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New day for the Delaware



Nov. 14

By Alan Jaffe
For PlanPhilly

A new vision for the Central Delaware waterfront, forged over 13 months in more than 200 collaborative, occasionally contentious civic meetings, was formally introduced last night with dramatic flare and some compromise on the most disputed elements.

Inquirer coverage
Metro coverage
Daily Pennsylvanian
 
The proposal to bury a section of I-95 was softened by less drastic options. The dense riverfront street grid was proposed with a nod toward developers’ concerns. And the casinos, the hottest issue, were plotted on the plan – and then dissolved on an alternative map.
 
The audience of about 1,200 at the Pennsylvania Convention Center cheered the proposals and offered a standing ovation to the concluding video fly-over, a time-warp that transformed the current waterfront into an active, thriving scene of green spaces and well-balanced development and communities.
 
Public reaction


Approval for the plan, which was coordinated by PennPraxis, the clinical arm of the design department at the University of Pennsylvania, came from nearly every front. Mayor Street lauded the process for engaging the river ward communities and taking on a challenge that has eluded the city for decades. Michael DiBerardinis, secretary of the state Department of Conservation and Natural Resources, called the Civic Vision “meaningful and important.” Riverfront developer Bart Blatstein said the plan is “a great start.”
 
Dissenting voices in the audience condemned any allowance for casinos, intermittently disrupting the presentation by PennPraxis executive director Harris Steinberg, who has guided the Civic Vision through several combative meetings. Outside the Convention  Center, a six-foot skunk urged people to wear clothespins to show their displeasure with the Foxwoods and SugarHouse sites.
 
A panel of government, business and community leaders were invited to respond to the presentation, and they lent their support to most aspects of the plan. But there was a clash over the issue of funding a major I-95 reconfiguration. Rina Cutler, deputy secretary at PennDot, warned that an estimated $10 billion needed to depress the interstate at Penn’s Landing would be hard, if not impossible, to raise. Mayor Street disagreed. Initial response to large projects is always negative, Street said, but “there is plenty of money” if the public says “this is the priority.”
 
Overall, the evening was upbeat, congratulatory, and very hopeful.


Councilman Frank DiCicco, whose constituents’ fears of waterfront gaming sparked his suggestion that the city create a master plan for the Central Delaware, said the unveiling last night was “the highlight of my political career.” He thanked the William Penn Foundation for providing more than $1.6 million for this first phase of the waterfront process. He also credited Street for signing the executive order in October 2006 that charged PennPraxis with leading the effort. 
 

The mayor noted that “plan after plan failed” to make the best use of the 13-acre parcel on the Center City riverfront. “The thing that should distinguish this report from other studies is you,” he told the audience last night. “We never had this kind of community engagement” in the process before, and “what will deter it from sitting on a shelf is you not letting it happen.”
 
With just over 50 days left in his term, he urged that the plan more forward with the formation of an organization that will take up the banner and “ensure that this work has not been done in vain.”
 
Steinberg then took the podium to present the culmination of his team’s year-long labor in an eloquent, 30-minute sales pitch. With archival, contemporary and conceptual images of the waterfront beamed on two screens flanking him, and on screens in an adjoining hall for the overflow crowd, Steinberg emphasized the historical and regional context of the Central Delaware -- from William Penn’s arrival, through the riverfront’s industrial dominance, through the traffic-jammed state of things today. The initial question was, “how do we create a framework for growth?” he said.
 

PennPraxis conferred with elected officials and every civic group with a stake in the waterfront so that the “pinheads from Penn,” as he heard one resident describe his team, “would not impose their image on the waterfront.”
 

The planners relied on the values expressed by residents in that series of meetings, and on the best practices for riverfront redevelopment accomplished in Chicago, New York, San Francisco, Milwaukee and Hoboken. “Man, if we can’t beat Hoboken,” Steinberg laughed.
 
What the Philadelphia team came up with was three frameworks based on movement, open space, and development.
 

Movement refers to connections across and beneath I-95 to the river, a street grid that replicates the feeling of Center City life on the waterfront, and a north-south urban boulevard.
 
A reborn Delaware Boulevard, the “spine” of the riverfront, would mean keeping a six-lane avenue for now, but eventually “skinnying up” the current road to allow for a light-rail or other mass transit line down the center.
 
The street grid would recall the 17th-century template designed by William Penn “which has guided our identity,” Steinberg said. “We need to think about extending that to the river,” not only to disperse traffic, but also as “the connective tissue” that links land parcels.
 

