March 2017 Initial Recommendations Community Collaborator

Future Culture is made possible in Future Culture Working Group Special thanks: Future Culture Fellows part by generous support from: Lisa Dahl Deborah Davis Arlette Cepeda Participatory Art Fellow Irma Bohoróquez-Geisler Cecil Howell Ben Margolis Volker Goetze Lara Friedmann Policy Fellow Lorie Honor Peter Lisi Margie Ruddick Carol Hooper Kelly Vilar Urban Design Fellow John Kilcullen Angel Lopez Zamora John Schettino DB Lampman Graphic Design Fellow Helen Levin Additional thanks: Gareth Smit Fern Metcalf 50 50 Skatepark Photo Urbanism Fellow Gail Middleton Alice Austen House Art Lab, Inc. William Moorish BFC Partners Design Trust for Public Space Victoria Munro Creative Photographers’ Guild Susan Chin, FAIA, Hon. ASLA Christian Penn El Centro del Inmigrante Executive Director Oumie Ceesay-Peters Flagship Brewery Rosamond Fletcher Rashida Ladner-Seward Ironstate Development Director of Programs Melissa West Jacques Marchais Museum of Tibetan Art Ozgur Gungor Nicholas Zvegintzov National Lighthouse Museum Communications Manager New York City Arts Cypher Joseph Huennekens Peer Reviewers NYC Department of City Planning Project funding is also provided Program Manager Charlie Balducci, NYC Arts Cypher NYC Department of Cultural A•airs by the Design Trust Founders Linda Dianto, National Lighthouse Museum NYC Department of Housing Preservation and Circle including: Agnes Gund, Kitty Kelly Mullaney Development Hawks, Sophia W. Healy, the Lily Volker Goetze Development Manager NYC Department of Parks and Recreation Auchincloss Foundation Inc., Ca- Jourdan Sayers Elysa Goldman, Triangle Equities NYC Department of Small Business Services mila Pastor and Stephen Maharam, Equitable Public Space Fellow Steven Grillo, Staten Island Economic Development Corporation NYC Department of Transportation Claire Weisz, and Andrea Woodner. Christine Johnson, Councilwoman Debi Rose’s O™ce Martha Snow NYC Economic Development Corporation Executive Assistant/ Munro Johnson, NYC Economic Development Corporation Pride Center of Staten Island Special Projects Associate Maureen Loughran, Center for Traditional Music and Dance Protectors of Pine Oak Woods Andrew Marcus, Department of Small Business Services Richmond County Orchestra Janice Monger, Alice Austen House Snug Harbor Cultural Center and Botanical Staten Island Arts Victoria Munro Garden Staten Island Business Outreach Center Elizabeth Bennett Travis Noyes, The New York Wheel Executive Director Ed Polio, 50 50 Skatepark Staten Island Makerspace Felicia Ru•, Wagner College Staten Island Museum Gena Mimozo Staten Island OutLOUD Grants Administrator Elizabeth Sammartino, Staten Island Borough President’s O™ce Sundog Theater Naomi Sturm Naomi Sturm, Staten Island Arts Folklife The New York Wheel Director of Folklife Kelly Vilar, Let’s Rebuild Cromwell Coalition Triangle Equities Monica Valenzuela Mariel Villere, NYC Parks Department Van Duzer Street Civic Association Deputy Director Daniel Franklin Ward, PhD Wagner College Theater Nicholas Zvegintzov

1 Future Culture is a project of the Design Trust for Public Space, in partnership with Staten Island Arts. Table of Contents

Introduction to the Project The Future Culture Project Methods How to Read the Recommendations Where Are We in the Project and Next Steps Introduction to Staten Island’s North Shore An Open, Diverse and Evolving Community A Unique Urban Locale Challenges and Opportunities Photo Essay: Gareth Smit I. Foster and Amplify Local Culture 1. Increase Public Presence 1.1 Develop identifiable cultural clusters and destinations 1.2 Organize unique events of scale and regularity 2. Promote Exploration 2.1 Develop inclusive, coordinated messaging 2.2 Share the North Shore’s story with ‘islanders’ and visitors 2.3 Provide intuitive wayfinding and place-based cultural awareness interventions 3. Broaden and Deepen Support 3.1 Develop a shared voice to coordinate and advocate for the value of the arts and cultural practices 3.2 Increase and strengthen partnerships between communities and with private and public stakeholders 3.3 Connect cultural communities to financial resources II. Connect and Enhance Place 4. Celebrate the Waterfront 4.1 Preserve and enhance the experience of maritime culture 4.2 Foster resiliency through culture 5. Activate Underused Open Space 5.1 Enhance existing green spaces 5.2 Consider the ‘in between’ public realm 6. Improve the Experience of Infrastructure 6.1 Move people with culture 6.2 Define places for waiting and gathering 7. Develop and Preserve Built Space for Culture 7.1 Preserve existing space where the cultural community lives, works, and presents 7.2 Adapt existing or historic structures for the cultural community to live, work, and present 7.3 Plan a•ordable space in new developments for the cultural community to live, work, and present Glossary

2 Future Culture is a project of the Design Trust for Public Space, in partnership with Staten Island Arts. | Introduction to the Project

The Future Culture Project Schettino (Graphic Design)—joined Photo Urbanism Fellow Gareth Smit, who is conducting an independent Project scope Zone of intervention The Future Culture: Connecting Staten Island’s artistic exploration of the North Shore in parallel with Waterfront project provides a set of recommendations the project. Together, the Fellows have brought their Zone of that cultural organizations, civic groups, public agencies, respective skill sets to the project to convert feedback St. George influence developers, businesses, and other stakeholders can New and information from a number of sources—including use to strengthen culture and enhance the waterfront. Brighton public officials, private stakeholders, survey respondents, This first set of actionable design, planning, and policy and a working group of Staten Islanders—into the recommendations was created by a team of Design Trust Tompkinsville Fellows and Staten Island residents, cultural producers, recommendations that follow. civic activists, and small business owners. The project Stapleton aims to shape and communicate a vision for culture In the midst of major change to the Naturally Occurring along Staten Island’s rapidly developing North Shore Cultural District on Staten Island’s North Shore, it is waterfront that: imperative that the cultural community work proactively to articulate a vision for how new development can build on • Supports and promotes unique cultural the area’s rich culture to foster a vibrant and connected waterfront. The Future Culture recommendations are a communities first step in this process—a collection of strategies for Rosebank • Develops art and cultural initiatives that ensuring that arts and culture continue to play a lead role in the North Shore’s waterfront communities. connect places and people • Strengthens the relationship between Methods the cultural sector and owners and What do we mean by The Future Culture project began with an examination stewards of property. “cultural community?” of the North Shore’s demographics and residential and commercial enclaves. Design Trust’s Equitable Public Future Culture is a project proposed by Staten Island Future Culture is based on a broad definition Space Fellow worked with the project team to seek out Arts through the Design Trust for Public Space’s 2014 of culture, including the places from which active members of the communities represented in those open Request for Proposals. After an independent jury people come, the foods they eat, the ways demographics and investigated the myriad cultural ac- selected the proposal, Staten Island Arts and Design they travel, the languages they speak, and the tivities of the North Shore. The five Design Trust Fellows Trust partnered to begin initial research and project art that moves them. Community is equally working on the project looked at what might be at stake scoping—holding participatory mapping events with broad, including everyone who lives, works, amidst development and arranged one-on-one conver- Staten Island Arts’ network of artists, meeting with and/or creates on Staten Island’s North sations with a handful of Staten Islanders for feedback potential stakeholders, securing project funding, and Shore. By these definitions, the cultural com- on their hypotheses. After those conversations, the team partnering with a Cornell urban planning studio. munity, a term used throughout this docu- adapted and worked to include interests that may have ment, includes all those who participate in been originally overlooked. In August 2016, Design Trust and Staten Island Arts making, producing, distributing, and adminis- together released an open call for Fellows, seeking trating culture on the North Shore. expertise in the fields of participatory art, policy, urban An intensive six-session working group was organized to design, and graphic design. The selected Future Culture develop the recommendations in concert with the com- Fellows—Lisa Dahl (Participatory Art), Ben Margolis munity. The working group was composed of seventeen (Policy), Margie Ruddick (Urban Design), and John dynamic individuals living or working on the North Shore

3 Future Culture is a project of the Design Trust for Public Space, in partnership with Staten Island Arts. | Introduction to the Project who were full of on-the-ground expertise and ideas for throughout the recommendations. improving the area. Its members were photographers, Principles that emerged from painters, sculptors, makers, community organizers, From the outset, the project team worked to maintain communication with city government—including the NYC activists, small business owners, history buffs, arts the community working group: Parks Department (NYC Parks), the Department of City administrators, composers, and composters of different Planning (DCP), New York City Economic Development 1. Envision Future Culture professions, ages, ethnicities, cultural backgrounds, and Corporation (NYCEDC), and elected officials—and the Seek an ongoing and sustained role for cultural activity. interests. Some were lifelong Staten Islanders; others area’s major active developers: Ironstate (Urby), BFC 2. Catalyze Community Action Partners (Empire Outlets), Triangle Equities (Lighthouse had landed on the North Shore as adults, relocating from Create recommendations and projects that are inclusive other boroughs, states, countries, and continents. Point), and The New York Wheel. The project team connected with these public and private stakeholders and that galvanize community. through one-on-one meetings and presentations. 3. Enable Self-determination Challenge and inspire the cultural community to affect its The project team also participated in a number of events own future. to discuss the recommendations with people where they were already engaged. Events included–but were not 4. Incorporate Cultural Awareness limited to–a visioning session for the Maritime Education Include North Shore cultural knowledge as core to and Recreation Corridor (MERC), an open-house event projects and partnerships. at Staten Island Arts, a Van Duzer Street Civic Association meeting, and an artists’ grant workshop at Staten Island 5. Demonstrate Tangible Value Makerspace. Finally, a survey was circulated to over Communicate economic rewards of culture to public and ninety organizations engaged in arts and community private stakeholders. programming to assess the cultural landscape and 6. Advance While Planning determine needs. The survey collected information Make urgent inroads with partners now, in parallel to about how organizations are accessing, producing, and planning future cultural uses and programming along the formulating long-term plans. Future Culture initial public open house. North Shore waterfront.

The working group met at locations across the North Shore, from major institutions like Snug Harbor Cultural Center to less orthodox cultural hubs like the 50 50 Skatepark. The sessions progressed from identifying existing cultural assets, to understanding the development context, to visualizing the future. The working group discussed their needs and desires for the waterfront and provided a vast amount of information about the people and places that make the North Shore special. The group got feedback on the feasibility of their ideas from visiting civic activists and cultural organization representatives and asked questions about development to a guest presenter from the NYC EconomicDevelopment Corporation (NYCEDC). In addition to stories, feedback, and specific recommendations, the working group helped define six principles to guide the creation of the Future Culture recommendations. These principles are woven Convening of Future Culture working group. MERC visioning session

4 Future Culture is a project of the Design Trust for Public Space, in partnership with Staten Island Arts. | Introduction to the Project

The action items found within each recommendation are How to Read the geared toward sets of potential partners: government, Where We Are in the Project Recommendations civic sector, landowners, cultural organizations, and Next Steps individuals, and businesses. These groups overlap. For The Future Culture recommendations are organized The digital publication you are currently reading entails instance, the New York City Department of Parks and into two sections. The first, “Foster and Amplify the initial recommendations of the Future Culture project. Recreation is a department of NYC government, but also Local Culture,” deals with strengthening the cultural This initial recommendations document is meant to has certain special abilities as a landowner. community. The second, “Connect and Enhance Place,” outline high-level ideas for strengthening the North Shore deals with physical improvements within the project area. cultural community and connecting the waterfront. While Actions are tagged with the following symbols to indicate the initial recommendations include some strategies for potential partners tthat would best align with the action: Within each section the initial recommendations are implementation, their main purpose is to illustrate and inspire. organized into: Go – Government These initial recommendations will be further refined Objectives: Ci – Civic sector and detailed over the next few months through a series overarching goals that frame a set of recommendations. of feedback sessions with community stakeholders. La – Landowners This feedback will be used to determine specific Recommendations: recommendations to focus on in much greater detail. A specific improvements that would help achieve each Cu – Cultural Organizations final printed recommendations document will be released objective. In – Individuals in fall 2017 in conjunction with exhibitions at Staten Island Arts’ ArtSpace gallery and the Alice Austen House. The Actions: Bu – Businesses document will also inform the creation of a series of pilot steps that could be taken by different parties to achieve projects that will test out the recommendations at specific the recommendation. locations within the study area. Each recommendation also has a featured case study, which is an example of an instance in another location where similar strategies have been successfully implemented.

