seArts 2011 annual meeting 2 28-11

seARTS Annual Meeting28 February 2011

Susan Silberberg-RobinsonPlanning Consultant

Lecturer in Urban Design and Planning, MIT

Gloucester Today: The Waterfront, Fishing/Maritime, and the 21st

Century The Arts and Culture of Cape Ann Cultural “district” thoughts A few lessons from the ISA,

Waterfront Planning in Boston, and Cultural Planning

Closing Thoughts

Tonight’s Agenda

28 February 2011 Arts and Culture of Gloucester: Redefining the Concept of “District” ©Susan Silberberg-Robinson

Source: http//:schooner-adventure.org

Gloucester has been defined by the harbor, the waterfront, the fishing and maritime industries

Pride in maritime history Concern and fear for the place of maritime

traditions and livelihoods in the present andfuture

Exploration and optimism of the defining elements of Gloucester in 2011 and beyond: what is the place of the harbor, the waterfront and maritime traditions in the life of the city and it’s residents?

Collision of these elements – no one wants to foreclose on future opportunities by making bad decisions TODAY.


Framing the Issues


Source: City of Gloucester at http://goucester-ma.gov

The HarborWalk

Existing HarborWalk at St. Peter’s Square. Source: City of Gloucester at http://goucester-ma.gov, Gloucester HarborWalk document


Views of harbor from I4-C2. Source: City of Gloucester at http://goucester-ma.gov, Gloucester HarborWalk document

Part of parcel I4-C2. Source: City of Gloucester at http://goucester-ma.gov, Gloucester HarborWalk document

I4-C2 Parcel



Birdseye Site

Source: www.glosta.com


Maritime Infrastructure

Source: www.glosta.com

Every city on the water has obsolete industrial and/or maritime waterfront…there is a glut

Once redeveloped, it is unlikely this waterfront will ever return to previous maritime/industrial use – a fact that stymies action

Common for communities to experience real stress around redevelopment decisions

Source: City of Gloucester at http://goucester-ma.gov, City of Gloucester Harbor Plan and Designated Port Area Master Plan Approved December 11, 2009.

Maritime Infrastructure


A second unintended impact has been the exclusion of significant public access from the waterfront. In the introduction to the 1994 DPA regulations, the state agencies emphasize that:

“judicious planning of the use mix in the DPA and its environs together with compatible incorporation of public access facilities into the design of individualprojects can advance the quality-of-life objectives of the surrounding community without significant interference with maritime activities at or near the waterfront.”

The DPA regulations are not currently encouraging this development approach.

Source: City of Gloucester at http://goucester-ma.gov, City of Gloucester Harbor Plan and Designated Port Area Master Plan Approved December 11, 2009. page 6

Source: City of Gloucester at http://goucester-ma.gov, Gloucester HarborWalk document

Harbor Plan

Existing dock at I4-C2. Source: City of Gloucester at http://goucester-ma.gov, Gloucester HarborWalk document


Collision of these elements – no one wants to foreclose on future opportunities by making bad decisions TODAY.



Maritime traditions

Maritime pride Past may not

equal future Concern and fear

for preserving traditions

Where are the jobs?

What will be our way of life?

Exploration and optimism of new traditions

Reconciling Collisions

seARTS The Rocky Neck Art Colony Goetemann Residency Distinguished Artist/Teacher (D A/T) Cape Ann Museum (CAM) Nights on the Neck Rocky Neck Historic Art Trail The Gloucester Stage The Writer's Room Beauport Sleeper McCann House Rocky Neck Art Colony, North Shore Art Association The Ocean Alliance Mayor's Committee for the Arts Art Haven school arts program Museums/Learning Centers/Art

Cinema (downtown Gloucester) Cape Ann Museum Gloucester Maritime Heritage

Center Sargent House Museum Cape Ann Community Cinema


Assets

Source: seARTS

Arts and Culture

Arts

the conscious use of skill and creative imagination especially in the production of aesthetic objects;

also : works so produced

Culture

The integrated pattern of human knowledge, belief, and behavior that depends upon the capacity for learning and transmitting knowledge to succeeding generations

the customary beliefs, social forms, and material traits of a racial, religious, or social group;

also : the characteristic features of everyday existence…shared by people in a place or time

Source: www.mirriam-webster.com


Arts and Culture

Arts is in a place and time

Art can be superimposed on a place and a people. Art can exist in a community without being ofthe community.

