“What harbor can receive you more securely than a great library?”

— Italo Calvino, If On a Winter’s Night a Traveler

In the center of downtown Portland lies Monument Square, a memorial to the city’s Civil War veterans and a prominent public space where the city’s Arts District, business district, and the Old Port converge.

And occupying pride of place in the city’s most prominent square is the newly-renovated main branch of the Portland Public Library.

I’ve always believed that a city’s civic strength, egalitarianism, and confidence as a community are reflected in the quality of its libraries. Naturally, we have a great library here in Portland: the building’s geographic prominence reflects its importance as a cultural and educational resource for the entire southern Maine region.

Some of the things you’ll find there:

• The excellently curated Lewis Gallery — this month’s program includes a photography show sponsored by the Center for Maine Contemporary Art.
• Lunch-hour readings from local authors and evening film screenings in the Rines Auditorium.
• The Portland Room, home to the library’s special collections, including rare books, an archive of Maine’s newspapers and magazines, old maps, photographs, and other ephemera. The Portland Room also hosts an impressive collection from the famous Anthoensen Press and Thomas B. Mosher Press, which together established our city as an important center for printing and publishing in the 19th and early 20th centuries.
• An excellent children’s library, with daily programs and readings for young children, and the new Teen Library, which lends video games, hosts study sessions and game nights, and sports a generous collection of graphic novels and YA literature.
• And last but not least, a sun-filled reading room in the front of the building facing Congress Street and Monument Square — a great place to meet people, take advantage of the free wi-fi, read the local papers, or just watch the city pass by.

The Portland Public Library is currently soliciting donations for its annual fund, which purchases new materials above and beyond what would be possible with taxpayer contributions. Visit their secure webpages to give.

Photo courtesy of the Portland Public Library

How many times do we actually ask you to do anything on this blog? Our tone is usually more of an invitation to enjoy the pleasures of Portland or a suggestion of someone you might be interested in meeting. We’re not really about action items—but here’s one!

At this month’s Portland Greendrinks event, on the second Tuesday (January 10) at The Salt Institute for Documentary Studies (561 Congress Street) Sean Sullivan from Bowdoin College will be filming for a video about career opportunities in Maine. He will be asking people their name, what they do in Portland and why they love living and working in Portland (and Maine). The footage will be used first for a video “to entice Bowdoin, Bates and Colby students to attend the Maine Based Employers Career Fair (prevent the brain drain!), which Bowdoin is putting on to feature opportunities available in Maine.” But since this also fits in rather neatly with the mission of Creative Portland, we will probably find uses for the footage of Portland-loving people too.

For extra incentives (and to highlight sustainable transportation in Portland), Sean has procured 3 free bike tune ups from Allspeed Cycles (that will be distributed at random to participants) and a discount code (for all participants) that waives the membership fee and gives $10 worth of free time from UCarShare ($35 value).

And for all you architects and interior designers out there, the event is co-sponsored by SMRT, the 125 year old Portland based architectural project management company.

So please, help Maine, help Portland and come to Greendrinks with a face and a soundbite to let the world know why you love Portland!

Much of what makes Portland such a cool city derives from the first half of our name. We are a port, perched on the Atlantic Ocean. Because of that, we are utterly unlike, say, Waltham or Austin or Chapel Hill. With ports come piers and wharves. Facing the waterfront from Portland’s Commercial Street, you can count ten wharves from left to right, each with its own character. So as we prepare to ring in the New Year, lets sing out the praises of these fingers into the sea:

1. Maine State Pier is the most heavily used, since it houses the Casco Bay Lines, whose ferries link Portland to islands across Casco Bay. Come here to watch boats pulling in and out, as seagulls wheel overhead.
2. Next door is Maine Wharf, a true working pier. It’s home to businesses such as Morrison’s Maine Course (wholesalers of seafood specialties), Chase Leavitt (maritime services since 1854), the water taxi (to get a private lift across the bay) and the sea tow (to get your boat back to port when you run out of gas).
3. Custom House Wharf houses Sea Bags, where old sails are recycled into beautiful tote bags, and The Porthole, which many claim has the best breakfast in town. But it’s most known for Harbor Fish Market, perhaps the finest of its kind on the East Coast. “Iconic” + “Maine” = “Harbor Fish Market.”
4. To its right is Portland Pier, a curious mix of J’s Oyster House, small law firms, some condos – and New Meadows Lobster, at the far end.
5. Beside that is Long Wharf. Hardly a wharf, this is more of a huge parking lot, with an adjacent marina and DiMillo’s Restaurant, a converted car-ferry-turned-high-end-eatery.
6. Chandler’s Wharf is exclusively upscale condominiums. You probably don’t come here unless you live here.
7. Widgery Wharf is the real thing, unchanged for decades, chockablock with lobster boats, lobster traps, lobster processors, and a smell to remind you how authentic a town Portland really is.
8. Adjacent is Union Wharf, perhaps the most diverse along the waterfront. You’ll find the Maine Life Raft & Inflatable Service Company, an architecture firm, lobster businesses, the Nine Stones Spa, and the Maine Responder, a large vessel dedicated to cleaning up oil spills if/when they occur (she spent five months in the Gulf of Mexico in 2010).
9. Like the other piers, Merrill’s Wharf has lobster boats tied up along its perimeter. But it also has a warehouse recently gutted and refurbished to house one of the state’s largest and most venerable law firms, Pierce Atwood.
10. Portland Fish Pier (aka Merchants Wharf), the last in the line, is a mega-pier that is home to, among others, the Harbor Master, the Portland Fish Exchange (where daily auctions set the price for seafood locally),  social investment non-profit Coastal Enterprises, and the offices of U.S. Congresswoman Chellie Pingree.

A world unto themselves, Portland’s piers and wharves, sometimes unnoticed and uninvestigated, are your gateway to this unique city by the bay. Make a New Year’s resolution to visit them all.

Photo of Merrills Wharf by John Spritz

When people think on innovation and creativity, they tend to think big. And there’s been no one bigger on our minds in those departments lately than Steve Jobs. For everyone intimidated by Jobs’ formidable accomplishments, Malcolm Gladwell of the New Yorker offers a bit of a revisionist spin: Jobs was a tweaker.

In The Tweaker, Gladwell writes, ”Jobs’s sensibility was editorial, not inventive. His gift lay in taking what was in front of him… and ruthlessly refining it.” Jobs himself admitted that his gifts were more combinatorial than generative, “Creativity is just connecting things. When you ask creative people how they did something, they feel a little guilty because they didn’t really do it, they just saw something. It seemed obvious to them after a while. That’s because they were able to connect experiences they’ve had and synthesize new things.”

Stepping into the time machine, Gladwell cites an article by the economists Ralf Meisenzahl and Joel Mokyr to explain why the industrial revolution began in England. Britain, they say, had a “human-capital advantage—in particular, … a group they call ‘tweakers.’ They believe that Britain dominated the industrial revolution because it had a far larger population of skilled engineers and artisans than its competitors: resourceful and creative men who took the signature inventions of the industrial age and tweaked them—refined and perfected them, and made them work.”

Now what has this all got to do with Portland, Maine? Well, I spent last weekend at the Juice 3.0 Conference in Camden trying to get a handle on how the creative economy and the innovation economy are intersecting in Maine. For that reason, I focused on the break out sessions that featured innovative companies and technologies, and I was not disappointed. I came away with the feeling that some of the most impressive innovations did not involve inventing ground-breaking technologies but in crafting creative ways of delivering existing technologies.