5 Future Culture is a project of the Design Trust for Public Space, in partnership with Staten Island Arts. | Introduction to Staten Island’s North Shore

Year: 1776 Year: 1844 Year: 1872 Year: 1891 Year: 1932 Year: 2016 Above: the development of roads on Staten Island’s North Shore

A strong Italian-Irish influence knit churches, schools, for waves of immigration: from Sri Lanka, from Liberia and An Open, Diverse, and Evolving and institutions together along the waterfront, while atop West Africa, from Albania and Kosovo, and in large num- Cultural Community the hill was an upper-class element that sometimes came bers from Mexico and Central America. The stock of low- into social conflict with the waterfront industry. Demo- rise housing and commercial spaces became for new Staten Island, and in particular the North Shore, has graphics shifted with the Great Depression, the World churches, mosques, food stores, restaurants, and clubs, always drawn to it an astounding mix of people and cul- among other uses. Demographic changes also included Wars, and then, most dramatically, with major transporta- tures. First, it was the Leni Lenape tribe—they called the a rise in the youth population, putting great pressure on tion construction in 1964. This included the Verrazano- island Aquehonga Manacknong (likely meaning “the the school system. Narrows Bridge,¹ which triggered urbanization and place of bad woods”). In 1520, Giovanni de Verrazzano, automobile culture mid-Island and on the South Shore, Italian explorer and namesake (albeit with an altered In addition to working class immigrants, the North Shore as well as the Staten Island Expressway,² which created spelling) of the Verrazano-Narrows, made the first re- has also seen a steady influx of urban professionals, es- a major physical divide between the North Shore and pecially those with growing families appreciating the quiet corded European contact with the island. In the seven- the rest of the island. Around the same time, five pub- and the historic architecture within commuting distance teenth century, the Dutch arrived, giving Staten Island a lic housing developments were built: Mariner’s Harbor of Manhattan. Many members of the Future Culture work- more familiar name: Staaten Eylandt. Houses (1954), Stapleton Houses (1962), West Brighton ing group convened for this project shared their experi- Houses (1962), Richmond Terrace Houses (1964), and ences of being priced out of other boroughs and finding The North Shore was largely designed and built from ap- affordable living and studio space—some renting, others Cassidy-Lafayette Houses (1971).³ Parkhill Apartments, proximately 1850 to 1920 as a working and professional buying—in Staten Island. Additionally, the greater square built privately in 1962 and intended for families moving class small town and suburb. As such, it has a wealth of footage that the area’s housing market offers compared from Brooklyn, was also built in this era and later transi- small single-family homes as well as a few north-south to other boroughs provides ample space for creating tioned into rent-assisted housing. These publicly owned and west-east freight routes and commercial streets. work at home. Many artists and makers who the project or publicly subsidized buildings represent the highest Scattered retail centers, originally intended to be linked team worked with have converted portions of their homes residential density on Staten Island and are all near or on into studio spaces and know others who have done the by rail and streetcar lines, date back to this period as the waterfront. same. Working group members aren’t the only Staten well. Much of this pattern is still in existence and in use, Islanders priced out of Manhattan and Brooklyn; many with tracts of the eastern North Shore representing what Development during the 1960s and ‘70s arguably led cultural activities that struggle to survive in the rest of New may be the region’s most significant surviving collection to a confluence of demographic changes, including the York City can afford space on the North Shore. of nineteenth-century workers’ houses. atrophy of local commercial zones and ‘white flight’ from areas near public housing. This emptying out made way

6 Future Culture is a project of the Design Trust for Public Space, in partnership with Staten Island Arts. | Introduction to Staten Island’s North Shore

Clifton Rosebank Stapleton and Little Van Duzer Street New Brighton

Waterfront Tompkinsville St. George

The Villages of the North Shore Aerial perspective looking southwest toward the North Shore

with tracts of the eastern North Shore representing what from Brooklyn, was also built in this era and later transi- An Open, Diverse, and Evolving may be the region’s most significant surviving collection tioned into rent-assisted housing. These publicly owned Cultural Community of nineteenth-century workers’ houses. or publicly subsidized buildings represent the highest residential density on Staten Island and are all near or on Staten Island, and in particular the North Shore, has the waterfront. always drawn to it an astounding mix of people and cul- A strong Italian-Irish influence knit churches, schools, tures. First, it was the Leni Lenape tribe—they called the and institutions together along the waterfront, while Development during the 1960s and ‘70s arguably led island Aquehonga Manacknong (likely meaning “the atop the hill was an upper-class element that sometimes to a confluence of demographic changes, including the place of bad woods”). In 1520, Giovanni de Verrazzano, came into social conflict with the waterfront industry. De- atrophy of local commercial zones and ‘white flight’ from Italian explorer and namesake (albeit with an altered mographics shifted with the Great Depression, the World areas near public housing. This emptying out made way spelling) of the Verrazano-Narrows, made the first re- for waves of immigration: from Sri Lanka, from Liberia and Wars, and then, most dramatically, with major transporta- corded European contact with the island. In the seven- West Africa, from Albania and Kosovo, and in large num- tion construction in 1964. This included the Verrazano- teenth century, the Dutch arrived, giving Staten Island a bers from Mexico and Central America. The stock of low- Narrows Bridge¹, which triggered urbanization and more familiar name: Staaten Eylandt. rise housing and commercial spaces gave space for new automobile culture mid-Island and on the South Shore, churches, mosques, food stores, restaurants, and clubs, as well as the Staten Island Expressway², which created The North Shore was largely designed and built from ap- among other uses. Demographic changes also included a major physical divide between the North Shore and a rise in the youth population, putting great pressure on proximately 1850 to 1920 as a working and professional the rest of the island. Around the same time, five pub- the school system. class small town and suburb. As such, it has a wealth of lic housing developments were built: Mariner’s Harbor small single-family homes as well as a few north-south Houses (1954), Stapleton Houses (1962), West Brighton In addition to working class immigrants, the North Shore and west-east freight routes and commercial streets. Houses (1962), Richmond Terrace Houses (1964), and has also seen a steady influx of urban professionals, Scattered retail centers, originally intended to be linked especially those with growing families appreciating the Cassidy-Lafayette Houses (1971)³. Parkhill Apartments, by rail and streetcar lines, date back to this period as quiet and the historic architecture within commuting built privately in 1962 and intended for families moving well. Much of this pattern is still in existence and in use,

7 Future Culture is a project of the Design Trust for Public Space, in partnership with Staten Island Arts. | Introduction to Staten Island’s North Shore distance of Manhattan. Many members of the Future Culture working group convened for this project shared their experiences of being priced out of other boroughs North Shore Scenic Views, Transportation Flows and Green Space and finding affordable living and studio space—some Aerial perspective looking southwest toward the North renting, others buying—in Staten Island. Additionally, the greater square footage that the area’s housing market of- fers compared to other boroughs provides ample space for creating work at home. Many artists and makers who the project team worked with have converted portions of their homes into studio spaces and know others who have done the same. Working group members aren’t the only Staten Islanders priced out of Manhattan and Brooklyn; many cultural activities that struggle to survive in the rest of New York City can afford space on the North Shore. Legend: Green Space Dead End In recent years, a series of large-scale developments Views of Waterfront Vehicular Flows have been announced or approved along the North SIR Station Slow Shore waterfront—including The New York Wheel, Em- 5 Minute Walk Fast pire Outlets, Lighthouse Point, and Urby. Collectively, 10 Minute Walk Pedestrian Flows Unfriendly these developments represent $1.2 billion worth of in- 20 Minute Walk vestments in new rcommercial, entertainment, and resi- Friendly dential space. The City has proposed even more growth with its Bay Street Rezoning plan. This action would in- crease the allowable density along Bay Street and could landscape—the villages, with their unique and authentic Shore’s working waterfront in an era of urban waterfront lead to another 2,500 residential units. These develop- vibrancy; the waterfront, where you can go all the way deindustrialization also sets it apart from the rest of New ments promise to bring thousands of new residents and to the shoreline and be immersed in the marine air and York City. While a trip to Manhattan’s Hudson River Wa- countless visitors to the North Shore—with positive and sounds; and the layered history, still visible in the beauti- terfront might tally a cruise ship sighting or two, the North negative impacts on the existing community. fully scaled old buildings. Staten Island is a place where Shore’s waterways are bustling with barges, tugboats, you feel like you can get away from the city, but still be and, of course, the Staten Island Ferry. The waterfront in a vital urban community. All of these unique qualities ecology of the North Shore evokes memories from and Thank you to Future Culture working group member Nicholas make up the culture of the North Shore. The job of the connections to elsewhere for many residents. For ex- Zvegintzov for his major contributions to the understanding of the North Shore’s historical narrative put forth in this section. Future Culture project team has been to weave its many ample, Oumie Ceesay-Peters, a civic activist and working Notes: 1. Jerry Adler, The History of the Verrazano-Narrows Bridge, threads into a cohesive vision for the future. group member, shared that the birds on Van Duzer Street Smithsonian Magazine, November 2014. 2. Ken Paulsen, Staten remind her of her native West Africa, and countless other Island Expressway Timeline, Staten Island Advance, silive.com. One of the most unique parts of the North Shore water- working group members mentioned trees, water, and 3. MyNYCHA Developments Portal, New York City Housing Authority. front is the opportunity to get right down to the water. The wildlife as their favorite qualities of the neighborhoods. shoreline is a prized place for passive enjoyment and re- spite, with people regularly wading out onto the large out- Retail and residential development over the centuries has crops of concrete at the bottom of Front Street, fishing off produced an urban pattern on the North Shore distinct A Unique Urban Locale of Alice Austen Park and other quiet spots, or watching from most of New York City. Future Culture working group Staten Island’s North Shore has a rich and varied urban the boats near Miller’s Launch. The survival of the North members referred to this pattern as a series of contained

8 Future Culture is a project of the Design Trust for Public Space, in partnership with Staten Island Arts. Design Trust Photo Urbanism Fellow Gareth Smit is conducting an independent artistic exploration of the changing North Shore in parallel with the Future Culture project. The following are a selection of his photographs.

PART

Foster and Amplify Culture Culture is the content that defines a place – the people, food, history, festivals, and experiences that turn a collection of buildings or a waterfront landscape into a community. The entire North Shore benefits when culture is supported and shared. Increase Strengthening and developing the Public North Shore’s existing cultural clusters will ensure the continued vitality of the Presence 1 area’s creative community and benefit everyone living, working, or visiting the North Shore. Density of resources is key to creative innovation, and encouraging the proximity of cultural producers and organizations allows for cross-pollina- tion between and among individuals and groups – thereby increasing visibility to both locals and visitors. Objective 1: Increase Public Presence

Recommendation 1.1 Develop identifiable cultural clusters and destinations

Action 1.1.1 Develop a North Shore cultural station Action 1.1.2 Expand and develop existing cultural institutions Action 1.1.3 Program new sites and venues that can offer space for local cultural work and activities Action 1.1.4 Support efforts of the Maritime Education & Recreation Corridor (MERC) coalition to secure new educational and recreational space along the waterfront, including potential roles for culture at the future Cromwell Recreation Center at Lyons Pool

Recommendation 1.2 Organize unique events of scale and regularity

Action 1.2.1 Determine sites, resources, and sponsors for large festivals, events, performances, and ongoing programming series. Action 1.2.2 Co-sponsor festivals, events, and performances prioritizing collaboration with immigrant and heritage-based organizations and informal groups | Part I: Foster and Amplify Local Culture | Objective 1: Increase Public Presence

Recommendation 1.1 – Develop identifiable cultural clusters and destinations

Additional revenue-generating and complementary uses (“anchor tenants”) could include retail, creative o™ce CASE STUDY: Lumen Eclipse, space, an artist residency program (see 3.3.2), and a Cambridge, MA civic or non-profit institution. Support for the station—in the form of a development partner or through assistance This innovative gallery, which is unfortunately no in connecting potential tenants and partnerships—could longer operating, showcased video artists from come from both the private and public sectors. two monitors installed atop the Tourism Infor- mation Kiosk at Harvard Square. The curated, station themed shows rotated every month and seam- Potential Partners: cultural organizations, government lessly integrated culture and tourism in an iconic agencies, landowners public space. Shows included a range of artists from emerging to established, local to interna- tional. The opening reception of each show was screened monthly, hosted at various venues in Cambridge, and available and archived online for larger audience access.

Action 1.1.1 – Develop a North Shore Cultural Station A cultural ‘station’ on the North Shore would provide a vibrant resource and place of congregation for Staten Island’s cultural communities and visitors. A new mul- tipurpose Station would house an entity or partnership that promotes Staten Island’s cultural hubs, institutions, events and professionals – a “one-stop shop” physical information center for culture. It could also provide o™ce / administrative space for an entity charged with advo- cating for and implementing the Future Culture recom- mendations. The station could help meet the burgeoning demand among local artists for stable working and pre- senting space, including small spaces for performance, exhibitions and cultural activities, rehearsal space and studios, and local cultural education.

