Walker Park, Honolulu

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Today's adventure takes us to tiny Walker Park, near the waterfront at the edge of downtown Honolulu, at the intersection of Queen St. & Fort St. It's a small plaza built around a fountain, with an abstract sculpture at its center. There's also an ornate gate, and an old cannon. The caption to a wallyg Flickr photo of the park explains that the park dates to 1951, and is a bit of land left over after widening & realignment of Nimitz Highway & Queen St. It's dedicated to the memory of H. Alexander Walker Sr., longtime president and chairman of American Factors, Inc. (later Amfac), a Hawaiian sugar company and one of the "Big Five" corporations that essentially controlled the state during the sugar cane era.

The park's Walker Fountain dates to 1972. The central sculpture Puna (by Hawaii sculptor Sean Browne) was added in 1991, in memory of Una Craig Walker, wife of the park's namesake. (I'd rather think of them as co-namesakes of the park, but apparently that's not how things worked back in 1951.) The caption to a second photo explains the wrought iron gate. It stood in front of American Factors company headquarters from 1902 to 1972, when it was moved here. I didn't notice this at the time, but apparently the park also has a few blocks remaining from the original Liberty House department store, which once stood nearby and was razed in 1979.

I'm not sure what the story is with the park's cannon. A blog post I ran across speculates that it might be from the old Honolulu Fort, which was located here from 1818-1857 (and was the site of a short-lived French invasion in 1849). If it's not an original cannon, it's probably at least a nod to that period of history.

A historic inventory from the Hawaii Culture & Arts District (a local nonprofit) describes the history of the old fort:

Description: Fort Street takes its name from a one-time defensive work located at the present intersection of Queen Street and Fort Street. The Honolulu Fort originated with the Russian-American Company blockhouse. Directed by the German adventurer Georg Schaffer (1779-1836), they built their blockhouse near the harbor, probably against the ancient heiau of Pakaka and close to the king’s palace. Pakaka was an important sacred site for Ku, the Hawaiian war-god and a place of great symbolic and ritual importance to the victorious King Kamehameha. Hearing about this development, Kamehameha I, the king, ordered his advisor Kalinimoku to take a contingent of Hawaiian soldiers to Honolulu and press the Russians to leave. Threatened by a large number of Hawaiians, the Russians quickly abandoned their blockhouse and sailed for Kauai, where they had earlier attempted to start a trading post and soon built another fort. Kamehameha I appropriated the fort and it protected Honolulu harbor and also housed a number of administrative functions, including many years of service as Honolulu’s prison. Created first in 1951 as a product of the widening of Nimitz Highway by the city of Honolulu, Walker Park received new attention in the aftermath of the construction of the Amfac Financial Center in 1968-71. At that time the company, through its president, Henry A. Walker, Jr., contributed to the enhancement of the earlier park through the donation of the paved walkway, benches, sculpture and the wrought and the historic cast and wrought iron sign and gateway that serves as a centerpiece of the park.

Anecdote: The The first capital punishment carried out at the fort was the hanging of Chief Kamanawa (c.1785-1840) and his accomplice Lonoapuakau on October 20, 1840. The Hawaiian Court found him guilty of poisoning his wife Kamokuiki, carried out Kamanawa to avoid a charge of adultery. Kamanawa was the grandson of one of Kamehameha I’s principal advisors, Kameeiamoku, and the grandfather of David Kalakaua, later King Kalakaua. The execution took place on the scaffold set up just inside the fort’s main gate. It attracted 10,000 viewers, all of whom watched solemnly as the Governor carried out the sentence.

Honolulu is in the early stages of building a light rail transit system, which will eventually run on elevated tracks somewhere near Walker Park. Several lawsuits were filed attempting to stop the project; in one of the cases, the National Trust for Historic Preservation filed an amicus curiae asserting that the raised trackway would block important views from the park and a few other locations, and obstruct views of the historic Aloha Tower. The city's own 2008 evaluation of the park in preparation for the light rail project had concluded that it was technically eligible for the National Register of Historic Places, but really wasn't all that significant of a place in itself. As of May 2014 the city has fended off the various lawsuits, and construction is proceeding, with completion expected in 2019.

