agriCULTURE A Plan for Cultivating Arts and Culture in Seattle’s Urban Agriculture Sites agriCULTURE A Plan for Cultivating Arts and Culture in Seattle’s Urban Agriculture Sites ACKNOWLEDGEMENTS

This plan represents the ideas of many people in our city and our communities, and was written by Nicole Kistler as Seattle’s Artist-in-Residence for Urban Agriculture.

Many thanks to Randy Engstrom, Director of Office of Arts & Culture, for your unequivocal leadership and support of this project. This project would not be possible without the foresight and shepherding of Ruri Yampolsky, Public Art Director at Seattle Office of Arts and Culture who, unbeknowst to many, raises chickens and grows apples. Thank you, thank you.

THANK YOU TO THE FOLLOWING CITY OFFICES, DEPARTMENTS AND UTILITIES: Interdepartmental Team on Food Policy, Seattle Department of Neighborhoods P-Patch Community Gardening Program, Seattle Department of Transportation (SDOT), Seattle Mayor’s Office, Seattle Office of Economic Development, Seattle Office of Film and Music, Seattle Office of Arts and Culture, Office of Arts and Culture Public Art Advisory Committee (PAAC), Seattle Office of Sustainability and Environment, Seattle Parks and Recreation, Seattle Public Utilities (SPU).

THANK YOU TO THE FOLLOWING ORGANIZATIONS: Seattle’s 90+ P-Patch Community Gardens, American Community Gardening Association, Backyard Barter, Beacon Hill Food Forest, City Fruit, Common Acre/Flight Path, Freeway Estates Orchard, Feet First, Friends of Bradner Gardens Park, Interbay P-Patch, InterIm CDA, Magnolia P-Patch, Magnuson Community Garden, P-Patch Trust, Seattle Tilth Association, Seattle Tree Fruit Society, Seattle Youth Garden Works, Solid Ground’s Lettuce Link Program.

THANKS TO THE FOLLOWING INDIVIDUALS AND CITY OF SEATTLE STAFF FOR YOUR TIME, INSIGHT, AND SUPPORT: Carolyn Alcorn, Alissa Allen, Brenda Anibarro, Fe Arreola , Bob Baines , Joel Banslaben, Clayton Beaudoin, Laura Becker, Jeff Benesi, Anne Blackburn, Jeanie Boawn, Julie Bryan, Michelle Caulfield, Minh Chau Le, Elizabeth Conner, Jackie Cramer, Rosemary Cunningham, Isobel Davis, Joan Davis, Rebecca Deehr, Jerry DeGrieck, Jay Deguchi, Jim Diers, Rachel Duthler, Andrea Platt Dwyer, Lauren Englund, Jamie Felton, Kate Fernandez, Josh Fogt, Becca Fong , Kenya Fredie, Christian French, Julia Haack, Margarett Harrison, Sue Hartman, Glenn Herlihy, Perri Howard, Sandra Jackson-Dumont, Judi Johnson, Sarah Kavage, James Keblas, Kurt Keifer, Lauren ‘Lolly’ Kunkler, Maria Langlais, Melissa Lawrie, Sharon Lerman, Stacy Levy, Michael Lewis, Lois Maag, Rich MacDonald, Erin MacDougall, Laura Matter, David McDonald, Shanyanika McElroy, Sue McGann, Arlene McMonigle, Joyce Moty, Nate Moxley, Christina Orbé, Mitzy Oubre, Jerry Packard, Julie Parrett, Kamal Patel, Sandy Pernitz, Martín Prechtel, Lisa Quinn , Laura Raymond, Bob Redmond, Don Ricks, Magdaleno Rose-Avila, Jon Rosen, Jon Rowley, Rebecca Salinas, Gail Savina, Allison Schwartz, Phyllis Shulman, Robert Servine, Ellen Sollod, Heidi Smets, Brennon Staley, Andrew Storey, Stephanie Stroud, Lisa Taylor, Jenny Thacker, Natalie Thomson, Andrea Tousaignant, Lisa Uemoto, Christa Valles, Kim von Henkle, Cathy Wenderoth, Elizabeth Wilmott, Carl Woestwin, Sandria Woods-Pollard, Bunley Yun.

© NICOLE KISTLER, 2013 CONTENTS

PAGE 1 EXECUTIVE SUMMARY PAGE 5 INTRODUCTION: WHY / APPROACH / AUDIENCE FOR THE PLAN PAGE 9 CONTEXT: AN EVOLVING CULTURE OF URBAN AGRICULTURE PAGE 15 GUIDING PRINCIPLES

PAGE 17 ANALYSIS AND RECOMMENDATIONS:

PAGE 19 1. GROWING FOOD PAGE 31 2. BUILDING HEALTHY SOIL PAGE 37 3. HARVESTING, COOKING, CELEBRATING AND SHARING FOOD PAGE 45 4. FOSTERING HABITAT FOR BENEFICIAL SPECIES PAGE 51 5. INNOVATING IN URBAN AGRICULTURE PAGE 57 6. MENTORING: CREATING A LIVING AGRICULTURAL LANGUAGE

PAGE 63 IMPLEMENTATION PAGE 65 CITATIONS PAGE 68 BIBLIOGRAPHY culture mid-15c., “the tilling of land,” from L. cultura, from pp. stem of colere “tend, guard, cultivate, till” (see cult). The figurative sense of “cultivation through education” is first attested c.1500. Meaning “the intellectual side of civilization” is from 1805; that of “collective customs and achievements of a people” is from 1867.

Above: Plowing the Picardo Farm P-Patch for its 20th Anniversary. Definition from Online Etymology Dictionary, http://www.etymonline.com. APPROACH EXECUTIVE SUMMARY The planning process began with site visits to over 50 P-Patch community garden sites WHY and to Seattle’s two urban farms to under- stand how public art is currently applied in those landscapes. We conducted a complete Art plays an important role in the programs and public spaces dedicated literature review related to urban agriculture to urban agriculture, and can contribute to a greater sense of community in the context of American agricultural move- and making of a place. ments, as well as research related to artist interpretations of and reactions to agriculture. Seattle’s Office of Arts & Culture (OAC) is widely recognized as a leader in efforts to fund, plan for, Urban agriculture stakeholders participated and develop public art. This year marks the 40th anniversary of Seattle’s enactment of the 1% for in interviews and meetings to elucidate how Art ordinance, making it one of the early adopters of a model that has become the U.S. public art the arts currently play a role in these public funding standard. OAC is recognized nationally as an exceptional program that continually reach- spaces, and what kinds of art projects might es out to artists to incorporate new art forms and embraces new ideas for artistic interventions. benefit urban agriculture in Seattle. Some of those interviewed include: City staff; P-Patch Seattle is also a leader in urban agriculture with some of the most progressive policy, codes, and gardeners in numerous gardens; P-Patch trust funding in the country. Significant recent achievements include the creation of the Seattle Food board members; art and design professionals Action Plan, celebration of the P-Patch community gardening program’s 40th anniversary with involved in projects at local sites; and staff expansion to 90+ gardens including innovative models at UpGarden P-Patch and the Beacon Hill representing non-profits in active City partner- Food Forest, and improvements to the city’s two urban farms. ships or with related programming.

To support the City’s work in urban agriculture, the Office of Arts & Culture funded an Artist-in- Residence for Urban Agriculture to create this plan. The plan makes recommendations for how AUDIENCE FOR THE PLAN to enrich the culture of urban agriculture by integrating arts and cultural programs into the City’s urban agriculture efforts, and proposes a number of strategies and pilot projects to implement those This plan has three main audience groups: recommendations. Although the mission of OAC is narrower than the scope of the ideas presented City of Seattle staff, urban agriculturalists, and here, some of the recommendations may be funded through the Department of Neighborhoods, artists. Each group has a unique perspective other departments, or private funders. on this topic, its own technical language, and different goals and motivations. It is important The Department of Planning and Development (DPD) categorizes both community gardens and for each to understand the goals, motiva- urban farms under the broader term of urban agriculture.1 For the purposes of this report, and tions and history of the others because they to better align with the Seattle Food Action Plan, we considered a culture of urban agriculture to must all work together to implement arts and more broadly include all the activities that surround the cultivation of food in the city—growing, culture in urban agriculture and each may initi- harvesting, cooking, celebrating, and sharing. ate and lead a project.

agriCULTURE | Page 1 BACKGROUND GUIDING PRINCIPLES

Beginning with victory gardens planted during The guiding principles help to frame the plan World Wars I and II, waves of interest in urban and its recommendations: establishing the agriculture have been motivated by a reaction role that the arts play related to urban agricul- to political and economic trends. Artists have ture in order to foster a culture of urban agri- played an important role in communicating culture, and make lively places and healthy the importance of growing healthy food in our communities. We established eight major cities. Today, our motivations for urban food guiding principles including: gardening are rooted in public health and food safety, food justice, the 2008 recession, 1. Art plays a key role in forming meaning rising food prices, the local food movement, around urban agriculture activities and the Do-It-Yourself (DIY) movement. 2. Art fosters community place making People want true food security—fresh, 3. Multi-disciplinary projects can reach wholesome food that feeds their bodies, into new territory replenishes community and local economies, 4. Professional artists help achieve arts and sustains a healthy environment. In fact, excellency Seattle has made a healthy food system a 5. Art has intrinsic value priority, and created the Seattle Food Action 6. Temporary art and performing arts are Plan in 2012. To build a long-term paradigm valuable public art resources shift, food security must exist within a cultural 7. Growing and eating food can be art context with artworks integrated throughout 8. Art has an environmental responsibility our food system.

Page 2 | agriCULTURE ANALYSIS & 2. BUILDING HEALTHY SOIL 6. MENTORING: CREATING A LIVING RECOMMENDATIONS Concept: Transform food waste into a AGRICULTURAL LANGUAGE precious resource we honor though art in our Concept: Foster a living agricultural language When we, the authors of this plan, talk about urban agricultural spaces and citywide. through the dialogue and storytelling that fostering a culture of urban agriculture we many artistic practices provide, and infuse mean that art should be an expression of both 3. HARVESTING, COOKING, urban agricultural education programs with the individual connection to the land and the CELEBRATING AND SHARING FOOD art focusing on urban farms, learning gardens collective ebullient experience of growing Concept: Infuse programs and events and school gardens as the primary places food, harvesting food, celebrating and eating focused on harvesting, cooking, celebrating where these activities occur. food together­—that held at its highest ideal, and sharing the food we grow with perfor- all the activities around agriculture not only mances and temporary art to enhance and inspire works of art, but rely upon artwork enliven these activities in Seattle’s community IMPLEMENTATION integrated into the fabric of community gardens, community centers and farmer’s places, activities and events to transmit urban markets. Since funding through 1% for Art has limita- agricultural knowledge, carry food growing tions, implementation of the plan depends on tradition, and neighborhood memory. 4. FOSTERING HABITAT FOR the development of community partnerships BENEFICIAL SPECIES with a focus on engaging artists and arts Applying a holistic lens to both the activities Concept: Hold a visual place for benefi- advocates from the community. of urban agriculture and the public facilities cial species in urban landscapes through where these activities take place, six major art, while leaving them minimally disturbed, In its first two years, implementation relies on concepts emerge that will be described in particularly in sites with new construction, the continued work of the Artist-in-Residence further detail in subsequent chapters. These parks and green spaces, street right-of- for Urban Agriculture, who has developed six concepts include: way planting strips, and residential property community support by engaging stakeholders through SPU’s Rainwise program. directly in this planning process so that the 1. GROWING FOOD result echoes stakeholders’ dreams and wish- Concept: Create an ongoing series of robust 5. INNOVATING IN URBAN es. The Artist-in-Residence will promote the artworks, performances, events and art-based AGRICULTURE plan, introduce pilot projects, further develop partnerships that enrich both the ongoing Concept: Forge new visions for growing programs, and shepherd artworks created by dialogue around food, the activity of grow- food in the urban context by engaging artists others. In subsequent years, plan implemen- ing food, and places where people grow food and supporting multi-disciplinary projects tation shifts solely to project implementation. in the city, particularly P-Patch community at places like parklets, rooftop gardens, and gardens, orchards, and food forests. other unforeseen places.

agriCULTURE | Page 3 First and foremost, sustainability derives from cultural resilience and adaptability. These qualities are rooted in the knowledge of place and human behavior that is encoded in stories . . . we need visions that can become popular culture, through a new tradition of stories and community events in which people want to participate. To develop this kind of compelling vision that can have broad and lasting effects on human behavior, we must first be able to think in new ways.