19 Future Culture is a project of the Design Trust for Public Space, in partnership with Staten Island Arts. | Part I: Foster and Amplify Local Culture | Objective 1: Increase Public Presence

Recommendation 1.1 – Develop identifiable cultural clusters and destinations

Action 1.1.2 – Expand and develop ex- Action 1.1.3 – Program new sites and Action 1.1.4 – Support efforts of the isting cultural institutions venues that can offer space for local cul- Maritime Education & Recreation Corri- The North Shore is already blessed with a vibrant eco- tural work and activities dor (MERC) coalition to secure new edu- system of cultural institutions. Support for these existing There are a multitude of privately owned spaces on cational and recreational space along the organizations should emphasize connections between the North Shore that can be enhanced through cre- waterfront, including potential roles for them and leverage the positive reinforcements that ative programming. Landowners should work with the culture at the future Cromwell Recreation come from proximity. Any new cultural spaces or initia- cultural community to program vacant and/or transition- tives (including the culture station referenced in 1.1.1) ing spaces into dedicated places where local artists, Center at Lyons Pool. should be careful not to “poach” from existing organi- especially performers and presenters, can convene and MERC is a community-led initiative to excite people— zations but rather to focus on filling gaps and building collaborate to create and present work. This collabora- bridges between institutions. especially youth—about marine biology, ecological tion would showcase the vibrancy that comes to an area sustainability, and maritime activities. Supporting such a when existing culture is included in plans and program- corridor would honor the local context while producing ming. Mutually beneficial events could include discus- social, economic, and environmental benefits. Potential Partners: cultural organizations, individuals sions, shows, and panels to further connect artists and private developments to each other and the local Closely related by geography and mission, the Crom- community. well Recreation Center was a much-loved community recreation center, which closed after its long disrepair and eventual collapse in Spring 2010. A community ef- Potential Partners: landowners, cultural organizations, fort is now underway to rebuild the Cromwell Center at a individuals nearby site adjacent to Lyons Pool. In addition to much needed recreational needs, cultural events could also be Potential Sites: NY Wheel, New Stapleton Waterfront hosted in a rebuilt Cromwell, such as dance practice and performances, local art shows, DIY workshops hosted by Staten Island crafts people, independent film nights, and potluck dinners—all of which would bring people together and increase awareness of the rich cultures that exist on the North Shore.

Potential Partners: civic sector, government

20 Future Culture is a project of the Design Trust for Public Space, in partnership with Staten Island Arts. | Part I: Foster and Amplify Local Culture | Objective 1: Increase Public Presence

Recommendation 1.2 – Organize unique events of scale and regularity

Action 1.2.1 – Determine sites, resourc- Action 1.2.2 – Co-sponsor festivals, es, and sponsors for large festivals, events, and performances prioritizing CASE STUDY: Second Saturdays Staten events, performances, and ongoing collaboration with immigrant and heri- Island Art Walk programming series. tage-based organizations and informal Second Saturdays Staten Island Art Walk is a monthly gallery crawl that maintains a regular Events large and small succeed when they o•er con- groups. schedule. The regular date and general timing sistent scheduling and quality. Event organizers should Small immigrant-, heritage-, and ethnic-based festivals helps build attendance, in addition to reminder prioritize reliable timing, regular locations, high-quality and performances have a unique set of challenges that announcements sent through a newsletter, programming, and thorough communications e•orts in require additional support. However, these types of website, and social media. While venues change order to engage a critical mass. events are often the richest and most well attended festi- each month, there is a regular roster. The es- vals on the North Shore. Larger organizations, along with tablishment of consistent programming allows Public spaces that are accessible to large audiences are the private and public sectors, should help aid smaller for interested organizations and individuals to a natural fit for such programming. Oftentimes, the stew- organizations by donating financial or in-kind resources plan in advance to present a project and attract ards of these properties are looking for ways to activate and partnering on the management and organization of audiences. the spaces in new ways and are amenable to festivals, such events. events, and performances that draw in the community Additional Precedents: Lumen and visitors alike. Coordinating discussions between public space managers and potential programmers can ease access for smaller organizations or individuals that Potential Partners: individuals, cultural organizations, may be unfamiliar with public space permitting require- government, businesses ments. Potential Sites: Pier 1, St. George-Tompkinsville Prom- Private sector partners can also serve as co-sponsors enade, New Stapleton Waterfront of events while o•ering help for one of the most daunt- ing hurdles for small and/or informal groups: insurance requirements. Private sector partners can also o•er resources and expertise about event coordination while activating their own spaces with community-supportive programming.

Potential Partners: cultural organizations, government, landowners, businesses

Potential Sites: Pier 1, St. George-Tompkinsville Prom- enade, New Stapleton Waterfront

21 Future Culture is a project of the Design Trust for Public Space, in partnership with Staten Island Arts. Promote The North Shore’s history, environment, Exploration heritage, and culture are assets that make it unique. Inviting visitors to explore com- 2 munities beyond the St. George Ferry Terminal—such as Stapleton and New Brighton—will expand audiences for local cultural practitioners and organizations. Objective 2: Promote Exploration

Recommendation 2.1 Develop inclusive, coordinated messaging

Action 2.1.1 Create a Marketing & Tourism Manager position at the SI Borough President’s Office Action 2.1.2 Coordinate the existing Destination St. George initiative with broader community-based messaging from SI Arts

Recommendation 2.2 Share the story of culture with ‘islanders’ and visitors

Action 2.2.1 Develop a messaging framework that emphasizes Staten Island unique assets Action 2.2.2 Create a map of local cultural assets for general public and visitors Action 2.2.3 Develop an open, shared calendar of activities and events Action 2.2.4 Partner on marketing strategies, such as discounted ad space or directly measureable incentives, to raise the profile of cultural organizations Action 2.2.5 Encourage Staten Island exploration beyond the ferry terminal Action 2.2.6 Rename or confer honorary names to streets to highlight key historic and cultural figures associated with Staten Island Action 2.2.7 Strengthen the identity of town hubs

Recommendation 2.3 Provide intuitive wayfinding and place-based interventions to promote cultural awareness

Action 2.3.1 Initiate open call to engage with routes to cultural points of interest to promote new or friendlier connections, especially for pedestrians. Action 2.3.2 Create alternative versions of the MTA bus map geared toward cultural landmarks Action 2.3.3 Provide ‘where’ and ‘what’ orientation information in public spaces Action 2.3.5 Collaborate with community and public agencies to connect privately controlled sites to ‘routes’ of exploration | Part I: Foster and Amplify Local Culture | Objective 2: Promote Exploration

Recommendation 2.1 – Develop inclusive, coordinated messaging

Action 2.1.1 – Create a Marketing & Tourism Manager position at the SI CASE STUDY: The Marketing and Development Division of the City of Los Angeles Borough President’s Office Department of Cultural Affairs Successfully telling Staten Island’s unique story requires The City of Los Angeles Department of Cultural A•airs houses a specific Marketing and Development Division having a dedicated sta• person to exercise steward- that works with arts organizations at the local, state, national, and international levels to increase engagement ship over the North Shore cultural narrative and deliver and accessibility throughout Los Angeles. The Division develops and distributes exhibition catalogs, educa- marketing with cultural nuance, and from one platform. tional publications, media materials, and cultural guides and calendars for the City’s Latino, American Indian, A new marketing manager would establish a formal African American, LGBT, and Asian and Pacific Islander American Heritage Month Celebrations. The Marketing relationship with SI Arts to assure coordination and best and Development Division also publishes an annual Festival Guide, which lives online at lafestivalguide.org. current insights. The manager would also help estab- lish strategies that balance the imperative of promotion Additional precedents: Illuminate Stapleton against the risks of cultural commodification or cooptation.

Potential Partners: government, cultural organizations

Action 2.1.2 – Coordinate the existing Destination St. George initiative with broader community-based messag- ing from SI Arts A coherent cultural narrative requires coordination be- tween marketing initiatives like Destination St. George, community-based representatives like SI Arts, private developers’ marketing teams, and the SI Chamber of Commerce. Specific goals for commerce and culture should be defined and areas of overlap amplified.

Potential Partners: cultural organizations, civic sector, landowners, businesses

24 Future Culture is a project of the Design Trust for Public Space, in partnership with Staten Island Arts. | Part I: Foster and Amplify Local Culture | Objective 2: Promote Exploration

Recommendation 2.2 – Share the story of culture with ‘islanders’ and visitors

Action 2.2.1 – Develop a messaging framework that emphasizes Staten CASE STUDY: Blackstone Heritage Corridor Island's unique assets Blackstone Heritage Corridor (BHC) is a nonprofit Staten Island’s rich culture is one of its most valuable entity that promotes tourism within the John H. assets. Messaging that emphasizes the North Shore’s Cha•ee Blackstone River Valley National Heritage unique and hidden local attractions—such as history, ar- Corridor in northern Rhode Island and southern chitecture, maritime culture, immigrant culture, heritage- Massachusetts. The organization partners with the based food culture, festivals, performances and other federal Heritage Corridor to raise awareness of the arts, and waterfront ecology—can drive audiences to unique natural, historical, and cultural assets of the explore beyond the ferry terminal. valley and its importance to early-American indus- trial history. BHC’s GO! Program is a particularly successful program that promotes small-scale ex- Potential Partners: cultural organizations periences and events in the valley each September. Events must be free and at a specific time, while ex- periences must be free and guided by a knowledge- Action 2.2.2 –Create a map of local able local. The hundreds of tours, boating lessons, historic walks, festivals, and events that become a cultural assets for general public and part of GO! bring visitors to areas of the region that visitors would otherwise remain unexplored and help build local economies still struggling with post-industrial A creative map displaying North Shore culture would transition. help orient residents and visitors to the rich cultural, historic, and environmental attractions in their midst. The Additional Precedents: InSIde Arts Guide, New York map should include undiscovered sites, highlight par- Folklore Society’s Local Legends Markers Program ticularly attractive or historic streets, and identify cultur- ally important small businesses. It should also serve to fill in gaps between better known sites with lesser known venues that can serve as points of connection along the way.

Potential Partners: cultural organizations

25 Future Culture is a project of the Design Trust for Public Space, in partnership with Staten Island Arts. | Part I: Foster and Amplify Local Culture | Objective 2: Promote Exploration

Recommendation 2.2 – Share the story of culture with ‘islanders’ and visitors

Action 2.2.3 – Develop an open, Action 2.2.4 – Partner on marketing shared calendar of activities and strategies, such as discounted ad events space or directly measureable incen- Numerous groups on the North Shore try to maintain tives, to raise the profile of cultural calendars of information, but there is no single place organizations where they are all collated in a non-competing way. This is not a problem unique to Staten Island, but lack of Advertisements and promotions raise the profile of cul- knowledge about events hinders attendance, support, tural assets for visitors and residents alike. Opportunities and circulation. for coordinating on such marketing exist at all points along the user journey: the ferry, the ferry terminal, bus A new shared online calendar would be easy to use, built shelters, buses, Staten Island Railway (SIR) platforms, on a sophisticated software platform, accessible to and LinkNYC screens, and key online spaces where NYC co-created by SI cultural organizations, and have the provides information on travel and tourism. ability to function as a pre-emptive planning device to avoid cross-booking and encourage intergroup coordi- Rotating and shared ad space, or small graphic design nation. Members could add information into a set table grants, would open up these opportunities to smaller and map in advance of events, thus spreading out the organizations. Free or discounted ads and messages tasks to all involved and encouraging self-interest in could also tie into an alternate bus map that highlights its maintenance. Businesses located near (or within) cultural landmarks (see: 2.3.2) Quantifiable marketing cultural venues could contribute very basic ads to help strategies, such as incentives, discount codes/coupons, support hosting or printing. passes, or “ferry bucks” require more groundwork to implement but would pay dividends by revealing visitor patterns and encouraging the support of local busi- nesses. Potential Partners: cultural organizations, civic sector, businesses Potential Partners: cultural organizations, landowners, government, businesses

Potential Sites: ferry, ferry terminal, public transit, online and mobile apps

26 Future Culture is a project of the Design Trust for Public Space, in partnership with Staten Island Arts. | Part I: Foster and Amplify Local Culture | Objective 2: Promote Exploration

