{"id":23829,"date":"2023-04-17T14:42:36","date_gmt":"2023-04-17T18:42:36","guid":{"rendered":"https:\/\/www.eraarch.ca\/?p=23829"},"modified":"2023-04-17T15:35:35","modified_gmt":"2023-04-17T19:35:35","slug":"three-lessons-from-europes-independent-cultural-spaces","status":"publish","type":"post","link":"https:\/\/www.eraarch.ca\/2023\/three-lessons-from-europes-independent-cultural-spaces\/","title":{"rendered":"Three lessons from Europe’s independent cultural spaces"},"content":{"rendered":"\n

In the summer of 2022, ERA was invited to join a tour with member organizations of Trans Europe Halles<\/a> (TEH), a network of 135 cultural organizations from 39 countries in Europe and beyond. TEH members collectively support, research, and advocate for independent cultural spaces and their positive contribution to social, environmental, and economic well-being.  <\/p>\n\n\n\n

TEH is advising on OCADU\u2019s activation of the Canada Malting Silos<\/a> on Toronto\u2019s central waterfront, a project that aims to transform the disused structure into a hub for climate resilience through art and design. ERA is the rehabilitation architects for the stabilization of the silos. With a shared commitment to centring arts and culture as a driver for the redevelopment of the waterfront, ERA joined TEH and OCADU on the tour to learn how to advocate for the reuse of buildings as independent cultural spaces, new approaches to partnering with municipalities to safeguard the accessibility of arts and culture, and methods for stabilizing behemoth concrete silos.  <\/p>\n\n\n\n

Here are three lessons we brought home\u2026.<\/p>\n\n\n\n

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Studio Alta in Prague, Czechia<\/em><\/figcaption><\/figure>\n\n\n\n

You can start before you figure it all out <\/h3>\n\n\n\n

Rehabilitating heritage buildings for contemporary use can involve years of design, approvals, renovations, and big budgets, creating further barriers for the accessibility of arts and culture spaces. Studio Alta<\/a> \u2014 an independent cultural organization in Czechia and the hosts of the 2022 TEH conference<\/a> \u2014 is run out of a baroque 19th century hospital at the eastern edge of Prague\u2019s city centre. The municipality owns the building and has leased the space to Studio Alta temporarily. <\/p>\n\n\n\n

Despite its relatively raw condition \u2014 there is no internal plumbing within most of the building, the floors and walls need repair, and a major lighting overhaul is required \u2014 Studio Alta has made it work with temporary modifications such as accessibility ramps, spot wall and floor repairs, flood lights, and an outdoor bathroom facility. This approach to adapting a building on-the-go has ensured a major cultural organization in Prague has access to space to operate and program (they were evicted from their previous space in 2019).  <\/p>\n\n\n\n

Experiencing Studio Alta operate in a relatively raw structure is inspiring for the types of programming that OCADU can engage in at the Canada Malting Silos. There\u2019s a reason the silos are one of the last unprogrammed buildings on Toronto\u2019s central waterfront, and it\u2019s not for lack of imagination<\/a>: as a behemoth concrete structure, any architectural modifications are extremely challenging and expensive. Taking an iterative approach to programming the space will slowly reveal the possibilities of this landmark. <\/p>\n\n\n\n

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Meeting with city staff in Amsterdam<\/em><\/figcaption><\/figure>\n\n\n\n

The city is a partner in culture  <\/h3>\n\n\n\n

Like many cities throughout the world, Amsterdam is experiencing a boom in development and rising property values, squeezing out independent cultural spaces that operate without profit maximization models. Recognizing the importance of independent arts and culture to the social and economic wellbeing of the city, the City of Amsterdam has started a \u201cFree Space\u201d initiative, exploring ways the municipality can contribute to the continued operation of its several at-risk independent cultural centres. Through policy, tax relief, and space leasing, the municipality has committed to protecting existing and at-risk “free space” initiatives, supporting the establishment of new free spaces, and integrating independent cultural spaces into the development planning process. In line with the previous take home (you can start before you figure it all out), one of the City of Amsterdam\u2019s recommendations is to begin this process quickly and avoid lengthy policy making processes since it\u2019s \u201cpossible to \u2018learn on the fly\u2019 and adapt the process as necessary\u201d. <\/p>\n\n\n\n