Columbus Road Bridge, Cleveland

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A couple of years ago, I was in Cleveland for a weekend and ended up with a bunch of bridge photos, which slowly trickled out in a long series of blog posts. I thought I was done with those, but it turned out I had a so-so photo of one more bridge, so obviously another blog post was in order. The Columbus Road Bridge isn't the main bridge in the photo above, but the one in the background that you see straight on. It crosses the Cuyahoga at the apex of a bend in the river, right next to the Cleveland Union Terminal bridge, which carries the Rapid Red Line. As I said, the photo isn't that great, but it's still a sort of collector's item. I didn't get close enough to the bridge to notice this, but apparently it was in an advanced state of disrepair, and the county decided to replace it. It sounds like the bridge approaches were kept and renovated, but the lift span itself was demolished and replaced. It's not clear whether this means they also replaced the towers and counterweights, or just the lift span, but in any case the bridge closed for demolition work last May, and the shiny new span was floated down the river and installed this July, just a couple of weeks ago.

A history page notes that the then-current bridge was the fifth at this location. The first was nearly destroyed by angry westside protesters, who feared the new bridge would divert commerce away from the original Center St. Bridge and thus away from the Ohio City area. As the story goes, westside residents boycotted the new bridge, and the city of Cleveland retaliated by demolishing its half of the Center St. Bridge, leaving the Columbus one as literally the only bridge in town. An angry mob showed up to destroy the Columbus bridge, chanting "Two bridges or none", but they were stopped by the mayor of Cleveland and a group of armed militiamen.

An 1857 replacement for the original bridge quickly rotted and collapsed in 1863. An 1870 replacement lasted to 1894, when it was replaced with a double swing span bridge. In this arrangement, the bridge separated in the middle, and the two halves swung off to the side in opposite directions. This lasted until 1939, when it was replaced with a lift span bridge (i.e the one pictured above) as part of a larger project to improve navigation on the river. The lift span lasted much longer than its predecessors, but was poorly maintained beginning in the 1980s, and decayed to a point where it was cheaper to replace it than to attempt repairing it. The 2014 bridge is scheduled to open in October; it's a lift span and is basically similar to its predecessor, but features 5' wide bike lanes as this is apparently a major bike commuting route.

This is actually the second Cleveland bridge that's been replaced since I was there, the other being the Innerbelt Bridge. I'm kind of thinking I may need to go back soon just to keep this blog up to date. By which I mean, enjoy some beer and pierogies, hit the West Side Market again, and keep this blog up to date.

Unity Circle

Today's Portland painted intersection is "Unity Circle", at NE Emerson & Haight, one block east of Jefferson High School. A May 2014 Skanner article describes the project:

The Unity Circle first came into being in 2012, the vision of artist Kymberly Jeka. Living near the Haight and Emerson intersection, Jeka knew it marked the spot where DeAndre Clark, 25, had been shot and killed in 2011. And she knew dozens of students travel that route every day, on foot and in school buses. So she dreamed up the street painting as a way to build community and to bring beauty and hope to the intersection.

This year's City Repair Village Builder guide explains the design:

Te thriving diversity of the Humboldt neighborhood is the inspiration for the painting. The design represents a cohesive geodesic structure with multi-colored triangular pieces joining together harmoniously.

The Facebook page for this year's repainting (May 31st - June 1st) includes a few photos of the event.

Commonwealth Avenue, Boston

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Next up, a photoset of Boston's Commonwealth Avenue Mall, which extends west from the Public Garden through the Back Bay neighborhood. I wandered along the central mall for a while, taking photos of the over-the-top houses and churches on either side. I'm not sure what we're looking at here; I found a page documenting every building along the avenue, but I haven't gone through to figure out which ones I have photos of. That part is left as an exercise for the reader (he said lazily/hopefully).

It was a very hot day, and eventually I wandered off to find a Starbucks for an iced coffee like a good West Coast tourist, and fortunately there was one a couple of blocks south(ish) on swanky Newbury Street, and ended up walking along over there instead. I feel compelled to explain that I normally avoid Starbucks, but I wasn't sure whether there was iced coffee at Dunkin Donuts (which is essentially the competing coffee behemoth in New England), and I needed a cold but very caffeinated beverage right then thanks to jet lag.