The audience applauded the Civic Plan’s suggestion that Septa and Patco lines be linked on a reinvented waterfront. Water ferries and water taxis are also part of the plan, as opposed to a Camden-Philadelphia tram that links the two cities.
 
Turning to the high-profile proposal of burying I-95 to reclaim the Penn’s Landing area, Steinberg offered a conciliatory tone. “Is there a way to sink it? I don’t know. There is lots more study to be done. It is something that the plan doesn’t live or die on.
 
“But if we don’t start thinking about it,” he said, “Philadelphia will miss the boat to capitalize on that potential.”
 
The open space framework in the Civic Vision foresees “a great lawn” at Penn’s Landing, “a great democratizing element of the city.”
 
Frankford Avenue and Spring Garden Streets were presented in artist’s drawings transformed into pedestrian-friendly green streets of trees, blooming medians, and bike lanes. The string of parks and open spaces along the Delaware would “do work,” Steinberg said, filtering stormwater and pollutants, and creating wetlands, wildlife habitats, tidal gardens, and a healthier city and river.
 
Land development along the water, and specifically how casinos fit into the plan, has been “the most contentious part of this project,” Steinberg said,
 
“Not an option!” an audience member shouted.
 
“Yes it is!” responded another.
 
“Bull----!” answered the first.
 
Acknowledging the debate, PennPraxis provided two options for those sites on the waterfront plan, with and without the casinos. But Steinberg said the issue is “not about what is there. It’s about how the buildings relate to each other” and surrounding streets, and whether they allow access to the waterfront.
 
Other development issues should be addressed through zoning code reforms, according to the Civic Vision. The street grid plan must be codified and buildings must “meet the street line,” with retail, commercial and “life-affirming” uses, Steinberg said. Tall buildings should be staggered along the landscape to ensure “everyone has light and air and views of the river,” he also said.
 
There is a place on the river for big-box development, too, so long as it is “done more gracefully,” Steinberg said.


The presentation ended with the video, reminiscent of the 1964 World’s Fair ride that looked ahead to the city of the future. The audience was remarkably silent as it was given a glimpse of what Philadelphia could become 50 years from now. When it ended, they rose and applauded the vision.
 
In an official response to the plan, DCNR secretary DiBerardinis, a 30-year resident of Fishtown, said the unveiling of the plan was an “important event for Philadelphia.”
 

A century ago, he said, Pennsylvania stood at a similar crossroads, with its forests decimated and streams polluted by the Industrial Revolution. But some leaders had a vision for the commonwealth that helped save its ecosystems. “We are in a similar moment in this time,” he said. Conservation and sustainable communities will become policy imperatives, and “cities that imagine a waterfront like this are the ones that will succeed,” DiBerardinis said.
 
“The plan is right. The economy of the future will be built around efficiency and sustainability,” he said.

 
To make it happen, the city must build on the collaboration of the community, DiBerardinis continued. There must be consistent city leadership to shepherd the plan forward, and it must move from a vision to a detailed planning process. Strategic investment must be made and leveraged through the local, state and federal governments, he said. And “early victories” should be implemented “so people can see the reality.”
 

Inquirer columnist Chris Satullo moderated the panel discussion that ended the evening, posing his own questions and those from the audience.
 
Blatstein, of Tower Investments, said “planning is not the enemy. The enemy is lack of planning.” He said the Civic Vision has been a “marriage of planners, developers and communities.”
 
Blatstein also said there should be no gated communities along the waterfront and there should be open and free access to the river.
 

Cutler, of PennDot, who was among the supervisors on Boston’s Big Dig project, said Philadelphia should not become too focused on a large I-95 reconstruction. “If we spend years debating if it is possible to bury 95, we will miss the opportunity to rethink what else exists there.”
 

A better choice, she said, might be improved public transit on the waterfront. Because of funding limitations, “we may have to make those choices,” she said.
 
Mayor Street said an ambitious 95 redo can happen. “It will not happen unless we say this is the kind of investment we want from the local and federal government,” he said. That will require the support of surrounding counties, who must also see that a revived city waterfront will benefit their residents. “The biggest deterrent is perceived regional differences,” he said.
 
Steinberg said the next steps in the process will be “early action projects,” such as the blazing of a bike trail from the Pier 70 neighborhood to Penn’s Landing, the restoration of riverfront wetlands, and the release of an implementation guide in the spring.
 