Art can be institutionally driven, externally drive, or internally community driven. It can be “top down.”

Culture comes from a place, from a time, from a community. It can include Art

Culture and cultural practices are of a community (geographically, ethnically, etc.) Culture comes from livelihoods, daily practices, values and beliefs. Culture is not top down but rather is internally driven. Culture is the very core of a community and represents past, present and future.


Cultural vitality is evidence of creating, disseminating, validating, and supporting arts and culture as a dimension of everyday community life.

- Maria Rosario Jackson, The Urban Institute Arts and Culture Indicators in Community Building Project

Cultural Vitality


Cultural vitality encompasses a much more expansive view of “artistic practice” within the community: cultural and societal practices, industries, memory, history and

tradition. crosses all boundaries of age, education and occupation

An arts and cultural district is a geographic district. But it is also an ephemeral district and sphere of practice encompassing:• Public policy• an educational zone• an economic development strategy• a zoning plan• and more….

Cultural Vitality


The question is bigger What role will arts and culture (of our

community) play in our future?• What is our public policy?• What is our educational philosophy? • What is our economic development

strategy?• How does our zoning not only re-act but

pro-act? Who represents our culture at the table?

An Inclusive Model


Copyright ©2010 Dheera Venkatraman

It is about Arts and Culture The question must be answered through

cross-sector collaborations among city officials and agencies, industries, artists, developers, artist-focused organizations, community development corporations, and others.

Some answers can be found through other initiatives and the lessons learned: MetLife Foundation Innovative Space Awards (ISA)

and arts and culture projects and research Arts and Cultural District Planning Boston Waterfront Planning Cultural, education and non-profit facility planning

for the waterfront (FPA study)

A Rephrasing of the Question…


Nonprofit and public explicitly arts-related organizations Retail arts venues—bookstores, music stores, film theaters,

craft and art supply stores Non-arts venues with arts and cultural programming—

parks; libraries; ethnic associations, societies, and centers Festivals and parades Arts-focused media outlets (print and electronic, including

web-based venues) Art schools Presence of working artists and tradition bearers

Maria Rosario Jackson, The Urban Institute Cultural Vitality Indicators Project

Lessons from other Researchers


Amateur art making Collective/community art making K–12 arts education Arts after-school programs Audience participation Purchase of artistic goods (materials for making art as well

as final arts products) Discourse about arts and culture in the media

Maria Rosario Jackson, The Urban Institute Cultural Vitality Indicators Project


Cultural Vitality

• Public expenditures in support of the arts in all sectors (nonprofit, public, and commercial)

• Foundation/philanthropic expenditures in support of the arts (nonprofit, public, and commercial)

• Volunteering and personal giving to the arts• Integration of arts and culture into other policy areas and

corresponding allocation of resources (e.g., community development, education, parks and recreation, etc.)

• Broader interpretation of arts and culture and related impacts (beyond economic and education impacts)

• Use of arts and culture related data• Revised interpretation of stakeholders in arts and culture• Broader Interpretation of strategic cultural investments (by arts and

other sectors)• Design of neighborhoods and essential amenities • Design of cultural districts and cultural facilities

- Maria Rosario Jackson, The Urban Institute Cultural Vitality Indicators Project

Cultural Vitality


Creates an identity for an area…useful for economic development and good image

Proven retention device for residents and businesses

Artist space attracts creative entrepreneurs, enhancing regional economic competitiveness

Provides a creative and unique arts and culture “cachet” which helps business recruitingSource: How Artist Space Matters by Metris Arts Consulting 2010


Lessons from Research and ISA

Increase surrounding property values and return properties to the tax rolls

Area businesses experience increased demand for services

New visitors to the area engage in ancillary spending

Source: How Artist Space Matters by Metris Arts Consulting 2010



Arts spaces can be good fit for older buildings

Enhanced public safety (real and perceived)

Creation of new spaces open to the public Community “ownership” and stewardship

of space Educational opportunities Enhanced cultural awareness and pride Positive attitude of residents and visitors

Create a unique place that has no competitive equal (can’t be replicated in the suburbs, in “Lifestyle” centers, or other developments)



