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\u201cIt\u2019s about how to transform a powerful, charged place into a kind of art that will bring people together,\u201d notes firm cofounder Miriam Peterson. Her partner, Nathan Rich, called the Shepherd\u2019s context \u201can inspiring canvas,\u201d from which they could accentuate or shift one\u2019s experience of form, material, structure, light, and movement. Or from which they create new kinds of spiritual experiences. <\/p>\n\n\n\n
Above the nave gallery they have created a new mezzanine that simultaneously provides a more intimate (including a closer look at the ceiling) and wide-angle perspective of the building, not to mention a unique new stage for performers. A circular oculus in its center, visually connected to the gallery below, is surreptitiously uplit, so that it appears to float. Strategic cuts in the gallery boxes in some cases lead visitors on a clear procession into the church\u2019s core, in others frame historic details like stained glass windows and old crafted doorways.<\/p>\n\n\n\n
Outside the church, OSD\u2019s landscape transforms the Shepherd into a place that will be enjoyed by art lovers, yes, but by everyone else; helping them feel welcome, want to linger, and come back. The site\u2019s edges contain no fences, while the main connector, a rippled-edged former north\/south alley now known, in a continuum of the Shepherd\u2019s indoor condition, as the \u201cNave,\u201d provides a clear, charming pedestrian spine. Various outdoor rooms, framed by shrubs and trees, delineate zones for varied activities. Undulating grassy areas are perfect for lounging or playing with children; a nook abutting the church is a good place to get away and read. Small, grassy mounds by Castor Design provide quirky places to chat. Arguably the most energizing space is the Charles McGee Legacy Park, just south of the church, in which the artist\u2019s fantastical, oversized sculptures\u2014explicitly meant for touching and playing on\u2014alternately lie down or stand up; are amorphous abstractions, or clearly human. The skatepark, with colorful graphics adorning its curving infrastructure, was designed in collaboration with Tony Hawk and Binion. A multistory sculpture by Zak Ov\u00e9 resembles an Afro-futurist totem pole, or, at certain angles, a rocket aimed for the moon. <\/p>\n\n\n\n
The area\u2019s history suffuses the place\u2014both its wondrous and difficult times alike. Crushed bricks salvaged from the adjacent convent, which lay out artful reddish pathways, allude to shattered glass and decrepit structures, says David. \u201cWe wanted to harness some of the character of the East Village. It\u2019s full of stories of communities past, and of dilapidation and decay and renewal.\u201d<\/p>\n<\/div><\/div>\n\n\n\n
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View of the Charles McGee Legacy Park and the Shepherd. \nPhoto by Jason Keen. Courtesy of Library Street Collective.\n<\/figcaption><\/figure>\n<\/div>\n\n\n\n\n
View of BridgeHouse and It Takes a Village skatepark. Photo by Jason Keen courtesy of Library Street Collective. \n<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n\n
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A Growing Microneighborhood that Blends Old and New<\/h2>\n\n\n\n A few blocks north, OMA\u2019s work on Lantern unites three industrial buildings of brick and concrete block, which are now focused on a semi-enclosed, reddish concrete courtyard, with beckoning terra cotta bleachers. This central space occupies part of the complex that had collapsed, leaving just a skeletal steel trellis. They\u2019ve smartly left it intact as a historic centerpiece, and, when needed, a frame for temporary canopies. The courtyard extends inside, where it will serve as the floor of the sawtooth-roofed bar.<\/p>\n\n\n\n
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The red pigmented concrete used in the courtyard was chosen to match the brick and terracotta tiles of the original building. Photo by Jason Keen. Courtesy of Library Street Collective.<\/figcaption><\/figure>\n\n\n\n<\/div>\n\n\n\n
Signal Return and PASC\u2019s areas alternate between exhibition, learning, and workspace, while Assemble Sound occupies a cavernous storage space. Exterior interventions include dramatically extruded windows that serve as vitrines for art. The most intensive intervention, though, is on the CMU-supported south side (fronting the caf\u00e9 and shop) where OMA painted the facade white and drilled 1,353 holes. They filled them with off-the-shelf glass bullets, which during the day pull in a repetitive soft light and at night project a glowing, lantern-like effect that the building\u2019s new name suggests. It\u2019s a dramatic gesture, but overall the projects is\u2014like the Shepherd\u2014 a subtle threading of past and present that gives equal respect to both.<\/p>\n\n\n\n
\u201cIt looks both new and old,\u201d says OMA partner Jason Long. \u201cOur big interest is in bringing people, and buildings together. The moment of the signature, singular gesture is over.\u201d He adds that he loves the impact his firm can have in a city like Detroit, where the scale is smaller than the world capitals it often works in, and the need is more pronounced\u2014and appreciated. \u201cIf this were in Greenpoint, it would be just another thing,\u201d he says.<\/p>\n\n\n\n
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Lantern houses Signal Return, Signal-Return is a nonprofit arts organization\ndedicated to preserving and teaching traditional letterpress printing in Detroit. Photo by Jason Keen. Courtesy of Library Street Collective.<\/figcaption><\/figure>\n\n\n\n<\/div>\n\n\n\n
The Curises, perhaps to their credit, can\u2019t seem to stop. For Louis Buhl & Co. they\u2019re working with LA-based LOHA architects and for Stanton Yards, New York-based SO-IL. And there appears to be even more in the works, if you listen to the whispers. But as they get Little Village up and running and start to expand, things will still need to be worked out, some a result of their remarkable success. Since the facility is now set to host more performances than originally planned, acoustics in the church may need to be improved. While some local design teams, like Holly Jonsson Studio (who designed interiors for ALEO) and Undecorated (who designed BridgeHouse, which will open soon) have been involved, they may want to branch further into the growing local creative community. And the threat of gentrification, even if it moves a lot slower here than in places like New York, still exists\u2014despite the team\u2019s, and the neighborhood\u2019s efforts to facilitate local artists, nonprofits, businesses, and activities.<\/p>\n\n\n\n
\u201cThe concerns about displacement are real, but we need to have growth,\u201d notes Jefferson East\u2019s Elling, who has been working to stabilize and grow the area for more than a decade. \u201cOnce you have demand, you can use it to drive more inclusive and equitable development.\u201d Growth, so far, is mostly coming from Detroit itself\u2014often from those who hear about the energy growing at Little Village. Ivy Kitchen, owned by local chef Nya Marshall, is a relatively new addition. Detroit-based Greatwater homes is building a handful of single-family homes. More artists and small businesses are on the way.<\/p>\n\n\n\n
Jova Lynne, a local artist and curator, curated the Shepherd\u2019s first exhibition, a sprawling retrospective of Charles McGee\u2019s work, exploring his material and formal evolution as well as the broader impact of his more than 30 years working and teaching in the city. On a tour, she summed up that show, while inadvertently summing up the project at large: \u201cThis is a demonstration and amplification of what is possible in the city of Detroit,\u201d she said.<\/p>\n\n\n\n
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Signal Return’s Lantern location providesan opportunity to expand its programming, which includes hands-on workshops, exhibitions, access to printing facilities for independent artists, and educational partnerships. Photo by Jason Keen. Courtesy of Library Street Collective.<\/figcaption><\/figure>\n\n\n\n<\/div>\n\n\n\n