for the nearby Ambassador Bridge. During this time of uncertainty, especially in the 1990s, the station was subject to vandalism and metal scrapping. In recent years, many chose to face the dangers of an unstable structure and engage in urban exploration within its depths. Breaking into abandoned buildings has become a kind of pastime in Detroit. Unfortunately, many of these structures are unsafe and people are often hurt during these explorations. Today, the station is more securely guarded. Artists have been known to use the station as the setting or background for their work. The unique decay found within has served as inspiration to many and many are consistently astounded by the extent of its neglect. No trip to Detroit is complete without a drive by the massive skeleton. Its unique exterior has made it a popular setting for movies, photo shoots and music videos. People are inherently intrigued by ruins. Yakob Peterseil states that ruins showcase the “darker side of life and produce images that help us ruminate on time, death and decay” (Peterseil). In Motown or Ghostown?, Eli Rosenberg describes the act of voyeurism as not “just gawking at the old building; its gawking at the possibility and danger of death” (Rosenberg). In The Unspeakable Pleasure of Ruins, Poynor describes abandoned ruins as “charged with an intensity and a potential for revelation that most ordinary, complete and comfortable places lack” (Poynor). By looking into the symbolism and potential of ruins, it is not surprising that people are attracted to the crumbling station. Its a space characterized by a haunting beauty that is incredibly hard to come by. It has the potential to conjure strong reactions by those that experience it.
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Kyong Park perfectly encapsulates what Detroit has become when he writes “[Detroit] creates an open laboratory for social and physical experimentation that attracts hardy residents, expanding corporations, self-reliant urban pioneers, artists and musicians” (16, Park). In recent years, Detroit has seen an influx in creative types that see Detroit’s potential and are inspired by its unique challenges. Detroit has always been a cultural hub. Its artistic and musical history stretches far back into its time line. Detroit’s current state has made it possible for artists and musicians to inhabit a unique urban area for a relatively inexpensive cost of living. Unfortunately, with current developments underway, cheap work space for artists, start up companies and others has been increasingly harder to come by. In order for Detroit to retain its reputation as an artistically driven center, affordable space needs to secured.
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Michigan Central Station’s potential is immense. By looking at its current use as a ruin, it could continue to be a place of inspiration for artists, musicians and others. Its size allows for a flexible approach and the ability to inject program while retaining a lot of its ruinous qualities. Since Detroit is known for its urban exploration, it would make sense to promote this activity in a safe way. By cleaning up the interior and programming parts of the structure, it can continue to be experienced as a ruin while also serving as a performance, gallery and work space.
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Goals
1. To create a hub that showcases current Detroit trends and inspires forward thinking activity 2. To bring together local organizations and individuals in a multidisciplinary way 3. To work towards a less segregated, greener, more economically diverse and better functioning Detroit 4. To welcome, introduce and submerge visitors into current Detroit culture 5. To assist in the stimulation of an area that is in the midst of redevelopment 6. To provide a variety of gathering spaces that encourage collaboration and unification 7. To restore a significant, historical structure 8. To create an environment of collaborative efforts and excitement for the future 9. To create a beautiful, functional and enjoyable outdoor environment 10. To connect commercial activity on Michigan Avenue and the Depot on a pedestrian level 11. To encourage local growth and change across the board (social, economic, political, environmental, etc.)
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Program
Roosevelt Park :: Pedestrian Promenade Amphitheater for about 1,000 people
Michigan Central Station* :: Entry Lobby
... 10,000 sq ft
... 2,000 sq ft
Gallery Space
... 50,000 sq ft
Artist Work Space
... 50,000 sq ft
Auditorium for about 500 people
... 4,000 sq ft
Ruin Exploratorium with green space
... 300,000 sq ft
Restrooms
... 200-600 sq ft/floor
* Program is further elaborate on page 44.
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Clients and Management
Matty Moroun - Current Owner Local Residents of various scale - Corktown, Detroit, Tri-County Area Tourists and Visitors Artists, Musicians, Local Organizations Philipp Cooley - Influential Community Member Art Organizations - MOCAD, DIA, Cranbrook, Red Bull House of Art, PonyRide, etc.
