The NY Time reported on this Historical Society's plans to sell some of its historic properties. As the article relates:
They say economic collapse is what froze this place in time, a gold rush relic all but abandoned when the railroad passed it by. Decades later, that chance preservation positioned Jacksonville to benefit from new interest in the past. Boutiques moved to quaint California Street. Californians soon moved to town.
The U.S. Hotel building in Jacksonville, Ore., is one of the 19th-century buildings that a historical society has proposed selling. A high-end housing development, Nunan Square, is a recent addition to the historic town.
History sells, but now Jacksonville may learn that, the hard way.
The Southern Oregon Historical Society, which controls five of the most prominent historic properties in a town that is itself a historic district, has proposed selling some of the sites as a way to prevent the organization’s own economic collapse. After changes in state and county tax policies left it without a clear revenue stream in the 1990s and several short-term measures since then have run their course, the society says it is essentially out of money.
Last September, the society shut down the Jacksonville Museum, housed in a former courthouse from the 1880s. It has also closed the rectory of a local Roman Catholic church, built in the 1860s, and Beekman Bank, which still houses scales used to weigh gold. The rectory and the bank, as well as the U.S. Hotel, built in the 1880s, are among the properties the society said it hoped to sell. Read more here.
This is a trend across the country. Museums and cultural organizations have found themselves in the position of multiple properties with no way to sustain them, let alone maintain them. With facilities literally bleeding these organizations dry, what other alternatives do they have? Have your comments on this article? Share them here.
Showing posts with label trends. Show all posts
Showing posts with label trends. Show all posts
Sunday, February 14, 2010
Sunday, January 10, 2010
Recession Brings Out Entrepreneurial Spirit
The NY Times offered an article about the recent entrepreneurial focus in Detroit. As the article related:
With $6,000 and some Hollywood-style spunk, four friends opened this city’s only independent foreign movie house three months ago in an abandoned school auditorium on an unlighted stretch of the Cass Corridor near downtown.
After the unlikely hoopla of an opening night, red-carpet-style event in an area known for drugs and prostitution, exactly four customers showed up to see a film.
Since then, the Burton Theater has had a few profitable nights. But, the owners say, this adventure in entrepreneurship was never completely about making money. It was also about creating a more livable community.
“Nobody could comprehend why we’d start a theater,” said an investor, Nathan Faustyn, 25. “But when you live in Detroit, you ask, ‘What can I do for the city?’ We needed this. And we had nothing to lose. When you’re at the bottom of the economic ladder, you have nowhere to look but up.”
Despite the recession — and in some cases because of it — small businesses are budding around Detroit in one of the more surprising twists of the downturn. Some new businesses like the Burton are scratching by. Others have already grown beyond the initial scope of their business plans, juggling hundreds of customers and expanding into new sites.
Across from the Burton, for instance, Jennifer Willemsen just celebrated the first anniversary of her shop, Curl Up and Dye, a retro-themed hair salon serving 1,500 clients. Not far away, Torya Blanchard, a former French teacher, recently opened the second location of Good Girls Go to Paris, a creperie. Next door, Greg Lenhoff, also a former teacher, opened a bookstore in August called Leopold’s.
And just down the street from Leopold’s, on Woodward Avenue, Victor Both runs Breezecab, a company he started with a severance package after a layoff from Wayne State University. He uses rickshaws to ferry workers and conventioneers around downtown. “This filled a transportation void,” said Mr. Both, 34, who picked up the pedicab idea while touring Las Vegas before his layoff. “I haven’t made much money, but the experience has been priceless. I had no idea Detroit had so much love.”
It is not an uncommon instinct to start an enterprise in bad times and seize on weakened competition, lower overhead costs and perhaps more free time. Nor is it limited to Detroit. But the trend is particularly striking here, in a city that was suffering long before the rest of the nation fell into recession and where hard times, business closings and abandonment became routine generations ago. Read more here.
With $6,000 and some Hollywood-style spunk, four friends opened this city’s only independent foreign movie house three months ago in an abandoned school auditorium on an unlighted stretch of the Cass Corridor near downtown.
After the unlikely hoopla of an opening night, red-carpet-style event in an area known for drugs and prostitution, exactly four customers showed up to see a film.
Since then, the Burton Theater has had a few profitable nights. But, the owners say, this adventure in entrepreneurship was never completely about making money. It was also about creating a more livable community.
“Nobody could comprehend why we’d start a theater,” said an investor, Nathan Faustyn, 25. “But when you live in Detroit, you ask, ‘What can I do for the city?’ We needed this. And we had nothing to lose. When you’re at the bottom of the economic ladder, you have nowhere to look but up.”
Despite the recession — and in some cases because of it — small businesses are budding around Detroit in one of the more surprising twists of the downturn. Some new businesses like the Burton are scratching by. Others have already grown beyond the initial scope of their business plans, juggling hundreds of customers and expanding into new sites.
