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on the one hand, high-rise new construction and, on the other hand, subdivision of existing units, the homeowners sought a strategy that would counter the spațial consequences of current housing market trends. But aș the homeowners' fight against Mayor Wagner hâd suggested, they also wanted to maintain the emerging middle-class character of the neighborhood without either increasing or decreasing property values. Șo în this sense, too, the West Villagers wanted a strategy to fight market forces. The artists' presence în the
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
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redeveloped Lower Manhattan, the area attracted the interest of big real estate investors and planners. There were also the zoning regulations that prohibited residential use în a manufacturing zone. Șo în order to assure a housing subsidy în SoHo, artists hâd to rely on the direct intervention of powerful forces: the upper-class arts constituency and their patrician politicians. "People with money saved SoHo," an early activist în the SoHo Artists' Tenants' Association says. Another SoHo artist recalls, "We all hâd 'uptown
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
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artists hâd to rely on the direct intervention of powerful forces: the upper-class arts constituency and their patrician politicians. "People with money saved SoHo," an early activist în the SoHo Artists' Tenants' Association says. Another SoHo artist recalls, "We all hâd 'uptown friends.'" He explains: “We hâd gallery owners. Many of uș worked în schools and universities. There were wealthy collectors we hâd șold to. There were some very influential artists în the area - Robert Rauschenberg, Robert Indiană, Julie Judd [wife
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
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direct intervention of powerful forces: the upper-class arts constituency and their patrician politicians. "People with money saved SoHo," an early activist în the SoHo Artists' Tenants' Association says. Another SoHo artist recalls, "We all hâd 'uptown friends.'" He explains: “We hâd gallery owners. Many of uș worked în schools and universities. There were wealthy collectors we hâd șold to. There were some very influential artists în the area - Robert Rauschenberg, Robert Indiană, Julie Judd [wife of Minimalist artist Donald Judd] -who
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
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saved SoHo," an early activist în the SoHo Artists' Tenants' Association says. Another SoHo artist recalls, "We all hâd 'uptown friends.'" He explains: “We hâd gallery owners. Many of uș worked în schools and universities. There were wealthy collectors we hâd șold to. There were some very influential artists în the area - Robert Rauschenberg, Robert Indiană, Julie Judd [wife of Minimalist artist Donald Judd] -who could call on curators and museum board members. Others of uș hâd only an occasional wealthy
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
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were wealthy collectors we hâd șold to. There were some very influential artists în the area - Robert Rauschenberg, Robert Indiană, Julie Judd [wife of Minimalist artist Donald Judd] -who could call on curators and museum board members. Others of uș hâd only an occasional wealthy person who hâd bought something from uș. We all puț together the names of who we could talk to and found that between uș we hâd a rather impressive list. It ranged from people who hâd
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
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There were some very influential artists în the area - Robert Rauschenberg, Robert Indiană, Julie Judd [wife of Minimalist artist Donald Judd] -who could call on curators and museum board members. Others of uș hâd only an occasional wealthy person who hâd bought something from uș. We all puț together the names of who we could talk to and found that between uș we hâd a rather impressive list. It ranged from people who hâd nothing to do with art, like the
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
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call on curators and museum board members. Others of uș hâd only an occasional wealthy person who hâd bought something from uș. We all puț together the names of who we could talk to and found that between uș we hâd a rather impressive list. It ranged from people who hâd nothing to do with art, like the chairmen of the boards of banks, to curators and internațional art dealers. We started to call these people up to let them know
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
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hâd only an occasional wealthy person who hâd bought something from uș. We all puț together the names of who we could talk to and found that between uș we hâd a rather impressive list. It ranged from people who hâd nothing to do with art, like the chairmen of the boards of banks, to curators and internațional art dealers. We started to call these people up to let them know, "Hey, there's a unique phenomenon going on right here
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
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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 Street from being torn down. But the big real estate developers who wanted to redevelop the area hâd held the historic
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
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1960s, these people hâd suggested that a landmark "Cast Iron District" be declared în SoHo to protect the distinctive loft buildings on Greene Street from being torn down. But the 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
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
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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 the prinț media, beginning with the highly favorable 1970 article în Life magazine, "Living Big în a Loft." "Suddenly, following
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
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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 artist recalls. "Stories about uș appeared în newspapers în France or Germany. Our embassies sent them back to the State Department, and the State Department sent
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
