Cadence Revival

Bike. Helmet. Lights [front and back]. Lock. Water bottle and route map. Sorted.

Where is everyone?

Six days into my urban commuter challenge and I am quiet astounded by how few cyclists I have seen in the approximately 40km I have so far covered. Admittedly I am staying within my neighborhood environs while I gain strength and confidence, yet I find the lack of cyclists somewhat unnerving. And so begins the tussle between expectation and reality.

My city is to host the worlds largest timed cycling event in 89 days time. With less than 12 weeks to go, I am expecting to join our local compatriots on our cities roads, following one of a variety of training programs on offer to ensure the 110km event is successfully completed. If statistics are to be believed, almost 11 000 participants in last years event were from the Western Cape. I am looking forward to more cyclists, comrades and veterans of the road-gutter to join me on the roads as I make sense of this thing called cycling.
I am however not training, I am commuting. This is altogether different.

In my limited experience thus far, these are some of the differences between training cyclists and commuters. Firstly, I need a safe, covered place to lock my bike. Commuting is as much about the destination as it is about the (well planned) trip. Secondly, and very importantly, commuter bikes are different to R10k triathlon bikes/racers and other such machines. If I ride over a pinecone, stormwater grate or pothole at speed, I am sure to have an accident. There are countless such obstacles alongside the kerb where cyclists are expected to ride. This is a real challenge. I am likely to ride in the centre of the lane at some point. Not because its fun, but because I do not wish to crash. Finally, and on the positive side, I have no desire to ride 3 abreast, in a group, not stop for fear of ruining my training time, jump curbs, cross traffic and race taxis to get my heart rate up. I don't have the need or the equipment.
I simply want to arrive - not in a car.    

I made the mistake of expecting family and friends to be more supportive of my efforts to gain insight into NMT (non motorized transport) design as I don the gear and learn what cadence means. Some of my friends are overjoyed, however the majority of discussions with those less keen are peppered with the sorts of foul mouthing one would expect to hear when on the road. Most of the annoyance was centered on how cyclists have no right to be on the roads to begin with. I was quite saddened that my suspicions are proving to be correct. We are no where near to a tipping point in public perception or public behavior that would make cycling more favorable commuting option. Even with 11 000 riders needing to do at least 1 training session before the big day.

I made sure that those who love me don't inadvertently mow me over and texted them a picture of my lovely bike to remind them what the 'right of way' might look like in the future.

I certainly have my work cut out for me, and with 560km of my urban cycle challenge to go, I am so glad it will be worth the effort.

Mind the Gap

An aspect of the process of urban design which fascinates me without fail is the space between perception and reality.
Recently a community group I spoke with lamented that there were so many homeless living in the local park. Upon investigation, I discovered that there in fact just 3 homeless gentlemen sleeping in the park. The community group wrongly assumes that homeless folks don't own a change of clothes! The gap between perception and reality could be closed here with a simple introduction and eye contact recognition.

Perception. Reality. Spatial consequence.

I have never owned a bicycle. My perception is largely that the city is a hostile environment, with roads being the saddest of the spaces where true human nature can be expressed. Not too different from open forums on popular/controversial blogs. Why would I inhabit that space without the maximum protection afforded to me by the 30 000 parts that make up the average road vehicle?

Of course the reality of the situation is that not all roads are created equal, not all roads are used equally and not all road users are equally treated. Were I to attempt to negotiate Claremont Main Road every morning during peak congestion periods I may find my perceptions remain fixed. In recently reviewing my car usage however, I have found that more than half of my car trips are under 10km in distance and outside of peak hours. Additionally, everyone of those trips can be made using alternate routes/back-roads should I chose to do so.

Tick tock.

Tomorrow I will begin my epic cycle challenge. Yes, that is a veiled attempt an aligning the challenge of changing my perceptions with the challenge of completing 718km of mountain bike madness (Google ABSA Cape Epic!). I will be collecting my bike tomorrow from a kind sponsor who believes that one voice can sometimes be loud enough. I will find the back roads and use my bike as much as possible to the tune of 100km a month minimum. I have yet to understand what is required from a kit perspective, but the minimum of a helmet, light and carrier have been met. I am still searching for a Go Pro sponsor, so if that is you - let me know!