ERA witnessed the City of Amsterdam\u2019s support for cultural spaces first-hand: after ADM<\/a>, an independent artist live-work collective was evicted from their facilities in the western port of Amsterdam, the City worked with the organization to find municipally-owned land in Amsterdam North<\/a>. This massive brownfield \u2013 a former water sanitation facility \u2013 is being transformed by the artists and residents of ADM, including rehabilitating the land and updating existing structures for community use. As part of their tenancy of the new site, ADM has agreed to provide space, programming, and use of sports field for the surrounding neighbourhood, a symbiotic relationship where everyone benefits.  <\/p>\n\n\n\n

Luckily for Toronto, Mojan Jianfar and Ben MacIntosh, City of Toronto staff within the Cultural Partnerships division of Economic Development and Culture, were zoomed into a live meeting with City of Amsterdam staff. We are excited to see what lessons from Amsterdam can be applied in the Toronto context, as several City-owned facilities are ideal spaces for independent cultural organizations to inhabit and program. <\/p>\n\n\n\n

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Suikerfabriek \u2013 a former sugar silo in Halfweg, just outside of Amsterdam<\/em><\/figcaption><\/figure>\n\n\n\n

You can transform a concrete behemoth into a cultural space <\/h3>\n\n\n\n

As mentioned above, the sheer complexity of transforming the Canada Malting Silos has left it towering over Toronto\u2019s central waterfront, blank and unactivated: an opportunity presented by a challenge. Though not part of their network, TEH connected us with Jos Van Eldonk, an architect with Common Affairs<\/a> who transformed the Suikerfabriek \u2013 a former Sugar silo in Halfweg, just outside of Amsterdam \u2013 into a double-towered officed space connected by a bridge on the top level. Clad in light coloured aluminum and punctuated by diamond-shaped windows and mirrors that wrap around the double-barreled spherical towers, the Suikerfabriek was abuzz with activity, representing the first phase of a mixed-use development that will integrate other nearby heritage industrial structures.  <\/p>\n\n\n\n

While Jos wasn\u2019t able to join us in Halfweg, we video-chatted with him as we explored the building and its environs. Jos shared techniques that were employed to make incisions in the 12 inch thick concrete (they went through many Diamond saw-blades in the process!), and inspired ERA to explore cladding as as a strategy for future concrete rehabilitation projects to prevent damage to concrete facades while contributing to overall stabilization.<\/p>\n\n\n\n

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Condition of Canada Malting Silos in 2010<\/em><\/figcaption><\/figure>\n\n\n\n

Making space for culture in Toronto <\/h3>\n\n\n\n

Visiting a series of independent cultural facilities within the TEH network provided many lessons for adaptive reuse and the advocating for, maintaining, and programming independent cultural facilities. Independent cultural spaces \u2013 something between a gallery, performance space, studio and community centre \u2013 have a rich history in Europe but are not as common in the Canadian context. In Toronto, formal partnerships are required to renovate, activate, and fund cultural programming in heritage buildings to ensure that arts and culture is safeguarded as essential to the vibrancy and quality of life within Toronto. But formal partnerships should not preclude experimentation! As OCADU starts to program the Canada Malting Silos as a hub for climate resilience through art and design, we are excited to support an iterative process in a challenging space, where the City recognizes and supports the role of culture in the ongoing redevelopment of our city, and where partners can embrace the process of figuring it out as they go.  <\/p>\n\n\n\n

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en francais<\/h3>\n\n\n\n

Trois le\u00e7ons tir\u00e9es des espaces culturels ind\u00e9pendants en Europe<\/strong><\/p>\n\n\n\n

Au cours de l’\u00e9t\u00e9 2022, ERA a \u00e9t\u00e9 invit\u00e9e \u00e0 participer \u00e0 une visite en Europe avec des organisations membres du Trans Europe Halles<\/a> (TEH), un r\u00e9seau de 135 organisations culturelles de 39 pays europ\u00e9ens et d’ailleurs. Les membres de TEH soutiennent, \u00e9tudient et d\u00e9fendent collectivement les espaces culturels ind\u00e9pendants et leur contribution au bien-\u00eatre social, environnemental et \u00e9conomique.<\/p>\n\n\n\n

