Stanley Hong’s Mannia Cafe

Detroit is renowned for its iconic skyscrapers that stand tall, encapsulating the rich tapestry of the city’s history. While these towering structures often dominate architectural conversations, there are numerous lesser-known buildings in the city that hold their own unique tales and histories. One such building that has captured the fascination of many, is located in Milwaukee Junction at 265 E. Baltimore St. This building, once known as Stanley Hong’s Mannia Café, has an intricate history that makes it a remarkable piece of Detroit’s architectural legacy.

At first glance, the Mannia Café is an embodiment of the vibrant and offbeat “Googie” architectural style. This style, rooted in the fantasy and whimsy of car culture, jets, the Atomic Age and the Space Age, was widely appreciated in mid-century America. The Mannia Café was more than just an ordinary restaurant; its bold design and striking exterior walls weren’t just for show. They were real structural forms, sculpted to create an eye-catching façade.

However, beyond its architectural significance, the building holds a multicultural narrative. Designed in the late 1960s, the café was the idea of the celebrated Chinese restaurateur, Stanley Hong. The building was designed by Nathan Johnson, an African-American architect from Detroit. Johnson, who led the architectural firm Johnson & Associates, had an impressive portfolio, including Stanley Hong’s modernist residence on East Boston Boulevard. 

The Architecture of Nathan Johnson

In the midst of the civil rights challenges that rocked the mid-1950s, Detroit witnessed the rise of a remarkable African American architect: Nathan Johnson. His decision to open his own architectural office was not just bold but transformative for the Detroit architectural scene.

Born in Herington, Kan., in 1925, Johnson grew up in a household that prioritized education and spirituality. Early in his life, he demonstrated a clear aptitude for the arts. In eighth grade, a perceptive white teacher, recognizing his potential, introduced him to the world of architecture by sharing an image of Paul Revere Williams, a trailblazing African-American architect from California. Drawing inspiration from Williams, the teacher emphasized to Johnson the power of talent and courage to break through racial barriers.

Post-high school, Johnson served in the Navy for over three years. By 1950, armed with an architectural degree from Kansas State University, he arrived in Detroit. His connection to the city had roots in a previous visit during a fraternity convention where he met Don White, Michigan’s pioneering black architect. Johnson’s attempts to join prominent white architectural firms in Kansas were thwarted by his inexperience. This setback led him back to Detroit, where he joined White and Griffin, working initially as a draftsman before rising to the position of office manager.

In 1956, after contributing to the designs of prominent suburban churches in Detroit under other architects, Johnson took the bold step of establishing his own firm. Operating initially from his home’s basement, his initial projects, largely sourced from the African-American community, were modest yet meaningful. They included the design of the Pure in Heart Baptist Church and the House of Diggs Funeral Chapel.

Over time, Johnson’s reputation grew, but racial prejudice often meant he played secondary roles on significant projects, working alongside larger, predominantly white firms. His move to a professional office space at 2512 W. Grand Blvd. was marked by challenges, including limited financial backing. However, with determination, he transformed the building, even undertaking tasks like roofing and tiling personally.

Johnson’s architectural philosophy was rooted in modernism. He believed in design that spoke for itself, without the crutches of excessive symbolism. His church designs, most of them situated in inner-city areas and constructed on tight budgets, are testaments to his modernist ethos. Examples include the round-plan St. Clement Episcopal Church in Inkster and the hexagonal chapel of Grace Episcopal Church.

Johnson’s first major project was the 1967 addition to the Second Baptist Church, featuring an innovative rooftop garden. His influence in Detroit’s architectural circles expanded when, in 1965, he became the Detroit Board of Education’s inaugural appointed African-American architect. This role led to more school-related projects, reflecting the changing racial dynamics in Detroit’s administrative positions. Apart from local commissions, Johnson secured projects from the Michigan State Housing Development Authority and the Housing and Urban Development department.

The 1980s saw his firm collaborating with Albert Kahn Associates on the Wayne County Community College project, thanks to “set-aside” ordinances promoting minority firm involvement. Towards the end of his illustrious career, Johnson & Associates faced challenges, including a legal battle in 1989 with Smith, Hinchman & Grylls. The firm’s operations began to wind down around 2000.

Leaving behind a legacy of modernist architectural marvels in Detroit, Nathan Johnson’s contribution to the city’s architectural tapestry is undeniable. He sadly passed away in November 2021, at the age of 96. His vast portfolio, which includes landmarks like the House of Diggs (1957), Stanley Hong’s Mannia Café (1969-71), and the Detroit People Mover stations (1987), ensures that his legacy will live on, cementing his place as a pillar of Detroit’s modern architecture.

Evolution of the Mannia Cafe & Detroit’s Rap and Hip-hop Scene

The Mannia Café was not just an architectural marvel, but also a socio-cultural hotspot in Detroit. One of the most notable patrons of this establishment was Coleman Young, who graced the restaurant’s opening in 1971. As time went on, the building’s purpose evolved. By the 1990s, it was transformed into the “Rhythm Kitchen,” a hub for early rap and hip-hop enthusiasts. Show promoters frequented this venue, further solidifying its significance in Detroit’s cultural scene.

In the heart of Detroit during the early ’90s, a revolution in the rap music club scene was taking shape at The Rhythm Kitchen. The establishment, an ingenious concept envisioned by Maurice Malone, the famed clothing designer and creator of the original Hip-Hop Shop, became the pulse of the city’s hip-hop movement. Drawing inspiration from New York’s iconic Soul Kitchen, Malone’s Rhythm Kitchen provided Detroit with a platform akin to its New York counterpart.

Nestled in the New Center Area, this weekly extravaganza unfolded within the walls of Stanley’s Mannia Cafe. In preparation for these music-filled nights, the venue underwent a transformation: tables were swept aside, making way for a robust sound system. Despite its music-centric agenda, the venue still served its signature take-out Chinese dishes, alongside 40s of Colt45. Such was the charm of The Rhythm Kitchen that it served as the inspiration for the depiction of The Chin Tiki as a hip-hop club in the movie “8 Mile.”

Though it predated The Hip-Hop Shop, The Rhythm Kitchen ran concurrently with the famous St. Andrew’s Hall “3 Floors of Fun”/The Shelter. More importantly, it became the breeding ground for the modern Detroit rap movement. Artists who graced its stage went on to become legends in their own right. Names like Phat Kat, Black Milk, and Guilty Simpson rose from this scene, paving the way for subsequent icons like Eminem, Proof, D-12, and Slum Village. Moreover, earlier artists such as Dope-A-Delic, 5th Chapter, and Paul Rosenberg’s Rhythm Cartel also found their muse within The Rhythm Kitchen’s electrifying ambiance.

In essence, The Rhythm Kitchen wasn’t just a venue; it was the cradle of Detroit’s modern rap and hip hop  movement, nurturing talent and giving them the stage to redefine the city’s musical narrative.

Preservation Challenges

Yet, like many historic buildings, Stanley Hong’s Mannia Café faces challenges in preservation. Not long ago, the building was painted black, obscuring its distinct two-tone effect that accentuated its architectural design and the interplay of materials. Many architects lament this decision, seeing it as a detrimental move that takes away from the building’s authenticity and aesthetic appeal.

Detroit’s 265 E. Baltimore St. stands as a testament to the city’s diverse architectural and cultural history. Stanley Hong’s Mannia Café, which later became the Rhythm Kitchen, is not just a building but a chronicle of evolving design, multicultural endeavors, and musical revolutions.