Consultants
Ryan Cooley - Local Real Estate Developer Susan Rogers Dan Pitera - Influential Community Member
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The Ruin Academy is an architectural research center run by the Finland based Casagrande Laboratory and the Taiwanese JUT Foundation for Arts and Architecture. It blurs the boundaries between exterior and interior through penetrations in the walls and ceiling and removal of windows and walls. Workshops and courses are organized to questions and rethink the industrial city and the role of decay in the modern world. The bones of the 5 story apartment building serve as ‘compost’ for the future. The interior is dynamic in that nothing is fixed. Bridges, paths and spaces are movable and change with need. The changing materials strive to stimulate the entire body. Students of the Ruin Academy describe it as ‘academic squatting.’
Ruin Academy
Taipei, Taiwan :: Marco Casagrande
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This art and event center is a result of the adaptive reuse of a blown out, semi-demolished department store. The 1908 building was slated for demolition in the 1980s. However, artists occupied the structure and saved the remaining piece. For several years, artists used the space for exhibitions, music events and work space. The back lot became a sculpture garden. It perfectly embodied the anarchic spirit of 1990 Berlin. It was filthy and wild, but still felt accessible to the general public. Der Tagesspiegel described it as having the ‘charm of an ever unfinished Berlin.’ The recent eviction of the artists represents the final piece of gentrification of the neighborhood.
Kunsthaus Tacheles
Berlin, Germany :: KĂźnstlerinitative Tacheles
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The historic power station was built between 1947 and 1963. It was only in use for two decades before shutting down in 1981. The Tate organized a competition in 1994 for the construction of a new modern art gallery. Herzog & de Meuron was the only firm to propose reusing a significant portion of the plant. Through dignified simplicity, the existing power of design was enhanced rather than diminished. It strives to reconcile tradition and modernity, elitism and democracy, technology and nature. Many believe it celebrated truly British values of a dignified and graceful life.
Tate Modern
London, England :: Herzog + de Meuron
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This 1908 warehouse was transformed to hold 400 designers and staff, as well as non-profit arts organizations. The existing masonry and timber-frame was refurbished and placed on the National Historic Register. The center of the structure was sliced open in order to connect all floors of the building both physically and visually. This slicing also introduced daylight that penetrated deep into the building. The design clearly focuses on creativity over functionality. The organization strives to encourage teamwork and neighborliness in an attempt to minimize staff hierarchy.
Wieden+Kennedy Agency World Headquarters Porland, Oregon :: Allied Works
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Gordon Matta-Clark’s building cuts changed the meaning and scope of sculpture through architectural intervention. He was clearly intrigued by the complexity and contradictions that can be found in the built environment. Through the process of destructuring, Matta-Clark explored concepts of private property, speculation, privacy, poverty, abandonment and isolation. His work can be viewed as a process of cutting through history; an exploration in layers of construction.
Building Cuts
New York, New York :: Gordon Matta-Clark ‘43-’78
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Michigan Arts Collective
Michigan Avenue
14th
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The site in front of the new MAC is accessed from four different directions. The most activity, automobile and pedestrian, occurs on the north side at the Michigan Avenue and 14th Street intersection. Vernors Highway bisects the park creating two distinct sides. On street parking is available on the east side along 14th Street and north on Michigan Avenue. There is also a bus station along Michigan Avenue. Recently, a group of community members have landscaped the half circle north of the station that defines the drive.
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New Center
Midtown Belle Isle
Downtown
Windsor Ambassador Bridge
Michigan Central Station is the tallest building in Corktown and as such allows for many extensive and impressive views of the surrounding area.
The local bus system as well as the suburban routes connect the station rather well to the rest of the city making it an ideal hub.