Recommendation 2.2 – Share the story of culture with ‘islanders’ and visitors

Action 2.2.5 – Encourage Staten Island Action 2.2.6 – Rename or confer exploration beyond the ferry terminal honorary names to streets to highlight 2.2.6 Famous Staten Islanders Staten Island is a destination hidden in plain sight. key historic and cultural figures associ- Political Figures Unusual histories, fascinating stories, beautiful architec- ated with Staten Island Aaron Burr – 3rd Vice President ture, unique cuisines, and a variety of cultures rarely get Gwen Carr – Mother of Eric Garner Dorothy Day – Social activist, su•ragette, journalist their due attention. The first step of encouraging explora- Renaming streets or other public areas celebrates existing culture and helps ensure it can’t be overlooked, Daniel D. Tompkins – 6th Vice President, established Tompkins- tion would be to replace the existing ferry disembarking ville and Staten Island Ferry announcements to include messaging about the island. neglected, or swept away as focus shifts. Honoring Architects/ Landscape Architects famous cultural “heroes” serves to highlight a Frederick Law Olmsted – “Father of American landscape architec- Once visitors disembark the boat, signs and wayfinding neighborhood’s values. Naming districts can also ensure ture”, designed Central Park and promote similar strengths. Edward A. Sargent – Architect (e.g. painted pathways, flags, plantings, etc.) could be Writers placed in areas of the terminal to encourage investiga- Langston Hughes – Poet, activist, Harlem Renaissance leader tion by o•ering up ‘fun facts.’ These improvements could lived/worked for a season on a SI farm growing vegetables) be subsidized and managed in cooperation between Potential Partners: government, civic sector, individuals Frank McCourt – Pulitzer Prize for Angela’s Ashes EDC and DOT. Free takeaway maps (see 2.2.2) could Henry David Thoreau (lived on Staten Island in the 1840s) Visual Artists also be placed in prominent locations to push ferry riders Alice Austen – Photographer. Museum and ferry named after her out into the community to explore, rather than onto the Action 2.2.7 – Strengthen the identity Romare Bearden – Leading African American artist known for next boat. paintings and collages. of town hubs Louise Bourgeois – Sculptor, installation artist, painter, print- maker. Studio on Van Duzer St. Formal placemaking, branding, and messaging pro- John Noble – Maritime artist. museum and ferry named after him. Potential Partners: government, cultural organizations grams, including historic and contemporary narratives, Musicians are important for developing the unique identity of each Steve Augeri – Former lead singer Journey, lives on SI town hub. New signage, banners, and retail/dining direc- Joan Baez – Folksinger, born on Staten Island tories would orient visitors and enhance the streetscape. Christopher Coletti – Trumpeter, Canadian Brass Eileen Farrell – Soprano Other initiatives could include wrapping vacant spaces David Johansen – Singer, New York Dolls, Buster Poindexter, with graphics that promote and amplify town identity born on Staten Island or creating visual acknowledgements and monuments Don Joseph – Jazz trumpeter and cornetist of cultural figures (local heroes, teachers, shop own- Guy Klucevsek – Accordionist. composer, John Zorn collaborator ers, etc.) from the neighborhoods. Local businesses or Galt MacDermont - Lyricict for Hair, lives on SI merchants associations can partner with local media to A.J. Pero – Drummer, Twister Sister, born on Staten Island PS22 Chorus – Elementary school chorus integrate these narratives into local news, features, and Vernon Reid – Guitarist, Living Color founder columns/ or blogs. Gene Simmons - Kiss Bass player, attended College of Staten Island Turk Van Lake – Arranger, composer and jazz guitarist Kenny Washington – Jazz Drummer Chuck Wayne – Guitarist with Woody Herman and George Shear- Potential Partners: businesses, civic sector ing quintet Wu-Tang Clan – Hip hop group Potential Sites: St. George, Tompkinsville, Stapleton, New Brighton, Rosebank, Clifton

27 Future Culture is a project of the Design Trust for Public Space, in partnership with Staten Island Arts. | Part I: Foster and Amplify Local Culture | Objective 2: Promote Exploration

Recommendation 2.3 – Provide intuitive wayfinding and place-based interventions to promote cultural awareness

Action 2.3.1 – Initiate open call to (Action 2.3.2 cont.) between the water, new developments, and town hubs. Such routes should be connected with the map of local engage with routes to cultural points attractions (see 2.2.2) points of interest to promote new or Potential Partners: government, landowners, cultural friendlier connections, especially for organizations pedestrians. Potential Partners: landowners, civic sector, cultural Potential Sites: Whitehall ferry terminal and St. George organizations, government A system of markers or ‘yellow-brick road’ directing ferry ferry terminal, Triangle Parks, Bay Street, etc. visitors out of the terminal and/or a set of walking tours would help showcase unique attractions and promote CASE STUDY: new connections via place-activation and cultural experi- Action 2.3.3 – Provide ‘where’ and Battery Point Sculpture Trail ence. The key objectives would be to promote circulation ‘what’ orientation information in pub- between the ferry terminal and the immediate area and The Battery Point Sculpture Trail is a permanent installa- to stimulate pedestrian tra™c to cultural attractions in the lic spaces tion of nine individually designed and fabricated sculptures in a historic waterfront suburb of Hobart, the capital city surrounding area. A formal, urban wayfinding program that spans all points of Tasmania, Australia. The trail was conceived as a way of a user journey, would make visible the connections to increase visitor movement along the shore, encourage between places. This wayfinding program should be exploration of the roads and paths, and raise awareness of mindful of bridging online communications, the ferry the area’s history while giving equal balance to public art Potential Partners: landowners, cultural organizations and interpretation. terminals at Whitehall and St. George, North Shore wa- Potential Sites: St. George ferry terminal terfront and towns, and inland attractions. DOT and EDC The concept for the trail is “sculpture by numbers”: each could coordinate with cultural organizations and mem- sculpture presents a three-dimensional number (a variety bers of local cultural communities regarding user needs of dates, times, quantities, weights, and measures) that and experience relative to upcoming wayfinding RFPs. explores one or two linked interpretive stories related to Action 2.3.2 – Create alternative the location. Brief and evocative interpretive text accom- panies each sculpture, either embedded within the piece versions of the MTA bus map geared or located as a standalone sign nearby. toward cultural landmarks Potential Partners: government Fear of the unknown–and the perception of distance– currently hinders bus travel, particularly for Staten Island Potential Sites: Whitehall ferry terminal, St. George ferry visitors. This hesitation could be reduced by simplify- terminal, Triangle Parks, Bay Street, etc. ing the existing MTA bus map and color-coordinating it with an Arts Corridor indicating which lines have cultural stops along the way, when to get o•, and approximate Action 2.3.5 – Collaborate with community travel time from the ferry terminal. and public agencies to connect privately controlled sites to ‘routes’ of exploration Simple signage should be coordinated with the appro- priate bus stops to help passengers see destinations Established ‘routes’ can help direct visitors towards and make travel locations more intuitive to find. These areas they may not otherwise explore. Using the con- “marked” bus stops would also serve as wayfinding for tour of the shoreline as a spine, with upland o•shoots, a Additional Precedents: Legible London, Brooklyn Bridge cars, bikes, and pedestrians. system of marked paths/trails would promote circulation Park Pedestrian Wayfinding, Southhampton Wayfinding

28 Future Culture is a project of the Design Trust for Public Space, in partnership with Staten Island Arts. Broaden Cultural producers and organizations and Deepen are historically undercompensated for the services and value they bring to the Support 3 community and informal practitioners are often unable to access the resources of larger institutions. Coordination and collaboration with the public and private sectors will bolster the cultural community to the benefit of all parties. Objective 3: Broaden and Deepen Support

Recommendation 3.1 Develop a shared advocacy voice to coordinate and promote the value of arts and cultural practices

Action 3.1.1 Form a ‘North Shore Cultural Committee’ Action 3.1.2 Facilitate new types of networking Action 3.1.3 Communicate and implement key findings of the citywide Cultural Plan Action 3.1.4 Make the case for stable resources at the City, State, and Federal level Action 3.1.5 Encourage private sector leaders to join boards of local cultural institutions

Recommendation 3.2 Increase and strengthen partnerships between cultural communities and with private and public stakeholders

Action 3.2.1 Develop guidelines for cross-sector partnership with artists, cultural practitioners, and cultural organizations to ensure mutual respect and equity and improve outcomes Action 3.2.2 Connect arts and culture organizations with social service provider organizations in the area to facilitate partnerships Action 3.2.3 Increase ability of cultural groups to provide educational programming Action 3.2.4 Incentivize partnerships for creation of new work Action 3.2.5 Demonstrate through pilot projects how sites, space, and other resources can be used for cultural activities.

Recommendation 3.3 Connect cultural communities to financial resources

Action 3.3.1 Create a North Shore Cultural Investment Fund to encourage and support cross-sector partnerships and opportunities Action 3.3.2 Establish a North Shore Cultural Fellowship Program that includes a residency program to encourage collaboration on the North Shore Action 3.3.3 Expand re-granting opportunities Action 3.3.4 Initiate new grant programs and target existing grant programs to support Naturally Occurring Cultural Districts, heritage-based arts, and underserved cultural communities | Part I: Foster and Amplify Local Culture | Objective 3: Broaden and Deepen Support

Recommendation 3.1 – Develop a shared advocacy voice to coordinate and promote the value of arts and cultural practices

Action 3.1.1 – Form a ‘North Shore Cultural Committee’ CASE STUDY: Arlington County Public Art Committee Many groups and individuals of the North Shore’s cultural communities share the goal of becoming better In Arlington, Virginia, a five-to-seven member Public Art Committee—comprised of planners, architects, art- known in order to attract visitors (both local residents ists, and other creative professionals—advises on the direction of the County’s public art program and liases and tourists) and foster stronger programming. Working with the planning and trasnportation departments. The elected County Board manages art policy, public art together as colleagues, rather than competitors, is the master plan development processes, major contracts, as well as capital improvement programs on the recom- most e•ective way to achieve that goal. mendations of the committee. In 2004, the County Board adopted a Public Art Master Plan based on the com- mittee’s work that set out guidelines for both community and private developer art projects. A Cultural Committee comprised of representatives from arts, heritage, and immigrant organizations, institutions, Additional Precedents: Freelancers Union Spark Events small businesses, commercial venues, private develop- ment, and public agencies should convene on a regular (monthly or quarterly) basis to determine shared goals and how best to achieve them. The committee should designate sponsored or non-paying seats to ensure that representatives of small, low-budget groups can participate. Business owners and other private sector representatives would be encouraged to o•er their skill set, and public sector representatives would join and help by sharing information opportunities and contribut- ing a long-term, wide-scope viewpoint.

The objective of the committee would be to determine ways in which like-minded groups can work together for growth, such as destination-district naming, shared marketing, and cross-promotion. Financial investments to achieve some of these goals could be contributed by the group in a cooperative structure to ensure that goals remain communal. The committee should potentially be a part of a larger task force or neighborhood associa- tion/BID in order to connect cultural e•orts with other community initiatives.

Potential Partners: cultural organizations, government, civic sector, landowners, businesses

31 Future Culture is a project of the Design Trust for Public Space, in partnership with Staten Island Arts. | Part I: Foster and Amplify Local Culture | Objective 3: Broaden and Deepen Support

Recommendation 3.1 – Develop a shared advocacy voice to coordinate and promote the value of arts and cultural practices

Action 3.1.2 – Facilitate new types of Action 3.1.4 – Make the case for stable networking resources at the City, State, and Fed- Many who will not go to a casual gathering with the eral level generalized hope of meeting someone with similar ideas State, local, and federal support for arts and culture is and/or needs, seek out specific networking experi- essential to the survival of smaller organizations that ences related to their needs. New types of networking often have the biggest impact. Cuts to cultural funding opportunties that feature experts and speakers or o
er disproportionately impacts work occurring at the local methods for “vendor” attendees to share their services level and in traditionally disempowered communities. (e.g. business card swaps at a table, discounts to at- tendees; etc.) would provide additional opportunities for the cultural community to come together. Potential Partners: cultural organizations, individuals

Potential Partners: cultural organizations, individuals Action 3.1.5 – Encourage private sector leaders to join boards of local cultural Action 3.1.3 – Communicate and institutions implement key findings of the city- Business owners and other private sector representa- tives have a skill set and perspective that are important wide Cultural Plan to the smooth functioning of nonprofit boards. Contribut- The CreateNYC cultural planning process is a significant ing financial and professional support to local arts non- opportunity to raise the profile of Staten Island’s cultural profits can give business owners important insight into community. As a naturally occurring cultural district the needs and desires of their customers and neighbors. and one of the last a
ordable creative neighborhoods in New York City, the North Shore should be among the neighborhoods prioritized in the implementation of the Potential Partners: businesses, landowners, CreateNYC findings. cultural organizations

Potential Partners: government

32 Future Culture is a project of the Design Trust for Public Space, in partnership with Staten Island Arts. | Part I: Foster and Amplify Local Culture | Objective 3: Broaden and Deepen Support

Recommendation 3.2 – Increase and strengthen partnerships between cultural communities and with private and public stakeholders