To what end.

I advocate for mixed used developments from the comfort of my swivel chair. Every self respecting urbanist does. I have not considered the complexity of mixed use roads from the comfort of a saddle. Every self respecting urbanist should.


Follow the journey with me @contestedspaces

Gutterlaw

Contested spaces are places in our city where multiple users claim ownership mostly through occupation, often through association and rarely through legal ownership. My previous series of blogs have focused on the introduction of public art and role of social commentary through art into public spaces. Contested spaces.

This week, under the authority of the Western Cape Provincial Road Traffic Act, Provincial Transport MEC Robin Carlisle issued a series of regulations intended to increase road safety. The regulations stipulate that a 1 metre gap be given to cyclists when being passed by a vehicle. In addition to what cyclists have branded the 'gutterlaw', regulations outline important aspects such as riding with a helemt, no earphones and very importantly remaining in single file.

Our roads are potentially the most contested spaces of all. Public squares and pedestrian routes glazed with eurocentric aspirations of public life leave time to pause and consider. They create opportunities to connect, interact and engage. Our roads however, are spaces contested at speed, with intentions to arrive sooner, move faster and not engage at all, certainly not to connect.

The design solution for spaces contested at speed requires rethinking existing norms. An important principle in all the urban design work that I undertake is that of equality. How should the language of space making frame and reinforce the participants desire to be there, and perceived ownership of that space? In other words when is it appropriate and to what degree do designers allow participants to feel safe, comfortable and accepted?
 
In the case of public roads, our asphalt strips and cycling laws successfully relegate cyclists into the gutter spaces where stormwater debris, stones and litter must be contended with. Additionally, interruptions of the free flow of traffic through pedestrian crossings and signals are seen as necessary evils and often go unheeded by motorists. The case for pedestrian orientated design can be wrapped in commercial interests like street cafes, desirable meandering past shop fronts and the like. Creating cycle friendly and skateboard accommodating spaces are stapled onto discussions about better, greener cities but to what end?  If you have a car, you use it.

Cyclists and other non-motorised transportation modes simply do not equally share the public road space by design. Other than safety and convenience, there is limited motivation for real change as in my opinion, as there simply are not enough cyclists to tip the balances. And herein lies the challenge.

I don't cycle. I don't own a bike. In my mind I understand the need to have more cycle friendly places and spaces but in reality I am loathe to count myself amongst the brave few who go out there into these unequal spaces. I am a mom, living in suburbia. I enjoy driving and the feeling of safety it provides me. But what would happen if I got on a bike and tried, wrote about it and advocated for equality from a saddle rather than a comfortable swivel chair? I care about equality and I am in a place professionally to co-design spaces that can be informed by such an experience.

So starting in December I will be investigating and writing about the contested space that is the road. I will commit to riding 100km every month for 6 months, blogging twice a week and tweeting like crazy (@contestedspaces). What do I need from the cycling community?
- Use this project to further your advocacy!
- I need gear. Of course I will shamelessly promote you and laud you for your efforts. What bike does a mom in suburbia ride? Helmet, light etc. A huge barrier to entry is knowing what works and what doesn't.
- A Go_Pro would be helpful to document evidence.
- I need some lessons on street smart riding. I cannot over emphasize how inexperienced I am and how willing I am to learn.

With the use of my fabulous network of friends and collaborators, I will included some published writing into this smorgasboard of benefit and experimentation.  

I am utterly convinced that diversifying the type and number of non-motorised transport users in our city will go a long way to improving the way our roads are contested. I am very excited to begin this journey with all of you on wheels. Let the challenge begin.