—Kristina Hill, Visions of Sustainability

Beacon Food Forest, Pre-work party stretch

Page 4 | agriCULTURE INTRODUCTION

WHY Seattle is also a leader in urban agricul- dations for how to enrich the culture of urban Art plays an important role in the programs ture with policy, codes, and funding being agriculture by integrating arts and cultural and public spaces dedicated to urban agricul- some of the most progressive in the country. programs into the City’s urban agriculture ture, and can contribute to a greater sense of Significant recent achievements include: efforts, and proposes a number of strate- community and making of a place. gies and pilot projects to implement those • Creation of the Seattle Food Action recommendations. Although the mission of Seattle’s Office of Arts & Culture (OAC) is Plan, a major, interdepartmental initiative OAC is narrower than the scope of the ideas widely recognized as a national leader in focused on supporting the local economy presented here, some of the recommenda- efforts to fund, plan for and develop public and communities through fostering a tions may be funded through Department of art. This year marks the 40th anniversary of healthy food system in the interest of Neighborhoods, other departments, or private Seattle’s enactment of the 1% for Art ordi- public health, equity and social justice. funders. nance, making it one of the early adopters of • Celebrating the 40th anniversary of the a model that has become the U.S. public art P-Patch community gardening program The Department of Planning and Development funding standard. in 2013. (DPD) categorizes both community gardens • Expansion to 90+ P-Patch commu- and urban farms under the broader term of The City’s arts agency pioneered the inclu- nity gardens cultivated by nearly 5,000 urban agriculture.1 For the purposes of this sion of artists-in-residence within municipal citizens. report, and to better align with Seattle’s Food departments such as Seattle Public Utilities, • Completion of UpGarden, the nation’s Action Plan we considered a culture of urban Seattle Department of Transportation, Seattle first large-scale P-Patch community roof- agriculture to more broadly include all the City Light, and Seattle Parks & Recreation. top garden at Seattle Center. activities that surround the cultivation of food These embedded artists have crafted a robust • Initial construction of the Beacon Food in the city—growing, harvesting, preparing, set of art plans that analyze the work of the Forest, an agricultural system that mimics cooking, celebrating, sharing, and teaching. departments and identify opportunities for a woodland ecosystem with edible artistic endeavors within the respective agen- species like fruit trees and berries. Urban agriculture is both a big, new experi- cies. The plans address and engage both City • Improvements to the city’s two urban ment and a reassertion of traditional culture— staff and municipal issues as well as suggest farms. growing food in our cities to increase access innovative and creative pilot projects. OAC to healthy food and build a connection to both is recognized nationally as an exceptional To support the city’s work in urban agricul- the origins of our food and our environment. program that continually reaches out to artists ture, the Office of Arts & Culture funded an How can we open our gardens and our minds to incorporate new art forms and embraces Artist-in-Residence for Urban Agriculture to to include vivid self-expression, open public new ideas for artistic interventions. create this plan. The plan makes recommen- venues to artists, and create places where

agriCULTURE | Page 5 TRENDS IN PUBLIC ART

Seattle’s Office of Arts & Culture supports artists’ work in traditional media like fine arts and performing arts, as well as non-traditional work like folk art, temporary art, cultural events, performance art, participatory art, sound installations, cause-related art, and place-making.1 Seattle established itself as a national leader in public art when it enacted the 1% for Art ordinance 40 years ago in 1973, and has since expanded its funding model to include other sources. (Public art programs nationally have been built around the 1% for Art model, aimed at building a public art collection through directing 1% of capital improvement funds to public art related to those capital improvements.)

Since the 1960s, more and more artists have shifted their focus from creating perma- nent work to creating non-traditional experiences and dialogue about issues. These non-traditional works are often multi-disciplinary and experimental, involving new tech- nologies, and interactive work to engage the audience. Initially, this type of work was not funded by the public and was created in galleries and private spaces. As artists have increasingly sought out audiences in public places, many public art programs have begun to respond to this shift by directing funding to temporary art, performance art, and art related to placemaking in addition to permanent work and the performing arts. Seattle’s Office of Arts & Culture is nationally recognized as a leader in deliver- ing “diverse public programming and artist services, including exhibitions; educational workshops; slide registries; and sophisticated, interactive websites.”2 Investing in these relatively short-term projects can deliver big results in terms of placemaking, and don’t require long-term maintenance and associated costs.

Besides providing funding to arts and arts organizations, and commissioning art works, the city plays an important role as a property owner. Increasingly, artists wish to move their work out of galleries to engage their audience members directly in public places, both for the variety of settings these places provide as well as the opportunity to inter- act with whomever is coincidentally present. As public places are owned and regulated by public agencies, these agencies have a responsibility to make these places avail- able to the public for public use as is reasonable, safe and appropriate—including public discourse through art.

1 Becker, 2004, p 5 2 IBID, p 2

Page 6 | agriCULTURE community vision, ownership and love are ture. Urban agriculture stakeholders partici- benefit that the arts bring to their programs, present at all times? pated in interviews and meetings to elucidate and will work to support these efforts. how the arts currently play a role in these Urban agriculturalists range from those It’s not coincidental that the progenitors of public spaces, as well as what kinds of art gardening in their own yard to P-Patch several popular Seattle food movements projects might benefit urban agriculture in gardeners to those employed by non-profits identify themselves first as artists. It takes Seattle. Some of those interviewed include: teaching gardening. They frequently tend imagination, experimentation and persever- City staff; P-Patch gardeners in numerous their gardens for years, and come to know ance to create the sort of paradigm shift that gardens; P-Patch Trust board members; art and love the places where they grow food, urban agriculture proponents envision. It’s and design professionals involved in projects meet neighbors, or make their living. Arts and no coincidence that nearly every P-Patch at local sites; and staff representing non- culture enhance these places, bring neighbors in the city has some kind of gathering area profits in active city partnerships or with together, provide a focus for neighborhood and evidence of personal and community related programming. events and garden fundraisers, and express expression. If we only wanted to grow food to the identity of the community. provide calories, these personal touches and community spaces would not exist. In these AUDIENCE FOR THE PLAN Many artists have an interest in urban agri- gardens we can see not only a community culture as a creative pursuit in itself, and in desire to grow food, but to share that experi- This plan has three main audience groups: urban agricultural spaces as both a venue and ence with other gardeners. These gardeners City of Seattle staff, urban agricultural- subject matter for their art. Performing artists want to cultivate a culture around growing, ists, and artists. Each group has a unique like musicians often play a key role in existing harvesting and celebrating food, and to share perspective on this topic, its own technical harvest festivals and fundraising events. Some that with others in their neighborhod. language, and different goals and motiva- artists create gardens as their form of art. tions. It is important for each to understand the goals, motivations and history of the others It’s important as we embark on this endeavor APPROACH because they must all work together to imple- not to underestimate the contributions of ment arts and culture in urban agriculture, and any one group of stakeholders. Professional The planning process began with site visits each may initiate and lead a project. artists, architects, landscape architects, to over 50 P-Patch community garden sites agriculturalists, chefs, and other profession- and the two urban farms to understand City staff have a stake in the integration of als have all made important and meaningful how public art is currently applied in those arts and culture in urban agriculture and food contributions to the culture of urban agri- landscapes. A complete literature review policy as these creative endeavors can further culture. However, those sometimes consid- related to urban agriculture in the context the goals of their own programs and support ered lay-people—the immigrant farmer, the of American agricultural movements was Seattle’s Comprehensive Plan.2 The City of community activist, or the garden enthusiast— conducted, as well as research related to Seattle’s staff are creative people who have often have traditional and practical knowledge artist interpretations and reactions to agricul- excellent ideas, often immediately see the sometimes exceeding that of professionals.

agriCULTURE | Page 7 Picardo P-Patch­—Seattle’s First P-Patch

Page 8 | agriCULTURE CONTEXT

AN EVOLVING CULTURE OF URBAN AGRICULTURE

1 Although self-sufficiency has been at the heart of each wave of urban agriculture, what may begin as a reaction to political and economic conditions becomes more and more empower- ing over time. As people begin to interact with the seasons, plants, and animals to provide for their community, they can regain a sense of abundance, positivity, and connectedness that can otherwise get lost in the face of the daily onslaught of world news and life’s challenges. This is a profoundly creative experience. Food—the growing of food, the preparation of food, and the sharing of food—is, after all, at the root of all culture.

Community gardens date at least as far back as the Federal War Garden program begun during World War I, and gardens planted in response to the 1893 depression (though they were not through any particular program). “Victory Gardens” gained popularity during World War II, and Ballard High School grew a large Victory Garden in support of the cause. Both Seattle Tilth Association and the Picardo Farm P-Patch (Seattle’s first P-Patch, in the Wedgewood neighbor- hood) arose in the 1970s, related to the back-to-the-land / self-sufficiency movements of the same time. As environmentalism became a popular cause in the 1990s, urban farming had anoth- er brief upswing. During that time volunteers logging over 40,000 hours started Bradner Gardens Park. An open space slated for development, citizens launched Initiative 42 (which became City National War Garden Commission, circa WWII Ordinance 118477 in 1997) protecting city parks from non-park development.

