My High Line by Nathalie Weadick, Director of the Irish Architecture Foundation

My High Line

The wrought iron railway freight structure in Manhattan is a beautiful thing, strong and wonderfully designed for its purpose as a freight artery down the west side of Manhattan. From 1980 to before it was turned into a park, the line was in disrepair, although the riveted steel elevated structure was basically sound.  The inhabitants who have lived around it had strong affection for it even in times of dilapidation.

Its new use as a linear park is a success story, started by a group of local people known as the Friends of The High Line. Motivated by their love of the structure and through people power they started a campaign to save the structure, and when they succeeded in preventing its destruction they gave it a second life, one that has transformed the city and created a scenario where people have formed a new relationship with it. Old friends have become reacquainted, and new friends are inspired by its impact.

When I received an award from the British Council last year to take part in their Cultural Leadership International programme, they asked me to create and implement, a personal development plan. I used the opportunity to enhance my growth, as an influencer and programmer in the arts sector. It was a wonderful and rare opportunity to focus solely on my artistic development. When you operate a non-profit organisation such as the Irish Architecture Foundation you tend to get dragged into operational activity. The creative or artistic, which should be to the fore, is often overshadowed by administration and logistics.

My project was aimed at enhancing my knowledge and creative network in the arts, architecture and the built environment. As part of my plan I wanted to interview significant people who have inspired me, and also make contact with innovative leaders who have influenced culture.

One of my targets was Robert Hammond the co-founder of the Friends of The High Line.  While he was on sabbatical in Rome I visited him there and interviewed him about the beginnings of The High Line. I wanted to know how it began as a personal crusade to save a structure he loved, to the development of the most successful art and public realm project in the world.

Robert, who is an artist, told me he simply began amassing support by calling people in his address book, and they in turn told others about the project and virally the support grew.  Very soon Robert's address book became a movement, a company employing people and a lobbying group, which included powerful advocates such as Hilary Clinton.

The potential to capture people's attention and support was further realised when Robert and the co-director Joshua David ran an open ideas competition to deliberately raise awareness and inject new vigour into the project from the general public. For "Designing the High Line," 720 teams from 36 countries entered the competition and hundreds of design entries were displayed at Grand Central Terminal. The High Line was now global.

The Friends of The High Line got enough support from the public and especially the Local Authority in New York City to stop the structure from being torn down. The fundraising campaign started and a plan to develop a park on the structure 30 ft from the ground was underway. In 2004 following a competition, Architects Diller Scofidio + Renfro and James Corner Design were commissioned to create The High Line. It opened summer 2009.

Leaving Robert in Rome I headed to New York in January to experience The High Line for myself. Robert suggested I speak to Danya Sherman from Public programmes and the Head of Planning and Design Peter Mullan about the project's next phase.  Visiting the structure was amazing; the appropriation of the railway line offered another view of the city. It was simply quite powerful.

Peter told me that the continued development of the site was not only restricted to maintaining the structure, but also programming it as an arts venue.  Some of the programming is formally curated and often artists spontaneously deliver their own performances and 'happenings'.  I suppose that is the nature of public space.

Danya Sherman and her colleagues run a dynamic schedule of programs designed to engage, educate, and enrich a diverse audience of all ages. Past art-themed programs have included Chalk Shoes to the High Line, a performance choreographed by Julia Mandle, Fritz Haeg's "Edible Estates" and the presentation of art by Michael DeFeo, Jason Hackenwerth, Jeff Ladoceur, and others at the Target High Line Street Festival. Danya told me there is plenty more to come.

Since my visits to The High Line I have been interested in a group led by Kaethe Burt O Dea in North Dublin trying to develop a similar idea concerning a disused railway in Cabra, the project Kaethe has developed is called The Life Line. It certainly will be a very worthwhile initiative if we could do something similar here.  All I will say for now is watch this space!

Nathalie Weadick
Director, Irish Architecture Foundation

Further Information
Web: http://www.thehighline.org/