Kirsten

Urban Migration

During a recent city walk through the inner city streets of Cape Town, an interesting discussion was sparked. Led by Creative Cape Town and the Cape Town Partnership, our tour of public art and public life brought us to a scene I witness regularly in Harrington Street. The daily migration of street traders, carting their temporary structures upwards of a kilometer through the city streets to their assigned plots. The discussion was about access to land, distribution of opportunity, and the micro scale urban migratory patterns occurring everyday in our city.

In order for the traders to successfully negotiate the route to the more pedestrianized inner city from the storage facility in Harrington Street, rickety heavy laden carts are first hauled to the middle of the roadway to negotiate the equally strong camber. I look on nervously hoping the cart will not veer out of control into parked vehicles - how many bags of chips and cigarettes will replace a smashed headlight or broken side mirror on a Range Rover?

To my surprise, each trader sets out on this journey alone. Every morning and every evening. No assistance, no camaraderie and no women traders in sight. The conditions are very disheartening and I can only hope that the role out of cycle lanes in our city will also take into consideration other non motorized transport such as these carts. Of course a more sustainable solution would involve accessible storage facilities adjacent to the trading sites to ensure that women, the elderly and everyone less physically capable would be able to trade informally should they wish to do so.

Storage and the daily hauling of goods is an integral part of the discussion around decisions to use non motorized transport. What other migratory patterns within the city should inform the design of the streetscape and manner in which we design shared services?
Stop.
Not for a moment am I sending out a heartfelt call for a designer to design "the-ultimate-store-all-repurposed-airport-trolley" although perhaps there is space for ACSA to be involved here. What is concerning and where perhaps the solution process should begin is in understanding why traders are not assisting each other in this daily commute. The networks of commonality and community of struggle in my observation are not well functioning in this situation and may be poorly served by another designed object.


Lets learn the story, haul trollies, understand the commute, and come to terms with the challenges are facing this community and others who migrate daily in our city.

Public meets Private

In my urban design experience, I have found the fiercest battle to be fought between interests that are public (for the greater social good) and interests that are private (individual owner or corporate group). The sustainability issue, the budget issue and even the aesthetic issue are most always overshadowed by the client wanting to overstep his ability to develop an opportunity to the detriment of those around him. At its core, this pursuit is motivated by greed. Plain and simple.

Greed.
The recognition that there are obviously limited resources, therefor one should acquire as many of those resources as possible in order to enjoy life and survive in that way for as long as possible.
(I am a bit grumpy so I switched off my politically correct setting this morning, sorry!!)

Enter stage(left): Local government

Certainly my greatest demand from local government is to ensure that these battles between public and private interests, between individual greed and the greater public good is mediated. Mediated in favor of the public good. This mediation includes securing funds for essential services and social upliftment. It includes teacher training, policing and environmental protection.

Obviously it would include abiding by its own rules drawn up in consultative public processes - the Urban Edge in particular springs to mind.

What the City has done in setting such a precedent constitutes a tipping point in terms of public engagement and the role of the local government in protecting the rights of the public good.
Very tricky. How can the City possibly defend, yes, defend the rights of the public when the City itself is seen to be bowing to private greed?

Race Classification Bench: fantastic expression and art piece. Now vandalized. Who would deface an expression of democracy?

Public Art. Public Space. Public Comment

It has become increasingly clear in our post-democratic political evolution that a ballot cast every four years simply does not encompass all that is democracy. City dwellers are occupying public spaces in cities around the globe as a collective way of making demands and objections known as politicians and officials steer away from campaign promises.  Thousands of tweets, hundreds of ‘likes’ and a dozen comments online cannot top a single rock (or poo) thrown at a window in disgust.  Never before has the importance of public space been clearer, yet the focus on public engagement in public space couldn’t be more complex.

Currently the City of Cape Town is wrangling two pieces of legislation outlining the manner in which creative industries can and should participate in public space in the foreseeable future.  From protest art to seemingly self-referential post(post)modern expressions, these works, their artistic merit and their placement will be scrutinized through a different lens than before.