Today, our motivations for urban food gardening are rooted in public health and food safety, food justice, the 2008 recession, rising food prices, the local food movement, and the Do-It-Yourself (DIY) movement. People want true food security—fresh, wholesome food that feeds their bodies, replenishes local economies, and sustains a healthy environment. In fact, Seattle has made a healthy food system a priority, and created the Seattle Food Action Plan in 2012.1

The Seattle Food Action Plan declares that “healthy food is integral to the health and well-being of our communities”, and defines healthy food as “food that is fresh and nutritious and grown without harming its producers or our air, water, or soil.” 2 The plan reflects what is happening in cities across America citing rising obesity and diet-related diseases, increasing health care costs Balland High School Victory Garden, 1943, Courte- sy of Seattle Post-Intelligencer Collection, Museum and decreasing life expectancy. The plan further details some of the issues facing our food system: of History & Industry, Seattle; All Rights Reserved

agriCULTURE | Page 9 One in five children in King County does us grow up on farms or in rural places. As a not always have enough to eat, and grow- consequence, our society loses not only a ing economic inequality makes healthy food direct connection to the source of our food, even harder for many to afford. Chemically but the culture and history that goes along intensive agriculture degrades the quality with that. This system not only takes away of our land, our air, and our water. … Food our nutrition, it dissolves our culture. When inequities disproportionately affect low- we lose our connection to the land, when we income residents, children, seniors, and stop nurturing the soil, planting the seeds communities of color.3 and watching the miracle of life unfolding each day, each season, each year, we lose With an emphasis on making healthy food our actual knowledge of our place. In fact, it’s Seattle Tilth Begins, Courtesy of Seattle Tilth available to all, the plan makes urban agri- estimated that ninety-four percent of vintage culture a key strategy, and states “growing, open-pollinated fruit and vegetable varieties eating, and sharing food brings local commu- have vanished over the last century. nities together.”4 Food and food traditions are at the founda- To create the kind of long-term paradigm shift tion of every known culture and civilization. that the Seattle Food Action Plan suggests, Although we think of the city and the farm food security must exist within a cultural as separate, the advent of agriculture was context. If you meet and talk weekly with also the advent of cities. Agriculture’s abil- the farmer who produces your vegetables, ity to produce abundant amounts of food cheese, and meat, that relationship and made permanent settlement possible. A the stories that come with that connection food surplus also allows the commissioning Groundbreaking at Bradner Gardens Park transform those items from simply commer- of laborers to build things like palaces and cial food products to something that is part temples, and specialized professions can of a larger food culture. If your grandmother develop because everyone in a society no teaches you how to plant the heirloom seeds longer needs to spend all of their time finding of your family’s squash, tells you how your food. family brought them here, how to mound the soil around them, the songs her mother used However, in the thousands of years that have to sing to them so they are happy, and how to passed since the dawn of agriculture, we make something divine to eat from them, then are at a confluence where people across the that is real cultural wealth. country (both rural and urban) are awaken- ing to the reality of living in an industrial food As more and more rural family farms are society. There is a growing awareness that Bradner Gardens Park Today lost to big agribusiness, fewer and fewer of we are losing not only our supply of diverse,

Page 10 | agriCULTURE nutritious and unadulterated foods, but the Urban farming and community gardens are heart of our culture. In her book, The Earth a way to reassert our cultural heritage, our Knows My Name, Patricia Klindienst writes, connection to the land that sustains us, and “As we lose our connection to the soil, we no our food.While some have speculated that longer understand the relationship between the current popularity of urban agriculture is food and a sense of belonging to a place and another passing trend, many writers suggest a people.”5 Geoffery Hartman, author of Scars that urban agriculture is here to stay.7,8 of the Spirit follows, “…the growing reality that “Unlike previous waves of interest in urban an ancient ecological relationship, imaginative farming, the blossoming of projects in the and religious in its intensity, is slipping away.”6 twenty-first century cuts cleanly across racial and demographic profiles.”9 If this current Picardo Farm P-Patch Barn Raising If you grew up with industrial food in the wave of popularity is to transition into some- city, you may not realize a loss. Instead, you thing lasting and mainstream, it must become may feel a sort of disconnect, a yearning part of the fabric of our urban culture. for community. We are losing the barn rais- ing with our neighbors, tasting each flavor of As we re-discover our connection to the land pie that the women brought, playing with the that nurtures us, we have the opportunity other kids as all the men raised the walls of to re-define our cultural life. Author Barbara the barn together. We lose the sight of acres Kingsolver and her family began farming to of colorful food growing, and the camarade- re-establish their relationship with their food. rie of harvesting food together. We lose the “Farmers aren’t just picturesque technicians. time spent with neighbors and friends sing- They are memory banks, human symbionts ing and playing music late into the night, an with their ground,” Kingsolver observes expression of that place and time. We lose the from her own experience, “My family is now Barn Hats by Seattle Artist, Erin Shafkind functional arts that come out of a way of life charged with keeping the secret history of in a place—the local pottery made to hold the a goat, a place and a mushroom.”10 As they food products central to that food culture, or live and learn how to grow food in the special the regional clothing developed to keep you place they live, stories will emerge and warm or cool, and decorated with the plants, evolve, and they will gradually shape a new animals and symbols most important to that culture. culture. This is the art and culture. How we plant a seed, tend it, harvest and eat it. How Artists contribute a unique set of qualifica- we honor and celebrate it. This act of grow- tions to place making and the development ing food together fully engages our brains of a culture of urban agriculture. Employed and all our senses that evolved to have this at seeking meaning and delivering new experience. perspectives, their work fosters dialogue, and

agriCULTURE | Page 11 engages the public in creative and entertain- ing ways. Artists experiment, they are not afraid to fail, they find robust ways to discuss, engage, and create unusual partnerships— pushing at the limits of the very definition of art. Working with limited resources, artists are specialists in creating teams, and working as a group to bring projects and ideas to the fore.

Whether stemming from the avant-garde movement or the counter-culture movement, artists have been growing food and creating food gardens as both an artistic and political statement since the 1970s.

Wheatfield—A Confrontation, Agnes Denes, 1982 One of the most iconic examples of grow- ing food as an artistic critique of our food distribution system is Agnes Denes’ “Wheatfield—A Confrontation.” In 1982, Denes planted two acres of wheat in lower Manhattan on land valued at 4.5 billion dollars and harvested a thousand pounds of wheat worth a little over 250 dollars. Denes said the project was a comment on “human values and misplaced priorities.” Some of the wheat then traveled internationally under the title, “The International Art Show to End World Hunger.”11 The sight of a wheat field grow- ing almost in the heart of Wall Street not only highlighted the contrast between rich and poor, it served as a monument for the loss of America’s farmland.

Agnes Denes, Wheatfield­—A Confrontation, Battery Park Landfill, 1982

Page 12 | agriCULTURE Crossroads Community, Bonnie Ora Sherk Park, in his project, Local Code: Real Estates and Jack Wickert, 1974-1987 in 2009.15 Almost conversely, Joseph Grima Begun in 1974 and operating until 1987, and Jeffrey Johnson, seeking to highlight how Bonnie Ora Sherk and Jack Wickert created many resources city dwellers really need, Crossroads Community (The Farm) on unde- created Landgrab City, a scale-model of how rutilized land under what is now the Cesar much farmland it will take to feed the city of Chavez Freeway in San Francisco’s Portero Shenzen, China by 2027.16 neighborhood.12 This community farm had vegetable gardens and a petting zoo offering real life experiences for children. As artists, CITATIONS Sherk and Wickert operated the farm as a Bonnie Ora Sherk. Boys mow lawn on The Farm theater of life, working during the time when (View south toward Army Street Freeway Inter- 1 change), 1976. Courtesy of A Living Library “happenings” were common. City of Seattle, 2012, Food Action Plan, p1 2 IBID, p 1 3 IBID, p 1 Victory Gardens 2007+, Amy Franceschini, 4 IBID, p 3 2007 5 Klindienst, 2006, Jacket Cover 6 Klindienst, 2006, Jacket Cover quote by In 2007, Amy Franceschini planted “Victory Geoffery Hartman, author of Scars of the Gardens 2007+” in front of San Francisco City Spirit: The Struggle Against Inauthenticity Hall, in partnership with the mayor’s office and 7 Fox, 2011, p 29 8 Hanson, 2012, p 4 the San Francisco Museum of Modern Art, as 9 13 Hanson, 2012, both “artwork and democracy in action.” 10 Kingsolver, 2007, p 79 11 Kastner, 1998, p 261 12 Franceschini’s focus on community empower- West of Center 13 www.sfvictorygardens.org/cityhall.html ment shares roots with the Guerilla Gardening 14 www.lizchristygarden.us Victory Gardens 2007+, Courtesy of Future Farmers movement started by Liz Christy and her 15 nicholas.demonchaux.com Green Guerillas in Manhattan in the 1970s.14 16 www.ediblegeography.com/landgrab Guerilla gardeners adopt underutilized space in the city to grow food, and sometimes throw “seed bombs,” balls of compost, clay and seeds into fenced lots so flowers will grow. Working to highlight just how much underuti- lized space is available, architect Nicholas de Monchaux, used geospatial analysis to iden- tify thousands of publicly owned abandoned sites totaling half the size of Golden Gate

agriCULTURE | Page 13 “The ultimate goal of farming, is not the growing of crops, but the cultivation and per- fection of human beings.”

— Masanobu Fukuoka, Fukuoka, 1978, p 119

Page 14 | agriCULTURE 3. Multi-disciplinary Projects Can Reach 7. Growing and Eating Food Can Be GUIDING Into New Territory. Multi-disciplinary team Art. Agricultural activities are themselves members bring a variety of tools and skills profoundly creative endeavors that when PRINCIPLES to allow experimentation with innovative infused with art and carried out with a high approaches and new ideas. This is also true level of skill, tradition, ritual and intentionality for City inter-departmental teams that can can themselves become a form of art and the function more effectively in partnership in basis of larger culture. Certainly, the songs, The guiding principles help to frame the plan order to achieve parallel or common goals. dance, storytelling, basketry, fabric designs, and its recommendations by establishing the and visual art of many ancient and surviv- role that the arts play related to urban agri- 4. Professional Artists Help Achieve Arts ing cultures revolve around food. The British culture with the goals of fostering a culture of Excellency. Involvement by professional wassail–drink, sing and dance—their cider urban agriculture, making lively places, and artists can help to assure arts excellency in orchards to awaken them so they may bear healthy communities. They provide a set of community projects. Artists working in the plentiful fruit. Mayans dance with their seed values under which the arts in urban agricul- public realm often ground their projects in bundles as part of special naming rituals that tural communities would flourish by support- meaning and historic precedent, with many involve drinking a beverage made of corn and ing the needs of artists, providing a meaning- artists doing extensive research of the topic planting a new cornfield. Our culture is in the ful platform for our city’s urban agriculture they are exploring through their work. Artists process of discovering how to best grow food community, and furthering the goals of the provide mentorship both to each other and in the city and what it means to grow food in City of Seattle. the greater community. the city. Though interest in urban agriculture is booming, it is not yet mainstream. While there 1. Art Plays a Key Role in Forming Meaning 5. Art Has Intrinsic Value. Art can inspire, might be exceptions, at this point growing Around Urban Agriculture. The arts play a key uplift, create dialogue, and can be of inter- food is not yet generally considered art in and role in forming meaning around the activities of est without serving any other function. While of itself. However, it is a goal that we should growing and harvesting, cooking and celebrat- the arts can ameliorate other issues, and we strive for, and is therefore acknowledged in ing food and should be integrated into Seattle’s often ask that they help do so, the arts play this principle and throughout the plan. urban agricultural places and programs. an important role in our community without serving any other purpose. 8. Art Has an Environmental Responsibility 2. Art Fosters Community Placemaking. Art that truly supports urban agriculture Artists who weave the interests and activities 6. Temporary Art and Performing Arts Are should respect the cultivation of healthy soil, of multiple stakeholder groups together and Valuable Public Art Resources. While many clean air and water by using resources in a achieve projects through cooperation, create public art projects have the advantage of sustainable and environmentally responsible stronger communities with higher project permanance, art that is temporary, ephem- way. Methods used in art should seek best ownership in the project. Furthermore, public eral, edible, or based in process, dialogue or practices that do not pollute our environment, art can express the character and identity of engagement has value and interest. We need but ideally work to improve it. a community, gratitude for a healthy environ- all types of artworks in these places. ment, or commemorate an important aspect of a place. agriCULTURE | Page 15 “Turn that worthless lawn into a beautiful garden of food whose seeds are stories sown, whose foods are living origins. Grow a garden on the flat roof of your apartment building, raise bees on the roof of your garage, grow onions in the iris bed, plant fruit and nut trees that bear, don’t plant “ornamentals,” and for God’s sake don’t complain about the ripe fruit staining your carpet and your driveway; rip out the carpet, trade food to someone who raises sheep for wool, learn to weave carpets that can be washed, tear out your driveway, plant the nine kinds of sacred berries of your ancestors, raise chickens and feed them from your garden, use your fruit in the grandest of ways, grow grapevines, make dolmas, wine, invite your fascist neighbors over to feast, get to know their ancestral grief that made them prefer a nar- row mind, start gardening together, turn both your griefs into food; instead of converting them, convert their garage into a wine, root, honey and cheese cellar—who knows, peace might break out, but if not you still have all that beautiful food to feed the rest and the sense of humor the Holy gave you to know you’re not worthless because you can feed both the people and the Holy with your two little able fists.”1