“This is the very beginning,” he said.

Alan Jaffe is a former Philadelphia Inquirer editor. He can be contacted at alanjaffe@mac.com 
  


    Making the case for blending old and new


    Feb. 18

    By Alan Jaffe
    For PlanPhilly
     
    Fernando and Humberto Campana integrate the primitive and the progressive -- the Indian culture of their native Brazil and the modernity of present-day Sao Paolo, the organic materials of their homeland and the industrial products that invaded it.
     
    Their ability to synthesize these contrasting sources was a fitting subject for tonight’s presentation in the Integrated Product Design lecture series in Meyerson Hall at Penn’s School of Design. The series, sponsored by Lisa Roberts, author of “Antiques of the Future,” and her husband David Seltzer, is part of the University of Pennsylvania’s new master’s degree program, an interdisciplinary course of study that utilizes faculty from the schools of design arts, engineering and business. Monday night’s lecture was the third in the series intended to bring renowned industrial designers to the campus.
     
    Roberts explained that she was a fan and owner of several pieces created by the Campana brothers, who use mainly inexpensive, found materials – both indigenous species and recycled products – to craft complex, beautiful designs.
     
    Among her favorites, she said, are the Campanas’ “favela chair,” made of discarded pieces of wood, and the “sushi chair,” which consists of rolled fabrics that are sliced like pieces of sushi.
     
    Humberto, who trained as a lawyer, and Fernando, who studied architecture, have become internationally admired furniture designers whose work is “mass produced, but retains an element of the hand-crafted look, which distinguishes their work,”  Roberts said.
     
    The two brothers presented their lecture together, beginning with a lesson in the art history of Brazil. While everyone in Brazil now speaks Portuguese, the nation is “a big blend of cultures,” Fernando said.
     
    Flashing drawings of early Brazilian Indians preparing to cook and cannibalize a missionary, the Campanas explained that the native and European cultures sometimes clashed.
     
    But those early Indians also produced hand-crafted funeral urns, stools used for prayer and meditation, and huge domes covered with straw that inspired the brothers’ work centuries later.
     
    “Brazil is a melting pot of races,” Fernando said, “but Brazilians did not explore their own culture until the 1930s.”
     
    Artists such as Oscar Niemeyer and Roberto Burle Marx rebelled against European influences and searched for the unique cultural identity of Brazil in their work. “They inspired the modernity of Brazilian art,” Fernando said, and paved the way for other artists to find their roots.
     
    “I wanted to be a Brazilian designer, not any other nationality,” Humberto said.
     
    The brothers began their work with a basket factory that used materials that were native and inexpensive. But they also used materials that were readily available. Humberto purchased a cheap roll of rope, then strung 450 meters of it around a circular chair frame of his own design. They sold just a few of the chairs in Sao Paolo.
     
    But the chair also appeared in a design anthology, and caught the eye of a famous Milan furniture maker. When the manufacturer asked the brothers to send drawings showing how to reproduce the chair, they realized it was to complex for drawings. They sent a video of Humberto winding the rope around the frame.
     
    The rope chair is now included in the collections of the Museum of Modern Art and the Cooper-Hewitt National Design Museum in New York.
     
    “It was our best-seller,” Fernando said.
     
    The brothers’ designs include a “boa sofa,” a series of 12 tubes laced together like intertwined snakes, and a second version that utilizes plush alligator shapes.
     
    One of their better known works is the “multi-doll chair,” which consists of compacted dolls made by young  Brazilian girls. The brothers worked with local communities to help their economy by producing the elements of the chairs.
     
    They have also returned to Portuguese basket-weaving to create a line of furniture made of wicker, which is extracted from the Amazon forest using “eco-friendly” methods, Fernando said. The furniture incorporates contemporary plastics that had replaced wicker for many years. But in the Campanas’ hybrid furniture, the wicker dominates the manmade materials, as if nature was taking back its place in the world.
     
    “In our work,” Humberto said, “we try to investigate what else can be done.”
     
    To view the work of Fernando and Humberto Campana, go to www.campanas.com.br.
    To learn more about the Integrated Product Design Lecture series, go to www.design.upenn.edu. Admission to the lectures is free, but tickets are required; they are available an hour before the start of the program in the lobby of Meyerson Hall.
     
     
    Contact the reporter at alanjaffe@mac.com


     
     
     

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      Center City District "hits the lights"



      Nov. 7
      By Alan Jaffe
      For Plan Philly
       

      The days are getting shorter and the dark hours longer, but Philadelphians were given a few unexpected rays of light tonight.
       