At a National level, the Department of Arts and Culture has released a draft White Paper On Arts Culture and Heritage. The public participation period has now closed unless the Department heeds calls to extend the consultation process, which has been far too swift to elicit a well considered response from major role players. In addition to this overarching legislation, the City of Cape Town is formulating its first Public Art Regulatory Framework. By all accounts this is still a working title. This regulatory framework is being hurried along, and is planned to be in effect in time for the barrage of 2014.

Both these pieces of legislation will radically affect how public art and public space in the City of Cape Town is contested.

The City’s Public Art Regulatory Framework discussion document defines public art as “artistic works or activities accessible or visible from the public realm – the public realm is not only public land but also includes sites and settings of public life owned by the state or owned commercial(sic) e.g squares, streets, parks, pavements, alleys, civic buildings and building facades.

Stop. Where?

Everywhere. If you can see it as a passerby, the City of Cape Town will have rights over your visual, artistic intake.  Those opposed to oversized advertising billboards and commercial signage will not find any help in this document however. The framework excludes the right to comment on advertising/media billboards and platforms. Sorry, unfortunately scantily clad ladies in our 80km/h zones are here to stay.

So what does the proposed framework say Good Art looks like? If you are planning to create something special for 2014 World Design Capital, what are the criteria that need to have your work approved? Two aspects are worth mentioning before you start sketching. Firstly, the Cape Town brand is king and your work will need to ‘reflect Cape Towns unique identity and enhance the image of the city”. Secondly be sure to take a multi-disciplinary approach. The framework makes much of collaboration and participation. While this is certainly a progressive and exciting notion, artists who work in secluded bubbles of creative angst with nothing good to say about how the City is run, beware.

At first glace, the framework is a progressive document which will give much needed guidance to all spheres of the City’s administration. The framework does extensively cover a number of issues surrounding mural work and competition calls, maintenance and guaranteed timelines for applications. It is hoped the framework will assist the City to curate a world-class public art collection.

What the narrative of this collection is however, remains to be seen.

Owning Mandela

In documenting public art in Cape Town these last few weeks, I have come across many representations of Madiba. Most recently, there was a protest happening alongside on of these works. The protestors were incredibly dressed in ANC honoring shweshwe fabrics incorporating Madiba's image. The songs were just as colorful as their attire, as they sang victory songs and ululated in a way that was joyful yet at the same-time expressed the impending sorrow we all feel.

They were protesting the use of Madiba's image by the City of Cape Town. Recently a number of public art expressions have been plastered over buildings and lamp posts to name but a few. I personally think the art is incredible but possibly needing a home, a place, a sanctuary, at this time..rather than reimagining an already famous brand. The protesters were of the opinion that Mandela belongs to the African National Congress. I suspect this is the beginning of a nationwide debate which will inevitable be voiced in some way or another through public art.

At both the Cape Town International Convention Centre and Civic Centre, additional exhibitions/celebrations can be seen. I was quite interested with the obviously muted atmosphere now within the CTICC foyer as a result. I paused at a large photo of Madiba on an easel surrounded by glass votive candles. Tempted to light a candle, I thought: 'not yet'.
There is still time.

Time to understand, time to plan, time to distill all that has happened. Not into another brand. I want the City to make a place. A place (or places) I can go with my children and put the lovely get-well card they made for him. A place where those well dressed ladies can teach my children those same freedom songs. A place where I can draw and draw from. Public art plays such an important role in coming to terms with a post-Mandela age for young and old alike.

When I asked my little girl (4yrs old) who she thought Nelson Mandela is. Her reply:
"He is the real statue of liberty"

Indeed.

The site of the protest

Dog-alogue

Everyone is entitled to their own opinion. Freedom of speech and all of that..as long as you can endure the ensuing criticism if nobody agrees with you, of course.

A few days ago I spent a good long while photographically documenting this piece of public art. It's entitled Dialogue at Dogwatch by Stephen Brown, situated on Middle Campus at the University of Cape Town. Take a look, a good long look, and then I'll exercise my right to an opinion and see if you agree.