Industrial Corridor
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1 2
3 5 4
1 :: Pedestrian Promenade 2 :: Activity Lawn 3 :: Tall Grass Garden 4 :: Amphitheater 5 :: Drop Off Lane
Roosevelt Park By redirecting vehicular traffic, the two sides of the park become reconnected. A pedestrian axis takes the place of the previously bisecting streets, directly connecting Michigan Avenue and the station. During events, this promenade can be lined with tents and booths. The multiple streets and drives in front of the station are covered to create a large plaza with a sunken amphitheater. The amphitheater is shifted to the side, so it does not disrupt the pedestrian axis. The building acts as a background for events occuring in the amphitheater. The original beaux arts plan of the rest of the park remains with only small changes in vegetation. The changes more clearly define the large lawns and bring color and life to the park. A small drop off area is placed to the west of the station. Through these small changes, the park can now more efficiently accomodate the large crowds that gather for festivals and events. It is my 41 hope that the development occuring at the station encourages further development surrounding the park.
Exterior Strategy Michigan Central Station has a very unique exterior. Many come to the ruin simply to observe its strange aesthetic. I think it is important to conserve the structure just the way it is. Upon entering the new MAC, many will be tested and pushed to accept its strangeness. By leaving it as a ruin, it continues to conjure strong emotional responses in its visitors. However, it must be seen that there is activity, especially at night, when a ruinous behemoth would be less likely to be approached. This is achieved through various lighting. The intimidating structure becomes somewhat of a spectacle during evening events with lights and crowds of visitors.
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Storage Restroom
Offices
Lounge
Work Space
Materials
Cafe + Kitchen
Materials
Green Room
Equipment
Equipment
Dark Room
Painting Studio Equipment
Lobby
Exhibit
Materials
Photo Set
Auditorium
Conference
Exhibit
Equipment
Comp Lab
Program Adjacencies
Materials
Equipment
Materials
Equipment
Materials
Equipment
Sculpture Studio
Exhibit
Major Public Destinations Major Private Destinations
Before looking at the interior design of the structure, I feel it is important to look at how the program breaks down as well as the simple strategies that will be implemented throughout. The basic functions of the new program are elaborated based on what is needed to support that function. The variety of spaces that result are organized by required adjacencies. For example, the photo set requires a certain amount of equipment to function. So, the equipment room should be placed to provide easy access to the photo set.
Secondary Destinations Support Space
Auditorium Sculpture Offices Cafe
Lobby Photography
Painting
The various programs are placed inside of the building based on daylight requirements, views, circulation sequence and program users. The welcome lobby will reside within the entrance hall to welcome visitors, artists and employees alike. This is where artists will be able to schedule material deliveries, reserve space and find assistance for other requests. Visitors will be provided information concerning events and exhibits. The auditorium is a very significant part of the program. It wiill be utilized by each different user group and is therefore placed centrally within the structure. It will unite the various user groups as an open community space.
Offices
Auditorium
Offices will be placed on the east side to take advantage of views to downtown.
Since the photography spaces will require little to no daylight, they can be pulled away from the windows and placed slightly lower within the structure as there will be no emphasis on views.
Photography
The painting and sculpture studios will be placed further to the top to allow for uninterrupted natural light and the most extensive views. Lastly, the cafe will be placed at the very top. Since this floor has the most advantages when it comes to light and views, it should be Sculpture + experienced by all who Painting visit the station. Studios
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The addition of new program occurs very deliberately. By cutting large holes into the floor plates, the building will allow for new pods of activity as well as more opportunities for vertical movement. s
ion
lat
ids Vo
ne Zo
u irc
C
Cafe + Kitchen
Sculpture Painting
Private
Public
Private
Auditorium Photography
Offices
Lobby
In an attempt to provide working spaces with privacy and centralize communal spaces, the station is separated into three zones. These zones inform program as well as void placement. Setting up the station in a more vertical format allows for increased circulation that encourages exploration. The voids puncture the heavy stacked nature of the floor plates allowing the building to breath. The new program is injected into the exisitng in one or a combination of the following three approaches.