      Five buildings on South Broad Street were illuminated in a pre-holiday festival of visual spectacle, music, food and entertainment. It made the Avenue of the Arts look and feel a bit like Broadway, and offered a hint of what’s planned in 2008, when about a dozen structures will be set aglow in similar fashion.
       

      On Wednesday night, with a Philadelphia Orchestra recording of Beethoven’s Fifth Symphony soaring in the background, Terra Hall, the University of the Arts’ building at Broad and Walnut Streets, was permanently lit with 80 ever-changing LED fixtures, which ran through a rainbow of hues in synchronization with the music.
       


      At the lighting cermony, Paul Levy, president of the Center City District, which coordinated the project, told a crowd of local residents and visitors spilling off the sidewalks and lining Broad Street’s median strip that the current effort follows the 2004 illumination of structures along the Ben Franklin Parkway and the dramatic lighting of City Hall during the 2005 holiday season.
       

      “People kept asking, ‘when are you going to do it again?’” Levy said.
       

      Artlumiere, the French production firm that created the City Hall display, designed the current festival lighting. But Terra Hall, designed by The Lighting Practice, a Philadelphia-based firm, uses a “totally new” technology, Levy said, that is bright, beautiful and ecologically sound. The energy required to light the façade of the 16-story structure for one hour is the same amount used to run the average clothing dryer for an hour, he said.
       

      The other four buildings lit on Wednesday night – the Ritz-Carlton, at Chestnut Street; Merriam Theater, between Locust and Spruce; and UARTs’ Dorrance Hamilton Hall and Anderson Hall, on either side of Broad at Pine Street – will stay on for a month, or longer if the public approves, Levy said. CCD is asking for comment on those buildings and Terra Hall  at lighting@centercityphila.org.
       

      Anderson Hall featured a series of six projections designed by the university’s lighting students, explained UARTs’ new president, Sean Buffington. He said the project represents the campus’ effort to work with its neighbors and the larger community “to transform our environment.”
       

      “Tonight, Philadelphia is the hub of the universe,” Buffington said.
       

      Meryl Levitz, president of the Greater Philadelphia Tourism Marketing Corporation, said the lighting enhances “one of the most beautiful avenues in Philadelphia” and makes Broad Street feel safe, more fun, and more inviting.
       

      Enlivening the evening Wednesday were strolling musical ensembles, many dressed in blinking costumes, including the Joy Unlimited Gospel Choir, the Villanova University Marching Band, Mummertime, the Dixie Kings, the Mark Stinger Band, 60’s Sensation, West Philadelphia Orchestra, and Rumble, the UARTS bucket drummers. Roller-skating performers, jugglers, magicians and stilt walkers and stilt dancers weaved in and out of the crowd. Several Broad Street restaurants set up pavilions for sidewalk snacking.
       

      The lighting of the Ritz-Carlton was a subdued design that emphasized the building’s fluted columns and striking Roman architecture. The least successful lighting on Wednesday night was of the Merriam, where the Toulouse Lautrec-like projection was muddy and uneven.
       

      Jen Eisler, a Center City resident walking her dogs during the festivities, thought the Ritz lighting a little too subtle. “I loved the other pretty ones,” she said, pointing down Broad to the UARTs buildings. “They are really colorful.”
       

      Standing across from Anderson Hall, where the designs included a Modernist geometric design and a giraffe pattern of many shades, Jalen Robinson, age 3, gave his highest rating to the student-created work. His mother, Drisana Robinson, agreed that the abstract patterns were the best on the street.
       

      Preparing food outside the Palm Restaurant was chef Christian Richard, who admired the new lighting of Terra Hall directly across from the Bellevue. The entire South Broad project is a terrific way to bring people into the city, he said. Recent violent events have cast a dark pall over the city, he noted,  “and it’s great that they’ll get to see the nice things about Philadelphia.”
       

      The lighting project is being funded by CCD, Pew Charitable Trusts, William Penn Foundation, Lenfest Group, the state Department of Community and Economic Development, Avenue of the Arts Inc., and the Broad Street property owners.

      Five buildings in black and white and full color

      Ritz-Carlton


      Merriam Theater




      Terra Hall




      Hamilton Hall



      Anderson Hall

      Alan Jaffe is a former Philadelphia Inquirer reporter. Contact him at alanjaffe@mac.com


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