 View of the overall piece

 

Single figure detail

Facial expression detail

Detail of central figure (not unlike Henry Moore)

Firstly, it really is an impressively sized piece of public art. One can only imagine the enormous amount of time and effort and cost it took to construct this work and ship it here from the UK where it was originally erected. The craftsmanship is really world class, however my admiration ends just about there.
My experience of being in this space was initially one of discomfort - an intuitive feeling, an awkward feeling, not dissimilar to what I imagine it must feel like walking into a room where an inebriated couple have taken it a little too far and are dressed in too little.
It is a charged space, and for the hour or so that I was amongst the piece, every student passing by walked around and not through the space.

After some consideration, I realized that what I was looking at was not dissimilar to this:
Fragonard's Swing.

The Gaze.
In both these pieces the central female form is highlighted as men gaze upon her. The painted scene is depicting a man and his mistress in an air of seeming frivolity while her husband looks on as a darkened more serious figure. The Dogwatch similarly mixes these two aspects of playfully odd poses, yet clothed in more serious military garb and in a determined/dominating relationship with the female form. With me so far?
What I like about Fragonards work is the suggestion that the female figure may be enjoying or at least participating in this attention. The Dogwatch does not afford the female any expression whatsoever. It is this realisation that makes me most uncomfortable. Are the sculpted figures actually wooing the female, is she totally untouchable and therefore not known, or is it more of a conquest where names and faces are inconsequential? The dominating spatial position, facial expressions and exposed bits lead me to conclude the latter.
What does UCT think about it all?
I can only imagine what drunk students get up to here at night!

Ugh!

State of the Art

I am sure not all self-labeled creatives are rebellious by nature. I have yet to meet someone who fits the bill, but that's not to say they don't exist.
"Lets make art/design and stick to the rules we have been given" - never heard those words uttered, but perhaps I frequent a different support group? All this to say that spending 6 hours yesterday discussing a framework for regulating public art in the city of Cape Town was well, challenging.

Of course artists need guidelines and an authority to provoke, agitate and address. Providing suggestions as to how that authority should conduct itself was both frustrating and disarming at the same time. I was repeatedly brought back to the struggle playing out in my mind - not so much as what constitutes art, but what the role of that art is. A conversation I had today brought some clarity.

I sing with a band at our church. As we play, we seek to capture the attention of our audience so as to direct them towards thinking about God and the things of God. We worship Him and utilize our talents to make it easier for others to do so. I can honestly say that humbling myself before my creator and acknowledging who He is is a great blessing to me as it is honoring to Jesus Christ. To worship is to rightly align my priorities in my heart and mind, remembering that without God I have nothing and am lost. With Him, and through Him I am saved. As a vocal musician in a church context, my art is to lead others to that place of acknowledgment.

How does this relate to public art? Well, what do we draw attention to as visual artists? What do we draw people from and gather people towards? If art is not frivolous and whimsical as some like to believe, what are artists saying and how are they using their talents to lead us into realigning our perspectives and priorities?
Art and Worship are closer together than I realised. 

So how does a self-proclaimed rebel and follower of Christ do design and art?
I used to think that there was simply one type of rebellion, and that was it was wrong to rebel. In a sense that was right thinking, as the Bible calls us to be under authority and to operate under authority in a God-honoring way. My inner struggle is not so much with law makers, but with the position of law itself. Legalism. An overzealous desire to apply the letter of law, to the detriment of the spirit with which that law was created. Drives me nuts. That is what I rebel against (mostly).

So back to talking about rules and management of art. I would tend to focus such a document in guiding the reader to understand the role of art (which is..?) and that the manner in which is undertaken should inherently be for the public good. For example, rather than saying 'no sharp edges on any artwork', I would place greater emphasis on communicating safety. Favoring a more encompassing education about the heart of the matter over bullet-point style rules...

We all know that someone from my support group is bound to create something incorporating fireworks one day, coming back to say the document said nothing about THAT exact matter.
 We really are a rebellious bunch!