Across from the Burton, for instance, Jennifer Willemsen just celebrated the first anniversary of her shop, Curl Up and Dye, a retro-themed hair salon serving 1,500 clients. Not far away, Torya Blanchard, a former French teacher, recently opened the second location of Good Girls Go to Paris, a creperie. Next door, Greg Lenhoff, also a former teacher, opened a bookstore in August called Leopold’s.
And just down the street from Leopold’s, on Woodward Avenue, Victor Both runs Breezecab, a company he started with a severance package after a layoff from Wayne State University. He uses rickshaws to ferry workers and conventioneers around downtown. “This filled a transportation void,” said Mr. Both, 34, who picked up the pedicab idea while touring Las Vegas before his layoff. “I haven’t made much money, but the experience has been priceless. I had no idea Detroit had so much love.”
It is not an uncommon instinct to start an enterprise in bad times and seize on weakened competition, lower overhead costs and perhaps more free time. Nor is it limited to Detroit. But the trend is particularly striking here, in a city that was suffering long before the rest of the nation fell into recession and where hard times, business closings and abandonment became routine generations ago. Read more here.
Wednesday, January 6, 2010
In the Arts, Bigger Buildings May Not Be Better
A recent blog, The Data Stream (offered by the National Association of Artists Organizations), discussed the "Bilbao effect," which resulted in an overexpansion of arts and cultural organizations. As the post relates:
Within months of its opening in 1997, Frank Gehry’s Guggenheim Museum Bilbao had given the language a new term and the world a new way of looking at culture. The “Bilbao effect,” many came to believe, was the answer to what ailed cities everywhere — it was a way to lure tourists and economic development — and a potential boon to cultural institutions.
Municipal governments and arts groups were soon pouring hundreds of millions of dollars into larger, flashier exhibition spaces and performance halls.
Now the economic downturn has reined in a lot of these big dreams and has also led to questions about whether ambitious building projects from Buffalo to Berkeley ever made sense to begin with. Some are arguing that arts administrators and their patrons succumbed to an irrational exuberance that rivaled the stock market’s in the boom years.
Organizations were “blinded by the excitement of what it would be like to have this great new facility,” said D. Carroll Joynes, a senior fellow at the University of Chicago’s Cultural Policy Center.
The recession, he said he believed, is not solely to blame for a recent wave of projects that have been delayed (like additions to the St. Louis Art Museum and the Cincinnati Art Museum); scaled back (like the new building of the Parrish Art Museum in Southampton, N.Y.); put into question (the new Avery Fisher Hall at Lincoln Center and the renovation of the New York Public Library’s main Fifth Avenue branch); or abandoned altogether (the expansion of the Albright-Knox Art Gallery in Buffalo).
In Mr. Joynes’s view, “The recession is exposing the weakness of a lot of institutions that were seriously overstretched” before it began.
“It’s exposing poor management and poor planning,” said Mr. Joynes, who is collaborating on a study of 50 cultural building projects completed from 1994 to 2008 and their planning processes. These were situations, he added, in which “nobody actually asked: ‘Is there a need here? If they build it, will they come?’ ”
Read more here.
Within months of its opening in 1997, Frank Gehry’s Guggenheim Museum Bilbao had given the language a new term and the world a new way of looking at culture. The “Bilbao effect,” many came to believe, was the answer to what ailed cities everywhere — it was a way to lure tourists and economic development — and a potential boon to cultural institutions.
Municipal governments and arts groups were soon pouring hundreds of millions of dollars into larger, flashier exhibition spaces and performance halls.
Now the economic downturn has reined in a lot of these big dreams and has also led to questions about whether ambitious building projects from Buffalo to Berkeley ever made sense to begin with. Some are arguing that arts administrators and their patrons succumbed to an irrational exuberance that rivaled the stock market’s in the boom years.
Organizations were “blinded by the excitement of what it would be like to have this great new facility,” said D. Carroll Joynes, a senior fellow at the University of Chicago’s Cultural Policy Center.
The recession, he said he believed, is not solely to blame for a recent wave of projects that have been delayed (like additions to the St. Louis Art Museum and the Cincinnati Art Museum); scaled back (like the new building of the Parrish Art Museum in Southampton, N.Y.); put into question (the new Avery Fisher Hall at Lincoln Center and the renovation of the New York Public Library’s main Fifth Avenue branch); or abandoned altogether (the expansion of the Albright-Knox Art Gallery in Buffalo).
In Mr. Joynes’s view, “The recession is exposing the weakness of a lot of institutions that were seriously overstretched” before it began.
“It’s exposing poor management and poor planning,” said Mr. Joynes, who is collaborating on a study of 50 cultural building projects completed from 1994 to 2008 and their planning processes. These were situations, he added, in which “nobody actually asked: ‘Is there a need here? If they build it, will they come?’ ”
Read more here.
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