A lot of people think places like Detroit and Memphis are lost — that the radical openness and innocence and obsessiveness that flourished there can’t exist next to the internet, MP3s and — well, and crack. In 1960s Detroit, you could walk from the Brewster-Douglass Projects to Fortune and cut a record after school. Wendy Rene cruised in the door at Stax in 1964 and just sang a song that changed everything. In some ways, the internet and the digitization of music have allowed this same level access, but most of us will agree there’s some soul lost there… Why are real records important in this light? What likeness does holding a 45 bear to holding a real book? Why does it matter to touch and smell and hear something real?
Jack White is a crooner, a picker, an upholsterer, co-founder of Third Man Records and 2013’s Official Record Store Day Ambassador. In honor of the occasion, we’re hosting Third Man in Palm Springs at Ace Hotel & Swim Club during Desert Gold — they’re popping-up in the Clubhouse with the one and only currently functioning record shop in Palm Springs. It matters a lot to us. Third Man is really good at this shit. We can’t explain the ineffable importance of vinyl, of paper and ink, and of real people instead of Twitter handles. But come hang out with us today and we can just not explain it together. Bring your record bag.

A lot of people think places like Detroit and Memphis are lost — that the radical openness and innocence and obsessiveness that flourished there can’t exist next to the internet, MP3s and — well, and crack. In 1960s Detroit, you could walk from the Brewster-Douglass Projects to Fortune and cut a record after school. Wendy Rene cruised in the door at Stax in 1964 and just sang a song that changed everything. In some ways, the internet and the digitization of music have allowed this same level access, but most of us will agree there’s some soul lost there… Why are real records important in this light? What likeness does holding a 45 bear to holding a real book? Why does it matter to touch and smell and hear something real?

Jack White is a crooner, a picker, an upholsterer, co-founder of Third Man Records and 2013’s Official Record Store Day Ambassador. In honor of the occasion, we’re hosting Third Man in Palm Springs at Ace Hotel & Swim Club during Desert Gold — they’re popping-up in the Clubhouse with the one and only currently functioning record shop in Palm Springs. It matters a lot to us. Third Man is really good at this shit. We can’t explain the ineffable importance of vinyl, of paper and ink, and of real people instead of Twitter handles. But come hang out with us today and we can just not explain it together. Bring your record bag.






This weekend in Midtown Detroit, you can wear your shades at night at the DLECTRICITY light art festival — some of our favorite anticipated acts include Mikki Olson’s 27. Let’s Dance (that’s Mikki above with the red parasol), the Light Bike workshop and Light Lot's art-squat of vacant buildings and land parcels.

This weekend in Midtown Detroit, you can wear your shades at night at the DLECTRICITY light art festival — some of our favorite anticipated acts include Mikki Olson’s 27. Let’s Dance (that’s Mikki above with the red parasol), the Light Bike workshop and Light Lot's art-squat of vacant buildings and land parcels.


INTERVIEW : THANKS FOR THE VIEW, MR. MIES, EDITORS

Lafayette Park is the Cinderella of Ludwig Mies van der Rohe’s bold roster of work. In the heart of Downtown Detroit, it is one of the city’s most economically and racially diverse and stable communities, but has never received acclaim equal to that of Mies’ similar projects, due in part to its residence in a struggling, iconic American city some would like to turn away from.

We love Detroit, and we are equally in awe of Mies’ otherworldly alchemy of earthly grandiosity and ethereal refinement. After a recent book launch for Thanks for the View, Mr. Mies: Lafayette Park, Detroit — published by Metropolis Books — at Project No.8 off the Ace New York lobby, we interviewed editors Danielle Aubert, Lana Cavar and Natasha Chandani of Placement about this communal glass house, its maker and what it all means.

In contrast to other planned Modernist communities being tested at the time, Lafayette Park seems successful on many levels such as sensitivity to scale and circulation by pedestrians and automobiles alike. But the beautiful integration of landscape design throughout the project is remarkable. How much is known of the collaboration between Mies and Alfred Caldwell, the landscape architect for the project? Did Mies envision the long term importance of the landscape design to Lafayette Park?

Yes! The landscape design is a huge reason that Lafayette Park is such a great place to live. There is a bit of research on the relationship between Mies and Caldwell, they collaborated on many projects and were both on the faculty at the Illinois Institute of Technology (IIT) in Chicago. When Lafayette Park was first built in the late 1950s/early 1960s there was not enough of a budget to buy grown trees, so they planted saplings. The landscaping really became a lush, green environment in the late 1970s. Today the trees attract migrating birds and it’s become a kind of active habitat for wildlife.

