artists and urban change

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http://www.geog.ubc.ca/~gregc/loftpap.htm 11/26/00

Artists and Urban Change

The Emergence of Loft Living

in Old Industrial Districts

The University of British Columbia

Undergraduate paper inSocial and Cultural Geography

by J. Gregory Cunningham

INTRODUCTION

The concept of loft living represents a significant trend in urban redevelopment over thelast forty years. Conversion of warehouses and factories into loft residences hasdeveloped a new consciousness - a unique alternative to apartment living. Soundly built

structures that traditionally have been demolished and replaced by skyscrapers andparking lots are instead recycled.

As defined by Jim Stratton, the loft is "a space or floor in a loft building. A loft buildingis a structure of more than one story, which was built for storage, manufacturing, orsome other commercial use" (Stratton 1977; 8). As defined in Funk and WagnallsDictionary (1979), the loft is, "a large workroom or storeroom on an upper story of acommercial building." These loft structures date back to the mid nineteenth century.

New York's SoHo, and Vancouver's Yaletown are examples of areas where loft

buildings still remain. These two districts will be discussed in respect to the emergenceof loft living.

SETTING THE STAGE

SoHo


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SoHo, which stands for South of Houston Street, is an old forty-three block industrialdistrict. The buildings that comprise the area form a valley amongst tall, modernconstructions (seeplate 1).

Plate 1.

The picture inplate 2 is typical of the loft buildings that line the streets of SoHo. Thisfive story structure, possessing a cast iron facade, was constructed in 1873 forwarehousing purposes.

Plate 2.


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From the late 1800's to the mid 1900's, the major industries within this area werefabrication of women's and children's garments and the wholesale fur trade. The wideopen loft spaces would be filled with long tables lined by dozens of labourers. The onlyinternal divisions were cast iron columns. After the Second World War and the birth ofindustrialization, these loft structures were simply not large enough to support high -

competition industry.

In came the artists - the pioneers of loft living. Individuals who have always goneexploring for inexpensive places in which to live and work. The loft building, asidefrom being inexpensive, was desired for its large open spaces. Uninterrupted expansesallowed the artist to stretch out immense canvases or assemble grand sculptures. Thisopen area also gave them the freedom to develop personal creative environments thattraditional spaces would not allow. Further, they could display several of their piecesfor self study or for exhibit. The artist loft inplate 3 contains a huge table for layingplaster and doing heavy work. A wall has been erected so that light can be controlled

within the work area (Slesin 1986; 73-75).

Plate 3.

Artists first started settling the SoHo area in the late 1950's. During the 1960's, theirnumbers increased as the industrial base of the area declined. By the early 1980's, therewas a residential population of approximately 4,500 people, the majority of which wereartists and their families (Simpson 1981; 1-2).

James Hudson in The Unanticipated City, gathered residential telephone listings of SoHoloft buildings between 1965 and 1977. It was considered that the presence of a


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residential telephone was evidence of residential loft invasion. Hudson highlightedhowever that some pioneer artists did not have phones, were unlisted (to avoid beingdetected by city officials), or under fictitious commercial names. Therefore, a completecount was essentially impossible. Nevertheless, in 1971, 357 residential telephone lineswere detected. Derived from this data, Hudson calculated that by 1977, 56% of the loftbuildings housed residential tenants (Hudson 1987; 35-38).

These artists have socially and culturally transformed the district of SoHo. A communitydeveloped where "most of New York's and much of the nation's visual art is created andmarketed" (Simpson 1981; 1). In this process, the artist generated new meanings,including the significance of location.

Yaletown

Yaletown is an old eight block industrial district that is structurally similar to SoHo. Thearea escaped the high-rise building phase of the 1960's due to its industrial zoning, andthe more recent development phase because it was designated a heritage conservationarea. Thus, the low masonry, timber, and concrete structures now form a valley like theone visible in New York (seeplate 4).

Plate 4.

Plate 5 - The Yaletown Building is characteristic of the buildings that compose the area.Constructed in 1913, this building was home to such tenants as The National BagCompany.


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Plate 5.

The buildings were assembled as small manufactures and trucking companies gatheredin the area. The draw was the proximity to the new western terminus of the CanadianPacific Railway (CPR) which was relocated from Yale B.C. (hence the name Yaletown)to the north shore of False Creek. Although there are still signs of light industrialactivity, the buildings are not functionally suited for modern warehousing. By the late1970's, the area attracted urban professionals who turned the old warehouses intooffices. These young professionals found the area relatively inexpensive, architecturallyunique, and conveniently located (Vancouver Museums 1986; 2-3). The YaletownBuilding fromplate 5 for example, is occupied by architectural, law and several other

firms.

Until recently, there has been no apparent presence of residential activity. Moreimportantly, there has not been a significant concentration of artists in or around thearea.

