When new stadiums arrive, what happens to the life already there?

Public presentation of the new NFL Denver Bronco Stadium - Press from across the country, national media, local reporters, and hundreds of community members came to hear about their proposed future   

by Gregory Saville

We walked across cracked sidewalks and street litter beside the deteriorating railway grounds known as Denver’s Burnham Yard, only a few blocks from the Art District on Santa Fe. I found myself wondering what this place will look like in five years when the massive new Denver Broncos football stadium rises from this worn industrial landscape.

It brought to mind the role of Third Places as community activators, how they are the core of neighborhood life, and how fragile they are. Third Places have made previous appearances in this blog about creating social life out of industrial decline, and how art co-ops lower crime.

Anchoring the Art District is the Denver Art Society (DAS). It stands as a Third Place and cultural anchor that artists built through years of volunteer effort and community commitment, and I could not ignore the uneasy questions that follows so many large development projects across North America: When the stadium arrives, will this cultural nexus survive as part of the new district? Or will it be pushed aside in favor of land uses that generate revenue but leave the streets quiet between scheduled events?

The unique Third Place that is the Denver Art Society

during the monthly First Friday artwalk 

Stadium projects are often justified on economic grounds and those claims depend as much on sustained daily activity in addition to event crowds. When the stadium falls silent after events, what will happen on Santa Fe? Economic vitality cannot depend on rare bursts of activity separated by long stretches of inactivity. Healthy urban districts depend on steady patterns of daily presence that keep streets occupied, like what happens every day at DAS. As Jane Jacobs demonstrated, eyes on the street help keep public spaces alive and safe.

Long before Burnham Yard attracted such interest, artists had already transformed the Santa Fe corridor into a place of daily cultural production. It hosts open studios, exhibitions, music performance venues, and cultural anchors such as Su Teatro Cultural and Performing Arts Center, the Colorado Ballet Academy, and the Center for Visual Art at Metropolitan State University of Denver. 

Through co-ops like DAS, artists mentor young creators and welcome visitors into shared and safe spaces where participation matters.

Denver's First Friday monthly artwalk is among the busiest,
and liveliest, in the country

History warns that when large developments arrive in districts already shaped and restored by artists, the outcome often follows a familiar pattern. Artists transform overlooked industrial areas into places people want to visit and experience. Their presence attracts attention and investment. Rising land values create pressure for redevelopment that favors larger and more profitable uses. The cultural anchors that made the district desirable struggle to survive within the new economic landscape they helped create.

THE PUBLIC MEETING

On Feb 13, I attended a Denver Bronco public presentation that revealed both the scale of public interest and the limitations of conventional participation processes. I stood with hundreds of residents and two city councilwomen to learn about the proposed stadium and its surrounding development. 

Over 700 community members attended the new stadium announcement - one city planner described attendance as the largest he has seen 

We have learned repeatedly in our SafeGrowth work that, if large development projects are to fulfill their economic promise, they must become part of a living district rather than stand apart from it. Protecting and strengthening institutions like the Denver Art Society is not an obstacle to economic development but a prerequisite for its long-term success.

THE CHOICE FOR THE FUTURE

The choice facing Denver is not simply where to locate a stadium. It is whether to build upon the existing cultural foundations on Santa Fe that already support year-round creative life and economic activity, or to repeat a familiar pattern of displacement that replaces community assets like the Denver Art Society with occasional spectacle and inactive streets.

The future of Burnham Yard will reveal whether lasting economic vitality in Denver grows from the daily life of its communities, and whether the cultural institutions that built the Art District on Santa Fe will remain part of that future or become another casualty of progress that failed to recognize the value already present.

Reducing Zone 2 crime - The power of art co-ops

Denver Art Society Co-op in the heart of Denver's Santa Fe arts district
- photo Denver Art Society

by Gregory Saville

In last week’s blog, Tarah discussed the crime theory called concentric zones, that she lives in what feels like a Zone 2 city (Hamilton, Canada),  and how that theory predicts why crime clusters in Zone 2 areas around the central city. 