—Martín Prechtel, The Unlikely Peace at Cuchumaquic

Page 16 | agriCULTURE ANALYSIS & RECOMMENDATIONS

When we, the authors of this plan, talk about fostering a culture of urban agriculture we mean that art should be an expression of both the individual connection to the land and the collective ebul- lient experience of growing food, harvesting food, celebrating and eating food together—that­ held at its highest ideal, all the activities around agriculture not only inspire works of art, but rely upon artwork integrated into the fabric of community places, activities and events to transmit urban agricultural knowledge, carry food growing tradition, and neighborhood memory. It can be an expression of what we have learned together, our story as a group, an expression or fulfillment of our understanding of the passage of time and the seasons as understood in this place. It is an art that is truly grounded in the community, in our culture and in our city. It is an art with its own roots and its own powerful creative force, because it has emerged from the source of growing, living food and our sharing of it.

Art plays an important role in the public spaces dedicated to urban agriculture, and can contribute to a greater sense of community and making of a place. Applying a holistic lens to urban agriculture, six major concepts emerge that can provide inspiration to artists and arts advocates:

1. GROWING FOOD 2. BUILDING HEALTHY SOIL 3. HARVESTING, COOKING, CELEBRATING AND SHARING FOOD 4. FOSTERING HABITAT FOR BENEFICIAL SPECIES 5. INNOVATING IN URBAN AGRICULTURE 6. MENTORING: CREATING A LIVING AGRICULTURAL LANGUAGE

For each urban agricultural activity section, there is a concept and a full description of the activ- ity. A description and analysis of public place typologies—the places where the urban agricultural activity primarily takes place—helps lead to strategies. Each strategy has art project precedents (where precedents exist) and art project ideas for how the strategy might be applied. The artwork project ideas are meant to be illustrative and not actual proposals.

agriCULTURE | Page 17 Magnuson P-Patch, Ariel by Jim Diers 1. GROWING FOOD Concept: Create an ongoing series of robust artworks, performances, events and art-based partnerships that enrich both the ongoing dialogue around food, the activity of growing food, and places where people grow food in the city.

URBAN AGRICULTURE ACTIVITY DESCRIPTION

Growing food in the city offers a wealth of different set of heirloom vegetables than the design. Permaculture and hugelkulture exploit thematic material for artists. Just as numer- ones you grew the year before, seed swaps natural processes to create edible landscapes. ous artists derive inspiration from observing provide an opportunity to trade seeds with Beacon Food Forest will practice both perma- plant forms, agricultural practices themselves other people who have saved theirs. Fruit culture and hugelkulture in its new P-Patch offer interesting subject matter. Each practice tree cultivating can involve grafting, budding, community garden. in itself could seemingly offer a whole world espalier, and a number of different prun- to explore. ing techniques to achieve different goals. In each agricultural technique there are physi- Proper tree care can prevent and eliminate cal forms for artists to work with and enhance, Let’s discuss some other examples. Growing pests. Storm water collection in cisterns and and agricultural processes to explore through food organically also protects the soil through rain barrels can help offset summer watering the creative process and through direct integrated pest management, working with needs. Raising animals in the city has become engagement and experimentation with those the seasons, harboring beneficial species, a hot topic reaching well beyond chickens to processes. Likewise, art can provide inspira- and planting on a rotation for the best include goats, pigs and other animals (though tion, interest and continuity for agricultural harvest. Saving seeds of heirloom variet- not all of these are permitted in Seattle.) practices and should further be explored for ies most appropriate for the local climate Beekeeping enjoys exceptional popularity at the contributions it can make to growing food insures both crop diversity and better survival the moment, and the shapes and forms that in the city. and production rates. If you want to grow a bees produce are also popular in fine art and

agriCULTURE | Page 19 PLACE TYPOLOGIES

While food is grown in many places in the Seattle’s community gardens play an impor- city, this section focuses on P-Patch commu- tant role in the fabric of neighborhoods nity gardens, orchards, and food forests as often becoming a hub for neighbors to meet the primary public places focused on grow- and talk. Neighbors involved in community ing food. (The discussion on urban farms can gardens are often avid gardeners with their be found in the mentorship activity section own gardens at home as well. Most garden- toward the end of this chapter.) ers say that they deeply value the community gardening experience for the camaraderie and Scarecrow at Interbay P-Patch P-PATCH COMMUNITY GARDENS learning they gain there. The gardens are also The P-Patch Community Gardening Program venues for community gathering where neigh- celebrates its 40-year anniversary in 2013. bors celebrate together, particularly in the Currently, there are 90 P-Patch community summer months and in the fall at harvest time. gardens managed by the City of Seattle These celebrations, like the Picardo Paella P-Patch Community Gardening program. It Fest and the Bradner Summer Music Series is estimated that there are over 7,000 people provide fun, casual activities where neighbors tending these garden plots.2 Seattle was can come together and talk about their lives able to significantly increase the number of and their neighborhood. These gatherings P-Patch community gardens recently through provide an opportunity for neighbors to iden- voter approval of the Seattle Parks and Green tify and share resources and work together to Space Levy. solve problems. Furthermore, neighbors who West Seattle Bee Garden organize themselves on a regular basis are The gardens operate under several differ- better prepared for emergencies, and have ent models, on City property held by differ- lower incidence of crime in their community. ent departments including Seattle Parks & Recreation, Seattle Public Utilities, and the Facilities and amenities available at Seattle’s Department of Finance and Administrative community gardens vary according to the Services. Management practices include method by which the garden was established, individual plot gardening, collective farming, the time and effort that volunteers put into orchards, a food forest, and hybrid models.3 fundraising, the priorities they set, and the Each community garden makes decisions skills and resources available in the neighbor- through consensus and usually has a steering hood. While most gardens have toolsheds, committee that helps to manage improve- gathering places, composting areas, seating Gathering Pavillion at Bradner Gardens Park ment priorities, fundraising, and events. and shade in addition to garden space, others

Page 20 | agriCULTURE also have children’s gardens, demonstration the Picardo Venus. Interbay P-Patch boasts gardens, extensive public art, bathrooms, a large bronze bell. Numerous gardeners meeting rooms, and pavilions.While most repurpose items such as tools and construc- gardeners would appreciate and use a kitch- tion materials into artful fences, gates and en, particularly for special events and educa- gateways, benches, and retaining walls. tional programs, this amenity is not generally Examples can be found at the Belltown considered feasible at these gardens due to P-Patch, Bradner Gardens Park P-Patch, and cost and maintenance concerns. Barton Street P-Patch. UpGarden P-Patch, at Seattle Center’s Mercer Street Garage has PUBLIC ART a 1962 Ford Galaxy automobile repurposed Seattle’s 90+ P-Patch community gardens as a planter and refinished with iridescent Poetry at Belltown P-Patch Amphitheater vary significantly in size, programmatic paint that changes color in the light, as well elements, design, construction, and owner- as a 1962 Airstream that has been converted ship. Some gardens have rich and varied into a toolshed. The vintage of the vehicles public art demonstrating a high degree of represents the year of the Seattle World’s individual and community ownership. Other Fair for which Seattle Center was created. gardens have almost no apparent public art. Oxbow Park P-Patch sits next to the historic, Those with significant public artworks also restored Hat n’ Boots, monumental epony- tend to be larger gardens with more members, mous sculptural works created in 1954 for a and also have at least one annual community western-themed gas station. Signage also celebration. P-Patch community gardens provides an opportunity for creative commu- rich in individual and community expression nity expression; the gardeners at Interbay through public art typically have at least one P-Patch adorned the path signage with plant- plot-holder who acts as an arts advocate. inspired names such as Huckleberry Lane Performance at Belltown P-Patch and Tulip Way. The opportunities to include public art in these spaces are numerous, as evidenced by In addition to creating these larger-scaled existing art. There are numerous tile mosaics works, individuals often add whimsical in these gardens including work by profes- signage, flags, bells, stepping stones, edging sional artists, work by community groups, and and garden statuary at their plots. Individual work created by children through arts educa- expression is seen also in complicated tion or community projects. A few gardens bean tepees and lattices on which to grow have murals created either by individual artists climbing vegetables. These structures are or as a community project; other gardens made of a variety of materials and can be also include sculpture. Picardo Farm P-Patch quite complex, often revealing clues about is graced by a bronze sculpture known as a person’s cultural knowledge of growing Art Fence at Bradner Gardens Park

agriCULTURE | Page 21 food. Some plots display complicated inter- ing gardens with a park-like feeling. These nal designs with tiny pathways, benches, and gardens appear cohesive and have well- other features. A gnome theme dominates the proportioned gathering areas, paths, and Ballard P-Patch, where individuals interpret the planting beds. These professionally-designed garden ornament in a variety of ways suited to gardens have complicated layouts, some- their own taste and imagination. times with curving pathways and thematic elements incorporated into the layout and DESIGN ELEMENTS garden features. Older gardens laid out As we put more focus on bringing public art without a landscape architect or professional to the making of these places, we need to designer tend to be more linear and functional understand how other design elements affect in nature with focus on maximizing plots. Burlap “Picardo” Trellis on Toolshed placemaking. Just as public art plays a key Elements like compost areas, gathering areas role in the expression of community identity and toolsheds are often located off to one in public gardens, the design of the gardens side of the garden rather than integrated into themselves and of garden architecture tend to the design of the garden as a whole. Including dominate visually and affect public experience. artists on the design team for these gardens While OAC does not typically consider either could help to create rich designs, and could buildings or garden design as public art, new also set the stage for future art projects, construction of buildings and public spaces events, and interventions. provides an opportunity to include art. Besides public art and garden design, build- Beyond the ideas of one designer, a vari- ings play an important role in placemak- ety of influences affect community garden ing. Often, toolsheds are the largest visible Toolshed at Kirke P-Patch References Church design and appearance, including: the skills structure in the garden, and the design and and interest of the community group creating treatment of these buildings can significantly the garden, era of the garden’s construction, affect the atmosphere of the place. Toolsheds access to funds, expectations tied to fund- vary in design and details significantly from ing, and to a lesser degree the institutional P-Patch to P-Patch, with some being mass- culture of the property owner. For instance, produced and purchased from big box the Parks and Green Space Levy required stores, to architect designed multi-purpose that new projects funded through the levy be structures built by the community. In some created through a community design process, cases, neighbors have altered, adorned or and P-Patch hired professional designers painted pre-made toolsheds to better reflect through a roster. Similarly, Seattle Parks & their community identity. Custom toolsheds Recreation requires designs be vetted through vary in design from sleek, modern struc- their ProView process, and emphasize creat- tures to one mimicking a New England-style Bradner Gardens Park Multi-Purpose Building