Action 3.2.1 – Develop guidelines for (Action 3.2.2 cont.) trolled by private entities through long-term leases and maintenance agreements. These privately controlled cross-sector partnership with artists, public spaces are the ideal place to test out partnerships cultural practitioners, and cultural or- Potential Partners: civic sector, cultural organizations, between private entities and local cultural producers. ganizations to ensure mutual respect government and equity and improve outcomes Potential Partners: landowners, cultural organizations In order to facilitate more partnerships among groups Action 3.2.3 – Increase ability of cul- that often don’t know how to get in touch with each tural groups to provide educational other, there is a need for cultural “matchmaking” ser- programming vices in which groups, locations, venues, and agen- CASE STUDY: cies—as well as individual artists—can share their New York City’s public school curriculum includes out- Dunlap Codding, Oklahoma City ings to cultural institutions on a regular basis. Develop- potential cultural wants and needs and establish other After moving into a new o™ce in the historic Film Row ing a consistent schedule and ties to lesson plans would sets of expectations. A best practices guidebook for or- District of Oklahoma City—formerly known locally as “skid ganizations and businesses wishing to engage individual allow smaller institutions to plan for student visits as row”—the intellectual property law firm Dunlap Codding artists or groups would help dismantle the notion that part of their regular programming and make visits more surveyed local residents and workers about their unmet artists should work for free in return for “exposure.” City meaningful for students and educators. needs. The survey showed that residents desired additional contracts with artists and cultural producers should also spaces for the community to come together for recreation, follow best practices and guidelines developed through to generate art, and to connect. After identifying these the CreateNYC citywide cultural plan. needs, the firm partnered with business and the commu- Potential Partners: government nity to design a new outdoor space in place of a surface parking lot. Today, the space serves a multitude of cultural Action 3.2.4 – Incentivize partnerships purposes—from culinary demonstrations, to spoken word Potential Partners: cultural organizations, government, for creation of new work performances, to concerts—helping Dunlap Codding to be civic sector, businesses considered an essential part of the local community. Funding and facilitating the creation of new artistic work within the North Shore’s public realm can improve the Action 3.2.2 – Connect arts and cul- North Shore’s competitive edge by o•ering vibrancy for ture organizations with social service existing and new residents, and serving as an attraction provider organizations in the area to for visitors. facilitate partnerships A large number of social service organizations are Potential Partners: government, businesses located on the North Shore, many of them located along Bay Street or near Tompkinsville Park. Cultural organiza- Action 3.2.5 – Demonstrate through tions and social service organizations should explore partnerships that improve neighboring public spaces pilot projects how sites, space, and and channel the therapeutic benefits of art. Particular other resources can be used for cul- Additional Precedents: East Harlem bilingual education opportunities for partnership exist around transportation tural activities. project, Project ARTspace infrastructure (see 6.2.2) Many public spaces along the North Shore are con-

33 Future Culture is a project of the Design Trust for Public Space, in partnership with Staten Island Arts. | Part I: Foster and Amplify Local Culture | Objective 3: Broaden and Deepen Support

Recommendation 3.3 – Connect cultural communities to financial resources

Action 3.3.1 – Create a North Shore new residents and visitors to the North Shore. This could 3.3.4 – Initiate new grant programs partially be accomplished through the North Shore Cul- Cultural Investment Fund to encourage tural Committee (see 3.1.1), which could to raise private and target existing grant programs to and support cross-sector partnerships funding sources for local artists and cultural program- support Naturally Occurring Cultural and opportunities ming as a means of investing in the surrounding commu- Districts, heritage-based arts, and un- nity via culture. A vibrant local culture provides incalculable value to derserved cultural communities property owners and local businesses. A dedicated Private entities should also consider sponsoring the Grant-funding partnerships between public agencies cultural fund would help create new work and provide fellowships or o•ering residencies for artists, faculty, and private funders can ensure that smaller heritage- organizations with support for programs along the wa- and students from Staten Island, around the US, and and immigrant-based organizations can present work terfront—building community and promoting the North abroad. These residents could collaborate with local art- and organize public events in the public realm and Shore as a unique, cultural center. ists, bring new perspectives, and raise the profile of the potentially help in overcoming language barriers. Such North Shore’s cultural assets. The residency program grant programs should be coordinated with the Creat- The fund would create opportunities for local artists, arti- would support and enhance the professional develop- eNYC plan. sans, heritage performers or specialists to be involved in ment of international, national, and Staten Island artists their community through festivals, events, and projects. (Staten Island artists should enjoy a dedicated number Funding could be directed to building administrative ca- of residencies). Artists-in-residence would be expected Potential Partners: government pacity, supporting organizational development, and pro- to explore the local environment, bringing their unique moting sustainability. New work and events sponsored perspective to issues a•ecting (positively and negative- by the fund would benefit local businesses and landown- ly) the North Shore and the borough. CASE STUDY: SI Arts Folklife Program ers by drawing new visitors and potential tenants. An Staten Island Arts’ Folklife program (SIA Folklife) organization such as SI Arts should act as administrator works with local ethnic communities to produce public and fiscal sponsor of the fund. Potential Partners: cultural organizations, businesses, programming that presents and celebrates folk art landowners and traditions on Staten Island. The Folklife program also provides technical assistance to folk artists and Potential Partners: cultural organizations, businesses, communities via development research, grant writ- landowners ing, administrative support, and advocacy work and Action 3.3.3 – Expand re-granting conducts fieldwork that contributes to the Staten Island opportunities Arts’ Digital Folk archive. Action 3.3.2 – Establish a North Shore Staten Island Arts provides a number of re-grants to Cultural Fellowship Program that in- smaller organizations that may not have the capacity cludes a residency program to encour- to apply for grants on their own. This essential service age collaboration on the North Shore should be expanded to further strengthen the small insti- tutions and individual cultural producers that are the core Openness to outside influence is a key element of a suc- of the cultural ecosystem. cessful creative community. Artist fellowship and resi- dency programs provide benefits for both the selected artists and for the surrounding cultural community by Potential Partners: cultural organizations, government promoting exchange, connection, and collaboration. Investing in local artists and starting a cultural fellow- ship program would foster the environment that attracts

34 Future Culture is a project of the Design Trust for Public Space, in partnership with Staten Island Arts. PART

Connect and Enhance Place The character of the North Shore is shaped by its natural and built landscape—water, views, greenspace, and historic buildings are among the qualities that make the place special. Cul- ture, design, and public policy all have a role to play in helping to forge new connections for residents and visitors. Celebrate the New York Harbor and the Kill Van Kull Waterfront —and the maritime activities they facilitate— are the defining features of the North Shore. 4 Celebrating the shoreline and managing the risks that come with proximity to water will bring communities together around one of the area’s most unique and significant assets. Objective 4: Celebrate the Waterfront

Recommendation 4.1 Preserve and enhance the experience of maritime culture

Action 4.1.1 Stage cultural events at key locations on the waterfront Action 4.1.2 Create new, dynamic public spaces along the waterfront by exploring ways that historic vessels can be moored and used for educational, recreational, and cultural programs Action 4.1.3 Invest in high quality design and capital improvements to the waterfront experience at key sites where arts and culture can be maximized Action 4.1.4 Pursue infrastructure improvements along the waterfront and develop pilot projects that reconceive public piers and other “leftover spaces” such as bulkheads Action 4.1.5 Safeguard views and the visible and experiential connections between towns and waterfront Action 4.1.6 Pursue additional ferry and water transport

Recommendation 4.2 Foster resiliency through culture

Action 4.2.1 Develop environmental educational programs and interventions that employ the arts and other cultural activities Action 4.2.2 Respect existing passive uses along the water such as fishing and sunbathing, and safeguard direct access to the water’s edge Action 4.2.3 Create enhanced, connected, high-performance green spaces that promote urban ecological diversity Action 4.2.4 Develop innovative solutions to flood- and stormwater management, using best practices as guidelines for new developments. | Part ll: Connect and Enhance Place | Objective 4: Celebrate the Waterfront

Recommendation 4.1 – Preserve and enhance the experience of maritime culture

Rosebank

Stapleton New Brighton Tompkinsville Alice Austen Snug Harbor Fort House & Park St. George Wadsworth Lyons Pool

View looking towards St. George and the North Shore of Staten Island St. George Ferry Terminal

Action 4.1.1 – Stage cultural events at ships and boats as a key piece of waterfront activation. Such a barge zone would require navigating a number of key locations on the waterfront permitting and regulatory hurdles, but it would provide There are numerous open spaces along the waterfront, an exciting new connection along the waterfront. A com-com- both publicly and privately controlled, where events munity of moored vessels would provide educational, could be staged. Holding regular festivals, performanc- cultural and recreational space that could include dining, es, and events along the waterfront (see 1.2.1, 1.2.2) swimming, sports, boating, floating gardens and parks, will enliven the area and introduce visitors to one of the and artist residences. Additionally, mooring an educa-educa- North Shore’s best assets: stunning views of the Man- tional vessel along the waterfront, as proposed by the hattan skyline and passing ships. MERC coalition (see 1.1.3), would help ensure that the next generation of waterfront workers comes to under-under- stand Staten Island’s heritage. Potential Partners: cultural organizations, government, Greenbelt landowners Potential Partners: cultural organizations, government, Bluebelt 4.1.2 – Create new, dynamic public landowners Watersheds spaces along the waterfront by explor- Potential sites: Pier 1, New Stapleton Waterfront, ing ways that historic vessels can be Former Cromwell site, Miller’s Launch, Snug Harbor moored and used for educational, rec- Pier, NY Wheel Ferry Pier reational, and cultural programs The North Shore’s status as one of New York City’s last working waterfronts should be celebrated by including

38 Future Culture is a project of the Design Trust for Public Space, in partnership with Staten Island Arts. | Part ll: Connect and Enhance Place | Objective 4: Celebrate the Waterfront

Recommendation 4.1 – Preserve and enhance the experience of maritime culture Action 4.1.3 – Invest in high quality enhanced waterfront.  Alice Austen House  Lyons Pool (Cromwell site) Alice Austen House and Park, an important cultural and design and capital improvements to the historical resource to the North Shore community, sits waterfront experience at key sites where Lyons Pool sits nearly on the shoreline, yet lacks sig- directly on the waterfront and o•ers views of the Ver- nificant connection to it. An investment in this public arts and culture can be maximized razano Bridge, Brooklyn, Manhattan, and New Jersey. amenity space such as the MERC plan (see 1.1.4) could Though used regularly, it is fairly isolated, and new wa- Targeted capital improvements that align with areas begin to put a focus on the issues it may face in extreme terfront developments should emphasize physical con- where arts and culture could be particularly impact- weather events. Designed spaces that mitigate storm- nection to Alice Austen House along the water’s edge. ful can maximize limited funds. Strategic coordination water runo• and floodwaters would bring a greener between the public sector and the cultural community identity to this community pool and connect it to the could make the North Shore’s waterfront more acces- waterfront both conceptually and physically. Potential Partners: government, landowners sible and better used.

Examples of places where capital work is currently Potential sites for Action 4.1.3 Project zone planned include: of intervention  North Shore Esplanade  North Shore Esplanade Sitting just north and west of the NY Wheel site—and with Project zone of influence magnificent views of the harbor—the North Shore Espla- St. George nade should not be overlooked as a significant amenity New Brighton despite disrepair due to structural issues. As Empire Outlets, The New York Wheel, and Lighthouse Point at-  St. George – Tompkinsville Promenade tract more visitors to the area, it will become increasingly important to think creatively about activating the space and providing amenities beyond views. Creative storm- Tompkinsville  Lyons Pool (Cromwell site) water management, native plantings, improved ground cover, and barbeque and picnic areas, are just some possibilities that could turn this space from something Stapleton uninviting into a place of green refuge at the human scale. Improvements to paving and signage would also make this promenade more welcoming.  St. George – Tompkinsville Promenade The close physical proximity between the St. George and Tompkinsville neighborhoods could be enhanced with a more vibrant urban streetscape extending from the Ferry Terminal to Tompkinsville Park. Visual connections could be established through planting design, while infra- structural and physical connections could be enhanced through better pedestrian crossings and continuous bike lanes. Navigating ownership and future manage- Rosebank ment of the landscape at the Tompkinsville Promenade  Alice Austen House will be key for connecting these neighborhoods with an

39 Future Culture is a project of the Design Trust for Public Space, in partnership with Staten Island Arts. | Part ll: Connect and Enhance Place | Objective 4: Celebrate the Waterfront

Recommendation 4.1 – Preserve and enhance the experience of maritime culture Action 4.1.4 – Pursue infrastructure Action 4.1.5 – Safeguard views and the Action 4.1.6 – Pursue additional ferry improvements along the waterfront visible and experiential connections and water transport and develop pilot projects that recon- between towns and waterfront NYCEDC is currently expanding ferry access throughout ceive public piers and other “leftover There are a number of streets on the North Shore that of- the city but as of yet there are no plans for additional ferry stops on Staten Island. The private sector could spaces” such as bulkheads fer strong visual connections to the water. Views toward the water and bridge are also compelling from the el- step into this void by providing a ferry service open to There are many areas in the water itself that can be evated Staten Island Railroad (SIR) platforms and upland the public. reconceived as public space, including the water sur- areas. Preserving these visual connections to the water rounding public piers. Floating gardens and swimming and building upon their strengths through streetscape pools, historic vessels, art installations, and cultural design will enhance waterfront-adjacent communities. Potential Partners: government, landowners events such as movie screenings and concerts would deploy the water as a formalized asset for the local com- munity and new visitors, expanding beyond its current use for fishing and sunbathing. Potential Partners: government, landowners

Potential Sites: Wave, Prospect, Water, Canal Streets, Richmond Terrace, Bay Street Potential Partners: government, landowners Potential sites: Pier 1, Former Cromwell site, New Stapleton Waterfront