Island of Program in Void
Fill Void with Program
Bridge void with Program
It is important to keep in mind that the entire structure, with exception of the private work studios, is open to the public. Artists and visitors may use the structure as they see fit. Artists are encouraged to use the ruin as subject matter or the environment for their art. Visitors are welcome to explore the entire ruin and observe artists at work. Lastly, the separation of the various studios is not meant to keep them apart, but to force them to constantly travel through the ruin as they use the various facilities and equipment available to them at the different work locations.
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Vernor Hwy
long section through entire building
17 A small cafe sits at the top and is open for use by all visitors, artists and employees of the MAC to encourage communication between users. It can be seen as the destination reached after journeying through the building.
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15
14 Studio space offers local artists room to work and display their art simultaneously. The artist work space encourages collaboration through a visually open studio plan and many shared resources.
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Lectures and presentations are held in the auditorium atrium. Topics range from general interest seminars to art specific events. When not in use as a lecture hall, the auditorium becomes the open atrium that links all the studios and offices together. People can come here to work, meet with friends or find some quiet and simply enjoy the space.
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10
9
8 A conference room facing the east, allows for expansive views of Downtown.
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6 Offices provide a space for coordinators and administration to plan exhibits and address the needs of the artists.
5
4
3 A permanent photoshoot set allows working artists to share services in order to document and publish their work.
2
A concierge desk welcomes employees, artists and visitors into the building. This marks the beginning of one’s experience at the MAC.
1
long section through exhibition space
The Exhibition Throughout the entire office tower and station, many have left their mark on the structure through graffiti and other types of installations. The first couple of floors boast the most diverse and interesting images. This collection of artwork is very impressive and is showcased to visitors through a network of stairs and walkways. Along with more formal pin up space, these floors allow for less regulated creative expression. The walkways hang from the floorslabs above. They are designed to be light and minimally intrusive. The glass floor of the walkways allows visitors to have complete views of their surroundings.
View Down Walkway
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short section through offices
The Offices
The Photography Studio
The offices have their own small patio infront. Upon entering, there is a secretary and archive stacks, followed by a small lounge and kitchenette. The offices are clustered in a small, more privately enclosed space. A larger event room is located on the second floor, next to the conference room and storage space.
This activity pod includes a large photo set on the first floor, as well as open studio spaces on the second and third floors. Users have access to materials and equipments for use in the computer lap and dark room. Modified I-beams allow artistes to hange separation walls and other objects from the ceiling with ease.
short section through photography studios
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long section through auditorium The Auditorium
This is the focus of the building. All users, for one reason or another, will use this space during their visit to the MAC. When not in use as a lecture hall, it serves as a meeting space for group activity. Bathrooms are directly adjacent, as well as a light, sound and projection booth. The glass allows the textured walls of the original structure to characterize the space with color. Blinds can be lowered when glare needs to be minimal for projection.
e to th e m o Welc
View of Auditorium
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Criteria of Evaluation
The success of this design will be measured by how well the site connects the surrounding fabric to itself and to the structure. In short, it can be viewed as a patch that strives to reconnect an historic structure to its immediate environment. The usefulness of the park will depend on its ability to meet the needs of the community for its various festivals and parades, as well as day to day use. If the park is in use for most of the day and is a popular spot for large events, it can be considered successful. The interior’s success could be measured by the amount of visitors it receives and its ability to retain artists in its work spaces. By measuring the amount of people the structure attracts on a monthly basis, a trend will be visible that allows the success to be measured more concretely. Moreover, if the structure or the work that occurs within it can inspire its visitors and local residents to get involved in Detroit’s community, it can be considered successful. Lastly, the issue of funding through donations can be a way that the success of the project can be calibrated. If donations are made by individuals and corporations and if these increase over the years, the project can be considered a success.
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Tasks and Schedule
Summer ::
May
Trace plans, sections and site into workable AutoCAD file
June
Complete research phase
August Fall ::
September October
Construct workable model of existing site and structure Develop concepts and parti Explore concepts in plan, section and model
November
Complete design phase and begin detailing final concept
December
Complete final drawings and compile final boards
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