When I first visited Lafayette park I was struck by how tidy all the window dressings and interior decor as seen through the expansive windows were. Le Corbusier had a famously adverse reaction when residents of his Pessac housing project decided to modify and decorate his rational modernist sculptures (and windows) to their personal tastes. In Lafayette Park does the architecture inspire the residents to neatness or do rules do this?

In the high-rises in Lafayette Park, residents have to use vertical blinds on their windows, but in the townhouses there are not actually any rules about what kinds of window treatments people can put up. That said, people are generally motivated not to obstruct the view. But, as with every neighborhood, some people are neat and some are messy.

In the end architecture is for the people who inhabit it and for the cities that they together create. The title of your book may imply more that just what you ‘view’ through the glass but thanking Mies for his view on how we should live. What are some of the key lessons architects could learn from this project through the point of view of the residents who have lived happily in Lafayette Park through the years?

The neighborhood’s designers –- Mies, Caldwell, Ludwig Hilberseimer, the urban planner, and Herbert Greenwald, the developer -– were clearly very aware of the importance of designing spaces that would encourage strong relationships between residents. But in the high-rises, which are rentals, it’s clear that the building’s management is of equal, or greater, importance to the health of the community in that building. In the townhouses, which are co-operatively owned, the neighbors’ reliance on one another is what creates strong bonds.

We’re not sure how Mies wanted people to live in his buildings, but there are many people who don’t share the minimal/spare side of his aesthetic who love living in the spaces he designed. The views through the windows contribute to the relationships people have with the city, the trees and each other. That said, as one resident who lives in the neighborhood put it to us, people “come for the architecture, but they stay for the neighbors.”

All photos shot on expired PX 70 Color Shade on an Polaroid SX-70 by this Detroit photographer.


We’re very excited for the book launch of Thanks for the View, Mr. Mies: Lafayette Park, Detroit — published by Placement Books — at No. 8a, the Ace New York branch of Project No. 8 and Various Projects, tonight at No. 8a off our lobby from 7-9pm.
Lafayette Park, an affordable middle-class residential area in downtown Detroit, is home to the largest collection of buildings designed by Ludwig Mies van der Rohe in the world. Today, it is one of Detroit’s most racially-integrated and economically stable neighborhoods, although it is surrounded by evidence of a city in financial distress. Through interviews with and essays by residents, reproductions of archival material, new photographs by Karin Jobst, Vasco Roma and Corine Vermeulen, and previously unpublished photographs by documentary filmmaker Janine Debanné, Thanks for the View, Mr. Mies examines the way that Lafayette Park residents confront and interact with this unique modernist environment. 
Lafayette Park has not received the level of international attention that other similar projects by Mies have. This may be due in part to its location in Detroit, a city whose most positive qualities and cultural power are often overlooked in the media. 
This book is a reaction against the way that iconic modernist architecture is often represented. Whereas other writers may focus on the design intentions of the architect, authors Aubert, Cavar and Chandani seek to show the organic and idiosyncratic ways that the people who live in Lafayette Park actually use the architecture and how this experience, in turn, affects their everyday lives. While there are many publications about abandoned buildings in Detroit and about the city’s prosperous past, this book is about a remarkable part of the city as it exists today, in the twenty-first century.
We’ll see you tonight for a signing and launch party in one of our favorite shops in the world — we’d live in a glass house with them any day.

We’re very excited for the book launch of Thanks for the View, Mr. Mies: Lafayette Park, Detroit — published by Placement Books — at No. 8a, the Ace New York branch of Project No. 8 and Various Projects, tonight at No. 8a off our lobby from 7-9pm.

Lafayette Park, an affordable middle-class residential area in downtown Detroit, is home to the largest collection of buildings designed by Ludwig Mies van der Rohe in the world. Today, it is one of Detroit’s most racially-integrated and economically stable neighborhoods, although it is surrounded by evidence of a city in financial distress. Through interviews with and essays by residents, reproductions of archival material, new photographs by Karin Jobst, Vasco Roma and Corine Vermeulen, and previously unpublished photographs by documentary filmmaker Janine Debanné, Thanks for the View, Mr. Mies examines the way that Lafayette Park residents confront and interact with this unique modernist environment. 

Lafayette Park has not received the level of international attention that other similar projects by Mies have. This may be due in part to its location in Detroit, a city whose most positive qualities and cultural power are often overlooked in the media. 

This book is a reaction against the way that iconic modernist architecture is often represented. Whereas other writers may focus on the design intentions of the architect, authors Aubert, Cavar and Chandani seek to show the organic and idiosyncratic ways that the people who live in Lafayette Park actually use the architecture and how this experience, in turn, affects their everyday lives. While there are many publications about abandoned buildings in Detroit and about the city’s prosperous past, this book is about a remarkable part of the city as it exists today, in the twenty-first century.

We’ll see you tonight for a signing and launch party in one of our favorite shops in the world — we’d live in a glass house with them any day.


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