CASE STUDY: Faber Park worker center in Port Richmond, volunteer time to help clean and maintain Faber Park through Friends of Faber Faber Park, located on Staten Island’s Port Richmond Park. waterfront, features a pool, recreation center, skatepark, playgrounds, and waterfront views. The park serves a Capital improvements from NYC Parks have accompa- largely immigrant population and has received much at- nied this community-led investment. Recent and ongoing tention and investment from local community members capital work at Faber Park includes the building of a skate and NYC Parks in recent years, including a strong focus on park, spurred by the request of a 14-year-old BMXer at an local arts and culture. Arlington Civic Association meeting¹, as well as the instal- lation of paths, seating, lighting, and an expanded public Colombian-born, Staten Island-based muralist Lina Mon- gathering area at the park entrance. toya has been particularly active at the park through her LMProject, which partnered with arts collective Stereotype Additional Precedents: New York State Canal Corporation’s Co. to bring more arts, sports practices, and cultural pro- Urger Tugboat, +POOL, Pier Art, Mary Mattingly’s Swale gramming to the park through the Do Me A Faber program. or Waterpod, Erie Basin Park, Nike Skate Barge, Spruce In 2015, LMProject collaborated with local arts collective Street Harbor Park, Nike Skate Barge, Ikea Ferry ISLA to create La Isla Bonita Summer Festival, an annual culturalism. The festival includes live music performance, spoken word, dance, sports, education, and arts and 1. Nicholas Rizzi, Staten Island’s Third Skatepark O™cially crafts and is free to the community. Additionally, workers Opens at Faber Park, DNAinfo, 4 June 2015 from El Centro del Inmigrante, a storefront immigrant day

40 Future Culture is a project of the Design Trust for Public Space, in partnership with Staten Island Arts. | Part ll: Connect and Enhance Place | Objective 4: Celebrate the Waterfront

Recommendation 4.1 – Preserve and enhance the experience of maritime culture

Infrastructural Interventions

Alice Austen House St. George Tompkinsville Rosebank Stapleton

New Brighton

Legend Median Bridges/Connection Pedestrian Fences Parking Lots Improvements Snug Harbor Bioswales/Stormwater Dead Ends Cultural Center Flooding Under The Elevated

41 Future Culture is a project of the Design Trust for Public Space, in partnership with Staten Island Arts. | Part ll: Connect and Enhance Place | Objective 4: Celebrate the Waterfront

Recommendation 4.2 – Foster resiliency through culture 4.2.1 – Develop environmental edu- 4.2.3 – Create enhanced, connected, cational programs and interventions high-performance green spaces that CASE STUDY: Indianapolis StreamLines that employ the arts and other cultural promote urban ecological diversity. StreamLines brings artists and scientists together through site-specific art to help people learn activities The North Shore town hubs, each anchored by parks and about, explore, experience, and appreciate India- Art can raise awareness of the environment in ways that green spaces, are well positioned to demonstrate lead- napolis’ waterways and the science behind their more didactic teaching methods cannot. Incorporating ership in the city by incorporating storm and floodwater importance and resiliency. Launched in September culture in environmental lesson plans would foster stew- management, plant diversity, native plants, and connec- 2015, StreamLines includes five environmental in- ardship of the environment among residents and visitors tivity to the surrounding urban context. Designing and stallations by Mary Miss/City as Living Laboratory, and increase opportunities for local artists and cultural planning with a focus on native landscapes and plants a series of dance performances by Butler Universi- practitioners (see 3.2.3). will provide visual cues of connectedness while empha- ty Department of Dance, six musical compositions sizing the importance of urban ecological diversity. curated by Michael Kaufman/The Kinetic Project, and a collection of poems by Indiana poets se- Potential Partners: cultural organizations, government lected by Poets House. Art is accompanied by an Potential Partners: government, landowners interactive website, smart phone app, and related programming. In addition to educating the com- Potential Sites: St. George, Tompkinsville, Stapleton, munity about Indianapolis’ waterways, the project 4.2.2 – Respect existing passive uses Rosebank, Clifton, New Brighton seeks to inspire a culture of curiosity among the along the water such as fishing and local community in order to cultivate thoughtful sunbathing, and safeguard direct ac- consumers and the next generation of scientists. 4.2.4 – Develop innovative solutions to cess to the water’s edge Additional Precedents: CO2LED by artists Jack Many areas of the waterfront are already being passively flood- and stormwater management, Sanders, Robert Gay, and Butch Anthony in Ar- used and enjoyed by the public. The general sentiment using best practices as guidelines for lington, VA; Toronto waterfront, Waterlicht Daan of working group members and survey respondents is new developments. Roosegaard that these spaces should remain passive and be used for the enjoyment of the water, fishing, and other activities. New developments in Staten Island can provide valu- These spaces and uses should be formalized through able stormwater management infrastructure through design and planning and enhanced with paving improve- bioswales, green roofs, street trees, and stormwater ments and shade. detention. NYC DEP provides grants to private property owners in combined sewer areas (which includes much of the North Shore) to fund the construction of green infrastructure systems, which capture and store rain- Potential Partners: government, landowners water, allowing it to filter naturally into the ground rather than draining into the sewer system. This infrastructure Potential Sites: parking areas along Front Street, Alice can have a measurable impact, especially if the guide- Austen, Snug Harbor lines push the new developments to meet exemplary standards.

Potential Partners: government, landowners

42 Future Culture is a project of the Design Trust for Public Space, in partnership with Staten Island Arts. | Part ll: Connect and Enhance Place | Objective 4: Celebrate the Waterfront

Recommendation 4.2 – Foster resiliency through culture

Zone Interventions

Pier 1

NY Wheel Ferry Former Cromwell Site Stapleton Pier Alice Austen House Sandy Hook Pilots Miller's Launch St. George Tompkinsville Rosebank Stapleton

New Brighton

Snug Harbor Pier Legend Make Bike/Pedestrian Friendly Passive Floodwater Park Strengthen Urban Street Cohesive Green Space, Tappen Urban Park to Snug Harbor Make/Enhance Viewing Promenade Waterfront Park Cultural Center Urban Forest W/Stormwater Detention Potential for Moored Vessels

43 Future Culture is a project of the Design Trust for Public Space, in partnership with Staten Island Arts. Activate Culture is an essential tool for expanding Underused access to—and improving the experience of—open space for residents and visitors Open Space 5 alike. Imbuing existing parks and green space with public art, installations, festivals, and performances will enhance quality of life and provide new opportunities for creative expression. Objective 5: Activate Underused Open Space

Recommendation 5.1 Enhance existing open spaces

Action 5.1.1 Develop cultural activities, installations and programs for upland spaces and town hub parks through partnership and pilot projects, encouraging participation in community and cultural organizations such as NYC Parks ‘Adopt-a-Park’ program and/or ‘Friends’ groups. Action 5.1.2 Renovate comfort stations and other facilities as part of a move towards providing additional amenities and concession opportunities.

Recommendation 5.2 Consider the ‘in between’ public realm

Action 5.2.1 Develop proposals and pilot projects for streets and medians to create a network of space Action 5.2.2 Use culture to address space between town hubs Action 5.2.3 Improve connections between NYCHA developments and surroundings Action 5.2.4 Incorporate best practices for streetscape design | Part ll: Connect and Enhance Place | Objective 5: Activate Underused Open Space

Recommendation 5.1 – Enhance existing open spaces 5.1.1 – Develop cultural activities, (Action 5.1.1 cont.) installations and programs for upland CASE STUDY: St. George Day spaces and town hub parks through “St. George Day – a Community Festival Celebrat- Potential partners: government, cultural organizations, ing Earth Day and the Arts” is put on annually by participation in community and cul- civic sector, individuals, businesses Everything Goes Stores, volunteers, and neighbor- tural organizations such as NYC hood cultural partners. It is held in Tompkinsville Parks ‘Adopt-a-Park’ program and/or Potential Sites: Tappen Park, Tompkinsville Park, North Park. There is a puppet Dragon Parade, activities for Shore Esplanade, Bay Street ‘leftover spaces’, Front kids and adults, spoken word, music, dance, yoga, ‘Friends’ groups. Street ‘leftover spaces’, Jersey Street ‘leftover spaces’, craft booths, and book fair, among other o•erings. NYC Parks’ spaces like Tappen Park, Tompkinsville Jersey Street Sanitation Building The fact that this community-building project and Park, and the North Shore Esplanade could be regularly celebration can be anticipated in advance each year and reliably programmed with events, festivals, perfor- helps to make the event successful. mances, or projects that showcase the work of the North 5.1.2 Renovate comfort stations and Shore’s many cultural and artistic organizations (see other facilities as part of a move to- 1.2.1, 1.2.2). Increasing park usage through program- ming will provide economic opportunities to neighboring wards providing additional amenities merchants and promote neighborhood identity. In order and concession opportunities. to encourage participation, information about whom Successful parks are increasingly understood as a mix of to contact at NYC Parks should be easily accessible, good design and good programming. By adding ameni- whether it be for an event or installation. Other public ties and programming to existing park spaces, the parks agencies and private groups or businesses—particularly will become more active and able to serve the commu- neighboring businesses that benefit from additional foot nity better. tra™c—should also be encouraged to sponsor events. Many parks on the North Shore also have “friends” Both Tappen Park and the Tompkinsville Park have groups that help with maintenance and stewardship. The architecturally significant comfort stations within them. private sector can support these groups, most of which These historic buildings are no longer vital elements of are volunteer led, through direct financial contributions the park and are in need of restoration. By renovating the or in-kind donations of services or labor. buildings, and increasing the services they provide, the buildings could become important cultural centers and Informal spaces along corridors like Bay Street, Rich- help transform the parks into more useable community mond Terrace, and Jersey Streets also have the potential spaces. to host projects that form connections between neigh- borhoods through a network of “in-between spaces” (dead-ends, triangles, medians, parking lots). The rezoning of the Bay Street Corridor and its associated Potential Partners: government, civic sector disposition sites also provides opportunity through mak- ing use of buildings and properties in transition. Potential sites: Tappen Park, Tompkinsville Park, top of Ferry Terminal

46 Future Culture is a project of the Design Trust for Public Space, in partnership with Staten Island Arts. | Part ll: Connect and Enhance Place | Objective 5: Activate Underused Open Space

Recommendation 5.2 – Consider the ‘in between’ public realm 5.2.1 – Develop proposals and pilot 5.2.3 – Improve connections between projects for streets and medians to cre- NYCHA developments and surround- ate a network of space ings The urban streetscape could be strengthened by making The large buildings of New York City Housing Author- improvements to neglected medians, parking lots and ity developments often feel isolating due to their scale, fence barriers. Areas under elevated train infrastructure layout, and design. Investing in creating greenspace and and at dead ends could also be enhanced and opened. other outdoor connections between NYCHA develop- ments and surrounding amenities can help undo physi- The North Shore’s irregular street grid creates a number cal and perceived barriers and highlight nearby assets. of unsafe intersections where art could be integrated through physical intervention or by raising awareness about safe driving practices. The NYC DOT Urban Art Potential Partners: government, civic sector program funds artistic interventions in city owned trans- portation infrastructure throughout the city. Public sector CASE STUDY: funding could help community organizations realize proj- ects for improving intersections and medians in order to 5.2.4 – Incorporate best practices for Western Waterfront Master Plan strengthen the urban streetscape. streetscape design Toronto’s Western Waterfront (WW) is a four-kilo- Streets and sidewalks are the largest public space in meter stretch of shoreline cut o• from the rest of the city and have a major impact on how residents and Toronto by highways and a rail line. WW is being Potential Partners: cultural organizations, government visitors experience the North Shore. Developers and reinvented into an integrated park setting that private property owners have an important role to play in takes advantage of its open public beaches—its maintaining clean, safe, and attractive streetscapes. lure as a destination—while still maintaining its 5.2.2 – Use culture to address space essential function as a transportation connection between town hubs between the city center and western suburbs. Potential Partners: landowners, government The City of Toronto completed the plan for the The areas ‘in between’ neighborhood centers do not WW in 2009 after extensive community engage- have a clear identity that connects the North Shore ment. Since then, the plan has been used to neighborhoods. Using a common visual language in guide capital improvements planned for the area, signage and wayfinding would bring these spaces closer including the rehabilitation of a city pool, im- together, in conjunction with a separate identity cam- provements to underpasses, and safety improve- paign (see 2.2.7) ments at intersections. Additional Precedents: University City District Intersec- tions in Philadelphia; Portland, OR Portland Old Town Potential Partners: cultural organizations, government creative crosswalk; Rituals by Hot Tea on the Williams- burg Bridge; Shimmer by Claudia Ravaschiere and Mike Moss; Tape and Net Installations by Numen/For Use; Empyrean Passage by Dan Corson, California

47 Future Culture is a project of the Design Trust for Public Space, in partnership with Staten Island Arts. | Part ll: Connect and Enhance Place | Objective 5: Activate Underused Open Space

Recommendation 5.2 – Consider the ‘in between’ public realm

Open Space Network

Alice Austen House 

Rosebank

Stapleton Tompkinsville St. George

New Brighton

Snug Harbor Cultural Center  Legend Planted Green and Vacant Spontaneous Forest Leftover Spaces – Medians, Spontaneous Waterfront Plants Dead Ends, and Triangles

48 Future Culture is a project of the Design Trust for Public Space, in partnership with Staten Island Arts. | Part ll: Connect and Enhance Place | Objective 5: Activate Underused Open Space

Recommendation 5.2 – Consider the ‘in between’ public realm

Plant Walk

Legend Planted Spontaneous Forest Spontaneous Waterfront Plants

49 Future Culture is a project of the Design Trust for Public Space, in partnership with Staten Island Arts. Improve the Transportation infrastructure, such as roads Experience of and train lines, are a physical and psycho- logical barrier to navigation by visitors and Transportation 6 residents along the North Shore waterfront. Infrastructure Cultural interventions – such as public art, wayfinding, and environmentally focused installations – on and around infrastructure will promote exploration and connect communities. Objective 6: Improve the Experience of Transportation Infrastructure

Recommendation 6.1 Move people with culture

Action 6.1.1 Engage artists and cultural professionals to identify and resolve issues of values and aesthetics surrounding transportation infrastructure on the North Shore by issuing open calls and developing, supporting and advocating for community- based proposals and pilot projects for these spaces. Action 6.1.2 Develop cultural activities/events to encourage bike use and advocacy Action 6.1.3 Connect points of cultural interest by supporting and advocating for community- based proposals and pilot projects at key points of disconnection. Action 6.1.4 Connect the St George Ferry Terminal to the southeast promenade with the support of community-based proposals and pilot projects.

