- 9 Planet of the Arts -- vol. 4 no. 1 IVE ENVIRONNIENTS confidential, so it becomes very difficult to integrate new people into the midst of very touchy negotia- tions with the City or property owners. Without an inexpensive, safe space to live and work we're all in trouble. ACE is at a transition point and its’ future survival as a strong lobbying presence should be of concern to all artists in the city. The other long-term objective I see is the establishment of a set of financial (rather than building code) incentives for building owners and developers. The research conducted this summer took the Gastown/Chinatown/Japantown area as a case study for a proposed Arts Enterprise Zone. With zoning of this nature in place (similar to Heritage zoning, but hopefully, with more teeth) owners could, say, receive property tax rollbacks and other considerations for the development of artists’ live/work studios, but in return the use would have to remain constant and might be more effectively enforced. In Ottawa, for example, owners of heritage buildings receive all kinds of incentives if they wish to renovate but they cannot do certain things structurally and within certain usage guidelines. With Arts Enterprise or Cultural District Zoning, the same kinds of standards could be applied. A new system of bonusing space also has been suggested by a development group; they are planning a mixed-use residential/commercial development in Gastown and would like to give up to 10,000 square feet strata-titled live/work studio space to the aforementioned artist endowment fund. In return they could receive transfers of de- velopment rights for other projects they undertake (where they may want increased density, height etc...). Bonusing currently works this way but only with new construction and only on the same site. The Community Arts Council is an example of a bonused space. The City struck a deal with the developer who then was required to build the CAC’s facility into the project. The significance of this kind of trade-off for live/work space is vast, if it can be implemented. It not only creates the seedbed for the endowment fund, but creates probably the cheapest appropriate space for artists. The other area we have been exploring has to do with Community Economic Development (CED), liaison with the Economic Development Office of the City, and concepts such as BIA (Busi- ness Improvement Areas). This brings us to a very hot current issue over the closure of Harmon Foundry and more importantly, the eviction of long- term tenants of the Gastown Arts Studios, all at 170 Alexander Street. Martin Baker, Director of DEEDS (Downtown Eastside Economic Develop- ment Society), estimates that this closure causes 21 artistic businesses to be dislocated. In the current DEEDS newsletter [call 684-0200 for a copy] Baker breaks down the direct and indirect economic losses to the area (170 Alexander is just a block away from Railway and blocks away from the burgeoning Powell Street/East Cordova and Strathcona arts community). The greatest twist of all in this situation is that the building is slated for demolition to make way for a senior citizen’s housing project, which obviously has been approved and assisted by the Social Planning Department and Planning Departments of the City of Vancou- ver. The pressures on this neighbourhood are immense and in the next few years will be even greater as commercial development begins to take hold. The need for strong artist representation in the planning process is even more critical now, as is an awareness of just how vital this community is. This is not the only arts community stronghold in the city but it is a very inter-connected, closely linked community made up of exceptional artists/ designers/musicians/writers/dancers/actors/direc- tors/film and video artists and technicians. Itisa community of artists whose work is deeply rooted in this remarkably stimulating environment. It is one of the only areas left in Vancouver that is cheap enough for artists, as well as all other low income groups, to live in. While no-one wants to see a ghetto, homeless people, or substandard housing, it cannot be denied that this area of the city is as unique as Winnipeg’s North End. There are some things that cannot be planned into existence; they have an evolution and history of their own. This area also provides fertile ground for small business and grassroots economic development and artists must be recognized as integral to CED. Their studios, needs, and output must be considered in any economic improvement plan. The Social Planning Department’s report on Cultural Directions in Vancouver, through the year 2,000, lays out all kinds of recommendations, but all of these recommendations must take into account the existing arts community areas geo- graphically and the true economic impact of the arts; Civic officials must be made philosophically aware on deeper levels. It is obvious that this is still not happening because the mix-up at 170 Alexander Street could never have occured if officials were more in touch. The responsibility for making them stay in touch rests with us, They also have to see that there is a substantial long-range vision coming from the arts community that can be incorporated into area planning. The responsibility | still rests with us to be present at neighbourhood planning meetings, to be involved. The city is an incredible three-dimensional canvas - artists are a part of this, not just within hallowed art gallery confines, but in all kinds of ingenious endeavors. I am involved, for example, with the initial planning for an “umbrella company” which will represent, distribute and manufacture the designs, as well as the individual work, of a specific group of artists, while providing the financial planning for a proposed limited-share equity co-op building for the same group. These kinds of formations can occur consistently if artists are willing to work together, take some calculated and inventive risks, and take it upon themselves to understand the workings of the business world, particularly the means for financing businesses, including governmental funding sources. There are resources to draw upon such as DEEDS and ACE, but these organizations really need more artist involvement to flourish. No one organization or individual is going to doit all. You have to be able to articulate your visions, your plans, your needs clearly, and follow through. The greatest impetus I know is to realize that the only way to project the future is to invent it. It does not exist otherwise, except as someone else’s dream, which they may try to sell to you! Liz Gilbert is a co-founder of ACE and has been active as an organizer in the Vancouver arts community, involved with exhibitions such as the Warehouse Show and Artropolis, as well as benefit art auctions. She has been an art critic for various publications including a four year stint as visual arts critic for the West Ender. She’s a musician/ composer and has an academic background in Art History/Social History of the Arts. While growing up in New York City she witnessed the gentrifica- tion of SoHo, and has subsequently been interested in urban planning issues as they relate to the arts. BuIyseyeN