A challenging day for an anti-legalistic designer writing rules for visual worship leaders.

Thanks as always to www.leonslens.com for incredible shots!

 

Curating the City

Over the last few days as I have been sifting through public art, not-art and everything in between, I decided to visit an exhibition which would hopefully clarify the matter.

2013 Ways to Do Public Art is currently running at the Cape Town City Hall. I had not yet visited City Hall and thought of the exhibition as a double-dose of public spectacle: public architecture meets public expression. It was unfortunately a truly disappointing experience. Rhetoric was shouted against and pasted on every surface as the paint of this grand old lady seemed to peel off with disgust.
There was little in the way of artwork with no obvious sense of flow, progression or narrative. If the objective was to accurately portray the state of public art and policy on artistic expression in the city then it may perhaps be the most scathing opinion thus aired on the matter.

I was hoping for the pink carpet to be rolled out.

A genuine invitation for the public to be engaged with art.

The bar needs to be higher, it's as simple as that.

Still Life/No Life with Chicken Leg 

Here today, gone tomorrow..

I have a surprising number of friends who would not consider themselves creative. Their perspectives are always necessary and often priceless for those of us who like to say we are.
Today's discussion was about the obvious disconnect between permanent and temporary works of public art. After steering clear of the 'does graffiti count?' discussion (phew!) we came to the conclusion that if art in a public realm is not engaging, it is not useful. Unfortunately many pieces in our city appear to lack engagement and thus cast a poor light on the usefulness of art.

It this the role of public art: to engage and serve city dwellers? How long can a piece of art perform this role - or perhaps the question is for how long does city culture hold issues, tensions and discussions in its bronzed grip before moving to the next idea? Perhaps the question is what type of art would have city dwellers disengage with what is currently consuming them first?

Temporary exhibitions are exciting. Although if truth be told, the allure of what is next on the art scene is cradled side-by-side with the reassurance that if I don't enjoy it or identify with it, it wont be there long enough to really matter. Protests, yarn bombing, chalk art, flash mobs and the like are art of a different generation. A generation that paces in front of a microwave and wears out the 'door close' buttons on elevators. My idea, right now, is valid and useful..but tomorrow, someone elses i(dea) will take centre stage, but just for a moment, only to be screen swiped away for the next.

Engaging art. Quality discussions. Contested space.

Here are a two public artworks which I have found to be absorbing and engaging. World class. Not in Cape Town.

The Bean
Chicago USA:Anish Kapoor

The Vietnam War Memorial Wall
Washinton DC, USA:Maya Lin

...but is it art?

Understanding Public art in the City of Cape Town in 28 days.

This is my mission and my job. With any creative endeavor, one cannot limit ones thoughts to work hours and work days, so 28.24.7 it will be.
As our team are unpacking, documenting and repackaging the notions of public art in our fair city, we keep hovering around the same discussion. Process vs Product. The very manner in which we record, select and understand these art works adds an additional layer of text to their story. Thus if some of our endevours seem to be unsuccessful then, by virture of the process, we have still progressed.
Not everyone agrees....and so it officially becomes art! 

And therewith the motivation for this blog. Documenting and displaying the art of understanding art.

Feel free to comment as you cruise through here, or head over to our team Facebook page:
https://www.facebook.com/CapeTownPublicArt#

The idea of contested space will always be at the front of my mind when I look at a publicly accessible work of art. As we work through the next 28 days, other creative prejudices, opinions and ideas will surely be laid bare...but first things first.

Simply put, contested space is any space that two or more people,entities etc. are in dispute over (or at least, not in agreement) Broadly speaking, that could be anything from a newly constructed cycle path to your small, but developing, village in the digital construct of Age of Empires. 

Who owns it. Who wants it. Who uses it. Who needs it. 

Tools of the Trade

 
All the opinions recorded in this blog are my personal thoughts and do not represent my employers, co-workers, clients, the artists mentioned etc etc. If you have any copyright concerns or issues relating to opinions voiced, do let me know.