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IN  MY  TRAVELS  THROUGHOUT  THE  UNITED  STATES  as  Chairman  of 

the  National  Endowment  for  the  Arts,  I  have  been  struck  over  and  over  again  by  how  important  the  arts 
are  to  the  lives  of  our  communities.  That  is  particularly  clear  in  small  towns  and  rural  communities  whose 
natural  beauty,  history,  and  traditional  arts  celebrate  their  survival  in  the  face  of  extraordinary  changes  in 
our  nations — fact,  the  world's— economy. 

When  I  visited  Nebraska,  home  of  my  grandfather,  Daniel  Quigley,  Buffalo  Bill's  personal  physician, 
I  reflected  on  the  role  that  the  sheer  size  and  variety  of  our  landscape  played  in  shaping  our  culture.  The 
arts  convey  a  sense  of  place,  whether  in  a  song  of  the  mountains  or  the  Blues  from  the  Delta,  a  native 
American  hoop  dance  or  a  Mariachi  band,  a  quilt  or  lace,  a  play  or  a  festival. 

Through  several  initiatives  at  the  Endowment,  I  have  sought  to  highlight  how  the  arts  can  contribute 
to  the  quality  of  life  in  our  rural  communities.  We  have  worked  with  the  Department  of  Agriculture's 
National  Rural  Development  Partnership  to  underscore  the  role  of  the  arts  in  rural  community  develop- 
ment. Through  partnerships  with  the  Forest  Service  and  the  National  Park  Service,  we  have  supported  an 
exciting  variety  of  arts-based  rural  community  development  projects.  With  Partners  in  Tourism,  an  alliance 
of  national  cultural  service  organizations,  we  have  worked  to  stimulate  cultural/heritage  tourism  through- 
out the  nation.  Through  our  regular  grantmaking  programs  and  through  our  partners,  the  state  arts  agen- 
cies, we  continue  to  provide  support  for  the  arts  in  rural  communities.  And,  each  year,  we  honor  folk  and 
traditional  artists  across  our  land — many  from  rural  areas — with  our  Heritage  Awards. 

I  am  proud  of  all  the  Endowment's  efforts  to  serve  rural  America.  Your  Town:  Designing  Its  Future  is 
our  best  effort  to  help  small  towns  and  rural  communities  understand  the  importance  of  design  and  iden- 
tify resources  to  help  them  preserve  their  heritage  and  identity  while  expanding  their  economy.  We,  at  the 
Endowment,  are  grateful  for  the  fine  work  of  the  National  Trust  for  Historic  Preservation  in  this  important 
task,  and  we  look  forward  to  continuing  this  service  to  rural  America. 


Jane  Alexander, 

Chairman,  National  Endowment  for  the  Arts 


ARIZONA    -~ 
RANGE  NEWS 


TABLE  OF  CONTENTS 


FORWARD   1 

ACKNOWLEDGMENTS 2 

PREFACE 3 

INTRODUCTION  TO  YOUR  TOWN  5 

CASE  STUDIES 

ANACONDA,  MONTANA 10 

QUEEN  CREEK,  ARIZONA 14 

MONTEZUMA,  GEORGIA 20 

MORRISVILLE,  NEW  YORK 25 

CONCLUSION  31 

BIBLIOGRAPHY 33 

WHERE  TO  GET  DESIGN  ASSISTANCE      34 

LIST  OF  YOUR  TOWN:  DESIGNING  ITS  FUTURE  WORKSHOPS  HELD  TO  DATE     35 


YOf  TB  TOWN* 


TABLE  OF  CONTENTS 


FORWARD 


four  Town:  Designing  Its  Future  is  a  program  of  workshops  to  teach  rural  community  leaders  about  the 
importance  of  design  in  planning.  Developed  by  the  Rural  Heritage  Program  of  the  National  Trust  for 
Historic  Preservation  and  the  Faculty  of  Landscape  Architecture  at  the  State  University  of  New  York  at 
Syracuse,  Your  Town  has  been  funded  by  the  National  Endowment  for  the  Arts  since  1991.  By  1997  fifteen 
Your  Town  workshops  had  been  produced  around  the  country,  and  at  least  four  more  will  take  place  in  1998. 
Nearly  440  participants  from  thirty-eight  states  have  attended  the  workshops. 

This  publication  introduces  you  to  the  Your  Town  program  and  describes  some  of  its  successes  through 
four  case-study  communities.  Each  of  the  rural  towns  highlighted  sent  one  or  more  participants  to  a  Your 
Town  workshop  and  as  a  result  experienced  real  changes  in  the  appearance,  morale,  and  dynamics  of  the 
community.  The  four  case  studies  illustrate  that  the  Your  Town  program  can  have  long-term,  significant 
impacts — both  on  the  participants  who  attend  the  workshops  and  on  the  communities  in  which  they  work 
and  live. 


DESIGNING  ITS  FUTURE 


FORWARD 


ACKNOWLEDGEMENTS 


... 


Our  thanks  to  Jane  Alexander,  chair  of  the  National  Endowment  for  the  Arts,  for  the  Endowment's 
steady  support  of  the  Your  Town  program.  In  addition  we  gratefully  acknowledge  the  staff  of  the 
Endowment  who  participated  in  the  workshops  over  the  years:  Jeff  Soule,  Alan  Brangman,  Wendy  Clark, 
and  Samina  Quraeshi.  Thanks,  too,  to  Tony  Tighe,  the  current  Your  Town  Endowment  project  director. 

At  the  National  Trust  for  Historic  Preservation  Susan  Kidd  and  Marilyn  Fedelchak  Harley  initiated  the 
original  Your  Town  proposals.  Peter  Brink,  vice  president  for  Programs,  Services  and  Information,  has  been 
a  supporter  of  the  workshops.  At  the  State  University  of  New  York  at  Syracuse  Scott  Shannon  has  been 
involved  in  the  Your  Town  program  from  its  inception.  He  designed  the  Your  Town  logo,  newsletter  and 
notebook,  and  developed  the  mapping  and  graphics  elements  of  the  workshop. 

Many  thanks  to  the  coordinators  and  faculty  of  our  cooperating  regional  institutions:  the  Department 
of  Planning,  Arizona  State  University;  the  School  of  Environmental  Design,  University  of  Georgia;  the 
Department  of  Landscape  Architecture/Regional  and  Community  Planning,  Kansas  State  University;  the 
Faculty  of  Landscape  Architecture,  State  University  of  New  York,  Syracuse;  and  the  Historic  Preservation 
League  of  Oregon  and  School  of  Architecture  and  Allied  Arts,  University  of  Oregon.  These  institutions  have 
helped  spread  the  workshops  around  the  country  while  preserving  the  original  quality  and  integrity  of  the 
program.  Thanks,  too,  to  the  special  keynote  speakers,  guest  lecturers,  and  small-group  facilitators  who  con- 
tributed their  time  and  expertise.  Most  of  all,  our  thanks  go  to  the  workshop  participants — unfailingly 
enthusiastic  and  creative — who  really  make  Your  Town:  Designing  Its  Future  work. 


Richard  Hawks 

Chair,  Faculty  of  Landscape  Architecture 

State  University  of  New  York,  Syracuse 


Shelley  S.  Mastran 

Director,  Rural  Heritage  Program 

National  Trust  for  Historic  Preservation 


ACKNOWLEDGEMENTS 


PREFACE 


America's  rural  communities  are  at  risk  from  large-scale  changes  in  the  national  economy,  population 
kmovements,  the  impact  of  telecommunications  and  mass  merchandising,  and  changes  in  land-use  pol- 
icy. Some  rural  towns — particularly  those  in  the  northern  Great  Plains,  the  Mississippi  Delta,  and  central 
Appalachia — are  experiencing  a  loss  of  population  and  jobs;  others — especially  ones  near  metropolitan  areas 
and  in  parts  of  the  West  and  South — are  coping  with  rapid  growth  from  suburban  sprawl,  tourism,  or  an 
influx  of  a  retirement  population. 

In  the  face  of  these  forces  rural  communities  struggle  to  maintain  their  sense  of  identity  and  quality  of 
life.  They  initiate  economic-development  strategies,  plan  heritage-tourism  programs,  or  enact  new  zoning 
ordinances  in  an  effort  to  control  the  forces  of  change.  Yet  all  too  often  these  endeavors  are  undertaken  with- 
out a  comprehensive  vision  of  community  design.  The  forces  affecting  change  in  the  rural  landscape  do  not 
inevitably  signal  the  loss  of  the  qualities  that  define  community  character  and  make  rural  areas  attractive 
places  to  live  and  work.  Design  solutions  can  make  the  difference  between  community  survival  or  decay  and 
prosperity  or  decline.  Yet  rural  areas  in  general  do  not  have  ready  access  to  sources  of  design  assistance  or 
information  about  design  applications  to  their  problems.  Furthermore,  the  assistance  that  is  available  is  usu- 
ally very  focused — on  commercial  revitalization,  environmental  quality,  or  affordable  housing,  for  exam- 
ple— and  does  not  deal  comprehensively  with  the  range  of  design  issues  facing  rural  communities. 

The  Your  Town:  Designing  Its  Future  workshops  were  developed  to  address  these  issues.  They  focus  on 
the  process  of  design  as  an  important  aspect  of  community  spirit  and  community  integrity.  The  workshops 
aim  specifically  to  introduce  rural  technical-assistance  providers  and  rural  decision  makers  to  the  role  of 
design  in  community  planning.  "Community"  is  conceived  of  here  in  a  broad  sense — to  include  the  built 
environment,  the  surrounding  landscape  that  supports  the  community  economically  and  gives  it  a  sense  of 
place,  and  the  people  who  live  there.  Your  Town  encourages  rural  residents  to  think  comprehensively  about 
their  communities  and  to  design  their  futures  based  on  that  comprehensive  vision.  The  workshops  stress  the 
importance  of  design  in  defining  quality  of  life  and  the  notion  that  design  is  not  a  luxury  or  an  afterthought, 
but  an  integral  part  of  community  well-being.  Indeed,  Your  Town  teaches  that  design  is  not  just  an  effect  of 
community  vitality  but  a  cause  as  well:  Design  itself  is  a  tool  for  effecting  change. 


PREFACE 


INTRODUCTION  TO  YOUR  TOWN 


BACKGROUND 


The  Rural  Heritage  Program  of  the  National  Trust  has  been  interested  in  community  design  issues 
since  the  program's  inception  in  1979.  In  the  early  1980s  National  Trust  staff  worked  on  rural 
demonstration  projects  in  Oley  Pennsylvania,  and  Cazenovia,  New  York,  helping  local  residents  to 
evaluate  their  natural  and  cultural  resources,  articulate  a  vision  for  their  community,  and  prioritize  goals  and 
objectives  for  designing  the  community's  future.  In  Cazenovia  the  National  Trust  worked  with  the  Faculty 
of  Landscape  Architecture  at  the  State  University  of  New  York  in  Syracuse  to  deliver  a  "short  course"  on 
rural  conservation  containing  many  of  the  elements  that  appear  in  the  Your  Town  curriculum. 

The  origins  of  Your  Town  lie  in  plans  prepared  by  the  National  Trust  in  the  late  1980s  to  develop  a  pilot 
training  program  to  assist  regional  and  community  leaders  in  developing  growth-management  strategies  to 
protect  America's  historic  countryside.  In  August  1990  the  National  Endowment  for  the  Arts  issued  a 
request  for  proposals  to  structure  an  initiative  to  respond  to  the  design  needs  of  small  towns  and  rural  com- 
munities, including  both  growth-management  issues  and  economic  revitalization.  The  Endowment  selected 
the  National  Trust's  proposal,  and  Your  Town  was  born. 

Specifically,  this  initiative  was  to  provide  a  forum  for  rural  technical-assistance  providers  to  share  their 
professional  skills  and  learn  new  design  techniques  that  would  aid  them  in  their  work  with  rural  commu- 
nities. The  idea  was  to  "train  the  trainers"  as  a  way  to  spread  design  assistance  efficiently  and  effectively.  A 
suggested  format  was  a  series  of  participatory  workshops  that  would  start  to  build  a  network  of  technical- 
assistance  providers  around  the  country.  The  proposal  submitted  by  the  National  Trust  for  Historic  Preser- 
vation in  cooperation  with  the  Faculty  of  Landscape  Architecture  at  the  State  University  of  New  York 
(SUNY)  at  Syracuse  resulted  in  a  cooperative  agreement  with  the  Endowment  signed  in  December  1990. 

