Houses of the future in New Orleans?

MakeItRight_timberlake_build

A photo by Wayne Troyer of a Make It Right home under construction, in 2008. Originally posted at Jimmy Stamp's Life Without Buildings blog

In The Atlantic, Wayne Curtis explains that the disastrous failure of all levels of government to plan and rebuild New Orleans is having some interesting unintended positive consequences.

Four years after Katrina, the rebuilding of New Orleans is not proceeding the way anyone envisioned, nor with the expected cast of characters. (If I may emphasize: Brad Pitt is the city’s most innovative and ambitious housing developer.) […]

In the absence of strong central leadership, the rebuilding has atomized into a series of independent neighborhood projects. And this has turned New Orleans—moist, hot, with a fecund substrate that seems to allow almost anything to propagate—into something of a petri dish for ideas about housing and urban life. An assortment of foundations, church groups, academics, corporate titans, Hollywood celebrities, young people with big ideas, and architects on a mission have been working independently to rebuild the city’s neighborhoods, all wholly unconcerned about the missing master plan. It’s at once exhilarating and frightening to behold. […] Continue reading

Advertisements

Popular music policy in Australia and New Zealand: Part Two: “A portrait of a politician as a young rocker”: Shane Homan on live music venue regulation in NSW

Today I have a look at Shane Homan’s 2008 article in Popular Music, “A portrait of the politician as a young pub rocker: live music venue reform in Australia”, 27(2): 243-256.

For non-Australians, the Joyce reference in the title refers not to Australia’s arts minister, Peter Garrett, the former lead singer for seminal Australian rock band Midnight Oil, but New South Wales’ former Premier (Chief Minister), Morris Iemma, who rediscovered a teenage love of attending pub rock gigs after taking office in the mid 2000’s .  But Homan’s article is really about the policy framework that regulates Australia’s live contemporary music venues in this country’s largest state, New South Wales, and the demographic and regulatory trends that have affected it.

Sydney’s famous “pub rock” scene produced a number of world-famous acts in the late 1970’s and 1980’s, including Midnight Oil, the Hunters and Collectors, INXS, Icehouse and a slew of others. Homan’s paper does a good job of explaining this scene: “the Australian pub rock experience in particular distinguished the local product in a global market; the renowned ferocity of bands and ‘punters’ provided a distinctive regional characteristic to a local industry built upon an imported cultural form.”

By the mid-1990s, however, the commercial live music sector was confronting some significant problems: rapid gentrification of the inner-city neighbourhoods where live music pubs were located was leading to complaints against live venues and regulatory enforcement by local governments; this issue was exacerbated by state laws aimed at suppressing alcohol-related violence and public disorder. “Gambling law changes also made an impact,” Homan writes, as slot machines rapidly proliferated in New South Wales pubs, often at the expense of support for live music.

Ironically, it is the cosmopolitan and cultural nature of inner-city districts that is typically the selling point for urban redevelopment and inner-city gentrification; Homan argues that “the property boom, and subsequent changes to residential populations, has thus provoked a perverse programme of social selection, where the more controlled urban environment sought by the new residents is distinctly at odds with its earlier vibrant, cosmopolitan reputation.”

Homan then goes on to take an in-depth look at New South Wales’ live music venue regulations. Predictably, he finds they are expensive, opaque and typically at odds with other aspects of cultural policy, such as live music initiatives. It’s a fascinating discussion for those interested in the policy minutiae, and a valuable lesson in one jurisdiction’s regulatory overhead  on cultural expression for the rest of us.

Homan concludes that “within more orderly, gentrified constructions of the night-time economy, the presence of the ‘noisy’ live music venue remains a key means of assessing our commitment to a diversity of cultural leisure communities.”

Artists versus Blight: Newcastle, Australia and Cleveland, Ohio

 

Marcus Westbury in NewMatilda.com:

Visitors to Newcastle’s Hunter Street Mall in recent weeks have noticed a sudden abundance of new activity. Since February the not-for-profit company Renew Newcastlehas been taking over some of the 150-odd empty shops in the Newcastle CBD and making them available to artists, cultural projects and creative enterprises.

 

Renovating a shop front, Newcastle. Courtesy of NewMatilda.com

Renovating a shop front, Newcastle. Courtesy of NewMatilda.com

 

 

We’ve convinced private property owners — from the large and publicly-listed GPT Group down to local small business people with only one empty shop — to lend us their vacant spaces. We take them on a rolling temporary basis, keep them clean, spruce them up and fill them with creative initiatives. In Newcastle we’ve placed 15 projects by artists, craftspeople, artisans, jewellers, architects, designers, and publishers. What were until recently empty shops and eyesores are now full of original, local, creative activity. We have about 10 more projects in progress that will open later this month or early next.

Alexandra Alter in the Wall Street Journal:

Artists have long been leaders of an urban vanguard that colonizes blighted areas. Now, the current housing crisis has created a new class of urban pioneer. Nationwide, home foreclosure proceedings increased 81% in 2008 from the previous year, rising to 2.3 million, according to California-based foreclosure listing firm RealtyTrac. Homes in hard-hit cities such as Detroit and Cleveland are selling for as little as $1.

Art City

Greg Ruffing/Redux for The Wall Street Journal – An opening-night event at the Arts Collinwood gallery in Cleveland’s Collinwood neighborhood.

Drawn by available spaces and cheap rents, artists are filling in some of the neighborhoods being emptied by foreclosures. City officials and community groups seeking ways to stop the rash of vacancies are offering them incentives to move in, from low rents and mortgages to creative control over renovation projects.