Page 22 | agriCULTURE church that once stood on the garden site. program also manage several orchards Certainly, these small buildings offer oppor- and many fruit trees in community gardens. tunities for façade treatment, as well as other Seattle’s Tree Fruit Society, Seattle Tilth more sculptural interventions, particularly if Association, and Common Ground also use artists are engaged at the design level before the city’s orchards to provide free educational construction. workshops on proper fruit tree pruning and maintenance. While OAC does not fund architecture or landscape architecture, the Department While currently underutilized, Seattle’s of Neighborhoods supports a range of orchards provide a rich setting in terms of neighborhood-based projects through its both subject matter and atmosphere for Puppet Parade at Freeway Estates Opening Neighborhood Matching Fund Grant program. visual and performance art, performing arts, These grants require community applicants and cultural events. to match the City’s grants with community in-kind time and resources on the premise For the opening of the Freeway Estates that the partnerships and dialogue that the Orchard, artist Sarah Lovett and Giant process necessarily requires creates stronger Puppets Save the World created the Cedar communities.Improvements and planning Waxwing puppet shown (at the right and on efforts made at Seattle’s P-Patch commu- this plan’s cover.) The puppet took the spot- nity gardens are typically funded in this way. light during a parade and other events. Matching grants have supported a wide range of activities, including landscape design and The first, a group of Morris Dancers (British planning, architectural projects, permanently folk-dancing) from the local group Sound sited public art, and events and perform- and Fury, host The Seattle Wassail annually The Seattle Wassail at Meridian Park ing artists in these places.Frequently, artists, in January in the apple orchards at Carkeek performers, and design professionals lead and Meridian Parks. In this ancient custom, these community efforts and volunteer their groups of people dressed in costume dance, time as their in-kind match. recite incantations, and sing to the trees in the apple orchards so that they thrive and ORCHARDS produce a bountiful harvest the following Seattle’s Department of Parks & Recreation autumn.4 manages several urban orchards through its Urban Orchard Stewards program, a public- The second, Center on Contemporary Art private partnership with City Fruit whose (CoCA) hosts an annual arts festival of volunteers also collect the fruit to distribute temporary visual art installations and perfor- to food banks. Volunteers with the P-Patch mances at sites throughout Carkeek Park Orchard Room at Piper’s Orchard

agriCULTURE | Page 23 including Piper’s Orchard called Heaven tending the landscape­, much less than would and Earth. In 2012, Cameron Anne Mason be required for an annual garden. and Lara McIntosh, created the installation Orchard Room in Piper’s Orchard.The artists Seattle has a two newly started food forests. wove a dance-inspired performance space Beacon Food Forest may well be the largest for spontaneous and planned interactions by in the nation once complete. Meadowbrook tying silk fabric from tree to tree. The artists Community Garden and Orchard has also compare their work to the ephemeral, natural planted along this model. processes of the orchard.5 Beacon Food Forest volunteers have engaged FOOD FORESTS numerous performing artists in their kick-off Beacon Food Forest, Tlaloctecutli performs Based on agroforestry and permaculture, celebration, work parties and get-togethers both the canopy and the understory of the and have engaged visual artists in creating food forest produce food, and the plantings signage and fencing with the aim of building a are managed in such a way that each tree sustainable community. has companion plants that work in harmony together called “guilds.” Each plant has a Because soil building is a key step in creating different function to support the whole, some a food forest that can produce high yields plants help bring nutrients into the soil, others over a long period of time, artworks sited in help balance soil biology, or provide climbing these places should be able to stand alone support or shade. For instance, an apple tree and hold viewer interest. Then, once trees might be planted with sunchokes and mari- and understory plants begin to grow, these golds which help balance soil biology while artworks should seem to fit into this changing Beacon Food Forest, musicians at pavilion opening comfrey and borage help bring nutrients to and growing landscape. Incorporating the soil. Once established, food forests work landform into the siting of artworks is an in harmony with little or no input from those important consideration in these landscapes.

Beacon Food Forest, Pre-work party stretch

Page 24 | agriCULTURE STRATEGIES, PRECEDENTS, AND PROJECT EXAMPLES

Until recently, artists interested in making art feels welcome. We can strengthen our city’s about growing food in the city were most often orchards and community gardens through creating a garden of their own as a political arts that build neighborhood identity and statement. We shared several notable exam- invite the public to participate, while also ples of urban agriculture as art in the Context creating work that is meaningful, beautiful or section (starting on page 9). As the urban interesting in its own right. agriculture movement has taken hold across the U.S., artists’ works are beginning to shift We recommend four strategies for to further explore the places and activities strengthening P-Patch community gardens related to growing food. as neighborhood hubs and continuing to build a strong urban agriculture community There are several ways to enrich both the in Seattle through arts and culture. Each Paris Nature Capitale, Gad Weil, 2010 activities of urban agriculture and the places strategy is described and then followed with we engage in urban agriculture. If we engage project ideas that came from discussions artists as we develop techniques most appro- with stakeholders.Some of these project priate to growing food in the city, the display examples would require funding partnerships of the resulting techniques and the places between OAC and another city department or where they are displayed have the poten- non-profit like DON or P-Patch Trust. tial to be more communicative, interesting, and meaningful. With the infusion of art, the techniques themselves can thereby become a STRATEGY 1: means of teaching others about growing food EXPAND THE AUDIENCE and convey a sense of community identity, ownership and meaning.The following are Expand the audience for urban agriculture by several examples of art projects that further a engaging people through the arts and build discussion, considering the growing of food appreciation for key aspects of land stew- and techniques used in growing food. ardship in urban agriculture (systems that promote healthy air, water and land). Public Public art projects and cultural events should art spectacles, participatory art, temporary engage the public in a dialogue about the installations that utilize gardening techniques, techniques and processes inherent in grow- parades and performances can all bring new ing food, and should contribute to making audiences to growing food. rich public places where the entire community agriCULTURE | Page 25

“Once established, the biointen- sive method of gardening actually restores the soil as much as sixty times faster than nature does. By comparison, industrial agriculture destroys topsoil eighty times faster than nature can replace it.”

—Patricia Klindienst14

Vermicomposting (Courtesy Eve Connell, www.neighborhoodnotes.com) 2. BUILDING HEALTHY SOIL Concept: Transform food waste into a precious resource we honor though art.

URBAN AGRICULTURE ACTIVITY DESCRIPTION

Soil building holds such a key role in growing Knowledgeable farmers mulch fields and in landfills creating methane. When we value food that it has its own section here. plant cover crops to protect and enrich their fertile soil, we don’t build warehouses on top soil. Healthy soil amended with compost of it. Instead, healthy soil becomes almost as Experienced gardeners know that a bountiful and mulch can hold up to a foot more water palatable as the food we grow in it. In the film, garden begins with rich, fertile soil—literally in depth than average soil, which can help The Real Dirt on Farmer John, farmer John teeming with life. In fact, food revolution- home owners save water and can help detain Peterson scoops some soil into his hand, ary Will Allen quotes agriculturalist George stormwater preventing it from overflowing into tastes it and solidly asserts, “Mm, the soil Washington Carver in his book, Good Food Puget Sound during heavy storms. tastes good today.” 18 Revolution, “If you love it enough, anything will talk to you,” reacting with, “To my Every year in America, we waste 96 billion Seattle Public Utilities (SPU) invests in surprise, worms began to talk to me.” 15 pounds of food.16 Americans waste about programs that encourage home owners both Gardeners don’t dig on a wet day for fear of 14% of the food they buy, and food waste to compost their food to reduce solid waste disturbing their soil structure, they nurture amounts to losses for companies of over and to use their compost to amend their soil their worm bins, and collect “greens” and $75 billion annually.17 Recycling our food and and mulch for better stormwater detention. “browns” for compost. Building healthy yard waste into compost isn’t just practical, it Because healthy soil retains more water over soil involves compost, microbial decay, begins to symbolically transform our relation- time, it also uses less fresh water. Art projects soil structure, theories of till versus no-till, ship with the environment. When we value that help SPU to educate customers and double-digging, sheet mulching, a variety of our waste we use it to reinvigorate our soil. change the solid waste paradigm from waste composting systems, and soil remediation of When incorporated into a holistic growing to soil enrichment are clearly aligned with its toxic substances. system, manure is no longer an environmental mission. hazard, and food waste doesn’t accumulate

agriCULTURE | Page 31 PLACE TYPOLOGIES

Nearly every P-Patch community garden, Creating beautiful compost bins and erecting urban farm, and teaching garden provides decorative screening around compost areas an opportunity to connect with and educate could improve their appearance. Building city dwellers and food enthusiasts about soil some sort of artistic shrine, theatrical back- building. These gardens and farms each have drop, or meaningful surrounding for compost a compost area, as well as annual work parties could be an interesting addition to commu- to spread mulch and plant cover crops. nity gardens.Further developing artistic and Picardo Farm compost sifting design elements to house worm bins might Within urban agricultural spaces, compost make them pleasant enough to situate even in areas best symbolize soil building and could gathering areas. provide an opportunity for artists (besides the healthy soil itself), though as a symbol they Besides compost areas, art projects that are exceptionally utilitarian. Compost areas address soil building and food waste on a usually include a place to chop up waste, and citywide scale by bringing the conversation food and yard waste decomposes in compost out of the garden and to venues like City Hall bins. Some gardens also include worm bins, or Seattle Center that have citywide or region- sometimes fashioned into benches or other al audience could take this conversation to a clever designs. Cover crops or nutrient rich whole new level.Projects at this scale could plants like comfrey should be cultivated in help address the scale of our food waste gardens to provide compost inputs. in the city or celebrate our achievements in Judkins P-Patch mulching bringing our solid waste down dramatically by composting.

Page 32 | agriCULTURE

Steven Siegel, top left: Freight and Barrel, 2004, Pittsburg. Top right: Like a hive, like an egg?, 2002. Bottom right: Sella, Italy; New Geology, 1992, Milan.

Page 34 | agriCULTURE

Freeway Estates Cider Press 3. HARVESTING, COOKING, CELEBRATING AND SHARING FOOD Concept: Infuse programs and events focused on harvesting, cooking, celebrating and sharing the food we grow with performances and temporary art to enhance and enliven these activities.