Le TEH est en train de conseiller l’Ontario College of Arts and Design University (OCADU) pour son projet d\u2019activation des silos de la Canada Malting<\/a>, situ\u00e9s sur le bord du lac Ontario, en plein centre de Toronto. Ce projet vise \u00e0 transformer la structure d\u00e9saffect\u00e9e en un centre ax\u00e9 sur la r\u00e9silience climatique par le biais de l’art et du design. ERA a \u00e9t\u00e9 engag\u00e9e \u00e0 titre d’architecte charg\u00e9 de la stabilisation des silos. Avec l\u2019objectif commun de faire des arts et de la culture le moteur du r\u00e9am\u00e9nagement le long du lac Ontario, ERA s’est jointe \u00e0 la visite avec le TEH et l’OCADU afin d\u2019apprendre \u00e0 comment promouvoir la r\u00e9utilisation des b\u00e2timents en tant qu’espaces culturels ind\u00e9pendants, \u00e0 trouver de nouvelles approches de partenariat avec les municipalit\u00e9s pour pr\u00e9server l’accessibilit\u00e9 des arts et de la culture, et des m\u00e9thodes pour stabiliser les \u00e9normes silos en b\u00e9ton.<\/p>\n\n\n\n

Voici trois le\u00e7ons que nous avons apprises durant notre visite… <\/p>\n\n\n\n

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Studio Alta \u00e0<\/em> Prague, Czechia<\/em><\/figcaption><\/figure>\n\n\n\n

Il est possible de commencer avant d’avoir tout compris<\/strong> <\/h3>\n\n\n\n

La r\u00e9habilitation de b\u00e2timents patrimoniaux pour y accueillir un usage contemporain peut n\u00e9cessiter des ann\u00e9es de conception, d’approbations, de r\u00e9novations et de d\u00e9penses importantes, cr\u00e9ant ainsi des obstacles \u00e0 l’accessibilit\u00e9 des espaces artistiques et culturels. Le Studio Alta, une organisation culturelle ind\u00e9pendante en R\u00e9publique tch\u00e8que, qui a accueilli la conf\u00e9rence du TEH de 2022<\/a>, est situ\u00e9 dans un h\u00f4pital baroque du XIXe si\u00e8cle, \u00e0 l’extr\u00e9mit\u00e9 est du centre-ville de Prague. La municipalit\u00e9 est propri\u00e9taire du b\u00e2timent et a lou\u00e9 temporairement l’espace au Studio Alta.<\/p>\n\n\n\n

Malgr\u00e9 son \u00e9tat relativement pr\u00e9caire – il n’y a pas de plomberie dans la majeure partie du b\u00e2timent, les sols et les murs ont besoin d’\u00eatre r\u00e9par\u00e9s et une r\u00e9novation majeure de l’\u00e9clairage est n\u00e9cessaire – Studio Alta l’a rendu fonctionnel gr\u00e2ce \u00e0 des modifications temporaires telles que des rampes d’acc\u00e8s, des r\u00e9parations ponctuelles des murs et des sols, des projecteurs et une salle de bain \u00e0 l’ext\u00e9rieur. Cette approche de transformation graduelle du b\u00e2timent a permis \u00e0 une importante organisation culturelle de Prague d’avoir acc\u00e8s \u00e0 un espace pour ses activit\u00e9s (ils ont en effet \u00e9t\u00e9 expuls\u00e9s de leurs anciens locaux en 2019).<\/p>\n\n\n\n

L’exemple du Studio Alta situ\u00e9 dans une structure relativement brut est une source d’inspiration pour les types de programmes que l’OCADU pourra mettre en place dans les Silos de la Canada Malting. En effet, il y a une raison pour laquelle les silos sont l’un des derniers b\u00e2timents vacants sur le bord de l’eau \u00e0 Toronto, et ce n’est pas par manque d’imagination<\/a> : en tant qu’\u00e9norme structure en b\u00e9ton, toute modification architecturale est extr\u00eamement difficile et co\u00fbteuse. L’adoption d’une approche it\u00e9rative de la programmation de l’espace permettra de r\u00e9v\u00e9ler lentement les possibilit\u00e9s de ce monument torontois.<\/p>\n\n\n\n