The  National  Trust  and  SUNY  developed  a  model  education  program  for  rural  design  as  a  series  of 
regional  workshops.  The  participants  were  to  be  recruited  from  federal,  state,  and  regional  governmental 
agencies,  nonprofit  organizations,  and  for-profit  corporations  that  provide  technical  assistance  to  rural  com- 
munities, as  well  as  local  business  leaders,  elected  officials,  and  community  volunteers.  The  workshops 
consisted  of  lectures,  discussions,  case  studies,  exercises,  problem  solving,  and  network  development. 


TpgAJT  try 


THE  WORKSHOPS  ARE  INTENSE  YET 
FUN   IN  TWO  DAYS  TEAMS  MUST 
DEVELOP  AND  PRESENT  THEIR 
VISION  OF  YOUR  TOWN'S  FUTURE 


INTRODUCTION  TO  YOUR  TOWN 


THE  GOALS  OF  THE  YOUR  TOWN  WORKSHOPS  WERE: 


WORKSHOP  HISTORY 


COMMUNITIES  ARE  TRYING  TO 

AVOID  THE  UNDIFFERENTIATED 

SUBURBAN  SPRAWL  THAT 

HAS  ENGULFED  MUCH  OF 

THE  COUNTRY. 


To  raise  consciousness  of  the  role  of  design 
in  rural  communities 
To  equip  participants  with  the  tools  and 
techniques  to  identify,  protect,  and 
enhance  their  towns  and  landscapes 
To  improve  the  working  methods  and 
relationships  of  those  who  are  already  pro- 
viding assistance  to  rural  areas  on  design 
and  community-development  issues 
To  learn  the  fundamentals  of  the  design 
process 

To  apply  the  design  process  to  rural 
community  problems  and  enhance  the 
ability  to  develop  effective  solutions;  and 
To  provide  a  forum  for  rural  technical- 
assistance  providers  to  share  their  profes- 
sional skills  and  exchange  ideas  and 
experiences  with  rural  communities. 


From  1991  to  1993  the  National  Trust  and 
SUNY  produced  three  regional  Your  Town  work- 
shops (Bozeman,  Montana;  Nashville,  Tennessee; 
and  Prescott,  Arizona).  Brochures  announcing  the 
first  workshop  were  distributed  widely.  Participants 
applied  and  were  chosen  through  a  competitive 
process.  Nearly  seventy-five  people  attended  the 
Montana  workshop  at  the  historic  Gallatin  Gate- 
way Inn  in  Bozeman;  participants  paid  tuition, 
room,  board,  and  transportation  to  attend. 

Procedures  for  subsequent  workshops  changed 
— largely  in  an  effort  to  reach  out  to  residents  of 
rural  communities  who  were  unable  to  afford  the 
costs  of  a  three-day  workshop.  Potential  partici- 
pants were  identified  in  advance  through  the  assis- 
tance of  the  state  historic  preservation  offices, 
statewide  preservation  organizations,  statewide 
Main  Street  programs,  and  other  organizations.  In 
addition  participants  were  sought  from  the  U.S. 
Forest  Service,  the  Resources  Conservation  and 
Development  agency  (RC&D)  of  the  Natural 
Resources  Conservation  Service,  the  Extension 
Service,  and  other  agencies  of  the  U.S.  Depart- 
ment of  Agriculture.  Potential  participants  were 
then  invited  to  submit  applications,  from  which 
approximately  thirty  were  selected.  The  room, 
board,  and  tuition  of  each  participant  were  fully 
subsidized;  participants  simply  had  to  fund  their 
own  transportation  to  the  workshop  site. 

Before  the  first  Your  Town  in  Montana  it  was 
decided  that  the  workshops  must  take  place  in 
special  rural  settings — places  that  both  conveyed  a 
strong  message  about  good  design  and  provided 
the  atmosphere  of  a  retreat  where  participants 
would  not  be  distracted  from  the  learning  experi- 
ence. Finding  such  places  has  often  been  a  chal- 
lenge, but  most  Your  Town  workshops  have  taken 


INTRODUCTION  TO  YOUR  TOWN 


place  in  particularly  memorable  rural  settings. 
Among  such  special  places  are  the  Hachland  Hill 
Vineyard  between  Nashville  and  Clarksville, 
Tennessee — a  log-cabin  retreat;  Silver  Falls  State 
Park  at  the  foot  of  the  Cascade  Mountains  in 
Oregon;  Wells  College  on  the  shore  of  Cayuga 
Lake  in  New  York;  Unicoi  State  Park  in  the  moun- 
tains of  north  Georgia;  and  the  Hassayampa 
Inn,  a  rehabilitated  historic  hotel  in  downtown 
Prescott,  Arizona. 

Each  Your  Town  workshop  is  highly  labor- 
intensive  and  is  specially  structured  to  meet  the 
needs  of  a  regional  audience.  After  the  first  round 
of  three  workshops  it  was  determined  that,  for  the 
sake  of  efficiency,  the  workshop  delivery  system 
should  be  expanded  to  accommodate  a  broader 
range  of  participants  in  a  given  year  and  to 
enhance  the  provision  of  follow-up  technical  assis- 
tance to  rural  communities.  Selected  institutions 
with  design  expertise  were  asked  to  submit  pro- 
posals to  produce  Your  Town  workshops.  Five  were 
ultimately  selected: 

the  Faculty  of  Landscape  Architecture  at  the 
State  University  of  New  York  at  Syracuse 
the  School  of  Environmental  Design  at 
the  University  of  Georgia 

►  the  Department  of  Landscape  Architec- 
ture/Regional and  Community  Planning 
at  Kansas  State  University 

►  the  Department  of  Planning  at  Arizona 
State  University;  and 

►  the  Historic  Preservation  League  of  Oregon 
with  the  School  of  Architecture  and  Allied 
Arts  at  the  University  of  Oregon 

Shelley  Mastran,  director  of  the  Rural  Heritage 
Program  of  the  National  Trust,  and  Richard  Hawks, 
chair  of  the  Faculty  of  Landscape  Architecture  at 
SUNY,  continued  to  monitor  and  orchestrate  the 


workshops  and  provide  core  curriculum  and  histor- 
ical experience  as  the  National  Your  Town  Center, 
while  the  five  regional  centers  actually  produced  the 
workshops.  In  this  way,  multiple  workshops  were 
produced  in  the  same  period  of  time. 

WORKSHOP  FORMAT  AND  DESIGN 

A  Your  Town  workshop  takes  place  over  a  period  of 
two  and  a  half  days  with  an  intense  schedule  that 
allows  little  time  for  diversions  and  distractions. 
The  curriculum  focuses  on  the  process  by  which 
rural  communities  construct  a  vision  about  their 
future,  evaluate  their  natural  and  cultural  assets, 
and  implement  decisions  about  how  their  com- 
munity should  look  and  function.  The  aim  is 
not  to  promote  specific  answers  to  specific  ques- 
tions but,  rather,  a  framework  for  problem  solving. 
Materials  are  presented  in  a  highly  visual  format, 
principally  through  slides  and  maps.  Workshop 
course  material  covers  the  following  topics: 

Design  Changes  in  Rural  America:  The 
Forces  at  Work  -an  overview  of  the  major 
forces  that  are  affecting  the  rural  landscape 
of  America 

►  The  Design  Process  -the  process  by  which 
design  decisions  are  made  and  implemented; 
the  key  design  concepts  behind  good 
community  planning 

►  Natural  and  Cultural  Resources  Inventory 
and  Analysis  -  an  appreciation  of  the 
broad  range  of  natural  and  cultural 
resources  that  define  community  charac- 
ter; how  to  inventory  and  evaluate  a 
community's  natural  and  cultural  resources 

►  Getting  and  Managing  Design  Assistance 
-  resources  for  design  assistance;  the 
process  of  assessing  design  needs  and  solic- 
iting and  managing  assistance 


M^r,V/We. 


THE  WORKSHOPS  ARE  SERIOU 
THERE  IS  ALWAYS  ROOM  FOR 
SOME  PLAYFUL  CREATIVITY. 


JUT 


INTRODUCTION  TO  YOUR  TOWN 


Your  Town 

v  pari    ;  '  -     "'■  ' 


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Within  the 


tf  Design 
Rural  Contexi 


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WORKSHOP  PARTICIPANTS  RECEIVE 

EXTENSIVE  NOTEBOOKS  THAT 

BECOME  VALUAB.LE  REFERENCES 

WHEN  THEY  RETURN  HOME. 

AT  RIGHT:  THE  WORKSHOP 

SCHEDULE  IS  A  "JAM-PACKED" 

THREE  DAY  EXPERIENCE. 


Case-Study  Panels  —  success 
stories  in  using  the  design 
process  to  solve  local  prob- 
lems or  address  special 
resources;  a  discussion  of 
economic-development, 
planning,  and  design  issues 
Graphics  and  Commu- 
nication —  a  hands-on 
workshop  in  graphics  tech- 
niques and  mapping 
•  Your  Town  Problem-Solving  —  a  small- 
group  exercise  in  applying  the  design 
process  to  real-world  problems  framed  for 
a  hypothetical  town;  using  a  series  of  maps 
and  other  information  about  the  town,  the 
groups  work  toward  solutions,  which  they 
map,  illustrate,  and  present  to  the  other 
groups  for  discussion 
All  workshop  participants  receive  a  notebook 
that  provides  abstracts  and  illustrations  from  each 
of  the  lectures  and  presentations.  Specially  tailored 
to  each  individual  workshop,   the  notebook  is 
designed  to  provide  a  ready  reference  throughout 
the  workshop. 

The  most  critical  component  of  the  Your 
Town  workshop  is  the  problem-solving  exercise 
that  simulates  the  design  process  itself.  A  hypo- 
thetical "Your  Town,"  modeled  on  a  real  town  of 
the  region,  is  devised  with  maps,  a  data  base,  and 
slides.  Problems  that  pertain  to  typical  rural  com- 
munities are  posed — for  example,  a  proposed 
bypass  around  the  town;  a  proposed  subdivision 
on  the  perimeter  of  the  community;  abandoned 
historic  buildings;  insufficient  greenways,  parks, 
and  open  space;  and  deteriorating  downtowns. 
The  problem-solving  exercise  provides  a  forum  for 
sharing  ideas  and  creative  thinking  about  ways  to 


solve  common  problems  that  many  of  the  partici- 
pants already  face  at  home.  Yet,  because  the  exer- 
cise is  hypothetical,  it  releases  participants  from 
the  pressure  of  everyday  politics  and  naysaying 
and  stimulates  their  creative  thinking.  Workshop 
participants  generally  become  very  involved  in  the 
problem-solving  exercise,  sometimes  staying  up 
late  into  the  last  night  to  work  on  solutions. 
Participants  are  encouraged  to  develop  graphic 
solutions  for  all  of  the  problems  posed — with  the 
understanding  that  words  alone  are  of  limited 
value  in  communicating  design  ideas.  A  typical 
workshop  schedule  is  illustrated  below. 


Workshop  Schedule  -  Bloomsburg,  Pennsylvania 

October  29-NovMaber 

Breakfast 

Breakfast 

7:00  am 

8:00  am 

Graphics,  Mapping  & 
Communicating  Design 

<is  mm  -  Laurel  McSherrv 

Managing  &  Getting  Design 
Assistance  -4$  mm 
-  Linda  Harper 

Graphic  ContnvntcarJon 
Workshop- -75  nun, 
-  Staff  w/  Small  Groups 

Break 

Breakfast 

9:00  am 

Case  Study  Panel  -w  mm. 

Moderator-    JeffSoule 
Paneluu-      Linda  Harper 
Dan  Mamott 
David  Taylor 

Break 

10:00  am 

Natural  &  Cultural 
Resources:  Lecture 

45  mm     -S  Shannon  St.  B  Szczygicl 

Yoor  Town  Wortuhflp- 
-  Staff  w/  Small  Groups 

11:00  am 

Natural  &  Cultural  Resources: 
Reading  the  Pennsylvania 
Landscape  •  Field  Trip    B0  u 

-  Gerry  Depo 

-  Bill  Brobst 

-  Scott  Shannon 

-  Bonj  Szczygiel 
Box  luri.-.h  aa  Held  Hip 

12:00  pm 

Registration  -60  mm. 