URBAN AGRICULTURE ACTIVITY DESCRIPTION

The activities of harvesting food, cooking, preparing food to be stored for cooking later. art and performances created in conjunction celebrating and sharing food are closely In many cultures, including our own, farmers with local events should reflect the unique intertwined. The new wave of classes for food help each other harvest the fields, cut and character of Seattle in their process and growers on how to cook and preserve their thresh the grain, press apples, make wine, presentation. harvest, and the wealth of dinners, festivals, and preserve food by canning, smoking and and celebrations that Seattle’s growing urban drying it. Sharing food is one of the primary ways that agriculture community organizes astounds. people of all cultures establish social connec- Performing artists often provide music for The unique characteristics provided by the tions. When visiting people in other countries, these events, and visual artists are sometimes soil and climate in which food is grown, and food is one of the first things that people will engaged to set the mood for an event. With the preservation techniques developed over offer to show their positive intentions and so much happening in this area, there are time lend unique regional flavors to food, extend their friendship. The activities of grow- opportunities abound to incorporate art in or what winemakers call “terroir.” So much ing, harvesting and cooking food culminate in new and exciting ways. of a culture is expressed through cooked celebration with each other and our communi- food, and while Seattle is known as a gour- ties. People commonly celebrate the harvest Harvesting food is about more than just pick- met’s paradise with its regional seafood throughout the world with a variety of food ing the fruits off the vine or pulling the roots and fresh produce, people across all strata festivals, parades, dancing and often religious out of the ground. It’s about celebrating a of race, income and geography want deli- traditions. time of year, the fruits of your labor, and about cious and nutritious food to eat. Temporary

agriCULTURE | Page 37 PROJECTS TO KNOW ABOUT

Here are some of the many using them to make wine like these other two mentals. The program brings meaning to the harvesting, cooking, celebrating previous examples, certainly, both amateur process of preparing, cooking, and sharing a and professional winemaking are popular here. meal together. FEEST also trains adults to run and sharing projects happening in similar programs. Seattle and abroad to inspire new art Canning Food, Jellies and Preserve: The projects and artistic partnerships. first annual Seattle Barter Fair of 2012, held Seattle Chefs Collaborative: This organization at Seattle University, included a jam and informs chefs about purchasing food locally jelly tasting competition.25 Beginning in 1935 and supporting both a local and sustainable HARVESTING and funded through the WPA, the State of food system.27 Washington operated cooperative canneries City Fruit Gleaning and Cider Pressing: in Kirkland and Kent that helped individuals to CELEBRATING City Fruit, a Seattle organization that can their own produce. 26 gleans fruit to give to food banks, teams Harvest Festivals: The Cascade Harvest up with Bradner Gardens Park each year in COOKING Coalition lists numerous local harvest festivals the fall to host a Cider Pressing. in Seattle and throughout the region. Harvest Cooking Classes: Seattleites can take time is a great time to take part in farm tours Urban Winemaking: In Paris, a neighbor- advantage of cooking classes offered that often have activities such as harvest hood-based historic and viticultural society through local community colleges like Seattle markets, educational displays, chef demon- called Le Vieux Montmartre tends and Central, and one-time classes through PCC strations, corn and hay mazes, pumpkin harvests grapes, their work culminating in Markets and Whole Foods Markets. Seattle’s patches, hay rides, food and music. Seattle a public festival each October.23 The orga- Garfield Community Center and South Park Tilth’s decades old Harvest Festival, origi- nization, Food from the Sky London, has Community Center offer cooking classes for nally intended to bring the produce of local, created an Urban Wine Company where youth. organic farmers to the Seattle market, has individual contributors harvest their grapes shifted to focus more on education and local on a set day, and come together to make Southwest Seattle’s FEEST: a youth-led food networks. The West Seattle Junction wine that is later distributed evenly among cooking program, holds weekly dinners where Merchants hosted a popular harvest event in the contributors.24 While we have not heard adults act as mentors answering questions October 2012.28 of groups growing grapes in Seattle and about cooking techniques and other funda-

Page 38 | agriCULTURE Banquets and Celebrations: Both commu- orchards through its Orchard Stewards nity gardens and local farms use annual program, a public-private partnership with celebrations to fundraise. Picardo P-Patch City Fruit whose volunteers collect the fruit hosts Picardo Paella, Bradner Gardens to distribute to food banks. In 2012, City hosts Blues for Food, Interbay P-Patch has Fruit harvested 18,414 pounds of edible hosted a salmon barbeque. Open air dining fruit, and Community Fruit Tree Harvest is fun and it helps draw the surrounding (a program of Solid Ground’s Lettuce community into the garden. Link) harvested 13,200 pounds for a total contribution of more than 31,000 pounds SHARING delivered to 32 organizations that support Cooking at FEEST (Courtesy of FEEST) low-income residents of Seattle.29,30 Giving Garden Programs: The majority of Seattle’s P-Patch commu- The Seattle Potluck: Popular in both nity gardens participate in the Giving private homes and in community gardens, Garden program. Each garden sets aside potlucks are an easy way to bring people a specific area that is gardened by volun- together around food. Aside from fantas- teers, and the produce is given to local tic puppets and music, the Fremont Art food banks. Council’s Winter Solstice Feast is an annual potluck feast where hundreds of Community Fruit Harvest: Seattle Parks people contribute dishes.31 & Recreation manages several urban

Dinner at FEEST (Courtesy of Seattle Times)

Interbay P-Patch Giving Garden Apple Harvest Blues for Food

agriCULTURE | Page 39 PLACE TYPOLOGIES

Harvesting, cooking, celebrating and shar- cooking classes with a focus on classes for ing food all happen routinely in Seattle at youth and incorporates food grown from their numerous public locations including commu- own community garden. nity centers, community gardens, farmer’s markets and other public venues. Community development associations (CDAs) operating as private non-profits also run West Seattle Farmer’s Market, Community Gardens & Orchards community centers with similar amenities Courtesy Seattle Blogger Tove Tupper Food is harvested where it’s grown, so and classes. FEEST (Food Empowerment community gardens are natural places to Education and Sustainability Team) oper- harvest the food, distribute and share it, cook, ates a youth-led cooking program through and celebrate together. In this way, commu- the White Center Community Development nity gardens are the heart of many communi- Association.32 Opportunities may also exist to ties. Most community gardens, particularly pair youth cooking classes with arts classes large ones, have gathering areas where annu- culminating in a coordinated event. al events can be held. While these events often include food, no community garden Farmer’s Markets has a commercial kitchen, so barbeques and Seattle’s seven neighborhood farmer’s other portable cooking apparatus must be markets offer city dwellers a chance to buy brought in on a temporary basis. Most annual local produce directly from the farmer.33 This Garfield Community Center Garden, events include music performances, but creates a direct relationship between city Courtesy Laurel Mercury there is room to expand the variety of artists dwellers and rural farmers, and offers an contributing to these events. opportunity for farmers to educate eaters about the food they grow for them, as well as Community Centers the trials and tribulations of working in farm- Seattle Parks & Recreation operates twenty- ing. Farmer’s Markets use visual artists and six community centers; many offer cooking graphic designers in creating promotional classes and other do-it-yourself classes and materials, and employ performing artists when are equipped with professional kitchens. Each markets are open. Musicians create a lively community center plans its own program- atmosphere, and patrons visit markets for the ming, so class offerings vary from center to experience as much as the shopping. center. Garfield Community Center offers Banquet in the Rain at Interbay P-Patch,Courtesy Jim Diers

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Flight Path, 2013, Photo: Rod Hatfield Page 44 | agriCULTURE 4. FOSTERING HABITAT FOR BENEFICIAL SPECIES Concept: Hold a visual place for beneficial species in urban landscapes through art, while leaving them minimally disturbed.

URBAN AGRICULTURE ACTIVITY DESCRIPTION

Most agricultural landscapes have some Besides providing a home for beneficial kinds of birds live in these trees” space that is not under cultivation and not insects, Prechtel suggests that plant diver- “What would the city be like if we left?” wild either, it’s the space between, what sity benefits from cross-pollination with author Martín Prechtel calls, “the veld— semi-wild species.40 In 1924, Rudolf Steiner Visit Magnuson Park in the summer, and you sacred, feral land.”39 It’s odd to think of these gave eight lectures about the Biodynamic will find people lying in the tall grass, picking places as “sacred” since mainstream society Method that were later translated into the blackberries, and cutting a new path through places so little value on them, places like book, Agriculture Course: The Birth of the an abandoned apple orchard. This untended hedgerows, untended orchards, and vacant Biodynamic Method. At that time, he notes space is the landscape of daydreaming. It’s lots colonized by weeds. the loss of vigor, of actual protein content, in familiar and wild at the same time, and that wheat.41 Wheat is just one example, but to makes it perhaps more mentally accessible Yet, these edges are some of the few remain- maintain vigor over time, plants must cross- for us than some ostensibly wild spaces. ing places that offer habitat for those species pollinate. The veld provides a place for these that still try to make their homes next to other food species to exist while not specifi- These spaces provide both venue and inspi- human activity. Monarch butterflies, for cally under cultivation, and allows for a small ration for a growing number of artists working instance, need Milkweed, commonly found but significant source of cross-pollination. in ecological art, those using natural materials in these leftover places to survive. In fact, all in-situ, and those working in site-specific art sorts of beneficial insects find sanctuary in Finally, the veld provides a home for our and ephemeral art not to mention perform- these untended places, free of pesticides and imaginations. It leaves us wondering: “Was ing artists whose work draws attention to the often rich in plant diversity. this once an orchard, a mowed field?” “What landscape without leaving a trace.

agriCULTURE | Page 45 not been thought put into where to accom- corridors could create a complete urban PLACE TYPOLOGIES modate them. In addition, since they have not ecosystem for beneficial species resulting in been considered early on, to include them at much richer food production citywide. Seattle has numerous opportunities to create, a later stage may require additional mainte- preserve and enhance places that could nance that can be costly, but could have been Right-of-Way Planting Strips serve as habitat for beneficial species. New avoided if planned upfront. Instead, projects The planting strip is typically located in the construction and redevelopment, public parks considered upfront can be part of an annual street right-of-way between the sidewalk and green spaces, street right-of-ways, and maintenance plan and can occur annually. and the street. This is the area where street some programs on residential property all trees are planted, and in Seattle there are a offer potential to create unique works that Public Parks and Green Spaces variety of ways that people plant and use this engage the public and enhance habitat for Public parks and green spaces offer exten- area. While some people raise vegetables in beneficial species. sive land for beneficial species, particularly if these strips, they are prone to theft, animal they are managed without the use of chemi- defecation, and pollution from their proxim- New Construction & Redevelopment cal pesticides and herbicides. Seattle Parks ity to the roadway.44 Therefore, they may be As Seattle’s real estate develops, fewer and Recreation manages 22 parks without better suited to providing a habitat corridor for untended places are left, and providing habi- pesticides, and 14 of those since 2001.42 beneficial species that support food produc- tat for beneficial species becomes increas- In addition, the tree canopy found in larger tion throughout the city. Projects where the ingly critical. As the city develops and rede- parks offers habitat to numerous species, property owner or homeowner participates in velops its properties, care should be taken to and is an essential component of a func- the creation and maintenance of the work are examine the land for its existing habitat value tioning urban ecosystem. Seattle Parks and likely to be most successful. and find ways to replace that value within Recreation supports numerous environmental the developed landscape. Project managers stewardship activities, in fact, two of the four Residential Properties seeking creative solutions to including the type goals of Parks’ Good Food Program are to Seattle Public Utilities’ RainWise program of untended landscapes that provide habi- steward parklands for long-term sustainability encourages home owners to establish rain tat value would benefit from including artists and to increase environmental stewardship gardens by providing information and finan- interested in the urban ecology on their project through its food system programs.43 cial incentives.45 Rain gardens help detain teams early in the design process. Artists may and control stormwater. Rain gardens could find creative ways to incorporate plants need- Smaller pocket parks like those managed by also function as habitat for beneficial species. ed by beneficial species that are not commonly SDOT also provide opportunities for habitat, While opportunities to include art are limited, used in landscape architecture palettes. and could be good opportunities to include artists could be included as part of a design bat or birdhouses, honey or mason bee hives team creating replicable rain garden designs Temporary and ephemeral art are often highly because of lack of conflict with other uses. for residential landscapes. compatible with these places, but require Art projects that incorporated these houses, consideration for their inclusion upfront. or somehow enhanced habitat would be These types of projects are often not selected a good fit for these spaces. Projects that later in a design process, because there has connect parks and green spaces by urban

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UpGarden P-Patch, Eric Higbee and Nicole Kistler as Kistler|Higbee Cahoot (Courtesy of Eric Higbee, 2012) 5. INNOVATING IN URBAN AGRICULTURE Concept: Forge new visions for growing food in the urban context by engaging artists and supporting multi-disciplinary projects.