One of the most moving and impressive presentations was by Jon Calame of Thermal Efficiency Eastport during the “Risking Energy Revolution” panel. Calame is an internationally award winning architect with a background in historic preservation. He is passionate about architects’ responsibility to make buildings work for people—especially in challenging times in northern climes. Driven perhaps by the thought that historic buildings can’t be preserved if the people living in them can’t afford to heat them, Jon has taken on the urgent problem that the British have named “Fuel Poverty.” Jon has relocated himself and his family from Portland to the tiny city of Eastport (population about 1,500), which is indeed the easternmost city in the continental United States. Thermal Efficiency Eastport is a long-term project to demonstrate how applying “proven fuels, equipment and structural upgrades … in all kinds of buildings [can yield] clear, measurable advantages.” The real tweak in the project is not some new kind of furnace or insulation, but the packaging of economic arguments that will allow these retrofits to be financed and broadly available to the entire town.

Yes, that got the attention of all the bankers out there! The creative and innovation economies need creative financing. They also need people who can look at technologies and put them together in new ways. And finally, they need people who can tell compelling stories about these innovations to help attract customers and capital, retain workers, inspire students and generally connect the dots. And all of these are jobs for tweakers! Maine has lots of them and Portland is particularly dense in finance, marketing, design and story telling.

The lesson of Steve Jobs for Portland and the creative economy is not only the first part—the obvious part—of his advice to graduating Stanford students, that “the only way to do great work is to love what you do.” It’s in the second part, the tweaking part, “If you haven’t found it yet, keep looking. Don’t settle. … you’ll know when you find it.”

In a world of uncertainty, why celebrate risk? Why put everything you have into a crazy idea with only the barest beginnings of a plan? Ask that to Corey, Tyler and Seth, above, when they leave Love, The Bus in LA and fly back to Camden to be among the keynote speakers at the Juice 3.0 Conference in Camden on November 4 and 5th. In the case of Tyler Dunham, Seth Brown, and Corey McLean, these three “lifelong friends, filmmakers, and adventurers from the coastal town of Lincolnville, Maine (pop. 2,042). …[are] brimming with optimistic energy and a desire to accomplish something epic.” So they converted an old schoolbus into a grease-powered, web video road trip mobile and have been travelling around the country raising money to fund projects for community organizations and uploading the results in real time. If they can do all that, what else can they do?

And that’s just the point. The creative economy, the innovation economy, the experience economy—these are all expressions of the fluidity required by this crazy world—call it the improvisation economy. The Juice Conference is dedicated to bringing together a wide range of creative, innovative thinkers who have figured out how to put their ideas into action. Speakers and panelists include Maine heavyweights like Governor Angus King, Eliot Cutler and Roxanne Quimby, art world luminaries like Louisa McCall, Donna McNeil, and Eric Fischl and technological innovators like Kerem Durdag, John Ferland and  Steve Page. Portland’s creative economy is well represented by Ben Sawyer, of Digital Mill, Josh Broder of Tilson Technologies, Paul Dobbins, of Ocean Approved, Stephanie Volo of Planet Dog and Jaime Parker of Portland Trails.

One of the highlights of the conference is the pitch contest with $150,000 in financing to the winning business plans. (The deadline has been extended to Friday, October 28, so there’s still time to apply). If you’re not up for facing the “shark tank” in the pitch contest, they also have a short film contest (the deadline to apply is also now this friday.) Putting business plans and people who think about making business plans in front of investors and experts about those businesses is exactly what Juice is trying to do. And if your plan sounds like a mystery bus ride, what start up these days doesn’t?

Maine is full of smart people doing interesting things, but we may all be a bit too independently minded for our own good. That’s why conferences like Juice (and TEDx Dirigo) and places like Portland are so important. As the innovation economy spreads out through Maine, Portland has a role to play as a place to bring people together, to develop stories, to share a great meals, to cross-pollenate and propagate. Josh Broder of Portland’s Tilson Technology was just named to MaineBiz’s Next List for 2011. In the article he predicts that certain parts of the economy are poised for significant growth, “especially in those industries with strong ties to the creative economy. ‘American centers of innovation are our capital—the companies coming from technology, software and social media,’ he says. ‘All of those new things require significant infrastructure, and we’re the infrastructure provider.’”

And the same could be said of Portland. If risk is the juice of the Maine’s creative economy, Portland is it’s glass.