Working  1 .  u  n-.  h 

1:00  pm 

lull  i»hi.  Him  &  Opening 
Comments  -  30  mm 

Intro  to  Your  Town  -  30  mm 

-  Scott  Shannon 

Year  Town  Workshop 

-5256m  Mat 

-  Staff  w/  Small  Groups 

Changes  in  Rural  America: 
Tbe  Forces  al  Work  .45  mm 

-  Emanuel  Carter 

Your  Town  Workshop 

•  am. 

*  Swff  W  Small  Groups 

2:00  pm 

Break 

The  Design  Process  •  l  hi 
-  Cheryl  Doble 

3:00  pm 

Project  Set-op  »  ma. 

Small  Croup  Mtg.  & 
Intros- 

-90  mm 

-  Staff  w/  Small  Groups 

Comment  &  Review  of 
Team  Projects    90  mm 
-  Your  Town  Faculty 

4:00  pm 

5:00  pm 

Free  Time 

Free  Time 

Free  Time 

6:00  pm 

Informal  Dinner 

Dinner  -  Course  Evalua- 
tions &  Closing  Remarks 

-  Jeff  Soule  -  CRP 

-  Shelley  Mastran  -  NTHP 

■  Scott  Shannon  •  YTNE 

Dinner  - 

Welcome 

-  Town  of  Bloomsburg 

-  Bloomsburg  University 
Keynote  Address 

-  Thomas  Hyllon 

7:00  pm 

Your  Town  Workshop 

-2bu~ 

-  Staff  wy  Small  Groups 

-  Shmooziug 

Evening 

INTRODUCTION  TO  YOUR  TOWN 


WORKSHOP  SUCCESS 

From  the  very  first  workshop  in  Montana  Your 
Town  hit  a  positive  chord  among  most  of  the  par- 
ticipants, providing  something  that  was  simply 
not  available  elsewhere.  For  many  the  Your  Town 
experience  has  been  exciting  and  inspirational — 
offering  contacts  with  new  people,  creative  ideas, 
examples  of  real  community  successes,  and  mod- 
els of  a  design  process  that  could  be  successfully 
applied  to  their  own  community  issues. 

Follow-up  evaluations  of  Your  Town  work- 
shops have  taken  place  over  the  years  in  an  effort 
to  determine  the  long-term  impact  that  the  pro- 
gram may  have  had.  From  these  evaluations  we 
have  learned  that,  at  least  for  many  participants, 
the  Your  Town  experience  was  influential  and  con- 
tinues to  guide  their  work.  Lexie  McDaniel  of 
Scottsville,  Kentucky,  for  example,  used  the  tenets 
of  Your  Town  in  forming  a  planning  and  zoning 
commission  and  in  developing  a  renovation  plan 
for  Scottsville's  downtown.  Lexie's  professional 
growth  was  enhanced  as  a  result  of  the  workshop: 
"I  have  been  able  to  share  what  I  learned  at  Your 
Town — to  see  the  big  picture,  not  just  one  project 
at  a  time."  Curtis  Arrington,  who  considered 
himself  an  untrained  amateur  in  the  realm  of 
planning,  became  the  chair  of  a  committee 
responsible  for  writing  the  first  general  plan  for 
Payson  City,  Utah.  Curtis  thanks  Your  Town  for 
teaching  him  how  to  establish  goals  and  how  to 
follow  a  process  to  achieve  them. 

The  Your  Town  program  has  been  acknowl- 
edged for  its  achievements  in  the  field  of  plan- 
ning and  design.  In  1996  Your  Town  received  a 
Professional  Honors  Award  from  the  American 
Society  of  Landscape  Architects  and  in  1997  the 
Public  Education  Award  from  the  American 
Planning  Association. 


As  a  way  to  document  the  long-term  suc- 
cesses of  the  Your  Town  program  the  National 
Your  Town  Center  sought  to  identify  communities 
where  former  workshop  participants  had  been  able 
to  bring  about  significant  changes  since  attending 
Your  Town.  Several  surveys  of  former  participants 
revealed  that  many  of  them  continue  to  regard  the 
workshop  experience  as  influential  in  their  lives 
and  are  working  to  carry  out  the  principles  they 
learned.  Several  dozen  participants  reported  that 
Your  Town  affected  their  work  "completely."  From 
these  participants  four  case  studies  were  chosen 
that  exemplify  the  goals  of  the  workshops:  to  make 
design  an  important  tool  in  the  enhancement  of 
the  quality  of  life  in  rural  communities. 

The  case  studies  are: 

Anaconda,  Montana 

Queen  Creek,  Arizona 

Montezuma,  Georgia 

Morrisville,  New  York 


RICHARD  MOE,  PRESIDENT  OF 
THE  NATIONAL  TRUST  FOR 
HISTORICAL  PRESERVATION  AND 
JANE  ALEXANDER,  CHAIR  OF 
THE  NATIONAL  ENDOWMENT 
OF  THE  ARTS,  RECEIVING  THE 
AWARD  FROM  THE  AMERICAN 
PLANNING  ASSOCIATION. 


INTRODUCTION  TO  YOUR  TOWN 


HBPrar*;.  ,  ■ 


CASE  STUDY:  ANACONDA,  MONTANA 


BACKGROUND 

Anaconda,  Montana,  is  a  town  of  approxi- 
mately 7,000  people  in  the  mountainous 
southwestern  region  of  the  state.  More 
than  a  mile  high,  Anaconda  serves  as  the  gateway  to 
the  rugged  Pintler  Mountains,  which  tower  as  a 
snow-capped  backdrop  to  the  west  of  the  town. 
Anaconda  is  better  known  as  the  historic  site  of  one 
of  the  largest  copper-smelting  operations  in  the 
world — sister  city  to  nearby  Butte,  where  the  cop- 
per was  mined.  Beginning  in  the  1880s  Butte  and 
Anaconda  produced  one  sixth  of  the  world's  copper. 
Today,  as  a  result  of  that  history,  Anaconda  is  one  of 
the  largest  Superfund  sites  in  the  country.  Driving 
into  eastern  Anaconda,  visitors  pass  a  vast  black  slag 
heap  under  the  58 5-foot- tall  smelter  stack  as  well  as 
hillsides  scarred  by  the  smelting  operations  where 
extensive  reclamation  is  now  under  way. 

In  fall  1991  three  residents  of  Anaconda 
attended  the  first  Your  Town  workshop  in 
Bozeman,  Montana:  Barbara  Andreozzi,  county 
extension  agent;  James  "Milo"  Manning,  director 
of  planning  for  Deer  Lodge  County;  and  Jim 
Davison,  executive  director  of  the  Anaconda 
Local  Development  Corporation.  Milo  and  Jim 
were  long-term  residents,  and  all  three  were  com- 
munity leaders  in  a  position  to  affect  the  future  of 
Anaconda;  all  saw  in  Your  Town  an  opportunity  to 
improve  the  ongoing  community-planning 
process  that  would  accelerate  as  a  result  of  the 
clean-up  of  the  Superfund  site  undertaken  by  the 
Environmental  Protection  Agency  (EPA). 

CASE  STUDY:  ANACONDA,  MONTANA 


THE  COMMUNITY 

In  1991  Anaconda  was  still  staggering  from  the 
blow  dealt  in  September  1980  when  the  Atlantic 
Richfield  Company  (ARCO)  closed  the  large 
smelter  of  its  subsidiary,  the  Anaconda  Company. 
When  the  smelter  closed  not  only  were  some 
1,100  jobs  lost,  but  the  town  lost  approximately 
sixty  percent  of  its  tax  base.  The  population  of 
Deer  Lodge  County,  of  which  Anaconda  is  the 
largest  settlement,  dropped  from  12,500  in  1980 
to  slightly  over  10,000  in  1992.  For  ten  years  after 
the  smelter  closed  no  new  housing  construction 
occurred.  The  problems  were  psychological  as  well 
as  economic;  the  spirit  of  the  town  was  deflated. 
And,  although  the  smelter  landscape  was  historic 
and  gave  the  community  a  strong  identity,  it  was 
nevertheless  a  Superfund  site  with  substantial 
environmental  damage  to  be  repaired. 

Even  before  the  closing  of  the  smelter  Ana- 
conda had  been  engaged  in  a  master-planning 
process,  aimed  at  revitalizing  the  worn-down  and 
declining  downtown.  During  the  1970s  "urban 
renewal'  efforts  had  been  undertaken  in  parts  of 
Anaconda.  One  whole  block  of  historic,  but  run- 
down, buildings  had  been  razed  so  that  a  pedestri- 
an mall  could  be  constructed.  Fortunately,  historic 
preservationists  organized  to  prevent  any  further 
demolition  and  were  able  to  save  the  city  hall  and 
other  structures.  The  mall  was  never  built.  Some 
grand  historic  buildings  still  grace  the  downtown: 
the  1898  gray  stone  courthouse,  the  1896  Hearst 
Library  (William  Randolph  Hearst  had  been  an 
early  investor  in  the  Anaconda  Company),  the  post 
office,  a  theatre,  and  the  operational  roundhouse. 

THE  YOUR  TOWN  EXPERIENCE 

The  timing  of  the  Your  Town  workshop  was  fortu- 


itous for  Anaconda,  because  just  as  Barb,  Jim,  and 
Milo  returned  to  the  community  filled  with  inspi- 
ration and  ideas,  ARCO — with  Superfund  appro- 
priations from  the  EPA — began  to  invest  in  the 
reclamation  of  the  area.  Money  was  available  to 
conduct  a  regional  historic  preservation  plan  and  to 
enlarge  the  community  master-planning  process — 
with  the  Your  Town  graduates  to  help  lead  the  way. 
Barb,  Jim,  and  Milo  share  an  enthusiasm  for 
the  lessons  of  the  Your  Town  experience.  All  three 
gained  an  appreciation  for  a  holistic  community- 
design  process — instead  of  the  fragmented  plan- 
ning that  had  been  the  norm  in  Anaconda.  Barb 
cites  a  new  awareness  of  the  importance  of  the 
visual  in  planning  and  design  that  she  learned 
from  the  small-group  problem-solving  exercise. 
From  Your  Town  she  learned  that  everything  must 
be  shown  graphically,  not  through  words  alone. 
Also,  planning  must  involve  the  community  at 
large;  community  design  must  reflect  the  will 
of  all  the  stakeholders.  Over  the  next  several  years 
all  these  principles  were  applied  to  the  master- 
planning  process  and  a  visioning  process  that 
Barb,  as  county  extension  agent,  facilitated. 

CHANGES  SINCE  YOUR  TOWN 

In  1994  the  county  executive  and  Barb  applied  for 
a  $12,000  "Getting  Things  Done"  grant  from  the 
Governor's  Office  of  Community  Service  and 
received  $6,500  in  rural  development  lunds  horn 
Montana  State  University  to  undertake  commu- 
nity visioning — a  process  developed  by  Montana 
State  University  Extension  that  involves  a  series  of 
community  meetings  bringing  together  citizens 
with  a  wide  range  of  interests  to  articulate  a  vision, 
define  goals  and  objectives,  and  prioritize  imple- 
mentation actions. 


"The  workshop  really 
opened  my  eyes  to  the 
concept  of  designing 
and  planning  for 


our  town. 


Lawrence,  Kansas,  1996 


ABANDONED  SMELTER  STACK 
STILL  DOMINATES  THE  SKYLINE 


CASE  STUDY:  ANACONDA,  MONTANA 


11 


ILLUSTRATING  HOW  INFILL 
BUILDINGS  CAN  REINFORCE 
THE  DESIGN  CHARACTER  OF 
ANACONDA'S  MAIN  STREET. 


