“Does the modern
profession called urban planning have anything to do with making good places
anymore? Planners no longer employ the vocabulary of civic art, nor do they
find the opportunity to practice it- the term civic art itself has nearly
vanished in common usage.”
-J.H.
Kunstler, The Geography of Nowhere,
page 113
Throughout out his book The
Geography of Nowhere, James Howard Kunstler does a magnificent job of
breaking down and reasoning through American’s addiction to sprawling
communities. The history of architectural styles, the love-hate relationship
Americans maintain with nature, and debilitating zoning codes are among the
many factors Kunstler feels have contributed to the current state of American
urbanism. Of the many factors in the state of American urbanism that Kunstler
addresses, what he perceives as a distinctly American aversion to civic art is
among the most frequently lamented.
Civic art is definable at multiple scales. Viewed from a
holistic perspective, the term civic art defines the summation of urban design,
architecture, and public monuments, to produce places recognizable as an art
form (http://www.civicart.org/aboutus.html). Alternatively, a smaller scale
approach to civic art defines it simply as art observable in public space; a
use of urban form as flexible canvas from which an artist may gain recognition
from a piece as large as a sculpture or as small as a subway station mural. The
multiple perspectives from which civic art may be viewed agree on a common goal
for the implementation of civic art, the beautification of the urban landscape.
In The Geography of
Nowhere, the beautification of the urban landscape is considered paramount
to creating urban spaces that Americans can care about and actively care for.
Blaming the tendency for American urban land use to be dictated by the
treatment of land as a resource to profit from Kunstler laments, “American
cities flourished almost solely as centers for business, and they showed it.
Americans omitted to build the ceremonial spaces and public structures that
these other functions (other than business and profit maximization) might have
called for.” (Kunstler, 33) The public structures Kunstler feels are missing
from the American urban landscape and the civic art that they attract, are
unquestionably influential in developing a sense of place for a city; however,
it must be noted that the development of public structures and ceremonial
spaces on a grand scale alone is not a panacea for the problems American cities
are faced with today.
Architectural critic and professor of urbanism Witold
Rybczynski, who is referenced several times in Kunstler’s text, addresses the
relationship between grand architectures and vibrant communities in his book Makeshift Metropolis. Using the example
of the Frank Gehry designed Bilbao extension of the Guggenheim Museum,
Rybczynski attempts to answer the following question: Can an “architectural
icon” act as a catalyst for urban renewal (separate from the planning trend of
the mid-20th century) (Rybczynski, 134)? The answers, Rybczynski
found, were mixed. The opening of the Bilbao Guggenheim, a strikingly original
structure of oddly shaped metal forms coincided with a massive upturn in the
fortunes of the city of Bilbao, Spain. Long dwarfed by the larger Spanish cities
of Barcelona and Madrid, the Guggenheim has aided considerably in attracting 4
million visitors since its opening, improving Bilbao’s economy, widening its
tax base, and transforming it into a regional destination (Rybczynski, 134).
However, the erection of the Bilbao Guggenheim did not occur in a vacuum. As
Rybczynski notes, the city benefited greatly from infrastructural improvements,
chiefly to the city’s subway system, and the construction of a new airport.
The perceived success of the Bilbao Guggenheim in
revitalizing a city inspired several similar efforts around the world. The
majority of these efforts were failures. A pertinent example is found in the Experience
Music Project (now the ESP museum). Commissioned by Microsoft executive Paul
Allen, designed by Frank Gehry (again), and aiming to take advantage of
Seattle’s deep association with rock and roll (Jimmy Hendrix and Nirvana are
two of the most recognizable bands from the area), the rock and roll museum
seemed guaranteed for success similar to that of the Bilbao Guggenheim. Alas,
the project failed miserably. The building’s form was unpopular with locals and
the museum struggled to maintain patronage. The situation became so dire that
the museum had to lease half of the facility to a science fiction museum.
Similar failures are evident in Steven Holl’s Bellevue Arts Museum and Rafael
Vinoly’s Kimmel Center, where Vinoly was sued for making an insufficiently
remarkable building (Rybczynski, 139).
Figure 1: Abandoned Bronx Borough Courthouse in New York
City (http://www.policeny.com/bui/Abandoned%20Bronx%20Borough%20Court%202%20JJJVM.jpg)
The link between the failures of grand architecture to
revive decaying neighborhoods is the absence of accompanying infrastructural
investment. In each case, a big name architect was chosen to create a building
of significance, a public space citizens and visitors alike could identify
with, care for, and care about. Despite differences in Architectural taste, the
buildings discussed represent a modern manifestation of the grand buildings
Kunstler suggests are missing from the civic art starved metropolises of America.
Yet, all but the Bilbao Guggenheim, where infrastructural improvement was
emphasized, failed to create public places residents cared about.
There is an
argument that architectural styles may have contributed to the failure of the
public places described above. Gehry’s structures aside, the Kimmel Center and
Bellevue Arts Center both exhibit the post-modern architectural forms that
Kunstler pans for their ignorance of street life and uninviting appearance.
However, the failure of the visually impressive Experience Music Project and
the sustained vacancy of more classically inspired buildings such as the old
Bronx Borough Courthouse in New York City suggest grand architecture and civic
art go only so far in the creation of neighborhoods and cities that people care
for and about. Rather, if the example of Bilbao is to be heeded, consideration
of public infrastructure, particularly related to transportation, is far more
important to the formation of creation of neighborhoods that people care for
and about. Kunstler reflects in The
Geography of Nowhere that “Human beings love focal points.” (Kunstler, 127)
In creating neighborhoods and cities that people care about, focal points are a
logical necessity. They define a place for visitors and act as a source of
pride for residents. However, they do not become places worth caring about by themselves. An analysis of any great place, in any city in the
world will likely find that these focal points are supported by public
infrastructure that makes access to these spaces not only viable, but also convenient to frequent.