Photo from Love, The Bus

Getting in and out of Portland by air has always been easy, but with the opening of the new terminal at the Jetport it’s become kind of thrilling. It’s still a short drive to get there with very little traffic and the parking flow and capacity has been improved, but beyond the convenience, the newly expanded airport now feels like a place. The main component of the new structure is a blue, glass-skinned box. The generic “modern-ness” of this form is actually a head fake for the soaring geo-thermally heated space within.

But let’s back up. Even the large, letter spaced sans serif signage on the blue box announce “there are designers here.”  And when you get out of the long hallway that leads from the curbside drop off area to the new terminal, the space opens up dramatically and your eyes naturally go to the ceiling. The ceiling is genius, both as architecture and branding. What you see is an engineered 21st century interpretation of the Maine camp vernacular with massive beams and cross-bracing mixed with some Maine shipbuilding steelwork. All at once it reads as wood and steel, as craftsmanship and design, as tradition and innovation, as technology in the service of comfort. All these things we associate with Maine and with Portland all artfully morticed together in the service of keeping the snow out. The press release from the architectural consultancy Gensler that managed the project provides a lot of detail on the materials used, the upcoming LEED certification and  Voluntary Airport Low Emissions (VALE) grant used to fund the geothermal system.

When you drive away from the airport now at night you see the glowing green light of a massive LED wall sculpture in the main terminal space—another surprise that belies the glass box. If there is any criticism to be leveled about the architecture as experience it would be that it is perhaps a more inspiring experience for departing passengers than for new arrivals who still find themselves exiting through the low-ceilinged older terminal.

So the Jetport has doubled it’s gates and improved its passenger flow, but equally if not more important, they have taken the often generic form of the airport and created a space that feels uniquely like you’re in Portland, like you’re in Maine, and it’s a little different here.

Bonus fact from wikipedia: A survey conducted in June 2011 by travel web site Cheapflights found PWM to be the most affordable airport in the region (beating Manchester and Logan), and the third most affordable in New England (behind Bradley and T. F. Green).

It’s an old story—repeated from SoHo in New York in the 70s to SoMa in San Francisco in the 90s—the artists move in, the rents go up, the artists move on. But in the last 40 years, cities have learned that there are alternatives to this shell game that gentrifies the avant-garde. Live/work development has been used successfully in many cites as a way of enabling working artists to stay in the neighborhoods that they have helped to revitalize.

“Developing spaces that keep artists and creative people living and working in our downtown is essential to maintaining our city’s appealing character,” says Jennifer Hutchins, executive director of the Creative Portland Corporation and the Portland Arts and Cultural Alliance (PACA). “We know that a vibrant arts scene attracts commercial activity and helps keep our local economy strong.” To this end, Creative Portland has invited representatives from Artspace—a nonprofit based in Minneapolis, Minn. that specializes in the development of artist live/work spaces—for a two-day visit next week to help assess the conditions for such development in Portland. Artspace will meet with everyone from real estate developers, philanthropists and city officials, to community members, artists and cultural institutions to determine the needs and interest in this type of project, and to help frame the issues that would need to be resolved among these parties.

While in Portland, Artspace will also visit three potential development sites: the Portland Public Works garage at 55 Portland Street; the Masonic Temple at 8 Chestnut Street; and a block of properties at the corners of Hampshire Street and Federal Street in the India Street neighborhood. It doesn’t take a huge leap of imagination to see what turning one of these underutilized buildings into a live/work development could do both for local artists and for artists looking to relocate here from elsewhere.

A highlight of the Artspace visit will be a free public presentation, on Thursday, September 29, at 6:00 p.m. in the Rines Auditorium of the Portland Public Library. After a 30-45 minute interactive presentation about Artspace’s model for developing artist live/work space and examples of their projects throughout the country, the audience will be invited ask questions, provide feedback and contribute their views on community needs and interest in a live/work project in Portland.

Artspace has a national overview on creating affordable space for the artists and arts organizations, and they’ve been doing it for more than 30 years. Andy Graham, President of Creative Portland, says “I’m happy to have Artspace visit Portland because it gives us an opportunity to talk about what is missing in Portland, to imagine together what Portland needs to be even better.”