Recommendation 6.2 Define places for waiting and gathering

Action 6.2.1 Develop proposals and pilot projects for areas in and around the ferry terminal, bus stops, and SIR platforms Action 6.2.2 Partner with social service provider organizations to address transportation waiting areas | Part ll: Connect and Enhance Place | Objective 6: Improve the Experience of Transportation Infrastructure

Recommendation 6.1 – Move people with culture Action 6.1.1 – Engage artists and cul- tural professionals to identify and CASE STUDY: RWA Bike Parade resolve issues of values and aesthetics The Rockaway Bike Parade is a festive celebration of biking and healthy living held annually by the surrounding transportation infrastruc- Rockaway Waterfront Alliance (RWA). Parade-goers ture on the North Shore by issuing are invited to walk, dance, or ride along the route— open calls and developing, supporting, which culminates in a party and Rockaways-themed costume contest. The route of the parade strategi- and advocating for community-based cally includes both the Rockaways Boardwalk and proposals and pilot projects for these the “Rockaway Freeway” roadbed area beneath the elevated A/C train. This underused roadbed is the spaces. subject of another RWA initiative, Project Underway, Artists, working closely with engineers and residents, which aims to transform the corridor into a biking can infuse a public process with creative problem solving and walking route. By inviting neighbors to use the and openness to new, yet still practical, ideas. Having space beneath the elevated, the parade helps resi- artists lead public engagement can promote more e•ec- dents get familiar with biking along the corridor and showcases what would be possible if the Underway tive alternatives by sorting out and negotiating individual were transformed. and community values, feelings, and aesthetics. Additional precedents: Dan Roosengaarde's Van Both NYC DOT and the MTA run programs that use art Gogh Bike Path to improve the experience of transportation infrastruc- ture. The impact of these programs can be maximized by targeting them to specific areas that would provide the most dramatic results such as parking lots, fences, and other barriers further divide the neighborhoods from each other.

Potential partners: cultural organizations, government, landowners

Potential sites: Stapleton streets under the SIR, SIR Tompkinsville Station, SIR Stapleton station, Richmond Terrace, fences, parking lots

52 Future Culture is a project of the Design Trust for Public Space, in partnership with Staten Island Arts. | Part ll: Connect and Enhance Place | Objective 6: Improve the Experience of Transportation Infrastructure

Recommendation 6.1 – Move people with culture 6.1.2 – Develop cultural activities/ 6.1.4 – Connect the St. George Ferry events to encourage bike use and ad- Terminal to the southeast promenade vocacy with the support of community-based While it is possible to bike along the North Shore proposals and pilot projects. waterfront, the route is currently unclear, disjointed, Over time, a number of e•orts have been made to better and incomplete. Bike lanes on the roadways are of- connect the Ferry Terminal to amenities to the southeast ten interrupted by de-facto parking areas (e.g. 120th including the National Lighthouse Museum, Pier 1, and Precinct, Gerardi’s) intruding upon what is supposed to the St. George Tompkinsville Promenade. Now, with the be a shared bike/car path designated in the street. Fun arrival of the Lighthouse Point development, it is even events that incorporate culture can help promote biking more imperative to improve this connection. A call for and illustrate how to safely navigate the waterfront. artists specific to this point of connection would ensure that the outcome moves beyond providing utilitarian basics and improves experience. Potential Partners: cultural organizations, individuals, government, businesses Potential partners: cultural organizations, government, Potential Sites: Atlantic Salt, Van Duzer Street, North landowners Shore Esplanade Potential Sites: Armajani Bridge, DOT Building walls, Lighthouse Point 6.1.3 – Connect points of cultural inter- est by supporting and advocating for community-based proposals and pilot projects at key points of disconnection. Business owners and developers are well aware of points of disconnection, since they often prevent customers from accessing their locations. Through culture, way- stops can be created along existing routes to make perceived distances feel shorter. The private sector can directly improve these points in privately controlled pub- lic space, and can advocate for improvements in publicly controlled public space.

Potential Partners: cultural organizations, landowners, government, business

Potential Sites: Bank Street, St. George-Tompkinsville Promenade, Intersection of Front, Bay, and Edgewater Streets

53 Future Culture is a project of the Design Trust for Public Space, in partnership with Staten Island Arts. | Part ll: Connect and Enhance Place | Objective 6: Improve the Experience of Transportation Infrastructure

Recommendation 6.2 – Define places for waiting and gathering 6.2.1 – Develop proposals and pilot projects for areas in and around the ferry terminal, bus stops, and SIR platforms Interactivity alleviates boredom during waiting times and makes for an overall more pleasant experience. Transportation areas are also prime locations for sharing information. Cultural engagement in transportation areas should provide visual wayfinding and also share informa- tion about the space, place, and larger community in which it is situated. Artists should consider what people want while waiting and how cultural programming can address that (e.g. seating, information, lighting, safety, etc.).

Potential Partners: government, cultural organizations

Potential sites: DOT Building walls (Lighthouse Point), CASE STUDY: BUS Sculpture bus stops, Tompkinsville SIR station, Stapleton SIR Outside of the Creative Alliance building in Bal- station timore, MD, Spanish artist collective mmmm… designed and installed BUS Sculpture, which consists of giant climbable letters to spell out BUS. 6.2.2 – Partner with social service pro- The sculpture clearly marks the S. East Avenue bus stop in Highlandtown, Baltimore, and transforms vider organizations to address trans- the potentially dull experience of waiting for transit portation waiting areas into an opportunity for entertainment, interaction, and creativity. Importantly, the shelter is wheelchair Many waiting and gathering areas in and around the accessible and serves as e•ective protection from ferry terminal, bus stops, and platforms are utilized by the elements. homeless populations and are thus common and ef- fective places for outreach about related services (see Additional precedents: architectural-scale building 3.2.2). Artists and organizations interested in projects street address numbers, dimensionalized signage in these places should consider coordinating with social service providers such as Project Hospitality.

Potential partners: cultural organizations, civic sector

54 Future Culture is a project of the Design Trust for Public Space, in partnership with Staten Island Arts. | Part ll: Connect and Enhance Place | Objective 6: Improve the Experience of Transportation Infrastructure

Recommendation 6.2 – Define places for waiting and gathering

Cultural Interventions

Alice Austen House

St. George Tompkinsville Rosebank Stapleton

New Brighton

Legend Reuse/Use Building Historic Walks Snug Harbor Parking Lot Events Waterfront Events Waterfront Park Cultural Center Dining/Entertainment

55 Future Culture is a project of the Design Trust for Public Space, in partnership with Staten Island Arts. Develop and Vibrant communities require space for Preserve Built cultural producers to live, work, and present. Initiatives that expand and Space for 7 preserve these spaces will ensure that Culture artists, musicians, and other cultural practitioners continue to thrive. Objective 7: Develop and Preserve Built Space for Culture

Recommendation 7.1 Preserve existing space where the cultural community lives, works, and presents

Action 7.1.1 Promote the uniqueness of the North Shore cultural community’s built environment and advocate for its continued viability Action 7.1.2 Strengthen and preserve existing cultural workspace and presentation space Action 7.1.3 Explore programs that preserve existing affordable housing along the North Shore and lock-in affordability

Recommendation 7.2 Adapt existing or historic structures for the cultural community to live, work, and present

Action 7.2.1 Adapt vacant, public buildings for cultural use Action 7.2.2 Invite nonprofit organizations to help fill North Shore vacant or underutilized spaces with cultural uses.

Recommendation 7.3 Plan affordable space in new developments for the cultural community to live, work, and present

Action 7.3.1 Advocate for affordable living, working, and presenting space Action 7.3.2 Craft incentives for creating art and artisan workspace in new developments Action 7.3.3 Create new affordable housing for the North Shore cultural community | Part ll: Connect and Enhance Place | Objective 7: Develop and Preserve Built Space for Culture

Recommendation 7.1 Preserve existing space where the cultural community lives, works, and presents

7.1.1 – Promote the uniqueness of the North Shore cultural community’s CASE STUDY: built environment and advocate for its Seattle Historic Central Area Arts and continued viability Cultural District Overlay The physical places where art and culture is produced In 2009, the City of Seattle created a cultural overlay district program to protect and preserve neighborhoods on the North Shore—venues, places of worship, that contribute to the heritage of the city. In 2015, Seattle’s Central Area—a historic hub of the African Ameri- schools, eating establishments, streets, parks, build- can community and a neighborhood undergoing rapid change—became the second o™cial Arts and Cultural ings, homes—are essential to the continued vitality of District. The district is organized around three pillars: preserving the area’s African African-American legacy, the cultural community. There is a need to celebrate and strengthening the area’s physical identity, and supporting artistic vitality and a•ordability of the area. A “co- preserve a physical environment that is, in many ways, alition of constituents” was convened for the project, which met to evaluate existing assets and modeled how unique among New York City’s cultural landscape. creative placemaking could help preserve the neighborhood’s heritage.

The cultural community should define and document cultural spaces and craft a coordinated public relations campaign to promote exemplary and non-traditional spaces, and to promote the power of the North Shore as a cultural place. Such a campaign could also highlight statistics about the area’s built cultural environment us- ing the SI Arts Count Yourself In survey.

Processes like CreateNYC and high-profile events, such as grand openings of major North Shore developments, will create additional near-term opportunities for promo- tion, as will increased civic participation and recognition through celebrations of the North Shore and its com- munities and expanding art in public and historic places. Artists and cultural producers on the North Shore should use the CreateNYC cultural planning process as an op- portunity to demonstrate the importance of the North Shore’s a•ordable living, working, and presenting space.

