Beautifying the rust belt: could urban art help left behind communities?

The Heidelberg Project. Image: Kenn Taylor.

In the wake of Brexit and the US election, there has been renewed attention given to post-industrial areas and the issues faced by such communities. For some parts of the US and the UK, problems caused by industrial decline have been around for 40 or 50 years, long before the rise of China, the EU or the North American Free Trade Agreement (NAFTA). And, as anyone who spends time seriously with the subject will tell you, there are no easy answers or single solutions to such challenges.

So to art. Despite the breathless proclamations of some, art is not a panacea for the post-industrial town, but neither is it a total irrelevance. The creative industries remain a growing sector and a sensible solution to reuse many former industrial spaces that will never see mass production again.

Meanwhile, in some of the residential areas that once drew their lifeblood from such industrial zones, artists, or local communities working with artists, have been using creativity to demonstrate, even make, a future potentially different from top down regeneration or abandonment to decline. The now well-known Granby Four Streets project in Liverpool is one example of this in the UK.

Between Brexit and Donald Trump’s victory I had the opportunity to spend some time at some similar projects in the US. In 1986, in the Black Bottom area of Detroit – a city which perhaps more than any other felt the crushing pressure of industrial decline early on – art student Tyree Guyton decided to paint large bright dots all over the house his family had lived in for decades on Heidelberg Street.

The area had declined rapidly during his lifetime and he wanted to create “something beautiful” in the street. Soon Guyton began to decorate some of the abandoned houses in the street, using reclaimed materials from the neighbourhood. Thirty years later, despite being demolished by the authorities, twice, and suffering arson more than once, the Heidelberg Project is a world-renowned “total work of art”, and the home of an organisation that runs community and education programmes, exhibitions and residencies for other artists.

Part of the Heidelberg Project.

It’s not so much a celebration of beauty in decay like the infamous “ruin porn” from Detroit, but a sign that there is life and people still here, creativity, culture, even growth.
Chicago coped better than Detroit with the transition to a service economy. At least, some of it.

In Grand Crossing in South Chicago, more than half the residents live below the poverty line. Here, around 10 years ago, artist Theaster Gates began restoring the house he had moved into on Dorchester Avenue. After the 2008 property crash he also bought the neighbouring house. Restoring it using reclaimed materials and cultural artefacts like books and records from the area, he then began to put on arts events in the houses. Gates had seen the West Side Chicago neighbourhood he grew up in demolished and wanted to stop such destruction from happening again in Grand Crossing.

By 2010, Gates had established a non-profit organisation called the Rebuild Foundation, and had worked with the Chicago Housing Authority to rehabilitate a housing block in the area into 32 mixed-tenure homes and community facilities, called Dorchester Projects. A few years later Gates persuaded the city to sell him a striking but decaying former local bank for just one dollar, providing he got the money to restore it.

Dorchester Industries. 

Amongst other things, the bank, now houses the archive of the important African-American publishing company Johnson, and the Black Cinema House. More recently the organisation has set up Dorchester Industries, which provides training opportunities for local residents with craftsmen and artists. The Rebuild Foundation places art firmly in the hierarchy of needs of a deprived community. To quote Gates: “Beauty is a basic service.”

There’s a long tradition in art of highlighting urban social problems. Projects such as these differ in using the urban fabric as a medium in itself and working on the regeneration not just of buildings, but of social, cultural and economic life in these areas. Crucial is how these projects have been led by people based in these communities, albeit interacting with international art networks. Such initiatives may have only impacted on relatively small areas – but it is possible they have done more to change life in and perceptions of them than many bigger and more expensive top-down urban redevelopment programmes.

The Stony Island Arts Bank, a hybrid gallery, media archive, library and community center.

Part of the power of art is its capacity to highlight where we’re going wrong, to tell us things have value that we didn’t realise and point out different ways of looking at the world. Even if projects such as these can’t be reproduced like-for-like elsewhere, they’re not just a reminder to avoid writing off such communities, but more so of their potential – if energy, attention and money are given to them – to create their own future.

Kenn Taylor is an arts project manager and writer with a particular interest in culture, community and the urban environment. His research in the USA was supported by The Art Fund.

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Images: Kenn Taylor.

 
 
 
 

What other British cities can learn from the Tyne & Wear Metro

A Metro train at Monument. Image: Callum Cape/Wikipedia.

Ask any person on the street what they know about Newcastle, and they’ll list a few things. They’ll mention the accent; they’ll mention the football; they’ll mention brown ale and Sting and Greggs. They might even mention coal or shipbuilding, and then the conversation will inevitably turn political, and you’ll wish you hadn’t stopped to ask someone about Newcastle at all.

They won’t, however, mention the Tyne and Wear Metro, because they haven’t probably heard of it – which is a shame, because the Metro is one of the best things the north-east has to offer.

Two main issues plague suburban trains. One is frequency. Suburban rail networks often run on poor frequency; to take Birmingham for an example, most of its trains operate at 30-minute intervals.

The other is simplicity. Using Birmingham again, the entire system is built around New Street, leading to a very simple network. Actually, that’s not quite true: if you’re coming from Leamington Spa, Warwick, Stourbridge, Solihull or a host of other major minor (minor major?) towns, you don’t actually connect to New Street – no, you don’t even connect to the ENTIRE SYSTEM BUILT AROUND NEW STREET except at Smethwick Galton Bridge, miles away in the western suburbs, where the physical tracks don’t even connect – they pass over each other. Plus, what on earth is the blue line to Walsall doing?