Photograph of blueprint mural on Free Street by Corey Tempelton, Portland, Maine

The summer’s other great sequel was not in 3-d multiplexes but right on Congress street in Portland. Ad Age named the VIA Agency, Small Agency of the Year, Gold. Why the Harry Potter motif? “The Via agency is housed in the Baxter building, built in 1888 as the public library of Portland, Maine. The imposing peaks and gables of the stone facade and wooden beam-studded high-ceiling interior led one Via client to dub the building the “Hogwarts of Advertising.” … And if the building is Hogwarts, then CEO and founder John Coleman is its Harry Potter. With similar rounded black-framed glasses, an affable charm and wide-eyed curiosity about everything, Mr. Coleman even seems to have Master Potter’s magic touch — in the advertising industry at least,” reads the lead of the Ad Age piece.

Careful readers of this blog will remember that VIA won silver for the same prive last year, no mean feat for a Portland agency. But the intervening year has been a very good one for VIA and they attribute at least a bit of that good fortune to being located here. ”To live in a smaller town and to go to baseball games and do the grocery shopping and all of that, helps in understanding the broad spectrum of different kinds of people, but I truly believe that what it really does is afford us the opportunity to think,” Mr. Coleman said. “I love New York, but I feel blessed to live in a place like Portland.”

Go to the Portland section of the Via website and the first thing you read is “Portland isn’t just where we are. It’s who we are.” (I wish we had written that!) They then lead you through three iPad swipes of highlights that tell you why it’s great to live in Portland followed by listings for eight (at last count) really great jobs. Talk about brand story! VIA is itself one of the best advertisements for Portland that Portland’s got. And for those of you who like a little wistful bitterness to temper your jubilation, read Chief Creative Officer Greg Smith’s reaction to the award, “So That Didn’t Suck.”

Planning for a volatile future requires either nimbleness or the commitment of resources vast enough to cope with any eventuality. The thing is, though, that developing nimbleness now can save a huge chunk of those vast resources later. Such is the approach of the Portland Society of Architects and the City of Portland to the threat of coastal inundation posed by global warming. Longstanding coastal communities, like Portland, whose boundaries have been defined through generations of tidal fluctuations are in an advantageous position over our southern (and particularly South Asian) counterparts whose unplanned rapid expansion have put them on the front lines of projected rising sea levels in this century. Nonetheless, Portland is confronting the problem head on by bringing together the creative, business and  municipal communities to explore the issue in depth.

The PSA is sponsoring Sustainable Portland By 2030: Rising Tides, a two-day symposium on sea level rise, on Thursday and Friday next week (May 12-13). There will be a Rising Tides panel and reception hosted by the City of Portland at The Ocean Gateway Terminal (14 Ocean Gateway Pier) on Thursday from 4:30-7:30 pm, followed by a continental breakfast and topic driven ‘What’s Next?’ discussions, hosted by DiMillo’s Floating Restaurant (25 Long Wharf) on Friday from 8:30-11am.

Panelists on Friday will include Sam Merrill, Director, New England Environmental Finance Center, Muskie School of Public Policy; Christophe Tulou, Past Director of the Resilient Coasts Initiative; and Kristina Hill, Chair of Landscape Architecture, University of Virginia. They will address potential physical and economic impact of sea level rise in Maine, how governments and industries are responding to sea level rise, and an overview of mitigation strategies around the world. The “What’s Next” event on Friday about will encompass discussions about the challenges and opportunities presented by sea level rise in terms of public policy, infrastructure and design, finance and insurance and (what we’re all about at LiveWork Portland) the cultural implications.

Complete details are on the PSA’s event poster as well.

