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the mid-sixties, even local elites în Sun Belt cities, notably Dallas and Los Angeles, planned to redevelop their downtown around an arts presence. The early-twentieth century "civic centers," which were planned and built by earlier local elites, suggest a precedent for concentrating cultural facilities near, but not în, the downtown area. The more recent construction of Lincoln Center for the Performing Arts în New York, în the lațe 1950s, set another important example. Although Lincoln Center's destruction of housing stock în
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
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downtown around an arts presence. The early-twentieth century "civic centers," which were planned and built by earlier local elites, suggest a precedent for concentrating cultural facilities near, but not în, the downtown area. The more recent construction of Lincoln Center for the Performing Arts în New York, în the lațe 1950s, set another important example. Although Lincoln Center's destruction of housing stock în stable, low-income communities was not really defensible, its construction of arts facilities was deemed socially acceptable. Moreover, the
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
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stock în stable, low-income communities was not really defensible, its construction of arts facilities was deemed socially acceptable. Moreover, the amenity that a concentrated arts presence offers to middle-class and upper-class arts consumers makes it possible to charge high prices for the housing that is eventually built nearby. Lincoln Center demonstrated that placing infrastructure for the arts în a devalorized area can work wonders for real estate development. Ten years later, the lofts of SoHo provided unexpected confirmation of this rule
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
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was deemed socially acceptable. Moreover, the amenity that a concentrated arts presence offers to middle-class and upper-class arts consumers makes it possible to charge high prices for the housing that is eventually built nearby. Lincoln Center demonstrated that placing infrastructure for the arts în a devalorized area can work wonders for real estate development. Ten years later, the lofts of SoHo provided unexpected confirmation of this rule. To a degree, aș the discussion of the artist's studio suggests, ăn arts
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
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arts presence offers to middle-class and upper-class arts consumers makes it possible to charge high prices for the housing that is eventually built nearby. Lincoln Center demonstrated that placing infrastructure for the arts în a devalorized area can work wonders for real estate development. Ten years later, the lofts of SoHo provided unexpected confirmation of this rule. To a degree, aș the discussion of the artist's studio suggests, ăn arts presence is attractive for purely symbolic reasons. However, the history
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
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a devalorized area can work wonders for real estate development. Ten years later, the lofts of SoHo provided unexpected confirmation of this rule. To a degree, aș the discussion of the artist's studio suggests, ăn arts presence is attractive for purely symbolic reasons. However, the history of modern art markets and state support for the arts indicates that the symbolism is also connected with motifs of power. There is yet a third factor that explains the value of an arts
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
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lofts of SoHo provided unexpected confirmation of this rule. To a degree, aș the discussion of the artist's studio suggests, ăn arts presence is attractive for purely symbolic reasons. However, the history of modern art markets and state support for the arts indicates that the symbolism is also connected with motifs of power. There is yet a third factor that explains the value of an arts presence to contemporary cities. This refers to the crucial role that arts production - involving
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
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a world city of a new type: the capital of banking, finance, and art markets. În this sense it is not surprising that declining manufacturing centers like New York have hailed artists aș an "industry." Moreover, art is a growth industry for a period of economic no-growth, a sector în which quality, not size, is determinant. "The arts may be small în economic terms even în this region," says Dick Netzer, pro-arts advocate and member of New York City's powerful Municipal Assistance
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
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but the arts 'industry' is one of our few growth industries .... The concentration of the arts în New York is one of the attributes that makes it distinctive, and distinctive în a positive sense: the arts în New York are a magnet for the rest of the world." Nevertheless, în the course of subsidizing artists' physical infrastructure, there emerged several contradictions between the intentions and the consequences of state support. First, artists' access to loft space was championed by two constituencies different sets
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
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Third, the people who moved into lofts and created their own, loft dwellers' constituency defended their right to live în lofts but opposed real estate development. To their chagrin, they found they couldn't have it both ways. A subsidy for artists' housing finally created demand for a market în living lofts. A Housing Subsidy for Artists [...] Although the impetus for subsidizing artists' housing în loft neighborhoods originated în the upper-class patron-artist connection, the idea became popular because of the active
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
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lofts and created their own, loft dwellers' constituency defended their right to live în lofts but opposed real estate development. To their chagrin, they found they couldn't have it both ways. A subsidy for artists' housing finally created demand for a market în living lofts. A Housing Subsidy for Artists [...] Although the impetus for subsidizing artists' housing în loft neighborhoods originated în the upper-class patron-artist connection, the idea became popular because of the active support of a middle-class arts constituency
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
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their right to live în lofts but opposed real estate development. To their chagrin, they found they couldn't have it both ways. A subsidy for artists' housing finally created demand for a market în living lofts. A Housing Subsidy for Artists [...] Although the impetus for subsidizing artists' housing în loft neighborhoods originated în the upper-class patron-artist connection, the idea became popular because of the active support of a middle-class arts constituency. This constituency played the midwife's role în the
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
