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Tag: streetcar

Trump administration has effectively halted the pipeline of new transit projects

How long will the Trump administration sit on transit funding? Click to view Stuck in the Station, a new resource tracking the unnecessary and costly delays in transit funding.

Last March, Congress provided the Federal Transit Administration (FTA) with about $1.4 billion to help build and expand transit systems across the country. 142 days later and counting, FTA has obligated almost none of these funds to new transit projects. A new Transportation for America resource—Stuck in the Station—will continue tracking exactly how long FTA has been declining to do their job, how much money has been committed, and which communities are paying a hefty price in avoidable delays.

For 142 days and counting, Trump’s FTA has declined to distribute virtually all of the $1.4 billion appropriated by Congress in 2018 for 17 transit projects in 14 communities that were expecting to receive it sometime this year. Other than one small grant to Indianapolis for their Red Line all-electric bus rapid transit project, the pipeline of new transit projects has effectively ground to a halt.

As a result, bulldozers and heavy machinery are sitting idle. Steel and other materials are getting more expensive by the day. Potential construction workers are waiting to hear about a job that should have materialized yesterday. And everyday travelers counting on improved transit service are left wondering when FTA will do their job and get these projects moving.

“When it comes to funding for infrastructure, this administration has repeatedly made it clear they expect states and cities to pick up part of the tab,” said Beth Osborne, Transportation for America senior policy advisor. “Yet these communities are doing exactly what the administration has asked for by committing their own dollars to fund these transit projects—in some cases, going to the ballot box to raise their own taxes—and yet still the administration does nothing.”

Fourteen communities in total are waiting on this funding appropriated by Congress—and approved by the president—earlier in 2018.

Dallas is waiting on more than $74 million to lengthen platforms at 28 DART stations in order to accommodate longer trains and increase the system capacity. In Reno, NV, the transit provider is waiting on $40 million to extend their bus rapid transit system from downtown to the university and provide upgrades to the existing line. Minneapolis/St. Paul is waiting on three different grants totaling an estimated $274 million to help extend two existing light rail lines (including new park & ride stations and additional trains) to reach surrounding towns and build a new bus rapid transit line. Twelve other projects, most of them brand new rail and bus lines, are also waiting for grants ranging from $23 million to $177 million.

President Trump’s stated ambitions to make a big investment in infrastructure have largely been thwarted by his and Congress’ inability to find or approve any new sources of funding. Yet right now, the administration has $1.4 billion for infrastructure sitting idle in the bank for transit, money that could be used to buy materials that are getting more expensive by the day, fire up the heavy equipment, and fill new jobs with construction workers helping to bring new bus or rail service to everyday commuters who are counting on it.

So how much money did Congress put in the Trump administration’s hands, and how much has the FTA actually distributed to these ready-to-go transit projects? Which communities are paying the price in expensive but entirely avoidable delays?

Browse Stuck in the Station, Transportation for America’s new resource for tracking how much money has been obligated to transit projects in the pipeline.

View Stuck in the Station and take action

In this case “obligating” means simply having the FTA (acting) administrator sign a grant contract for a project that’s already been in the federal pipeline for years. To be clear, FTA has already identified the projects that will receive grants, Congress has approved overall funding levels, and local projects have accounted for this federal money in their budgets. Local communities are just waiting on Secretary Elaine Chao and the acting administrator of the FTA to put pen to paper and actually deliver the money they’ve been promised.

It’s time for FTA to fulfill its promises and get these projects moving.

El Paso’s Transnational Trolley: How art can help imagine creative transportation solutions

What begun as a sort of arts-driven guerilla marketing campaign for the fictional return of a historic streetcar in the border communities of El Paso, TX and Ciudad Juárez, Mexico, is becoming a reality, a demonstration of the power of art to capture the imagination of a community and help them look at old problems in different ways and imagine creative solutions.

This story is part of arts and culture month at T4America & Smart Growth America, where we’re telling a handful of stories about how arts and culture are essential to building better transportation projects and stronger communities. It’s adapted from a longer case study that will be featured in Transportation for America and ArtPlace America’s upcoming field scan on arts, culture and transportation.