I had a theory -- and I think I mentioned it in a previous Boston post -- that perhaps Commonwealth Avenue was an inspiration for Portland's Park Blocks, since Portland was founded by a bunch of New Englanders, and the city itself would have been named "Boston" if a coin flip had gone the other way. The dates don't bear this theory out though. The South Park Blocks were dedicated in 1852, while Commonwealth Avenue was designed in 1856, and long tree-lined parks like this were simply the vogue at the time, popular among major cities as well as muddy little pioneer towns with big dreams. An architecture guide to the city calls it the "French Boulevard style". 1856 seems like a surprisingly recent date for central Boston, until you remember that the whole Back Bay area was an actual bay until it was filled in during the 1850s. As a West Coast tourist, knowing that makes me worry the ground here will basically liquefy if there's ever an earthquake, like what happened to SF's Marina District back in the 1989 Loma Prieta quake. Apparently Boston doesn't get earthquakes, though. At least as far as they know.

Brewer Fountain, Boston Common

Couple of photos of the Brewer Fountain in Boston Common, an ornate 19th century concoction that was recently restored to working order. There was a little stand next to it encouraging people to slow down and sit and read one of the free books, and more than a few people had taken them up on the offer. I'm not sure that would work in Portland. Maybe if you stocked it with graphic novels, so long as they're the cool kind, whatever that is.

Wikipedia says there are at least sixteen other copies of this fountain around the world, including ones in Paris, Buenos Aires, and Salvador de Bahia, Brazil. I occasionally go on about doing a project around visiting every copy of something or other. The Fremiet Joan of Arc would involve a lot of traveling around France, plus trips to Philadelphia and New Orleans, which would be ok. The itinerary for The Ideal Scout would spend an unreasonable amount of time wandering around rural Pennsylvania, which is less of a welcome prospect. Visiting the Brewer Fountain's siblings would be one of the better trips; a page about another copy in Tacna, Peru lists additional known copies in Australia, Chile, Quebec City, Liverpool, four around France, two in Lisbon, and others in Geneva and Valencia. So that sounds like it would be ok, so far as silly projects go.

This fountain dates back to a time when all fountains were expected to come encrusted with mythological characters; cherubs, naiads, mermen, and whatnot. I was going to propose a glib theory that this was because running water was a rare and precious novelty back then, and fountains got the mythology treatment because they were a very big deal. I'm not sure this checks out though. The fountain went live in 1868, and Boston's first waterworks dates all the way back to 1652, over two centuries earlier, so I'm not sure the chronology lines up on this idea. It's also possible this mythological stuff was simply the fashion for a while, and eventually people tired of it and went on to do something else instead.

Cultural Totem

A few photos of Cultural Totem, a public art piece at NE 14th & Alberta, created by artists Roslyn Hill and Lillian Pitt (who also co-created Salmon Cycle Marker at PSU. The description from its RACC page:

As artists, one Native American and one African American, we have made this contemporary totem to reflect our cultural and heritage stories, recognizing our many similarities.

Portland Public Art gave it a meh back in 2006, calling it "largely forgotten" and saying it "serves as a beginning, I guess".

Some years ago the city blocked 14th at Alberta as a traffic control measure, creating a sort of mini-plaza where the street dead-ends. There are a few trees here, and I took a couple of photos since it's the closest thing Alberta has to actual greenspace along the street. Maybe I only noticed this because it was a hot day, but Alberta doesn't have a lot of shady trees, and (unlike the Pearl District) the city didn't put in any sidewalk planters as the area gentrified. Maybe trees have gone out of fashion temporarily in the urban design world, I dunno.

MLK Gateway Plaza

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Today's adventure takes us to the corner of NE Grand Ave. & Hancock St, the point where two-way MLK splits into southbound MLK and northbound Grand Avenue. The traffic shift creates a couple of awkward (and unbuildable) triangles of land, which the city's tried to do various things with over the years. Most recently, it's been transformed into something the city calls the "Gateway and Heritage Markers Project" The skinny south corner of the main triangle is landscaped with some sort of tufted grass, I think to discourage people from walking through it. The triangle's divided by a curved metal mesh wall, maybe 7'-8' high, with an inspirational MLK quote facing Grand Avenue, in a font that makes it look vaguely like a Nike ad. The north side is a small concrete pedestrian plaza with displays about Oregon African-American history.

The design of the place is odd for Portland, seemingly designed for the benefit of passing motorists rather than pedestrians. The project was put together by the city's transportation bureau and this isn't technically a city park, which might explain the vehicular orientation of the place. The design drew complaints over the lack of sidewalks; apparently the city felt there were some unsafe pedestrian crossings here, and set out to discourage people from crossing the street in these spots rather than figuring out how to make them safer.