Artists and arts orgs need help with building development and ongoing facility management

Small arts orgs and artists’ cooperatives can struggle with maximizing: Size, relationship and organization of spaces Creative possibilities and alternative uses of spaces Marketability of space for enhanced revenue streams

Building management takes away from art time…helpful to have a partner

Little knowledge of “value added” to a development Need assistance in engaging with community



Municipalities have a role to play in most types of spaces

Public agencies are often involved to “prime” the projects: Property owners Bringing partners together Credibility and economies of scale Overall vision Providing “site ready” projects

(environmental cleanup, permitting, liens and ownership issues resolved)



Developers and non-arts org need help in understanding artists’ needs

Developer expertise/ownership combined with arts non-profit management and organization is a powerful combination/team

Cultural organizations and civic groups are key players in ensuring success

Arts and culture entrepreneurs/leaders often go where others fear to tread…true pioneers and risk takers

Artists Developers Local

municipalities Public agencies Funders Investors Artist-focused

organizations CDCs Individual

Entrepreneurs



Collaborations can be complex Funding sources often come from a mind

boggling array of sources with complex requirements

Difficult to convince funders, community, policy makers that projects are feasible and credible

Can be a challenge to get proper advice on development process

Constant search for balance of affordable space with high tech/sophisticated arts requirements



Strong leadership, equitable development process -artists and community

Artists integrated into leadership and/or decision-making

Deep knowledge of community -responsive/born out of existing community social/cultural history

Attempts to balance expertise in artist services/needs, affordable housing, community development practices

Excellent programming for geographic/cultural community

Savvy about building spaces, development, value added

Organizational and fiscal capacity


Open Book 2.0, Minneapolis, MN, ISA Honorable Mention 2009


Charlestown Navy Yard Waterfront Activation Plan and Facilities of Public Accommodation Study Waterfront land is difficult to redevelop: Developers need special skills and must be multi-talented State regulations and development frameworks can be complicated and

may not match current economic cycles nor match demand for space Waterfront space is premium cost – not well-suited to smaller non-

profits and educational and cultural uses without heavy subsidy or iconic uses/structures (ICA, NE Aquarium in Boston)

Use arts, culture, history and education in waterfront development to link to broader efforts in community

Cities must be proactive, visionary and champions of development (must be in the driver’s seat and offer support for development)

Lessons Learned


Lessons Learned


Complex enough to require an advisory support committee


Lessons Learned

Environment

Economic Development

Tourism

Fishing and Maritime

Waterfront Public Access

Sustainability

History Civic Pride


Education

Arts and Culture

The Pieces

Be true to the culture of Gloucester and vision it for the 21st Century

Risk taking is necessary…but within an accepted framework

Innovation is the key to survival and sustainability Be proactive, not reactive Adopt an inclusive and broad definition of arts

and culture and back it up with public initiative, vision and collaboration


Create certainty in the development environment City wide waterfront planning and programming.

Don’t look on a site by site basis (less concern then with piecemeal chipping away at maritime base) – purpose of harbor plan but more than this.

Heavy recruitment of uses and industries and even arts and cultural uses from outside Gloucester

Incremental is good but that doesn’t mean timid Strong leadership is essential – planning by

consensus alone will lead to a “lowest common denominator solution”


Susan Silberberg-Robinson

Susan is Lecturer in Urban Design and Planning in the Department of Urban Studies and Planning at MIT. As an urban designer, planner and architect, she consults to municipalities, community-based clients, foundations, and cultural organizations on projects related to design and community development with a focus on arts and culture.

She has worked on the public waterfront plan for the Charlestown Navy Yard, the master plan for the Worcester, MA Arts District, and the Vision 20/20 for Concord, NH, a comprehensive plan for the state’s capital. She is currently completing an artist housing feasibility study for the City of Jacksonville, FL.

As Associate Director of the MetLife Foundation Innovative Space Awards, Susan is leading the research effort to identify innovative affordable artist space projects and the ways in which artists engage with communities to effect positive change and contribute to neighborhood livability and vitality.

Susan is on the Board of Directors of Historic Boston, Inc. and the Joshua Bates Art Center in the South End of Boston.

617-253-2027 [email protected]

seArts 2011 annual meeting 2 28-11

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