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lofts but opposed real estate development. To their chagrin, they found they couldn't have it both ways. A subsidy for artists' housing finally created demand for a market în living lofts. A Housing Subsidy for Artists [...] Although the impetus for subsidizing artists' housing în loft neighborhoods originated în the upper-class patron-artist connection, the idea became popular because of the active support of a middle-class arts constituency. This constituency played the midwife's role în the curious sequence of events that
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
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Jane Jacobs praises în her book The Death and Life of Great American Cities. În fact, this was the neighborhood where Jacobs lived at the time. The middle-class families who were her neighbors formed the base of the grass-roots movement for neighborhood preservation that she inspired. It is important to know that the area's residents owed their mobilization to a plan puț forward by Mayor Wagner. Sharing the objectives of local business and political elites în many declining cities of
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
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a plan puț forward by Mayor Wagner. Sharing the objectives of local business and political elites în many declining cities of the Northeast and Midwest, Wagner wanted to have the West Village declared a "blighted area" în order to qualify for federal urban redevelopment subsidies. Once the area established an entitlement to Title I funds, the city could use the money to build low-income housing there. Isolated between the unused piers on the Hudson River and the warehouses of Greenwich and
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
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next-door to their homes, their modest investments would be eroded by declining property values and their mixed-use neighborhood would be destroyed by blockbusting real estate agents. Organized by Jane Jacobs, the West Village homeowners fought City Hall. When Wagner ran for reelection aș a liberal în 1961, he was forced to concede the issue. This initiation into local politics left two imprints on the West Village. First, the old Jane Jacobs constituency remained mobilized and formed a new, more permanent base
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
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Jacobs constituency remained mobilized and formed a new, more permanent base în the area's Reform Democratic Club and the community board. Second, the homeowners remained sensitive to issues of neighborhood preservation. When buildings în their purview were puț up for sale or vacated, they were vigilant. În 1967 the local city council member started a chain reaction when she heard that a loft building în the neighborhood was going to be auctioned off by the city government for payment of
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
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puț up for sale or vacated, they were vigilant. În 1967 the local city council member started a chain reaction when she heard that a loft building în the neighborhood was going to be auctioned off by the city government for payment of back taxes. The chain ran through the West Village liberal constituency's organizațional links and personal connections to the J. M. Kaplan Fund. At the auction, a Fund representative bought the loft building on Greenwich Street with the
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
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connections to the J. M. Kaplan Fund. At the auction, a Fund representative bought the loft building on Greenwich Street with the idea of turning it over to an artists' co-op. Before the Fund announced its intention, however, a Committee for Artists' Housing from the community board issued a call for artists' housing în the West Village. With great timeliness, the Kaplans were able to respond to this call. Aside from the developers of Lincoln Center, the West Village homeowners showed
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
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a Fund representative bought the loft building on Greenwich Street with the idea of turning it over to an artists' co-op. Before the Fund announced its intention, however, a Committee for Artists' Housing from the community board issued a call for artists' housing în the West Village. With great timeliness, the Kaplans were able to respond to this call. Aside from the developers of Lincoln Center, the West Village homeowners showed a new awareness, at least implicitly, that an arts presence
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
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artists also allied themselves with the historical preservation constituency în the form of the Friends of Cast Iron Architecture (FCI). An offshoot of the patrician Municipal Arts Society, this organization was formed în 1970, în the midst of the struggle for "saving" SoHo. The group was made up of people with money and power. Several times during the 1960s, these people hâd suggested that a landmark "Cast Iron District" be declared în SoHo to protect the distinctive loft buildings on Greene
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
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big real estate developers who wanted to redevelop the area hâd held the historic preservationists to small-scale tactics. Once the artists joined them, the preservationists launched a real offensive. Artists did much of the archival research that buttressed the argument for a landmark district. "We compounded the developers' difficulties by using historic preservation," an artist-activist says, and when the smoke hâd cleared over the ruins of the developers' plâns, ăn official landmark district remained. SoHo artists also learned the value of
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
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also learned the value of the prinț media, beginning with the highly favorable 1970 article în Life magazine, "Living Big în a Loft." "Suddenly, following the Life story, we were a național phenomenon," an artist says. "We were too big for them to ignore. We became known personally. Then I could call up Donald Elliott [the city planning commissioner] and sometimes get through to him. We hâd a deputy mayor assigned to uș.'' "We learned to use the foreign media," another
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
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of Lindsay and his personal aides. It was aides to the mayor who told uș how to argue our case before the Planning Commission.'' Although the artists' original patrician support hâd been based on elements of cultural patronage, their bid for open political support\depended on an economic argument. The advice that Mayor Lindsay's aides gave them was "to show our worth în terms of money. Some of the artists balked," an activist says, "but the rest of uș came
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
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Some of the artists balked," an activist says, "but the rest of uș came up with statistics on art employment, tourism, supplies- numbers the commission could understand.'' În this discussion, Art evidently yielded to the arts economy. "When we worked for the zoning changes we never talked aesthetics," another activist says. "We let them talk aesthetics. We took the approach that we were workers who need to work where we live for both economic reasons and the nature of our work
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]