Anaconda  wanted  to  build  on  its  special  her- 
itage— its  mining  history  and  landscape  as  well  as 
its  magnificent  historic  structures — and  to  make 
the  community  more  livable,  economically  viable, 
and  accessible.  Out  of  the  visioning  process  six 
goals  were  developed: 

►  Enhance  the  visual  character  of 
Anaconda's  entry  corridors  and  the  central 
business  district 

►  Develop  housing  for  low-  and  middle- 
income  individuals  and  families  within  the 
existing  city 

►  Preserve  the  historic  character  of  Anaconda 

►  Increase  the  density  of  retail  and  commer- 
cial activity  in  the  central  business  district 

►  Link  Anaconda  to  the  numerous  recre- 
ational opportunities  available  in  the 
area;  and 

►  Develop  new  facilities  for  public  service. 
The  whole  visioning  process  was  informed  by 

the  Your  Town  experience  of  Barb,  Jim,  and  Milo. 


Barb,  in  particular,  felt  that  all  the  community's 
goals  must  be  illustrated  in  the  planning  docu- 
ment that  was  to  be  produced.  "The  need  in  all 
our  planning  was  a  clear  visual  'look'  at  what  the 
community's  words  and  ideas  would  be.  The  con- 
ference really  taught  me  I  had  to  have  models  and 
drawings."  She  contacted  Ralph  Johnson  with  the 
MSU  School  of  Architecture,  who  had  been  a  fac- 
ulty member  at  the  workshop.  Johnson  recruited  a 
graduate  student,  Rick  Kincaid,  to  work  with 
Anaconda  on  presenting  the  community's  plans 
graphically.  Thus,  Anaconda's  Vision  document, 
which  Rick  prepared,  illustrated  every  aspect  of 
every  goal — so  that  the  reader  could  see  what  the 
streets  would  look  like  with  new  trees,  what  new 
affordable  housing  would  look  like  on  vacant  lots, 
and  what  new  entrance  signs  would  do  for  the 
appearance  of  the  community's  gateways. 

One  of  the  objectives  that  emerged  from  the 
visioning  process  was  to  revitalize  the  Kennedy 
Common,  a  historic  community  park  near  down- 


12 


CASE  STUDY:  ANACONDA,  MONTANA 


town.  Used  for  ice  skating  in  winter  and  baseball 
in  summer,  the  park  had  been  allowed  to  deterio- 
rate, suffering  a  loss  of  vegetation,  lighting,  and 
pathways.  A  landscape  architect  was  hired  to  pro- 
duce a  redesign  of  the  Common  that  spoke  to 
modern  needs  while  reflecting  plans  that  had 
been  developed  in  the  first  decades  of  the  century. 
The  design  was  displayed  for  the  community  to 
review  and  a  three-dimensional  model  of  the  new 
park  was  made  by  a  MSU  student  and  displayed 
along  with  the  drawings.  "If  they  see  it,  then 
they'll  understand  it,"  Barb  explains.  "We  knew 
they  had  to  see  it."  Exhibited  in  the  lobby  of  a 
downtown  bank,  the  model  and  drawings  drew 
the  attention  and  stimulated  discussion  by  resi- 
dents, who  were  encouraged  to  submit  comments 
and  support  the  rehabilitation  of  the  park. 

CONCLUSION 

Today  Anaconda  is  a  growing  community,  attract- 
ing new  businesses,  residents,  and  visitors.  Its 
downtown  is  putting  on  a  new  face  as  the  vision 
plan  is  implemented.  Twelve  Canadian  cherry 
trees  were  planted  along  downtown  streets  in 
1996,  and  six  more  in  early  summer  1997.  A  new 
brick  welcome  sign  was  erected  at  the  east  end  of 
town,  and  a  landscaping  plan  is  under  way.  A  Jack 
Nicholas  "signature"  golf  course  has  been  con- 
structed on  one  of  the  smelter  sites  (part  of  the 
Superfund  reclamation  project),  incorporating 
historic  mining  relics  along  an  interpretive  trail. 
Plans  are  under  way  for  a  pedestrian-and-bike- 
trail  system  through  Anaconda. 

These  changes  have  not  occurred  because  of 
Your  Town,  but  the  workshop  did  provide  a  fortu- 
itous inspiration  to  three  leaders  to  help  jump- 
start  the  process  of  community  rediscovery  and 
revitalization.  Barb  maintains  that  Milo  and  Jim 


learned  a  new  language  at  Your  Town.  "You  grew 
tremendously  out  of  the  Your  Town  workshop," 
she  tells  Milo — who  admits  to  having  had  "a  rep- 
utation for  not  being  historic-minded."  Before 
the  workshop  she  sometimes  had  difficulty  com- 
municating with  her  cohorts;  afterwards  they 
spoke  the  same  language.  That  language  is  giving 
some  people  in  the  community  new  hope.  Today 
an  optimistic  spirit  is  in  the  air  of  Anaconda.  "The 
people  here  really  care  about  their  community," 
says  Barb,  and  this  care  is  finding  its  way  onto 
the  landscape. 


OLD  WORKS  GOLF  COURSE 


GOLF  COURSE  DESIGN  INCORPORATES 
DISTINCTIVE  LOCAL  HISTORY. 


CASE  STUDY:  ANACONDA,  MONTANA 


13 


CASE  STUDY:  QUEEN  CREEK,  ARIZONA 


BACKGROUND 

Queen  Creek,  Arizona,  is  located  in  the 
southeast  corner  of  Maricopa  County, 
approximately  a  forty-five-minute  drive 
from  Phoenix.  The  fertile  valley  below  the  San 
Tan  Mountains  offered  a  safe  haven  for  prehis- 
toric Native  American  communities  and  early 
homesteaders  who  farmed  and  ranched  along  the 
Queen  Creek  Wash.  Citrus,  cotton,  pecans,  veg- 
etables, and  other  crops  still  provide  for  area  fam- 
ilies, and  the  Wash  is  a  key  feature  in  the  town's 
plan  for  future  recreation  trails  and  open  space. 

By  the  time  Arizona  became  a  state  in  1912  a 
true  community  had  been  formed  in  Queen 
Creek.  Residents  established  traditions  of  neigh- 
borliness  and  rural  fun.  Some  remember  street 
dances,  dips  in  local  swimming  holes,  and  sleep- 
ing under  the  stars  in  the  summer.  The  general 
store,  church,  and  post  office  served  as  commu- 
nity gathering  places — and  still  do  so  today.  Many 
of  the  town's  founding  families  still  choose  Queen 
Creek  as  their  home,  and  many  of  the  local  roads 
carry  their  names. 

Longtime  residents  also  remember  the  rail- 
road switch  at  Rittenhouse  and  Ellsworth  roads 
where  they  could  flag  down  the  train — called  a 
dinky — which  consisted  of  an  engine  and  coach. 
After  paying  their  fare,  they  could  hop  aboard  for 
a  ride  into  Mesa,  Tempe,  Phoenix,  or  Tucson.  In 
the  1920s  Queen  Creek  experienced  an  influx  of 
immigrants  who  had  moved  from  Mexico  to  work 


14 


CASE  STUDY:  QUEEN  CREEK,  ARIZONA 


Queen  Creek  Road 


i 


;W  '.■'•":■■:..'''''-'■':•'  ".'■•' 


*     • 


u 


-;•.'■-■;- \V%     ** 


"I 


I    Very  Low  Density  Residential 

1     (0-1  DU/ac.  Target  Density  0  8  DU/ac) 


L[)B    I     Low  Density  Residential 

1     (1-2  DU/ac.  Tared  Deastty  1  5  DU/ac) 


Mdr  J    Medium  Density  Residential 

— — — I     (2  -  4  DU/ac,  Target  Density  3  5  DU/ac) 


Town  Center 

Includes  Municipal  Buildings.  Office. 
Commercial,  and  Higher  Density  Reudcnhal 
(fi-  18  DU/ac) 

Employment  -  Type  A 

Includes  Manufacturing  and  Distribution 


L 
-lJ 


1 1  umj 

'■    HOD 


LEG  KM) 

b  #j  1  inline  To»n  Crntrf 

hinting  Roadi 


I  *"- .         Topograph* 

NolM  <  'intour 

\  inline  Railroad  (  rowing* 


\ |    Master  Plan  Ar 


r~T1     Employment  -  Type  B 

|  EMPB    |      Includes  low  profile  Office,  Ligl 


["•••..J     Soil  Types 

Zone  A  •  G.trw    Euntta    Avondtk 
Zone  B  •  AMto  ■  Vftlnca 


1900 


Public/  Quasi  -  Public 

Includes  existing  Schools  and  Arizona  Boys  Ranch 


os     I    Open  Space 

— _ — I     Includes  Majo 


Major  Washes 

Note:  The  land  uses  shown  are  generalized  by  location  and  use    Refer  to  ihe  Land  Use  Goals, 
Policies  and  definitions  ui  the  text 


as  miners  in  southern  Arizona.  They  picked  the 
local  cotton  crop  by  hand  until  the  cotton  gin 
arrived  in  the  early  twenties.  In  the  1 940s  Germans 
from  the  prisoner  of  war  camp  in  Queen  Creek 
and  Philippine  immigrants  joined  farm  laborers  in 
local  fields.  Today  Queen  Creek  is  preparing  for 
new  additions  to  its  rich  cultural  diversity. 

Located  in  a  broad,  open  valley  of  the 
Sonoran  Desert  with  towering  saguaro  cactus  cov- 
ering the  San  Tan  Mountains  at  the  southern  edge 
of  the  town,  Queen  Creek  remains  essentially 
unchanged.  Yet  the  community  is  directly  in 
the  path  of  Phoenix's  rapid  expansion,  which 
has  engulfed  nearby  towns  during  the  last  two 


decades.  The  adjacent  community  of  Gilbert, 
for  example,  is  approving  300  building  permits 
per  month;  its  population  has  doubled  in  six 
years;  and  it  has  the  fastest  growing  school  district 
in  Arizona. 

THE  COMMUNITY 

Queen  Creek  has  approximately  3,500  citizens,  all 
of  whom  appear  to  be  realistic  about  its  inevitable 
growth.  But  rather  than  simply  resign  themselves 
to  undifferentiated  sprawl  they  have  decided  to 
focus  on  the  issue  of  the  quality  of  development. 
The  town  incorporated  in  1989  to  preserve  the 
benefits  of  rural  life  while  providing  a  process  for 


AT  LEFT:  TOWN  OF  QUEEN  CREEK 
GENERAL  PLAN.  ABOVE:  CITIZENS 
NEED  A  SHARED  UNDERSTANDING 
OF  THE  UNDERLYING  COMMUNITY 
STRUCTURE. 


CASE  STUDY:  QUEEN  CREEK,  ARIZONA 


NEWSPAPER  ARTICLE  CELEBRAT- 
ING THE  CHILDRENS'  VIEW  OF 
QUEEN  CREEK. 


managed  growth.  Residents  seek  to  preserve  the 
town's  friendly  small-town  spirit  while  working 
for  economic  and  recreational  opportunities  and  a 
high  quality  of  life. 

In  many  ways  Queen  Creek  is  fortunate  in 
that  it  only  recently  incorporated.  This  gave  resi- 
dents a  clean  slate  from  which  to  create  a  vision 
for  the  community  as  well  as  the  opportunity  to 
take  advantage  of  contemporary  community- 
design  theories  and  techniques  like  those  of  the 
Your  Town  workshops.  Fortunately  Queen  Creek 
has  had  a  consistent  core  of  dedicated  citizens  and 
professionals  since  its  incorporation.  This  group 
has  provided  the  continuity  so  important  for  con- 
sistent, sustainable  community  design. 

THE  YOUR  TOWN  EXPERIENCE 

Three  of  this  core  group  attended  the  1995  Your 
Town  workshop  in  nearby  Casa  Grande,  Arizona. 
They  were  Vice  Mayor  June  Calendar,  Town 
Manager  Cynthia  Seelhammer,  and  Russell 
Carlson,  local  business  owner  and  planning  com- 
missioner. For  all  three  the  timing  of  the  work- 
shop was  perfect  because  they  were  just  embarking 
on  the  first  update  of  their  general  plan.  The  town 
had  been  contracting  for  part-time  planning  staff, 
but  it  needed  a  professional  staff  person.  The  deci- 
sion was  made  to  share  with  the  neighboring  town 
of  Gilbert  the  expenses  of  a  half-time  planner, 
John  Kross,  but  within  a  few  months  it  became 
obvious  that  Queen  Creek  needed  a  full-time 
planner  and  John  was  hired. 

