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Urban Precarity: Affordable Art Studios and Creative Flight in the Post Covid City

城市的不稳定：后疫情时代城市中经济实惠的艺术工作室和创意飞行

基本信息

批准号：
ES/W005239/1
负责人：
Rhian Scott
金额：
$ 13.51万
依托单位：
King's College London
依托单位国家：
英国
项目类别：
Fellowship
财政年份：
2021
资助国家：
英国
起止时间：
2021 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=ES%2FW005239%2F1
关键词：
Urban Precarity Affordable Art Studios

项目摘要

Current discussions about the value of studio space, the crisis of affordability and the retail decline of the central city, make London an excellent case study for exploring how urban transformations are manifesting in different models of studio provision. Affordable studios have figured prominently in London's regional political agenda, as sites of social, cultural and economic value. Policy interest in the contribution of studios to urban (re)development strategies and to the generation of 'buzz' in certain inner- city areas, has also been gaining a great deal of momentum at different levels of local and regional government.But the artists' workspace sector in London is at risk. The most common type of property occupation is through rented or otherwise licenced terms (leasehold tenure). Having initially provided a useful strategy for meeting the short-term needs for low-cost workspace, the proliferation of this 'meanwhile' or 'borrowed infrastructure' model, has left many studios vulnerable to change of use or redevelopment. This issue has been noted in other global cities, but is particularly acute in London at the moment, which is due to lose 17 per cent of studio space by 2022; 39 sites were already closed between 2014-2017, resulting in an estimated loss of 1300 artists' studios (GLA, 2018).The COVID-19 pandemic has dramatically accelerated these pressures and conditions of precarity across London's creative sector, but simultaneously presents an opportunity to rethink what we do with empty buildings and high streets. It could present new opportunities for temporary creative use, whilst stimulating economic activity and avoiding vacant spaces. Despite meanwhile use being an unsustainable model of studio provision, it is necessary to ask, within this post-COVID context, if creative practitioners whose low and unstable incomes have been further compounded by the economic loss caused by Coronavirus, could benefit from the increased flexibility of short-term leases. This raises important questions about the value of 'permanent' and 'ephemeral' creative spaces and provision models in the post-COVID city.It is within this context that the UK's first Creative Land Trust (CLT) is being developed. The CLT was established in 2019 as a charitable organisation by the Greater London Authority with the aim of creating affordable workspace in London for artists in perpetuity. This involves purchasing property to rent back to artists and by providing financial support for arts groups to buy their own buildings. The Trust has recently (early 2021) secured its first purchase, a former industrial site in Hackney Wick, which offers a timely and significant opportunity to augment my research in this field.In light of these urban transformations, the aim of the Fellowship is to understand the role that the CLT can play in shaping and reimagining creative workspace in the city and its potential to establish permeance in this dynamic context. It also has six key areas of action. The first is to develop two sole-authored, peer-reviewed publications, and a policy-facing report for London's studio sector. These publications will engage with interdisciplinary discussions in urban studies, creative industries and cultural policy. The second, is to carry out further limited research into the changing models of studio provision in London and explore the temporalities of the creative city, to compliment earlier fieldwork in London. Including a small amount of comparative research with international provision models in San Francisco and Berlin. The Third, is to host a 1-day stakeholder roundtable at City Hall, to engage policy makers and key stakeholders in London's studio sector in these debates. The fourth action is to communicate my research findings to academic and non-academic audiences; the fifth is to extend my professional networks; and the sixth, to develop a new collaborative research project through these networks.

当前关于工作室空间价值、负担能力危机和中心城市零售业衰落的讨论，使伦敦成为探索城市转型如何体现在不同工作室供应模式中的一个很好的案例研究。负担得起的工作室在伦敦的地区政治议程中占据突出地位，作为社会，文化和经济价值的场所。工作室对城市（再）发展战略的贡献以及在某些内城地区产生“嗡嗡声”的政策兴趣，也在各级地方和地区政府中获得了很大的动力。但伦敦的艺术家工作空间部门正处于危险之中。最常见的财产占用类型是通过租赁或其他许可条款（租赁保有权）。最初提供了一个有用的战略，以满足短期需求的低成本工作空间，这种“同时”或“借来的基础设施”模式的扩散，使许多工作室容易改变用途或重建。这个问题在其他全球城市也已引起注意，但目前在伦敦尤为严重，到2022年，伦敦将失去17%的工作室空间; 2014年至2017年期间，39个地点已经关闭，估计损失了1300个艺术家工作室（GLA，2018）. COVID-19大流行极大地加速了伦敦创意行业的这些压力和不稳定状况，但同时也提供了一个机会，让我们重新思考我们如何处理空荡荡的建筑和商业街。它可以为临时创造性使用提供新的机会，同时刺激经济活动并避免空置空间。尽管与此同时，使用是一种不可持续的工作室供应模式，但在后COVID背景下，有必要问一下，创意从业者的低收入和不稳定收入因冠状病毒造成的经济损失而进一步加剧，是否可以从短期租赁的灵活性增加中受益。这引发了有关后新冠城市“永久”和“短暂”创意空间和供应模式的价值的重要问题。正是在这种背景下，英国第一个创意土地信托基金（CLT）正在开发中。CLT于2019年由大伦敦管理局成立，是一个慈善组织，旨在为艺术家在伦敦永久创造负担得起的工作空间。这包括购买物业租回给艺术家，并为艺术团体购买自己的建筑物提供财政支持。该信托最近（2021年初）获得了第一笔购买，这是哈克尼威克的一个前工业用地，这为我在这一领域的研究提供了一个及时而重要的机会。鉴于这些城市转型，该奖学金的目的是了解CLT在塑造和重塑城市创意工作空间方面所发挥的作用，以及它在这种动态背景下建立渗透的潜力。它还有六个关键行动领域。第一个是为伦敦的电影业开发两份独家撰写、同行评审的出版物和一份面向政策的报告。这些出版物将参与城市研究，创意产业和文化政策的跨学科讨论。第二，是对伦敦工作室供应模式的变化进行进一步的有限研究，并探索创意城市的时间性，以补充伦敦早期的实地考察。包括少量与旧金山弗朗西斯科和柏林国际提供模式的比较研究。第三，是在市政厅举办为期一天的利益相关者圆桌会议，让伦敦电影业的政策制定者和主要利益相关者参与这些辩论。第四个行动是将我的研究成果传达给学术和非学术受众;第五个行动是扩展我的专业网络;第六个行动是通过这些网络开发一个新的合作研究项目。