URBAN AGRICULTURE ACTIVITY DESCRIPTION

While growing all of the food consumed by organic food growing in an old warehouse, lighting systems like pink houses and inven- city dwellers in the city poses practical limita- like grass growing out of a crack in the tions like the Omega Carousel and low-cost tions, the limited distance from urban farm sidewalk, is symbolically hopeful that we can solar arrays make growing plants indoors to table offers a compelling reason to grow overcome our environmental shortcomings. energy efficient as well.51 as much as practical. Historical examples suggest that the application of intensive grow- Developments in water and energy efficiency As we look for news ways to efficiently grow ing methods and innovative thinking could make the vision for this future possible. food in the city, we will have to experiment to boost urban agricultural production. The most Hydroponic systems, delivering nutrients to see what will work and where. The ability to obvious practical limitation is the lack of avail- plant roots through a cycling water system, think “outside the box” is key to the success able land to grow food. and aeroponics, applying a fine mist of water of this new endeavor. Artists are proven lead- and nutrients to plant root systems sealed ers in the area of creative repurposing and Creatively repurposing old buildings, industrial in plastic, are up to 70% more efficient that experimentation, which are natural outcomes machinery, salvaged building materials, and irrigated fields.50 Aquaculture, farming fish in of the creative process.They are well suited to other castoffs into places to grow and prepare tanks and using the nutrients in the water to work in multi-disciplinary teams to imagine a food transforms things seen as urban blight feed plants, and other closed-loop systems new urban future. into something beautiful. The vision of healthy, mean no pollution is produced. New LED

agriCULTURE | Page 51 OLD NEWS

Intensive food production in cities is nothing new.The cities of Paris and Havana have both historically grown food intensively to feed their residents. People from a variety of back- grounds and disciplines have been dreaming up innovative ways to grow food in cities, and new ways to farm in our public spaces. These inspiring examples illuminate a way forward and give artists a foundation to build upon.

URBAN AGRICULTURE IN PARIS AND HAVANA The Plant, Chicago, Courtesy of The Plant In the last half of the 19th century, Paris’s third and fourth arrondissements were the marais, or swamp. This area—about a sixth of the area of Paris at the time—was under intensive agricultural production. Paris’s maraichers, 85,000 urban farmers, were growing 100,000 tons of vegetables annually on 3,500 acres of land in the city.52 Havana, Cuba, having lost its abil- ity to import food when the Soviet market for sugar cane led to Cuban economic collapse in 1993, has nurtured a bountiful urban agricultural program harvesting over a half a million tons of organic food annually. 53 It should be noted that while both these systems produced an extraordinary amount of food in an urban environment, neither produced enough food to feed the population exclusively. While Paris benefited from its proximity to rural farms then and now, Cubans continue to go hungry.

REPURPOSING BUILDINGS AS CLOSED-LOOP FOOD SYSTEMS In 1984, John and Nancy Jack Todd published their forward-thinking book, Bioshelters, Grow Lights on Lettuce at The Plant Ocean Arks, City Farming: Ecology as the Basis of Design. The book lays out a framework for designing urban ecological systems based on observing natural systems. Creating closed loop cycles by capturing nutrients produced by aquaculture, sewage, and food waste to grow plants and help heat buildings is a core concept. Some ideas put forward include: drum composters, rooftop gardens, bioshelter parks, aquaculture integrated into mundane streetscapes like bus shelters, and the vertical farming concept called “warehouse farm company.”54 The Todds suggest,“The renaissance of urban agriculture may find its fullest flowering in the conversion of old warehouses and factories in down-at-the-heels sections of older cities and mill towns. One strategy for a badly lit multi-story warehouse or factory is to cover the roof with a full array of solar cells.” 55 Creatively repurposing old buildings and industrial junk is finding success at The Plant in Chicago led by John Edel (an artist gone innovative developer) and in Toronto by Jonathan Woods of FoodShare. 56 Dragonfly, Vincent Callebaut, Courtesy of Vincent Callebaut Architects

Page 52 | agriCULTURE PLACE TYPOLOGIES

In cities like Seattle, where land is at a Rooftop Gardens premium, people are increasingly growing Seattle’s rooftops offer open space where food in a whole host of creative and original food can be grown in a variety of ways. While ways. Unlike cities with vast unused industrial most existing buildings require a structural buildings like Chicago and Detroit, Seattle’s retrofit to accommodate the added weight manufacturing and industrial spaces rent at a of growing food, hydroponic and aeroponic premium. The scarcity of these types of build- gardening are sometimes light enough to International Park[ing] Day©, Rebar Group, Inc. ings means that urban farmers in Seattle have operate without a structural retrofit. These to look at places like rooftops or street right- systems and their apparatus offer some of-way to locate new projects. interesting forms for artists to work with, and an arts vision would be a welcome addition Balcony gardens, container gardens, park- to the development of these projects atop ing strip planter gardens, vertical gardens buildings as they can be seen from numerous and rooftop gardens are all examples where vantage points. people have used their creativity to create remarkably productive gardens in small Seattle’s UpGarden is the first publicly acces- spaces. Gardens can even be temporary or sible, rooftop community garden in the U.S. mobile, like the Seattle Truck Farm.57 Designed by Kistler | Higbee Cahoot in 2012, and managed by the P-Patch Community The two most significant place typologies for Gardening Program, the project repurposes International Park[ing] Day©, Rebar Group, Inc. Seattle include Parklets and rooftop gardens. the roof of the Mercer Street parking garage at Seattle Center. Parklets Inspired by International Park[ing] Day© Unforeseen Locations (discussed as a precedent on the next page), Parklets and rooftop gardens are place typol- Seattle Department of Transportation (SDOT) ogies with demonstrated success in urban permits the transformation and use of park- environments. It’s important as we progress ing spaces on a permanent basis. SDOT will and try out new ideas that city government begin issuing permits for Parklets on a trial allow flexibility for pilot projects that might basis for the downtown neighborhood begin- also prove fruitful in providing new places to ning in 2013. grow food in the city. Farmacy, Natalie Jeremijenko, 2011

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Seattle Tilth Chilrden’s Program with Lisa Taylor 6. MENTORING: CREATING A LIVING AGRICULTURAL LANGUAGE Concept: Foster a living agricultural language through the dialogue and storytelling that many artistic practices provide, and infuse urban agricultural education programs with art.

URBAN AGRICULTURE ACTIVITY DESCRIPTION

Creating a living agricultural language begins intention and ritual behind what we do.This is new seeds sprout, your hens lay eggs, and by practicing agricultural traditions ourselves something that many educational programs you harvest potatoes. You build a daily and and teaching them to others through informal already do. Ritual does not have to be elabo- seasonal rhythm as you spend time outside, mentorship and formal educational programs. rate or mystical. Maybe it begins when we put and match your work with the seasons. This Most city dwellers are not agricultural a seed in the ground and make a wish that experience changes our point of view, and will officianatos. As we discover how to grow, it grow strong and provide us with delicious eventually shape our society. eat and celebrate food in the city, we should fruits. Before we eat we can give thanks for respectfully reach out to rural farmers, the people, the weather, whatever we think is How do we include those who are not inter- immigrant farmers, and native peoples who significant for bringing us the food. Before we ested in growing food or cooking? Public have retained a cultural knowledge of growing begin a work party, we can check in on some- events, art installations and performances food, as well as the spiritual and meaningful thing fun everyone did during the weekend, that highlight the abundant diversity of fruits traditions that go along with it. That and stretch. A ritual can be throwing a party and vegetables grown in the city, diversity of knowledge can inform how we shape a new at the end of the harvest each year—include food cooked, and new methods of gardening set of cultural traditions that have meaning in puppets, a parade and music, then that and raising livestock in the city will continue our communities. celebration will be richer. to entice a new group of people to try out growing food for themselves. As we work with the land, with the food, and Working the land imparts a natural sense with each other, we can begin to develop of wonder that shapes the language of our a new culture of food by putting conscious experience; you watch a miracle unfold as

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Seattle has a wealth of places where people there including the Marra family. Common arts and culture into the sites they manage of all ages can learn about growing food Ground’s Lettuce Link program manages a and programs they administer.Both Seattle organically in the city including urban farms, portion of the property (¾ acre) as an urban Tilth and Common Ground cite the need to learning gardens and school gardens. farm for production of vegetables to supply expand the audience for their programs and a local food banks, while the rest of the prop- desire to bring more attention to these special Urban Farms erty is managed as both a park and P-Patch. places while also endeavoring to imbue Seattle has two publicly owned urban farms Lettuce Link’s volunteer-based program their programs with a cultural and ecological on Seattle Parks & Recreation property that provides food production education to its connection to place. are each managed by independent non-profits volunteers and though classes including a with food production and education as prima- children’s gardening program associated with Performing arts like storytelling, music, ry goals: Marra Farm managed by Common neighboring Concord Elementary. theater, puppetry, and dance all lend them- Ground’s Lettuce Link Program since 2000, selves to educational programming, make and Rainier Beach Urban Farm and Wetlands Rainier Beach Urban Farm and Wetlands is learning fun, and would expand farm educa- managed by Seattle Tilth Association (Tilth) composed of 10 acres of fields, greenhouses tion from learning the mechanics of growing in partnership with the Friends of Rainier and wetlands producing blueberries, annual plants to creating a new Seattle farm culture. Beach Urban Farm since 2012. Seattle Youth crops and perennials.In addition to provid- Visual arts can also be incorporated into farm Garden Works, a project of Seattle Tilth, oper- ing management of this facility, Seattle Tilth education, and can further enhance the site. ates an urban farm and youth employment Association runs farm education programs Certainly, visual arts can be integrated into program on University of Washington prop- for adults and youth. The City has funded gateways, signage and other relatively func- erty. Numerous private urban farms are also significant improvements through the Seattle tional components of the site, but they can in operation throughout the city, most running Parks and Green Space Levy, as the property also create interest in restoring the landscape on a Community Supported Agriculture (CSA) transitions from the Atlantic City Nursery to and helping people explore and look closer. model selling produce on a subscription an urban learning farm and demonstration While most of the land is dedicated to farming basis.63,64,65 Only the two urban farms on city wetland restoration site. crops, areas like the wetlands could become property are discussed further. interesting places to implement or site ecolog- These publicly-owned farms and relatively ical art. Artists engaged in creating work for Marra-Desimone Park preserves the 4-acre, new programs would benefit from an arts the site as a whole could produce unique historic Marra Farm in Seattle’s South Park and culture component. While these farms works not seen elsewhere in the city. Bringing neighborhood. Located in the floodplain of the are managed by independent non-profits, visual and performing artists into the gardens Duwamish River, South Park’s rich soil histori- each organization eagerly seeks ideas and for events could make them fun destinations, cally drew numerous farmers that settled partnership opportunities for incorporating drawing people not only from the surrounding neighborhood, but the city as a whole.