Although  the  first  general  plan  was  a  good 
document,  the  Your  Town  workshop  opened  the 
three  participants'  eyes  to  new  ways  of  thinking 
about  their  community,  and  they  have  helped  the 
town  actively  develop  other  tools  besides  the  gen- 
eral plan  to  manage  its  growth,  including  a  town- 


center  plan,  an  open-space-and-trails  plan,  zoning 
ordinances,  and  a  subdivision  code.  This  is  no 
small  feat  in  a  typical  Arizona  community  that, 
according  to  Cynthia,  tends  to  believe  "no  govern- 
ment is  good  government."  To  which  John  Kross 
adds,  "with  a  dose  of  John  Wayne  thrown  in." 

BUILDING  COMMUNITY 

Since  the  Your  Town  workshop,  numerous  initia- 
tives have  worked  to  affect  community  spirit  and 
sense  of  place.  Like  other  growth  areas  of  the 
Southwest,  Queen  Creek  experiences  what  is 
known  as  the  "churn  phenomenon":  For  every  five 
new  residents  who  move  in,  three  or  four  move 
out.  Yet,  despite  residential  turnover  the  citizens  of 
Queen  Creek  seem  to  have  a  clear  collective  vision 
of  the  community's  future.  As  was  emphasized  in 
the  Your  Town  workshop,  everyone  seems  to  have 
a  mental  image  of  the  town's  fundamental  struc- 
ture, including  a  dense  commercial  center,  con- 
centrated residential  development  to  the  north- 
west, and  open  space  and  a  trail  system  along 
the  washes. 

One  way  Queen  Creek  has  worked  to  pre- 
serve the  collective  image  of  the  town  is  by  devel- 
oping a  packet  for  new  residents.  Each  new  family 
is  individually  greeted  by  a  member  of  the  town 
council  and  given  a  welcoming  packet  that  focuses 
on  the  community's  past,  present  and  future.  In 
addition  to  greetings  and  directories  there  are  such 
short  pieces  as  "Queen  Creek  History,  Heritage 
Reflects  Ties  to  the  Land"  and  "Linking  Old  and 
New,  A  Vision  for  the  Future"  as  well  as  a  map  of 
the  general  plan.  The  packet  encourages  new  resi- 
dents to  get  involved  and  conveys  the  idea  that 
becoming  part  of  this  community  is  more  than 
owning  a  home  or  some  land;  it  also  involves  a 
commitment.  As  Cynthia  says,  the  packet  tries  to 


CASE  STUDY:  QUEEN  CREEK,  ARIZONA 


get  over  the  "us  versus  them"  of  old  timers  versus 
new  residents  early  on. 

The  mayor  is  committed  to  continuous  com- 
munication and  participation  with  residents,  even 
though  he  admits  that  at  times  the  process  can  be 
slow  and  inefficient.  To  disseminate  important 
information  to  the  community  a  newsletter  is 
published  four  times  a  year.  The  purpose  is  to 
keep  the  community  informed  of  issues,  solicit 
public  opinion,  and  encourage  people  to  get 
involved  in  community  affairs.  Each  newsletter 
has  a  section  called  "New  Zoning  Issues:  What's 
New  in  Queen  Creek?"  which  discusses  in  some 
detail  the  proposed  projects  in  the  community.  In 
addition  there  are  articles  on  issues  facing  the 
community.  One  example,  written  by  the  mayor, 
was  a  recognition  of  the  long-time  residents  of  the 
community  and  the  important  role  they  played  in 
shaping  the  town.  To  further  this  recognition  the 
town  is  helping  to  organize  oral  histories  and  has 
held  a  dinner  recognizing  the  pioneers  of  the  past 
and  calling  on  the  community  to  "become  the  pio- 
neers of  today.  " 


The  town  also  ran  a  competition  to  design  a 
logo  expressing  the  vision  of  the  community.  The 
competition  forms  were  widely  publicized,  and 
more  than  sixty  entries  were  received.  The  win- 
ning logo  is  simple.  It  shows  the  essential  charac- 
teristics of  the  town  with  its  valley,  washes,  and 
surrounding  mountains  and  now  appears  on  the 
town's  business  cards,  lapel  pins,  and  newsletter 
heading,  contributing  to  the  overall  sense  of 
community. 

Faced  with  increasing  growth  and  change,  the 
community  decided  to  record  what  it  is  today 
before  important  features  disappear.  Instead  of 
hiring  a  professional  photographer  to  take  pho- 
tographs Queen  Creek  turned  to  its  own  children. 
With  a  grant  from  the  Arizona  Commission  on 
the  Arts  the  town  hired  a  professional  photogra- 
pher to  teach  junior  high  students  the  fundamen- 
tals of  photography  and  provided  each  of  them 
with  an  inexpensive  camera  and  film.  The  black- 
and-  white  pictures  were  taken  by  the  youths  over 
the  course  of  a  year  so  that  all  the  seasons  are  rep- 
resented. The  students  snapped  whatever  caught 
their  eye,  including  cowboys,  an  old  truck,  the 
local  pet  cemetery,  and  a  messy  front  porch.  The 
exercise  culminated  in  a  public  exhibit  and 
awards.  The  outcome  may  be  best  expressed  in  the 
words  of  the  professional  photographer,  who  at 
first  glance  had  wondered  what  there  was  to  pho- 
tograph in  the  community:  "It  was  quite  exciting. 
I  found  an  incredible  bunch  of  people — environ- 
mentalists, cowboys,  ranchers,  religious  people, 
Mexicans,  and  farmers  who  have  been  there  a  long 
time.  I  found  Queen  Creek  to  be  a  really  fascinat- 
ing place." 

How  well  have  all  these  community-building 
efforts  paid  off?  As  Cynthia  says,  "you  can  tell 
when  a  place  is  making  it  as  a  team  when  you  can 


AT  LEFT:  RUSSELL  CARLSON  AND 
JOHN  KROSS.  RUSS  BRINGS  LOCAL 
CHARACTER  TO  THE  TRUE  VALUE 
HARDWARE  STORE  HE  MANAGES  BY 
SELLING  MINIATURE  TOY  HORSES. 
BELOW:  NEWSLETTER  AND  LOGOS 
ARE  IMPORTANT  WAYS  TO  COMMU- 
NICATE A  TOWN'S  VISION  AND 
BUILD  COMMUNITY  CONSENSUS. 


Town  of  Queen  Creek 

£!  NEWSLETTER 


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CASE  STUDY:  QUEEN  CREEK,  ARIZONA 


17 


CYNTHIA  SEELHAMMER  WITH 

ONE  OF  QUEEN  CREEK'S 

IMPORTANT  CONSTITUENTS  - 

HER  HORSE. 


stop  anyone  in  the  street  and  ask  them  what  is 
going  on  and  get  some  answer  about  the  progress 
and  vision  of  the  future."  Queen  Creek  is  just 
such  a  community.  Planner  John  Kross,  who  has 
worked  with  many  communities,  says  that  he 
has  never  seen  as  much  participation  and  broad- 
based  knowledge  of  the  general  plan  in  any 
other  community. 

IMPORTANCE  OF  DESIGN 

The  Your  Town  workshop,  particularly  the  session 
on  open-space  subdivisions  by  Randall  Arendt, 
resulted  in  a  fundamental  paradigm  shift  in  the 
perspectives  of  the  Queen  Creek  participants  that 
has  lasted  until  today.  Workshop  alumni  began  to 
ask  fundamental  questions  about  business-as- 
usual,  standard  engineering  design  solutions  to 

R/W  r/w 


■\ 

-5-0" 

5-0- 

33' -0" 

50-0" 

STANDARD 


R/W 


13-6" 


JJ'-O" 


7J'-6" 


6Q'~0' 


ALTERNATIVE 

STANDARD  STREET  DESIGN  LEFT  OUT  MANY  OF  THE  ELE- 
MENTS THAT  ONCE  MADE  STREETS  GREAT  PLACES  FOR 
PEOPLE.  NEW  ALTERNATIVES  SEPARATE  PEDESTRIANS  AND 
VEHICLES,  AND  LEAVE  ROOM  FOR  STREET  TREES. 


problems.  For  example,  the  Maricopa  County 
Department  of  Transportation  (McDot)  planned 
to  replace  two  Queen  Creek  bridges.  The  engi- 
neers proposed  one  of  a  handful  of  standard  Jersey 
Barrier  design  solutions.  Town  officials  saw  these 
structures  as  more  than  just  bridges:  They  are 
gateways  to  the  community.  They  asked  if  there 
wasn't  something  that  McDOT  could  do  that 
reflected  Queen  Creek?  The  answer  was  that  the 
bridges  could  be  painted,  "but  only  gray  or  tan — 
or  you  can  get  the  chain  link  in  green  vinyl." 
Luckily,  the  town  decided  that  none  of  these  sug- 
gestions was  good  enough  and  stood  its  ground. 
They  persuaded  McDOT  to  come  up  with  a  new 
design,  and  today  the  bridges  clearly  reflect  their 
regional  context.  In  addition,  the  undersides  of 
the  bridges  are  designed  so  that  horseback  riders 
along  the  trail  that  follows  the  wash  will  have  an 
aesthetically  pleasing  experience  and  can  ride 
underneath  without  dismounting.  Even  McDOT 
received  some  accolades  for  its  sensitivity.  Thus,  a 
simple  bridge  has  become  symbolic  of  a  commu- 
nity that  realizes  the  importance  of  design.  As 
another  example,  the  standard  McDOT  design  for 
a  sidewalk,  based  on  criteria  of  cost  and  safety,  is  a 
combined  sidewalk  and  curb  with  street  trees,  if 
any,  planted  on  the  sidewalk  edge. 

Queen  Creek  now  has  a  new  vision  of  how 
the  community  wants  its  streets  designed.  The 
new  design  would  position  the  trees  between  the 
sidewalk  and  the  curb,  thus  separating  pedestrians 
from  automobiles  and  allowing  the  trees  to  pro- 
vide shade  and  a  sense  of  enclosure  to  the  street. 
The  town  has  decided  that  tree-lined  streets  are  an 
important  building  block  in  making  a  good  com- 
munity. Residents  believe  this  simple  change  in 
design  will  have  profound  implications  in  the 
overall  appearance  of  the  community. 


18 


CASE  STUDY:  QUEEN  CREEK,  ARIZONA 


1       I        I        I        l__jJy-  .:■■■     -'-'.  ■ 


:'.  --^  .^ 


CONCLUSION 

Queen  Creek  is  a  community  that  has  taken  stock  in 
itself.  It  has  realized  the  value  of  building  its  civic 
capacity  through  a  well-informed  and  participatory 
citizenry.  The  town  also  sees  that  good,  thoughtful 
design  is  an  important  component  of  the  communi- 
ty's rural  character  and  quality  of  life.  Residents  have 
translated  the  community-shared  vision  into  law — 
including  a  subdivision  ordinance  that  requires  tree- 
lined  streets  and  open-style  fencing  on  large  lots — 
and  have  worked  to  accomplish  tangible  design 
solutions  of  which  all  Queen  Creek  can  be  proud. 


EVEN  SOMETHING  AS  ORDINARY 
AS  A  BRIDGE  CAN  BE  A  DESIGN 
STATEMENT  AND  ACT  AS  A  GATE- 
WAY TO  THE  COMMUNITY 


"I  came  home  from  your  conference  thoroughly  elated.  I  had 

to  get  out  of  the  community  and  talk  with  people  who  were 

not  biased  and  who  did  not  have  predetermined  notions  of 

how  our  community  should  develop.  In  a  setting  free  from 

minutia  and  crisis,  I  was  able  to  focus  on  the  'big  picture. ' 

I  needed  to  hear  how  other  communities  have  handled  the 

problems  we  face. " 

Prescott,  Arizona,  1993 


CASE  STUDY:  QUEEN  CREEK,  ARIZONA 


19 


CASE  STUDY:  MONTEZUMA,  GEORGIA 


BACKGROUND 

In  the  middle  of  the  night  of  July  5th,  1994, 
after  days  of  persistent  rain,  the  farm  ponds 
above  Beaver  Creek,  tributary  of  the  Flint 
River  in  west  central  Georgia,  broke — causing 
Beaver  Creek  to  flow  around  its  levee  and,  with 
no  warning,  to  creep  along  Railroad  Street  into 
downtown  Montezuma.  Soon  buildings  stood  in 
six  feet  of  filthy  water.  Less  than  two  days  later  the 
Flint  River  crested — bringing  water  into  down- 
town to  a  height  of  up  to  thirteen  feet.  For  six 
days  the  water  did  not  recede.  By  the  time  it  did 
the  lives  of  Montezuma's  residents  and  the  fate  of 
the  downtown  had  been  changed  forever. 