Unlike San Diego, CA and Tijuana, Mexico, which are separated by 20 miles, El Paso, TX and Ciudad Juárez, Mexico sit immediately adjacent to one another, separated only by the width of the Rio Grande River and the international border between the United States and Mexico. Until 1846, El Paso was in fact part of Juárez and Mexico, and the two independent cities today form the world’s largest binational metroplex, with thousands of daily crossings by foot, car, and bus; billions of dollars of trade; and five border crossings connecting the two cities and region. For generations, residents on both sides of the border have crossed frequently for work, school, recreation, and to visit family; more than 80 percent of El Pasoans identify as Latinx.

Until it was closed down in 1974, these border crossings were facilitated in part by an international streetcar system that connected the downtowns of both cities. As in many American cities, the streetcar system ran President’s Conference Committee (PCC) streetcars, with a sleek Art Deco design that was introduced after the Great Depression to lure new car owners back onto public transportation.

The iconic streetcars and stories of their transnational past served as the inspiration for Peter Svarzbein’s Masters of Fine Arts thesis project at New York’s School for Visual Arts. In 2012 Mr. Svarzbein, a native of El Paso, created the El Paso Transnational Trolley, which could be described as part performance art, part guerrilla marketing, part visual art installation, and part fake advertising campaign. The project began with a series of wheatpaste posters advertising the return of the El Paso-Juárez streetcar, and continued with the deployment of Alex the Trolley Conductor, a new mascot and spokesperson for the alleged new service. Alex appeared at Comic Cons, public parks, conferences, and other public spaces to promote the return of the streetcar, while additional advertisements appeared across El Paso, sparking curiosity and excitement for the assumed real project.

Eventually, Svarzbein admitted that the project was a graduate thesis masquerading as a streetcar launch, but rather than graduating and moving on, he decided to move back home to El Paso.

When Svarzbein learned that the City of El Paso planned to sell the historic PCC streetcars, he lobbied the city to cancel the sale, and instead return the streetcars to the streets of El Paso. Thanks to the region’s dry climate, the streetcars have remained in relatively good shape for the past four decades even though they’ve been stored in the open desert at the edge of El Paso.

After gathering thousands of signatures in support of the project and with the strong backing of the City of El Paso and Texas Department of Transportation (TxDOT) Commissioner Ted Haughton, the El Paso trolley won a $97 million grant from TxDOT. It is now slated to begin service in El Paso in 2018. The third phase of the project will include a connection to the Medical Center of the Americas, while the second will include the much anticipated transnational connection to Juárez.

In one of the most surprising twists in this long tale, shortly after this funding was awarded, Svarzbein rode the wave of public support for the once-fictional project to win a seat on El Paso’s City Council.

Svarzbein’s approach as an artist transformed the discussion. The project’s website quotes artist Guillermo Goméz-Peña: “An artist thinks differently, imagines a better world, and tries to render it in surprising ways. And this becomes a way for his/her audiences to experience the possibilities of freedom that they can’t find in reality.”

Clearly, Svarzbein credits his creative campaign with helping to get the project off the ground and building the community support needed to win funding, claiming that “there is a sort of responsibility that artists have to imagine and speak about a future that may not be able to be voiced by a large amount of people in the present. I felt that sort of responsibility. If I couldn’t change the debate, at least I could sort of write a love letter to the place that raised me.”

This story is another example of how transportation professionals are exploring new, creative, and contextually-specific approaches to planning and building transportation projects. They are collaborating with artists and the community in new ways to transform transportation systems into powerful tools to help people access opportunity, drive economic development, improve health and safety, and build the civic and social capital that binds communities together.

This project is just one of the many case studies that will be featured in our upcoming field scan on arts, culture and transportation, commissioned by ArtPlace America. The field scan is intended to examine the ways in which arts and culture are helping to solve transportation challenges while engaging the community in a more inclusive process.

Stay tuned for more about arts and culture during the entire month of September.