Photo of The Ocean Gateway Terminal by Kirk Rogers

The opening of Base Camp Gallery last week in Portland was as much about the fact of a new alternative art space as it was about the work that was shown. Everybody there was clearly having a good time and it seemed to me that the real art at play here was social. This is not to diminish the work, much of which could easily be hanging in any number of downtown galleries, but rather to elevate place-making to its rightful place. The place in question is a large warehouse, once used for distributing beer, and now the auxiliary space of a couple of well-established Portland entrepreneurs, a machine shop and an interesting smattering of younger creatives. The entry way looked like an art installation at Documenta in Kassel, Germany, with a lineup of Mercedes and modern furniture mashed up against a sound system and bar (another way of distributing beer). The autos turn out to be part of a bio-diesel conversion project, but no matter, they were fun to look at and added to the cocktail chatter. The overarching theme of the space and the crowd was, in fact, conversational. The artworks to each other, the art to the space, the implicit conversations between the different tenants of the warehouse, and of course, the sizable crowd that came to see what it was all about.

Another kind of conversation will be happening on Tuesday, April 5th. The Maine Center for Creativity will be hosting “From Imagination to Innovation: Maine Participates in Lincoln Center Institute’s Imag’nation Conversation.” This is one of fifty such events that the Lincoln Center Institute has been holding in every state that will culminate in an Imagination Summit in New York this coming July. These conversations are designed to get people talking about “how imagination is a prerequisite for success in the 21st-century global economy [and how] now more than ever, we must teach imagination in our schools and nurture it in our communities.” The keynote speaker for the Maine conversation will be Rockland artist Eric Hopkins, joined by Daniel Bouthot, Habib Dagher, Carol Farrell, Aaron Frederick, Andy Graham and Karen Montanaro, moderated by Patsy Wiggins. The event goes from 4 to 8pm, at Hannaford Hall at the Abromson Center on the USM Portland campus ($20 to attend; $5 for USM students; RSVP is required).

There has been a lot of discussion during the past months (and particularly in the past weeks) about the role of public art in Portland and in the State of Maine in general. The Portland Museum of Art will be holding a free public forum: “Whose Art is It?” on Friday, April 8 from 12-1:30 pm. The discussion will use the removal of the The Maine Labor Mural Cycle in Augusta as a springboard to address the status of public ownership of public art. “Participants will include: Mark Bessire, Director of the Portland Museum of Art; Sharon Corwin, Director and Chief Curator of the Colby College Museum of Art; Christina Bechstein, Sculpture Professor and Director of Public Engagement at Maine College of Art; and Chris O’Neil, Government Relations Consultant for the Portland Community Chamber. Invitations were extended to Governor Paul LePage, who is unable to attend and to artist Judy Taylor [who painted the mural cycle], who has respectfully declined.”

Last fall, proposals for benches for the new Bayside Trail were unveiled to the public to no great acclaim: “Art should be something you feel passion for,” said committee Chairman Jack Soley. “At the end of the day, we felt most of the entries were simply too pedestrian, and we’re not looking for that. We could buy benches from a catalog if that’s what we were looking for.” From what I saw of the proposals, some of them were quite well crafted and others too self-consciously “artistic.” But, to return to the idea we started this post out with, the relevant “creativity” here is not personally expressive, but social. One of the most successful comparable projects in recent years has been the High Line in Manhattan’s Chelsea district. The seating is indeed functional, but beautifully designed. Most importantly, people use it! The High Line offers many places for people to stop and relax and socialize. The seating has helped to make the space into a place. With luck, this is what the Public Art Committee had in mind when they decided to reissue the challenge: “To Artists, Designers, Landscape Architects, Architects and other interested parties: The Public Art Committee of Portland, Maine has issued a Request for Qualifications (RFQ) from artists and designers, or teams of artists and designers, to create functional art in the form of seating along the new Bayside Trail in Portland. The RFQ is available for download on the Portland Planning and Urban Development Department web site. The deadline for submission of a qualifications packet is 3:00 p.m., Thursday, April 28th, 2011.” The Public Art Committee also requests that you please forward this post along to other artists or designers who might be interested in submitting qualifications for this project.

Making places for creativity to happen is just as important as the tangible products of creativity itself. The creation of new places like Base Camp and the Bayside Trail adds to the collective happiness that we feel in Portland.