The one-way couplet of Grand Ave. and Union Ave. (the previous name of MLK) was announced in August 1957, and the change went into effect in January 1958. Initially this involved northbound drivers making two 90 degree turns, a left from Grand onto NE Hancock and then a right onto northbound MLK. In 1978 the city bought up the car lot on this block and created today's angled arrangement. This was part of the same project that created a landscaped median along the two-way portion of MLK, while eliminating much of the on-street parking along the street. This design has been widely regarded as a disaster, one that killed off many of the businesses along the street and made the street into a sort of neighborhood barrier since there were very few intersections where cars or pedestrians could cross it. They've worked to mitigate this in recent years, but it's hampered by the fact that MLK is a state highway (OR 99), and ODOT hates traffic lights and anything else that would prevent semis from barreling along city streets as fast as possible.

I ran across a pair of city planning documents from when the Transportation Bureau had to get design approval to proceed with the redesign. One mentions that the original design included additional heritage markers up and down MLK north of here, but noted there was no funding in place to actually do this.

Architects and designers love talking about places as "gateways". That often seems to be meaningless professional jargon, but this spot really is a sort of gateway, or at least historically it's been one. Before gentrification took hold in Northeast Portland, it was at least symbolically an entrance to the only majority-black neighborhood in the city. Growing up out in sheltered 1970s Portland suburbia, I can distinctly recall being cautioned to never ever go north of this spot because it "wasn't safe". Now it's more of a gateway from one trendy hipster neighborhood to another, yoga studios and artisanal coffee roasters as far as the eye can see.

On TV / Electro Umbilico

Today's adventure takes us to the corner of NE MLK and Graham St., Atop one of the buildings is a stainless steel frame that sort of resembles a TV screen, with a disembodied head (or maybe an Earth) floating in the picture. A big steel power cord coils its way along the side of the building. This building is home to Portland Community Media, the nonprofit in charge of our local public cable access channels, and the TV-like thingy is today's public art object.

The TV sculpture is titled either On TV or On the Air. Its Smithsonian art database entry gives a date of 1985-86, and claims "This is the first sculpture funded through Portland's Percent For Art Program."

Rooftop sculpture of an oblong box television with a revolving globe placed where the screen should be. The television sits on a fabricated carpet or table cloth whose corner drapes over the building. The set has an antenna, an electrical cord and a fishbowl on top.
...
Funded with a National Endowment for the Arts, Art in Public Places grant of $5,000 given in 1987 to Portland Cable Acess TV. Additional funding was provided by Portland's Metropolitan Arts Commission and the Oregon Arts Commission. This is the first sculpture funded through Portland's Percent For Art Program. According to the attached article from the Oregonian, the site address is 2766 N.E. Union Avenue. The sculpture is attached to the building, and the artist used the building's walls for portions of the work.

Don Merkt, the sculptor, also created Driver's Seat, on the transit mall near Union Station, and Water, Please at a city office next to Cathedral Park. Other works not visited by this humble blog include several indoor sculptures at City Hall and the local state office building, a giant urn structure in Culver City, CA, and a baseball-themed sculpture in Dublin Ireland. He also created a cool (but unbuilt, as far as I know) concept for Broadway Bridge lighting. I think we ought to build this, if only because Portland currently has zero laser-armed bridges.

It turns out the electrical cord is a later addition, added during remodeling in 2004. It was created by Portland's Blashfield Studio, and goes by the title Electro Umbilico. The website describes it:

A sweeping exterior redesign of the Portland Community Media building as part of the facility's new identity. An 80 foot aluminum umbilical cord droops languidly across the side of the building, seeming to connect the existing Don Merkt sculpture (an abstract TV set) with a huge abstract plug shape above the newly designed entryway facade.

The TV dates to the era when some people still thought cable TV might change the world for the better somehow. Or at least locally produced cable might have a crack at it. It was the era when MTV still showed music videos, TLC had educational programs, CNN had news, Max Headroom was a pop culture icon, and (in theory) anyone could create their own cheesy cable access show, a la Wayne's World, or I suppose the original MST3K. I mean, I certainly wouldn't trade the modern internet for that imagined TV utopia, but it seemed like an inspiring vision at the time.