An ageing map of the West Midlands rail network: click any of the images in this article to expand them. Image: Transport for the West Midlands/Centro.

But Newcastle has long been a hub of railway activity. Tragically, the north-east has fewer active railway lines than any other region of the UK. Less tragically, this is because Tyne and Wear has the Metro.


The Metro was formed in 1980 from a somewhat eccentric collection of railways, including freight-only lines, part of the old Tyneside Electrics route, underground tunnelling through the city centre, track-sharing on the National Rail route to Sunderland, and lines closed after the Beeching axe fell in the early 1960s.

From this random group of railway lines, the Metro has managed to produce a very simple network of two lines. Both take a somewhat circuitous route, the Yellow line especially, because it’s literally a circle for much of its route; but they get to most of the major population centres. And frequency is excellent – a basic 5 trains an hour, with 10 tph on the inner core, increasing at peak times (my local station sees 17 tph each way in the morning peak).

Fares are simple, too: there are only three zones, and they’re generally good value, whilst the Metro has been a national leader in pay-as-you-go technology (PAYG), with a tap-in, tap-out system. The Metro also shares many characteristics of European light rail systems – for example, it uses the metric system (although this will doubtless revert to miles and chains post-Brexit, whilst fares will be paid in shillings).

 

The Metro network. Image: Nexus.

Perhaps most importantly, the Metro has been the British pioneer for the Karlsruhe model, in which light rail trains share tracks with mainline services. This began in 2002 with the extension to Sunderland, and, with new bi-mode trains coming in the next ten years, the Metro could expand further around the northeast. The Sheffield Supertram also recently adopted this model with its expansion to Rotherham; other cities, like Manchester, are considering similar moves.

However, these cities aren’t considering what the Metro has done best – amalgamated local lines to allow people to get around a city easily. Most cities’ rail services are focused on those commuters who travel in from outside, instead of allowing travel within a city; there’s no coherent system of corridors allowing residents to travel within the limits of a city.

The Metro doesn’t only offer lessons to big cities. Oxford, for example, currently has dire public transport, focused on busy buses which share the same congested roads as private vehicles; the city currently has only two rail stations near the centre (red dots).

Image: Google.

But it doesn’t need to be this way. For a start, Oxford is a fairly lateral city, featuring lots of north-south movements, along broadly the same route the railway line follows. So, using some existing infrastructure and reinstating other parts, Oxford’s public transport could be drastically improved. With limited engineering work, new stations could be built on the current track (blue dots on the map below; with more extensive work, the Cowley branch could be reinstated, too (orange dots). Electrify this new six-station route and, hey presto, Oxford has a functioning metro system; the short length of the route also means that few trains would be necessary for a fequent service.

Image: Google.

Next up: Leeds. West Yorkshire is a densely populated area with a large number of railway lines. Perfect! I hear you cry. Imperfect! I cry in return. Waaaaaah! Cry the people of Leeds, who, after two cancelled rapid transit schemes, have had enough of imaginative public transport projects.

Here’s a map of West Yorkshire:

Image: Google.

Here’s a map of West Yorkshire’s railway network:

 ​

Image: West Yorkshire Metro.

The problem is that all of the lines go to major towns, places like Dewsbury, Halifax or Castleford, which need a mainline connection due to their size. Options for a metro service are limited.

But that’s not to say they’re non-existent. For example, the Leeds-Bradford Interchange line passes through densely populated areas; and anyway, Bradford Interchange is a terminus, so it’s poorly suited to service as a through station, as it’s currently being used.

Image: Google.

With several extra stops, this line could be converted to a higher frequency light rail operation. It would then enter an underground section just before Holbeck; trains from Halifax could now reach Leeds via the Dewsbury line. The underground section would pass underneath Leeds station, therefore freeing up capacity at the mainline station, potentially simplifying the track layout as well.

 

Image: Google.

Then you have the lines from Dewsbury and Wakefield, which nearly touch here:

Image: Google.

By building a chord, services from Morley northwards could run into Leeds via the Wakefield line, leaving the Dewsbury line north of Morley open for light rail operation, probably with an interchange at the aforementioned station.

Image: Google.

The Leeds-Micklefield section of the Leeds-York line could also be put into metro service, by building a chord west of Woodlesford over the River Aire and connecting at Neville Hill Depot (this would involve running services from York and Selby via Castleford instead):

The path of the proposed chord, in white. Image: Google.

With a section of underground track in Leeds city centre, and an underground line into the north-east of Leeds – an area completely unserved by rail transport at present – the overall map could look like this, with the pink and yellow dots representing different lines:

Et voila! Image: Google.

Leeds would then have a light-rail based public transport system, with potential for expansion using the Karlsruhe model. It wouldn’t even be too expensive, as it mainly uses existing infrastructure. (Okay, the northeastern tunnel would be pricey, but would deliver huge benefits for the area.)

Why aren’t more cities doing this? Local council leaders often talk about introducing “metro-style services” – but they avoid committing to real metro projects because they’re more expensive than piecemeal improvements to the local rail system, and they’re often more complex to deliver (with the lack of space in modern-day city centres, real metro systems need tunnels).

But metro systems can provide huge benefits to cities, with more stops, a joined-up network, and simpler fares. More cities should follow the example of the Tyne and Wear Metro.