The Idrisi images inplate 6and 7have been created from a special run on 1971 and1991 Census figures. They display the spatial distribution of artists in the Vancouverregion and the actual artist count in each Census Tract. Although the information givesthe observer a general sense of the trend, some issues must be considered. Firstly,

because several artists live illegally, counts are inevitably going to be under-reported.Secondly, the information is at a very coarse level; Enumeration Area data would havebeen more appropriate - providing more locationally specific information. LikeHudson's case, a complete report is difficult if not impossible to obtain. Nonetheless, theresults were as follows. Plate 6shows little representation in all of Tract 59, as only 20artists were recorded.


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Plate 6.

In Plate 7, including 1991 data, only 35 artists reported in Tract 59.2. As shown, theproportion of artist representation greatly increased throughout the rest of the region.

Plate 7.

Literature from a local arts organization also supports the notion of a non existent artistpopulation. Their project Work in Progress, is aimed at increasing the awareness of theVancouver artist population. Included in their 1994 catalogue is the location of artistlive / work studios that would be displaying work in the event during the summer ofthat year. Most importantly, not one of the 56 artists represented is situated in Yaletown(Work in Progress 1994; 8-9).

Finally, artist locational information was gathered from the source. A pilot survey washanded out to art students attending an institution in Vancouver. The questionnaire wasdistributed to individuals enrolled at the Studio 58 program at Langara College. Thirteenof the surveys were returned, giving a good representation of the program.The questions that were of significance are as follows:

15) Where do you live now?16) Where did you live before this?20) Can you think of any areas which may be considered artist's districts?


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21) If yes, where would these be?

The results were as follows:None of the students reported living in Yaletown presently, or previously. All of theseven who thought that an artist district existed, listed either Commercial Drive,Strathcona or both. This answer is consistent with the high concentration of artists

found in Tract 56 onplate 7- 230.

THE ARTISTAND URBAN CHANGE

During the 1960's, there was essentially no presence of art galleries in SoHo. However,by the spring of 1975, 84 galleries for painting and sculpture existed in the district(Simpson 1981; 15-16). Plate 8 is a photograph of galleries along West Broadway, the

commercial center of SoHo. The surrounding artist community facilitated interactionbetween artists, dealers, and clients - creating a unique ambience.

An April 1992 article in the Vancouver Sun; "Tracking art's heart down in Yaletown"makes reference to a constructed commercial row on the back end of Yaletown. Itsuggested that this block, a scaled down version of the South Granville galleryconglomeration, is where, "the majority of outlets are galleries, studios or sell artfulproducts..." This commercial row is portrayed inplate 9.

Plates 8 & 9.

As of April 1997, there is no presence of galleries on this block. Presently, as far as theauthor is concerned, there are only four galleries left in all of Yaletown. The fifth


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departed last month. Compared to SoHo, there lacks the ambience; the ability to "rubshoulders with the artists".

Subject to an international spotlight from the explosion of the art scene in the early 80's,SoHo has experienced another change. As the area became known as a haven for artists,it acquired a reputation for glamour, and became a destination for urban adventure.

While tourists and suburbanites flocked to the area, "espresso bars...upscale shopsselling Italian shoes and expensive cosmetics..." emerged "... and by the suspicion thatthe place has become about as cutting-edge as Rodeo Drive" (Plagens 1996; 78). Somesee this as the beginning of unabated commercialism in the area.

In come the gentrifyers - the followers of loft living. Such an atmosphere in SoHoattracted prosperous individuals. Loft spaces were in high demand partly because theywere amongst the new chic scene in New York. Consequently, Loft living as a lifestyledeveloped. Plate 10 delineates this new found form of loft living - the yuppifiedversion. In the SoHo scenario, the artist has been the vanguard of urban change.

Plate 10.

USING PROPS

In the past, Yaletown simply was not chic and did not posses a glamorous reputation.However, some have attempted to bring the image of SoHo to Yaletown. Examples ofthese symbols are the SoHo Building (although the letters have been removed, the nameis still visible on the old wood beam), and the SoHo Cafe. These sites are illustrated inplates 11 and 12 respectively.


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Plates 11 & 12.

The phenomenon of loft living has also emerged in Yaletown. In the summer of 1994,the first loft building in the area was converted for residential use. This loft building isrepresented inplate 13. Coincidentally, it was named "The New Yorker".

Plate 13.

The marketing material produced by the development company was saturated with the

prospects of living in a New York style loft residence. Specifically, an advertisingpamphlet printed by the development group, appropriately titled The New Yorker Times,outlined the history of the structure. Starting at $205,000 for 936 square feet, thoseattracted were mainly an upwardly mobile population and most likely not artists. In thelast year, three more loft buildings have been converted to strata residences.

Eugene McCann elaborates in his paper on how marketers and architects promote, "theirdevelopments to prospective house buyers by using selective exemplars, such as


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Washington, D.C., to portray their developments as elite enclaves that are imbued with amythical sense of community" (McCann 1995; 229). In Yaletown, an image of a global,cultural, artistic location is being fabricated.

Present day Yaletown exudes a fresh, glamorous impression as funky boutiques,upscale fashion stores, extravagant salons and cafes congregate in the neighbourhood.