I honestly couldn't tell you what the future holds for the public access TV model. There are still no HD public access channels in Portland, and I haven't heard of any proposals to create them. The proposal that would bring Google Fiber to Portland is said not to include any subscriber fees to support cable access channels. Which makes sense in a way, since Google Fiber is promoted as a broadband Internet service, not a competing cable TV provider, though it can certainly act as one. A news account I saw indicated that the Google deal might give Comcast some leverage to weasel out of cable access fees too, which I think would essentially defund the current system.

roseburg, july 2014

Little Golden Hallway

Here are a few photos of Little Golden Hallway, an art installation inside Portland's Pioneer Place mall, located next to the skybridge over 4th Avenue. Despite being inside a private shopping mall, the RACC (the local public art agency) had some sort of role in its creation, so it shows up in some of their databases and arts maps. I didn't go looking for it because a.) it's inside a mall, and b.) somehow I'd sort of assumed it was in the mall's other skybridge over SW Yamhill, which was demolished a few years ago when the old Saks store became the new Apple store. Recently I happened to be in the mall with a few coworkers, heading to the mall's top-floor bowling alley, when I noticed it and the title seemed familiar. Weird little random details like this tend to stick in my head better than things I actually need to remember, I'm not really sure why, and I'm not sure it would be a useful talent at all but for this humble blog and the occasional bit of pub trivia. Anyway, I made a mental note and came back later to take some photos without coworkers around, because telling coworkers you have a blog results in them wanting to look at it, and I don't see a lot of upside to that, to be honest.

In any case, the artists' website gives the date as 2000 (around when the mall expansion opened, which makes sense) and describes the piece thusly:

“Little Golden Hallway” was a project included in the new wing of the Pioneer Place Mall in Portland, Oregon. The piece was fabricated using cast resin panels, each of which was bolted to a steel frame to create larger grids. Inlaid in each panel is a high lead crystal lens and a photograph taken around Portland–of people, places, and things the artist experienced over the course of one summer. The photographs provided a snapshot of the artist’s interactions, while also working to solidify a certain time in the history of Portland. Situated on the north end of a sky bridge, the piece immerses the viewer by slightly overhanging into the walkway. With the attendant light, and the nature of the resin used, the hallway emits a soft golden glow.

Noble Architect

At the trendy corner of NE 18th and Alberta, a giant statue of a beaver stands at a bus stop, facing the wrong way, gazing off at the eastern horizon. This is Noble Architect, a 2012 addition to the artsy (or wannabe-artsy) neighborhood. The RACC page describes it briefly:

Facilitator of rich ecosystems - Benefactor of the past - Builder of the future.

This sculpture honors the majestic beaver that once abundantly inhabited and thrived in this area. The beaver—called Ina (eena) by the Chinook—faces the rising sun looking for a day when humans and nature harmonize.

A press release for the unveiling elaborates:

Artists Ruth Frances Greenberg and David Laubenthal conceived of the sculpture to “mirror the ebullient, raw and wonderful vigor of nature as well as our relationship to it.” Many different species of animals inhabited and thrived in this area before it was settled as the Portland we know. One of the abundant animals was the beaver. One could scarcely take a short walk without seeing one.

In a written statement, the artists explained their inspiration: “With so much regional history and lore we chose this remarkable animal to represent our reverence and respect for the resilient, beautiful, and abundantly generous natural world that remains intertwined with our human development. Our rendition of the beaver is intended to show the beaver in its innate majesty, grace, wildness, and dignity. It is an homage…a reverent depiction of a magnificent animal.” Its pose is dignified and vaguely humanized, standing on its stump, at just over six feet tall. The “fur” is a richly, hand-crafted, textured mosaic, inviting “petting” from passersby.

Calling them noble and majestic is great and all, but I've always thought the beaver is an innately silly creature, with one unusual (and instinctual) talent. It's a nice change from salmon, but a beaver is still a derpy-looking bucktoothed rodent, and anthropomorphizing it isn't helping. That said, the ceramic tile work simulating fur is really great. Maybe it would help to re-spin it as a friendly kids' storybook creature instead of an environmental message piece. I dunno.

For what it's worth, Alberta St. needs public art because it's sorta-officially the "Alberta Arts District". The name comes from a brief period of time in the late 1990s and early 2000s when art galleries moved here after being priced out of the Pearl District, creating an alternative "Last Thursday" event to rival the Pearl's First Thursday. For several decades up until that point, Alberta St. had been a lower-income, predominantly African American neighborhood, but when gentrification arrived it happened in record time. Within a few short years the galleries had been priced out again (along with many minority longtime residents), by the usual array of posh restaurants, yoga studios, and doggie day spas. People still act surprised when this pattern plays out all over again in a new neighborhood. Anyway, "artsy" is still part of the street's value proposition, as it were, according to both City Hall and every realtor in town. So, in lieu of actual present-day galleries, it gets some public art.