The question is what can be done about it. Some believe a Zone 2 high crime neighborhood will always be a high crime neighborhood. Experienced practitioners in crime prevention and community development know that is nonsense.

First, we know that carefully planned redevelopment can transform a high-crime neighborhood back from the brink. The CDC movement (community development corporations) is the lighthouse for redevelopment, such as the work of Philadelphia’s HACE organization and the work of the redevelopment corporation, LISC. The book Comeback Cities shows us how that is done.

True, that usually involves multi-year investments, big money, and long-term development. But there are other ways. 

Art murals appearing near Denver Art Society

NEVER THE FECKLESS

What does an art gallery have to do with creating livable places and cutting crime? Why should people looking to create safe places really care about an art gallery? If that gallery is part of the co-operative movement, it is worth a closer look.

When the urban writer Jane Jacobs wrote about safe places in her landmark book “The Death and Life of Great American Cities” she was, above all, talking about the social life of streets and how, exactly, those streets actually work. She wrote: 

“It may be that we have become so feckless as a people that we no longer care how things do work, but only what kind of quick, easy outer impression they give.”

If you look carefully at how co-operatives work, you will see why we should care and support them.

Denver city has now begun expanded streetscaping for better walkability

DENVER ART SOCIETY

Today co-ops are everywhere. The Denver Art Society (DAS) is such a co-op. A dozen years old, it comprises over 100 artists and musicians who teach, perform and sell their own art in the arts district of Denver. DAS is the epicenter of the Denver Santa Fe arts district with music shows, art displays, and classes. After a decade of operation, it has spurred the creation of other interesting businesses and street artifacts. For example, the city has begun streetscaping Santa Fe and local murals and cultural centers line the street. 

Like most co-ops, DAS is run by volunteer members who conduct community outreach to the neighborhood and also to local schools. They teach inexpensive art and music classes for burgeoning creatives. They have helped the homeless find a roof or a place of refuge. They beautify alleyways with mural painting events. When you understand how they actually work, art gallery coops are not a quick fix. They take time and can be complicated, often convoluted, undertakings. But, work they do. 

Primetime Emmy Award nominee, Kevin Nealon, Saturday Night Live comedian, on the DAS stage speaking at a free session about his art 

I admit a personal bias toward the Denver Art Society since my band MOOSGH was born there, our recording studio is based at DAS. There is still some theft, homelessness, and a few other problems in the area. But there is no doubt, from what the DAS founders and former residents describe, that this neighborhood is a FAR better place today than a decade ago. Police crime stats show the DAS neighborhood has a crime rate four times lower than the nearby CBD or the adjacent Capitol Hill neighborhood. 

As Jane Jacobs taught us many years ago, when people love a place, they end up looking after it. Co-ops help nurture that process. DAS has been doing that for years.

Nearby cultural center across from DAS. Cultural activities can
transform Zone 2 neighborhoods

CO-OPS - TRANSFORMING ZONE 2 AREAS

I have witnessed the co-op open gallery idea transform other Zone 2 neighborhoods in other cities. When you know the mechanics of how a neighborhood actually works, you can see why local co-ops are great Third Places - the very thing that prevent Zone 2 high crime hotspots from emerging. They are the kind of place that downtown Denver needs more than ever. All self-respecting urban planners, urban politicians, and crime prevention practitioners must study, learn, and adopt Third Places in their plans. 

The co-operative movement began with Welshman Robert Own in the 1800s, a wealthy cotton manufacturer who believed in creating livable communities for his workers. He helped them create a co-operative store so workers could lift themselves out of poverty by growing their own food, making and selling their own clothes, and otherwise working together to better their lives. 

It’s time city planners, decision-makers and criminologists paid more attention to the co-op movement.