Page 58 | agriCULTURE Learning Gardens ing tool to some degree. The State’s Master Several non-profit and volunteer groups main- Gardeners program also runs a demonstration tain edible learning gardens on Seattle Parks garden adjacent to the Picardo P-Patch in the & Recreation properties. In addition to its Wedgewood neighborhood, though it does not urban farm projects, Seattle Tilth Association incorporate art. manages organic learning gardens for both children and adults at the Good Shepherd School Gardens Center in Wallingford, and also teaches at Individual teachers, parents and after-school Bradner Gardens Park (Bradner’s Children’s programs at both public and private schools Garden is managed by neighborhood volun- throughout Seattle operate gardens on their teers and available to a variety of groups). The property for students to learn how to grow Seattle Tilth Children’s Program Staff arts play a key role in making learning fun and food. Essential to making these programs connecting participants to growing food and successful are school administrators, faculty appreciating our natural resources. Whimsical and staff dedicated to integrating school scarecrows, signage and trellises help make gardens within the regular school day. These these places fun and interesting. Permanent schools tend to have more sizeable and well- work at the Good Shepherd Center includes developed gardens. a cobblestone pathway and spiral swale by Ted Jensen (1986), a metal Birch sculpture, Some schools also provide arts education mosaics, and a “PEACE” banner. Musicians by bringing independent teaching artists into play at Seattle Tilth’s Harvest Festival annu- their schools. ArtsCorps is an organization ally, and music plays a significant role in Tilth’s that brings teaching artists to local schools children’s programming. by placing artists in classrooms and helping to develop new arts education programs.67 Child Play Tractor at Bradner Children’s Garden The Magnuson Community Garden at Sand Coyote Central is another arts organization Point features a children’s garden with varied operating primarily in the Central District that terrain, sculptures, and a covered area in delivers afterschool art programs for youth. addition to garden beds. Seattle Children’s Combining the curriculum of existing school Playgarden has a large garden, wetland gardening programs with arts education could area, play areas, and indoor classroom all enrich both endeavors and would be a great designed to offer equal access to children first-step in incorporating this kind of program- of all abilities.66 Art is integrated throughout ming in Seattle schools. the site, and seems to be used as a teach-

Whale Tail at Magnuson Children’s Garden

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Blushing Orchards, Nicole Kistler, 2013, Seattle Tilth Learning Gardens at Meridian Park

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This art plan has made recommendations for INITIAL PILOT PROJECT: variety of colors. specific art projects. The success of these BLUSHING ORCHARDS projects depends on funding, partners and The project focuses on the urban agricultural locations that have also been identified. Identified as an underutilized, public venue activity of growing food and supports the for art, four Seattle orchards participated in strategies of: one, expanding the audience To test the assertions of this plan, the Seattle Blushing Orchards including: The Danny Woo by creating an unusual focal point in the Office of Arts & Culture funded an initial pilot Gardens, Magnuson Community Orchard, garden most passersby are unfamiliar with; project called Blushing Orchards, installed Seattle Tilth’s Learning Gardens at the Good two, building dialogue among those already in the spring of 2013. We describe the Shepherd Center and Meridian Park; and involved in urban agriculture by relying on project and its outcomes here. In addition Bradner Gardens Park. volunteers to apply the footies; and three, to the recommendations made for specific built leadership in the arts and empower citi- urban agricultural activities, this section Seattle’s apple trees suffer from tree pests zens by providing a one-on-one experience contains recommendations specific to overall like coddling moths and apple maggots. with a local artist and providing hands-on implementation of this plan and its success. When the apples are still small, the apples are experience implementing a replicable project. thinned and nylon barriers called “foot socks” Since funding through 1% for Art has limita- or “footies” are applied to young apples to This project also provides an example of how tions, implementation of the plan depends on protect them from these pests. As the apples one art project can create partnerships on the development of community partnerships grow the footies stretch around them. Not a particular subject and promote dialogue with a focus on engaging both artists and arts only does it directly protect the fruit, the foot- about urban agricultural growing techniques advocates from the community. In its first two ies reduce the total number of pests, in turn throughout the city. Blushing Orchards was years, implementation relies on the continued affecting fewer uncovered fruits. made possible though funding by the Seattle work of the Artist-in-Residence for Urban Office of Arts & Culture and Seattle Parks Agriculture, who has developed community For Blushing Orchards, the footies were and Recreation and the support of project support by engaging stakeholders directly in dyed in rainbow colors with food-safe dye partners including the Seattle Department this planning process so that the result echos instead of the normal beige. Based on color of Neighborhoods P-Patch Community stakholders’ dreams and wishes. The Artist- theory, each hue is intended to illicit a differ- Gardening Program, City Fruit, InterIm CDA, in-Residence will promote the plan, introduce ent mood. As people walk along and look Seattle Tilth Association, the Seattle Tree Fruit pilot projects, further develop programs, into the trees, they might notice how each Society, and Friends of Bradner Gardens Park. and shepherd artworks created by others. In color makes them feel. The orchard stewards subsequent years, plan implementation shifts andvolunteers that applied the footies agreed soley to project implementation. that it was much more fun to work with a

agriCULTURE | Page 63 CONTINUE THE ARTIST-IN- 2. CREATE AN agriCULTURE 4. SHEPHERD THE WORK OF OTHERS RESIDENCE POSITION HANDBOOK Besides completing pilot projects initiated by A handbook with guidelines and best prac- the Artist-in-Residence, this person should Continue to have a citywide Artist-in- tices for artists working with P-Patch commu- also help connect artists with urban agricul- Residence for Urban Agriculture position to nity gardens and other property owners turalists who want to engage artists in their complete pilot projects and shepherd projects in urban agriculture will help smooth the work. The many departments involved in by others for the first two years. Some specif- process of completing new projects. The urban agriculture and the associated funding ic roles and responsibilities include: handbook should establish roles and respon- processes can be difficult to navigate. The sibilities of both the artist and neighborhood Artist-in-Residence working as an advocate 1. WORK AS INTER-DEPARTMENTAL group (or project manager if no art adminis- could help move projects along in the right LIASON trator is involved.) In addition, the handbook direction, and increase work created on the Unlike other arts plans with embedded artists should be a tool for those interested in advo- topic of urban agriculture. in one department, activities of urban agricul- cating for art in urban agricultural places by ture affect numerous departments. Therefore, providing best practices, for example, meth- In this role, the Artist-in-Residence would a liason that understands the goals and ods for selecting artists, promoting projects, make presentations on the content of this opportunities of both OAC and other depart- and considering project maintenance. Topics plan to city staff, to community gardeners and ments with an interest in urban agriculture is could also include city and outside funding urban agricuturalists, and to artists and arts essential in moving the plan and its associ- sources, and choosing materials compatible organizations to promote the ideas generated ated projects forward. with sites where food is grown (and those not through the planning process and encourage compatible). proposals for new work. Since the majority of the City’s property hold- ings in urban agriculture are managed through 3. IMPLEMENT PILOT PROJECTS 5. CREATE A PUBLICATION Department of Neighborhoods P-Patch The Artist-in-Residence should carry out a Seattle Office of Arts & Culture should Community Gardening Program, recommen- range of pilot projects that demonstrate the support the research, writing, and publishing dations are split between the types of projects goals, principles and strategies of the plan. of a blog and book documenting the arts and and activities that OAC would fund, and those These projects should be participatory in culture of urban agriculture in Seattle and in of interest DON or neighborhood groups.For nature, and should work to promote urban several other major U.S. cities. Our culture example, OAC would fund the creation and agriculture, foster greater meaning of urban of urban agriculture is rapidly growing and artistic vision of an independent artist or artist agricultural activities, and provide visibility evolving. In fact, of the twenty distinct proj- group, while DON funds the creation of art as for city programs in urban agriculture and ect precedents in this plan, twelve date just it is initiated through a community process. public art. from the last three years and only two date DON would fund architecture and design proj- from before 2000. ects undertaken by the community, and OAC would not.

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1 Prechtel, 2012, p 350 2 Department of Neighborhoods reports 3,050 plots held with an average of 2.3 people tending each plot. 3 http://www.seattle.gov/neighborhoods/ppatch/ 4 http://en.wikipedia.org/wiki/Wassailing 5 http://www.heavenandearthexhibition.org 6 http://www.naturecapitale.com 7 http://growdatyouthfarm.org/tag/david-mcclelland/ 8 http://www.westseattlebeegarden.com 9 http://savebellevuechickens.weebly.com 10 http://backyardbarter.org 11 http://www.seattlebeaconhillgardenclub.org 12 http://breadlinepoetry.com 13 Hawthorne, 2012 14 Klindienst, 2006, p 13 15 Allen, 2012, p 118 16 http://www.divethefilm.com/facts-about-food-waste.aspx 17 (www.mnn.com/your-home/organic-farming-gardening/stories/a-glorious-gallery-of-rot-compost-as-art, A Glorious Gallery of Rot: Compost as Art, Chris Baskind, 3/22/2010) 18 Real Dirt on Farmer John 19 http://www.pbs.org/independentlens/dirt-the-movie/film.html 20 Hou, 2009, p 12 21 Thorness, 2002 Seattle P-I, 9/30/2002 Bill Thorness 22 O’Neill, 2001 23 Cockrall-King, 2012 24 Cockrall-King, 2012 25 backyardbarter.org 26 www.kirklandviews.com/archives/18188 27 http://seattlechefs.org 28 www.cascadeharvest.org/community/harvest-celebrations 29 cityfruit.org 30 www.solid-ground.org 31 http://www.seattleatheists.org/2009/11/11/winter-solstice-potluck-dinner-2/ 32 feestseattle.wordpress.com 33 http://www.seattlefarmersmarkets.org

agriCULTURE | Page 65 34 http://www.vegetableorchestra.org 35 http://jenniferrubell.com 36 http://www.industrialharvest.com 37 http://lightbox.s481.sureserver.com 38 Rochielle, 2012, pp 40-42 39 Prechtel, 2012, p 327 40 Prechtel, 2012, p 325 41 Steiner, 2004, p5 42 http://www.seattle.gov/parks/horticulture/pesticide.htm 43 http://www.seattle.gov/parks/goodfood/default.htm 44 http://www.seattle.gov/util/environmentconservation/mylawngarden/foodgardening/plantingstrips/ 45 http://www.seattle.gov/util/myservices/drainagesewer/projects/greenstormwaterinfrastructure/residentialrainwise/ 46 studiokabuya.com 47 www.pollinatorpathway.com 48 http://commonacre.org/flight-path/ 49 Kastner, 1998, p 163 50 Despommier, 2010 51 Despommier, 2010 Pinkhouses and Omega Carousel? 52 Cockrall-King, 2012, 53 Fox, 2011, p 32 54 Todd, 1984, 55 Ibid 56 www.plantchicago.com 57 http://www.truckfarm.org 58 environmentalhealthclinic.net/farmacy/groups/ag-bag-clinical-trial/activity/feed 59 www.parkingday.org 60 Despommier, 2010 61**www.inhabit.com 62 www.truckfarm.org 63 http://www.solid-ground.org/programs/nutrition/lettuce/pages/default.aspx 64 http://www.seattletilth.org 65 http://www.seattle.gov/parks/projects/atlantic_city/nursery.htm 66 http://www.seattlechildrensplaygarden.org 67 http://www.artscorps.org 68 http://digitalfarmcollective.org 69 http://lightbox.s481.sureserver.com 70 http://edibleschoolyard.org 71 http://feedingthespirit.wordpress.com/projects/muckleshoot-food-sovereignty-project/

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