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R\u00e9union avec les employ\u00e9s de la ville d’Amsterdam<\/em><\/em><\/figcaption><\/figure>\n\n\n\n

La ville comme partenaire de la culture<\/strong>  <\/h3>\n\n\n\n

Comme de nombreuses villes dans le monde, Amsterdam conna\u00eet un essor du d\u00e9veloppement et une augmentation de la valeur immobili\u00e8re, ce qui a pour effet de faire dispara\u00eetre les espaces culturels ind\u00e9pendants qui fonctionnent sans mod\u00e8le de maximisation des profits. Consciente de l’importance des arts et de la culture ind\u00e9pendants pour le bien-\u00eatre social et \u00e9conomique de la ville, la ville d’Amsterdam a lanc\u00e9 une initiative appel\u00e9e “Free Space” [espace libre], qui explore les moyens par lesquels la municipalit\u00e9 peut contribuer \u00e0 la poursuite des activit\u00e9s de plusieurs centres culturels ind\u00e9pendants menac\u00e9s. Par le biais d’une politique, d’un all\u00e8gement fiscal et de la location d’espaces, la municipalit\u00e9 s’est engag\u00e9e \u00e0 prot\u00e9ger les initiatives d'”espaces libres” existantes et \u00e0 risque, \u00e0 soutenir la cr\u00e9ation de nouveaux espaces libres et \u00e0 int\u00e9grer les espaces culturels ind\u00e9pendants dans le processus de planification. Dans la lign\u00e9e de l’exemple pr\u00e9c\u00e9dent (on peut commencer avant d’avoir tout compris), l’une des recommandations de la ville d’Amsterdam est de commencer ce processus rapidement et d’\u00e9viter les longs processus d’\u00e9laboration de politiques, car il est “possible d’apprendre sur le tas et d’adapter le processus en fonction des besoins”.<\/p>\n\n\n\n

ERA a pu constater le r\u00f4le de la ville d’Amsterdam dans le soutien aux espaces culturels : apr\u00e8s qu’ADM<\/a>, un collectif d’artistes ind\u00e9pendants, ait \u00e9t\u00e9 expuls\u00e9 de ses locaux dans le port ouest d’Amsterdam, la ville a travaill\u00e9 avec l’organisation pour trouver un site appartenant \u00e0 la municipalit\u00e9 au nord d’Amsterdam<\/a>. Cette vaste friche industrielle – une ancienne installation d’assainissement des eaux – est en train d’\u00eatre transform\u00e9e par les artistes et les r\u00e9sidents d’ADM, notamment en r\u00e9habilitant le terrain et en modernisant les structures existantes en vue d’une utilisation communautaire. Dans le cadre de la location du nouveau site, ADM a accept\u00e9 de fournir des locaux, une programmation et un terrain de sport pour le quartier environnant, une relation symbiotique qui b\u00e9n\u00e9ficie tout le monde. Heureusement pour Toronto, Mojan Jianfar et Ben MacIntosh, employ\u00e9s de la ville de Toronto au sein de la division des Partenariats culturels du d\u00e9partement du D\u00e9veloppement \u00e9conomique et culturel, ont pu assister \u00e0 une r\u00e9union en direct avec les employ\u00e9s de la ville d’Amsterdam. Nous sommes impatients de voir quelles le\u00e7ons d’Amsterdam peuvent \u00eatre appliqu\u00e9es dans le contexte torontois, car plusieurs installations appartenant \u00e0 la ville sont des espaces id\u00e9aux pour que des organisations culturelles ind\u00e9pendantes puissent les occuper et les utiliser.<\/p>\n\n\n\n

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Suikerfabriek – un ancien silo \u00e0 sucre \u00e0 Halfweg, en p\u00e9riph\u00e9rie d’Amsterdam<\/em><\/em><\/figcaption><\/figure>\n\n\n\n

Il est possible de transformer un mastodonte de b\u00e9ton en un espace culturel<\/strong> <\/h3>\n\n\n\n