Potential Partners: cultural organizations, civic sector, government

58 Future Culture is a project of the Design Trust for Public Space, in partnership with Staten Island Arts. | Part ll: Connect and Enhance Place | Objective 7: Develop and Preserve Built Space for Culture

Recommendation 7.1 Preserve existing space where the cultural community lives, works, and presents

7.1.2 – Strengthen and preserve exist- (Policies to explore cont.) ing cultural workspace and presenta-  support for non-profit ownership of live-work tion space spaces.  encouraging long term leases for artists, North Shore cultural practitioners believe that their com- munity needs additional places to produce and exhibit cultural organizations, and culturally significant their work. In addition to strategies that may lead to the small businesses creation of new and more appropriate space, the com- munity can’t a•ord to lose spaces that are useful and, in themselves, culturally significant. Potential Partners: government, civic sector Either as a part of CreateNYC or as a separate initiative, a Potential Sites: SI Makerspace, 50 50 Skatepark, etc. North Shore Cultural Facilities Plan should be developed to identify or create programs that support and improve the North Shore’s cultural spaces in significant and lasting ways. The goal of such a plan would be to help or- 7.1.3 – Explore programs that preserve ganizations build and improve their facilities in ways that existing affordable housing along the will ultimately advance their missions and strengthen the North Shore and lock-in affordability North Shore’s cultural scene. Across the country, more and more municipalities are Artists and arts organizations should have a central role helping to seed shared-equity housing solutions that in charting the future of their creative spaces. This could provide permanent a•ordability through deed restric- include work with property owners to incentivize the tions and shared land ownership. Artists and cultural preservation and expansion of arts and culture uses. producers, who are often the first victims of neighbor- There is also a need to explore land use policies and hood change, have a special role to play in pioneering incentives that support preservation of useful cultural alternative ownership models such as community land spaces as well as sites with cultural significance—build- trusts and limited-equity coops. ings or sites important for their association with ethnic cultures, marginalized peoples, or mainstream culture. Potential Partners: cultural organizations, civic sector, Policies to explore include: government  limited equity coops to acquire sites;  non-profit land trust to acquire sites;  mission-driven non-profit organization to serve as the steward of the “maker” buildings and spaces;  incentivizing developers to deed over maker-spaces

59 Future Culture is a project of the Design Trust for Public Space, in partnership with Staten Island Arts. | Part ll: Connect and Enhance Place | Objective 7: Develop and Preserve Built Space for Culture

Recommendation 7.2 Adapt existing or historic structures for the cultural community to live, work, and present

7.2.1 – Adapt vacant, public buildings To overcome these challenges, a non-profit organization should act as a broker between owners and cultural us- for cultural use ers. The dedicated non-profit could rent property itself— Adaptive reuse of historic buildings is environmen- generally at a discounted price on a month-to-month tally friendly and preserves the character and cultural basis—and then o•er the space to an artist. Building heritage of a place. There are a number of city-owned owners that have been actively marketing a space but buildings on the North Shore that hold significant histori- have had di™culty finding tenants could be prioritized. cal and cultural significance, both on the waterfront and The City may also be able to help mobilize more land- in town hubs. lords to donate space through a tax incentive for putting an empty space into use. If the North Shore cultural community can create devel- opment concepts and plans for these types of structure that show the feasibility and added civic, cultural and Potential Partners: government, landowners, cultural financial value, than the public sector could (and should) organizations prioritize such uses in future RFPs and disposition. CASE STUDY: Williamsburgh Library Potential Partners: government, landowners, cultural Potential Sites: Paramount Theater, Fish’s Eddy Building, organizations Art@Bay, Art on the Terrace Featuring 4,000 square feet of multi-arts work- space, the Williamsburgh Library in Williamsburg, Brooklyn, includes studios and rehearsal rooms Potential Sites: Edgewater Village Hall in Tappen Park, on the second floor of an inspiring and historic Building 10 at the former Coast Guard site, Fort Wad- 1903 Carnegie library. The space was created sworth Airport Hangar, etc. through an innovative partnership between the Brooklyn Public Library and the nonprofit devel- oper Spaceworks. The second floor, which was renovated in 2015, provides a•ordable space 7.2.2 – Invite nonprofit organizations to for local artists and free public programming for help fill North Shore vacant or under- library patrons. utilized spaces with cultural uses. Additional precedents: chashama, NYC Landmarks People in the North Shore cultural scene are looking for Conservancy Loan Fund studios, o™ces, and venues to realize their ideas or proj- ect. Owners of properties that have long been vacant, or are in the process of being developed, are in need of generating revenue and visibility. Temporary cultural use is a potential win-win situation, but there are chal- lenges—including finding the balance between making financial sense for owners and logistical sense for the cultural tenant.

60 Future Culture is a project of the Design Trust for Public Space, in partnership with Staten Island Arts. | Part ll: Connect and Enhance Place | Objective 7: Develop and Preserve Built Space for Culture

Recommendation 7.3 Plan affordable space in new developments for the cultural community to live, work, and present

7.3.1 – Advocate for affordable living, 7.3.3 – Create new affordable housing working, and presenting space for the North Shore cultural community Artists and cultural producers on the North Shore should As the density of new housing increases, the City should use the CreateNYC cultural planning process as an op- strive to create work/live units that have enough ad- portunity to advocate for additional a•ordable living, ditional space to double as a working studio, thereby working, and presenting space. freeing artists and artisans from the financial burden of renting separate studios. If it is not possible to grant preference for artist- and culture-specific populations Potential Partners: cultural organizations, civic sector, in a•ordable housing development (due to housing government laws or grant restrictions), then the North Shore cultural community should instead organize around the existing Housing New York Plan to advocate for additional units on the North Shore. 7.3.2 – Craft incentives for creating art and artisan workspace in new develop- ments Potential Partners: government, landowners There is a demand and need on the North Shore for Potential Sites: New Stapleton Waterfront, Bay Street CASE STUDY: Chapter 91, space providing artisan/artist workshops, co-working The Massachusetts Public Waterfront Act organizations—like Staten Island Makerspace—that provide shared facilitates and education, cultural educa- Massachusetts’s Chapter 91 law, the Public Waterfront tion and training, and rehearsal space. A “mandatory Act, regulates development activities along the state’s inclusionary workspace” program would incentivize the waterways and promotes public use and pedestrian access. The act has been in place since 1866, but it’s production of these types of spaces. The Department of philosophy dates back to the 1641-47 Colonial Ordi- City Planning could consider providing landowners and nances of the Massachusetts Bay Colony. One of the developers with: stipulations of the law is that a certain amount of space  Exemption of cultural uses from a project’s allowable in new buildings be devoted to cultural or civic space. floor-area ratio (FAR) or an FAR bonus, as is the case Lovejoy Wharf, a historic warehouse converted into a with plazas or public spaces throughout the city. new headquarters for Converse sneakers, was required  An amended definition of “community facility” use by Chapter 91 to provide new cultural space as well as standards to receive a Community Facility bonus in FAR preserve harbor views. At Lovejoy Wharf, Chapter 91 resulted in a Converse Rubber Tracks recording studio, and/or to better align with the types of uses that en- which provides free recording space for musicians in the able creative endeavors and eliminate uses that can pay Boston area. Emerging artists apply for space in the stu- market-rate rents. dio, which is sta•ed by a recording engineer and filled  Inclusion of a•ordable space in plans for sites under- with state of the art equipment. going the Uniform Land Use Review Process (ULURP) Additional precedents: Housing New York, Spaceworks, Northfield LDC live/work artist space

Potential Partners: government

61 Future Culture is a project of the Design Trust for Public Space, in partnership with Staten Island Arts. | Glossary DSNY AIGA The City of New York Department of Sanitation, a MTA SIR American Institute of Graphic Arts, a professional division of the New York City government respon- Metropolitan Transit Authority, a public benefit Staten Island Railway, the only rapid transit line in membership organization for graphic design. sible for garbage and recycling collection, street corporation chartered by New York State and Staten Island; connects St. George Terminal to Tot- cleaning, and snow removal. responsible for public transportation in New York tenville under the ownership and jurisdiction of the Alice Austen House City, Long Island, the Lower Hudson Valley, and Metropolitan Transit Authority (MTA). The Alice Austen House, a museum focused on the EDC Coastal Connecticut. life and home of photographer Alice Austen; lo- New York City Economic Development Corpora- Snug Harbor Cultural Center & Botanical cated on the waterfront in Rosebank, Staten Island. tion, a not-for-profit corporation that promotes NYCHA Garden (Snug Harbor) economic growth through real estate development New York City Housing Authority, a New York City A decommissioned retirement home for sailors BFC Partners and investment, management of City properties, agency that provides housing to low- and moder- converted into an 83-acre, 26-building non-profit A New York City real estate development corpora- and advisory services. ate-income New Yorkers through public housing regional arts center and park along the Kill Van Kull tion that is developing the Empire Outlets project developments and administration of the citywide in Staten Island. Empire Outlets Section 8 Leased Housing Program. BID A 350,000 square feet retail and hotel complex The New York Wheel Business improvement district, a public/private currently under construction at the foot of the St. NYC Parks A 630-foot tall observation wheel under construc- partnership in which business and property owners George Ferry Terminal New York City Department of Parks & Recreation, tion in St. George along Richmond Terrace. elect to contribute to the maintenance, develop- a City agency that plans and manages open space ment, and promotion of their commercial district. EIS and recreation centers Triangle Equities Environmental Impact Study, a report on the poten- A Queens-based real estate development firm Bioswale tial negative and positive e•ects of a project on the Resiliency constructing Lighthouse Point A landscape architecture intervention meant to surrounding area; an EIS is required only for certain The capacity of a city, area, or neighborhood to capture, store, and filter stormwater naturally. actions that significantly impact the environment. mitigate potential faults and failures in its social, ULURP economic, and infrastructural systems in order to Uniform Land Use Review Procedure, a public BP FAR continue normal operations or recover rapidly fol- process required for any project seeking a zoning Borough President Floor-Area Ratio, the ratio of a building’s total floor lowing a disaster event. change area to the area of its zoning lot; FAR is the primary Cromwell Recreation Center zoning regulation that governs the size of buildings. Rezoning Urby A beloved community center, destroyed during A proposed land use action that would change the A mixed-use retail and residential complex located Hurricane Sandy, which was located on a pier in FEMA policy that governs the size and essential charac- along the Stapleton waterfront. The first phase is Tompkinsville. A community e•ort to rebuild the Federal Emergency Management Agency, a gov- teristics of a commercial or residential use. The constructed and two more phases are planned. recreation center at Lyons Pool has secured sup- ernmental agency within the Department of Home- Department of City Planning manages zoning. port from local elected o™cials. land Security that coordinates federal response to WalkNYC natural disasters. RFP An initiative to bring the ease and usability of DCLA Request for Proposal, a document, made by an electronic mapping to the public through dedicated NYC Department of Cultural A•airs, a division of the HPD agency or company for a product, a service, or touch screen devices on the sidewalks of New York. New York City government charged with support- NYC Department of Housing Preservation and any other valuable asset, that is intended to bring ing and strengthening arts and culture in New York Development, an agency of the New York City proposals from potential suppliers to submit ideas Wayfinding City, primarily through funding. government that works to develop and preserve for business, art, or design. A combination of using your surroundings, fea- a•ordable housing. tures, and tools to get from one point to another or DCP RFQ to determine your location. NYC Department of City Planning, a division of the Ironstate Request for Qualifications, a document that solicits New York City government responsible for zoning A Hoboken-based real estate development firm information from interested parties and is often and land use and instrumental in designing the that constructed the Urby development along the used in the process of procuring services. City’s physical and socioeconomic framework. Stapleton waterfront. SBS DOE Lighthouse Point NYC Department of Small Business Services, a NYC Department of Education, the division of the A mixed use retail, residential, and o™ce complex division of New York City government charged with New York City government with jurisdiction over the proposed for the area between the ferry terminal supporting and strengthening small businesses city’s public school system. and the National Lighthouse Museum. The first by providing free services to business owners, phase is under construction. strengthening neighborhoods and commercial DOT districts, and connecting New Yorkers to jobs. NYC Department of Transportation, a division of the LPC New York City government that has jurisdiction over NYC Landmarks Preservation Commission, the SIBPO streets, sidewalks, and other transportation infra- agency of New York City government responsible Staten Island Borough President’s O™ce structure, including the St. George Ferry Terminal. for protecting the City’s architecturally, historically, and culturally significant buildings and sites by granting them landmark of historic district status, and regulating them after designation.

62 Future Culture is a project of the Design Trust for Public Space, in partnership with Staten Island Arts. | Image credits

Cover: Gareth Smit P. 4 Column 1, Jourdan Sayer P. 4 Column 2, Ozgur Gungor P. 4 Column 2, Lara Friedmann P. 6 Margie Ruddick and team P. 7 Margie Ruddick and team P. 8 Margie Ruddick and team PP. 9 –15 Gareth Smit P. 17 Staten Island Arts P. 19 John Phelan, licensed under Creative Commons (CC BY-SA 3.0) P.22 Lara Friedmann P.24 J. Jakobson, licensed under Creative Commons (CC BY-NC 2.0) P.25 Thom Conlon, licensed under Creative Commons (CC BY 2.0) P.28 Mike Rowe, licensed under Creative Commons P.29 Lisa Dahl P. 31 Elvert Barnes, licensed under Creative Commons (CC BY-SA 2.0) P.33 Douglas Sorocco P.34 Staten Island Arts P.36 Joseph Huennekens P.38 (both maps) Margie Ruddick and team P.39 Margie Ruddick and team P.40 Jim Henderson, licensed under Creative Commons (CC0 1.0) P. 41 Margie Ruddick and team P.42 Mary Miss and City As Living Laboratory P.43 Margie Ruddick and team P.44 Mike Shane Photography P.46 Andrew Blancero P. 47 Norman Maddeaux, licensed under Creative Commons (CC BY-ND 2.0) P.48 Margie Ruddick and team P.49 Margie Ruddick and team P.50 Lisa Dahl P.52 Rockaway Waterfront Alliance P.54 mmmm P.55 Margie Ruddick and team P.56 Lara Friedmann P.58 Joe Mabel, licensed under Creative Commons (CC BY-SA 2.0) P.60 Wally Gobetz, licensed under Creative Commons (CC BY-NC-ND 2.0) P. 61 Nathan Rupert, licensed under Creative Commons (CC BY-NC-ND 2.0)

62 Future Culture is a project of the Design Trust for Public Space, in partnership with Staten Island Arts.