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If all that was needed were to add basketball courts and picnic tables, you would not need Studio Gang. But the architects and Coletta argue emphatically that to create great civic places attracting people from all the city\u2019s demographics, these functions need to be elevated, made alluring, using the backdrop of the Mississippi River and its bridges to Arkansas as highlights. \u201cYou\u2019ve got to provide hope and a vision of what can <\/em>be in an alluring way,\u201d Coletta says. \u201cYou\u2019ve got to provide allure.\u201d <\/p>\n\n\n\nWorking with landscape architecture collaborator SCAPE, Studio Gang designed a switchback pathway that cuts back and forth down the bluff, making its main entrance accessible from above. A misting multicolored light-and-water feature marks the entry at one end of an existing pavilion\u2019s rolling green roof. Asphalt and wooden paths are interwoven with pollinator gardens, widening at two junctures into lawns left open for the annual barbecue and blues festivals. <\/p>\n\n\n\n
Two dedicated buildings for food and drink vendors evoke the site\u2019s industrial heritage with curving compositions of standing logs. An expansive wood-and-steel-beam pavilion with slits at the top and a mural beneath protects basketball courts and eating and drinking areas from sunlight and rain and frames views of the bridges. Nearby, an extensive, colorful playground by MONSTRUM is made up of custom-designed play equipment referencing native creatures of the Mississippi River. <\/p>\n\n\n\n
\u201cThe design is still very important because that\u2019s what draws people to a place,\u201d Gang says. \u201cYou need that spark too. A lot of times urban plans sit on the shelf, and if there isn\u2019t something that makes people feel like \u2018I really want to have that in my neighborhood,\u2019 or something new and exciting, then it doesn\u2019t seem like it takes.\u201d <\/p>\n\n\n\n
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Theaster Gates\u2019s artwork\nA Monument to Listening consists of 32 honed basalt seats and a polished basalt sculpture, referencing the 32 ferry passengers saved by local hero Tom Lee. The artwork will be activated with site-specific programs by community curators Orpheum Theatre, the BIG We Foundation, and the UrbanArt Commission. COURTESY CONNOR RYAN<\/figcaption><\/figure>\n\n\n\n<\/div>\n\n\n\n
One of the ways the park embraces Black Memphis is by celebrating its namesake Tom Lee: Black Chicago-based art star Theaster Gates<\/a> composed a sculpture of granite blocks cut into the shape of thrones, which are organized into circles for talking, listening, and observing, with a tall throne by the river dedicated to Lee. <\/p>\n\n\n\nThe goal, ultimately, is to make the park into one of those \u201cthird places\u201d outside of the home and office where, in a society stratified more than ever by income levels and political ideology, social mixing happens across differences. \u201cThat is the goal: to break down the divides that are inherent in places like Chicago and other cities, where there are areas where you don\u2019t feel welcome,\u201d Gang says. \u201cIn a city like Memphis that is not used to using the waterfront as a place to go, there\u2019s a huge hurdle to get over.\u201d<\/p>\n\n\n\n
Eventually a 450-foot flyway over one end of the park will extend over the wetlands, providing the best bird-watching areas and eye-catching views over the Mississippi. It aims to be an attraction for the whole region. \u201cYou need to accept that the magic is in the mixing,\u201d Coletta says. \u201cThat\u2019s what the best creative placemaking does. It creates that reason for mixing, that allure, that pull\u2014to mix.\u201d <\/p>\n\n\n\n
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