Comme nous l’avons mentionn\u00e9 plus haut, la complexit\u00e9 de la transformation des silos de la Canada Malting a fait en sorte que le bord de l\u2019eau au centre-ville de Toronto reste vide et inactif. Cette opportunit\u00e9 est \u00e9galement un d\u00e9fi en soi. Bien qu’il ne fasse pas partie de son r\u00e9seau, TEH nous a mis en contact avec Jos Van Eldonk, un architecte de Common Affairs<\/a> qui a transform\u00e9 le Suikerfabriek – un ancien silo \u00e0 sucre \u00e0 Halfweg, en p\u00e9riph\u00e9rie d’Amsterdam – en un espace de bureaux \u00e0 deux tours, reli\u00e9 par un pont au niveau sup\u00e9rieur. Rev\u00eatue d’aluminium clair et ponctu\u00e9e de fen\u00eatres en forme de losange et de miroirs enveloppant les deux tours cylindriques, la Suikerfabriek \u00e9tait en pleine effervescence lors de notre visite, repr\u00e9sentant la premi\u00e8re phase d’un d\u00e9veloppement \u00e0 usage mixte qui int\u00e9grera d’autres structures industrielles patrimoniales situ\u00e9es \u00e0 proximit\u00e9.<\/p>\n\n\n\n

Bien que Jos n’ait pas pu se joindre \u00e0 nous \u00e0 Halfweg, nous avons discut\u00e9 avec lui par vid\u00e9oconf\u00e9rence pendant que nous explorions le b\u00e2timent et ses environs. Il a partag\u00e9 la technique employ\u00e9e pour r\u00e9aliser les incisions de 12 pouces d’\u00e9paisseur dans le b\u00e9ton (de nombreuses lames-scies diamant\u00e9es ont \u00e9t\u00e9 utilis\u00e9es au cours du processus!) et a inspir\u00e9 ERA \u00e0 explorer l\u2019emploi du rev\u00eatement comme une strat\u00e9gie pour les futurs projets de r\u00e9habilitation du b\u00e9ton afin de pr\u00e9venir les dommages aux fa\u00e7ades tout en contribuant \u00e0 la stabilisation globale. <\/p>\n\n\n\n

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\u00c9tat des silos de la Canada Malting en 2010<\/em><\/em><\/figcaption><\/figure>\n\n\n\n

Faire de la place \u00e0 la culture \u00e0 Toronto<\/strong> <\/h3>\n\n\n\n

La visite d’une s\u00e9rie d’installations culturelles ind\u00e9pendantes au sein du r\u00e9seau TEH a permis de tirer de nombreux enseignements sur la r\u00e9habilitation, ainsi que la d\u00e9fense, le maintien et la mise en place d’installations culturelles ind\u00e9pendantes. Les espaces culturels ind\u00e9pendants – \u00e0 mi-chemin entre une galerie, une salle de spectacle, un studio et un centre communautaire – ont une riche histoire en Europe, mais ne sont pas aussi courants dans le contexte canadien. \u00c0 Toronto, des partenariats formels sont n\u00e9cessaires pour r\u00e9nover, mobiliser et financer la programmation culturelle dans les b\u00e2timents patrimoniaux, afin de garantir que les arts et la culture soient pr\u00e9serv\u00e9s en tant qu’\u00e9l\u00e9ments essentiels du dynamisme et de la qualit\u00e9 de vie \u00e0 Toronto. Cependant, les partenariats formels ne doivent pas emp\u00eacher l’exp\u00e9rimentation ! Alors que l’OCADU commence les d\u00e9marches pour r\u00e9habiliter les silos de la Canada Malting pour en faire un centre ax\u00e9 sur la r\u00e9silience climatique par le biais de l’art et du design, nous sommes ravis de soutenir un processus it\u00e9ratif dans un espace complexe et, en m\u00eame temps, stimulant, o\u00f9 la municipalit\u00e9 reconna\u00eet et soutient le r\u00f4le de la culture dans le r\u00e9am\u00e9nagement de la ville, et o\u00f9 les intervenants peuvent participer au processus de recherche de solutions.<\/p>\n","protected":false},"excerpt":{"rendered":"

In the summer of 2022, ERA was invited to join a tour with member organizations of Trans Europe Halles (TEH), a network of 135 cultural organizations from 39 countries in Europe and beyond. 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