Going by the art and the other twee touches the city's added in recent years (bioswales, fancy bus platforms, etc.), you'd know there was wildlife here once upon a time, but you wouldn't have any idea this was ever a black neighborhood. I mean, acknowledging people while aiding the real estate market that's pushing them away isn't a good look either. But as it stands now, everyone who lived here in 1994 has been written out of history, essentially. That can't be a good thing.

Updated: I only realized this after posting this, but it turns out that today's beaver sculpture replaced a previous sculpture of a baobab tree, by the same artists, at the same location. The baobab arrived around 2004, and was still there circa 2010, but apparently it had a variety of maintenance issues and the city decided to just junk it and go with a different design. A different and non-African design, to be exact. Now, it's possible that was a total coincidence and I'm just being cynical, but it really makes you wonder.

Kings Corner, NE 13th & Webster

The next stop on our ongoing tour of Portland painted intersections takes us to NE 13th and Webster, a block north of trendy Alberta St. The design is simpler than a lot of the others you've seen here. Apparently this is one of the early ones, having been mentioned in a City Repair guide way back in 2006. Back then you could get away with multicolored dots; today (2014) the bar's been raised (as silly as that sounds), and people expect salmon, bears, rainbows, that sort of thing, or at least a much fancier abstract design. That City Repair page calls the intersection "King's Corner" but sadly doesn't explain which king they had in mind. Apparently they considered also doing the next couple of intersections north on 13th, at Sumner and Roselawn (the latter right next to Roselawn Park) but so far haven't gotten around to it.

NE 13th & Beech

Here's the painted intersection at NE 13th & Beech, one block west of the rainbow-patterned one at NE 12th & Beech. It's another part of the larger "Beech St. Project" you read all about in the previous post (assuming you read the previous post), but this one has a nature theme instead of an abstract rainbow design. I suppose if your neighborhood can't agree on a single design that represents its "identity", you can always do multiple ones, if the alternative is angry shouting at neighborhood meetings. I dunno. Neighborhood association politics are basically opaque to me. Having two intersections competing for volunteers might make people even more unhappy, as far as I know.

NE 12th & Beech

Here's another of Portland's painted intersections, in the Sabin neighborhood at NE 12th & Beech. It's supposed to be part of a larger "Beech St. Project", which this year's Village Building Convergence guide describes as:

Our goal is a super community-friendly, gorgeous, interactive, happy space for moseying and chatting with neighbors. Including: two intersection paintings, three little libraries, filling several curbstrips with beautiful pollinator attracting plants, and an urbanite bench. We are planning to have lots of fun working together, so come by and join in. This is a Fly Awake PDX project, with support from: Whole Foods, Advantis Credit Union, Albina Library, Beanstalk, Papa Murphy’s, Nature’s Needs, Caffé Destino, Acadia, Hankins Hardware, Ticket PDX, Irvington Veterinary Clinic, and, of course, our awesome neighbors, City Repair and, all you, the volunteers!

So this is a bit more ambitious than your average intersection repair thing, where people have an annual block party, meet their neighbors, paint (or repaint) a single intersection, and call it good. I don't want to snipe at people for being way more ambitious and energetic than I am, but multiple intersections, multiple library boxes and more just seems like overdoing it a bit, if you ask me.

But maybe this project's raising the bar for everyone else around town. Maybe by this time next year you'll get sneered at if you don't have a high-concept multiblock project in the works, and the other cooler neighborhoods will laugh and kick sand, er, organic compost on you. A couple of years after that, you'll need to hire professional painters and landscapers, because nobody has time for all that volunteering, and to pay them you might need to work some advertising into your intersection design, or sign the little libraries up as Amazon affiliates or something. Then local tech companies and such join the craze, painting the intersections outside their offices as a cool Portlandy team building thing, and everyone gets a polo shirt and commutes back home to Tualatin afterward.

Ok, no, I'm getting silly here, that's probably not going to happen, or most of it probably won't. The tech company part is bound to happen sooner or later, though. My company would probably have done one already if we weren't right downtown on a busy street. Speaking of which, although we may be up to a couple of dozen painted intersections now, as far as I know there are still zero anywhere on the Westside, not even near 23rd or in Multnomah Village. I probably ought to have a glib sociological theory about why that is, but I don't have one yet.