epuAy 9 Planet ofthe Arts - vol. 4 no, 1 IVE ENVIRONMENTS confidential, so it becomes very difficult to integrate new people into the midst of very touchy negotia. tions with the City or property owners. ‘Without an inexpensive, safe space to live and work we've all in trouble. ACE is ata transition point and its’ future survival as a strong lobbying presence should be of concern to all artists in the city. ‘The other long-term objective I see is the establishment ofa set of financial (rather than building code) incentives for building owners and developers. The research conducted this summer took the Gastown/ChinatownJJapantown area as a ‘case study for a proposed Arts Enterprise Zone. ‘With zoning of this nature in place (similar to Heritage zoning, but hopefully, with more teeth) ‘owners could, say, receive property tax rollbacks ‘and other considerations for the development of artists’ live/work studios, but in return the use would have to remain constant and might be more ‘effectively enforced. In Ottawa, for example, ‘owners of heritage buildings receive all kinds of incentives if they wish to renovate but they cannot do certain things structurally and within certain, ‘usage guidelines. With Arts Enterprise or Cultural District Zoning, the same kinds of standards could be applied. ‘Anew system of bonusing space also has been suggested by a development group; they are planning a mixed-use residential/eommercil development in Gastown and would like to give up to 10,000 square feet strata-titled live/work studio space to the aforementioned artist endowment. fund. In return they could receive transfers of de ‘velopment rights for other projects they undertake (where they may want increased density, height te... Bonusing currently works this way but only with new construction and only on the same site ‘The Community Arts Council is an example of a Donused space. ‘The City struck a deal with the developer who then was required to build the CAC’s facility into the project. The significance ofthis kind of trade-off for livelwork space is vast, ifit can beimplemented. It not only creates the seedbed for ‘the endowment fund, but ereates probably the cheapest appropriate space for artist. ‘The other area we have been exploring has to do with Community Beonomie Development (CED), liaison with the Economie Development Office ofthe City, and eoncopts such as BIA (Busi ness Improvement Areas). This brings us toa very hot current issue over the closure of Harmon Foundry and more importantly, the eviction of long term tenants of the Gastown Arts Studios, all at 170 Alexander Street. Martin Baker, Director of DEEDS (Downtown Eastside Economic Develop- ment Society), estimates that this closure causes 21 artistic businesses to be dislocated. In the current DEEDS newsletter [eall 684-0200 for a copy] Baker breaks down the direct and indirect economic losses to the area (170 Alexander is just a block away from Railway and blocks away from the burgeoning Powell Stree/East Cordova and ‘Strathcona arts community). ‘The greatest twist of all in this situation is that the building i slated for demolition to make way for a senior citizen's hhousing project, which obviously has been approved and assisted by the Social Planning Department and Planning Departments ofthe City of Vancou- ‘The pressures on this neighbourhood are immense and in the next few years will be even greater as commercial development begins to take hold. ‘The need for strong artist representation in the planning process is even more critical now, as is an awareness of just how vital this community is. ‘This isnot the only arts community stronghold in the city but it is a very inter-connected, closely linked community made up of exceptional artists! designers/musicians/writers/dancers/actors/diree- torsfilm and video artists and technicians. Ttis a community of artists whose work is deeply rooted in this remarkably stimulating environment. Ttis ‘one ofthe only areas left in Vancouver that is cheap enough for artists, as well as all other low income soups, to live in. While no-one wants to see a ghetto, homeless people, or substandard housing, it cannot be denied that this area of the city is as unique as Winnipeg’s North End. ‘There are some things that cannot be planned into existence; they have an evolution and history oftheir own. This area also provides fertile ‘ground for small business and grassroots economic development and artists must be recognized as integral to CED. Their studios, needs, and output ‘must be considered in any economic improvement plan. ‘The Social Planning Department's report on. Cultural Directions in Vancouver, through the year 2,000, lays out all kinds of recommendations, but all of these recommendations must take into ‘account the existing arts community areas geo- ‘graphically and the true economic impact of the arts; Civic officials must be made philosophically aware on deoper levels. Its obvious that thisis still not happening because the mix-up at 170 Alexander Street could never have occured if officials were more in touch. The responsibility for making them stay in touch rests with us, They also hhave to see that there is a substantial long-range vision coming from the arts community that ean be incorporated into area planning. The responsibility still rests with us to be present at neighbourhood planning meetings, tobe involved. ‘The city is an incredible three-dimensional canvas artists are a part of this, not just within hallowed art gallery confines, but in all kinds of ingenious endeavors. Tam involved, for example, with the initial planning for an “umbrella company” which will represent, distribute and manufacture the designs, 1s well as the individual work, ofa specific group of artists, while providing the financial planning for a proposed limited-share equity co-op building for the same group. ‘These kinds of formations ean occur consistently if artists are willing to work together, take some calculated and inventive risks, and take it upon themselves to understand the workings of the business world, particularly the means for financing businesses, including governmental funding sources, ‘There are resources to draw upon such as DEEDS and ACE, but these organizations really need more artist involvement ta flourish. Noone ‘organization or individual is going to doit all. You hhave to be able to articulate your visions, your plans, your needs clearly, and follow through. The Ereatest impetus I know isto realize that the only way to project the future isto inventit. Tt does not ‘exist otherwise, except as someone else's dream, which they may try to sell to you! ue Pu Liz Gilbert is a co-founder of ACE and has been active as an organizer in the Vancouver arts community, involved with exhibitions such as the Warehouse Show and Artropolis, as well as benefit art auctions. She has been an art critie for various. publications including a four year stint as visual arts critic for the West Ender. She's a musician/ ‘composer and has an academic background in Art History/Social History of the Arts. While growing up in New York City she witnessed the gentrifica tion of SoHo, and has subsequently been interested {n urban planning issues as they relate to the arts