Yuppies even come to play in the evenings as new bars and restaurants are established.Just by looking at the calibre of the vehicles parked on the street, one can recognize thatsomething has changed. In the Yaletown case, an imaginary artist has been the vanguardof urban change.

THE INFLUENCE -REDEFINING THE LOFT

The demand for loft living in Vancouver has increased substantially. Now there areseveral buildings being constructed solely designed to mimic the characteristics of theopen loft. One reporter summarized the trend as, "...lofts are hot. The romance of livingin an old warehouse in the heart of the inner city captured the imagination of career-oriented singles and childless couples several years ago. Now Pacific City LandCorporation has taken the concept a step beyond the warehouse image, building loft-style condos in brand new buildings" (McQuade 1995). An example of one of thesedevelopments is the Grafton in Yaletown. The structure, featured inplate 14 will becompletely built from new.

Plate 14.

Although the building resembles its neighbours, it has not been constructed for storageor manufacturing use; it is strictly residential. The only reason it has the dimensions itdoes is because by building code, it must vertically and architecturally match thebuildings throughout Yaletown. According to the definition of lofts then, this is not a"true" loft building.


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The marketing material declares that this building has, "Yaletown's most exciting loftresidences". Is this the most exciting building because it is not some 80 odd years old?Or are the advertisers selling the exciting location? The image inplate 15 symbolicallycaptures the old, and new polished face of Yaletown. The advertising billboard of theGrafton is partially covering the faded message of the Pacific Milk Company. Perhaps

the excitement is rooted in the anticipation of the new structure.

Plate 15.

Another example of the fantastic demand for loft living is emphasized in the new

proposed development of "The Spot". The depiction inplate 16appropriatelyhighlights the pre-selling of a loft living lifestyle on the facade of the developmentcompany's presentation center.

Plate 16.

The company's marketing material is loaded with references to New York and the artist


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living in the loft. Plate 17perfectly summarizes the content. At the top, it proclaims thatthese spaces are not just for artists anymore, that they are being snapped up by youngprofessional couples. Significantly, the pamphlet makes direct reference to SoHo whileoutlining our continuing struggle to become a world-class city.

Plate 17.

Their marketing material actually goes as far as redefining the loft for potential buyers,"loft n. 1. It's a home. 2. It's an investment. 3. It's an exciting alternative to cookie-cuttercondos. 4. It's a way to express your lifestyle at the right time. The right place. The right

spot". Inside the presentation center, decorative floor plans are found mounted on thewall. The drafted layout inplate 18 "Loft Type BB" was shrewdly labelled SoHo. Onceagain, the marketing of place is abundantly obvious.

Plate 18.

The lastplate - 19 is a model of the future building. Resemblances to original loft


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buildings are hard to detect - to say the least.

Plate 19.

CONCLUSION

In the comparison of SoHo and Yaletown, the author discovered that artists play asignificant role in the redevelopment of old industrial areas. In SoHo, the artist has beena vanguard of urban change. In Yaletown, the artist has been imaginary.

This Vancouver district has been a victim of the "marketing of place". SoHo was usedas a prop to artificially induce a specific ambience. Compared to SoHo, an artistpopulation, and a gallery representation has not been present over the last 25 years. Theabstraction of their presence is often found in developers marketing material.

As the popularity of loft living grew in the Yaletown area, the definition of loft livingwas instantly redefined. Now the loft lifestyle has been transferred to the high-rise; anodd new space in a completely different setting. Yuppies are following the trend, andmarketers are following the money.

REFRENCES

Arts in Action Society. Work in Progress. Arsenal Pulp Press: Vancouver, 1994.

Hudson, James. The Unanticipated City. The University of Massachusetts Press:Amherst, 1987.

McCann, Eugene. Urban Geography. V.H. Winston & Son, Inc, 1995.


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McQuade, Barbara. "Loft living leaves the old warehouse behind." The Vancouver Sun.May 7, 1995.

Plagens, Peter. "There Goes the Neighborhood." Newsweek. September 9, 1996. p. 78-79.

Rosenberg, Ann. "Tracking art's heart down in Yaletown." The Vancouver Sun. April 4,1992. p. C2.

Simpson, Charles. SoHo: The Artist in the City. The University of Chicago Press:Chicago, 1981.

Slesin, Suzanne. et al. The Book of Lofts. Thames and Hudson: London, 1986.

Stratton, Jim. Pioneering In The Urban Wilderness. Urizen Books: New York, 1977.

The Vancouver Museum. Yaletown - A walking tour through history. City ofVancouver, 1985.

Marketing material: The Grafton, The New Yorker, The Spot.

Photographs:

Plates 1 & 8: Woody Goldberg

Plate 2: New York Landmarks Preservation Commission

Plate 3: Gilles de Chabaneix

Plates 4, 5, 9, 11, 12, 13, 15, & 16: J. Gregory Cunningham

Plate 10: Rick Barnes

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