As the city that has fallen on the hardest times (in America, at least), Detroit has the most potential as a proving ground for new solutions. The city is a massive laboratory for urban theorists, developers, and boosters alike. How, many wonder, can Detroit be saved? Or can it be saved at all? Certainly one of the more interesting answers to these questions has come from Tyree Guyton, the man behind the Heidelberg Project, which has appropriated several blocks of the city's near east side into a spectacularly off-the-wall community art project/revitalization effort.
It's certainly not what you'd traditionally refer to as "revitalization," but that's kind of the point. On its website, the Heidelberg Project explains its vision thusly: "The Heidelberg Project envisions neighborhood residents using art to come together to rebuild the structure and fabric of under-resourced communities and to create a way of living that is economically viable, enriches lives, and welcomes all people." What this translates to in the physical environment of Heidelberg Street is a collection of abandoned houses -- and their surroundings -- covered in murals, knick-knacks, mannequins, coins, pie tins, pieces of repurposed trash, stuffed animals, and (literally) just about anything else you could think up. It's like the Watts Towers, but even more organic.
The Heidelberg Project teaches people who live and have grown up in desolate surroundings how they can change the public spaces that make up their neighborhood and how this change can affect them. It serves as an inspiration and a source of hope. So, of course, the city government has tried to kill the project several times. It has demolished a number of homes that were a part of the project on several different occasions, even though Heidelberg Street is an internationally-recognized project that attracts 275,000 visitors each year. As the project's Executive Director, Jenenne Whitman, observes, the fact that the city tried so hard to “squash the project … shows how powerful art can be." Indeed.
In contemporary society, public places themselves are not often thought of as art; actually, they are more often viewed as containers for art. The design of high-end contemporary places is sometimes considered artistically merited, it's true. But the more interesting and subtle artistic expression in the public realm is community usage. The creation of great places, after all, absolutely requires heavy human interaction. This is usually considered a confirmation of the artistic integrity of the place's design, but is it not an art form in and of itself? After all, don't communities transform unplanned spaces into vibrant public places as frequently if not moreso than they do planned places?
The bustle of urban streets and other public spaces in the city is sometimes refered to, quite poetically, as a great pedestrian ballet. And if this is true, it can be logically assumed that, while policy and planning choreograph parts of this ballet, each individual person moving through the city takes part in its choreography by making their own independent choices. People go to parks and plazas and promenades for so many reasons: to eat, to play, to run, to chat, to meet, to dance, to stroll. And by doing so, each person becomes an artist, taking part in the endless urban ballet. Simply to use the city, to exist within it, is a work of art. It's a lovely idea, no?
The Heidelberg Project is a very concrete visual manifestation of this ballet. It teaches the disenfranchised and the isolated how to shape the world around them into something beautiful. In a way, it is the most public kind of public place: the kind where the planned social infrastructure failed, and the people moved in, did what they do, and created something really useful.
The Heidelberg Project
Heidelberg Turns 21 (Model D) (Photo credit)