Cleaning,  rebuilding,  and  revitalizing  down- 
town Montezuma  were  arduous  tasks,  ones  that 
many  rural  communities  would  find  too  daunt- 
ing. But  in  Montezuma's  case  the  revitalization 
was  orchestrated  by  Caren  Allgood,  participant 
in  a  Your  Town  workshop  produced  by  the 
University  of  Georgia's  School  of  Environmental 
Design  five  months  after  the  flood.  Largely 
because  of  Caren's  influence  Montezuma  has  dra- 
matically changed  the  look  and  vitality  of  its 
downtown,  and  its  citizens  are  much  more  con- 
scious of  the  importance  of  community  design. 
Montezuma,  after  the  flood,  is  truly  a  new  place. 


20 


CASE  STUDY:  MONTEZUMA,  GEORGIA 


THE  COMMUNITY 

Montezuma,  Georgia,  incorporated  in  1854,  was 
named  by  veterans  of  the  Mexican  War.  From  its 
earliest  days  it  was  a  thriving  market  center  for 
agriculture.  From  Montezuma  cotton  was  shipped 
by  railroad  to  Savannah,  and  the  Flint  River  pro- 
vided an  avenue  for  steamboat  transportation  as 
well.  After  the  demise  of  cotton  in  the  last  decades 
of  the  nineteenth  century,  Montezuma  continued 
to  prosper  as  a  market  center  for  peaches,  pecans, 
and  other  agricultural  products.  Both  the  com- 
mercial and  residential  sections  of  the  town  reflect 
this  early  wealth.  Numerous  historic  buildings, 
most  from  the  late  nineteenth  and  early  twentieth 
centuries,  line  the  streets  of  the  historic  district. 
However,  in  the  late  1960s  the  downtown  under- 
went a  period  of  "modernization"  when  many 
buildings  were  fitted  with  metal  facades,  wood 
paneling,  and  other  materials  to  cover  the  historic 
bricks  and  windows. 

As  with  many  small  Southern  towns,  during 
the  last  decades  Montezuma's  population  has 
declined;  it  is  currently  about  4,600.  The  town 
still  functions  largely  as  a  market  center  for  the 
surrounding  agricultural  region.  Macon  County's 
unemployment  is  high — 10.8  percent — and  it 
ranks  among  the  lowest  tenth  of  counties  across 
the  state  in  terms  of  median  family  income 
and  persons  below  the  poverty  level.  In  1994, 
before  the  flood,  most  downtown  businesses  in 
Montezuma  were  stable  but  struggling  to  main- 
tain the  status  quo. 

THE  YOUR  TOWN  EXPERIENCE 

At  the  time  of  the  flood  Caren  Allgood  was  in  the 
heating  and  cooling  contracting  business,  and  life 
was  "business  as  usual."    After  the  flood,  in  part 


because  her  business  partner  had 
had  the  foresight  to  order  pressure 
washers  and  generators  during  the 
flood  period,  Caren  became  an 
active  participant  in  the  downtown 
clean-up.  And,  because  Caren  was 
former  president  of  the  Montezuma 
Historical  Society,  she  was  the 
person  contacted  when  Georgia's 
Historic  Preservation  Division  (HPD) 
and  the  Federal  Emergency  Manage- 
ment Agency  (FEMA)  announced 
the  availability  of  grants  to  rehabili- 
tate flooded  historic  properties. 
(The  grant  money  was  available 
through  the  National  Park  Service 
for  properties  listed  in  or  eligible  for 
listing  in  the  National  Register  of 
Historic  Places.) 

Under  the  guidance  of  the  fed- 
eral and  state  agencies  as  well  as  the 
Georgia  Trust  for  Historic  Preserva- 
tion and  the  National  Trust  for 
Historic  Preservation,  Montezuma  formed  a 
Historic  Preservation  Revitalization  Task  Force, 
with  Caren  recruited  by  the  city  manager,  David 
Peaster,  to  be  its  chairman.  The  ten-person  task 
force  set  to  work  soliciting  design  suggestions, 
helping  businesses  get  estimates  on  the  cost  of 
interior  and  roof  repairs,  issuing  a  request  for  pro- 
posal for  facade  restoration,  and  filling  out  the 
requisite  grant  applications.  In  November  1994 
Caren  received  a  phone  call  from  Lisa  Vogel,  coor- 
dinator of  an  upcoming  Your  Town  workshop  in 
Georgia,  inviting  her  to  attend.  The  Georgia 
HPD  had  recommended  Caren  and  offered  to  pay 
the  full  room-and-board  cost  of  adding  a  partici- 
pant at  the  last  minute. 


CAREN  ALLGOOD  STANDING  NEXT 
TO  POLE  MARKING  THE  HIGH 
WATER  MARK  OF  THE  INFAMOUS 
1994  FLOOD. 


CASE  STUDY:  MONTEZUMA,  GEORGIA 


REVEALING  AND  RESTORING  OLD 
BUILDING  FACADES  CAN  BE  AN 
EXCITING  PROCESS  OF  A  COMMU- 
NITY REDISCOVERING  ITS  PAST. 


For  Caren  the  workshop  was  a  catalytic  expe- 
rience. "It  really  changed  the  way  I  looked  at 
everything,"  she  says.  Caren  had  grown  up  in 
Covington,  Georgia,  east  of  Atlanta.  Once  "in  the 
country,"  Covington  was  now  a  sprawling  node 
along  the  interstate,  and  although  Covington  is  a 
Main  Street  community  with  a  revitalized  historic 
downtown,  Caren  hated  the  unsightly  develop- 
ment that  had  changed  its  boundaries  and  sur- 
roundings. Still  she  had  never  considered  that 
what  had  happened  to  Covington  was  not 
inevitable:  "I  never  thought  about  alternate  ways 
of  growing."  Your  Town  changed  all  that.  The 
small-group  problem-solving  exercise  and,  partic- 
ularly, her  interaction  with  University  of  Georgia's 
Pratt  Cassity,  her  small-group  leader,  sensitized 
Caren  to  the  appearance  of  the  built  environment 
and  convinced  her  that  communities  can  design 
their  own  futures. 


CHANGES  SINCE  YOUR  TOWN 

After  the  workshop  Caren  was  determined  to  bring 
the  Your  Town  experience  to  Montezuma.  Working 
with  the  Southern  Regional  Office  of  the  National 
Trust  and  the  University  of  Georgia,  she  was  instru- 
mental in  securing  a  special  Your  Town:  After  the 
Flood  workshop  for  residents  of  flooded  communi- 
ties of  southwest  Georgia.  Held  in  the  town  of 
Americus  in  July  1995,  the  workshop  was  funded  by 
flood  grant  money  from  the  National  Park  Service 
and  administered  by  the  National  Trust.  Caren  made 
sure  that  both  the  city  manager  of  Montezuma  and 
the  president  of  the  Macon  County  Chamber  of 
Commerce  attended.  After  the  workshop  Michelle 
Allen,  Chamber  president,  knew  that  "the  sky  was 
the  limit"  for  Montezuma.  Not  only  was  she  sensi- 
tized to  the  character  of  buildings  and  the  planning 
process  itself,  she  also  realized  the  potential  for  what 
the  rebuilt  town  could  be. 


22 


CASE  STUDY:  MONTEZUMA,  GEORGIA 


Your  Town  changed  Caren's  career.  After  the 
workshop  Caren  continued  to  lead  the  Revitaliza- 
tion  Task  Force,  working  as  a  volunteer  at  least 
thirty  hours  a  week.  In  summer  1995,  just  as  she 
was  planning  to  leave  town  in  search  of  paid 
employment,  Caren  was  offered  the  position  of 
flood  grants  coordinator  for  Montezuma,  a  job 
she  has  thrived  in.  "Your  Town  changed  what  I 
wanted  to  do;  I  found  a  niche  in  the  world  for  me 
that  I  loved." 

As  flood  grant  coordinator,  Caren  oversaw 
every  aspect  of  facade  restoration  and  streetscape 
improvement  in  Montezuma.  She  was  a  steady 
presence  in  the  downtown,  supervising  the 
removal  of  facade  materials,  the  painting  of 
bricks,  and  the  erection  of  new  awnings.  Not  all 
downtown  businesses  qualified  for  historic 
preservation  grants,  of  course — only  those  listed 
in  or  eligible  for  listing  in  the  National  Register. 
But  Caren  worked  with  owners  of  nonqualifying 
buildings  to  improve  their  appearance  nonethe- 
less. One  was  Carl  Adams,  owner  of  his  own 
insurance  agency  and  appraisal  firm.  After  the 
flood  Carl  had  no  intention  of  relocating  in  his 
building  on  downtown  Dooly  Street  and  bought 
land  on  the  outskirts  of  town  for  a  new  office. 
He  was  already  talking  to  the  State  Department 
of  Transportation  about  access  to  his  property 
when  Caren  was  able  to  persuade  him  to  stay 
downtown.  Although  his  building  did  not 
qualify  for  historic  preservation  grant  funding, 
because  it  had  been  substantially  remodeled  in 
1992,  Carl  rehabilitated  the  building  in  a  com- 
patible way  with  the  advice  of  a  Main  Street 
consultant  from  the  Georgia  Trust.  Carl 
removed  the  cedar-shake  mansard  roof,  applied 
stucco  to  the  brick,  put  up  a  new  green-and- 
white-striped  awning,  and  obtained  a  variance 


for  a  smaller  insurance  franchise  sign — all  at  his 
own  expense. 

Caren  reactivated  Montezuma's  downtown 
development  authority,  which  had  been  defunct 
since  the  1980s,  bringing  the  directors  together  to 
educate  them  about  design  guidelines,  Main  Street 
principles,  and  heritage  tourism — to  "show  them 
the  possibilities."  Caren  also  began  writing  articles 
for  the  local  newspaper  about  design  guidelines, 
downtown  landscaping,  and  streetscapes,  challeng- 
ing readers  to  imagine  what  a  grocery  store  would 
look  like,  for  example,  if  its  parking  lot  were  located 
in  back.  When  a  McDonald's  billboard  was  about 
to  be  erected  on  a  vacant  lot  across  from  the  rail- 
road depot  downtown,  at  one  of  the  gateways  into 
Montezuma,  Caren  was  able  to  persuade  the  city 
council  to  pass  an  off-premise-sign  ordinance  ban- 
ning billboards  from  the  downtown  development 
district.  She  also  worked  on  the  passage  of  a  his- 
toric preservation  ordinance.  She  invited  Pratt 
Cassity,  her  small-group  leader  from  Your  Town,  to 
give  a  slide  presentation  in  Montezuma  on  historic 
preservation.  All  but  one  member  of  the  city  coun- 
cil saw  the  slide  show,  and  the  next  day  the  historic 
preservation  ordinance  was  passed. 


INDIVIDUAL  INITIATIVES  SUCH 
AS  THOSE  BY  A  LOCAL  BUSI- 
NESSMAN CAN  MAKE  A 
DIFFERENCE  AND  RESULT  IN 
MEANINGFUL  COMMUNITY 
LEADERSHIP. 


