The Painted Ladies

by Tarah Hodgkinson

A few weeks ago, we decided to take a drive out to Grimsby, a small city on the shore of Lake Ontario for a hike. We found a charming coffee shop, some neat stores, and one of the most interesting examples of community culture I have ever seen. 

We parked our car and strolled through the roundabout and surrounding streets to find several houses in the area painted up in the funky colours of Painted Ladies architecture. Many folks who live in Southwestern Ontario will be familiar with the Painted Ladies. These are a collection of houses that feature wild colour palettes and thematic designs. 

This now popular tourist destination was once a Methodist camp along Lake Ontario. The neighbourhood then transitioned to beach cottages. When the Methodist camp went bankrupt in the early 1900s, the area was replaced with an amusement park. After that closed in the 1930s, the remaining cottages were built up, winterized and decorated to reflect their interesting past. 

Interestingly, homes in the Painted Lady architectural style are not that unusual. Old Victorian and Edwardian houses, or in this case cottages, are repainted in bright colours to enhance their architectural features and embellish their historical heritage.

Other areas of the world also participate in the tradition of painting their houses bright colours including parts of Copenhagen, Ireland, and San Francisco. I would argue that none are as creative, or as individual and unique, like those in Grimsby. 

COMMUNITY CULTURE

What is great about these houses, besides their fun designs, is that they create a community culture. The space is activated and people are present. Neighbours are out talking to each other and visitors to the area. The sense of place is strong and the houses, while equally bold in their colour choices, represent the individual personality of their residences. The curving and narrow road paths reflect a road network that has prioritized walking over cars. The colours are bright, not worn, reflecting that they are often updated and maintained. 

We often speak about the role of second-generation CPTED principles on this blog. These include culture. The Painted Ladies reflect not only a way to activate space (1st generation advanced CPTED), but also bring folks together through a process of constantly building and rebuilding their local sense of place. 

Like the painted intersections in Portland, or the penguin art across Penguin, Australia, these traditions not only build culture but also contribute to socially cohesive neighbourhoods. 

Wounded Knee

Graveyard at Wounded Knee - Entranceway to the past

One of the four principles of Second Generation CPTED explains how neighborhood culture can create a common purpose. That can become the glue that binds people together to work against problems like crime.

Attaching culture to neighborhood safety can be tricky as I discovered this week on a tour of South Dakota. Sociologists say culture is everything beyond genetics passed from one generation to the next. In their view language, religion, values, law, and fashion all fit.

Yet in my experience, it is much more useful for each neighborhood to define its own sense of culture and then build on that common definition. That narrows the list considerably. When that happens music, art, sports, and historical events rise to the surface. One great example is the Intersection Repair programs in Portland.

Another example emerged while I visited an unforgettable and deserted place on the Lakota Pine Ridge Indian Reservation. I'm referring to the haunting, windswept cemetery overlooking the valley when hundreds of Native Americans were slaughtered by 7th Cavalry Regiment in 1890.

I stood looking at the run-down graveyard, where a single faded monument notes the inconceivable tragedy that was Wounded Knee, and I wondered how such a thing happened.

What lesson can such a place tell us about community culture? How can good arise from such evil so long ago? Can a remote, rural place of such political furor offer anything helpful to urban dwellers seeking a cultural touchstone of their own?

Some will say no. Yet I cannot so easily dismiss the lesson of Wounded Knee. It is a lesson worth studying and remembering for its exhibition of human folly. I struggled to make out the fading inscription on the lone monument which recounts the words of Sioux Chief Big Foot "I will stand in peace till my last day comes."

That, more than anything, makes the point of a shared, community culture. At least it should.

Perhaps this is where the truly difficult work of building a community culture begins. Places like Wounded Knee are a warning for civil vigilance - we must not allow prejudice to infect our civility.

As I watch the latest CNN "controversy" about locating a mosque near Ground Zero, I am again reminded this message - standing in peace - is relevant in rural and urban places alike.

Monument at Wounded Knee

Overcoming complexity - A Philadelphia story

Simple solutions to complex problems

CPTED prevents crime by designing defensible space into places - what 1st Generation CPTED calls territoriality. It is a strategy that doesn't always happen with design. It needs help.

Walkability was my theme this past week. A walkable street helps encourage neighborhood vitality, which in turn helps folks take ownership of their public domain. Walkability is the first step towards territoriality and defensible space.

This week I was reminded of another by one of my Philadelphia students in a SafeGrowth course run by the Community Safety Initiatives folks at LISC; The revitalization of public space by citizens.

Betsy Casanas sent me the following story regarding how to do what 2nd Generation CPTED calls culture-making:

Our project is called "Reclaiming Vital Spaces" We have done so much already in the past couple of weeks. We've built 8 new beds with a few guys in an adjudicated program, We've done a workshop with one of the neighboring schools and created permanent art work for the fence with a 3rd grade class. We've just received 2 benches from a neighboring center who is interested in having their kids participate in the garden.

We have organized a group of neighbors to take over several of the boxes and grow there own food. In the coming weeks we will build a steel sculptural fence because we can't afford to buy a real fence. I think this one will be much more amazing anyways. We did get a small grant that will help us buy a tool shed, tools, benches and picnic tables. 


Semilla Arts organizers for social change

How, one wonders, does such a SafeGrowth-like approach ever start in the first place? Betsy filled me in:

As a reaction to the social conditions in North Philadelphia in 2007 artists Betsy Casanas and Pedro Ospina co-founded “Semilla (seed) Arts Initiative” a grassroots initiative that uses art as a catalyst for social change and artistic collaborations as a means of empowering individuals and communities. Semilla’s goal is to unite the community by actively involving them in the process of physically transforming their own neighborhood, exposing them to solutions and possibilities. 

I'm very impressed by some of the things I've seen in Philly during this SafeGrowth project. I can hardly wait to see what they come up with next month when we return.

Most encouraging of all is Betsy's conclusion:

The vitality of any community can be found in the strengths and stability of its members and their ability to overcome the complexity of today.

Yes! In a nutshell, that's it!

If walkability is the first step to safety, overcoming complexity is the second.

Community vitality is found in the ability of it's members to overcome the complexity of today!

Thank you to Betsy, Pedro, and their dedicated kin for reminding us where to find yet another key to open safe places.

Tucson's urban fabric

Declining neighborhoods can be transformed

The urban fabric of a place is what we see in our daily lives. The details of the physical environment matter. Details make the difference.

I recently visited Tucson, a city in the desert of Arizona with a half million residents. It was a place of residential fences. I've never seen so many. Everyone, it seems, gates their property.














The old pithy saying proclaims; Good fences make good neighbors. I've always thought good neighbors make good neighbors. Too many fences actually make streets ugly. Here, too many streets were corridors of fences.

Yet even in this fence infested city there are ways to beautify. Tucson has some great examples of community branding and neighborhood art, what SafeGrowth calls community culture. Planners know this as placemaking.

Signage branding in the university district

One lower income neighborhood marked their entranceway with a decorative entranceway, lined nearby freeway walls with murals, and organized to get funding to build a beautiful park.

Murals to beautify

In the university area a lively bohemian street was branded with signs and street art. Even at night-time the eye was treated to a warm orange pallate on parking lot walls with what would normally be insufficient low pressure sodium lighting.

Low lighting can work if done properly

The devil is clearly in the details of our urban fabric. Now if only we could get placemaking details into commercial suburban strips!