Gina Reichert and Mitch Cope
Gina Reichert and Mitch Cope are an artist and architect couple whose work has become intrinsically linked to the evolving narrative of Detroit’s urban landscape, particularly following the attention brought by a 2009 *New York Times* article. Their practice, encompassing art/architecture through Design 99 and community engagement via Power House Productions, explores themes of urban decay, reuse, and the potential for creative intervention within post-industrial cities. They have garnered recognition for their unique approach to artistic practice, which often involves direct engagement with the physical and social fabric of their Detroit neighborhood.
History
Gina Reichert, born in Cincinnati, Ohio in 1974, holds a Bachelor of Architecture degree from Tulane University and a Master of Architecture degree from Cranbrook Academy of Art[1]. Mitch Cope, born in Detroit in 1973, earned a BA from the Center for Creative Studies and an MFA from Washington State University[2]. They founded Design 99 in 2007, initially as a means to investigate new models for contemporary art and architectural practice[3]. Their work gained wider visibility with the publication of “_For Sale: The $100 House_” in *The New York Times* in 2009, which detailed their experiences purchasing and renovating properties in Detroit for minimal cost[4]. This article brought significant attention to the possibilities of affordable real estate and artistic experimentation within the city.
Following the increased attention, Reichert and Cope established Power House Productions in 2009, a nonprofit organization focused on neighborhood-based artistic and architectural interventions[5]. Power House Productions operates from a location on Klinger Street in Detroit[6]. They have been working in their Detroit neighborhood for at least six years, amassing a collection of objects salvaged from abandoned properties[7]. Their work has been exhibited at the David Klein Gallery[8].
Culture
Reichert and Cope’s work frequently engages with themes of urban decay, preservation, and the repurposing of found objects. Their practice often involves collecting and archiving materials from abandoned buildings, reflecting a broader interest in the history and memory embedded within the built environment[9]. This approach can be seen as a form of “accidental preservationism,” documenting and giving new life to remnants of the city’s past[10].
Their involvement extends beyond artistic production to encompass community engagement and public discourse. They have participated in numerous lectures, panels, and workshops addressing topics such as social impact design, the commons, and the role of art in urban revitalization[11]. These engagements include presentations at institutions such as the University of Michigan, Syracuse University, and Carnegie Mellon University, as well as international exchanges in Copenhagen and France. They have also been involved in collaborative projects with organizations like the Danish Architecture Center and the University of Grenoble’s School of Architecture.
Neighborhoods
While their work impacts Detroit city-wide, Reichert and Cope are particularly focused on their immediate neighborhood, utilizing a place-based approach to artistic and architectural practice. Power House Productions is located on Klinger Street, and their projects are often rooted in the specific context of this area[12]. This localized focus allows them to build relationships with residents and respond directly to the needs and challenges of the community.
Their work contributes to the ongoing revitalization efforts within Detroit, though their approach differs from large-scale development projects. Instead, they emphasize small-scale interventions, reuse of existing structures, and the creation of spaces for artistic expression and community gathering. They have been involved in initiatives related to “Acts of Urbanism,” fostering collaborative arts exchanges between Detroit, Grenoble, and Saint Etienne[13].
Notable Residents
Though not “residents” in the traditional sense of being subjects of biographical study, the former inhabitants of the properties acquired and repurposed by Reichert and Cope are central to their artistic process. The objects and materials left behind in abandoned homes serve as a source of inspiration and a means of connecting with the city’s history[14]. Their work implicitly acknowledges the lives and stories of those who previously occupied these spaces, transforming remnants of their existence into artistic artifacts.
The current residents of the neighborhood surrounding Power House Productions are also significant, as their practice emphasizes community engagement and collaboration. Reichert and Cope actively participate in local events and discussions, seeking to understand and respond to the needs of the people who live and work in the area. Their involvement in initiatives like the Wallenberg Symposium’s “Acts of Urbanism” demonstrates a commitment to fostering dialogue and collaboration between diverse stakeholders.
Detroit art scene
Architecture in Detroit
Urban renewal
Hamtramck, Michigan (mentioned in relation to Bank Suey)