CASE  STUDY:  MONTEZUMA,  GEORGIA 


23 


CONCLUSION 

A  comprehensive  streetscape-improvement  pro- 
ject is  now  under  way  in  Montezuma:  The  old 
sidewalks  and  trees  are  being  removed;  new  trees 
and  paving  will  be  installed;  power  lines  will  be 
relocated;  and  parks  will  be  built,  including  new 
tennis  courts  alongside  Beaver  Creek.  All  of  this 
physical  change  might  not  have  been  possible,  of 
course,  had  it  not  been  for  the  flood  grant  fund- 
ing. However,  other  Georgia  communities  have 
been  eligible  for  the  same  funds,  and  none  has 
planned  or  accomplished  anything  close  to  what 
Montezuma  has.  According  to  Greta  Terrell  of  the 
Georgia  Trust,  in  Montezuma  "they  see  preserva- 
tion and  design  as  part  of  the  solution"  of  recovery 


from  the  flood.   Other  flooded  communities  have 
not  been  so  insightful. 

Carl  Adams  attributes  much  of  the  town's 
success  to  Caren.  "She  had  more  foresight  than 
anyone  else."  And,  Caren  attributes  much  of  her 
own  success  to  Your  Town.  It  changed  the  way  she 
looked  at  the  world,  and  it  changed  her  life's 
work.  In  the  summer  of  1997  she  was  hired  by 
the  nearby  town  of  Americus  to  be  the  executive 
director  of  its  downtown  development  authority 
and  director  of  its  Main  Street  program.  In 
Americus  Caren  continues  the  application  of  the 
principles  she  learned  at  Your  Town — this  time  as 
a  preservation  professional. 


CAREN  ALLGOOD  AND 
GRETA  TERRELL  TALK  WITH 

MONTEZUMA'S  MAYOR 
ABOUT  THE  PROGRESS  OF 

FACADE  IMPROVEMENT. 


24 


CASE  STUDY:  MONTEZUMA,  GEORGIA 


CASE  STUDY:  MORRISVILLE,  NEW  YORK 


BACKGROUND 

Nestled  in  a  valley  among  the  rolling  hills 
of  central  New  York  is  the  small  village 
of  Morrisville,  one  square  mile  in  size. 
A  farming  community  that  was  once  the  county 
seat,  Morrisville  is  currently  the  site  of  a  State 
University  of  New  York  (SUNY)  Agricultural  and 
Technical  College.  The  year-round  population  of 
some  1,300  consists  of  retirees,  commuters  to 
larger  communities,  and  employees  of  the  college. 
The  architecture  of  the  Village  is  predominantly 
Greek  Revival  and  Italianate,  intermingled  with 
various  styles  of  the  twentieth  century.  Most  of 
the  structures  are  single  family,  many  of  which 
have  been  converted  to  rental  units  serving  the 
student  population  of  approximately  1,000. 

In  many  respects  Morrisville  is  a  typical 
upstate  New  York  village  with  typical  small-town 
problems.  What  is  not  typical  about  Morrisville  is 
the  residents'  growing  resolve  to  find  the  vision 
and  means  to  solve  these  problems  and  to  cele- 
brate the  place  where  they  live  and  work. 

THE  COMMUNITY 

The  Village  has  not  changed  dramatically  in 
recent  decades;  rather,  the  change  has  been  incre- 
mental and  has  resulted  in  a  slow  deterioration  in 
the  overall  quality  of  the  community.  More  and 
more  of  the  college  faculty  have  chosen  to  live  in 
neighboring  communities,  and  residents  have  had 


CASE  STUDY:  MORRISVILLE,  NEW  YORK 


25 


^ 


t 


COMPUTER  IMAGING  CAN  HELP  COMMUNITIES  SEE  AND  EVALUATE  CHANGE  BEFORE  IT  OCCURS. 


26 


CASE  STUDY:  MORRISVILLE,  NEW  YORK 


a  sense  of  inevitable  decay.  As  one  of  Morrisville's 
citizens  said,  "The  community  suffered  from 
severe  apathy...  It  was  once  beautiful  in  the  1930s 
to  1950s.  Then  the  boom  years  came  when  build- 
ings were  torn  down,  and  the  community  began 
to  decline." 

By  1996,  however,  a  number  of  forces  con- 
verged to  make  the  community  think  about  its 
future  in  a  new  light.  First,  the  New  York  State 
Department  of  Transportation  informed  the  vil- 
lage that  in  the  next  few  years  they  were  planning 
to  upgrade  Main  Street  (U.S.  Route  20).  Many  of 
the  citizens  were  concerned  about  what  an 
upgrade  meant.  The  last  Route  20  road  improve- 
ments had  resulted  in  the  loss  of  roadside  parks 
and  fountains  that  acted  as  the  village  commons. 
The  result  was  a  sixty-foot-wide  road  through  the 
center  of  town  that  was  efficient  for  high-speed 
traffic  but  greatly  compromised  the  once  pedestrian- 
friendly  center  of  town. 

Second,  a  number  of  fires  in  Morrisville  left 
several  gaping  holes  in  the  fabric  of  Main  Street 
where  once  a  church  and  drugstore  had  stood. 
Without  design  guidelines  the  community  was 
uncertain  and  uncomfortable  about  what  new 
structures  would  look  like.  At  the  same  time  a 
plan  to  build  the  village's  first  sewer  system  was 
prepared,  posing  the  threat  of  new  development. 
All  this  played  against  a  background  of  simmering 
town-gown  tensions  resulting  from  an  increasing 
number  of  rental  units  and  a  proliferation  of  bars, 
parking  problems,  and  crime.  Unfortunately,  the 
Village  was  not  prepared  to  respond  to  these  pres- 
sures in  a  thoughtful  manner. 

In  1989  the  Morrisville  Preservation  Commis- 
sion was  formed  to  list  Madison  Hall — the  court- 
house when  Morrisville  was  the  county  seat — in  the 
National  Register  of  Historic  Places  and  to  nomi- 


nate it  as  a  local  historic  landmark.  Soon,  however, 
the  Commission  became  the  voice  for  design  in  the 
community  at  large.  One  event  in  particular 
prompted  Commission  members  to  play  a  broad 
activist  role.  In  1994  a  church  in  a  predominantly 
residential  neighborhood  in  the  center  of  the  village 
burned  down,  and  a  proposal  was  made  to  rezone 
the  property  and  renovate  a  remaining  church 
structure  into  a  plastics-model  company.  It  was  a 
bitter  battle — and  the  company  won.  However,  the 
experience  made  the  Commission  members  realize 
that  they  needed  to  become  proactive  if  they 
wanted  to  shape  the  future  of  their  community.  In 
the  process  of  negotiating  with  the  plastics-model 
company  the  Commission  was  able  to  require  some 
design  mitigation  measures,  and,  in  fact,  the  com- 
pany has  proved  to  be  a  good  neighbor.  The  com- 
munity realized  that  development  and  economic 
growth  do  not  have  to  come  at  the  expense  of  the 
quality  of  life. 

THE  YOUR  TOWN  EXPERIENCE 

Luckily  for  Morrisville  Carolyn  Gerakopoulos, 
one  of  the  village's  most  active  citizens  and  a  mem- 
ber of  the  Commission,  participated  in  the 
Aurora,  New  York,  Your  Town  workshop  in  the 
summer  of  1994.  Carolyn  says,  "The  workshop 
was  a  defining  point  in  my  education.  It  was  the 
best  educational  experience  I  have  ever  had."  As 
the  recently  elected  chair  of  the  Commission  she 
returned  home  from  Your  Town  with  new  ideas 
and  boundless  enthusiasm  and  was  instrumental 
in  moving  the  village  forward. 

After  the  workshop  Carolyn  continued  her 
contact  with  Scott  Shannon  and  Cheryl  Doble, 
faculty  in  the  Landscape  Architecture  Program  at 
the  SUNY  College  of  Environmental  Science  and 
Forestry   in   Syracuse.    In   the   fall   of  1995,   the 


"I  looked  for  informa- 
tion and  got  more 
than  I  could  have 
imagined . . .  Thanks 
for  wonderful  fellow- 
ship, fiends,  new 
acquaintances,  a?id 
faculty. " 

Nashville,  Tennessee,  1992 


CASE  STUDY:  MORRISVILLE,  NEW  YORK 


27 


gr-crK*"  ,  „nneee  students 


PUBLICITY  IS  CRUCIAL  FOR 
PUBLIC  PARTICIPATION. 


Village  and  faculty  together  applied  for  and 
received  a  small  grant  from  the  New  York 
Planning  Federation  to  develop  a  planning  strate- 
gy for  the  village.  Scott  and  Cheryl  used  the  Your 
Town  program  and  the  rural  community  design 
studio  offered  by  Scott  and  Cheryl  at  SUNY  to 
develop  a  special  project  for  Morrisville.  The  pro- 
ject was  meant  to  encourage  the  community  to 
participate  in  the  design  process  and  to  express  not 
only  the  problems  facing  the  Village  but  also  its 
aspirations  for  the  future.  Public  participation  was 
a  key  issue  in  Morrisville,  where  the  various  issues 
involved  in  community  design  were  perceived  to 
have  grown  increasingly  complex.  Thus,  the  pro- 
ject was  developed  to  include  the  public  in  a  pref- 
erence survey  and  all-day  design  workshop. 

The  preference  survey  was  developed  in  order 
for  help  the  community  to  identify  its  positive  and 
negative  physical  characteristics.  Fifty-two  slides 
depicting  a  range  of  small-town  characteristics 
typical  of  the  region  were  shown  for  seven  cate- 
gories of  land-use  activity,  including  agriculture, 
parking,  commercial/retail,  academic/institution- 
al, recreation,  landmarks/civic  space,  and  residen- 
tial. The  slides  were  shown  to  many  of  the  local 
organizations,  including  the  Lions  Club,  Rotary 
Club,  Boy  Scouts,  Girl  Scouts,  junior  and  senior 
high  students,  AIDS  Task  Force,  Parent  Teacher 
Organization,  the  Preservation  Commission,  and 
the  Senior  Nutrition  Program.  Scott  and  Cheryl 
met  with  each  group  individually  and  explained 
the  overall  process. 

Participants  were  asked  to  rate  each  slide  on  a 
scale  of  negative  five  (-5)  for  least  preferred  to  pos- 
itive five  (+5)  for  most  preferred.  The  results 
revealed  community-wide  patterns  of  likes  and 
dislikes.  For  example,  there  was  a  strong  desire  for 
civic  open  space  within  the  village,  possibly  a  lin- 


gering impact  from  the  loss  of  the  median  strip  on 
Route  20,  and  an  equally  strong  negative  reaction 
to  commercial  strip  development. 

The  next  step  of  the  project  was  a  work- 
shop that  gave  people  the  opportunity  to  cri- 
tique and  offer  opinions  of  the  design  of 
Morrisville.  Building  on  the  Your  Town  model, 
Scott  and  Cheryl  hoped  to  demystify  the  design 
process  by  giving  citizens  the  confidence  to 
become  directly  involved  in  the  community's 
design.  Nearly  seventy  Morrisville  residents 
attended  the  all-day  public  design  workshop  in 
March  1996.  The  workshop  included  a  presen- 
tation and  an  evaluation  of  perspective  sketches 
of  design  proposals  for  Main  Street,  a  residen- 
tial street,  and  other  areas;  a  presentation  and 
evaluation  of  a  scale  model  of  design  alterna- 
tives for  Main  Street  (Route  20);  and  cognitive- 
mapping  exercises  of  the  village.  The  partici- 
pants were  divided  into  groups  of  approximately 
twenty  people  who  spent  about  one  hour  doing 
each  of  the  exercises. 

The  perspective  sketches  illustrated  existing 
conditions  and  two  design  alternatives  for  various 
places  in  the  village,  and  participants  were  asked 
to  rank  the  sketches  in  order  of  preference.  For  all 
areas  existing  conditions  were  the  least  preferred. 
Each  sketch  was  also  critiqued  and,  when  appro- 
priate, redesigned  with  the  participants. 

The  second  exercise  of  the  workshop  featured  a 
scale  model  of  Main  Street,  Morrisville.  Two  design 
scenarios  that  could  be  interchangeably  inserted  into 
the  model  were  presented  for  discussion.  All  the 
model  pieces  were  movable  so  that  participants 
could  freely  manipulate  the  design  and  explore  alter- 
natives. The  design  solution  that  resulted  was,  thus, 
responsive  to  community  preferences  and  created  a 
sense  of  ownership  in  the  participants. 


28 


CASE  STUDY:  MORRISVILLE,  NEW  YORK 


SCALE  MODELS  HELP  CITIZENS 
VISUALIZE  CHANGE,  AND 
INTERACT  WITH  DESIGN. 