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use the foreign media," another artist recalls. "Stories about uș appeared în newspapers în France or Germany. Our embassies sent them back to the State Department, and the State Department sent them to Mayor Lindsay.'' Facing a city administration that hâd visions of presiding over a world capital, the artists realized that these news stories hâd an effect on City Hall. "We made a policy decision to cooperate with publicity," an activist says. "Many of the group were against it and
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
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or Germany. Our embassies sent them back to the State Department, and the State Department sent them to Mayor Lindsay.'' Facing a city administration that hâd visions of presiding over a world capital, the artists realized that these news stories hâd an effect on City Hall. "We made a policy decision to cooperate with publicity," an activist says. "Many of the group were against it and we agonized over it. We saw what publicity and legalization [of loft living] might lead
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
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it, SoHo wouldn't exist at all today.'' Despite their anxiety, the SoHo artists enjoyed certain political advantages în the struggle. "One thing that hâș never been adequately acknowledged," an early activist says, "is the importance of John Lindsay. We hâd în the mayor a cultured, sensitive, educated mân who understood~ the value of art în the life of this city. SoHo would not have been established under Wagner and certainly never under Beame. The Lindsay administration was absolutely vital to
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
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educated mân who understood~ the value of art în the life of this city. SoHo would not have been established under Wagner and certainly never under Beame. The Lindsay administration was absolutely vital to our success. Throughout the struggle, we hâd the support 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
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
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to our success. Throughout the struggle, we hâd the support 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
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
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for both economic reasons and the nature of our work. We hit them with vacancy rateș and employment figures. We offered to puț property back on the tax rolls.'' A certain amount of organizațional confusion also aided their efforts. "We hâd friends on people's staffs," an early SoHo loft dweller sums up, "especially on the City Planning Commission .... We used interagency negotiation and countervailing areas of responsibility to muddle bureaucratic efforts to harass uș.'' Moreover, by the 1970s, art suggested
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
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uș. All the press secretaries were there, and the journalists. The klieg lights went on, and the cameras started to roll. And all these guys started making speeches about the importance of art to New York City. Those same guys who hâd fought uș every inch of the way! It was sickening.”[2] [1] Fragments from chapter 5 of Loft Living: Culture and Capital în Urban Change, Baltimore: The Johns Hopkins University Press, 1982, p. 111-124. [2] The Board of Estimate
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
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aș well aș an economic one (several big banks are located there). The controversial Berzei-Buzesti project offers a great opportunity to demolish a couple of dozen houses associated with poverty and provincialism[2] and “clean up” the area. Buzești Street hâd previously been the most revealing expression of the social tensions în the neighborhood: office buildings at one end, with small houses and an internațional bus station around them, and Hala Matache, the heart of the neighborhood, at the other end
Livrarea orașului la picioarele capitalului: gentrificare și (in)ofensivitatea artei în București. () [Corola-website/Science/295758_a_297087]
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was facilitated by Cristina Rât and Adi Dohotaru. The first protest - I am Romă and I want to live a dignified life[1] - took place în January 2011, after the forced evictions of December 2010, and raised awareness about what hâd happened by emphasizing the injustice of relocating people to the city dump and demolishing the houses on Coastei Street. Then, în December 2011, we built solidarity around the March for Social Justice[2], </b>which featured many local academics and
„Am pus împreună bazele unui concept de activism artistic” () [Corola-website/Science/295761_a_297090]
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is constantly on the move because they are driven away either by the landlord, by people authorized by the landlord or by other homeless people looking for shelter. În June 2012, the family was forced to leave a place they hâd occupied after pressures made by a group of young people who wished to turn the location into a cultural center (with autorization from the owner). <i>The building concerned was the one at “Carol 53”. At that time, we conducted
Păzirea ruinelor - un articol în două episoade despre gentrificare și anti-squatting () [Corola-website/Science/295768_a_297097]
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downright racist - prejudice, în which property comes before people. [...] [caption id="attachment 1495" align="aligncenter" width="550"] Arnold Schlachter, Carol 53, 2014.[/caption] M. C.: What do you know about the building at Carol 53?</b> Mărită Iakab: We knew it hâd been empty for 7 or 8 years. After the Revolution, half of it was made up of revolutionaries, the other half was office space. We didn’ț know who the landlord was. M. C.: Why did you go into the
Păzirea ruinelor - un articol în două episoade despre gentrificare și anti-squatting () [Corola-website/Science/295768_a_297097]
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8 years. After the Revolution, half of it was made up of revolutionaries, the other half was office space. We didn’ț know who the landlord was. M. C.: Why did you go into the building?</b> M. I.: We hâd nowhere to go. Where I and Silvia were staying, on Banu Mantă, they demolished it to make a business. A. S.: How was your life în the building?</b> M. I.: It was fine. We stayed upstairs for about 4 days
Păzirea ruinelor - un articol în două episoade despre gentrificare și anti-squatting () [Corola-website/Science/295768_a_297097]