CASE  STUDY:  MORRISVILLE,  NEW  YORK 


29 


CONCLUSION 


<•„    .M  VILLAGE  of 

\  \MORRISVILLE 

'HISTORIC   PRESERVATION   COMMISSION,    -' 


PLACEMATS  AT  LOCAL  EATERIES  HELP 
PEOPLE  LEARN  ABOUT  THEIR  COMMU- 
NITY EVEN  WHILE  THEY  ARE  DINING. 


Finally,  a  series  of  cognitive-mapping  exercises 
was  developed  to  reveal  what  citizens  saw  as  his- 
torically, aesthetically,  and  personally  important  in 
Morrisville.  The  exercise  also  provided  citizens 
with  a  map  to  familiarize  themselves  with  the 
Village.  Large  maps  of  the  Village  were  distributed 
to  allow  individuals  to  highlight  the  points  of  dis- 
cussion with  markers.  They  marked  areas  that  they 
believed  were  important  to  preserve  or  develop 
and  wrote  why  these  areas  are  significant.  Citizens 
also  recalled  missing  buildings  and  abandoned 
agricultural  fields  that  they  had  previously  forgot- 
ten. The  workshop  was  considered  a  real  commu- 
nity success.  Cheryl  attests,  "The  Morrisville 
design  workshop  was  the  best  I  have  been  involved 
in,  due  to  the  huge  turnout  of  the  community.... 
It  provided  a  shot  in  the  arm."  According  to 
Scott,  "The  Village  Board  came  out  of  the  experi- 
ence with  a  much  better  idea  of  what  they  wanted 
the  community  to  become." 


Preservation  Commission  members  continue  to 
meet  almost  weekly  around  the  dining-room  table 
at  the  chair's  house.  The  atmosphere  is  relaxed, 
with  a  tradition  of  serving  cookies  fresh  out  of  the 
oven.  The  Commission  has  developed  many  cre- 
ative ways  to  raise  the  community's  awareness  of 
the  importance  of  design.  For  example,  Bob 
Lambert  drew  a  map  of  the  local  landmarks  in  the 
Village,  which  has  been  printed  on  paper  place 
mats  and  sold  to  restaurants.  The  placemats,  in 
high  demand,  serve  as  a  source  of  income  for  the 
Commission  and  raise  the  community's  awareness 
of  its  natural  and  cultural  resources.  The  Commis- 
sion has  also  developed  a  program  for  fourth 
graders  that  focuses  on  local  history.  At  most  pub- 
lic meetings  Commission  activist  Dennis  Sands 
displays  historic  photographs  and  maps  of 
Morrisville.  The  hope  is  that  all  these  efforts  will 
cumulatively  build  the  community's  sense  of  place. 
Morrisville,  today,  is  a  different  place  from 
what  it  was  only  a  few  years  ago.  There  is  a  sense 
that  the  community  has  a  greater  ability  to  control 
its  future.  Today,  for  example,  there  is  a  new  drug- 
store located  on  the  site  of  the  one  that  burned 
down.  The  first  design  proposal  was  for  a  standard 
one-story  concrete  structure.  But  the  new  owner, 
sensing  the  change  in  the  community's  attitude 
toward  appearance,  redesigned  the  building  so 
that  it  is  sympathetic  with  the  scale  and  materials 
of  the  existing  Main  Street.  According  to 
Commission  member  Sands,  "The  key  is  patience, 
will  power,  never  giving  up,  and  having  an 
inspired  leader  such  as  Carolyn." 


30 


CASE  STUDY:  MORRISVILLE,  NEW  YORK 


CONCLUSION 


The  Your  Town:  Designing  Its  Future  program 
was  developed  out  of  the  concern  of  the 
National  Endowment  for  the  Arts  for  the 
role  of  design  in  shaping  the  future  of  America's 
rural  communities.  Although  change  in  rural 
America  is  inevitable,  the  hope  is  that  the  Your 
Town  program  has  heightened  participants' 
awareness  of  the  importance  of  design  in  manag- 
ing that  change.  The  design  process  can  be  a  won- 
derful vehicle  for  energizing  an  apathetic  citi- 
zenry. Design  is  proactive  and  gives  people  a  sense 
of  empowerment  and  hope  so  often  missing  in 
rural  communities. 

The  case  studies  presented  here  demonstrate 
how  individuals  with  some  basic  design  education 
and  a  commitment  to  teach  others  can  make  a 
profound  difference  in  the  appearance  of  their 
communities.  Design  alone  will  not  turn  a  com- 
munity around  or  save  it  from  unwanted  change. 
But  combined  with  other  community-building 
initiatives  such  as  comprehensive  planning,  his- 
toric preservation,  and  economic  restructuring 
design  can  provide  a  catalyst  for  community  social 
and  economic  revitalization. 

Based  on  the  Your  Town  workshops  and  the 
experiences  of  the  participants  in  applying  the 
design  process  in  their  own  communities,  several 
principles  emerge. 


CONCLUSION 


31 


Good  community  design: 

►  must  include  a  broad  base  of  public 
participation 

►  does  not  cost  morel  All  communities  can 
afford  good  design 

is  comprehensive  and  takes  into  considera- 
tion all  local  cultural  and  natural  features. 

►  is  indigenous  and  must  reflect  the  values 
and  character  of  the  local  community 

►  will  not  happen  in  a  vacuum  but  requires 
local  leadership  that  is  committed  to 
design  and   recognizes  its  importance 

►  is  slow  and  incremental  and  requires  long- 
term  patience  and  tenacity. 

The  hope  is  that  through  continued  Your  Town 
workshops  these  principles  can  be  applied  to  more 
and  more  rural  communities  across  the  country. 


"The  information  presented  has  given  me  the 
tools  to  participate  in  the  design  process  with 
confidence....  The  workshop  dispels  any  timidity 
about  participating. ...' 


Casa  Grande,  Arizona,  1995 


32 


CONCLUSION 


BIBLIOGRAPHY 


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Hester,  Randolph  T,  Jr.  Community  Design  Primer.  Mendocino,  Calif.:  Ridge  Times  Press,  1990. 

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Hylton,  Thomas.  Save  Our  Land,  Save  Our  Towns.  Harrisburg,  Pa.:  RB  Books,  1995. 

Jarvis,  Frederick  D.  Site  Planning  and  Community  Design  for  Great  Neighborhoods.  Washington,  D.C.:  Home  Builder  Press,  1993. 

Managing  Change  in  Rural  Communities.  Washington,  D.C.:  National  Endowment  for  the  Arts  and  U.S.  Department  of  Agriculture, 
Natural  Resources  Conservation  Service,  November  1995. 

Smith,  Kennedy,  Katejuncas,  Bill  Parrish,  and  Suzanne  G.  Dane.  Revitalizing  Downtown.  Washington,  D.C.:  National  Main  Streei 
Center,  1991. 

Steiner,  Frederick  R.  The  Living  Landscape:  An  Ecological  Approach  to  Landscape  Planning.  New  York:  McGraw-Hill,  1991 . 

Stokes,  Samuel  N.,  A.  Elizabeth  Watson,  and  Shelley  S.  Mastran,  Saving  America's  Countryside.  Baltimore:  The  Johns  Hopkins 
University  Press,  1997 


BIBLIOGRAPHY 


WHERE  TO  GET  DESIGN  ASSISTANCE 


/                                  4 

wm, 

Following  is  a  list  of  selected  organizations  and 
agencies  that  provide  information  and  technical 
assistance  in  rural  community  design  and  planning. 


American  Institute  of  Architects 
1735  New  York  Avenue,  N.W. 
Washington,  DC  20006 
202-626-7300 


National  Trust  for  Historic  Preservation 
1785  Massachusetts  Ave.,  N.W. 
Washington,  DC  20036 
202-588-6000 


American  Planning  Association 
1776  Massachusetts  Ave.,  N.W. 
Washington,  DC  20036 
202-872-0611 

American  Society  of  Landscape  Architects 
636  Eye  Street,  N.W. 
Washington,  DC  20001-3736 
202-898-2444 

The  Conservation  Fund 

1800  North  Kent  Street,  Suite  1 120 

Arlington,  VA  22209 

703-525-6300 

National  Park  Service 

Rivers,  Trails,  and  Conservation  Assistance 

P.O.  Box  37127 

Washington,  DC  20013-7127 

202-565-1200 


Natural  Resources  Conservation  Service 

U.S.  Department  of  Agriculture 

P.O.  Box  2890 

Washington,  DC  20013-2890 

202-720-3210 

Scenic  America 

21  Dupont  Circle,  N.W. 

Washington,  DC  20036 

202-833-4300 

Faculty  of  Landscape  Architecture 

State  University  of  New  York 

College  of  Environmental  Science  and  Forestry 

Syracuse,  NY  13210-2787 

315-470-6544 

USDA  Forest  Service 

U.S.  Department  of  Agriculture 

P.O.  Box  96090 

Washington,  DC  20090-6090 

202-205-1760 


34 


WHERE  TO  GET  DESIGN  ASSISTANCE 


LIST  OF  YOUR  TOWN:  DESIGNING  ITS  FUTURE  WORKSHOPS  HELD  TO  DATE 


Bozeman,  Montana 
Gallatin  Gateway  Inn 
September  29-October  2,  1991 


Bloomsburg,  Pennsylvania 
McGee's  Main  Street  Inn 
October  29-31,  1995 


Nashville,  Tennessee 
Hachland  Hill  Vineyard 
August  27-29,  1992 


Lawrence,  Kansas 
Eldridge  Hotel 
November  16-18,  1995 


Prescott,  Arizona 
Hassayampa  Inn 
May  20-22,  1993 


Helen,  Georgia 
Unicoi  Lodge 
December  4-6,  1995 


Aurora,  New  York 
Wells  College 
August  11-13,  1994 


Nebraska  City,  Nebraska 
The  Lied  Conference  Center 
May  8-10,  1997 


Helen,  Georgia 

Unicoi  Lodge 

November  30  -  December  2,  1994 


Sublimity,  Oregon 
Silver  Falls  State  Park 
May  18-21,  1997 


Casa  Grande,  Arizona 
Francisco  Grande  Hotel 
January  12-15,  1995 


Prescott,  Arizona 
Hassayampa  Inn 
May  22-24,  1997 


Americus,  Georgia 

First  United  Methodist  Church 

July  14-15,  1995 


Franconia,  New  Hampshire 
Red  Coach  Inn 
June  15-17,  1997 


Charleston,  Oregon 

Oregon  Institute  for  Marine  Biology 

August  24-26,  1995 


LIST  OF  YOUR  TOWN:  DESIGNING  ITS  FUTURE  WORKSHOPS  HELD  TO  DATE 


THIS  PUBLICATION  WAS  PRODUCED  FOR 
THE  NATIONAL  ENDOWMENT  FOR  THE  ARTS 


THIS  PUBLICATION  WAS  JOINTLY  PREPARED  BY  THE: 

National  Trust  for  Historic  Preservation 
1785  Massachusetts  Avenue,  N.W 
Washington,  D.  C.  20036 

Faculty  of  Landscape  Architecture 

SUNY  College  of  Environmental  Science  and  Forestry 

One  Forestry  Drive,  Syracuse,  NY  13210 

CO-AUTHORS: 

Richard  Hawks 

SUNY  College  of  Environmental  Science  and  Forestry 

Shelley  Mastran 

National  Trust  for  Historic  Preservation 

With  the  editorial  assistance  of  Jane  Brown  Gillette. 


Designed  by: 
Christine  M.  Beaulieu 
Mosseau  Beaulieu  Graphic  Design 
Cicero,  New  York  13039 


"Printed  on  recycled  paper  by:  Syracuse  Lithographing,  Syracuse,  New  York     13204 


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"This  is  a  brilliant  and  generous  project 
that  is  very  much  needed  and  very  much 
appreciated.  Architecture  and  design  seem 
to  be  so  misunderstood  and  taken  for 
granted.  This  workshop  awakened  an 
awareness  and  stimulated  an  appreciation 

otherwise  left  dormant" 

StLVER  Falls  State  Park, 
Oregon,  1997 


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